• (The)Study of the Eastern Classic
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• no.66
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• pp.75-101
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• 2017

Cifu(辭賦) is a style that has been pointed out to many people because of Shin Heum Family's literary skills. I focused on this point and outlined Shin Heum Family's Cifu, and searched the literary through the works in which Guiqulai(歸去來) consciousness appeared. Shin Heum and his family members wrote many Cifu works, which were mainly in the form of Gufu(古賦). And many of them revealed personal emotions, such as melancholy. Especially they formed Guiqulai consciousness by taking personal suffering as their nourishments, and it was expressed in Cifu. The feature of Shin Heum Family's Cifu works is that the shape of Guiqulai consciousness is remarkable. There was a political ordeals on the base of such a consciousness. It was literally shaped through various methods.

• Journal of Digital Convergence
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• v.18 no.12
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• pp.549-563
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• 2020

Based on Deleuze's body aesthetics and from the perspective of 'deterritoraliazation', this study makes an in-depth discussion on the modern fashion design modeling by four visual characteristics: hysteria, visualization, body segmentation and becoming animals. First, hysteria embodies the strong visual effect brought by the deformation and exaggeration of clothing. Second, visualization in fashion shows the elimination or ambiguity of faces, representing the weakening of identity and the prominence of clothing and body. Third, body segmentation represents the deconstruction and reorganization of clothing, and a new way of thinking, as well. Fourth, becoming-animals are manifested in the physical mutation caused by the heterogeneous connection between humans and animals, which brings about the possibility of rethinking the body.

• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.89-96
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• 2022

This study examines the strategy of delivering the drama's poet Kim Soo-young and his literary works to the public through the drama (2004). This drama shows Kim's inner self and his literary view by inserting poems into scenes where the poet suffers internal conflict, while presenting relatively less well-known poems to broaden the public's understanding of poetry. In addition, the drama maintains viewers' interest by properly placing elements of conflict, and effectively shows how the conflict affected his life and the world of time. Therefore, the drama is a meaningful text that embodies a poet named Kim Soo-young in three dimensions along with the historical transformation and social problems of the time and the literary chapter of the time through the video.

• Journal of English Language & Literature
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• v.56 no.1
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• pp.79-101
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• 2010

In "The Animal That Therefore I Am (More to Follow)," Derrida notices that he is being watched by his cat. He becomes ashamed of being naked in front of his cat. The sense of shame is a response to being reduced to the level of an animal. He is ashamed of being as naked as an animal. His next move is, therefore, to cover his nakedness from the gaze of his cat. By contrast, he realizes, the animal is not self-conscious of being naked and so does not shield its nudity. In a truer sense, then, the cat is not naked. Humans do not see animals for what they really are but what they project on them. Whereas the gap between man and animal is clearly identified by Derrida's philosophical discourse, the possibility of going beyond the gap can be suggested by fantasy stories in children's literature. Children's literature in Britain arose in the eighteenth century with the revival of traditional fairy tales and growth of literary fairy tales. Romanticism in the early nineteenth century contributed to opening up a new horizon for the concept of the child, in which the child is no longer defined as the object to be tamed and childhood imagination is glorified as a powerful means to reach the higher state, the spiritual origin prior to separation of Man from the 'thing-in-itself.' In The Wind in the Willows, animals talk and behave like humans. The anthropomorphic figuration of animals can be understood as a result of the one-sided projection of anthropocentric perspectives on animals rather than an interaction between humans and animals. Significant contradictions also emerge in this story, however, as traits particular to animals are vividly delineated even as the main didactic theme of good triumphing over evil reflects an anthropocentric projection on animals. An attempt to capture the true characteristics of animals and locate them in the text constitutes a remarkable achievement in The Wind in the Willows. This can be evaluated as an important step toward a more ecopocentric perspective on animals which appears in later children's fantasies like Charlotte's Web.

