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이규혁 한국기초조형학회 2023 기초조형학연구 Vol.24 No.4
This study aims to suggest in which direction ceramic craft education should be improved in elementary school art textbooks in preparation for the 2022 revised curriculum. The research highlights the role of pottery and ceramics within the wider context of art education, emphasizing the 2022 curriculum’s vision of nurturing “inclusive and creative proactive individuals.” The study also examines the importance of this specialized instruction and proposes ways for the advancement of broader art education. Upon analyzing 26 editions across seven distinct art textbooks, based on the 2015 curriculum revision, several challenges became evident. A noticeable shortage exists in the allocation of hands-on sessions dedicated to clay craftsmanship. Even when modules introduce sculpting exercises using clay for three-dimensional concepts, such content occupies less than 10% of the entire curriculum. The textbooks offer a superficial overview of the ceramics process. In-depth discussions on various molding techniques are scarce, and hands-on experiences in crucial stages like drying, firing, and glazing are lacking. As a result, many ceramic lessons remain confined to basic clay manipulation, bypassing the deeper aspects of the craft. Educational institutions often lack the necessary facilities and tools for a comprehensive pottery and ceramics education. Contemporary ceramic art receives limited attention in these textbooks, with most referenced pieces for study or appreciation rooted in tradition, overshadowing the works of modern ceramic artists. A viable solution to these challenges involves integrating pottery and ceramics specialists within the elementary art education framework. A significant portion of current art textbook authors are elementary educators without specialized training in pottery and ceramics. This expertise gap leads to content shortcomings in textbooks and impedes effective ceramics instruction. The urgent requirement for specialized equipment and facilities for pottery and ceramics training underscores the need for expert involvement.
이규혁 한국카운슬러협회 2011 相談과 指導 Vol.46 No.-
성격이란‘그 사람이 가지고 있는 심리적 특성으로 다른 사람이나 사물 또는 일에 대해서 나타내는 태도나 반응’을 말한다. 따라서 어떤 상황에서도 잘 변하지 않으며 일관성 있게 드러난다. 예를 들면 외향적인 사람은 많은 사람과 접촉하는 사교적인 활동을 좋아하는 반면, 내향적인 사람은 조용히 혼자서 하는 일을 좋아하고 즐긴다. 따라서 자신이 성격을 정확히 이해하고 그에 맞는 진로를 선택하는 일이 매우 중요하다.
이규혁,이주홍,권충렬,임원빈,배지홍,허필호 한국고분자학회 2021 한국고분자학회 학술대회 연구논문 초록집 Vol.46 No.2
Acrylic polymer binders with high transparency and good mechanical strength were blended on various ratio using PMMA (poly methyl methacrylate), 2-HEMA (2-hydroxyethyl methacrylate), PTE, BPO (benzoyl peroxide) and urethane acrylate. Designed acrylic polymer binders with urethane acrylate were cured by using BPO/PTE Redox initiating system (ROIS). Various properties to apply as acrylic binder were studied through Fourier-transform infrared spectrometer (FTIR), Universal test machine (UTM), UV-visible spectrophotometer (UV-vis). The binder exhibited high adhesion strength, transmittance, gel fraction.
