Relevant bibliographies by topics / Kim, Ki Duk

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Kim, Ki Duk'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Kim, Ki Duk"

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Sohn, Rona Eun-Kyung. "Kim Ki-duk." Historical Journal of Film, Radio and Television 33, no. 3 (September 2013): 510–12. http://dx.doi.org/10.1080/01439685.2013.800260.

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Sáez-González, Jesús Miguel. "Soom (Kim Ki-Duk)." Vivat Academia, no. 98 (September 15, 2008): 171. http://dx.doi.org/10.15178/va.2008.98.171-172.

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Sáez-González, Jesús Miguel. "Shi Gan (Kim Ki Duk)." Vivat Academia, no. 82 (February 15, 2007): 126. http://dx.doi.org/10.15178/va.2007.82.126-127.

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Kim, Kyung Hyun. "Kim Ki-duk (review)." Journal of Korean Studies 17, no. 2 (2012): 418–20. http://dx.doi.org/10.1353/jks.2012.0017.

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Bedoya Forno, Rodrigo. "Las edades del cine de Kim Ki-duk." Ventana Indiscreta, no. 025 (August 24, 2021): 32–38. http://dx.doi.org/10.26439/vent.indiscreta2021.n025.5371.

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Mediante una revisión de algunas películas aparecidas en distintas etapas del prolífico realizador surcoreano, se reconocen los rasgos de su estilo: personajes marginados y obsesivos, la búsqueda de redención, la violenta representación de la sexualidad, entre otros temas que siempre le han preocupado y que supo mantener, aunque con ciertas variaciones, hasta el final.
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Muñoz Ruiz, Daniel. "Sexualidad violenta en el cine de Kim Ki-duk." Revista ICONO14. Revista científica de Comunicación y Tecnologías emergentes 9, no. 3 (July 23, 2011): 316. http://dx.doi.org/10.7195/ri14.v9i3.56.

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Lee, Yun-yeong. "Imaginaires nés des lieux hétérotopiques chez Kim Ki-duk." Sociétés 135, no. 1 (2017): 93. http://dx.doi.org/10.3917/soc.135.0093.

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Almeida, Julia Maria Costa. "FALAS, SILÊNCIOS E IMAGENS: O CINEMA DE KIM KI-DUK." PontodeAcesso 4, no. 1 (May 28, 2010): 30. http://dx.doi.org/10.9771/1981-6766rpa.v4i1.3867.

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Propõe-se aqui um percurso de investigação sobre o enunciado oral, o silêncio e as imagens no cinema contemporâneo, tendo como motivação alguns filmes (Bad Guys, 2001, Primavera, verão, outono, inverno... e primavera, 2003, Casa vazia, 2004 e Time, 2006) de Kim Ki-duk, cineasta sul-coreano que vem sendo chamado de “cineasta do silêncio”. Pasolini, Deleuze, Santaella, Steiner e Sontag forneceram o embasamento teórico para entendimento da linguagem híbrida do cinema e do estatuto semiótico que recebem o enunciado oral e o silêncio, no contexto cinematográfico e das artes em geral. A observação dos filmes de Kiduk, como parte do novo cinema coreano, revela particularidades de uma estética em que a recusa da linguagem verbal e a afirmação do corpo ressoam demandas contemporâneas por novos modos de ver e ouvir no cinema.
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Ostrovskaya, E. A. "ARTHOUSE CINEMA ON THE FUTURE OF SOUTH KOREA: KIM KI DUK." Concept: philosophy, religion, culture 1, no. 5 (2018): 152–61. http://dx.doi.org/10.24833/2541-8831-2018-1-5-152-161.

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Morais, Isabela. "Sem fôlego: panoptismo e biopolítica na narrativa de Kim Ki-Duk." Áskesis - Revista des discentes do Programa de Pós-Graduação em Sociologia da UFSCar 1, no. 2 (May 3, 2020): 112–23. http://dx.doi.org/10.46269/1212.460.

