• 한국정보과학회:학술대회논문집
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• 한국정보과학회 2003년도 봄 학술발표논문집 Vol.30 No.1 (A)
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• pp.217-219
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• 2003

최근 반도체 설계 및 생산 공정의 급속한 발달로 내장형 시스템이 대중화되는 추세이고 비용이나 제품 출시 기간에 있어서 내장형 소프트웨어는 중요한 하나의 요소로 대두되고 있다. 내장형 시스템은 일반 PC와는 다르게 메모리 크기. 전력 소비, 신뢰성, 사이즈. 비용 등과 같은 제약사항들을 내포하기 때문에 제한된 자원의 효율적인 이용과 소프트웨어의 최적화를 위해 소프트웨어의 성능을 분석하기 위한 필요성이 대두된다. 본 논문에서는 소프트웨어 성능분석 도구인 'Cinderella'를 확장하기 위하여 현재 가장 널리 사용되고 있는 이진 실행 파일인 ELF파일에서 성능을 측정하기 위한 기본 요소로서 Control flow graph를 추출하기 위한 알고리즘을 제안한다. 본 논문에서 제안한 알고리즘은 향후 ARM기반의 머신에서 ELF파일의 내장형 소프트웨어의 시간분석에 필요한 요소이다.

• 한국정보과학회:학술대회논문집
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• 한국정보과학회 2003년도 가을 학술발표논문집 Vol.30 No.2 (1)
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• pp.265-267
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• 2003

내장형 컴퓨터 시스템은 특정 기능을 수행하기 위해 소프트웨어와 이를 구동시키기 위한 프로세서로 구성되어 있다. 이러한 시스템의 대부분은 실시간 제약들을 만족해야 한다. 실시간 제약들을 만족하는 애플리케이션을 빠른 시간안에 구현하기 위해서는 제작 전 성능을 예측하는 도구가 필수적이다. 본 논문에서는 현재 내장형 시스템 플랫폼으로 널리 활용되고 있는 ARM 기반의 내장형 애플리케이션의 극단적인(최적, 최악) 경우의 수행 시간 경계를 예측하는 문제를 연구하였다. ARM 기반의 내장형 시스템의 수행시간의 경계를 예측하기 위하여 기존의 실시간 내장형 소프트웨어의 성능 예측 도구인“Cinderella”의 기본 프레임웍을 ARM 프로세서를 지원하도록 확장하여 성능분석도구를 설계하였다.

• 한국정보과학회논문지:컴퓨팅의 실제 및 레터
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• 제11권1호
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• pp.15-25
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• 2005

내장형 시스템에서 응용 프로그램을 구동시킬 때는 일련의 태스크들의 집합을 수행하여야 한다. 이러한 태스크들은 특정 하드웨어로 구현 될 수도 있고, 특정 프로세서에서 구동되는 소프트웨어로 구현될 수도 있다. 내장형 시스템에서 응용 프로그램을 구동시키기 위하여 하드웨어/소프트웨어의 자원 선택 및 작업 분할이 필요하게 되고 이때 하드웨어 및 소프트웨어의 성능 예측이 이용된다. 하드웨어 성능 예측과 달리 소프트웨어 성능 예측은 구동 환경과 밀접한 관계가 있으며, 하드웨어 소프트웨어 통합 설계를 위하여 최적 및 최악의 수행 시간 경계를 예측하는 것은 중요한 문제이다. 수행 시간 경계의 엄격한 예측은 저 비용의 프로세서를 사용할 수 있게 하며, 시스템 비용을 낮추는데 도움을 준다. 본 논문에서는 ARM용 내장형 시스템을 고려하여, loop문의 반복 횟수 경계 값과 프로그램의 추가적인 경로 호출 정보를 이용하여, 수행 시간의 경계를 최대한 실제 값에 접근하도록 예측하는 도구를 개발하였다. 개발된 도구는 현재 i960과 m68k 아키텍처를 지원하는 "Cinderella"라는 시간 분석 도구를 기본 도구로 활용하고 있다. ARM 프로세서를 지원하기 위하여 제어흐름과 디버깅 정보를 추출할 수 있는 ARM ELF 목적 파일 모듈을 추가하고, ARM 명령어 집합을 처리할 수 있는 모듈을 기존 도구에 추가하였다. 여러 가지 벤치마크 프로그램을 대상으로 실시한 실험 결과, 임의의 입력 데이타를 이용하고 수행 횟수를 고려한 ARMulator의 수행 시간이 구현된 도구에서의 정적인 수행 시간 예측 경계 값으로 들어오는 것을 확인할 수 있었다.

