• Korean Architects
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• no.4 s.181
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• pp.70-81
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• 1984

• Proceedings of the Korea Society of Costume Conference
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• 2004.08a
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• pp.170-176
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• 2004

• Proceedings of the Optical Society of Korea Conference
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• 1991.06a
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• pp.18-21
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• 1991

청록색 영역에서 발진하는 XeF(C$\longrightarrow$A)엑사이머 레이저 여기용 2.56MeV 전자빔 가속기를 개발하였다. 대출력 전자빔 가속기는 $\pm$80kV로 충전하는 Marx Generator를 동축구조로 꾸밈으로서 낮은 임퍼던스와 인덕턴스를 유지할 수 있었고, 빠른 전압상승과 유사구형파 출력을 얻을 수 있었다. 본 연구에서는 대출력 전자빔가속기 (2.56 MeV, 2.2KJ)의 파라메터와 동작특성, 전압측정 등을 기술한다.

• Journal of the Korean Graphic Arts Communication Society
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• v.9 no.1
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• pp.45-51
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• 1991

Commercially available paper stickers, electrostatic stickers, and metal sticker generally involve process of printing on the substrate and die-cutting to peel the sticker off the release paper. Using plastisol ink and multi-layer screen printing technique, a process of non die-cutting sticker with same image on both sides was developed. It was also possible to prevent color mixing phenomena at image edge part by printing narrow lines of black ink along the borderline.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.129-146
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• 2004

The Purpose of this study is to search the characteristics of aesthetic sense from the spiritual root of anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings inside contemporary Japanese fashion. This study considered contemporary Japanese fashion design from 1970 to 2000 to figure out the anti-decoration culture in contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japanese anti-decoration culture. 2. deducing the distinctive aesthetic ideology from the anti-decoration culture 3. finding aesthetically the inside meaning of anti-decoration culture in contemporary Japanese fashion. The conclusion on this study is as the followings. Anti-decoration culture has three aesthetic ideology. First, faintful aesthetics implies the aesthetic ideologies of Wabi, Sabi from Heian period and it appears the aesthetic sense to be natural beauty. simplicity, minimalism and temperance. Second, ambivalence aesthetics is based on nothingness and has the characteristic of multivocal and variableness without biased view. Third. playful aesthetics has the meaning of humorous. witty and mischievous which is the basic factor of Japanese formative arts. The aesthetic range of this study are the beauty of simplicity. poverty, incompletion, vagueness and humor. First, beauty of simplicity is composed of minimal lines and area through strict temperance and elimination. Second, beauty of poverty came from the aesthetic concept of Wabi which means honorable poverty and plainness. Third, beauty of incompletion means emptiness which is within the range of possibility. Forth, beauty of vagueness could be explained as incorporeal, colorlessness and voiceless. Fifth, Okashi which was the middle ages in Japan, shows the vein of humor in anti-decoration culture. As a result, anti-decoration culture does not mean the opposite of decoration culture, but accomplishes extreme artificial beauty by strict temperance and elimination. Also it is concerned as intentional poverty of decorative effect.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.75-87
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• 2017

Sensitivity has become more important in relation to design in the changing social environment and atmosphere. In the West, the concept of aesthetics has long been established but in the East, only in the seventeenth and eighteenth century China did the discussion begin. In Korea, where the first scholarly discussion on aesthetics began around 1929, more and more rigorous and theoretical discussions are emerging now. Korean beauty consists of the beauty of no-artfulness and the beauty of natural artfulness. Japanese beauty consists of the beauty of half-articulation and the beauty of articulation. While both Korea and Japan base their sense of beauty on nature, Korea emphasizes nature as it is while Japan values artful decorative elements. Especially in modern Korean fashion, the characteristic Korean aesthetics of un-artfulness appears in various expressive techniques such as the movement with natural gathering, the use of natural materials like cotton, the harmonization of black and white, and a simplified silhouette. In Japanese fashion, one can see techniques such as: the beauty of half-articulation expressed through the ambiguity of shapes, colors, and genders or simplicity and paucity using straight lines, the beauty of articulation expressed with bright flower prints and ornaments, accessories of Obi and feathers and the transformed silhouette.

• Journal of the Korean Society for Aeronautical & Space Sciences
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• v.36 no.1
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• pp.57-61
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• 2008

A tensile-strain measurement method is proposed based on Depolarized Guided Acoustic-wave Brillouin Scattering (DGAWBS). The effect of tensile-strain applied to an optical fiber is investigated experimentally, observing that the resonance spectrum increases the measurement accuracy of DGAWBS at the TR25 mode. This paper presents a simple structure as tensile-strain sensor using two analyzers after sensing fiber.

• Korean journal of communication and information
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• v.49
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• pp.122-143
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• 2010

This study is designed to figure out what kind of female images TV dramas have represented from 2000 to 2007 and what kind of relationship these images and the actual roles the female characters perform have in the drama. The total number of dramas analyzed is 27, and 152 female characters are analyzed. The result finds that 45% among 152 characters is in her 20's, and most of them play the main roles. Only 4 dramas use 3,40's female characters as main figures. Most 4,50 female characters play mother or grand mother roles of main characters, and they usually interrupt main character's love relationships or don't play any meaningful roles for the narrative. The old female characters over her 60's tend to play foolish and ridiculous roles and don't show any physical charms. The female main characters are beautiful and young, and the more they play good roles, they have better natural beauty comparing the bad characters. The youth and beauty of main characters helps the owner to earn the love of main male characters. It's obvious that the dramas show that female's body as physical capital to achieve higher class and power.

• Cross-Cultural Studies
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• v.40
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• pp.213-238
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• 2015

This article attempts to correct errors in five words related to Shiji (The Grand Scribe's Records) Liezhuan (A Series of Biographies), which are presented in the Great Chinese-Korean Dictionary. The author analyses the problems with meaning interpretations of three words and additional meaning interpretations of two words. The main points of the study are presented in the following. First, in relation to the error correction in meaning interpretation, this study finds out that the explanations of "jiayu," "jiaochi," and "guancai" in the Great Chinese-Korean Dictionary are incorrect. Most of the cases include plausible interpretations of the words that are likely to cause readers to be confused with the meanings. Each of the words should be interpreted as "lend${\rightarrow}$give," "arrangement${\rightarrow}$new decoration, ornamentation, or embellishment after removing old one," and "accept something carefully or accept something after inspection${\rightarrow}$look over carefully or search for something." Second, as for the supplementary correction, this study points out that the explanations of "xiaoshi" and "shennian" are not sufficient. The following meanings for each word should be added, including "display skills" and " be trapped inside one's own mind." Furthermore, when comparing with the different translation versions by scholars at home and abroad, we can come to a following conclusion. The interpretations made by Zheng, Fan-Zhen are the most accurate for the "jiayu" item. With respect to the "jiaochi" item, the interpretations given by Piao, Yi- Feng; Wang, Li-Qi; Yang, Zhong-Xian; and Hao, Zhi-Da are relatively appropriate. The "guancai" item is adequately interpreted by Piao, Yi-Feng and Wang, Li-Qi. In the meaning interpretation of the "xiaoshi," Jin, Yuan- Zhong gave correct explanations. In addition, it is considered that Wang, Zhong provided the most ideal translations for the item "shennian."