• Journal of the Korean Society for Railway
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• v.15 no.2
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• pp.172-178
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• 2012

Superimposition of vertical and transition curves is not allowed for all types of tracks in Korean regulation of railway construction. However, this criterion has been established on the basis of difficulty of maintenance of the ballasted track. Comparing with the ballasted track, the concrete slab track has the advantage of maintenance and structural, which allows the superimposition of vertical and transition curves when it satisfies the criteria of running safety and riding comfort. In this study, running safety, ride comforts and track acting forces were analyzed and compared by numerical analysis using VAMPIRE program when the vertical and transition curves are superimposed for the ballasted track as well as the concrete slab track. From the analysis results, it was found that running safety, riding comforts and track acting forces in case of superimposition of vertical and transition curves for the both tracks meet all of the criteria. Therefore, although superimposition of vertical and transition curves for the ballasted track is not allowed because of a lot of maintenance works, it can be applied to the concrete slab track considering the advantage of maintenance and structural safety.

• Journal of the Korean Society for Railway
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• v.16 no.4
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• pp.311-317
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• 2013

In railway construction, superimposition of horizontal and vertical curves has critical effects on the running stability and the ride comfort of vehicles as well as on construction costs. In this study, running safety, ride comfort, and track acting forces were analyzed by a numerical analysis using the VAMPIRE program according to cases of superimposition of vertical and horizontal curves. From the analysis results, it was found that running safety, riding comfort, and track acting forces in the case of superimposition of vertical and horizontal curves as well as vertical and transition curves meet all of the criteria. Also, in the case of the superimposition of vertical curves and curvature change between horizontal transition curves and circular curves meet all of the criteria.

• International Journal of Railway
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• v.2 no.3
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• pp.118-123
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• 2009

Railway track alignment Standards set a minimum lenght value for straight and circular alignments (art. 5.2.9.), in order to ensure passenger ride comfort in railway vehicles of which dynamic oscillations will thus have to be limited. The transitions between alignments can cause abrupt changes (usually called discontinuities or singular points of the alignment) of curvature, of rate of change of curvature or of rate of change of cant. A passenger is likely to experience effects due to the excitation of the elastic suspension of the vehicle which generates oscillations that are damped as the vehicle moves away from the singularity. The amplitude of these oscillations should be adequately attenuated by the damping of the suspension system within the interval between two successive singular points, especially to avoid resonances. Therefore minimum lengths between two successive singular points are stated in alignment standards. Nevertheless, these nonnative values can be overly conservative in some cases. As an alternative, track alignment designers could try to assess how much the excitation has been attenuated between two successive singular points and thus assess at which point a new singularity may be present without affecting ride comfort. Although such assessment can be made with commercial SW packages which simulate the dynamic behavior of a vehicle considered as a set of rigid bodies interconnected with elastic elements simulating the suspension systems (such as SIMPACK, ADAMS or VAMPIRE), a simplified and user-friendly computation method (based upon the analytical solution of differential equations governing the phenomenon) is made available in this paper to track design engineers, not always used to working with full dynamic models.

• Cross-Cultural Studies
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• v.39
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• pp.241-286
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• 2015

This study explores how folktales' motifs are used in diverse cultural contents such as literature, movies, or comics. More precisely, it is concerned with mysterious characters like Babayaga and Koshchei who appear in Russian fairytales. When the motifs of the reviewed literature are analyzed, the following three criteria are used for classification: New Writing, Rewriting, and New Version. Or course, it is New Writing that is far from the original work. Most of the collected works, including Joan Aiken's The Kingdom Under the Sea, Patricia Polacco's Babushka's Doll, Babushka Baba Yaga, and Tai?-Marc Le Thanh's BABAYAGA, belong to New Writing. The New Writing type mainly focuses on Babayaga's secluded life. In fairytales, Babayaga is depicted as the goddess of Mother Earth, the heroine of the Nature, or the ruler of the Animal Kingdom. That is why she lives in the deep and uninhabited wood. She is related to the Coming of Age ceremony. Her 'Hut on hen's legs' is an obstacle for immature protagonists to face before they come of age. Protagonists are supposed to solve the problems posed by Babayaga. If they succeed, they can get her magical help so as to complete their final mission. Babayaga is likely to appear as their antagonist. Protagonist may be subjected to a terrible ordeal created by Babayaga, and then come of age by recovering from that ordeal. Sometimes, Babayaga helps protagonists to get a grip on reality. That is why she lives in a hut in the deep and dark forest which is on the borderline between life and death. On the other hand, Marianna Mayer's Baba Yaga and Vasilisa the Brave has been classified as a controversial work between New Writing and Rewriting. It is apparently closer to New Version. However, it cannot be classified as a work of New Version because the author incorporates 'probability' into her work. Among the reviewed works, it is Korean Writer Rye, Kami's The Spider Woman's House that best reflects the essence of Babayaga. Babayaga and other characters are amusing in movies because most of the movies are animations for children. In one sense, it is positive that the scary characters in folktales are approachable to children. In other sense, however, it is regrettable that symbolic motifs are completely eliminated. In Mike Mignola's Hellboy, Japanese animations such as Index or Narutaru, on-line games such as Cabal or Vampire: The masquerade, the essence of the supernatural characters in folktales is completely eliminated, and only their 'belligerent power' stands out. It is desirable to put stories into perspective whether they are written or told. The literature property of folktales provides a special opportunity to readers. In this light, a variety of motifs have a good reason to be reborn as modern cultural contents. The bottom line is to maintain its true nature.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.181-209
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• 2019

The purpose of this article is to compare zombie narratives in relation to the Other. In previous research, the view of zombies as post-capitalist soulless consumers or workers has been frequently expressed. But in this article, I wanted to look at zombies as the main cause of the collapse of the world and a new future. First, zombies do not only mean the representation of the consumer in the late capitalist era. Rather, it is an awakening subject desiring the outside of the system. As you can see from the Uncanny's point of view, zombies are something that we should oppress as freaks and monsters that threatened the Other. To be a zombie in this way is to meet one's other self, the "Fundamentals of Humanity," and it is the moment when everything becomes the subject ex nihilo, the new beginning. Second, the concept of infection shows a new ethic. Zombie cannibalism is different from the selfish love of a vampire who sucks a worker's blood. Zombie cannibalism is an infection, which is a model of Christian love for one's neighbor. It is a moment of awakening and the beginning of solidarity. It is on the waiting for the solidarity that the zombie hangs in such a way, and the attack on the human being is an active illusion. Third, the situation of the end of a zombie narrative is another event for newness. The anger of a zombie serves not just to show monsters, but acts as a catalyst that accelerates the world's catastrophes. The anger of zombies is the messianic violence that stops the false world, and presents a new way. The emergence of zombies and the popular response to them embody a desire for the possibility of a new subject and world.