본 연구에서는 유한요소법을 이용한 채널단면을 갖는 복합재료 적층 구조물의 자유진동을 다룬다. 복합적층 절판구조물에 고차항 판이론을 적용하기 위하여 개발된 유한요소 프로그램은 Lagrangian 및 Hermite 보간함수를 병용하여 면내회전각 자유도를 포함한 절점 당 8개의 자유도를 갖는다. 전단보정계수의 가정을 필요로 하지 않고 전단변형의 3차항 비선형 특성이 고려된 본 논문의 절판 요소는 국부좌표계와 전체좌표계에 대한 좌표변환행렬에 의하여 요소 당 32의 국부요소행렬로 구성된다. 본 해석 프로그램의 결과는 기존의 고전적 이론 및 일차항 이론에 의한 문헌 결과와 비교ㆍ분석하였으며, 화이버 보강각도, 길이-두께비, 기하학적 형상 변화 등의 다양한 매개변수 연구를 수행하였다. 본 연구에서는 특히 경계조건 및 길이-두께비 변화에 따라 예측하기 힘든 복잡한 거동을 보이는 복합적층 채널단면 구조물의 자유진동에 대하여 정밀한 고차항 이론 적용에 의한 엄밀 해석의 필요성을 제기하였다.

Final disposal of radioactive waste generated from Nuclear Power Plant (NPP) requires the detailed information about the characteristics and the quantities of radionuclides in waste package. Most of these radionuclides are difficult to measure and expensive to assay. Thus it is suggested to the indirect method by which the concentration of the Difficult-to-Measure (DTM) nuclide is estimated using the correlations of concentration - it is called the scaling factor - between Easy-to-Measure (Key) nuclides and DTM nuclides with the measured concentration of the Key nuclide. In general, the scaling factor is determined by the log mean average (LMA) method and the regression method. However, these methods are inadequate to apply to fission product nuclides and some activation product nuclides such as 14 and 90 . In this study, the artificial neural network (ANN) method is suggested to improve the conventional SF determination methods - the LMA method and the regression method. The root mean squared errors (RMSE) of the ANN models are compared with those of the conventional SF determination models for 14 and 90 in two parts divided by a training part and a validation part. The SF determination models are arranged in the order of RMSEs as the following order: ANN model

Pulsed wire evaporation (PWE) method is known as the promising production-technique for nanopowders. In this study, we developed and modified the previous single wire explosion equipment to the simultaneous two-wire explosion one for the fabrication of alloy or mixture of nano metallic powder. First of all, both the theoretical and empirical background of pulsed wire explosion of single wire were summarized, and compared with our experimental results for Cu and Al single wlre explosion. After then, the simultaneous wire evaporation equipment was designed, constructed, and tested. The current and voltage behavior were well matched between the calculated ones from the circuit equations, and the experimental results from simultaneous explosion of Cu and Al wire.

This paper focuses on the similarities and differences between Robert Browning's dramatic monologue and W. B. Yeats's mask theory. Even though two poets were not contemporaries, it is very interesting that they show some similarities in poetic skills and subjects. Unlike Romantics revealing a poet's subjective feeling directly in their poems, Robert Browning created the dramatic monologue to develop the field of the objective expression. In his “dramatic monologue,” a character instead of the poet utters the speech that makes up the whole of the poem, in a specific situation at a critical moment. This person addresses and interacts with other people and we know of his presence, as well as what they say and do, only from the clues in the discourse of the single speaker. In his “My Last Duchess” the Duke is negotiating with an emissary for a second marriage, and the reader can know the speaker's cruel character and intentions. In his “Andrea Del Sarto,” though Andrea was one of the greatest painters in the Renaissance period, he was a failure as an artist because of his artistic passion and indomitable spirit. Excusing his artistic frustration, he once more tries to believe his wife's lies. When Yeats entered art school in Dublin in 1884, he was an enthusiastic reader of English poetry, especially Browning. Yeats was an admiring reader of Browning's poetry, and Browning was one of the nineteenth-century forefather poets of Yeats. He explored, as Browning did, the themes of creative men divided within themselves and struggling to unify their inspirations toward love and intellect, aesthetic contemplation and heroic action. In this process, Yeats developed the concept of masks from the other self in contrast to the natural self perceiving a man as the conflicting existence between subjectivity and objectivity. In his doctrine of mask, Yeats provided a formal aesthetic for the poet's need to speak dramatically through the masks of other personalities; Browning had long practised dramatic poetry in principle in which he donned the masks of personalities totally unlike his own. Browning tended to hide his interests behind the masks of his characters, whereas Yeats more openly voiced a variety of mystical and antithetical thoughts. Yeats happened to find an occasional, almost incidental similarity of language and a shared attitude toward the sources of poetic inspiration with Browning's. By 1929, when he was sixty-four years old, rewriting and revising his poetry with an eye to a collected edition, he announced that he would be turned from Browning. Yeats was an appreciative reader of the older poet, but the great achievement of Yeats's poetry transformed and transcended the influence of Browning.

