• Journal of Advanced Marine Engineering and Technology
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• v.21 no.4
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• pp.364-371
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• 1997

프로펠러 캐비테이션은 선체진동 및 수중소음에 악영향을 끼치는 주요한 원인중의 하나로 생각되어왔다. 그러나 근래 선박의 고속화와 프로펠러 하중의 증가로 캐비테이션이 전혀 없는 프로펠러의 설계개념 적용은 사실상 불가능하다. 고스큐 프로펠러는 기존의 프로펠러와 비교하여 수중소음과 저주파 압력 펄스를 약하게 하는데 유리한 것으로 인식되고 있다. 변동압력에 대하여 프로펠러 스큐와 레이크의 영향을 조사하기 위하여 체계적인 실험을 캐비테이션 터널에서 수행하였으며 본 논문에서는 여러 가지 스큐와 레이크 분포를 갖는 모형 프로펠러에 대한 캐비테이션 관찰시험과 변동압력 계측결과에 대하여 논의하고 토론하였다. 연구 결과 고스큐는 균일류 및 불균일류에서 공히 변동압력 경감에 효ㄱ과가 있음이 확인되었는데 이는 아마도 날개에서의 캐비테이션 안정성에 의한 것으로 예측된다. 그러나 레이크는 날개에서의 캐비티 크기나 거동에 큰 영향을 주지 못하였으며, 변동압력이 또한 거의 같은 수준으로 나타나는 결과를 가져왔다.

• Journal of the Korean Society of Costume
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• v.55 no.6 s.96
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• pp.159-171
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• 2005

The Goth style arouses Medieval syndrome, nostalgia and decadence, considering that Goth style shown in the contemporary fashion rend, tradition and fantasy that appeared in transition of the 21st century. This study is based on documents related to real Goth festivals and events to grasp various characteristics of Goth street style. The Goth style shown in high fashion classified the style on the basis of characteristics of camp culture from the viewpoint of bottom up from non-mainstream to mainstream with catwalk as the central figure. Considering appearance of Goth, property of subculture after the 1980s as alternative subculture as well phenomenon of latter subculture. Also it was possible to grasp attribute of lifestyle shown in music and fashion code from the viewpoint that alternative subculture was in pursuit of individual personality and autonomy. As an alternative subculture, Goth that appeared in UK from the late 1970s to the early 80s is considered new lifestyle, which means the scene of modern underground.

• Journal of the Korean Society of Costume
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• v.63 no.5
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• pp.1-17
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• 2013

As style is the center of subcultural identity and the clothes and adornments are the most visible symbol of its membership, the style of Goth symbolizes the strong subcultural identity and acts as the practical basis to demonstrate commitment to the subculture. In the turn of the third millennium, fashion designers have drawn upon and extracted elements from many subcultures to use in their collections. High fashion designers have introduced the Goth style since its inception in the 1980s. The energy and authenticity of Goth has been considered to be desirable in high fashion. The aesthetic property of Goth subcultural style defeats the established notion of standardized fashion and stimulates new consciousness, which makes room for diversification and subdivision. This study attempts to forecast the trends of the 21st century via researching the diffusion of Goth style in high fashion. In order to investigate the aesthetics and styles of Gothic chic, along with literature research, this study investigates the fashion collections from the late 1990s to 2000s as well as the images of street fashion magazines.

• Journal of the Korean Society of Costume
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• v.59 no.4
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• pp.14-25
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• 2009

This Study is purposed to comparative analysis in the case of balanced with Ethnic image fashion and the event of an unbalanced between fashion and make-up and to reconfigure on the make-up of the features on the Ethnic image Fashion in the 21st century. The result of this study is as follows. First, in the case of Japanese ethnic image make-up, to emphasize applied forms and formative characterization, they generally use circles and horizontal lines. Also the harmony between Japanese image make-up and primary colors like white and red strengthen ethnic images better. In the event of an unbalance between fashion and image make-up, fashion occurs dynamically in Africa and linearly in China. Sexy & natural image make-up also widely appear in the modern view. Second, in the case of African ethnic make-up balanced with African image fashion, the form is repeatedly dotted, widely water-colored, and mattedly textured using ash make-up colors such as white, red, gold, gray and so forth. African image make-up strongly expresses primitive natural beauty adding primal tribal painting art and mask forms. In case of an unbalance between fashion and image make-up, no distinctive ethnic image make-up appears. To emphasize natural patterns as well as splendid & decorative fashion, they try not to use primary colors, but instead focus on natural make-up and monotone colored point make-up, sexy make-up, avant-garde make-up, goth make-up, romantic make-up, glossy make-up.

• Journal of Korean Society of Environmental Engineers
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• v.32 no.9
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• pp.900-904
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• 2010

Polyvinyl chloride (PVC) hoses, polyethylene hose and silicone hose for tap water were tested with respect to migration of phenolic compounds to water. The highest concentrations (0.36~1.97 mg/L) of total phenolic compounds were observed in the test water from PVC hoses. Increasing residual Cl concentration from 0 to 0.5 mg/L or increasing water temperature from 4 to $25^{\circ}C$ increased 3~3.2 times and 100~104 times for migrated total phenolic compounds concentrations, in respectively. A major migrating phenolic compounds from PVC hoses were bisphenol-a (BPA) and it was observed that the concentration of migrating phenolic compounds in the order: DEHP > 2-chlorophenol > 2,4,6-trichlorophenol > 2,4-dichlorophenol from PVC hoses.

• Korean Journal of Heritage: History & Science
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• v.45 no.2
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• pp.72-99
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• 2012

Cheomseongdae, Korea's so-called "star-gazing tower" located in the former Silla Dynasty capital of Gyeongju, is generally believed to have maintained its original shape since its construction in 647. The stone structure was closely examined and measured by Gyeongju National Museum in 1962 and reexamined by Korean National Research Institute of Cultural Heritage in 2009. This research noted the following structural anomalies of Cheomseongdae. A corner of the top rectangle layer was broken diagonally in a form that can never be attributed to a natural cause. The four metal clamps under the top rectangle layer had been missing. Four grooves, with unknown usage, exist on the sides of the long rectangular stones projected out of the circular body at the second and third circular layers from the top. On the second circular layer from the top, there are three flat stones, less than a half as tall as their surrounding stones. The average height of the third circular layer from the top is only 23.5 cm, while the overall average of the entire 27 circular layers is 29.9cm. This research postulates that all these anomalies are due to prior destructions and improper restorations of the structure. The first destruction and restoration of Cheomsengdae was likely to have occurred before the mid 15th century. The damages might include a pavilion on the top of the structure and a stone with the name of the structure carved in. The Mongolian invasion in the 13th century was a most likely cause. After the restoration, the structure suffered at least another attack. The damages on the top layer and the missing iron clamps were due to the later attack. The grooves and flat stones were to house holding device that affixed certain objects to the outer surface of the circular body. The metal or stone objects might have faced upward at the four corners of Chemseongdae, bridging the gaps between the rectangle layers and circular layers. The current Chemseongdae lost at least the four affixed objects, four holding devices, and one flat stone.