• Communications for Statistical Applications and Methods
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• v.3 no.1
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• pp.101-109
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• 1996

네트웍 샘플링은 회귀한 속성을 갖는 모집단에서 유용한 표본조사방법이다. 기존의 중복수 추정량(multiplicity estimator)은 네트웍 샘플링의 특징을 반영하는 추정량으로 응답오차를 고려하지 않은 경우에 이용되었다. 본 논문에서는 응답오차를 고려한 경우와 이용할 수 있는 수정된 중복수 추정량을 제안하였다. 그리고 제안된 추정량의 기대값과 근사기대분산(approximate expexted variance)을 유도하였으며, 제안된 추정량이 기존의 모총수 추정량보다 화과적임을 가상모집단을 통하여 보였다.

• The Korean Journal of Financial Management
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• v.18 no.1
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• pp.1-21
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• 2001

주가가 장기기억과정에 의하여 생성되면 주가과정에 가해진 충격은 쌍곡선감소율로 소멸한다. 따라서 충격의 영향이 대단히 느리게 감소하여 충격이 지속성을 가진다. 반면 주가가 단기 기억과정을 따르면 지수율로 감소하여 소멸한다. 지수율감소는 충격의 영향을 급속히 소멸시키므로 충격의 영향이 조만간 소멸한다. 따라서 충격으로 변화된 주가는 평균으로 회귀한다. 충격의 영향이 영원히 존재하는 과정도 존재한다. 장기기억과정은 쪽거리차분과정 또는 분수차분과정이다. 차분모수가 분수일 것이 요구되는 시계열은 장기기억과정이다. 주가가 장기기억과정에 의하여 생성되고 있는지의 여부를 검정하였다. 장기기억과정을 형성시키는 차분모수는 분수차분모수이다. 일별 주가지수의 수익률을 사용하여 차분모수를 추정하였는 바 그 값이 0에 근접하고 있음이 밝혀졌다. 그러나 Kospi, Nasdaq과 Mib30은 장기기억모수가 0에 접근하고 있으나 0이 아니다. 따라서 이 지수들은 장기기억과정에 의하여 생성된다고 할 수 있다. 반면 Dow Jones, S&P 500와 Dax는 장기기억모수가 0이라는 가설이 기각되지 않고 있어 이 지수들은 단기기억과정을 따르고 있다. 따라서 평균회귀과정에 의하여 생성되고 있음을 알 수 있다.

• Proceedings of the Korean Statistical Society Conference
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• 2002.11a
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• pp.179-184
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• 2002

층화 추출법에서 층의 경계점을 정하는 문제는 추정의 효율에 직접적으로 영향을 미치기 때문에 매우 실제적이고 중요한 문제이다. 층화변수가 일변량 연속변수인 경우 널리 알려진 방법으로는 누적도수제곱근법과 Ekman법이 있는데 이 두 방법은 모두 나름의 약점을 지니고 있다. 본 논문에서는 Breiman 등(1984)이 제시한 CART 기법 중 회귀나무(regression tree)모형을 이용하여 층의 경계점을 정하는 방법을 소개한다. 그리고 통계청의 어업총조사 자료를 사용하여 층의 경계점을 정하는 여러 다른 방법들의 효율을 비교한다.

• Transactions of the Korean Society for Noise and Vibration Engineering
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• v.15 no.8 s.101
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• pp.939-944
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• 2005

In this paper, a sound quality index for the evaluation of the vehicle intake noise was developed through a correlation analysis of the objective measurement and the subjective evaluation. First, intake orifice noise was measured at the wide-open throttle sweep condition. And then, the acoustic transfer function between intake orifice noise and interior noise was measured. Simultaneously, subjective evaluation was carried out with a 10-scale score by 8 special engineers. The correlation analysis between the psychoacoustic parameters derived from the measurement and the subjective evaluation was performed. The most critical factor was determined and the corresponding sound quality index for intake noise was obtained from the multiple factor regression analysis method. Finally, the effectiveness of the proposed index was validated.

• Proceedings of the Korean Society of Computer Information Conference
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• 2018.07a
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• pp.87-88
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• 2018

본 연구는 부분유료온라인 게임에서 유저의 게임 이용 기간과 처음 결제 시기간의 상관관계의 검증을 통해 점차 중요도가 높아지고 있는 게임 이용 기간에 대한 요소로서 처음 결제 시기가 적절한지를 알아보았다. 게임 이용 기간과 처음 결제 시기의 상관관계를 검증하기 위해 설문으로 데이터를 수집하고, 회귀분석을 실행하였고 처음 결제 시기가 게임 이용 기간에 양적인 방향으로 영향을 끼치는 요소임을 확인하였다.

