• Horticultural Science & Technology
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• 제31권5호
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• pp.640-647
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• 2013

This study was conducted to provide exportation strategy by surveying on preference of Japanese consumers on cut chrysanthemum exported. The survey was conducted two times by a local survey company in Japan, and the surveys were conducted largely on chrysanthemums for casual flowers and the altar. After departmentalizing Japanese consumers per groups the result were analyzed through conjoint and cluster methods, flower colors and shape were used relatively higher rate for selection criteria of flowers in every group in the case of casual flowers. Group 1 comprised of 60 year-old housewives who reside in a small city with high school diploma and annual income less than 300 million yen, and group 2 of 40 year-old housewives who are small city residents with high school diplomas and annual income of 300 million yen show higher rate of use in flower shape than colors. Another group 3 whose members are 50 year-old housewives, small city residents with high school diplomas and annual income of 600 million yen showed higher rate of use colors than the shape for selection criteria of flowers. The consumption characteristics according to the ages of the consumers showed a pronounced tendency. The 40-50 year-old housewives preferred single flowers packed with other flowers, and the 60 year-old housewives double flowers packed with only chrysanthemums. In flower color, the 50-60 year-old housewives preferred white and yellow flowers, and the 40 year-old housewives pink and yellow flowers. Therefore, there are needs for development strategy of new products considering the consumption characteristics of flower shape and color according to the ages of consumer. After analyzing the chrysanthemums for altar by departmentalization of Japanese consumers, every group showed relative higher rate of use for flower shape for selection criteria of flowers. According to the analysis on the consumption characteristics, group 1 which is comprised of 30-40 year-old housewives who reside in small city with high school diplomas and income less than 300 million yen, and the group 2 of 20 year-old housewives who reside in small city with college diplomas and annual income less than 300 million yen. They are very sensitive to the price of the products while the group 3 of 50 year-old housewives who reside in small city with high school diplomas and annual income less than 300 million yen are insensitive to the price. The 30-50 year-old housewives preferred white and pink flowers, and the 20 year-old housewives yellow and pink flowers. In flower shape, the 50 year-old housewives preferred anemone shape, the 30-40 year-old housewives double shape, and the 20 year-old housewives pompon shapes. Therefore, the white, double flowers for the 30-40 year-old housewives and the yellow, pompon flowers for the 20 year-old housewives are needed to be created at the lowest cost, while the white, anemone flowers are needed to created at higher cost with high quality. In light of these results, it is considered that we should understand the types of purchasing products through consumption characteristics of Japanese consumers. Also we should plan, create market-oriented and consumer-oriented products, and should export them in order to expand more exportation.

• Journal of Korean Society of Forest Science
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• 제12권1호
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• pp.31-43
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• 1971

In order to examine the taxonomic difference between the type of Pinus parviflora S. et Z. native to the Dagelet Island and the type of the species introduced to a number of places of the inland of South Korea, investigations on principal characters of needle, cone and seed were made with a hope to obtain informations on the evaluation of the species for possible use in the reforestation program in Korea in the future. Pinus parviflora is belonged to the Sub-genus Haploxylon of Genus Pinus and it has been speculated among dendrologists that this speoies is not monotypic. 308 rendomly selected trees from 8 different elevations of a natural stand of P. parviflora in the Dagelet Island, and 168 trees of P. parviflora growing at 15 different locations of the inland of South Korea were employed as samples along with 300 trees of P. koraiensis as control. The results obtained are summarized as follows: 1. The needle length of the Pinus parviflora of the Dagelet Island is longer than that of the species growing in the inland by 21-35 percent with statistical significancy. (Table 2) 2. In the cross section of needle, no resin canal was observed in about 50-70 percent of the sample trees of the Dagelet Island, whereas the resin canals appearing at external in most cases were observed in all sample trees from the inland. Consequently, the number of resin canals per needle was 0.4-0.9 with the Dagelet Island type and 2.0-2.7 with the inland type and these differences were statistically significant. (Table 3, Fig.2) 3. The Pinus parvviflora type of the Dagelet Island bas yellowish brown cones, and the Pinus parviflora type of Suwon and Kwangyang has redish brown cones. In both the length of cone and the number of cone scale, the difference between the type of the Dagelet Island and the type of the inland was also statistically significant. The cone scales of the Dagelet Island type are slightly opened, whereas the cone scales are widely opened with both of Suwon and Kwangyang type. (Table 4, Fig. 3) 4. the seed color, of the Dagelet Island type is yellowish brown, while it is greyish brown with Kwangyang and Suwon type. In the length and width of seed, the Dagelet Island type showed significantly larger values than that of the inland type. The length of seed was longest with the Kwangyang type being followed by Suwon and the Dagelet Island type in ordar. The seed wing of the Kwangyang type are longer than the seed, while that of the Dagelet Island type is degenerated to be shorter than the seed. (Table 5, Fig. 4) 5. The Pinus parviflora type of the Dagelat Island is similar in many respects to the southern type of Pinus parviflora of Japan except that many has no resin canals in the needle. 6. On the basis of the results obtained in this study, it may be concluded that the type of Pinus parviflora of the Dagelet Island is significantly different from the type of the species introduced to the inland and that there is no recognizable variation between the population of the different altitude of the Dagelet Island and the individual variation within population is also negligible. In the light of the high value of the tree not only as an ornamental tree but as an economical tree, The type of Pinus parviflora of the Dagelet Island is considered to be recommendable to be used for the future reforestation program of Korea.