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O presente artigo pretende fazer uma análise do filme do diretor sul-coreano Kim Ki-Duk Sem Fôlego (Soom – 2007) a partir das noções de olho do poder, panoptismo e biopolítica tais como foram pensadas por Michel Foucault e ulteriormente desenvolvidas por Giorgio Agamben. Os filmes de Kim Ki-Duk, entre outras características, são conhecidos por seus enredos pouco convencionais: personagens complexos e misteriosos com atitudes inesperadas, poucos diálogos e muitas simbologias. Sem Fôlego conta a história de um condenado à pena de morte que tenta suicídio pelo medo extremo da execução e de uma mulher que ao se descobrir traída e solitária passa a visitá-lo. Pouco comentado pelos críticos é um personagem fundamental que tece a trama: o vigia da prisão, que através do poder de observação das câmeras nos permite refletir sobre a sociedade disciplinar. O filme permite refletir sobre as diferentes e atuais formas de olhares do poder, visto que o próprio diretor constrói a narrativa se apoiando nos diferentes olhares que a câmera pode proporcionar, desde a visibilidade midiática da televisão até as imagens colhidas pelas câmeras de segurança da prisão. Outro fato do filme que nos permite refletir sobre o conceito de biopolítica, forjado pro Michel Foucault e desenvolvido por Giorgo Agamben, é a não soberania que o condenado tem sobre sua vida, ou o direito de morte, uma vez que mesmo condenado a morrer, ele é salvo pelo Estado das suas tentativas de suicídio. Ou seja, o Estado detém o poder de sua vida e a autonomia sobre sua morte. Segundo Agamben, tal fato não se restringe apenas ao corpo do condenado à morte, mas a todos os corpos da sociedade moderna, cujo poder e soberania constituem-se justamente através da biopolítica que transforma a todos em homo sacer: insacrificáveis, porém matáveis. Ademais, pretendemos situar o filme na filmografia do diretor, estabelecendo contato com outras obras do mesmo, como Casa Vazia (2004) e Primavera, Verão, Outono, Inverno... e Primavera (2003).
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Dissertations / Theses on the topic "Kim, Ki Duk"

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Min, Hyunjun. "Kim Ki-duk and the cinema of sensations." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8925.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2008.
Thesis research directed by: Dept. of English. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Santos, Melissa Rubio dos. "(Nos) labirintos imagéticos de Time (Shigan) de Kim Ki Duk : olhar, corpo e discurso amoroso." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/130769.

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O tema da pesquisa da presente dissertação é investigar a poética narrativa do cineasta sulcoreano Kim Ki Duk a partir dos elementos nomeados labirintos imagéticos presentes na narrativa fílmica Time (Shigan)-2006. O ponto de partida do estudo é a análise da narrativa focalizando o trânsito entre textos e os jogos de significantes no discurso amoroso e na criação de corpos orgânicos, imagéticos, simbólicos e ficcionais. Sendo assim, foram explorados os labirintos do discurso amoroso e os labirintos do corpo como os responsáveis pela formação dos labirintos imagéticos que permeiam a narrativa fílmica em análise. Ao longo do estudo do objeto híbrido— narrativa fílmica, pontuaram-se questionamentos sobre Intertextualidade, Interdisciplinaridade, Imagem, Olhar e o objeto a. Pretendo estabelecer diálogos entre Teoria Literária, Psicanálise, Antropologia, Filosofia, Estudos Intermídias e Estudos Culturais, uma vez que a narrativa fílmica do cineasta Kim Ki Duk é tecida e mediada por elementos de uma poética dos limiares, de jogos vertiginosos das imagens e de provocação dos limites da linguagem, oscilando entre a presença e a ausência de significantes.
The theme of this thesis is discuss the visual poetic in narratives of South Korean filmmaker Kim Ki Duk through elements named mazes imagistic in film narrative Time (Shigan) -2006. The starting point of the study is the analysis of narrative focusing on transit between texts and significants in love speech also in the constructions of organic bodies, imagery, symbolic and fictional. Thereby, the labyrinths of love's speech and the labyrinths of the body were exploited, as responsible for the formation of imagistic mazes that permeate the film narrative in analysis. Throughout the study of hybrid object- film narrative, some questions emerged about Intertextuality, Interdisciplinary, Image, Gaze and the object a. I intend to establish dialogues between Literary Theory, Psychoanalysis, Anthropology, Philosophy, Intermídias Studies and Cultural Studies, since the film narrative filmmaker Kim Ki Duk create elements of a poetics of the transit of images and limits of language, through oscillations between the presence and the absence of significants.
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Foloppe, Virginie. "Dépersonnalisations : du traumatisme à la création." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030131.

