• Journal of the Institute of Electronics Engineers of Korea TC
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• v.42 no.9 s.339
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• pp.85-96
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• 2005

A ' Virtual Private Network (YPN) over Internet' has the benefits of being cost-effective and flexible. However, given the increasing demands for high bandwidth Internet and for reliable services in a 'VPN over Intemet,' an IP/GMPLS over DWDM backbone network is regarded as a very favorable approach for the future 'Optical VPN (OVPN)' due to the benefits of transparency and high data rate. Nevertheless, OVPN still has survivability issues such that a temporary fault can lose a large amount of data in seconds, moreover unauthorized physical attack can also be made on purpose to eavesdrop the network through physical components. Also, logical attacks can manipulate or stop the operation of GMPLS control messages and menace the network survivability of OVPN. Thus, network survivability in OVPN (i.e. fault/attack tolerant recovery mechanism considering physical structure and optical components, and secured transmission of GMPLS control messages) is rising as a critical issue. In this Paper, we propose a new path establishment scheme under shared risk link group (SRLG) constraint for physical network survivability. And we also suggest a new logical survivability management mechanism by extending resource reservation protocol-traffic engineering extension (RSVP-TE+) and link management protocol (LMP). Finally, according to the results of our simulation, the proposed algorithms are revealed more effective in the view point of survivability.

• KIPS Transactions on Software and Data Engineering
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• v.2 no.8
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• pp.507-516
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• 2013

Mobile devices have limited computing power and resources. Since mobile devices are equipped with rich network connectivity, an approach to subscribe cloud services can effectively remedy the problem, which is called Mobile Cloud Computing (MCC). Most works on MCC depend on a method to offload functional components at runtime. However, these works only consider the limited verion of offloading to a pre-defined, designated node. Moveover, there is the limitation of managing services subscribed by applications. To provide a comprehensive and practical solution for MCC, in this paper, we propose a self-stabilizing process and its management-related methods. The proposed process is based on an autonomic computing paradigm and works with diverse quality remedy actions such as migration or replicating services. And, we devise a pratical offloading mechanism which is still in an initial stage of the study. The proposed offloading mechanism is based on our proposed MCC meta-model. By adopting the self-stabilization process for MCC, many of the technical issues are effectively resolved, and mobile cloud environments can maintain consistent levels of quality in autonomous manner.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.1
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• pp.76-84
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• 2019

This study was conducted for the purpose of examining the Outstanding Universal Value, World Heritage Values, in Suzhou classical gardens and the operational method of the protection management of historic gardens, and the results of the study are as follows; The first, as a world heritage, Suzhou gardens proved OUV by showing the taste and lifestyle of the literati, the unique class of Chinese history, to the natural environment of the East Yangtze Delta region. In addition, it showed the exchange of international culture with unique Chinese garden techniques. Second, a authentic reconstruction of garden have original value because it exist records of the near past. The 20th-century archives described by the contemporary language and describing the heritage through images using such media as photography and drawing played a decisive role in restoring gardens. Third, the protection management of Suzhou gardens, which began in the 1950s, was carried out in detail, including the reconstruction of components such as buildings, the restoration of plant materials and horticulture technique, the creation of a list through the records of trees, the maintenance of props such as plaque, furniture, and the project to improve water quality and restore waterscape. The last, after the World Heritage inscribing, Garden's protection management was proceeded in two directions. One is that through the reorganization of the administrative management system and the enactment of laws related to Suzhou classical Gardens, the listing heritage is strictly protected and managed, and the other is that the historical gardens are used to establish urban masterplan and urban identity in Suzhou. The range of garden properties greatly expanded by distinguishing the principle of conservation from protection to rational use and the grade of protection, such as whole protection, maintenance protection and protection of historical sites.

