• Journal of Advanced Navigation Technology
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• v.4 no.2
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• pp.103-113
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• 2000

There are several methods in the mathematical modeling of a satellite with flexible appendages. In this paper, the hybrid Lagrange's equations of motion using assumed modes method are derived. The assumed modes method is one of approximate methods which have shorter calculation time due to low-dimension compare with FEM. These consist of three-equations about angular velocities and two-equations about flexible deformations, and physically represent interaction between hub and solar panel. In an attitude control, a control law is designed to minimize a given performance index considering not only control input but also vibration suppression. For these purpose, this paper applies LQG and LQG/LTR schemes to this model and finally show the capability for attitude control including vibration suppression. Especially, this paper shows the method of assumption as nonsingular system through singular value division for LQG/LTR design.

• The Journal of The Korea Institute of Intelligent Transport Systems
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• v.8 no.6
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• pp.1-12
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• 2009

Recently, as the importance of Economical Driving has been gradually growing up, the needs for research on automatic analysis of driving patterns that will ultimately provide drivers the methods for Economical Driving have been increasingly risen. Based on this purpose, we have executed two things in this paper. First, we have collected overall driving information such as date, distance, driving time, speed, idle time, sudden acceleration/deceleration count, and the amount of fuel consumption. Second, we have analyzed the influences of driving patterns on economical driving by employing the data mining techniques. These results can be applied in preventing bad driving patterns which will have consequently bad effects on Economical Driving in two aspects: by presenting some information on the terminal of the vehicles such as idle time, over-speed time, sudden acceleration/deceleration count continuously and by providing the drivers with alert information when the idle time ratio and the over-speed time ratio are excessive.

• Korean Journal of Construction Engineering and Management
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• v.23 no.2
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• pp.3-15
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• 2022

In this study, we develop a simulation model for Supply Chain Management (SCM) of modular construction based steel bridge. To this end, first, Factory Production/Site Construction system data for the steel bridge construction were collected, and supply chain, entities, resources, processes were defined based on the collected data. After that, a steel bridge supply chain simulation model was developed by creating data, flowchart, and animation modules using Arena software. Finally, verification and validation of the model were performed by using animation check, extreme condition check, average value test, Little' s law test, and actual case value test. As a result, the developed simulation model appropriately expressed the processes and characteristics of the steel bridge supply chain without any logical errors, and provided accurate performance evaluation values for the target system. In the future, we expect that the model will faithfully play a role as a performance evaluation platform in developing management techniques for optimally operating the steel bridge supply chain.

• Archives of design research
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• v.11 no.1
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• pp.131-142
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• 1998

Gustav KJimt (l862-1916)was a pioneer in the field of painting and decorative art. He was severly critized by the art critics of the time because of his rebellous art style. He firmly believed that there should exist a new kind of art that should portray the essence of the new liberalized era and that shoud reveal the idea of an artist in his work. Klimt was an aesthetic who sought beauty in life. He represented man as a micro universe within the macro universe. In order to portray man's inner being and to depict the process of life and death in nature, he symbolically employed female entity as a medium. Through uses of the circles, triangles, rectangles, and the spiral forms in his paintings, Klimt symbolized the meanings of man and nature. The circle symbolizes the universe and female entity; the triangle, human being; the rectangle, the earth and male entity; and the spiral, a universal force that attracts the opposite poles. The highly decorative characteristic nature of Klint's paintings and murals has often been modified in the pattern design field. It has been applied to home-furnishings and apparel textile designs, stained glasses, tiles, and posters. The techniques and layouts of these designs have been modified so that they may suit their manufacturing processes. In general, these pattern designs have two spectrums. One is the kind of design that has faithfully carried out Klimt' s original painting style. The other is the kind that has extracted the essence from the Klimt' s original art work.

• Cross-Cultural Studies
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• v.31
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• pp.371-394
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• 2013

