특수부대의 낙하산 강하법은 HAHO(High Altitude High Opening, 고고도 강하 고도 산개)와 HALO(High
Altitude Low Opening, 고고도 강하 저고도 산개)라는 방법으로 적진에 강하하는 법으로 나눌 수 있습니다.
이러한 강하법이 요구되었던 가장 큰 이유는 공중에서 대규모로 낙하하는 방법을 쓸 경우 지상의 적국 레이더 기지에서 탐지가 되기 때문이었고
이는 곧 작전의 실패를 가늠하는 매우 중요한 근거를 줄 수 있기 때문에 이에 대한 탐지에 혼란을 주고 발견되는 상황을 줄이기 위해 낙하법이
개발된 것입니다. 또한 작전상 낙하되는 지점이 탐지되지 않기 위한 고난도 전술, 정찰법을 시행하기 위해서이기도 합니다.
2012년 1월 11일 수요일
현실적으로 CAD 업계는 이직률이 상대적으로 높은 편이다. 모두가 살아남기 위해 발버
둥치고 치열한 경쟁을 겪어야 한다. 오랜만에 이력서를 쓰게 되면 자신의 현주소를 확실히
알 수 있다. 지금 이 회사에 제출했던 이력서와 비교해서 지금 얼마나 달라졌는지, 그리고
얼마나 많은 빈칸을 채웠는지 알 수 있다. 힘들고 지친 일상이지만 소중한 시간을 어떻게
살아가고 있는지 객관적으로 나 자신을 바라볼 수 있게 된다. 현실의 높은 벽 때문인지, 절
실함 때문인지는 모르겠으나 가장 이성적인 상태에서 써야 할 이력서를 가장 감성적인 상
태로 끝마치고 출력하는 내 모습을 발견했을 때 왠지 모를 회한에 잠겼다.
앞으로 자신의 이력서에 무엇을 쓸지 진지하게 고민해야 한다. 얼마나 더 빈칸 없이 빽빽
하게 쓸 수 있는지, 무엇으로 채우는지, 나를 남들에게 객관적으로 어떻게 소개하고 이해시
킬 지에 대해 고민하는 것은 자신의 젊음과 청춘을 바쳐 일한 것에 대한 위대한 기록이자 진
정한 자신만의‘젊음의 초상’이 될 것이다.
얼마전에 이력서를 정리하는 일이 생겼는데, 늙은이의 상이 젊음에 대한 질투인가 보다
둥치고 치열한 경쟁을 겪어야 한다. 오랜만에 이력서를 쓰게 되면 자신의 현주소를 확실히
알 수 있다. 지금 이 회사에 제출했던 이력서와 비교해서 지금 얼마나 달라졌는지, 그리고
얼마나 많은 빈칸을 채웠는지 알 수 있다. 힘들고 지친 일상이지만 소중한 시간을 어떻게
살아가고 있는지 객관적으로 나 자신을 바라볼 수 있게 된다. 현실의 높은 벽 때문인지, 절
실함 때문인지는 모르겠으나 가장 이성적인 상태에서 써야 할 이력서를 가장 감성적인 상
태로 끝마치고 출력하는 내 모습을 발견했을 때 왠지 모를 회한에 잠겼다.
앞으로 자신의 이력서에 무엇을 쓸지 진지하게 고민해야 한다. 얼마나 더 빈칸 없이 빽빽
하게 쓸 수 있는지, 무엇으로 채우는지, 나를 남들에게 객관적으로 어떻게 소개하고 이해시
킬 지에 대해 고민하는 것은 자신의 젊음과 청춘을 바쳐 일한 것에 대한 위대한 기록이자 진
정한 자신만의‘젊음의 초상’이 될 것이다.
얼마전에 이력서를 정리하는 일이 생겼는데, 늙은이의 상이 젊음에 대한 질투인가 보다
소용량 풍력발전에 대해
on February 27, 2009
별로 크지 않은 터빈으로 만드는 가정의 발전 세계는 매력적이다. 움직이니까. 전력을 만드는 것을 볼 수 있으니까. 그러나 혼란스럽고, 달콤하고, 시끄럽기도 하고, 때때로 들뜨게 하는 소형 풍력발전의 세계로 몰입하고 전에, 고려해야할 몇가지 가사적인 진실이 있다.