구조물은 지진, 풍랑 등과 같은 외부의 충격에 대해서 노출되어 있기 때문에 대규모의 피해가능성이 항상 존재한다. 이러한 외부에 대한 충격흡수 장치는 여러 가지가 있다. 이러한 기구 중에서 널리 사용되고 있는 것이 기계적 에너지를 소산시키는 유압 감쇠기이다 본 논문에서는 유압 감쇠기의 단점을 보완하고 보다 효율이 높은 감쇠기를 나노기술을 응용하여 새로운 감쇠기에 대한 기초적 이론연구를 하였다. 새로운 감쇠기는 내부에 점성 유체 대신에 무기재료의 입자를 유체와 혼합하여 사용하였고 오리피스를 생략함으로 해서 보다 간단한 구조로 설계하였다. 나노 단위 기공에서의 유동 현상을 설명하기 위해서는 기존의 유체역학에 대한 지배방정식 및 가설들이 더 이상 적용이 되지 않는 단점이 있다. 본 연구에서는 지금까지 명확하게 규명되지 않았던 감쇠기의 열 발생, 나노 유동, 그리고 에너지 소산에 대한 이론적 해석을 수행하였다. 그리고 다공 입자 구조에 따른 에너지 소산에 대한 영향을 모델링하여 조사하였다. 감쇠 효과를 검토하기 위해 기존의 유압 감쇠기와 에너지 소산효율을 비교하였다. 또한 감쇠 효율을 수치적인 해석결과와 실험 결과를 서로 비교하여 검토하였다.

This study suggests a practical analytic method, by which one can analyze tonal music. The essay begins by testifying the validity of Rameauian harmonic theory and of traditional harmonic analysis by Roman numerals. The analytical limit which the traditional methodology of the harmonic analysis poses is supplemented and combined with the theoretical strengths that Schenkerian theory provides. In contrast to the conventional harmonic analysis by Roman numerals, which focuses exclusively on local levels of the chord to chord, what I call the macro-analysis, in which the individual labels of each chord are jointed through brackets under the chord symbols, incorporates a deep understanding of the harmonic functions of each chord and of the musical contexts and the harmonic syntax that the chords create. The examination of the tonal harmony from a Schenkerian point of view serves as a basis for the application of the eclectic methodology, the dialectical result of the Rameauian and Schenkerian theories, to tonal music. Excerpts from Schubert's Lied, Nact and Tra¨ume and Chopin's Nocturne in A^(b) major, Op. 32, no. 2 are analyzed both by the macro-analytic technique and by the Schenkerian analytic method. The paper reveals that the two analytic methods lead to quite similar analytic results.

Postmodern criminology is based upon the belief that past criminological approaches have failed to realistically assess the true causes of crime and have therefore failed offer workable solutions for crime control or if they have, that such theories and solutions may have been appropriate at one time but no longer apply to the postmodern era. It challenges and debunks existing perspectives on crime and crime control. Upon such assumptions, the article examines how we conceive of penal policy or prison in contrast to how it is conventionally understood, and outlines what an alternative direction might look like. It introduces peacemaking criminology, constitutive criminology and restorative justice for the development of a new “replacement discourse”. Peacemaking criminology holds that crime-control agencies and the citizens they serve should work together to alleviate social problems and human suffering and thus reduce crime. The main purpose of criminology is to promote a peaceful, just society rather than standing on empirical analysis of data, by drawing its inspiration from religious and philosophical teachings. Constitutive criminology builds on the belief that crime and its control cannot be separated from the totality of the structural and cultural contexts in which it is produced. Given this interrelated nature of social structure and human agents and their social and cultural productions in the coproduction of crime, it trys to promote a just policy of reconstruction through replacement discourse which is directed toward the dual process of deconstructing prevailing structures of meaning and displacing them with new conceptions, which convey alternative meaning. Restorative justice has been practiced as an alternative to existing justice system beyond philosophical teaching or religious ideology in various countries. It seeks to attain a balance between the legitimate needs of the community, the offender, and the victim. The healing of all parties involves many aspects, ranging from victim assistance initiatives to legislation supporting victim's compensation. It follows such guidelines that community are victims, we use punishment to pay back the community, we combine punishment with help, and we give community a voice in shaping restorative sanctions.