This study aims to know word forms and usages according to personal relationships of 'Kureru Kudasaru' by analyzing dialogues of female speakers. Novels of the Meiji period when there were attempts of a language revolution were mainly used for this study as well as novels of the Edo Period and the Taisho Period. Firstly, the number of examples according to gender differences in the novels was as follows. In case of 'Kureru', female speakers showed a high usage rate in the novels of the Edo period. 'Kureru' was mostly connected with female languages such as 'Naharu', 'Namasu', 'Nansu'. These expressions were not used in the novels of the Meiji Period and the Taisho Period. Although 'Okureru' and 'Okurenasaru' were used in the novels of the Meiji Period, the number of examples of 'Kureru' by female speakers was decreased in the novels of the Meiji Period and the Taisho Period. 'Kudasaru' was predominantly used by female speakers. Especially, female speakers used clearly to show vertical relationships in the novels of the Edo Period and"Doseishoseikatagi"of Meiji 10s. After"Ukigumo", the usage rate of female speakers was decreased but the usage rate of male speakers was increased. Gender differences became gradually smaller. Female speakers in the novels were increased from geisha and relatives such as wife, sister, mother and children to young women, teacher and student. Aspects of benefactive verbs' usages could be summarized as follows. Female speakers at licensed quarters used clearer and more typical expressions according to vertical relationships and gender differences in the novels of The Edo Period than the novels of The Meiji Period and the Taisho Period. In the novels of the Meiji Period, female speakers in a sophisticated social group used benefactive verbs to show strong respect and concern for the other person. In the novels of the Taisho Period, female speakers used benefactive verbs to show respect and concern for the other person according to their areas of outside activities. In the novels of the Meiji Period, female speakers used 'Okureru' when the other person was younger than them and was socially and psychologically close to them. Also, 'O~Nasaru' which was one of respect expressions was used by female speakers. Female speakers used it to older people in the Edo period but they also used it to younger people in the Meiji Period. Examples were not shown in the novels of the Taisho Period. Usages of 'Kureru' 'Kudasaru' according to vertical relationships were as follows. If 'a giver' was an older person, 'Kureru' with respect expressions 'Nasaru' 'Nansu' 'Namasu' was used more than 'Kudasaru' in the novels of the Edo Period. However, many examples of 'Kudasaru' were shown on the novels of the Meiji Period and the Taisho period. In the novels of the Meiji Period, 'Okureru' and 'Okurenasaru' which were expressions included in 'Kureru' were shown. Female speakers used them to older people who were socially and psychologically close to them like family. There were not many examples of 'a giver' and 'a receiver' around the same age. However, 'Kureru' and 'Okureru' were used in a younger group and 'Kudasaru' was used in an older group in the novels of the Meiji Period. If 'a giver' was an younger person, 'Kureru' was mainly used in the novels of the Edo period and "Doseishoseikatagi"in Meiji 10s. However, 'Kudasaru' was used many times in the novels of the latter Meiji Period and the Taisho Period.

• Journal of Korean Medical classics
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• v.13 no.2 s.17
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• pp.58-67
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• 2000

통과대문왕팔괘차서도화문왕팔괘방위도적연구(通過對文王八卦次序圖和文王八卦方位圖的硏究). 득도요여하결론(得到了如下結論). 1. 최초명명위문왕팔괘차서도화문왕팔괘방위도적인시소옹(最初命名爲文王八卦次序圖和文王八卦方位圖的人是邵雍). 문왕팔괘차서도화문왕팔괘방위도수연몰유시문왕소화적확체적근거(文王八卦次序圖和文王八卦方位圖雖然沒有是文王所畵的確切的根據), 단시종추연복희이(但是從推演伏羲易), 동사상결합(同事相結合), 최종확립여금적역학체계적인시문왕(最終確立如今的易學體系的人是文王). 이차환부합현금적역리(而且還符合現今的易理), 인차구유일정설복력(因此具有一定說服力). 2. 재문왕팔괘차서도중삼남유일양이음구성(在文王八卦次序圖中三男由一陽二陰構成). 삼녀유일음이양구성(三女由一陰二陽構成). 저가이용음양호근적원리진행설명(這可以用陰陽互根的原理進行說明). 3. 복희팔괘방위도현시모종공간상(伏羲八卦方位圖顯示某種空間相). 이문왕팔괘방위도칙현시사시(而文王八卦方位圖則顯示四時). 팔절적변화화만물생장적류행주기등시간상적변화(八節的變化和萬物生長的流行周期等時間上的變化). 4. 문왕팔괘방위도동사시적오행상일치(文王八卦方位圖同四時的五行相一致). 시상생관계(是相生關係), 팔괘당중각유양개목김토(八卦當中各有兩개木金土). 시유우형흔왕성(是由于形흔旺盛), 수화각유일개시유우기흔왕성(水火各有一개是由于氣흔旺盛). 5. 문왕팔괘방위도재표면상간호상시오행상생적관계(文王八卦方位圖在表面上看好象是五行相生的關係). 단시(但是), 상호성대면적팔괘적오행도성상극관계(相互成對面的八卦的五行都成相剋關係). 화동측상임적감수(和東側相臨的坎水) 간토(艮土) 진목(震木) 손목도시성상극관계(孫木都是成相剋關係). 종차가이지도상극시발전만물적주체(從此可以知道相剋是發展萬物的主體). 6. 대우복희팔괘전화위문왕팔괘적원리(對于伏羲八卦轉化爲文王八卦的原理), 수유각종이론제출(雖有各種理論提出). 단시상무확체적설법(但是尙無確切的說法). 7. 복희팔괘주요체현천도화외상등(伏羲八卦主要體現天道和外象等), 문왕팔괘측체현인사화내정등(文王八卦側體現人事和內情等). 8. 복희팔괘위체(伏羲八卦爲體), 문왕팔괘위용(文王八卦爲用). 복희팔괘중(伏羲八卦中), 위변화적주체적천지즉건곤위우중축(爲變化的主體的天地卽乾坤位于中軸). 문왕팔괘중(文王八卦中), 위변화적대용적일월즉감리위우중축(位變化的大用的日月卽坎離位于中軸). 9. 복희팔괘도속우표현춘천적변화지상적제일괘도(伏羲八卦圖屬于表現春天的變化之象的第一掛圖), 생괘도화창조도(生掛圖和倉曹圖), 문왕팔괘도칙속우표현하천적변화지상적제이괘도(文王八卦圖則屬于表現夏天的變化之象的第二掛圖), 장괘도화발전도(長掛圖和發展圖). 10. 문왕팔괘도시류행이치기용적역지용(文王八卦圖是流行以致其用的易之用), 표현무질서화혼란(表現無秩序和混亂), 위화여괴리상호란무적난음난양지상(韋和與乖離相互亂舞的亂陰亂陽之象). 11. 문왕팔괘도화낙서적변화원리상일치(文王八卦圖和洛書的變化原理相一致), 가이장낙서적수직접대응도문왕팔괘도중(可以將洛書的數直接對應到文王八卦圖中). 우명낙서팔괘도(又名洛書八卦圖). 구수도혹일구역(九數圖或一九易). 12. 문왕팔괘도적상대응적수자지합도위십(文王八卦圖的相對應的數字之合都爲十). 저예시료성괘도십수도적출현(這豫示了成掛圖十數圖的出現).

