Earticle

본 논문은 근대 풍경화와 과학(영상)도구와의 연관성을 탐구하고자 한다. 18세기 유럽의 풍경화가들이 자연경관과 인공적 설치물(건물 등)을 그리는 작업에서 근대 과학의 도움으로 만들어진 영상기구들인 카메라 옵스쿠라와 카메라 루시다 등을 사용했던 사실에 근거하여, 이 논문에서는 당시에 유명한 풍경화가들이자 증거자료들이 비교적 분명히 남아있는 이탈리아의 안토니오 카날레토(Antonio Canaletto/Canal 1697-1768)와 영국의 토마스 샌드비(Thomas Sandby 1721-98), 과학자 윌리엄 H F 탈보트(Willian Henry Fox Talbot 1800-77)의 경우를 중심으로 과학적 영상도구를 사용한 이유와 작업과정에 대해 알아보고, 그 사용에서 장단점들과 더불어 미학적인 문제들을 분석하고자 한다. 당대의 풍경화가들이 카메라 옵스쿠라/루시다 같은 기구를 이용했을 때의 장점들은 빠른 스케치 작업으로 인한 시간 절감, 자연/현실의 충실한 묘사, ‘정확한’ 원근법적 구도의 구현에 있다. 그러나 이 기구들이 사용된 스케치들은 부분적으로 부정확하거나 단순화된 묘사가 보이기도 한다. 또 과학적 영상기구를 사용해서 예술작업이 기계의 메카니즘에 종속 문제가 있는데, 이 기구들은 스케치/드로잉에 사용되었고, 화가의 본격적인 그림작업, 즉 자연 해석과 채색ㆍ질감ㆍ명암 배합 같은 조형적 과정이 남아있으므로, 이들은 ‘회화작업에 도움을 주는 보조도구’일 뿐이었고, 화가의 창조적인 작업과정에 전혀 지장이 되지 않는다.

This thesis investigates the relationship of the 18th century European landscape painting and the scientific (optical) instruments like Camera obscura and Camera lucida. Based on the fact that some landscape painters, ‘veduta painters’, at that times might have used or surely used these optical instruments in their sketches/drawings, it explores the reasons for using them and their working process with them, and analyses the advantages/disadvantages here as well as the aesthetic problems in the cases of the Italian painter Antonio Canaletto (or Canal, 1697-1768), the British topographic artist Thomas Sandby (1721-98) and the British chemist/optician Willian Henry Fox Talbot (1800-77). Advantages of using Camera obscura/lucida are rapidity in drawing, truthful representation of nature/reality and ‘accurate’ fulfilling of perspectival structures. But partly ‘inaccurate’ or simplified depictions as disadvantages can be traced in drawings/sketches made by using these instruments. Another problem lie in the subordination of the artistic work to the technical devices, but for artists still remain the creative working process in painting like coloring, tone and chiaroscuro etc. Therefore, it can be maintained that the optical instruments have played a role of the subsidiary tool as an aid to painting.

동시 발견의 사례에 해당하는 사진술은 한쪽에서는 그림을 대신할 기술로, 한쪽에서는 과학연구의 결과 물로 등장했다. 화가이자 기술자였던 프랑스의 다게르는 자신의 다게레오타입을 그림을 대신해 외부 세계를 정확하게 옮겨낼 수 있는 신기술로 인식했으며, 자연 철학자였던 영국의 탤벗은 자신의 포토 제닉 드로잉을 광학 연구의 부산물로 생각했다. 이 기술을 바라보는 사회의 관점도 달랐다. 프랑스 에서는 국가의 자랑거리이자 유용성이 큰 기술로 사진술을 바라본 반면, 영국에서는 개인의 과학연 구 성과 정도로 여기고 있었다. 이러한 점에서 볼 때 사진술의 초기 역사는 사진이라는 영상 매체의 융합적 특성을 이해하는 데는 물론이고 과학기술과 예술, 그리고 사회의 관련성을 이해하는 좋은 주 제가 될 수 있다. 본 논문에서는 사진술의 역사적 특이성을 살펴본 후, 각기 다른 두 가지 방식으로 진행되었던 구체적인 발명 과정의 역사를 다양한 요인들을 종합하여 살펴볼 것이다. 이 연구를 통해 사진술이 태초부터 과학기술과 예술의 융합이라는 가능성을 내포하고 있었음을 알 수 있게 될 것이 며, 기술을 바라보는 사회의 시각이 사진술의 다양한 정체성 정립에 영향을 주고 있었음을 확인하게 될 것이다.