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L'œuvre filmique relève-t-elle du "sévère exercice de dépersonnalisation" revendiqué par Gilles Deleuze dans l'invention d'une identité personnelle ? Quelles méthodes, les réalisateurs Alfred Hitchcock, Thomas Vinterberg et Kim Ki-duk inventent-ils pour représenter des femmes et des hommes soumis à des situations si intolérables qu'elles les dépersonnalisent et ce jusqu'à l'oubli de leur nom ? Enfin, quels liens peut-on opérer entre une dépersonnalisation qui relève d'une stratégie de survie déclenchée par des traumatismes d'origines diverses et, une autre, qui reflète la formidable puissance de l'acte créateur ? Ma réflexion s'inscrit à la croisée de deux formes de dépersonnalisation dont le psychanalyste Michel de M'Uzan a indiqué les destins radicalement opposés. Chacune, selon lui, s'accompagne d'affect distinct. Aussi à partir de ces différences essentielles quant à la qualité de l'émotion et à la visée, j'analyse, dans ma thèse, les modalités selon lesquelles le créateur est en mesure de nous montrer comment dévier la violence autodestructrice de l'une à la faveur de la puissance créatrice de l'autre qui, avec l'avènement de l'œuvre cinématographique, délivre l'image des empreintes terrifiantes d'un monde contemporain à la tonalité extrêmement archaïque. Tout au long de ma démonstration, les passages fréquents de la poïétique à la narration filmique m'ont permis, à la suite de la proposition de Gilles Deleuze et de la notion de créativité de Donald Woods Winnicott, d'envisager aussi la création en terme d'identité
Does creation as something to do with the "exercise of severe depersonalization" claimed by Gilles Deleuze in the invention of a personal identity? What methods, directors Alfred Hitchcock, Thomas Vinterberg and Kim Ki-duk they invented to represent women and men subject to the conditions so intolerable that depersonalize them ? Finally, what links can be made between a depersonalization that is a survival strategy to trauma, and another that reflects the tremendous power of the creative act ? My thinking is at the intersection part of two forms of depersonalization in which the psychoanalyst Michel M'Uzan said the radically different fates. Each, he says, is accompanied by distinct affect. Also from these essential differences in the quality of the emotion and the destiny, I analyze in my thesis, the manner in which the creator is able to show us how to deflect the destructive violence of one to for the creative power of the other. Throughout my demonstration, the frequent passages between the narration and the poïesis allowed me, as a result of the proposed Gilles Deleuze and the notion of creativity Donald Woods Winnicott, to consider also creation in terms of identity
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Promkhuntong, Wikanda. "The East Asian auteur phenomenon : context, discourse and agency surrounding the transnational reputations of Apichatpong Weerasethakul, Kim Ki-duk and Wong Kar-wai." Thesis, Aberystwyth University, 2017. http://hdl.handle.net/2160/40b60cfb-5797-489d-896c-586c47a8afe1.

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This thesis explores the phenomenon through which numerous directors, from emerging and established film industries from East Asia, have been collectively recognised as auteurs in the West in the last two decades. The thesis proposes a multi-dimensional approach that investigates contexts, discourses, and agencies closely associated with three representative directors that shaped their auteur reputations, as revealed in different forms of archival materials which are treated as auteur paratexts. These paratexts are archival materials associated with the Rotterdam International Film Festival in relation to Apichatpong Weerasethakul, home video promotional materials in relation to Kim Ki-duk, and YouTube user-generated content in relation to Wong Kar-wai. Drawing on and expanding from the method of Foucauldian critical discourse analysis, the findings reveal persistent discourses on geo-politics in relation to national and regional cinema, and an expanded discourse on art cinema in relation to transnational multimedia art forms and diverse taste cultures. Further multi-modal textual analysis of sample materials, which take into account multiple individuals involved, illustrates how directors and associated agents negotiate discursive framings and assert their own pleasure and personal politics through language, voice and performance. Each case study also discusses wider networks of relationship, drawing on and expanding from Pierre Bourdieu's frameworks, which facilitate or undermine the process of auteur reputation-making associated with the three case study directors. In the context of the film festival, Apichatpong has been promoted as a modernist auteur as part of festival branding. Emerging through the commercial context of film distribution, Kim Ki-duk and associated distributors have drawn on and moved away from Kim's restricted cult reputation generated by influential distributors over time. The case study of Wong Kar-wai points to the importance of individual users on YouTube, who are not represented by film-related institutions but exhibit shared taste cultures through maintaining and expanding the director's reputation. As a whole, the thesis offers a multifaceted perspective on the East Asian auteur phenomenon and highlights collective cultures that sustain fascination with the auteur figure.
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Bočanová, Sabina. "Opakující se motivy v tvorbě Kim Ki-Duka." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2007. http://www.nusl.cz/ntk/nusl-78761.

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A diploma work deals with the recurring motives as a means of artistic expression of the fundamental ideas throughout the films of contemporary South Korean director Kim Ki-Duk. The work is partly essayistic especially when dealing with ethical and socio-political problems in the modern society. The recurring motives would be tor example: motive of water, nature, voyeurism, prostitution, sadomasochism, the arts, motive of semi-abstraction, motives of dark sides of the society etc.
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Lee, Ik-Joo. "Les images du paysage insulaire cinématographique : une dialectique de la fermeture et de l'ouverture." Paris 1, 2012. http://www.theses.fr/2012PA010599.

