• Journal of the Korea Convergence Society
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• v.10 no.6
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• pp.165-170
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• 2019

This study carried out the structural analysis and vibration analysis on scooter seat. By comparing with three kinds of B-bone A, Julio B, and City Ace C, the load was applied to scooter seat as much as a weight of person. Through structural analysis, this study examined which seat is most deformed by comparing the deformation each other or affords passengers most convenience and does not afford passengers the inconvenience by absorbing the vibration during driving. Model C has the most total deformation at the structural analysis result and Model B is seen to be changed to be convenient to sit the deformation as it deforms largely. Through this study, which seat is most convenient and becomes strong on durability can be confirmed. As the durability analysis result data of scooter seat model obtained on the basis of this study result are utilized, the esthetic sense can be shown by being grafted onto the machine or structure at real life.

• Proceedings of the Korea Water Resources Association Conference
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• 2017.05a
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• pp.201-201
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• 2017

서울시 효자배수분구(광화문 지역)는 2010년, 2011년 호우로 인해 침수 피해가 많이 발생했던 지역으로 당시 주요 침수피해 원인은 광화문 사거리 및 경복궁역 인근에 위치하고 있는 굴곡 관로의 손실수두 증가(유입, 만곡, 마찰손실 등), 지하매설물로 인한 통수단면 감소 등으로 조사되었다. 따라서 대상지역의 침수 원인을 정확히 분석하기 위해서는 관거의 만곡, 급 확대 및 급 축소에 따른 손실계수의 적용이 요구된다. 손실계수는 유입부, 만곡부에 대한 계산식을 이용하여 산정하고 모형에 적용하였으며 적정 손실계수 값을 얻기 위해 손실계수에 대한 민감도 분석을 수행하였다. 모의 검토 대상기간은 우수관거내 수심 측정자료가 존재하는 4개의 이벤트를 선정하였으며 같은기간에 해당하는 AWS 매분단위 강우자료를 취득하여 모의에 적용하였다. 또한, 적정 손실계수를 선정하기 위해 관측치와 모의치의 적합도를 평가하였으며, 평가지표는 자료 개수에 관계없이 절대적으로 평가할 수 있는 NSE(Nash-Sutcliffe Efficiency)를 사용하였다. 손실계수 적용 여부에 따른 분석결과 손실계수를 적용한 모의치가 관측치의 오차가 미적용한 모의치보다 적합도의 평가지표가 우수하게 분석되었다. 손실계수 민감도 분석 결과는 경험식에 의해 산정된 손실계수를 적용한 Case3의 NSE가 가장 우수하게 분석되었다. 이와같이 도시 지역의 침수분석에 있어 우수관거에 대한 손실계수 적용으로 분석모형의 정밀도를 높일 수 있는 것으로 판단된다.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.2
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• pp.1-10
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• 2013

This paper aims to make an aesthetic inquiry into representing modes of wilderness in western films. The western film was the first genre in earnest about natural landscape, covering vast areas of America from the East to the West. It adopted representative modes suited to physical characteristics of landscapes which produced aesthetic characteristics. In western films, wilderness was represented at a distance from the camera lens as a setting and an object of contemplation. In eastern forest landscapes, western films adopted the visual model of Hudson River School's landscape painting which expressed the transcendental sublime. The western semiarid region reproduced the warrior's gaze shot from a high angle, and, in this visual mode, wilderness was expressed as a demonic landscape derived from Burke's definition of the sublime. On one hand, the western desert was represented as a place of hardship shot at a low angle which expressed the vastness, unevenness and limitlessness of the desert owing to the absence of horizon. On the other hand, the mesas of Monument Valley have sublime characteristics of size and time. In western films, they play the role of an emblem by rising from the limitless desert on the horizon. The prospect-refuge relationship, the desire to see without being seen, is discovered in the representative mode of wilderness in western films. In this context, this study hopes to discover the archetype of landscape representation.