• Journal of Sericultural and Entomological Science
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• 제50권2호
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• pp.101-108
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• 2012

This study was conducted to confirm the mass production of male pupae and sex-limited larval marking variety as a host for synnemata production of Isaria tenupes in RDA(Rural Development Administration). Silkworm pupation, infection rate and synnemate formation of I.tenuipes were examined. Among the silkworm varieties tested, male Hansaengjam showed the highest pupation rate at 98.7%. I. tenuipes infection rate of larvae of newly-exuviated 5th instar silkworm was 83.7 ~ 90.4% in the spring rearing season and 91.7 ~ 96.6% in the autumn rearing season. Synnemata production of I. tenuipes was execellent in female Yangwonjam with an incidence rate of 99.5% followed by male Yangwonjam(99.5%) and Baegokjam(99.4%) in the spring and autumn rearing season. Synnemata living weight ranged from 0.93 ~ 1.25 g in the spring rearing season. The female Hansaengjam had the heaviest synnemata weight(1.25 g). Synnemata dry weight ranged from 0.27 ~ 0.35 g in the spring rearing season. The female Yangwonjam had the heaviest synnemata weight(0.35 g).

• Journal of Intelligence and Information Systems
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• 제25권2호
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• pp.167-194
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• 2019

This research starts from the four basic concepts of incentive incompatibility, limited information, myopia and decision variable which are confronted when making decisions in keyword bidding. In order to make these concept concrete, four framework approaches are designed as follows; Strategic approach for the incentive incompatibility, Statistical approach for the limited information, Alternative optimization for myopia, and New model approach for decision variable. The purpose of this research is to propose the statistical optimization model in constructing the portfolio of Sponsored Search Advertising (SSA) in the Sponsor's perspective through empirical tests which can be used in portfolio decision making. Previous research up to date formulates the CTR estimation model using CPC, Rank, Impression, CVR, etc., individually or collectively as the independent variables. However, many of the variables are not controllable in keyword bidding. Only CPC and Rank can be used as decision variables in the bidding system. Classical SSA model is designed on the basic assumption that the CPC is the decision variable and CTR is the response variable. However, this classical model has so many huddles in the estimation of CTR. The main problem is the uncertainty between CPC and Rank. In keyword bid, CPC is continuously fluctuating even at the same Rank. This uncertainty usually raises questions about the credibility of CTR, along with the practical management problems. Sponsors make decisions in keyword bids under the limited information, and the strategic portfolio approach based on statistical models is necessary. In order to solve the problem in Classical SSA model, the New SSA model frame is designed on the basic assumption that Rank is the decision variable. Rank is proposed as the best decision variable in predicting the CTR in many papers. Further, most of the search engine platforms provide the options and algorithms to make it possible to bid with Rank. Sponsors can participate in the keyword bidding with Rank. Therefore, this paper tries to test the validity of this new SSA model and the applicability to construct the optimal portfolio in keyword bidding. Research process is as follows; In order to perform the optimization analysis in constructing the keyword portfolio under the New SSA model, this study proposes the criteria for categorizing the keywords, selects the representing keywords for each category, shows the non-linearity relationship, screens the scenarios for CTR and CPC estimation, selects the best fit model through Goodness-of-Fit (GOF) test, formulates the optimization models, confirms the Spillover effects, and suggests the modified optimization model reflecting Spillover and some strategic recommendations. Tests of Optimization models using these CTR/CPC estimation models are empirically performed with the objective functions of (1) maximizing CTR (CTR optimization model) and of (2) maximizing expected profit reflecting CVR (namely, CVR optimization model). Both of the CTR and CVR optimization test result show that the suggested SSA model confirms the significant improvements and this model is valid in constructing the keyword portfolio using the CTR/CPC estimation models suggested in this study. However, one critical problem is found in the CVR optimization model. Important keywords are excluded from the keyword portfolio due to the myopia of the immediate low profit at present. In order to solve this problem, Markov Chain analysis is carried out and the concept of Core Transit Keyword (CTK) and Expected Opportunity Profit (EOP) are introduced. The Revised CVR Optimization model is proposed and is tested and shows validity in constructing the portfolio. Strategic guidelines and insights are as follows; Brand keywords are usually dominant in almost every aspects of CTR, CVR, the expected profit, etc. Now, it is found that the Generic keywords are the CTK and have the spillover potentials which might increase consumers awareness and lead them to Brand keyword. That's why the Generic keyword should be focused in the keyword bidding. The contribution of the thesis is to propose the novel SSA model based on Rank as decision variable, to propose to manage the keyword portfolio by categories according to the characteristics of keywords, to propose the statistical modelling and managing based on the Rank in constructing the keyword portfolio, and to perform empirical tests and propose a new strategic guidelines to focus on the CTK and to propose the modified CVR optimization objective function reflecting the spillover effect in stead of the previous expected profit models.

