G.T.O를 이용한 Ac제어 스위치를 갖는 직열 R-L부하에 대한 정상상태의 해석

洪淳一 釜山工業大學校 1979 論文集 Vol.20 No.-

The effect of a negative gate signal on the a.c Controller-GTO with a series resistance -Inductance load has been Investigated. It has been shown that the total circuit power-factor Can exceed that of the load to sinusoidal Current with firing angles. Two modes of switching are introdueced by experiment with a G.T.O.

도서연안지역 민요공동체의 성격과 민요의 연행양상

홍순일 한국민요학회 2008 한국민요학 Vol.22 No.-

This study leads an in-depth argument of characteristics of folksongs community and aspect of folksongs in the islands/coastal regions through positive practices from the view point on the performance theory. The first issue discussed is ‘the characteristics of folksongs community in islands/costal regions.’ In characteristics, folksongs community in islands/costal regions has taken its purpose in realizing enthusiasm of inhabitants in folksongs community in islands/costal regions, and transmitted with folksongs in islands regions. The view point is known as “the viewpoint of Yeolji, or delight,” which means that the delightful and pleasant talks can produce poems, songs and dances. The methodology is the fusion of a poem, a song, and a dance, which means that a poem should transmit to a song, and song to a dance. And an amusement (play) factor is added into them in the serial form. Further, the focal point is to materialization of the community delight, which indicates that the Sori-cultural device is activated for the communication between residents, and the network device is operated for openness between communities. The second issued discussed in the study is ‘the performance aspect of folksongs in islands/costal regions.’ The folksongs in the regions show the performance aspect by which they expand the practical possibility based on a poem-song-dance fusion when the inhabitants realize the folksongs in the communities of the regions. Namely, the performance aspect of folksongs in the islands regions is to combine firstly a poem and a song, secondly a poem-song and a dance and finally a poem-song-dance and play. At the same time, the delight is pursued through inter-community transmission. The third topic is ‘the significance of folksongs performance in the folksongs community of the islands/coastal regions.’ The inhabitants of islands/coastal regions are realizing islands spirits and establishing the Sori-cultural device through islands region folksongs which were combined with villages and folksongs communities. That is, the folksongs community as a mediator which realizes folksongs in the islands regions is being operated in the background of local communities in the islands/costal regions. The folksongs of islands regions not only satisfy the cultural demands of residents in the islands/coastal regions, but enable the fusion of a poem, a song and a dance with play added on it, thus finally making the exit of delight. This study leads an in-depth argument of characteristics of folksongs community and aspect of folksongs in the islands/coastal regions through positive practices from the view point on the performance theory. The first issue discussed is ‘the characteristics of folksongs community in islands/costal regions.’ In characteristics, folksongs community in islands/costal regions has taken its purpose in realizing enthusiasm of inhabitants in folksongs community in islands/costal regions, and transmitted with folksongs in islands regions. The view point is known as “the viewpoint of Yeolji, or delight,” which means that the delightful and pleasant talks can produce poems, songs and dances. The methodology is the fusion of a poem, a song, and a dance, which means that a poem should transmit to a song, and song to a dance. And an amusement (play) factor is added into them in the serial form. Further, the focal point is to materialization of the community delight, which indicates that the Sori-cultural device is activated for the communication between residents, and the network device is operated for openness between communities. The second issued discussed in the study is ‘the performance aspect of folksongs in islands/costal regions.’ The folksongs in the regions show the performance aspect by which they expand the practical possibility based on a poem-song-dance fusion when the inhabitants realize the folksongs in the communities of the regions. Namely, the performance aspect of folksongs in the islands regions is to combine firstly a poem and a song, secondly a poem-song and a dance and finally a poem-song-dance and play. At the same time, the delight is pursued through inter-community transmission. The third topic is ‘the significance of folksongs performance in the folksongs community of the islands/coastal regions.’ The inhabitants of islands/coastal regions are realizing islands spirits and establishing the Sori-cultural device through islands region folksongs which were combined with villages and folksongs communities. That is, the folksongs community as a mediator which realizes folksongs in the islands regions is being operated in the background of local communities in the islands/costal regions. The folksongs of islands regions not only satisfy the cultural demands of residents in the islands/coastal regions, but enable the fusion of a poem, a song and a dance with play added on it, thus finally making the exit of delight.