먼저, 수직형 풍력발전(VAWTs)는 제외하도록 하자. 수직형에 걸맞는 일 — 곡식을 간다든지, 물을 퍼올린다든지, 센서에 전원을 공급하는 것 - 이 아니고는 전력에 대해 충분한 양을 생산하지 못한다. 물리학이 증명하고 있으므로 괜한짓 하지 말자.
남은 것은 수평형(HAWT)과 한다발의 아니올시다이다. '작은 바람'이란 뭘까? 말하는 사람에 따라 다르겠지만 2m의 Depends on who is talking, probably, but let’s stick to turbines bigger than seven feet diameter but smaller than twenty. Larger birds require major, major investments and infrastructure; anything smaller than seven feet is a science fair project. Size matters: you can reliably gauge a wind turbine’s output by its diameter, as output (both instantaneous and over time) is almost perfectly proportional to swept area. The obvious corollary: a slightly larger wind turbine may produce very much more power. An 11ft turbine sweeps twice as much area as an 8 ft turbine, tho each blade is only 1.5ft longer. They should be rated 1000W and 2000W respectively, tho more on those numbers in a moment.
A similar phenomenon applies to wind speeds in your location: power available in the wind is the cube of wind speed; very small increments of wind speed can make a huge difference in output. The air 100 ft above the ground may be twice the wind speed at head level and carry eight times as much energy. That’s why we put wind turbines on tall poles and why we don’t put them on rooftops. It’s also why most locations are poor for wind power: in a rare instance of scalability, almost any size turbine is not worth having if your mean wind speed is below 11 mph. Winds below that simply lack energy, and no turbine of any design will produce meaningful juice. Very few places have average wind speeds above 11 mph.
Okay, so you have 12 mph winds, an eight foot turbine makes 1000W, multiply that times 24 hours … ka-ching! Twenty-four kWh per day!
Well, no. That 1000W faceplate rating is about as honest as those 6hp ShopVacs that run on wall outlets. Both are ‘peak’ ratings and represent the amperage produced just before melting. Most wind turbines pluck their marketing numbers at “rated wind speed”, often around 28 mph, which is where most of them furl or fly to bits. The wind may only achieve 28 mph 1% of the time. Most of its life, your turby will be mucking around at outputs roughly one fifth to one quarter of its peak power. That’s a better number for projecting with. Given 12mph wind speeds and that 8ft turbine, you’ll probably average 5-6 kWh per day into the grid, a little less into batteries.
About RPMs: an alternator produces lots more juice at higher RPMs than at low. That’s one reason VAWTs don’t work, and it’s why very small HAWTs often spin at up to 1000 RPMs. There’s a parameter in wind turbines called Tip Speed Ratio, or TSR. It’s a function of blade design and simply measures how fast the fastest part of the blade moves relative to wind speed. Higher TSRs are theoretically more efficient, but in truth drag and turbulence quickly cancel out the gains. High TSR turbines tend to be noisy in normal operation and are hard on blades, bearings, and coils. Many companies rely on high TSRs to compensate for undersized alternators, because copper and magnets are expensive. Consensus recommends 5 to 8 is a good range of TSRs — blade tips moving five to eight times true wind speed.
All turbines — wind, water, or steam — are miserable with engineering binds. Wind turbines are especially bothered by these tradeoffs, given the variable nature of their medium and the realities of location. The binds become acute as wind turbines get smaller. You can have a wind turbine that turns in light winds; it will be poor in strong ones. If the alternator gets up to voltage quickly, it will saturate quickly. If it spins fast, it is noisy; if it spins slow, it makes no power.
Your best hope (and there is hope, honest) is to match a wind turbine to your wind resource and electrical needs, put it on a fairly tall tower, and let it do its thing. They are in no wise perfect, but when the planets align they will deliver goodly chunks of power — day and night, clouds or sun, winter and summer.
별로 크지 않은 터빈으로 만드는 가정의 발전 세계는 매력적이다. 움직이니까. 전력을 만드는 것을 볼 수 있으니까. 그러나 혼란스럽고, 달콤하고, 시끄럽기도 하고, 때때로 들뜨게 하는 소형 풍력발전의 세계로 몰입하고 전에, 고려해야할 몇가지 가사적인 진실이 있다.