Photography, a typical example of a simultaneous discovery, appeared in two different ways: one as a new technology to replace classic paintings, and the other as a result of scientific research to deepen our understanding of the nature of light. The French painter and technician Louis Daguerre saw the Daguerreotype as a new technology, putting the world onto an ionized silver plate, while the British natural philosopher Henry Fox Talbot considered photogenic drawings as a byproduct of his optics research. It is noteworthy that there were different points of view on these issues in each country. France took pride in Daguerre’s findings and acknowledged their usefulness, whereas England considered Talbot’s work simply as a personal research result. In this respect, the history of early photography is a good starting point to understand the unique features of visual media, including photography, as characterized by convergence, and to determine the relationship between science and technology and art and society. This article touches upon the historical uniqueness of photography and looks into the detailed history of these two different inventions in connection with various factors. The study will also help us to understand that photography had the potential to merge science and technology with art from its very beginning and that the society’s perspective on this technology wielded a strong influence that shaped different identities of photography in society.

This paper contends that beneath the seemingly empathetic juxtaposition of the writer Mary Talbot and James Joyce’s beloved daughter, Lucia Joyce, in Dotter of Her Father’s Eyes lies a dynamic of “the other deleting the other.” In this dynamic, Mary is the unrecognized other under patriarchal oppression, while Lucia is the marginalized other neglected by history. Mary oversimplifies and uses the tragic parallels in Lucia’s life as a narrative device to amplify and validate her own domestic struggles, treating Lucia not as an independent subject but as a symbolic instrument for her therapeutic resolution. This instrumentalization is evident in the abrupt structural erasure of Lucia’s conclusion. While Mary’s life is documented with reflective detail, Lucia’s fifty years of institutionalization are condensed into a mere two pages. This stark narrative void suggests that once Lucia’s tragedy has served its purpose in highlighting Mary’s narrative arc, her life is deliberately silenced, calling into question the work’s integrity as a memoir. As a result, Dotter of Her Father’s Eyes ends up repeating the very censorship it implicitly criticizes. While the Joyce estate erased Lucia from history, Mary resurrects this figure only to delete her once again. To Mary’s eyes, Lucia is nothing but a narrative tool.

A simple method to determine the focal length of a lens using the Talbot image is presented. This method uses only one grating, requiring neither Moir$\acute{e}$ fringe analysis nor the angle between the gratings. The original Fourier transform was used to access the spectrum beyond the limitation set of the usual fast Fourier transform to determine the (de)magnification accurately enough to be used for the focal length. A set of Talbot images simulated numerically with the Fresnel diffraction integral was used to demonstrate the method. For focal lengths between 5550 mm and 5650 mm, the mean difference between the focal lengths determined from the Talbot images and the true values was 3.3 mm with the standard deviation of the difference being 3.8 mm. The true focal lengths can be recovered with an accuracy of 0.06%.

1차원 이동 변위를 격자의 피치 p보다 1/10 이하의 작은 정밀도로 측정이 가능한 elongated circular gratign(EC 격자)를 가간섭 광원으로 조명하여 Talbot 거리에서 일어나는 Talbot 효과를 실험적으로 확인하였다. 그리고 서로 다른 주기를 갖는 렌즈없이 결상된 EC 격자의 Talbot 상과 고정된 EC 격자의 상호 변위시 이들의 중첩에 의한 Talbot 무아레 무늬를 만들었으며 이를 이용한 한 예로 경사진 평행판의 경사각 정도를 측정하였다. 그리고 한 EC 격자의 Talbot 상과 그 자체의 EC 격자와의 무아레 현상을 이용하여 거울정렬시 미세한 회전각을 가시적으로 매우 쉽게 측정하는 방법을 제안하고 실험하였다.

The Talbot effect of an elongated circular (EC) grating composed of a line grating and two semicircular gratings with well matched pitches is experimentally presented. As the relative positions between the fixed EC grating and the moving Talbot image of another EC grating or a self Talbot image are one-dimensionally deformed, we can visually observe moire fringes generated by their superposition. Two examples of their applications, that is, the measurement of the wedged angle of a wedged prism and of the fine rotational angle of a mirror are described.cribed.