이규혁 한국기초조형학회 2019 기초조형학연구 Vol.20 No.5
Memory refers to the keeping or recalling of a previous impression or experience in a state consciousness. Memory arises from a group of people who share similar beliefs and interests called society. Society not only determines and sets the rules and what is considered the "norm" but establishes ideas on the understanding of time and space, and the different ways of communication such as language. In terms of individuals in the society, it can be said that the individual's memory and actions are influenced by the overall knowledge/ideas shared by the society. The process of giving meaning to the past always involves a specific social action called representation. Through the process of representation, they can escape wounds from the past, modify the present, and prepare for the future. Questions about memory from the point of view of representation should consider what its social function and effect are as a special content and form of the past. In terms of representation, questions about memory must consider what their social functions and effects are as a particular content and form of the past. The question of memory as a content begins with the consent of what are the specific past figures, events, places and times. The question of memory as a form is accompanied not only by text in the language, but also by discussions on various cultural forms, including various image media, space, buildings, paintings, sculptures, crafts and music. Let's take a look at the works of Grayson Perry, Cynthia Consentino and Judy Moonelis who worked on past memories. During the process of representation, the works which started off from their memories give a gift of healing to the writer, and the works completed in the representation give the viewer sympathy and comfort. 기억(Memory)이란 이전의 인상이나 경험을 의식 속에 간직하거나 다시 생각해내는 것을 말한다. 기억은 사회라는 공동생활을 영위하는 집단에서 발생하며 규칙과 규범, 시간과 공간에 대한 이해, 언어와 같은 커뮤니케이션 수단 등이 전제된다. 사회 구성원으로서 개인의 기억과 그에 따른 행동은 개인들의 상호 결합에서 나타나는결과이다. 과거에 대한 의미 부여의 과정은 항상 재현(representation)이라는 특정한 사회적 실천 작용을 수반한다. 재현의 과정을 통해 과거의 상처에서 벗어나기도 하고 현재를 수정하며 미래를 준비하기도 한다. 재현의관점에서 기억에 대한 질문들은 과거에 대한 특별한 내용과 형식으로서 그 사회적 기능과 효과가 무엇인가를고려해야 한다. 내용으로서 기억에 대한 문제는 구체적인 과거의 인물, 사건, 장소와 시간 등은 무엇인가에 대한 동의로부터 시작한다. 형식으로서 기억에 대한 문제는 언어로 된 텍스트뿐만 아니라 다양한 영상 매체, 공간, 건축물, 회화, 조각, 공예, 음악 등 여러 가지 문화적 형식에 대한 논의를 동반한다. 이러한 맥락에서 본 연구는기억을 주제로 하는 도자작품에 대해 논한다. 과거의 기억을 주제로 작업한 작가 그레이슨 페리(Grayson Perry), 신시아 콘센티노(Cynthia Consentino), 쥬디 마닐러스(Judy Moonelis)의 작품들을 살펴본다. 그레이슨 페리는 어린 시절 학대의 트라우마를 또 다른 자아 ‘클레어’를 통해 극복한다. 신시아 콘센티노는 50년대의민속예술에서 영감을 받아 재현하는 피규어를 통해 상징과 역사를 탐구한다. 쥬디 마닐러스는 조부모가 살았던집을 작업장소로 고집하고 그곳에서 제작한 작품을 통해 공유된 기억을 암시한다. 이들의 기억에서 출발한 작품들은 재현과정에서 작가에게 치유를 선물하며 재현으로 완성된 작품은 관람객에게 공감과 위안을 준다.
전기화학 임피던스 분석을 통한 자동차용 코일스프링 강의 부식 평가
이규혁 ( Kyu Hyuk Lee ),박중현 ( Jung-hyun Park ),안승호 ( Seung Ho Ahn ),서지원 ( Ji Won Seo ),장희진 ( Heejin Jang ) 한국부식방식학회(구 한국부식학회) 2017 Corrosion Science and Technology Vol.16 No.6
Coil spring steels from the automobile suspension part after field exposure for 10 years and those after anti-corrosion validation test in proving ground of 5,000 ~ 10,000 km were examined for corrosion damages. Partial loss of paint, accumulation of corrosion product, and cracking of paint and superficial material were observed. The surface and subsurface region of spring steels had compressive residual stress and high hardness by shot peening. The surface hardness values of the specimens were 620 ~ 670 Hv. They were 60 ~ 80 Hv higher than those of the samples taken from the middle part of the spring. The maximum compressive stress was -916 ~ -1208 MPa measured at depth of about 100 μm. Electrochemical impedance spectroscopy showed that the resistances of charge transfer and the paint layer of the spring steels ranged from several tens to millions Ωㆍcm<sup>2</sup>. The resistance of the field samples was much higher than that of the proving ground samples used in this study, implying that the proving ground test condition would be more corrosive than the field environment.