먼저, 수직형 풍력발전(VAWTs)는 제외하도록 하자. 수직형에 걸맞는 일 — 곡식을 간다든지, 물을 퍼올린다든지, 센서에 전원을 공급하는 것 - 이 아니고는 전력에 대해 충분한 양을 생산하지 못한다. 물리학이 증명하고 있으므로 괜한짓 하지 말자.
남은 것은 수평형(HAWT)과 한다발의 아니올시다이다. '작은 바람'이란 뭘까? 말하는 사람에 따라 다르겠지만 2m의 Depends on who is talking, probably, but let’s stick to turbines bigger than seven feet diameter but smaller than twenty. Larger birds require major, major investments and infrastructure; anything smaller than seven feet is a science fair project. Size matters: you can reliably gauge a wind turbine’s output by its diameter, as output (both instantaneous and over time) is almost perfectly proportional to swept area. The obvious corollary: a slightly larger wind turbine may produce very much more power. An 11ft turbine sweeps twice as much area as an 8 ft turbine, tho each blade is only 1.5ft longer. They should be rated 1000W and 2000W respectively, tho more on those numbers in a moment.
A similar phenomenon applies to wind speeds in your location: power available in the wind is the cube of wind speed; very small increments of wind speed can make a huge difference in output. The air 100 ft above the ground may be twice the wind speed at head level and carry eight times as much energy. That’s why we put wind turbines on tall poles and why we don’t put them on rooftops. It’s also why most locations are poor for wind power: in a rare instance of scalability, almost any size turbine is not worth having if your mean wind speed is below 11 mph. Winds below that simply lack energy, and no turbine of any design will produce meaningful juice. Very few places have average wind speeds above 11 mph.
Okay, so you have 12 mph winds, an eight foot turbine makes 1000W, multiply that times 24 hours … ka-ching! Twenty-four kWh per day!
Well, no. That 1000W faceplate rating is about as honest as those 6hp ShopVacs that run on wall outlets. Both are ‘peak’ ratings and represent the amperage produced just before melting. Most wind turbines pluck their marketing numbers at “rated wind speed”, often around 28 mph, which is where most of them furl or fly to bits. The wind may only achieve 28 mph 1% of the time. Most of its life, your turby will be mucking around at outputs roughly one fifth to one quarter of its peak power. That’s a better number for projecting with. Given 12mph wind speeds and that 8ft turbine, you’ll probably average 5-6 kWh per day into the grid, a little less into batteries.
About RPMs: an alternator produces lots more juice at higher RPMs than at low. That’s one reason VAWTs don’t work, and it’s why very small HAWTs often spin at up to 1000 RPMs. There’s a parameter in wind turbines called Tip Speed Ratio, or TSR. It’s a function of blade design and simply measures how fast the fastest part of the blade moves relative to wind speed. Higher TSRs are theoretically more efficient, but in truth drag and turbulence quickly cancel out the gains. High TSR turbines tend to be noisy in normal operation and are hard on blades, bearings, and coils. Many companies rely on high TSRs to compensate for undersized alternators, because copper and magnets are expensive. Consensus recommends 5 to 8 is a good range of TSRs — blade tips moving five to eight times true wind speed.
All turbines — wind, water, or steam — are miserable with engineering binds. Wind turbines are especially bothered by these tradeoffs, given the variable nature of their medium and the realities of location. The binds become acute as wind turbines get smaller. You can have a wind turbine that turns in light winds; it will be poor in strong ones. If the alternator gets up to voltage quickly, it will saturate quickly. If it spins fast, it is noisy; if it spins slow, it makes no power.
Your best hope (and there is hope, honest) is to match a wind turbine to your wind resource and electrical needs, put it on a fairly tall tower, and let it do its thing. They are in no wise perfect, but when the planets align they will deliver goodly chunks of power — day and night, clouds or sun, winter and summer.
Get the Moment of Inertia, Area and Perimeter using Autocad:
This tutorial will teach you how to get the moment of inertia, area and perimeter of a drawing entity in autocad. Ok, well as you might already know not all kinds of drawing objects or entities can be extracted with moment of inertia, area and perimeter. What we are talking about here are closed figures such as rectangles, squares, trapezoids, circles and any irregular shapes that are closed or closed polygons to be specific. However, before can we can get the properties mentioned above these drawing objects must be first converted into regions.