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L'île n'est pas seulement cet espace naturellement isolé, qui peut figurer métaphoriquement l'espace d'une fermeture. Dans l'histoire occidentale, et dés la culture grecque antique, l'image de l'île a toujours été en même temps celle de la fermeture et de l'ouverture. Cette dialectique de deux images qui s'opposent font de l'île par excellence un « espace abstrait », espace dont la complexité ne peut être rendue par une image visuelle au moyen d'une figuration simple. C'est ainsi que pour les cinéastes (modernes) le paysage insulaire est devenu de façon privilégiée l'espace d'une expérimentation cinématographique comme les films de l'île de Farö d'Ingmar Bergman, "Printemps, été, automne, hiver. . . Et printemps" de Kim Ki-duk, "LÎle nue" de Kaneto Shindo et la trilogie de "LÎle-aux-Coudres" de Pierre Perrault.
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Hou, Fu-yao, and 侯芙瑶. "Aesthetic Study on Kim Ki-duk''s Films." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/m3fd82.

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碩士
逢甲大學
中國文學所
100
Among the contemporary Asian films, a Korean director Kim Ki-duk''s films are always debatable and controversial. His films are repeatedly acknowledged at international film festivals, however, suffer from the tremendous pressure from public opinion, especially the rejection of the national media and the audience. This extreme gap also appears in comments about their movies. Nevertheless, the director sticks to his ideas in between art and business. Since Kim Ki-duk started directing films in 1996, he has engraved eye-catching labels of individualism in each of his film. In his stories, figures’decision-making and film mirror language have a unique artistic appeal. This paper attempts a unique analysis of Kim Ki-duk’s film from the film narratology and aesthetic point of view. Despite the specific analysis, Kim Ki-duk''s films tend to be regarded as a perfective aspect by summarizing the main features of his films. This paper focuses on narrative technique on epeatability and variability, the film camera language，as well as aesthetics of death embodied in the movies. In view of the previous research of Kim Ki-duk''s movies takes focus on the marginalized stories and the characters, this article tries to make the oretical breakthrough basing on the former research and analyse art features and aesthetic value of Kim Ki-duk''s movies more systematically and thoroughly.Based on this point, the article sections are as follows. The introduction will introduce the motivation of this study, the purpose, object and methodology. This section will also elaborate the reason why the author chose Kim Ki-duks’s films as the subject, as well as summarize existing research and research information. The second chapter will briefly describe the director''s film career, as well as an overview of his narrative films shot so far. During sorting out the films which will also be overviewed is psychological changes in the director’s art creation. In the third chapter Kim Ki-duk films'' unique narrative elements will be analyzed by the methods of film narratology. In the fourth chapter, lens Language and special flavour of Kim Ki-duk''s films will be analyzed mainly from these aspects: cinematograph objective, movie space, frames, artistic conception, symbol and metaphor. In the fifth chapter, incising from the connection between death and aesthetic perception in art, I will observe the unique perspective on death and its profound meaning in Kim Ki-duk films in aspects of aesthetics of death. The sixth chapter is the summary of previous chapters, discussing the global and holistic broad of Kim Ki-duk films’narrative technique and aesthetics value, while noting that the important achievements of the film in art.
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Books on the topic "Kim, Ki Duk"

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Kim ki-duk. Urbana: University of Illinois Press, 2012.

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Kim Ki-duk. Milano: Il castoro, 2006.

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Vēṇu, Ke Bi. Kim Ki Duk: Science & violence. Thiruvanantapuram: Kerala State Chalchitra Academy, 2013.

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Kim Ki-Duk. Dis Voir, 2006.

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So-hee, Kim. Interview with Kim Ki-duk. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036699.003.0002.

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This interview was originally published in a promotional booklet, edited by Lee Hae-jin, entitled Kim Ki-duk: From Crocodile to Address Unknown (Seoul: LJ Film, 2001). It is reprinted here with permission of LJ Film America. Although the interview only covers Kim Ki-duk’s first six feature films, many of the issues, themes, and ideas presented here apply to his later films as well. Several Korean-language interviews about Kim’s more recent films are quoted in the main essay to supplement this interview....
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Chung, Hye Seung. Beyond “Extreme”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036699.003.0001.

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Alongside Park Chan-wook (Pak Ch’an-uk), famous for his Vengeance Trilogy of films comprising Sympathy for Mr. Vengeance (Poksu nǔn na ǔi kǒt; 2002), Oldboy (Oldǔ poi; 2003), and Lady Vengeance (Ch’ingǒlhan Kǔmjassi; 2005), Kim Ki-duk is one of the most acclaimed Korean filmmakers in the Western world. As of 2011, an unprecedented ten of Kim’s seventeen feature-length motion pictures are commercially available in the U.S. home-video market: ...
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Book chapters on the topic "Kim, Ki Duk"

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Blazewicz, Jacek, Erwin Pesch, Malgorzata Sterna, and Frank Werner. "Metaheuristics for Late Work Minimization in Two-Machine Flow Shop with Common Due Date." In KI 2005: Advances in Artificial Intelligence, 222–34. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11551263_19.