• (The)Study of the Eastern Classic
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• no.34
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• pp.387-414
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• 2009

This paper seeks to provide an overview on the newly-discovered manuscript in gasa style. It is significant in that the entire in gasa style has not been seen before, although occasionally scripts incorporate sijo or gasa as inserted songs. The author of this manuscript is believed to be Bae Hyung (裵珩: ?-?), who lived in Daegachon, Yongdu-Myun, Sunchon-Gun in Jeonra-Namdo Province. It is estimated that the manuscript was written in April of King Gojong 37 years (year 1900). This , so-called the Yang Jee-Uk Collection Script, applies Samdan Pyunun Daewoo Method (三段片言對偶法), using Jongbae style (縱排法) to over 27 pagesof the book. The author seems to have collected the main scenes of and changed them into gasa style. It is also possible to postulate that the author might have simply divided the lines to make it resemble the existing gasa style, as the original was already in the form of lyrics. There are a few mistakes found in the manuscript. They seem to have been made while the author was recording the sung P'ansori, rather than while copying from a different manuscript.

• (The) Research of the performance art and culture
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• no.23
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• pp.63-103
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• 2011

This paper inquires closely into the background of pansori gosu(drummer) and his social position based on documents and oral materials and the performance features of gosu in the entire process of pansori performance, 'preparation', 'performance' and 'aftermath', focused on the relationship between the changja(singer)-gosu. In the past, some gosus were ex-tightrope performers. Their social position and working conditions were better than that of the ex-tightrope performers but were worse than that of the pansori singer. After 1910's, people formed some special sense about the gosu due to the change of the space for pansori performances and the technological advances on the media, and gosu's conditions improved. The theory of pansori drum gradually began to be established well. The function and the role of gosu in the whole process of pansori performance may be summarized as follows. To begin with, the training with various and a lot of singers is required in the 'preparation'. Rehearsals are divided into individual practices and joint practices, and the latter can be controlled by the level of the capacity of gosu and the degree of the experience between chanja-gosu. Next, bobiwi(flattering drumming) and chuimsae(encouraging remarks) are important in tbe 'process'. The gosu has to share the speed of one jangdan(rhythmic patterns) and the accent of the sori and adjust his enery. Besides, he has to acknowledge the naedeureum(beginning sign) and reply with changja's singing. In formal performances, working in harmony with changja and gosu and their joint experiences are necessary for the gosu; in pansori contests, giving chanja a stability; in contests for gosu, drumming skill, position, chuimsae; in small performances and new adaptation of pansori, cheap fees and positive response of the transformational play or ad-lib; in lecturer concerts, reacting quickly to rapidly changing situations. Chuimsae is way which gosus and audiences express their feeling together, however, its context and sound are different. Finally, 'aftermath' is a process the pair of chamgja and gosu mutually evaluates about performance or audiences estimate that.

• The Korean Society of Law and Medicine
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• v.24 no.3
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• pp.155-206
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• 2023

When a person with diminished mental capacity refuses necessary medical care, normative judgments about when paternalistic intervention can be justified come into question. A typical example is involuntary hospitalization for people with mental disabilities, traditionally governed by mental health law. However, Korean civil law reform in 2011 introduced a new form of involuntary hospitalization through guardianship legislation, leading to a dualized system to involuntary hospitalization. Consequently, a conflict has arisen between the 'best interest and surrogate decision-making' paradigm of civil law and the 'social defense and preventive detention' paradigm of mental health law. Many countries have criticized this dualized system as not only inefficient but also unfair. Moreover, the requirement for the presence of 'mental illness' for involuntary hospitalization under mental health law has faced criticism for unfairly discriminating against people with mental disabilities. In response, attempts have been made to integrate guardianship legislation and mental health law based on mental capacity. This study examines the legislative process and framework of the Mental Capacity Act (Northern Ireland) 2016, which reorganized the mental health care system by fusing guardianship legislation with mental health law based on mental capacity. By analyzing the case of Northern Ireland, which has grappled with conflicts between guardianship legislation and mental health law since the 1990s and recently proposed mental capacity as a single, non-discriminatory standard, we aimed to offer insights for the Korean guardianship and mental health systems.