To convert a drawing object into region, do the following: 1. Type "region" in the command prompt. 2. Select the drawing object and press enter. The drawing object should be an autocad region at this time. 3. However, if your drawing object has a hole inside, say a pipe which must be composed of inner and outer circles, you must convert each circle into a region and then subtract the inner circle region from the outer circle region. To do this, type "subtract" in the command prompt, press enter and select first the outer circle and then the inner circle. By this time, you should already have a pipe region. Now, there is still one more important thing that you need to do. You must verify that you have indeed created the pipe region. Point your cursor into the outer circle. If both the outer and inner circles highlight, then you have successfully created a pipe region otherwise you need to start over.
Now that you already have a region, you are now set to get its moment of inertia, area and perimeter. The magical command here is "massprop" which stands for mass properties. Here are the steps:
1. First, you need to get the centroid of the region and then use that property to set the the User Coordinate System (UCS) to zero. Type in "massprop", press enter and select the region on your autocad screen and press enter again. By this time, Autocad will show the properties Area, Centroid (x, y), Perimeter and Moment of Inertia among others in the command prompt. To get a complete view of these properties scroll down the command prompt or adjust the command prompt window. The Area and Perimeter properties are final however the moment of inertia is not.
2. To get the correct moment of inertia, you need to set the origin of the UCS into the current centroid of the region. To do this, get the value of centroid (x,y) you obtained in step 1. Type "ucs", press enter, type "m", press enter and then type in the centroid values in this format x,y ( say 12233.0230,323.9441 ) and press enter. The origin of the UCS should now be at the centroid of your region. Type "massprop", press enter, select the region and press enter again. Autocad command prompt should now show the correct moment of inertia. As a check, if you have done everything right the centroid values you obtain this time must be 0.00,0.00 otherwise you made a mistake in entering the centroid values from step 1 into step 2. If this happens, just start over from step 2.
Now that you already have a region, you are now set to get its moment of inertia, area and perimeter. The magical command here is "massprop" which stands for mass properties. Here are the steps:
2. To get the correct moment of inertia, you need to set the origin of the UCS into the current centroid of the region. To do this, get the value of centroid (x,y) you obtained in step 1. Type "ucs", press enter, type "m", press enter and then type in the centroid values in this format x,y ( say 12233.0230,323.9441 ) and press enter. The origin of the UCS should now be at the centroid of your region. Type "massprop", press enter, select the region and press enter again. Autocad command prompt should now show the correct moment of inertia. As a check, if you have done everything right the centroid values you obtain this time must be 0.00,0.00 otherwise you made a mistake in entering the centroid values from step 1 into step 2. If this happens, just start over from step 2.
ABB 모터는 상하이에서
ABB그룹 | Asea Brown Boveri Group
스위스의 전기·전자기기 제조회사.
스위스의 전기·전자기기 제조회사.
1983년 루드빅 프레드홀름(Ludvig Fredholm)이 스웨덴 스톡홀름에 설립한 엘렛트리스카 아크티에볼라게트(Elektriska Aktiebolaget:후에 Asea가 됨)와 1891년 샤를 E.L.브라운(Charles E.L.Brown)과 발터 보베리(Walter Boveri)가 스위스 바덴에서 설립한 브라운보베리앤드시에(Brown Boveri & Cie:BBC)가 1988년 합병하여 현재의 회사가 되었다. 2001년 뉴욕증권거래소에 상장되었다.
주요 사업은 자동화 기기 생산 및 판매, 건축 기술 상담 서비스, 금융 서비스, 에너지 운송, 판매 등이다. 본사는 스위스 취리히에 있다. 세계 100여 개국의 지사 및 현지법인에서 16만 800여 직원이 일하고 있다. 2001년 현재 총자산 316억 달러, 당기순이익 14억 4300만 달러, 매출액 229억 6700만 달러이다. 한국에는 1960년대 진출하여 1987년 효성과 합자하여 효성ABB를 설립하였고, 1992년 합자회사인 ABB우진을, 1993년 ABB동진을 설립하였다가 1998년 ABB우진과 ABB동진을 합병하고 1999년 효성ABB를 인수하여 ABB그룹의 현지법인이 되었다. 서울특별시와 부산광역시에 영업 및 서비스 사무소가 있고 천안시에 공장이 있다. |
Creation 2009
The Great Evolutionist Bares His Own Soul
“Creation” sets out to tell a rich and momentous story, culled from the pages of history and full of present-day topical resonance. In the wake of personal tragedy and in the throes of illness and apprehension, Charles Darwin (Paul Bettany) organizes decades of thought and research into “On the Origin of Species.”