What is 'Art Theory'? In the western sense, the term poses a cague ambiguity, and in the eastern, it is rather an abstract and metaphysical concept. As for etymology, theory is dericed from theoria and theoria from theoros. It refers to and act of viewing or seeing, of xourse not in a metaphysical sense. Plaro understood it as 'eida'. During the time of Plotinus, theoria encompassed gazing at every possible reality, and this gazing, that is theoria, is closely related to reality as aunit that theoriacan perceive. However, we trend to distinguish, as other scientists of dualism have done, studio art from theory since a pre-modern approach to art has been particularly tuned ro studio practice, set apart from theory. THerefore, in studio classes, students are expected to learn the subject based on the foundational curriculum methods such as medium, genre, technique, rather than bringing oue their own interpretations and discussing theories. As a result, students have become artist, who are not able to understand their own art. art proffessors who conduct class in studio are required to proceed with specific 'theories' as well as 'intellectual reflections'. In this respect, this thesis presents poieses and an idea of 'acting out'. Although art history and aesthetic theory tend to view art as a finished product, actual art-making and related theories should not only be acknowleged as 'completion' finition) but also be accompanied by theoretic interpretations of the act itself and process. Accordingly, it is to accept and appreciate art as finished result in view of current theory and aestheties thus boils down to aisthesis. Likewise, poietics starts from a point where an artist is related to studio and examines the 'work process' that extends as far as to the exact end of work. THrough the study of such relationship, it is possible that theory understands 'studio' and 'process', and an artist can grant an independent meaning to studio where s/he pours her/his heart aout creating a worl of art. THeory is a study on artistic discovery thus should be equipped with functions that can accomodate fortuiry, imitation, thinking, culture, and surrounding.

Neogrammarian regularity hypothesis represents the phonetically gradual, lexically abrupt sound change. Lexical diffusion, on the contrary, supposes the phonetically abrupt, lexically gradual sound change. According to Labov, neogrammarian change type and lexical diffusion change type coexist in sound change, so these two seemingly oppositional theories, in fact, mutually complementary. In this respect, lexical diffusion contributed to the study of sound change by fundamentally broadening its horizons.

Hugo Haring(1882-1952) belonged to that special generation of architects born in the 1880s which became responsible for the establishment of Modern Movement in the 1920s as W. Gropius, Mies Van der Rohe and Le Corbusier, etc. Although he have been overlooked by many historian. He was a key figure of the Modern architecture and as the main theorist for Organic stream in German architecture. He is well-known for his theory of 'Neues Bauen(New Building)', the organic functionalism that is epitomized as the design process from the inside outwards, starting with the life-processes of dwelling. So he argued that the builder must become aware of the life process his building is to serve, and he should not impose a form but try to find the form. These concepts are expressed well in his key-words, the 'Organwerk(organ-work)' and 'Leistungsform(form as achievement)'s. Haring's theory can be found in the short early essay, ""Wege zur Form(approaches to form)"" of 1925. But His concept of 'function' is based on the speciality and individual identity that concerned him from the start, not purely pragmatic aspects. After 1940s his theory moved increasingly in this direction. He defined this as the transition from 'Organwerk' to 'Gesetaltwerk', from mere anatomy to essence, being, personality, life. it suggest that Hugo Haring's idea of Gestalt is a dimension of mystical of symbolic meaning. This paper is about the way in which this theoretical transition can be parallel with contemporary philosophers as E. Cassirer's philosophy of symbolic forms and M. Heidegger's phenomenology. And the key example of this viewpoint is <Gut Garkau>(1921-1926) near Lubeck in Germany, with its 'cowshed' of pear shaped plan devised around the requirements and rituals of farm. This study presents the symbolic conception of Hugo Haring's theory can propose the ability of a symbolic intuition as a view that re-integrate technical thinking with knowledge of other kinds beyond the immediate material.

Manufacturing companies must possess a new type of production system with characteristics of reconfigurability, reusability and scalability (Dove 1995), i.e. an agile manufacturing system. Such system will allow flexibility not only in producing a variety of part, but also in changing the system itself, which is a difference form flexible manufacturing systems. A fundamental early step in the reconfiguring process for agile manufacturing system is to develop a model that adequately describes the proposed systems, in order to be able to study and evaluate the impact of the reconfiguring decision on the system performance, before its construction. Therefore, in this paper, an Object & Knowledge-based Interval Timed Petri-Net (OKITPN) approach is proposed.