Slot-die coating parameters of the low-viscosity bulk-heterojunction materials used for polymer solar cells

홍순일,이종진,강홍규,이광희 한국고분자학회 2013 한국고분자학회 학술대회 연구논문 초록집 Vol.2013 No.4

여수시 삼산면 초도의 민요공동체와 노래구연

홍순일 남도민속학회 2011 남도민속연구 Vol.22 No.-

판소리의 연극적 연행 양상 : 《김연수 창본》<심청가>를 중심으로

홍순일 한국공연문화학회 (구,한국고전희곡학회) 2002 공연문화연구 Vol.4 No.-

Unax cooler 부 wet kiln에서 secondary air의 효용성에 대한 현장실험

홍순일 한국시멘트협회 1976 시멘트 심포지움 Vol.3 No.-

3상 유도 전동기 벡터제어 구동시스템의 구현

홍순일 한국조명전기설비학회 1998 조명·전기설비학회논문지 Vol.12 No.1

최근, 유도전동기 회전속도 제어용 구동 전원으로 인버터와 싸이크로컨버터가 널리 사용되고 있다. 싸이크로컨버터에 의한 전동기 구동은 일정 주파수의 교류전원에서 직접 주파수가 다른 교류로 변환함으로 하드웨어 구성이 인버터 보다 간단하다. 본 연구의 목적은 싸이크로컨버터에 의한 유도전동기 벡터제어 시스템의 제어방법 및 하드웨어 설계를 행하는 것이다. 본 연구에서는 교류 전동기 슬립 주파수형 벡터제어 알고리즘을 도출하고 이 원리에 기초하여 싸이크로컨버터를 이용한 벡터제어 시스템을 구성하였다. 싸이크로컨버터는 1차 입력전류 진폭 $li_1l$ 과 각주파수 $\omega_1$을 지령값으로 진폭변조 제어신호를 발생하여 SCR의 게이터를 트리거한다. 본 벡터제어 시스템은 교류 전동기를 구동한 결과 자속이 일정하게 유지되면서 정회전에서 역회전까지 연속적으로 양호한 운전을 할 수 있었다. In recent year, inverters and cycloconverters system are widely used for fed induction motor drives. Motor drives by cycloconverter is possible to frequency have been directly changed without AC/DC converter, so that circuits is simpler than inverter. A aims of this paper is the control strategy and hardware design for vector control system by cycloconverter fed induction motor drives. In this paper, Algorithm of vector control is derivlid from the model of controlled current source-fed induction motor. Vector control system is implemented using these algorithm and a pulse width controled cycloconverter using a SCR. Cycloconverter of vector control system is controlled by pulse width of SCR's trigger signal. pulse width is controlled primary command current $li_1l$ and frequency $\omega_1$..