• Korean Journal of Heritage: History & Science
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• 제44권1호
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• pp.196-221
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• 2011

The Royal Private Shrines or the Samyo(私廟), were dedicated to members of Choseon's royal family who could not be enshrined at the (official) Royal Ancestral Shrine, the Jongmyo(宗廟). The Samyo were constructed at the national level and were systematically managed as such. Because these private Shrines were dedicated to those who couldn't belong to the Jongmyo but were still very important, such as the ruling king's biological father or mother. The details of all royal constructions were included in the State Event Manuals, and with them, the two-dimensional layouts of the Samyo also. From the remaining "Hyunsa-gung Private Tomb Construction Layout Record(顯思宮別廟營建都監儀軌)" of 1824, which is the construction record of Gyeongwoo-gung Shrine(景祐宮) dedicated to Subin, the mother of King Sunjo(純祖), it became possible to investigate the so far unknown "The Painting of Gyeongwoo-gung Shrine", in terms of the year produced, materials used and other situational contexts. The investigation revealed that the "The Painting of Gyeongwoo-gung Shrine" is actually the "Hyunsa-gung Private Tomb Layout" produced by the Royal Construction Bureau. The bureau painted this to build Hyunsa-gung Private Shrine in a separately prepared site outside the court in 1824, according to the royal verdict to close down and move the temporary shrine inside the courtyard dedicated to Subin who had passed away in 1822. As the Construction Bureau must have also produced the Gyeongwoo-gung Shrine Layout, the painter(s) of this layout should exist among the official artists listed in the State Event Manual, but sadly, as their paintings have not survived to this day, we cannot compare their painting styles. The biggest stylistic character of the Painting of Gyeongwoo-gung Shrine is its perfect diagonal composition method and detailed and neat portrayalof the many palace buildings, just as seen in Donggwoldo(東闕圖, Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). A well-perceiving architectural painting employs a specific point of view chosen to fit the purpose of the painting, or it can opt to the multi-viewpoint. Korean traditional architectural paintings in early ages utilized the diagonal composition method, the bird-eye viewpoint, or the multi-viewpoint. By the 18th century, detailed but also artistic architectural paintings utilizing the diagonal method are observed. In the early 19th century, the peak of such techniques is exhibited in Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). From the perfect diagonal composition method employed and the details of the palace buildings numbering almost two hundreds, we can determine that the Painting of Gyeongwoo-gung Shrine also belongs to the same category of the highly technical architectural paintings as Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). We can also confirm this hypothesis by comparing the painting techniques employed in these two paintings in detailthe way trees and houses are depicted, and the way ground texture is expressed, etc. The unique characteristic of the Painting of Gyeongwoo-gung Shrine is, however, that the area surrounding the central shrine building(正堂), the most important area of the shrine, is drawn using not the diagonal method but the bird-eye viewpoint with the buildings lying flat on both the left and right sides, just as seen in the "Buildings Below the Central Shrine(正堂以下諸處)" in the State Event Manual's Painting Method section. The same viewpoint method is discovered in some other concurrent paintings of common residential buildings, so it is not certain that this particular viewpoint had been a distinctive feature for shrine paintings in general. On the other hand, when the diagonalmethod pointing to the left direction is chosen, the top-left and bottom-right sections of the painting become inevitably empty. This has been the case for the Painting of Gyeongwoo-gung Shrine, but in contrast, Donggwoldo shows perfect screen composition with these empty margins filled up with different types of trees and other objects. Such difference is consistent with the different situational contexts of these two paintings: the Painting of Gyeongwoo-gung Shrine is a simple single-sheet painting, while Donggwoldo is a perfected work of painting book given an official title. Therefore, if Donggwoldo was produced to fulfill the role of depiction and documentation as well as the aesthetic purpose, contrastingly, the Painting of Gyeongwoo-gung Shrine only served the purpose of copying the circumstances of the architecture and projecting them onto the painting.