• Transactions of the Korean Society for Noise and Vibration Engineering
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• v.14 no.9 s.90
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• pp.884-890
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• 2004

In this paper, an index for the evaluation of vehicle intake booming noise is developed through a correlation analysis of objective measurement data and subjective evaluation data. First, intake orifice noise is measured at the wide-open test condition. And then, acoustic transfer function between intake orifice noise and interior noise at the steady state condition is estimated. Simultaneously, subjective evaluation was carried out with a ten-scale score by 8 engineers. Next, the correlation analysis between the psycho-acoustic parameters derived from the measured data and the subjective evaluation is performed. The most critical factor was determined and the corresponding index for the intake booming noise is obtained from the multiple factor regression method. At last, the effectiveness of the proposed index is validated.

• Korean Association for Visual Culture
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• v.23
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• pp.463-524
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• 2013

En exprimant 'la découverte de l'homme', Valéry, dans la Philosophie de la danse, représente «un plaisir qui allait jusqu'à une sorte d'ivresse, et si intense parfois, qu'un épuisement total de ses forces, une sorte d'extase d'épuisement pouvait seule interrompre son délire, sa dépense motrice exaspérée». Dans le même sens du plaisir, Jayadéva, dans son dithyrambe du Gîta-Govinda, représente la danse de Harî, une des nombreuses formes de Vichnou. Excités par le brûlant désir des jeux de la volupté, Hari et son amante Râdhâ cherchent au cours de la danse Râsa l'énergie vitale. Voilà la source du plaisir mystérieux valéryen. Ensuite l'eau, «élément essentiel de toute vie», est la mesure du temps de même que le soleil, l'eau est le principe de l'harmonie comme celui du monde. Finalement, chez Valéry, sous les diverses infleunces de l'eau mythique, la mer devient l'Océan de lait, soit le lieu de naissance, soit la substance maternelle, soit l'essence da la création universelle. Or tout au long de 「La Dormeuse」, Valéry évoque l'image de 'Vichnou-Narayana' sous l'influence de la mythologie indienne. Et sous une autre influence de Flaubert, Valéry évoque « d'étranges mondes abstraits». Malgré tout, Valéry crée lui-même, dans 「La Dormeuse」, une nouvelle image d'un monde abstrait : 'Vichnou-Narayana' couché sur un lit de lotus, porté par les replis du grand serpent Ananta, qui élève au-dessus du dieu endormi méditant, ses sept têtes formant une éspèce de dais - du sein de Narayana, richement décoré d'un collier d'étoiles et d'une couronne de pierres précieuses en forme de disque, croit un lotus qui porte Brahma dans son calice ; Lakchmi est aux pieds de son divin époux. L'épisode des dieux indiens est à un stade encore plus avancé de la destruction du symbole. Ils sont réduits à des formes symboliques obscures, non commentées et même difficilement identifiables. Le dieu rose qui mord son orteil dans une attitude à la fois mystérieuse et grotesque, c'est Vichnou qui a, selon le vichnouisme, le premier rôle dans la création du monde. Il flottait avant la création sur les eaux, couché sur une feuille de figuier, sous la forme d'un jeune enfant qui porte son pied vers sa bouche. Cette scène évoque la méditation et le repli sur soi de la divinité avant le commencement. Valéry désigne la cosmogonie particulière d'une religion bien déterminée(le vichnouisme) sans la nommer et en la vidant de son sens pouratnt capital, laissant subsister un symbole guetté par le grotesque, un dieu en enfance ; d'autre part, cette cosmogonie est télescopée et intégrée par une cosmogonie d'origine différente : le désemboîtement des trois dieux renvoie à la théorie sivaiste du Lingam, l'arbre de vie. Les dieux de la tirinité iendienne se détachent les un après les autres et il ne reste plus que la fleur sous la garde de Vichnou. Le désemboîtement des dieux paraît bien se référer à cette conception, malgré l'absence du lingam. Enfin toute la forme veille ; et tous les yeux sont ouverts.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.413-420
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• 2024

After Friedrich Nietzsche's advocacy of nihilism, many literary works, dramas, and films have depicted aspects of human psychology associated with nihilism. Animation, too, has been used to convey nihilism, with narratives infused with nihilistic themes produced as both TV series and theatrical animations. Particularly, animation, as a visual medium capable of realizing any imaginative image unlike other media, possesses distinctive characteristics from live-action cinematography and differs from comics in its temporal properties. Hence, this study aims to analyze how Nietzsche's defined three stages of nihilism are represented within animation characters and how they construct various scenarios, using the anime "Attack on Titan" as a case study. The research unfolds by first examining Nietzsche's types of nihilism and the three stages through a review of literature, while also investigating the portrayal of nihilism in mass media and considering the unique attributes of animation. Secondly, building upon the literature review, the analysis interprets the narrative and constructed world of the chosen case study from a nihilistic perspective, examining four major characters through the stages of passive nihilism, active nihilism, and eternal recurrence. The findings demonstrate that the anime conveys two messages regarding negation and affirmation of one's life and existence, thereby offering viewers an opportunity to deeply contemplate human existence. This study is considered significant as it examines how Nietzschean nihilism is portrayed within the popular entertainment medium of animation.