장산도 사람들의 소리 구성과 노래 사이 넘나듦-노동요를 중심으로-

홍순일 한국민요학회 2018 한국민요학 Vol.52 No.-

이 논문은 전남 신안군 장산도 소리를 연행론적 관점에서 소리의 전승과 특징, 민요 구성과 넘나듦을 대비의 방법으로 변화에 초점을 두는 동시에 민요의 위상을 살핀 것이다. 우선, 장산도 소리의 전승과 연출에 관한 논의이다. 장산도의 소리는 장산도 사람들의 의식을 드러낸다. 이 중 ≪장산도들노래≫, ≪하중밭매기노래≫, ≪길쌈노래≫ 등 노동요가 장산도들노래보존회 회원들의 소리 구성에 관한 연행원리를 효과적으로 드러낸다. 김진오(1953년생)는 지역사회에서 향토학자요 연출자로서 장산도들노래보존회원들과 함께 장산도의 문학예술을 지켜온 장본인이다. 장산면사무소 근무시, ≪장산도들노래≫(1981, 1982), ≪하중밭매기노래≫(1987), ≪길쌈노래≫(1992) 등을 연출했다. 이어서 장산면장 근무시 소리전수, 예능교육 등을 실시했다. 퇴직 후 현재 회장(2014.10.06.~)으로서 장산도들노래보존회를 지방무형문화재로 단체등록시키면서 지역의 민요를 발굴하고, 이를 전승시키는 활동을 하는 것이다. 다음으로 장산도의 민요 구성과 넘나듦의 양상이다. ≪장산도들노래≫와 ≪하중밭매기노래≫는 본디 있었던 소리로 구성되었지만, ≪길쌈노래≫는 기존에 있던 미영(목화) 밭매기 소리를 추가․각색되어 구성되었다. 또한 김진오의 연출에 의해 모뜬소리-모심는소리-논맨소리-논매고 일어서기-질꼬내기로 구성된 ≪장산도들노래≫는, 특히 <논맨소리>는 주고 받기식의 교환창이었는데, 1981년부터 메기고 받기식의 선후창으로 정착되었다. 원래 있었던 밭매기소리, 밭매고 나오는 소리, 둥당기타령으로 구성된 ≪하중밭매기노래≫의 경우 2013년 추진위원단의 연출은 1987년 김진오의 연출과는 달리, ≪길쌈노래≫인 미영따는 소리, 물레노래가 추가되었다. 1992년 미영밭매기 소리, 미영따기 소리, 씨아시 앗은 소리, 물레 잣는 소리와 베짜는 소리 등으로 구성된 ≪길쌈노래≫는 김진오의 연출에 의해 기존에 있던 미영 밭매기 소리를 추가하여 각색되었다. 끝으로 장산도 소리 연출의 사회적 의미에 관한 논의이다. 교환창이었던 ≪장산도들노래≫<논맨소리>가 1981년 이후 선후창으로 정착된 이유는 소리를 주는 사람은 있고, 소리를 받을 사람이 없었기 때문이다. 밭매고 나오는 소리가 둥덩기 타령에서 나오거나 그 반대인 경우가 있는데, 이는 선창자가 생각나는 가사를 가져다가 소리를 한 탓이다. 또한 연출자의 시각에 보면 ≪하중밭매기노래≫가 1987년 김진오에 의해 당시 원래 있었던 소리로 구성되었는데, 이것이 2013년 추진위원단에 의해 ≪하중밭매기노래≫에 ≪길쌈노래≫인 미영따는 소리, 물레노래가 추가된 것은 연출의 주체가 김진오에서 추진위원단으로 바뀜에 따라 기준이 임의대로 적용되었기 때문이다. 19세기 말엽, 간척을 통해 너른 들판이 장산도에 조성되고 새로운 들노래 수요가 형성되자, 소리꾼들은 당대에 인기있던 노래들을 ≪장산도들노래≫로 재구성했고, 조선후기 이래로 섬 지역에 폭넓게 전파되었던 사당패소리가 ≪장산도들노래≫에 편입되었다. ≪길쌈노래≫에 기존에 있던 미영 밭매기 소리가 추가된 것은 공연에 맞게 기능을 강조해서 무대장치를 했기 때문이다. ≪길쌈노래≫에 ≪하중밭매기노래≫ 가사가 나오는 것은 미영(목화)으로 길쌈을 하므로, 밈주(하중밭매기노래)와 길쌈노래가 같은 종류이기 때문이다. This study investigated “Sori” of Jangsan-do, Sinan-gun, Jeonnam from the perspective of oral performance in a way of comparison on the transmission and characteristics of sori and the composition and crossover of folksongs, by focusing on change, and at the same time, considering the status of folksongs. First, the study explored the transmission and direction of sori. The Jangsan-do sori discloses the consciousness of Jangsan-do residents. Among them, labor songs, such as Jangsan-do deulnorae, Hajoong batmaeginorae, Gilssamnorae reveal effectively the principal of oral performance in members of the Jangsan-do Deulnorea Conservation Society. Kim, Jin-oh (born 1953), who is a local scientist and director, is the very person who has kept the literary art of Jangsan-do together with members of the Jangsan-do Deulnorea Conservation Society. He directed Jangsan-do deulnorae (1981, 1982), Hajoong batmaeginorae (1987) Gilssamnorae (1992), and so on, during his service at the Jangsan-myeon Office. And while working as the head of the office, he performed sori training and art education. After retirement, currently working as the president of the Jangsan-do Deulnorea Conservation Society (since October 6, 2014), he made the society registered in the local intangible cultural asset, cultivating local folksongs and transmitting them. Next, the study considered the aspect of composition and crossover of minyo in Jangsan-do. ≪Jangsan-do deulnorae≫ and ≪Hajoong batmaeginorae≫ were composed of the sories that had been existed already, but ≪Gilssamnorae≫ was add and adapted by applying miyeong (cotton) batmaegi sori. In addition, as for ≪Jangsan-do deulnorae≫, which was composed of motten sori, mosimneun sori, nonmen sori, nonmego ireoseogi and jilkkonaegi in direction of Kim, Jin-oh, “nonmen sori,” in particular, contains antiphonal song parts, a series of alternate singing, and has been settled as front-and-rear singing in a way of call and response since 1981. In case of ≪Hajoong batmaeginorae≫, which was made up of batmaegi-sori, batmaego naoneun-sori and doongdanggi-taryeong, was added by miyeongttaneun sori and moolae norae in direction of the promotion committee in 2013, which had been part of ≪Gilssamnorae≫, which was different from the original one directed by Kim, Jin-oh in 1987. ≪Gilssamnorae≫, which was composed of miyeong batmaegi sori, miyeongtt agi sori, ssiasi atneun sori, moolae jatneun sori and bejjaneun sori, became adapted by adding miyeong batmaegi sori in direction of Kim, Jin-oh in 1992. Last, the study focused on social meaning of direction on Jangsan-do sori. The reason why “nonmen sori” of ≪Jangsan-do deulnorae≫, which was an antiphonal song, has been settled as front-and-rear singing since 1981 is that there was only a sori-giver, but no sori-receiver. There was a certain case in which batmaego nanoneun sori came from doongdeonggi taryeong and vice versa, because a precentor followed his fancies picking his own lyrics in mind. Moreover, from the viewpoint of a director, ≪Hajoong batmaeginorae≫ became composed of the sories that had been existed already through the direction of Kim, Jin-oh in 1987, to which miyeongttaneun sori and moolae norae were added through the direction of the promotion committee in 2013, which had been part of ≪Gilssamnorae≫, because the director became chang ed from Kim, Jih-oh to the promotion committee, causing the random applicati on of standards. At the end of the 19th century, wider fields were created in Jangsan-do through the reclamation project, and a new demand for deulnoare was formed, so that sorikkundeul, or singers recomposed currently popular songs as ≪Jangsan-do deulnorae≫, and sadangpae sori, which had been widely spreaded over islands since the end of Chosun dynasty, became incorporated into ≪Jangsan-do deulno rae≫. The reason why existing “miyeong batmaegi sori” was added to ≪Gilssamn orae≫ is that...

판소리창본의 공연문화콘텐츠적 성격

홍순일 한국공연문화학회 2008 공연문화연구 Vol.16 No.-

직물형 유리섬유 조합에 따른 보강집성재 볼트접합부의 전단내력 성능

홍순일,김건호,송요진 한국목재공학회 2012 한국목재공학회 학술발표논문집 Vol.2012 No.-