• Korean Journal of Heritage: History & Science
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• 제46권1호
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• pp.160-175
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• 2013

There is the need to make a sharp distinction as regards JANGSEUNGs (Korean traditional totem poles) that are different in origin, history and function. This study is to identify the functions of the figures, as well as to trace stone JANGSEUNGs to their origins. In this regard, researched were conducted into the origins of JANGSEUNGs and their changes in history. There was a tradition in the GORYEO Dynasty (an ancient dynasty in the Korean Peninsula) that it erected JANGSAENGs (the archaic name of JANGSEUNGs) or allied stone figures within temples; especially, 'TONGDOSA GUKJANGSAENG SEOKPYO (a stone JANGSAENG that was erected by the royal command and is at the entrance of TONGDO Temple located in YANGSAN, South GYEONGSANG Province, South Korea)' functions as a stone monument rather than as a stone sign. In the engraved inscription, it is written that it should be erected in the form of PANA as before. 'PANA' refers to 'ZHONGKUI', a god in Chinese Taoism believed to exorcise devils that spread diseases. The inscription is to define the territory of TONGDO Temple. The article on HAN JUN GYEOM in a book 'WORAKGI (a travelogue on WORAK Mountain in North CHUNGCHEONG Province, South Korea)' written by HEO MOK makes it possible to guess the scale of GUKJANGSAENGs erected in DOGAP Temple. The stones, on which 'GUKJANGSAENG' or 'HWANGJANGSAENG' were engraved, are not JANGSAENGs but are demarcation posts. In the JOSEON Dynasty (the last dynasty in the Korean Peninsula) JANGSAENGs functioned as signposts. Unlike JANGSAENGs in temples, they were made of wood. At first, the word 'JANGSAENG' was written '長生' in Chinese characters, but in the JOSEON Dynasty another character '木 (wood)' was added to them, and thus the orthography was likely to change into 'JANGSEUNG.' In the JOSEON Dynasty, in addition, optative or geomantic figures were not called 'JANGSEUNG.' Historically, for instance, there has been no case where 'DOL HARBANGs (stone figures found only in JEJU ISLAND, South Korea)' are called 'JANGSEUNG.' In a book 'TAMRA GINYEON (a historical record on JEJU Island, South Korea)' it is written that KIM MONG GYU, JEJU governor, erected ONGJUNG Stones outside the fortress gate. ONGJUNG Stones usually refer to stone statues erected in front of ancient kings or dignitaries' mausoleums. Moreover, they were geomantic figures erected to suppress miasma. A magazine 'GWANGJUEUPJI (a journal on old GWANGJU, South Korea, 1899)' shows that two two ONGJUNG Stones were so erected that they might look at each other to suppress miasma from a pathway through which lucks lose. On the two stone figures located in BUAN-EUP, North JEOLLA Province, South Korea, inscriptions 'SANGWON JUJANGGUN' and 'HAWON DANGJANGGUN' were engraved. The words are to identify the figures' sexes. They are a kind of optative geomantic figures, and therefore there is no reason to call them 'JANGSAENG' or 'JANGSEUNG' or 'DANGSAN.' The words 'SANGWON' and 'HAWON' are closely associated with Taoism. Since then, the words have been widely used as inscriptions on stone figures in temples, and subsequently are used for JANGSEUNGs. A hatted ONGJUNG Stone, found in BUKANSAN Fortress, disappeared and other ones may be being buried somewhere. Meanwhile, ONGJUNG Stones in JEJU Island and stone figures in BUAN-EUP have hardly been displaced and thus have properly functioned. Stone figures, made in those days, seem to be most similar in function to JANGSAENGs made during the GORYEO Dynasty. Specifically, like earlier JANGSAENGs, stone figures made during the early to mid-18th century were likely to function not only as optative figures but as boundary stones. Most of stone figures in temples were made whenever the land use survey was conducted throughout the nation, but given that at the same period of time, the commonalty filed many lawsuits against grave sites, temples might erect many stone figures to mark their territories. Currently, wooden or stone figures are commonly called 'JANGSEUNG', but they were erected in different epochs and for different reasons. Their origins are to be sought in stone figures that functioned not only as optative figures in temples but as boundary stones during the GORYEO Dynasty.