In this paper, we demonstrate a self-imaging technique that can visualize longitudinal interference patterns behind periodically-structured objects, which is often referred to as Talbot carpet. Talbot carpet is of great interest due to ever-decreasing scale of interference features. We demonstrate experimentally that Talbot carpets can be imaged in a single exposure configuration revealing a broad spectrum of multi-scale features. We have performed rigorous diffraction simulations for showing that Talbot carpet print can produce ever-decreasing structures down to limits set by mask feature sizes. This demonstrates that large-scale pattern masks may be used for direct printing of features with substantially smaller scales. This approach is also useful for characterization of image sensors and recording media.

주기적인 진폭물체를 가간섭광인 레이저광으로 조명하였을 때 이 물체가 렌즈없이 회절에 의하여 결상되는 Talbot 결상을 회절이론으로 해석하고 물체의 상이 1:1로 결상되는 Talbot 거리(Zr)를 정의 하였다. 그리고 실험적으로 이 Z/sub T//2 위치에서는 위상에서는 위상이 반전되는 현상도 동시에 관찰하였다. 이러한 Talbot 결상시 주기적인 물체의 개수, 즉 격자의 수에 따라 Talbot 상의 가시도를 Talbot 상의 FFT(Fast Fourier Transform)로부터 측정하였으며 그 결과 적어도 15개 이상의 격자들로 구성되어야 가시도 0.25로 정상적인(stationary) Talbot 결상이 됨을 알 수 있었다.

The Talbot effect for periodic objects with the spatial period p illuminated by expanded coherent light is analyzed by Fresnel diffraction theory, and the Talbot distance (Zr) at which we can observe 1: 1 imaging without any lenses can be defined. We confmned experimentally the Talbot imaging of line, circular, X -type and '||'&'||'copy;-type 2 dimensional alTay gratings at ZT. At the same time, we observed phase reversed Talbot imaging at Zr/2 and Talbot subimage with p/2 at Zr/4 and 3Zr/4. The visibility of Talbot images as a function of the number of slits of the input grating was measured by the FFf (Fast Fourier Transform) results of these images. As a result stationary maximum visibility of V = 0.25 was obtained from grating numbers with more than 15 slit pairs.

We present a simple method to determine the focal distances of lenses with the Talbot self-images. This method uses only one grating, and a priori knowledge of the period of the grating is replaced with a linear relation between the (de)magnified periods of the Talbot images and the lens-to-grating distance. A thick lens whose effective focal length is 500 mm was used to validate the method, and the focal distance of the converging beam was determined with the difference of 0.15% for the nominal focal distance of 521.9 mm. The determined period of the grating with the difference of 0.2% also supports the validation.

격자 간섭계(grating interferometer)는 방사선 영상분야의 새로운 기술로서, 흡수 영상(absorption imaging)뿐만 아니라 위상차 영상(phase contrast imaging)과 다크필드 영상(dark field imaging)을 제공한다. 격자 간섭계는 크게 탈봇 효과(talbot effect)를 이용하는 탈봇 간섭계와 탈봇-라우 효과(talbot-lau effect)를 이용하는 탈봇-라우 간섭계로 나뉘는데, 일반적인 방사선 영상시스템과 달리 방사선의 간섭을 예측하고 적용하는 것이 중요하다. 본 연구에서는 현재 부산대학교 중성자 및 방사선 공학 연구실에서 보유하고 있는 엑스선 격자 세트와 중성자 격자 세트를 이용하여 탈봇 간섭 패턴 및 탈봇-라우 간섭 패턴을 제작하였다. 이를 통해 방사선의 파동 거동에 따른 간섭 세기의 변화를 예측하고, 격자 간섭계를 구성하는 각 요소들을 계산했다. 그리고 격자의 종류 및 위상차 물체에 대한 탈봇 간섭 패턴 및 탈봇-라우 간섭 패턴을 예측하였다.

One of properties which X-ray and Neutron can be applied nondestructive test is penetration into the object with interaction leads to decrease in intensity. X-ray interaction with the matter caused by electrons, Neutron caused by atoms. They share applications in nondestructive test area because of their similarities of interaction mechanism. Grating interferometer is the one of applications produces phase contrast image and dark field image. It is defined by Talbot interferometer and Talbot-Lau interferometer according to Talbot effect and Talbot-Lau effect respectively. Talbot interferometer works with coherence beam like X-ray, and Talbot-Lau has an effect with incoherence beam like Neutron. It is important to expect the interference in grating interferometer compared normal nondestructive system. In this paper, simulation works are conducted according to Talbot and Talbot-Lau interferometer in case of X-ray and Neutron. Variation of interference intensity with X-ray and Neutron based on wave theory is constructed and calculate elements consist the system. Additionally, Talbot and Talbot-Lau interferometer is simulated in different kinds of conditions.