Not many books have been as consequential as “Origin of Species,” and Mr. Bettany’s Darwin, as imagined by the director Jon Amiel and the screenwriter John Collee, has more than an inkling of what the fallout will be. Religious authority will be challenged — some of Darwin’s allies, notably Thomas Huxley, froggily impersonated by Toby Jones, fancy that it will disappear altogether — and age-old assumptions about nature, human and otherwise, will be shattered. A great, civilizational drama looms, but what we see on screen is a lumbering, flat-footed fancy-dress melodrama.
“There is grandeur in this view of life,” Darwin wrote, somewhat defensively, in reference to his theory of evolution by natural selection. There is certainly no shortage of grandiosity, which is not quite the same thing, in this film’s view of Darwin’s life.
You might suppose that Darwin’s great book was the product of patient, grinding labor, and while that might be the case, the filmmakers choose to convey the process of composition in the manner of a Gothic horror movie. Darwin writes with shaking hand and sweaty brow, as storms rattle his windows and his specimen jars glow with sinister import.
He is plagued by nightmares, and is also visited by the ghost of his beloved daughter Annie (Martha West), whose death at the age of 10 is the domestic tragedy around which the movie is constructed. The hallucinations of a haggard, more fully bald, middle-aged Darwin give way to memories of his younger, pinker, hairier self, as he enchants Annie with tales of zoological wonder and enlists her as his sounding board and intellectual ally.
Darwin’s wife, Emma, played by Jennifer Connelly (who is married to Mr. Bettany in real life too), is tolerant of her husband’s scientific zeal but worried about the state of his soul. She grasps the social and theological implications of his theories perhaps more fully than he does, and they exchange some lofty, heated words about God. A local clergyman (Jeremy Northam) comes around to serve as a foil for his neighbor and to incarnate both the benevolence and the obtuseness of religious custom.
“Creation,” while sympathetic to Darwin, is hardly a partisan culture-war document. It notes the erosion of its hero’s faith but hardly consigns faith to the dust bin of history. It aims for a liberal-minded balance, at least on the thematic level. But at the same time the film traffics in the pseudo-psychological mumbo-jumbo that is the standard folk religion of the film biography, and undermines its interest in reason by dabbling in emotive pop occultism. Recoiling from the possibility that ideas themselves might impart tension and interest to this tale, Mr. Amiel and Mr. Collee induce a kind of literary brain fever and reduce Darwin’s work to a symptom of his mental and emotional anguish.
Artistic creation and scientific discovery are irresistible subjects for filmmakers — is anything more alluring than the riddles of genius?— and “Creation” is only the latest example of how this admirable curiosity can fail. Mr. Bettany, so witty an embodiment of 19th-century scientific ambition in “Master and Commander: The Far Side of the World” (also written by Mr. Collee) is far less persuasive here. His performance is overwrought even in its rare moments of repose, and in his spasms of grief or inspiration he behaves like someone’s idea of a Romantic poet at war with the world and in the grip of his muse.
And then there is that ghost. It is curious to note that Mr. Bettany, having played the imaginary friend of a great (and real) scientist in “A Beautiful Mind,” is now portraying a scientist with an imaginary friend of his own. This is only partly a coincidence: the prevalence of such devices suggests that commercial filmmakers don’t believe their audiences can comprehend science without the help of magical thinking.
“Creation,” which was based on a book by Randal Keynes, who is Darwin’s great-great-grandson, may well be a truthful portrait, but it is not a convincing or illuminating one. Its view of life is that a paradigm-shifting breakthrough, rather than being the product of either solitary genius or cultural ferment, amounts instead to a pretext and a substitute for therapy.
“Creation” is rated PG-13. Nature red in tooth and claw, and the death of a child.
CREATION
Opens on Friday in Manhattan.