• Korean Journal of Heritage: History & Science
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• 제49권1호
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• pp.4-21
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• 2016

The purpose of this study is to investigate changes of Jinju Sword Dance, characteristics of the changes, and the current condition of its preservation and succession after the designation as the important intangible cultural property no. 12 in January 16th, 1967. In other words, this study understands the situation which has established the present state of after changes over generations. As of now. the year of 2015, the 3 generation holders have been approved since 1967. In 1967, 8 members of $1^{st}$ generation holders were selected from gisaengs of Gwonbeon. However, the succession training was incomplete due to conflicts among the holders, the deaths of some holders, and economic activities of the individuals. As the need of a pivot for succession training and activities was rising, Seong, Gye-Ok was additionally approved as the $2^{nd}$ generation holder on June $21^{st}$, 1978. Seong, Gye-Ok who had never been a gisaeng had dramatically changed with a lot of new attempts. After the death of Seong, Gye-Ok in 2009, Kim, Tae-Yeon and Yu, Yeong-Hee were approved as the $3^{rd}$ generation holders in February, 2010. Based on the resources including the "Cultural Research Reports of Important Intangible Cultural Properties" in 1966 and videos up to 2014, the changes of the dance and surroundings are as follow. 1. The formation of musical accompaniment has been changed during the 3 generations. In the video of the $1^{st}$ generation(in 1970), the performance lasted about 15 minutes, whereas the performance lasted 25 minutes in the video of the $2^{nd}$ generation. Yumbuldoduri rhythm was considered as Ginyumbul(Sangryeongsan) and played more slowly. The original dance requiring only 15 rhythms was extended to 39 rhythms to provide longer performance time. In the $3^{rd}$ generation, the dance recovered 15 rhythms using the term Ginyumbul. The facts that Yumbul was played for 3 minutes in the $1^{st}$ generation but for 5 minutes in the 3rd generation shows that there was tendency pursuing the slowness from the $2^{nd}$ generation. 2. For the composition of the Dance, the performance included additional 20 rhythms of Ginyumbul and Ah(亞)-shaped formation from the $2^{nd}$ generation. From the $3^{rd}$ generation, the performance excluded the formation which had no traditional base. For the movement of the Dance, the bridge poses of Ggakjittegi and Bangsukdoli have been visibly inflexible. Also, the extention of time value in 1 beat led the Dance less vibrant. 3. At the designation as an important intangible cultural property (in 1967), the swords with rotatable necks were used, whereas the dancers had been using the swords with non-rotatable necks since late 1970s when the $2^{nd}$ generation holder began to used them. The swords in the "Research Reports" (in 1966) was pointy and semilunar, whereas the straight swords are being used currently. The use of the straight swords can be confirmed from the videos after 1970. 4. There is no change in wearing Jeonlib, Jeonbok, and Hansam, whereas the arrangement of Saekdong of Hansam was different from the arrangement shown in the "Research Reports". Also, dancers were considered to begin wearing the navy skirts when the swords with non-rotatable necks began to be used. Those results showed that has been actively changed for 50 years after the designation. The $2^{nd}$ generation holder, Seong, Gye-Ok, was the pivot of the changes. However, , which was already designated as an important intangible cultural property, is considered to be only a victim of the change experiment from the project to restore Gyobang culture in Jinju, and it is a priority to conduct studies with historical legitimacy. First of all, the slowing beat should be emphasized as the main fact to reduce both the liveliness and dynamic beauty of the Dance.