• Sijohaknonchong
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• v.30
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• pp.319-332
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• 2009

The research on the poem work of Hwang Jin I may have been discussed relatively profoundly compared to the number of works left by her. On the prolongation of such result that has been made thus far, the author tried to investigate aspect of confrontation of figuration and situation of farewell revealed in the poem work of Hwang Jin I through this dissertation. The 6 poems of Hwang Jin I are works which are directly or indirectly related to the situation of farewell. Thus, the author began to discuss dissertation, thinking that the difference in aspect of confrontation in the farewell situation of Hwang Jin I projected in the work can be confirmed by analyzing the poem work of Hwang Jin I. First, with respect to the figuration of farewell in the poem of Hwang Jin I, it cannot be said that she left many poems. However, it could be confirmed that the universal human emotion felt in the situation of farewell was effective converted to figuration by personality of the author through the delicate symbol and simile felt in each work and diverse poetic devices. Then, the aspect of confrontation of farewell situation revealed in the poem of Hwang Jin I was investigated in 3 large divided aspects. First, it is the nature-compliant aspect of confrontation that does not artificially reject or disobey but accepts the moment of farewell by relying on the providence of nature with respect to the situation of farewell. Four works pertain to this category, namely, <니 언지 무언(無言)하여$\sim$>, <어뎌 니 일이여$\sim$>, <산(山)은 넷 산(山)이로디$\sim$> and <청산(靑山)은 내 뜻이요$\sim$>. Next, it may be challenge to the nature, that is, to cut time and space at own intention against the providence of nature. The work, <동지인(冬至人)달 기나긴 밤을$\sim$> pertains to this category. Finally, it is mixed aspect of confrontation in which the above-mentioned compliant aspect of confrontation is mixed with challenging aspect of confrontation. The work, <청산리(靑山裡) 벽계수(碧溪水)ㅣ야$\sim$> may pertain to this category. As explained above, the aspect of confrontation revealed differently in the situation of farewell may be due to the peculiarity of her status as official kisaeng. Furthermore, her magnanimous and affectionate character may be also quite influential on this matter. The matters to be supplemented to make the above discussion successful need to be studied in the subsequent research.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.10-24
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• 2017

The research takes note of the formation process and settling period of Gwandong-Palkyung(關東八景, Eight Sites of Eastern Korea), the representative palgyeong(prominent eight sites) and jipgyeong(集景, landscape collection of scenic beauty), and investigates the time of formation regarding the palkyung and jipgeyong of Gwandong's scenic beauty through the analysis and interpretation of bibliographic data, and reference data. The result of the study is as follows. As the first document that records the terminology of "Gwandong-Palkyung" is "Daphongeunggil(答洪應吉)" of Yi, Hwang(李滉), Gwandong-Palkyung is inferred to be settled within the recognition of the people even before the 16th century. The geographic analysis result including "Sinjeung Donggukyeojiseungram(新增東國輿地勝覽)", Gwandong-Palkyung expanded as Gwandong-Sipkyung in early to middle of the 16th century. The first confirmed landscape collection regarding Gwandong-Palkyung in this study is confirmed in Shin Zup(申楫)'s "Yeonggwandong-Palkyung(詠關東八景)", thus, the terminology of Gwandong-Palkyung existed before 16th century at the latest. The settlement time of current "Palkyung" collection is estimated to be early 17th century at the latest. Poetries regarding Gwandong-Palkyung, and the frequency on the appearance of Gwandong scenic beauties are analyzed as making clear of the concentrated phenomenon on the sceneries of Gwandong-Palkyung. On the other hand, the collection of Gwandong-Palkyung in the domain of arts is confirmed initially in the ${\ll}$Gwandongpalkyungdobyeong(關東八景圖屛)${\gg}$ of Heo, Pil(許泌). Gwandong-Palkyung, expressed as the actual scene landscape painting shows similar tendencies of the conditions in the jipgyeong from the poetry, but the appearance rate of the painting subject was more prominent in visual solidarity and cohesion due to the reflection of the importance on icon(圖像) of the art works produced with particular meaning in the case of fixed ideal system. From late Joseon to modern times, ${\ll}$palpokbyeongpung(八幅屛風)${\gg}$ of various forms of folk painting is a corroborative evidence notifying that the cultural phenomenon of Gwandong-Palkyung has entered the universal period of embrace. Also, the 13 scenic beauties of Gangwon-Do appearing in the games of Namseungdo and Myeongseungyuramdo include Gwandong-Palkyung, which confirms the settlement of Gwandog-Palkyung even within the culture of games in late Joseon. Such results demonstrate the existence of awareness regarding Gwandong-Palkyung from the first half of the 15th century, which is presumed to have completely settled in the 17th century through the continuous development of formative process in the 16th century. Ultimately, Gwandong-Palkyung is the concrete formation of regional scenic beauties that individually gained its reputations as scenery from the Koryo Dynasty to late 17th century. Gwandong-Palkyung of the scenic beauty of Gwandong is a unique cultural scenery of the region that have germinated and formed through the process of cutting and polishing of long time to collect the best eight of scenic beauty from the many participation of sightseeing culture.