추정전손이란 보험 목적물이 실제로 전손된 것이 아니지만 그 회복의 가능성이 없거나 또는 수선에 필요한 비용이 지나치게 과다하여 법률의 규정이나 해석에 의하여 이를 전손으로 처리하는 해상보험의 특수한 제도이다. 그러나 추정전손으로 인정될 수 있는 사유가 발생했다고 하여 자동으로 추정전손이 성립하는 하는 것은 아니며, 피보험자의 위부통지를 필요로 한다. 이와 관련하여, 영국해상보험법 제60조에서 위부의 통지를 추정전손 성립의 형식적 요건으로 규정하고 있다. 그러나 추정전손은 해상보험이 특별하게 해상의 위험을 반영하여 인정하고 있는 제도로서, 추정전손이 인정되기 위해서는 적정한 수리비의 범위 그리고 수리의 장소 등에 대한 합리적 근거가 있어야 한다. 또한 위부의 통지가 있다고 하여 바로 추정전손이 발생하는 것은 아니며, 형식적으로 보험자의 위부통지에 대한 승인 또는 승낙이 있어야 한다. 또한 피보험자의 위부통지와 관련하여 일반적으로, 보험자는 보험사고 여부의 조사 또는 잔존물에 대한 제거의무와 제거를 위한 추가적 비용의 발생을 우려하여 위부의 통지에 대한 승낙을 항상 거절한다. 이와 같이 보험자가 위부통지의 승낙을 거절할 경우, 피보험자는 보험사고에 따른 보험금지급이 지연 또는 거부됨으로써 경제적 손실을 당할 위험이 있다. 이에 대하여 영국에서는 실무적으로는 보험자가 위부통지에 대해 승낙을 거부하면 피보험자는 위부통지일자로 소송개시영장(writ)이 발부되어 보험자에게 송부한 것과 같이 취급해달라는 요청을 보험자에게 하게 되고, 거의 대부분 보험자는 이에 반대하지 않고 있기 때문에 위부통지의 승인여부는 위부통지 당시에 객관적으로 실제 발생한 사실이 판단기준이 되고 있다. 아울러, 해상사고 발생 시 보험자는 보험목적물을 직접 관리 및 통제하지 못하므로 보험사고를 방지거나 또는 사고 발생 시 손해를 경감시키는데 상당한 제약이 따른다. 이러한 문제를 해결하기 위해 영국해상보험법은 제78조에서 피보험자의 손해방지 및 경감의무(the duty to sue and labour)를 규정하여 피보험자 또는 그의 대리인에게 손해를 방지하고 더 이상 손해가 확대되지 않도록 합리적인 조치를 강구할 의무를 부과 시키고 있다. 또한 반대급부로서 피보험자의 이러한 의무를 이행하는데 지출된 손해방지비용을 보험자가 보상하도록 규정하고 있다. 대상판결(SUEZ FORTUNE INVESTMENT LTD AND ANOTHER V. TALBOT UNDERWRITING LTD AND OTHERS)은 아덴만 지역의 해적에 의해 보험목적의 선박이 소실된 사고로서, 협회기간보험약관에 따라 선박의 수리비가 협정보험가액을 초과하여 추정전손으로 판단할 수 있는지 여부 및 수리의 장소 결정이 합리적인지에 대한 판단, 피보험자의 위부통지 이후 보험자가 위부통지에 대한 승인을 하지 않았음에도 불구하고 선박을 매매한 경우 피보험자의 보험금청구권이 상실되는지에 대한 여부, 그리고 피보험자가 손해방지를 위해 지출한 손해방지비용을 보험자가 보상하여야 하는지에 관하여 다투고 있는 영국법원의 판결이다. 따라서 본 논문에서는 해당선박의 추정전손 인정여부, 보험위부 및 위부의 통지에 관한 법률 쟁점, 그리고 손해방지비용의 보상과 관련한 내용을 중심으로 대상판결을 평석하고자 한다.