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Dickhaut, Ernestine, Laura Friederike Thies, Andreas Janson, Jan Marco Leimeister, and Matthias Söllner. "Entwurfsmuster für die interdisziplinäre Gestaltung rechtsverträglicher Systeme." In DuD-Fachbeiträge, 469–87. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-33306-5_23.

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ZusammenfassungDurch die Digitalisierung werden immer mehr Technologien entwickelt. Dabei gewinnt die soziotechnische Systementwicklung zunehmend an Bedeutung, in deren Rahmen nicht nur das technische System isoliert betrachtet wird, sondern auch der Nutzer und sein Umfeld. Insbesondere bei der Entwicklung rechtsverträglicher Systeme stehen Entwickler häufig aufgrund fehlenden rechtlichen Fachwissens vor großen Herausforderungen. Dies gilt insbesondere dann, wenn es um intelligente, selbstlernende Systeme geht. Diese Systeme sammeln, um die Qualität ihrer Dienste zu optimieren und Nutzerbedürfnissen zu entsprechen mithilfe leistungsfähiger Technologien große Mengen an personenbezogenen Daten, was Risiken für die informationelle Selbstbestimmung der Nutzer mit sich bringt. Um diesen Risiken entgegenzuwirken nutzen wir Anforderungs- und Entwurfsmuster. Ziel des Beitrags ist daher mittels eines multi-methodischen Ansatzes aufzuzeigen, welchen Beitrag interdisziplinäre Anforderungs- und Entwurfsmuster für die Entwicklung rechtsverträglicher und qualitativ hochwertiger KI-basierter Systeme leisten können. Um die Wirksamkeit der Muster zu untersuchen wurde mithilfe der Muster ein Lernassistent entwickelt und durch die Methode der Simulationsstudie evaluiert.
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"Bad Guy: Kim Ki-duk." In Rising Sun, Divided Land. New York Chichester, West Sussex: Columbia University Press, 2013. http://dx.doi.org/10.7312/tayl16586-015.

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"PIETÀ (PIETA, Kim Ki-duk, KR 2012)." In Leid-Bilder, edited by Natalie Fritz, Marie-Therese Mäder, Daria Pezzoli-Olgiati, and Baldassare Scolari, 501–3. Schüren Verlag, 2018. http://dx.doi.org/10.5771/9783741001192-501.

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Martin, Daniel. "Savagery and Serenity: Extreme Cinema and the Films of Kim Ki-duk." In Extreme Asia, 122–41. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748697458.003.0006.

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This chapter focuses on the reputation and reception of the Korean director Kim Ki-duk. Kim was a central figure in Tartan’s Asia Extreme brand, and the frustrated efforts of Tartan’s owner and general manager Hamish McAlpine to get Kim’s notorious The Isle (2000) released in the UK uncut, over the ruling of the BBFC, were themselves used to generate goodwill among fans and increased attention. This chapter considers the very specific construction of the Asia Extreme brand by examining Kim Ki-duk films released by Tartan both with and without Asia Extreme branding. Debates around animal cruelty and censorship are considered. Finally, the response of expert critic Tony Rayns to Kim’s increasing visibility is discussed as an expression of cultural anxiety over the changing status of Korean cinema in the West.
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Dreiding, Karin. "Der Wunsch, die Mutter zu bewohnen - Bin-jip, Kim Ki-duk, Korea 2004." In Cinépassion Reloaded, 45–52. Psychosozial-Verlag, 2013. http://dx.doi.org/10.30820/9783837966107-45.

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"5 Der Film: »Frühling, Sommer, Herbst, Winter … und Frühling« (2003) von Kim Ki-Duk." In Die Suche nach dem Stillen Ort, 55–89. Göttingen: Vandenhoeck & Ruprecht, 2017. http://dx.doi.org/10.13109/9783666402821.55.

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"CHAPTER 5 Savagery and Serenity: Extreme Cinema and the Films of Kim Ki-duk." In Extreme Asia, 122–41. Edinburgh University Press, 2015. http://dx.doi.org/10.1515/9780748697465-007.

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Pezzoli-Olgiati, Daria. "Adaption, Umkehrung, Verfremdung. Cineastische Variationen über ein christliches Motivin Kim Ki-duks PIETÀ." In Leid-Bilder, 504–25. Schüren Verlag, 2018. http://dx.doi.org/10.5771/9783741001192-504.