• Cartoon and Animation Studies
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• s.28
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• pp.27-53
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• 2012

American superhero comics are being produced in numerous different forms for multiple, and cross-platform media. In cinema, films based on superhero comics top the list of all time box office records. The same phenomenon of the 'Invasion of Superhero' is duplicated in Korean box office 2012, however, the korean fans are not familiar with the superheroes from the publication which provides the original source of characters and stories for other superhero related media products. Based on observing the multiple and vastness of world building characteristics of superhero comic, this paper attempts to associate the continuous creative nature and the infinite repetition of superheroes and comic texts with the identity of superhero on ontological level. First, chapter 2 examines how one superhero exists in multiple and different worlds individually by utilizing the concept of 'multi-universe' or 'multiverse' in comic texts. Initially, duplicating a superhero on multiple settings and series destroyed continuity and allowed contradiction and paradox confused narrative as a whole, but it also gave chances for comics to be more vibrant and experimental with their stories and characters. Chapter 3 analyzes the superhero comic texts in the light of repetition, concept developed by french philosopher Gilles Deleuze, and make the argument that the superheroes and texts are not repeated to generate surplus of source for economic utilitarian purposes, but it is, first and foremost, a repetition of creativeness and capability. Many concepts introduced by Deleuze in his early masterpiece, $\acute{e}$rence et R$\acute{e}$p$\acute{e}$tition> are taken to support this argument. Mainly, his critical views on generality of the identity and his effort to replace the Plato's system of representation with vibrant creative, and renewal energy of r$\acute{e}$p$\acute{e}$tition. According to Deleuze, repetition is similar concept, if not identical, to what Nietzsche called the 'eternal return' which allows the return of the Overhuman or the Superhuman, and he extends his idea that the returning Overhuman is the singular simulacre which opposes the generalization of identity, in the likes of Plato's Idea. Thus, the superhero's identity is ever changing, ever returning, and ever renewing Overhuman. The superhero must be repeated to fully actualize his/her existence. Also, based on Deleuze's reading of Bergson's texts on the Virtual, the superhero, for example Superman, is actualization of his/her multiplisit$\acute{e}$, the internally multiple, and differentiated variations from itself. These every Supermans' multiplisit$\acute{e}$ shares common memory, past, and duration, thus the Virtual of Superman. Superman becomes himself only by actualizing the movement and differentiation from these multiplisit$\acute{e}$ in his virtual on the surface of reality. On chapter 4, a popular Korean comic book character Oh, Hae-Sung's r$\acute{e}$p$\acute{e}$tition and multiplist$\acute{e}$ are analyzed, and makes comparison to that of Superman to distinguish the repetition from r$\acute{e}$p$\acute{e}$tition, and multiplicit$\acute{e}$ from diversity.

• Journal of Korean Philosophical Society
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• v.123
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• pp.409-440
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• 2012

It is well known that Deleuze began his philosophical work from researching the biographies of many predecessors' such as D. Hume, Lucretius, I. Kant, B. Spinoza, F. W. Nietzsche, H. Bergson, and etc. Among them, especially Spinoza, Nietzsche, and Bergson constitute a foundation supporting the whole idea of Deleuze. He declared that the goal of his early biographical work is a theme converging the identity of two philosophers, Spinoza and Nietzsche, and it shows that these two philosophers had such a huge significance to Deleuze, at least by then. However, we may point out two issues here. The first is why Deleuze, who is recognized as a philosopher of 'difference', deals the identity. The other issue is, what kind of identity exists between the two philosophers, Spinoza and Nietzche. In a common sense, their ideas contradict to each other. Spinoza puts God at the center of his philosophical system, whereas Nietzsche declared 'God is dead'. Though Nietzsche expressed a concurrent opinion with Spinoza at first, it is well known that he turned his side against him soon after and criticized him sharply. There is a conflict at the core of this criticism concerning the existence or non-existence of God. Many think that Spinoza, however, cannot be free from the argument that his philosophy allows a possibility of atheism. Deleuze, who also called Spinoza an atheist, suggested a new viewpoint of the philosophy of Spinoza based on his attribution to the concept of 'power'. On the other hand, Deleuze reinterpreted Nietzsche, where he analyzed 'the will to power' in a totally inventive way. Likewise, the reciprocal communication of ideas connected by the concept of 'power' gives a foundation of identifying the two philosophers to Deleuze. In this paper, considering this reciprocal communication, I intent to reveal the foundation of identity of the two philosophers, Spinoza and Nietzsche, and as a result, investigate what the concept of identity means to Deleuze, the philosopher of difference. Furthermore, we will also take a look at how Deleuze presents a new perspective on the conflict on the existence of God of the two philosophers in the process of validating the identity.