• Korean Journal of Heritage: History & Science
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• 제49권2호
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• pp.4-19
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• 2016

Jangkei(狀啓) made to the Royal Court by Yi Sun-sin during the Japanese invasions of Korea is handed down under the names of Jangcho(狀草), Keicho(啓草), Keibon(啓本) and others depending on copying patterns of those times and later times as it was copied out by a third person. In particular, "YimjinJangcho(壬辰狀草)" which Yi drew up during his service as the director of the naval forces in Jeolla Jwasooyeong is known as the most popular Jangkei. "ChungMinKongKeicho" which has been re-located recently after loss is a national treasure level cultural property as valuable as "YimjinJangcho" and should be treated as a model of Yi Sun-sin's other Jangkeis by next generations. As of now, however it is not confirmed if it is a totally new book related to Yi Sun-sin or is supplementary to the lost Jangkei, this study decided to ascertain relevant information through a bibliographic discussion on the question. "Chungmin(忠愍)" was the title that was used after the death of Yi Sun-sin, and "ChungMinKongKeicho" was completed when Jangkei was copied in 1662. 12 books that would not be found in YimjinJangcho are included in the book and such books are also present in the Jangkei supplement which has been known lost so far. What should be especially focused on here is that the forms and contents of these (11) photographs that Japanese shot from "ChungMinKongKeicho" in 1928 turned out to be completely identical to those of the original copy. The point that Korean History Compilation Committee added the 12 books to Jangkei as referring to the book as "One Keicho(啓草) partially copied(抄寫) in separation" and that Cho Sung-do categorized the 12 books into a supplement and others can be solid proofs to make the Jangkei supplement called "ChungMinKongKeicho". In terms of "ChungMooKongKeicho", since it consists of 62 books in total, it is not reasonable to see the book as Jangkei supplement which has the extra 12 more books for itself. "ChungMooKongKeibon" in "ChungMooKongYusa" was written with a total of 16 books. In the body, Yidumun is only clearly present, and the three books in the later part are same with the original copy of "ChungMooKongKeicho". "YimjinJangcho" by Korean History Compilation Committee has been the only book in which Yidumun was observed so far but now, it is assumed that the publication date of "ChungMooKongKeibon" goes before that of the former. The counterargument to the opinion that "ChungMinKongKeicho" is the supplement to Jangkei is based on Lee Eun-sang's comment "One page of a log in the Jangkei copy supplement." At first Seol Ui-sik introduced a piece photo of the rough draft of "MoosulIlki" in a drawing form through "Nanjung Ilkicho by Yi Sun-sin" in 1953. Lee Eun-sang also added two pages of the handwritten Yilkicho in the Jangkeichobon supplement to "MoosulIlki" and for the second time, the phrase "One page of a log written during the last 10 days after the Jangkei copy supplement" and "Supplement" were used. Those views are originated from the comment "One photograph of the rough draft of "MoosulIlki"" which Seol Ui-sik introduced without knowledge of the exact source. Lee Eun-sang said, "One page of a log in the Jangkei copy supplement" because Lee mistook "ChungMooKongYusa" for a book related to Jangkei. Since it is the wrong argument different from the actual situation of the original copy, if it has to be corrected, it should be rephrased "One page of a log in ChungMooKongYusa." After all, the source of the counterargument is the mistake because there has never been the Jangkei supplement with one page of a log included. All the Jangkeis other than "YimjinJangcho" can be said as the Jangkei supplements but still, they are separated from the other Jangkeis for the extra 12 more books are present in the commonly-called Jangkei supplement. Due to that reason, the argument on how "ChungMinKongKeicho" with the 12 books added is the popular Jangkei supplement should be considered more reasonable.