• The Southeast Asian review
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• v.20 no.3
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• pp.183-222
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• 2010

본 연구의 목적은 2008년 후반에 발생한 국제금융위기에 대응하여 조직 개편을 선택한 기업과 그 기업 내의 근로자들 실태 파악을 하는데 있다. 특히 기업구조조정 명목으로 단행된 해고를 모면한 근로자들 (생존자)의 상태를 그들이 지각하는 각 개인의 관리자에 대한 만족도와 그들의 직무관련태도인 직무만족, 조직적 몰입 그리고 이직 의도 간의 관계 관점에서 살피고자 한다. 관리자에 대한 만족도는 근로자들의 직무 관련 태도 변수와 관련되어 사회적 선행변수로 선택되었으며 직무관련태도는 결과변수로 선택하였다. 본 연구를 통해 생존자들의 조직 내 직무관련태도에 관한 이해를 높이는데 필요한 정보를 표출해내어 그들의 실태를 파악하는데 하나의 목적을 두었으며 그들의 관리자와의 사회적 관계가 그들에게 미치는 영향을 파악하는 것이 또 하나의 목적이라 하겠다. 이상과 같은 관계 파악을 통해 얻은 정보로 관련기업이 단기적으로 성공적인 자립을 하여 장기적으로 경쟁력 있는 조직으로 성장할 수 있는 인적자원전략을 제공하는데 2차적인 목적을 두고 있다. 본 연구는 이상과 같은 목적을 달성하고자 그 유의성이 증명된 현존하는 설문을 활용한 조사기법을 채택하여 실증연구를 하였다. 수집한 자료는 SPSS 17.0과 LISREL 8.5을 사용하여 연구모형과 연구의 가설들을 검증하였다. 연구목적을 달성하고자 채택된 가설들은 기존의 문헌연구를 토대로 세워졌다. 연구대상은 태국 북부지역의 대표도시인 치앙마이 내 관광호텔 종사자들로서 외부적으로는 2008년 국제금융위기와 그에 따른 경제침체, 내부적으로는 극심한 정치적 사회적 불안에 의한 관광객의 급감소와 조직의 자구책으로 행해진 조직재구조 차원에서의 해고를 이겨낸 근로자들, 즉 생존자들이었다. 가설검증을 통해 입증된 연구결과에 의하면 1) 근로자들의 관리자에 대한 만족은 그들의 직무만족, 정서적 조직몰입과 지속적 조직몰입에 영향을 미치는 것으로 검증됐다. 2) 근로자들의 관리자에 대한 만족은 그들의 이직의도에는 영향을 미치지 못하는 것으로 검증됐다. 3) 근로자들의 직무만족은 그들의 이직의도에 영향을 미치는 것으로 검증되었다. 4) 근로자들의 조직적 몰입과 이직의도 간의 관계에 있어서는 오직 경제적 성격의 지속적 조직몰입만 영향을 미치는 것으로 검증되었다. 이러한 연구 결과는 기존의 타 연구 결과와 기본적인 맥락은 같게 나왔으나 근로자들의 정서적인 면의 부재는 2008년 후반 당시의 독특한 태국의 사회적, 경제적 그리고 문화적 실태를 보여주는 것이 아닌 가 사료된다. 특히 근로자들이 그들의 직장과의 관계와 관련된 의사결정을 가치가 아닌 경제적인 요소에 의존한다는 결과 그리고 상관인 관리자가 이러한 태도에 전혀 영향력을 미치지 못한다는 결과는 전통적으로 감성적이며 집단주의적인 동양적 문화가 지배하리라고 예상했던 태국에서는 이례적인 결과였다. 그러나 관리자들이 그들의 직무만족 그리고 조직적 몰입에 영향을 주며 직무만족이 이직 의도에 영향을 미친다는 결과와 지속적 조직몰입이 이직의도에 영향을 미친다는 결과는 장기적으로 적극적인 관리자 교육을 통해 근로자들을 조직에 정서적으로도 올바르게 안착시키고 긍정적인 구성원으로 존재하면서 조직에 기여할 수 있는 그들의 역할을 기대할 수 있다고 볼 수도 있다. 이 점은 매우 중요한데 그 이유는 해고를 이겨낸 근로자들은 그 조직이 미래를 짊어지는 마지막 기대변수이기 때문이다.