Directed by Jon Amiel; written by John Collee, based on a screen story by Mr. Amiel and Mr. Collee, based on the book “Annie’s Box” by Randal Keynes; director of photography, Jess Hall; edited by Melanie Oliver; music by Christopher Young; production designer, Laurence Dorman; produced by Jeremy Thomas; released by Newmarket Films. Running time: 1 hour 48 minutes.
WITH: Paul Bettany (Charles Darwin), Jennifer Connelly (Emma Darwin), Jeremy Northam (Reverend Innes), Toby Jones (Thomas Huxley), Benedict Cumberbatch (Joseph Hooker), Jim Carter (Parslow), Bill Paterson (Dr. Gully) and Martha West (Annie Darwin).
Not many books have been as consequential as “Origin of Species,” and Mr. Bettany’s Darwin, as imagined by the director Jon Amiel and the screenwriter John Collee, has more than an inkling of what the fallout will be. Religious authority will be challenged — some of Darwin’s allies, notably Thomas Huxley, froggily impersonated by Toby Jones, fancy that it will disappear altogether — and age-old assumptions about nature, human and otherwise, will be shattered. A great, civilizational drama looms, but what we see on screen is a lumbering, flat-footed fancy-dress melodrama.
“There is grandeur in this view of life,” Darwin wrote, somewhat defensively, in reference to his theory of evolution by natural selection. There is certainly no shortage of grandiosity, which is not quite the same thing, in this film’s view of Darwin’s life.
You might suppose that Darwin’s great book was the product of patient, grinding labor, and while that might be the case, the filmmakers choose to convey the process of composition in the manner of a Gothic horror movie. Darwin writes with shaking hand and sweaty brow, as storms rattle his windows and his specimen jars glow with sinister import.
He is plagued by nightmares, and is also visited by the ghost of his beloved daughter Annie (Martha West), whose death at the age of 10 is the domestic tragedy around which the movie is constructed. The hallucinations of a haggard, more fully bald, middle-aged Darwin give way to memories of his younger, pinker, hairier self, as he enchants Annie with tales of zoological wonder and enlists her as his sounding board and intellectual ally.
Darwin’s wife, Emma, played by Jennifer Connelly (who is married to Mr. Bettany in real life too), is tolerant of her husband’s scientific zeal but worried about the state of his soul. She grasps the social and theological implications of his theories perhaps more fully than he does, and they exchange some lofty, heated words about God. A local clergyman (Jeremy Northam) comes around to serve as a foil for his neighbor and to incarnate both the benevolence and the obtuseness of religious custom.
“Creation,” while sympathetic to Darwin, is hardly a partisan culture-war document. It notes the erosion of its hero’s faith but hardly consigns faith to the dust bin of history. It aims for a liberal-minded balance, at least on the thematic level. But at the same time the film traffics in the pseudo-psychological mumbo-jumbo that is the standard folk religion of the film biography, and undermines its interest in reason by dabbling in emotive pop occultism. Recoiling from the possibility that ideas themselves might impart tension and interest to this tale, Mr. Amiel and Mr. Collee induce a kind of literary brain fever and reduce Darwin’s work to a symptom of his mental and emotional anguish.
Artistic creation and scientific discovery are irresistible subjects for filmmakers — is anything more alluring than the riddles of genius?— and “Creation” is only the latest example of how this admirable curiosity can fail. Mr. Bettany, so witty an embodiment of 19th-century scientific ambition in “Master and Commander: The Far Side of the World” (also written by Mr. Collee) is far less persuasive here. His performance is overwrought even in its rare moments of repose, and in his spasms of grief or inspiration he behaves like someone’s idea of a Romantic poet at war with the world and in the grip of his muse.
And then there is that ghost. It is curious to note that Mr. Bettany, having played the imaginary friend of a great (and real) scientist in “A Beautiful Mind,” is now portraying a scientist with an imaginary friend of his own. This is only partly a coincidence: the prevalence of such devices suggests that commercial filmmakers don’t believe their audiences can comprehend science without the help of magical thinking.
“Creation,” which was based on a book by Randal Keynes, who is Darwin’s great-great-grandson, may well be a truthful portrait, but it is not a convincing or illuminating one. Its view of life is that a paradigm-shifting breakthrough, rather than being the product of either solitary genius or cultural ferment, amounts instead to a pretext and a substitute for therapy.