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Conference papers on the topic "Kim, Ki Duk"

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Chien, Chi-Hui, Yi-San Shih, Shou-Shing Hsieh, Huang-Hsiu Tsai, Chih-Wei Lin, Yen-Lung Huang, and Chen-Hsiu Yeh. "Reliability Analysis of the Cracked Ag-SU8 Interface on the Channel Wall in a Micro-PEMFC." In ASME 2006 4th International Conference on Fuel Cell Science, Engineering and Technology. ASMEDC, 2006. http://dx.doi.org/10.1115/fuelcell2006-97046.

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The efficiency of the fuel cell depends on both the kinetics of the electrochemical process and performance of the components. The main aim of this research is to analysis the reliability of the cracked Ag-SU8 interface on the channel wall in a micro-PEMFC. An existed surface crack on the channel wall subjected to the flow induced compressive stresses and shear stresses will propagate and lead to the spall formation. In this paper, at first, the flow induced compressive and shear stresses are obtained through simulation of stress state and flow-field in the micro-channel by commercial package software ANSYS® 8.0. Then, the stresses arising at the crack tip due to flow induced compressive and shear stresses can be calculated and characterized by the mode I and II stress intensity factors (SIF), KI and KII, respectively. Finally, the KI and KII stress intensity factors at the crack tip are computed for the different crack sizes and loadings. The results show that the inlet pressure and crack length affect the stress intensity factors more than the inlet velocity does. Also, the results show that as the crack length increases, the value of KI will increase, but the value of KII decreases slightly.
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2

Oh, Chang-Young, Ji-Soo Kim, Yun-Jae Kim, Young-Jin Oh, Kyoungsoo Lee, and Sung-Ho Lee. "Estimation of Stress Intensity Factors due To Welding Residual Stresses for Circumferentially Cracked Pipes." In ASME 2012 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/pvp2012-78500.

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This paper proposes a simple method to estimate stress intensity factors due to welding residual stresses. In this study, finite element analyses for circumferentially cracked pipe are performed to calculate stress intensity factors. Four cracked geometries and two types of weld geometry are considered. KI-solutions for the nonlinear stress distribution on the crack face were determined in accordance with codes and standards. The results are compared with KI-solutions from finite element results. It is found that proposed simple method agrees well with FE results.
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Sharples, J. K., C. J. Madew, R. Charles, and P. J. Budden. "Further Studies to Evaluate Crack Opening Areas for Through-Wall Cracks in the Vicinity of Welded Attachments." In ASME 2010 Pressure Vessels and Piping Division/K-PVP Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/pvp2010-25257.

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A paper was presented at the 2009 ASME PVP Conference on evaluating, by finite element techniques, crack opening area (COA) and stress intensity factor, KI, values for through-wall cracks located in the region where an attachment is welded to a plate geometry. Both membrane and bend loads were considered. In addition, based on the stress profile in the un-cracked complex geometry over the region where the cracks would be introduced, COA and KI values were evaluated for the same crack sizes located in a simple plate geometry. This enabled information to be established on the conservatism, or otherwise, of using simple plate solutions to evaluate COA and KI for cracks in the complex geometry. The present paper reports on further studies that have been undertaken to investigate the effect on the previous COA and KI results of considering (i) large displacement theory which may be important for combined membrane and bend loading, and (ii) contact elements in the finite element models since in the previous studies, the mesh was allowed to “overlap on itself” when crack closure was evident due to compressive stresses during bend loading.
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4

Urabe, Yoshio, Seiji Asada, Takatoshi Hirota, Morihito Nakano, and Ryuuichi Maeda. "Simplified J-Integral Evaluation Method for Evaluation of Reactor Pressure Vessel in the Upper-Shelf Region." In ASME 2003 Pressure Vessels and Piping Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/pvp2003-1925.

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It is well-known that the Upper-Shelf Energy of reactor pressure vessel (RPV) steels is reduced due to neutron irradiation and J-integral (J-applied) is used for the structural integrity evaluation in upper-shelf region. It is very time consuming to calculate the J-integral in detail by using 3-dimensional elastic-plastic FE analysis. U.S. Regulatory Guide 1.161[1] applies a simplified J-applied calculation method based on elastic calculation of the stress intensity factor, KI. However, this method for thermal stress can be applied only for constant cooling rates. From this point of view, a simplified J-applied evaluation method which can be applied to design transients and has high accuracy has been studied. In order to develop the new evaluation method, KI based on 1-dimensional elastic analysis, KI based on 3-dimensional elastic FE analysis and J-applied based on 3-dimensional elastic-plastic FE analysis are calculated and compared with each other. An accurate J estimation method for design transients from 1-dimensional elastic analysis results is proposed and the severest transient in each condition of each RPV group is evaluated in this paper.
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Baas, Peter, and Frederic Blom. "LBB Nozzle Transition Parameter Variation and Plasticity Influence." In ASME 2014 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/pvp2014-28149.