• Cartoon and Animation Studies
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• s.24
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• pp.199-222
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• 2011

While Korea has actively discussed the fields of comics and animation, with an aim toward public art and publicity for cultural welfare, research on public cultural content for the underprivileged and their regions is in fact lacking. The Korean government has also tried to improve Korea's cultural welfare, but its benefits have failed to be evenly given to the underprivileged. Therefore, we need to take greater interest in the underprivileged and their regions. Korea should work to correct the unbalance among regions in the field of cultural welfare (cultural differences between the capital area and other regions, and between new towns and old), as well as improve the living environments of isolated areas. For this reason, such a public art project should be conducted from two directions. First, the underprivileged living in poor conditions should be allowed to live in clean and cultural environments. And second, public art, comics, and storytelling through animation should be formed with an eye on urban culture. This project aims to focus on improving "the quality of citizens' lives" through creating the unique characteristics and landscape of the city. It will be presented through the use of public art, which presents the elements of the city with charm and vitality. The two directions stated above are our urgent tasks. Public art, comics, and animation storytelling regarding the history, culture, and natural resources of the region will develop with the affection and pride of the citizens, and public art will help create an environment that allows people to discuss their issues. In addition, it will be cultural environments that will allow all citizens to enjoy beautiful streets and events. This project will be an opportunity to realize cultural democracy by pursuing social values such as publicity, communication, equality, and participation.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.14 no.3
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• pp.1207-1212
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• 2013

The purpose of this study was to examine the effect of transcutaneous electrical nerve stimulation (TENS) according to frequency and intensity on postural sway distance and velocity. TENS was applied to posterior aspect of the dominant leg with postural sway during one leg stance. Twenty-four healthy participants were measured while standing on a force platform with 5 different stimulation dosages of no TENS, high frequency and high intensity, high frequency and low intensity, low frequency and high intensity, low frequency and low intensity applied in 30 seconds. The five different dosages were performed with vision in random order. The results indicated that TENS dosage in the high frequency and low intensity had a significant decrease in postural sway(p<.05). From these results, we concluded that TENS delivered a high frequency and low intensity enhanced the postural sway in healthy adults. We expect that the postural sway of patients with decreased balance will reduce by application of TENS.

• Journal of Korean Philosophical Society
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• v.148
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• pp.101-128
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• 2018

While there are various opinions about the relationship of Schiller's thought and Kant's, it is undeniable that Schiller owes much to Kant. What distinguished Schiller from other Weimar thinkers at his time, such as Goethe, Herder and Wieland, was that unlike them Schiller accepted Kant's project of critical philosophy. In fact, Schiller did not just accept it, but tried to interpret and formulate anew the relation of beauty and morality and some other aesthetical-ethical ideals on the basis of the new philosophy. Schiller's famous project of 'aesthetic education of mankind' itself is the product of such an endeavor. In this work we follow the history of Schiller's acceptance of Kant's critical philosophy and ruminate over its implications. And then, we'll show that Schiller's 'beautiful soul' in Grace and Dignity (1793), which is often suggested to be a proof of Schiller's conflict with Kant, was understood on the basis of Kant's moral theory. In this part of the work, we compare Schiller's ideal of the 'beautiful soul' and Shaftesbury's ethical thought, which is often presumed to be its background. From this comparison we'll be able to see that there is a considerable disparity, despite apparent similarities, between Schiller's and Shaftesbury's ethical ideals, which is due to their respective philosophical sources, that is neo-platonic metaphysics and Kant's critical philosophy.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.72-84
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• 2010