“Creation” is rated PG-13. Nature red in tooth and claw, and the death of a child.
CREATION
Opens on Friday in Manhattan.
Directed by Jon Amiel; written by John Collee, based on a screen story by Mr. Amiel and Mr. Collee, based on the book “Annie’s Box” by Randal Keynes; director of photography, Jess Hall; edited by Melanie Oliver; music by Christopher Young; production designer, Laurence Dorman; produced by Jeremy Thomas; released by Newmarket Films. Running time: 1 hour 48 minutes.
WITH: Paul Bettany (Charles Darwin), Jennifer Connelly (Emma Darwin), Jeremy Northam (Reverend Innes), Toby Jones (Thomas Huxley), Benedict Cumberbatch (Joseph Hooker), Jim Carter (Parslow), Bill Paterson (Dr. Gully) and Martha West (Annie Darwin).
왕의 나라
우리의 주인공을 강력한 적과 싸우는 용감무쌍한 투사로 만드는 것은 어렵지 않다. 혼자서 모두를 상대로 싸우는 인물, 아니면 모두가 하나같이 그를 공격하는 인물로 묘사하는 것이다. 이러한 불공평한 상홯은 누구에게나 연민의 정을 자아내게 마련이다. 하긴 실제로도 그는 홀로 모두를 상대하였다. 그가 먼저 다른 이들에게 달려 들어서 공격을 가하고 분쟁을 야기했던 것이다. 그의 학문적 투쟁은 매우 복잡했고 항상 많은 사람들의 논쟁거리가 되었다. 그것은 최종적인 승자가 가려지지 않은 채 끝없이 이어지는 진정한 싸움이었다. (시간을 지배한 ... )
곰곰數왕
밴더빌트는 미국 부자들의 원조 중 한 명이다. 미국의 산업화가 진행되던 1800년대 특정 산업을 독점해
탄생한 사람들이 미국 부자들의 원조들이다. 그래서 이들 이름 앞에는 '철도왕’‘석유왕’‘철강왕’‘금융왕’이라는 별칭이 붙어 다닌다.‘왕’이란
별칭이 붙었을 정도로 해당 분야의 점유율이 압도적이었다. 이뿐만 아니다. 부의 축적 과정도 가히 왕처럼 무소불위였으며, 생활도 왕 그
자체였다.
( 이거 많이 들어본 내용인데 )
'부동산왕’‘소프트웨어왕’‘증권왕’ 등 왕을 꿈꾸는 비범한 부자들도 엄청나게 많다.
왕을 꿈꾸는 사람들의 공통점을 분석한 한 저자는 10가지로 정리했다. 다름 아닌 ①남과 다른 생각을 한다 ②끊임없이 새것을 받아들인다 ③시장의 흐름을 읽는다 ④신념과 의지가 강하다 ⑤성공을 위해 게임 규칙까지 바꾼다 ⑥기회를 잘 포착한다 ⑦경영관이 명확하고 건전하다 ⑧절약 정신이 투철하다 ⑨무자비할 만큼 냉정하고 엄격하다 ⑩자신의 사업을 즐긴다 등이다. 누군가는 왕을 꿈꿀만한 자질을 갖고 있다.
또는 Tiger 21과 같은 그룹을 만들어 그 반열을 늘리고 있는지도 모른다.
우리는 한국의 억만장자 클럽을 보고 있어도 느끼지 못하는 지도 모른다.
포레버 21의 장도원 CEO, Forbes
포춘이 선정하는 세계 400대 부자 리스트에 올해 처음으로 포레버 21의 장도원 회장과 부인 장진숙씨가 포함됐습니다.
장도원 씨는 CEO, 부인 장진숙 씨는 헤드 바이어입니다.
잡지 포춘은 장도원 회장 부부를 새로 부자 리스트에 포함된 그룹으로 분리하고, 인터넷 사이트에는 장동건 씨의 사진을 이 그룹의 대표사진으로 실었습니다.
포춘은 장동건 씨 부부를 born-again Christians이라고 표현하고 두 사람은 사무실에 성경을 두고 읽으면서 날마다 새 벽 5시 20분에 새벽기도에 가고, 요한복음 3장 16절(하나님이 세상을 이처럼 사랑하사 독생자를 주셨으니 이는 그를 믿는 자마다 멸망치 않고 영생을 얻게 하려 하심이라)을 포레버 21 샤핑 백 아래에 인쇄하고 있다고 전했습니다.