• Journal of the Korea Institute of Information Security & Cryptology
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• v.15 no.2
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• pp.23-36
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• 2005

The main obstacle hindering the wide deployment of identity-based cryptosystem is that the entity responsible for creating the private key has too much power. As a result, private keys are no longer private. One obvious solution to this problem is to apply the threshold technique. However, this increases the authentication computation, and communication cost during the key issuing phase. In this paper, we propose a new effi ient model for issuing multiple private keys in identity-based encryption schemes based on the Weil pairing that also alleviates the key escrow problem. In our system, the private key of a user is divided into two components, KGK (Key Description Key) and KUD(Key Usage Desscriptor), which are issued separately by different parties. The KGK is issued in a threshold manner by KIC (Key Issuing Center), whereas the KW is issued by a single authority called KUM (Key Usage Manager). Changing KW results in a different private key. As a result, a user can efficiently obtain a new private key by interacting with KUM. We can also adapt Gentry's time-slot based private key revocation approach to our scheme more efficiently than others. We also show the security of the system and its efficiency by analyzing the existing systems.

• Cartoon and Animation Studies
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• s.33
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• pp.223-246
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• 2013

Even though cartoons and narration comics were born from different origin, they have been called by names such as 'cartoons' or 'comics'. The reason can be found in the similarity of cartoons and narration comics. The similarity of cartoons and narration comics is the genre consisting of writing and drawing. Writing can be the format of expression and it can represent the story. Such story is present as a component of 'narration'. Sub genre of comics includes cartoons and narration comics. It includes animation in a broad range. In cases of narration comics and animation, it is thought that narration is present with continuity of time. However, in case of cartoon, because one or two cuts without continuity of writing are frequently expressed, it is being asked whether narration is present. It is easy to be reminded of epic or chanson de geste whenever you hear 'narration'. Since it deals with a biography of the character, we think the concept of 'narration' with temporality. However, narration provides a certain event in a broad range. Thus, cartoons presenting one event with the image may have the existence of narration, because description of multiple scenes of narrative comics can be implicitly represented in cartoons. As such implications leave a space, the empty space can be filled by active reasoning of recipients. However, nevertheless, it is very difficult to find studies as well as mentions of narration in cartoons. Thus, in this paper, we investigate the concept and structure of narration and demonstrate the presence of narration in cartoons. First of all, we looked at the narration theory in literature before studying narration in cartoons. The reason is that we thought the approach to the literary theory was required in order to investigate the basic elements, since cartoons are a collection of writing and drawing. We were focused on the prerequisites of narration presented in "story and discourse" of s. Chatman. If the prerequisites of narration are present, we can assume that the narration is present. The prerequisites are 'narration reasoning', 'screening', 'consistency', 'process statements' and 'stasis statement'. As s. Chatman described them as prerequisites of narration, he analyzed the narration structures of films and novels. In addition, we revealed that the narrations were present in cartoons as we identified how prerequisites of narration presented by Chatman were presented and expressed through "vocabulary of comics", "Timeframe" and "life in the line" described in "understanding comics" by Scott McCloud.

• Journal of The Korean Association For Science Education
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• v.34 no.5
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• pp.437-447
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• 2014

Learning progressions (LP), which describe how students may develop more sophisticated understanding over a defined period of time, can inform the design of instructional materials and assessment by providing a coherent, systematic measure of what can be regarded as "level appropriate." We developed LPs for the nature of matter for grades K-16. In order to empirically test Korean students, we revised one of the constructs and associated assessment items based on Korean National Science Standards. The assessment was administered to 124 Korean secondary students to measure their knowledge and submicroscopic representations, and to assign them to a level of learning progression for the particle nature of matter. We characterized the level of students' understanding and models of the particle nature of matter, and described how students interpret various representations of atoms and molecules to explain scientific phenomena. The results revealed that students have difficulties in understanding the relationship between the macroscopic and molecular levels of phenomena, even in high school science. Their difficulties may be attributed to a limited understanding of scientific modeling, a lack of understanding of the models used to represent the particle nature of matter, or limited understanding of the structure of matter. This work will inform assessment and curriculum materials development related to the fundamental relationship between macroscopic, observed phenomena and the behavior of atoms and molecules, and can be used to create individualized learning environments. In addition, the results contribute to scientific research literature on learning progressions on the nature of matter.