This study was attempted in order to offer basic data for implementing and applying Samjonseokjo(三尊石造), which is one of traditional stone construction method, by confirming how the constructive principle is expressed such as proportional beauty, which is contained in the modeling of Triad of Buddha Carved on Rock that was formed in the period of the Three States, centering on Triad of Buddha Carved on Rock in Susan. The summarized findings are as follows. 1. As a result of analyzing size and proportion of totally 17 of Triad of Buddha Carved on Rock, the average total height in Bonjonbul(本尊佛) was 2.96m. Right Hyeopsi(右挾侍) was 2.19m. Left Hyeopsi(左挾侍) was 2.16m. The height ratio according to this was 100:75:75, thereby having shown the relationship of left-right symmetrical balance. The area ratio in left-right Hyeopsi was 13.4:13.7, thereby the two area having been evenly matched. 2. The Triad of Buddha Carved on Rock in Seosan is carved on Inam(印岩) rock after crossing over Sambulgyo bridge of the Yonghyeon valley. Left direction was measured with $S47^{\circ}E$ in an angle of direction. This is judged to target an image change and an aesthetic sense in a Buddhist statue according to direction of sunlight while blocking worshipers' dazzling. 3. As for iconic characteristics of Buddha Carved on Rock in Seosan, there is even Hyeopsi in Bangasang(半跏像) and Bongjiboju(捧持寶珠) type Bosangipsang. In the face of Samjon composition in left-right asymmetry, the unification is indicated while the same line and shape are repeated. Thus, the stably visual balance is being shown. 4. In case of Triad of Buddha Carved on Rock in Seosan, total height in Bonjonbul, left Hyeopsi, and right Hyeopsi was 2.80m, 1.66m, and 1.70m, respectively. Height ratio in left-right Hyeopsibul was 0.60:0.62, thereby having been almost equal. On the other hand, the area ratio was 28.8:25.2, thereby having shown bigger difference. The area ratio on a plane was grasped to come closer to Samjae aesthetic proportion. 5. The axial angle of centering on Gwangbae was 84:46:50, thereby having been close to right angle. On the other hand, the axial angle ratio of centering on Yeonhwajwa(蓮華坐: lotus position) was measured to be 135:25:20, thereby having shown the form of inequilateral triangle close to obtuse angle. Accordingly, the upper part and the lower part of Triad of Buddha Carved on Rock in Susan are taking the stably proportional sense in the middle of maintaining the corresponding relationship through angular proportion of inequilateral triangle in right angle and obtuse angle. 6. The distance ratio in the upper half was 0.51:0.36:0.38. On the other hand, the distance ratio in the lower half was 0.53 : 0.33 : 0.27. Thus, the up-down and left-right symmetrical balance is being formed while showing the image closer to inequilateral triangle. 7. As a result of examining relationship of Samjae-mi(三才美) targeting Triad of Buddha Carved on Rock in Susan, the angular ratio was shown to be more notable that forms the area ratio or triangular form rather than length ratio. The inequilateral triangle, which is formed centering on Gwangbae(光背) in the upper part and Yeonhwajwa(lotus position) in the lower part, is becoming very importantly internal motive of doubling the constructive beauty among Samjae, no less than the mutually height and area ratio in Samjonbul.

• The Journal of Korean Academy of Prosthodontics
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• v.50 no.3
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• pp.162-168
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• 2012

Purpose: Teeth are generally exposed when people smiling. Moreover, the exposed teeth and soft tissue when smiling becomes an important guideline for esthetically prosthetic restoration. This research is to compare and find out differences of Korean young men's smile living in presence and twenty years ago. Materials and methods: Subjects, 100 young men (50 male and 50 female), were required about several aspects; normally developed physical condition, no psychological or genetic disorders, a fine face with no loss of teeth, no experience in orthodontic or prosthetic treatment, relatively normal occlusion, aged between 20-29. The photos of the subject at rest position and front face when fully smiled were taken three times. 100 photos (50 male and 50 female) were chosen at random from the 240 university students' smile photos taken by Yoon and his colleagues in 1991. By Hulsey's method of measuring smile, several factors; the change of upper lip curvature, the change of the relation between the upper lip and teeth, parallelism between Mx. incisor and lower lip, contact relation between Mx. incisor and lower lip and teeth displayed in a smile, were measured and analyzed. Meanwhile, ten dentists assessed aesthetic evaluation about men and women's smile for twice and recorded and compared smile score. The -test (P<.05) was used to compare the measured value. The difference of smile score was analyzed by t-test (P<.05). Results: The smile score calculated in 2011 (60.22) was higher than that of 1991 (52.80). Among five measurement categories, the noticeable difference was distinguished from two factors; the change of upper lip curvature and contact relation between Mx. incisor and lower lip. Conclusion: The Korean young men's smile has been considerably improved for twenty years. And it is found that the change of upper lip curvature plays an important role, that is, the smile formed with an ascended labial commissure has been increased significantly.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.217-247
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• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."