장도원씨와 부인 장진숙 씨이 자산은 36억 달러로 세계 88번째 부자입니다.
포춘은 포레버 21을 소매업계에서 가장 빨리 성장하는 기업이라고 전하고 이들 부부는 1981년 한국에서 미국으로 이민을 왔으며, 올해 56살인 장도원 씨는 동시에 3job(경비원, 개스 펌핑, 커피샾)을 갖고 일했던 사람들이라고 했습니다.
포레버 21은 1984년에 처음 문을 열였고 지금은 480개 이상의 스토어가 있다고 전했습니다.
일 년 판매 액수는 약 26억 달러입니다.
잡지 포브스는 포레버 21은 앤트로팔러지를 비롯한 다른 소매업체 50 군데 이상에서 디자인을 복사한 비난을 받고 있으며, 딸 린다 씨는 마케팅을 담당하고 에스더 씨는 디스플레이 팀장이라고 전했습니다.
( 이거 많이 들어본 내용인데 )
'부동산왕’‘소프트웨어왕’‘증권왕’ 등 왕을 꿈꾸는 비범한 부자들도 엄청나게 많다.
왕을 꿈꾸는 사람들의 공통점을 분석한 한 저자는 10가지로 정리했다. 다름 아닌 ①남과 다른 생각을 한다 ②끊임없이 새것을 받아들인다 ③시장의 흐름을 읽는다 ④신념과 의지가 강하다 ⑤성공을 위해 게임 규칙까지 바꾼다 ⑥기회를 잘 포착한다 ⑦경영관이 명확하고 건전하다 ⑧절약 정신이 투철하다 ⑨무자비할 만큼 냉정하고 엄격하다 ⑩자신의 사업을 즐긴다 등이다. 누군가는 왕을 꿈꿀만한 자질을 갖고 있다.
또는 Tiger 21과 같은 그룹을 만들어 그 반열을 늘리고 있는지도 모른다.
우리는 한국의 억만장자 클럽을 보고 있어도 느끼지 못하는 지도 모른다.
포레버 21의 장도원 CEO, Forbes
포춘이 선정하는 세계 400대 부자 리스트에 올해 처음으로 포레버 21의 장도원 회장과 부인 장진숙씨가 포함됐습니다.
장도원 씨는 CEO, 부인 장진숙 씨는 헤드 바이어입니다.
잡지 포춘은 장도원 회장 부부를 새로 부자 리스트에 포함된 그룹으로 분리하고, 인터넷 사이트에는 장동건 씨의 사진을 이 그룹의 대표사진으로 실었습니다.
포춘은 장동건 씨 부부를 born-again Christians이라고 표현하고 두 사람은 사무실에 성경을 두고 읽으면서 날마다 새 벽 5시 20분에 새벽기도에 가고, 요한복음 3장 16절(하나님이 세상을 이처럼 사랑하사 독생자를 주셨으니 이는 그를 믿는 자마다 멸망치 않고 영생을 얻게 하려 하심이라)을 포레버 21 샤핑 백 아래에 인쇄하고 있다고 전했습니다.
장도원씨와 부인 장진숙 씨이 자산은 36억 달러로 세계 88번째 부자입니다.
포춘은 포레버 21을 소매업계에서 가장 빨리 성장하는 기업이라고 전하고 이들 부부는 1981년 한국에서 미국으로 이민을 왔으며, 올해 56살인 장도원 씨는 동시에 3job(경비원, 개스 펌핑, 커피샾)을 갖고 일했던 사람들이라고 했습니다.
포레버 21은 1984년에 처음 문을 열였고 지금은 480개 이상의 스토어가 있다고 전했습니다.
일 년 판매 액수는 약 26억 달러입니다.
잡지 포브스는 포레버 21은 앤트로팔러지를 비롯한 다른 소매업체 50 군데 이상에서 디자인을 복사한 비난을 받고 있으며, 딸 린다 씨는 마케팅을 담당하고 에스더 씨는 디스플레이 팀장이라고 전했습니다.
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Version 식별자 : AutoCAD 버전
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AC1018 : 2004, 2005, 2006
AC1015 : 2000, 2000i, 2002
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