• Proceedings of the KIEE Conference
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• 2011.07a
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• pp.1-2
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• 2011

온라인 전기자동차에 적용된 무선전력전송 시스템의 자기장 설계 기술은 전송되는 전력의 용량, 효율, 누설자기장 세기 등 전기적인 성능변수들을 결정하는 핵심 기술이다. 최대의 전력용랑과 효율을 만들어내면서 동시에 누설 자기장에 대한 전파법의 규격을 만족시켜야 한다. 이를 위해 자기장의 형상화에 영향을 주는 다양한 설계변수를 찾아내고, 변수들의 최적화에 대한 체계적인 접근이 필요한 시점이다. 본 논문에서는 온라인 전기자동차의 자기장 설계에 영향을 주는 설계변수의 특성과, 성능변수에 미치는 영향을 분석하고, 최적의 성능변수를 만들어 내기 위한 방법을 제시한다.

• Proceedings of the Korean Information Science Society Conference
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• 2003.04c
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• pp.277-279
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• 2003

본 논문에서는 입력 시퀀스의 각 영상으로부터 신체 영역을 분리한 후 신체 영역의 2차원 특징정보들을 이용하여 제스처를 자동적으로 인식할 수 있는 알고리듬을 제안한다. 먼저, 샘플 영상들로부터 구한 2차원 특징 벡터들의 통계적 정보를 주성분 분석법으로 분석하고 제스처 모델 공간을 구성한다. 입력 영상들은 미리 구성된 모델과 비교되어지고 각각의 영상은 모델 공간의 한 부분으로 심볼화되어진다. 마지막으로 심볼 시퀀스로 형상화되어진 영상 시퀀스는 은닉 마르코프 모델(HMM)을 이용하여 하나의 제스처로 인식된다. 우리가 이용하는 2차원 특징 정보는 대략적으로 신체의 어느 부분이 움직이는지를 알 수 있는 로컬정보와 전체적인 신체 모션의 정보를 나타내는 글로벌 정보를 이용하는 것으로 실세계에서 적용하기 용이하고, 좋은 인식 결과를 얻을 수 있다.

• Journal of the Korea Institute of Military Science and Technology
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• v.4 no.1
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• pp.62-72
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• 2001

In the countries of USA, UK, etc, which have the advanced submarine design technologies, the digital mockup actively applies in the naval ship and the submarine design, because it has many advantages such as the reduction of shipbuilding periods and costs, the potential of easier design changes, the combination of visualization with realistic behavior and so on. This paper includes the architecture development methods of digital mockup system and presents the S/W and H/W architecture scheme and the methods of 3D CAD modelling system of a submarine hull and machineries for the conceptual design verification.

• Korean Architects
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• no.8 s.328
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• pp.102-107
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• 1996

판문점 '자유의 집' 설계경기 결과가 지난 6월 20일 공식 발표되었다. 조달청이 통일원의 '자유의 집' 개축 결정에 따라 지난 1월 설계를 공모하고 3월 29일까지 총 12개의 작품을 접수받은 결과 주.담건축(오평국)의 안이 당선작으로 선정되었으며, 주.모양건축(곽동희), 한메건축(이충기)안이 우수작으로 선정되었다. 이번 설계경기의 심사는 정명현(홍익대 심사위원장), 이선구(숭실대), 조대성(성균관대), 이호진(건국대)교수와 이준구(남북회담 사무국 실장)씨 등 5명이 맡았다. 당선된 주.담건축의 인은 자유의 집이라는 건물의 특성에 부합하도록 통일을 소망하는 의미로 두 손을 합장한 형태로 하였으며, 지붕은 강토를 수호한다는 취지로 방패연 모양을 형상화하였다. 1층에는 남측출입구와 이산가족 면회실이, 2층에는 남북통로 및 회의실, 3층에는 남북연락사무소와 다목적 예비실, 4층에는 90층 규모의 전망대가 위치할 예정이다. 오는 7월 실시설계안이 확정되면 97년쯤이면 판문점 자유의 집이 통일의 소망을 안고, 단아하고도 힘 있는 모습으로 자리잡을 것이다.