Abstract SUEZ FORTUNE INVESTMENT LTD AND ANOTHER V. TALBOT UNDERWRITING LTD AND OTHERS Constructive Total Loss is a special insurance system that deal as total loss if the insurance subjects are not total lost, while the possibility of recovery is slim or the cost of repairs is giant based on the legal rules and interpretations. However, even if the loss have conformed to the conditions of the Constructive Total Loss, the loss can not be affirmed as Constructive Total Loss automatically unless the insured use the notice of abandonment. The related rules can be seen at Maine Insurance Act, Article 60 which ruled that the notice of abandonment is the requirement for the constitute of the Constructive Total Loss. As a special part of marine insurance system, for the affirmation of the Constructive Total Loss, the rage of the cost of repairs and the place for repairs should have reasonably reasons. Not only notice of abandonment can formed as Constructive Total Loss, the insurer's recognition is also in form and commitment. However, the insurer will not admit the notice of abandonment while thinking of the investigate of the accident, the cost of the survivor's clear and salvage. As stated, the premium for the insurance accident to the insured will be postponed or dishonoured by the insurance under such circumstance, which make the insured under the danger of financial loss. To solve this problem, in the UK's legal practice, the insured will send a Writ to the insurer while the date of the notice of abandonment is deed as the date of Writ if the insurer refused to admit the notice of abandonment. Most of the insurer will not opposed to the Writ and whether to admit the notice of abandonment will depend on the objective actual fact. In the meanwhile, when marine accidents happen, to prevent the accidents or reduce the damage as the insurer can not manage or control the object of insurance directly, a certain degree of restriction must be followed, therefore, Maine Insurance Act, Article 78 ruled that the insured have the duty of sue and labor, the insured or its agent have to take measures as may be reasonable for the purpose of averting or minimizing a loss and under such circumstance, the insurer have the duty to assume the compensation. In the case, SUEZ FORTUNE INVESTMENT LTD AND ANOTHER V. TALBOT UNDERWRITING LTD AND OTHERS, if the ship who treat the pirate in the gulf of Aden as the object of insurance disappeared, and the cost of repairs have beyond the contract, whether it can be presumed as Constructive Total Loss, whether the option of the place for repairs is reasonable, whether the insured will loss the rights of claim for compensation if the insurer refuse to admit the notice of abandonment when the insured give notice of abandonment in a ship's selling and purchasing, whether the funds that the insured expense for the purpose of averting or minimizing a loss should be paid by the insure, all these problem are under dispute. In this case, the UK court's judgment solved these problems and based on these, this paper was wrote out. The paper analyzed whether the ship can be affirmed as Constructive Total Loss, the related legal controversies on the insurance abandonment and the notice of abandonment focusing on the funds for the purpose of averting or minimizing a loss.

Grating interferometry based imaging technology is a kind of radiation imaging system, which can acquire not only absorption image but also phase difference and dark field image using the Talbot pattern. However, because of the technological difficulties and high cost of fabricating the gratings that make up the system, much efforts are being made to look for ways to replace them. The is a preliminary study to see how the Talbot pattern transfer through various kinds of scintillators and if the optical grating can be a way to replace the conventional absorption gratings. The geometry of the interferometer, the scintillator model, and the scintillator thickness are the main inputs for our simulation. We have used the concept of modulation for quantitative analysis of the contrast ratio of the Talbot pattern. This research is expected to provide very useful information on the design of optical gratings, which is an alternative way to analyze the Talbot pattern, which we have filed a patent on.

Existing critiques of Henry VI Part 1 have long remained in the realm of dichotomization. The focus of the previous critiques has been on reinforcement of the hegemonic discourse in Henry VI Part 1 represented through the foil relationship of Talbot and Joan La Pucelle. In these studies, Pucelle, as a female warrior of France who has a plebian origin, is interpreted as the antipodal opposition of Talbot who is a noble male hero of England. Even a series of feminist studies on Pucelle has been made on the basis of this relationship. The dichotomization often recognizes Pucelle as “other” in terms of gender, nationality and classicism that inevitably supports the solidarity of the binarized world. This paper recognizes this limitation as the consequence of analyzing the play and characters within the rigid frame of realism and realistic reproduction of history. Therefore, this paper intends to shed light on fantastical and creative elements in Henry VI Part 1 that deconstructs the idea of historical play as a realistic reconstruction of historical records, and analyze the way Pucelle is dramatized as a fictional character involving fantastical elements. Moreover, the paper aims to reinterpret Talbot-Pucelle relationship as a double so that the previous interpretation that reinforces dichotomous relationship between Talbot and Pucelle?self and other?can be disrupted. Through paying attention to creative dramatization of history in Henry VI Part 1, it would be possible to examine how “other’s history” can be significantly placed and recognized throughout history plays of Shakespeare.