• Clinical and Experimental Reproductive Medicine
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• v.33 no.2
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• pp.125-132
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• 2006

Objective: In the previous study, we complied the differentially expressed genes during early folliculogenesis. Objective of the present study was to identify downstream target genes of transcription factors (TFs) using bioinformatics for selecting the target TFs among the gene lists for further functional analysis. Materials & Methods: By using bioinformatics tools, constituent domains were identified from database searches using Gene Ontology, MGI, and Entrez Gene. Downstream target proteins/genes of each TF were identified from database searches using TF database ($TRANSFAC^{(R)}$ 6.0) and eukaryotic promoter database (EPD). Results: DNA binding and trans-activation domains of all TFs listed previously were identified, and the list of downstream target proteins/genes was obtained from searches of TF database and promoter database. Based on the known function of identified downstream genes and the domains, 3 (HNF4, PPARg, and TBX2) out of 26 TFs were selected for further functional analysis. The genes of wee1-like protein kinase and p21WAF1 (cdk inhibitor) were identified as potential downstream target genes of HNF4 and TBX2, respectively. PPARg, through protein-protein interaction with other protein partners, acts as a transcription regulator of genes of EGFR, p21WAF1, cycD1, p53, and VEGF. Among the selected 3 TFs, further study is in progress for HNF4 and TBX2, since wee1-like protein kinase and cdk inhibitor may involved in regulating maturation promoting factor (MPF) activity during early folliculogenesis. Conclusions: Approach used in the present study, in silico analysis of downstream target genes, was useful for analyzing list of TFs obtained from high-throughput cDNA microarray study. To verify its binding and functions of the selected TFs in early folliculogenesis, EMSA and further relevant characterizations are under investigation.

• KOMUNHWA
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• no.70
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• pp.163-178
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• 2007

Among many functions of the museum, the educational function is being emphasized. Museums should actively expand their scope of action through special exhibits or various educational activities. It is through exhibits that museums prove their reason for existence and raise calls for support. Through such activities, university museums should demonstrate the role and reason of existence of a museum inside a university to the members of the university. They should carry out various activities to raise the presence of the museum in the university. That may be the way for university museums, which face many difficulties in reality, to find their breakthrough. Especially in a situation of a low-budget, holding overseas exhibition may be a good opportunity to display the excellence of the Korean culture and, at the same time, publicize the school and the museum. Also, through such overseas exhibition, benchmarking of facilities and activities of advanced museums can be made and networks can be set up with museums around the world. This paper introduces the planning and progressing procedures of exhibitions abroad through the experiences of the Korea University Museum. I sincerely hope that it will contribute to the hereafter development of university museums. Aside from such overseas exhibition, the Korea Foundation has been supporting prestigious foreign museums to establish a Korean exhibition room in order to form a perpetual space to systematically introduce Korean culture and art to foreign audience. Thus far, the National Museum of Korea has stood in the forefront in lending relics to Korean exhibition rooms abroad. I believe it would be a worthwhile activity for the Korea Association of University Museums, which has approximately 100 institutions as its members, to actively participate in the establishment of Korean exhibitions rooms of foreign museums for the development of university museums. Participating in the establishment of Korean exhibition rooms is attractive as it will lead to a constant exchange with foreign museums instead of a one-time exchange. Localization and globalization, which became a big issue about ten years ago, is reality from which university museums cannot be free. In such reality, it is time for university museums to look back on whether they are ready to make their way forward in this era called the century of culture.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.