• Journal of Intelligence and Information Systems
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• 제25권1호
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• pp.219-239
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• 2019

As the importance of providing customized services to individuals becomes important, researches on personalized recommendation systems are constantly being carried out. Collaborative filtering is one of the most popular systems in academia and industry. However, there exists limitation in a sense that recommendations were mostly based on quantitative information such as users' ratings, which made the accuracy be lowered. To solve these problems, many studies have been actively attempted to improve the performance of the recommendation system by using other information besides the quantitative information. Good examples are the usages of the sentiment analysis on customer review text data. Nevertheless, the existing research has not directly combined the results of the sentiment analysis and quantitative rating scores in the recommendation system. Therefore, this study aims to reflect the sentiments shown in the reviews into the rating scores. In other words, we propose a new algorithm that can directly convert the user 's own review into the empirically quantitative information and reflect it directly to the recommendation system. To do this, we needed to quantify users' reviews, which were originally qualitative information. In this study, sentiment score was calculated through sentiment analysis technique of text mining. The data was targeted for movie review. Based on the data, a domain specific sentiment dictionary is constructed for the movie reviews. Regression analysis was used as a method to construct sentiment dictionary. Each positive / negative dictionary was constructed using Lasso regression, Ridge regression, and ElasticNet methods. Based on this constructed sentiment dictionary, the accuracy was verified through confusion matrix. The accuracy of the Lasso based dictionary was 70%, the accuracy of the Ridge based dictionary was 79%, and that of the ElasticNet (${\alpha}=0.3$) was 83%. Therefore, in this study, the sentiment score of the review is calculated based on the dictionary of the ElasticNet method. It was combined with a rating to create a new rating. In this paper, we show that the collaborative filtering that reflects sentiment scores of user review is superior to the traditional method that only considers the existing rating. In order to show that the proposed algorithm is based on memory-based user collaboration filtering, item-based collaborative filtering and model based matrix factorization SVD, and SVD ++. Based on the above algorithm, the mean absolute error (MAE) and the root mean square error (RMSE) are calculated to evaluate the recommendation system with a score that combines sentiment scores with a system that only considers scores. When the evaluation index was MAE, it was improved by 0.059 for UBCF, 0.0862 for IBCF, 0.1012 for SVD and 0.188 for SVD ++. When the evaluation index is RMSE, UBCF is 0.0431, IBCF is 0.0882, SVD is 0.1103, and SVD ++ is 0.1756. As a result, it can be seen that the prediction performance of the evaluation point reflecting the sentiment score proposed in this paper is superior to that of the conventional evaluation method. In other words, in this paper, it is confirmed that the collaborative filtering that reflects the sentiment score of the user review shows superior accuracy as compared with the conventional type of collaborative filtering that only considers the quantitative score. We then attempted paired t-test validation to ensure that the proposed model was a better approach and concluded that the proposed model is better. In this study, to overcome limitations of previous researches that judge user's sentiment only by quantitative rating score, the review was numerically calculated and a user's opinion was more refined and considered into the recommendation system to improve the accuracy. The findings of this study have managerial implications to recommendation system developers who need to consider both quantitative information and qualitative information it is expect. The way of constructing the combined system in this paper might be directly used by the developers.