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In the framework of the R6 development programme on leak before break NRG investigated a circumferential through wall crack in a pipe with nozzle. A range of crack angles (3–180°), radius over wall thickness ratios (Ri/t = 5, 10, 20, 50 and 100) and nozzle divergence angles (0, 5, 10, 20, 30 and 40°) have been investigated in order to investigate parameter sensitivity. The stress intensity factor (KI) and the Crack Opening Area (COA) are compared for the nozzle and pipe models. The nozzle investigation is performed using a longitudinal force (100 MPa). It can be concluded that with larger nozzle divergence angles, the resulting maximum KI nozzle factors are higher. The larger nozzle divergence angles have a suppressive effect on the crack opening resulting in a lowered COA nozzle factor. The influence of plasticity has been investigated by a number of analyses including plastic behaviour. The geometry variations are five Ri/t ratios (5, 10, 20, 50 and 100) and eight different crack angles (3, 10, 30, 50, 75, 100, 140 and 180°). A 30° nozzle angle was selected for plastic analyses. The plasticity investigation is performed using longitudinal force (100 MPa). In general the results for KI are higher with the inclusion of plasticity. However, since the inclusion of plasticity has a stress relieving effect on the pipe/nozzle transition, the resulting maximum KI nozzle factor is lowered. The COA results for the individual analyses are overall higher due to the inclusion of plasticity. The COA nozzle factor is lowered, because the relative influence of plasticity is lower on the stiffer nozzle.
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6

Hobbs, Joel R. "Stress Intensity Factors for Layered Pressure Vessel Inner Layer Through Cracks." In ASME 2019 Pressure Vessels & Piping Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/pvp2019-94061.

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Abstract A difficulty encountered when performing Fitness-for-Service assessments for layered pressure vessels (LPVs) is the lack of stress intensity factor solution in literature that produce accurate results for inner layer longitudinal through cracks. Using surrogate solutions such as a through crack in a plate or cylinder produce results that can be overly conservative especially for longer cracks. This is largely due to the ability of a layered pressure vessel to redistribute hoop load to other layers, the restricted radial movement of the cracked layer, and the friction forces applied in the cracked region. To understand this problem, a parametric finite element model (FEM) generator was developed that is capable of producing layered pressure vessel models with inner layer through cracks. The results from the FEMs were used to create a dataset of inner layer through crack stress intensity factors (Ki) for layered pressure vessels corresponding to variations of internal pressure, radius, layer thicknesses, friction factor, and crack length. The elastic modulus of the material also has an effect on Ki but, for this dataset, the elastic modulus was fixed at the typical value for steel – 29,500 ksi (203 GPa). Finally, a non-dimensional model was developed and calibrated using the dataset. This allows Ki to be calculated without the need of a FEM using a closed-form equation. The results of the closed-form solution were then compared to FEM results showing accuracy was generally within 10%.
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7

Qian, Guian, V. F. González-Albuixech, and Markus Niffenegger. "Fracture Mechanics Analyses of Embedded Cracks Under PTS and Effects of Residual Stresses." In ASME 2017 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/pvp2017-66202.

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One potential challenge to the integrity of a reactor pressure vessel (RPV) of a pressurized water reactor is posed by a pressurized thermal shock (PTS), which is associated with severe cooling of the RPV followed by its repressurization. PTS transients lead to high tensile circumferential and axial stresses in the RPV wall. If the stress intensity factor (SIF) is large enough, a critical crack may grow. Thus, the RPV has to be assessed against cleavage fracture. In this paper, two kinds of embedded cracks, i.e. semielliptical and elliptical crack with depth of 17 mm and length of 102 mm are considered. The extended finite element method (XFEM) is used to model such postulated cracks. The embedded crack with tip in the cladding/base interface causes a high KI. This is due to the stress discontinuities at the interface between the materials. In the FAVOR (probabilistic fracture mechanics code) calculation, for such cracks the closest point to the inner surface is calculated in order to be conservative. However, due to the highly ductile cladding material, it is unlikely for the embedded crack to propagate through the cladding. Thus, it is more appropriate to consider the outer surface point of the crack front. The effect of welding residual stress and cladding/base interface residual stress on the crack driving force is studied. Surface cracks are assumed in the study of residual stresses. Results show that considering realistic welding residual stresses may increase KI by about 5 MPa·m0.5, while the cladding/base interface residual stress has a negligible effect on KI. The reason is that the cladding residual stress is only localized to the interface and it decreases significantly through the vessel wall.
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Shek, Gordon K., and Don R. Metzger. "Effect of Hydrogen Concentration on the Threshold Stress Intensity Factor for Delayed Hydride Cracking in Zr-2.5Nb Pressure Tubes." In ASME 2011 Pressure Vessels and Piping Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/pvp2011-57624.