• (The) Research of the performance art and culture
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• 제18호
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• pp.257-282
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• 2009

Le $th{\acute{e}}{\hat{t}}re$ musical en $Cor{\acute{e}}e$ est devenu aujourd'hui une mode. Beaucoup parlent de musical, mais beaucoup de musicals sont $mont{\acute{e}}s$ sur la $sc{\grave{e}}ne$ sans des recherches $n{\acute{e}}cessaires$ suffisantes. C'est pour cette raison que la plupart des spectacles musicaux qui sont $cr{\acute{e}}es$ en $Cor{\acute{e}}e$ sont $destin{\acute{e}}s$ en faillite $d{\grave{e}}s$ la naissance. D'ailleurs les musicals $liscenci{\acute{e}}s$ par $l^{\prime}Am{\acute{e}}rique$, la France qui sont $mont{\acute{e}}s$ sur la $sc{\grave{e}}ne$ de $Cor{\acute{e}}e$ aujourd'hui sont assez pour nuire le $march{\acute{e}}$ $cor{\acute{e}}en$ $constitu{\acute{e}}$ autour de musical. Quels sont donc les $probl{\grave{e}}mes$ que posent les musicals $liscenci{\acute{e}}s$? $Premi{\grave{e}}rement$ ils encouragent la mime, pas la $cr{\acute{e}}ation$. En d'autre terme, les musicals $liscenci{\acute{e}}s$ que les $Cor{\acute{e}}ens$ montent sur la $sc{\grave{e}}ne$ ne sont pas les $cr{\acute{e}}ations$ propres chez les $Cor{\acute{e}}ens$, par contre, ces derniers sont $demand{\acute{e}}s$ de suivre ${\grave{a}}$ la mot les indications $dict{\acute{e}}es$ par le droit d'auteur. Les $cr{\acute{e}}ateurs$ $cor{\acute{e}}ens$ ne sont pas libres de $cr{\acute{e}}ation$. $Deuxi{\grave{e}}mement$ les musicals ${\grave{a}}$ la mode ont pouvoir de $d{\acute{e}}truire$ la $diversit{\acute{e}}$ de l'homme. L'homme se $caract{\grave{e}}rise$ par la $diversit{\acute{e}}$ et se $diff{\grave{e}}re$ l'un par rapport ${\grave{a}}$ l'autre. C'est l'essence de l'homme. Tous sont $diff{\acute{e}}rents$. Pourtant le musical qui $r{\grave{e}}gne$ sur tous genres de spectacles d'aujourd'hui de $Cor{\acute{e}}e$ ne laisse pas vivre d'autres genres de spectacles, la danse, le $th{\acute{e}}{\hat{a}}tre$, etc. Seul le musical est $compt{\acute{e}}$. $Troisi{\grave{e}}mement$ le musical ne peut pas nier $compl{\grave{e}}tement$ son origine commerciale. En fait le musical est devenu une chose important depuis des investigations immenses par le gouvernement $d^{\prime}Am{\acute{e}}rique$ pour donner des travails aux gens. Donc, $d{\grave{e}}s$ le $d{\acute{e}}but$, il n'y avait pas de $consid{\acute{e}}rations$ artistiques dans et sur le musical. Comme c'est par le commerce que le musical est $r{\acute{e}}pandu$, s'il y aura un $probl{\grave{e}}me$ quelconque, il est $tr{\grave{e}}s$ possible qu'on cherche ${\grave{a}}$ $r{\acute{e}}soudre$ le $probl{\grave{e}}me$ par la vue de commerce. En comprenant les $probl{\grave{e}}mes$ $mentionn{\acute{e}}s$ $l{\grave{a}}$-dessus, il faut $pr{\acute{e}}parer$ le changement de $march{\acute{e}}$ $cor{\acute{e}}enne$ de musical. Le moyen le plus $su{\hat{r}}$ de se $pr{\acute{e}}parer$ est de trouver la $r{\acute{e}}solution$ dans la culture. Pourtant cette $derni{\grave{e}}re$ ne signifie pas la tradition comme $c^{\prime}{\acute{e}}tait$ le cas $jusqu^{\prime}{\grave{a}}$ aujourd'hui, car les $Cor{\acute{e}}ens$ ne sont pas ${\acute{e}}duqu{\acute{e}}s$ par cette $derni{\grave{e}}re$. La $modernit{\acute{e}}$, disons occidentale, traverse la $Cor{\acute{e}}e$. Donc, la signification du mot 'culture' doit ${\hat{e}}tre$ $bas{\acute{e}}e$ sur la tradition et la $modernit{\acute{e}}$ en $m{\hat{e}}me$ temps.