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The Zr-2.5Nb pressure tubes of CANDU reactors are susceptible to a crack initiation and growth mechanism known as Delayed Hydride Cracking (DHC), which is a repetitive process that involves hydrogen diffusion, hydride precipitation, hydrided region formation and fracture at a flaw or crack tip. The threshold stress intensity for DHC initiation from a crack, KIH, is an important material parameter for assessing DHC initiation from flaws in pressure tubes. KIH is used to determine whether DHC initiation may occur from flaws which are postulated as crack-like. It is also an input parameter in the engineering process-zone methodology to assess DHC initiation from blunt flaws. Tests were performed to determine the effect of hydrogen concentration in solution on KIH in unirradiated Zr-2.5 Nb material, subjected to different thermo-mechanical treatments to obtain different yield strength or hardness. Hydrogen concentration in solution represents the diffusible hydrogen available for the DHC process, and is different than the total hydrogen concentration which includes the immobile hydrogen in the zirconium hydride phase. For all material conditions, the KIH values at 250°C are significantly higher when the hydrogen concentration in solution is low. Post test metallographic examination indicates that the crack-tip hydride is large and has a taper shape when the hydrogen concentration in solution is high. This suggests that KIH is reached due to insufficient stress to crack the hydrides. When the hydrogen concentration in solution is low, the crack-tip hydride is small and KIH is reached due to limited hydride growth. Finite element diffusion analysis was performed to determine the crack tip hydride accumulation as a function of KI and hydrogen in solution. For high hydrogen concentration in solution, the model predicts a taper hydride shape and hydride lengths which are consistent with the trend observed in the experiments. Another set of KIH tests was performed at 200°C on unirradiated pressure tube material hydrided to 60 and 100 ppm hydrogen. The test results indicated that KIH is controlled by the hydrogen in solution and is not affected by the amount of hydrogen in bulk hydrides.
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9

Marie, S., and M. Ne´de´lec. "A New Plastic Correction β for Underclad Defect in a Vessel Submitted to a Pressurised Thermal Shock." In ASME 2006 Pressure Vessels and Piping/ICPVT-11 Conference. ASMEDC, 2006. http://dx.doi.org/10.1115/pvp2006-icpvt-11-93680.

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In the frame of the Reactor Pressured Vessel integrity demonstration, a defect assessment has to be performed considering a Pressurized Thermal Shock. Several approaches are proposed in different reference codes and standards. Usually, the analyses are based on analytical methods. An important effort has been made recently by CEA to improve these tools in the frame of R&D activities funded by IRSN. For the assessment of an underclad defect in a vessel submitted to a pressurized thermal shock, the plasticity induced by cladding yielding is considered through the amplification β of the elastic stress intensity factor KI in the ferritic part of the vessel. The current solution in the French RSE-M code has been developed from a fitting of F.E. calculation results. A more physical solution is proposed in this paper. It takes into account two phenomena: the amplification of the elastic KI due to the plasticity in the cladding and a plastic zone correction in the ferritic part. The first amplification is determined assuming that the plasticity in the cladding could be represented as an imposed opening displacement on the crack lips.
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10

Marie, S. "Plastic Amplification β of the Stress Intensity Factor for Underclad Defect in a Vessel Submitted to a Pressurised Thermal Shock." In ASME 2011 Pressure Vessels and Piping Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/pvp2011-57362.

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For the assessment of an under-clad defect in a vessel submitted to a pressurized thermal shock, the plasticity is considered through the amplification β of the elastic stress intensity factor KI in the ferritic part of the vessel. The current solution in the French RSE-M Code has been developed from a fitting of F.E. calculation results and specifies to keep constant the amplification (deduced from its value at the maximum loading point) when the stress intensity factor is decreasing. A more physical solution is proposed in this paper to deal with the initial increasing loading phase but also with the unloading phase. It takes into account two phenomena: the amplification of the elastic KI due to the plasticity in the cladding and a plastic zone correction in the ferritic part. The first amplification is determined assuming that the plasticity in the cladding could be represented as an imposed opening displacement on the crack lips. When the loading is decreasing, the model takes into account the initial elastic unloading of the cladding but also the plastic compression which leads to reduce the cladding influence on the loading of the crack tip located in the ferritic part.
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