• 원예과학기술지
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• 제35권2호
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• pp.265-275
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• 2017

Selection of double-flowered plants at the seedling stage is one of the main purposes of stock breeding programs. Eight stock cultivars of Matthiola incana L. named 'Nobel', 'Cinderella', 'Pacific', 'Avalanche', 'Midblue', 'Lavender', 'Goddess' and 'Esfahan', with different percentage of double-flowered plants were used for examining the relationship with three morphological types of cotyledons. The results of a chi-square test indicated that in heart-shaped (HC) and cup-shaped cotyledon (CC) populations, the number of plants with double flowers was much more than that of single flowers and CC seedlings rarely produced single flowers. Therefore, increasing the number of CC seedlings can improve the percentage of double flowers. The highest and lowest numbers of CC seedling were observed in high double and single flower cultivars, respectively. Single flower cultivars showed the maximum count of dumbbell-shaped cotyledons. Chromosome pairing of these cultivars was evaluated using the squash technique. Aneuploid cells were found in 'Nobel' and 'Goddess' cultivars, which showed the highest percentage of CC seedling. Based on morphological measurements, the highest value of inflorescence size was observed in the seedlings with cup-shaped cotyledons.

• 영어영문학
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• 제57권3호
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• pp.457-472
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• 2011

The word "subject," like its apparent antonym "agent" is ambiguous. By "speaking subject" I intend both meanings: the spoken about, and the speaker, and the spoken about, in more or less that order. The paper contrasts the way women are spoken about in the 19^th Century debate over the role of women between John Ruskin and John Mill, and then in literary criticism of feminists nearer our own time, Kate Millet and Elizabeth Langland. I then move on to women as speaking subjects, first in the form of an imaginary speaking subject created by a male speaker, Charles Dickens channeling the confessional journal of Esther Summerson in Bleak House. The comparison with Elizabeth Gaskell, a genuine speaking subject, is highly instructive. I draw attention to symmetrical, in the sense of opposite, narrative strategies. Where Dickens begins in journalese, with a gritty, realistic opening that only gradually reveals a Cinderella in the ashes, Gaskell begins with a nursery rhyme, in an actual nursery, but goes on to reveal some rather sordid economic facts. Where Dickens creates a ventriloquist's doll, Gaskell succeeds in creating recognizable, if not always admirable, female voices. I conclude that just as the novel may be read as a real utterance in a real conversation, it is also possible to read the true emergence of women novelists in the 19^th Century as nothing more and nothing less than the creation of the first truly womanly words about women: women as speaking subjects in both senses of the word.

• 대한두개안면성형외과학회지
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• 제13권2호
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• pp.95-98
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• 2012

Nowadays, plastic surgical operations are increasingly being performed in Korea. We have gained added interest in this because some professional pictures contain plastic surgery in their venue. In the films, we intend to see the recognition of society for plastic surgeons and which field of plastic surgery. The list of movies for analysis were 'Plastic Beauty (1975)', 'Penthouse Elephant (2005)', '200 Pounds Beauty (2006)', 'Cinderella (2006)', and 'Time (2006)'. The TV dramas were 'She is looking (2005)', 'Lovers (2006-2007)', and 'Before & After Plastic Surgery Clinic (2008)'. Films were analyzed according to the following: the chief complaints and names of the operations, character of plastic surgeons, result of the operation and its possibility in reality, and its effect of plastic surgery on the life of the patients. Most of the film contained facial transplantation or the change of the face or body different from the original shape. Character type of the plastic surgeons was mostly medical realism, rather than ideal humanism. Most of the plastic surgeons have capability as a doctor; however, some of them had extramarital affairs. The surgery was successful in most of the cases, but were the patients happy with the results? This was not the case in the movies. In only one movie, '200 Pounds Beauty', the patient became happy; rest of them were eminently unhappy with the outcome. Why the discrepancy? It is difficult to analyze the minds of the people in the films, but considering that the majority of the characters in the films were rather unsavory, one may deduce that a crooked mind functions differently. Perhaps it is too much to hope for a day that will come when we will see a film that portrays the mental anguish that accompanies each and every procedure the Korean plastic surgeons make.

• 한국의류산업학회지
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• 제6권6호
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• pp.723-730
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• 2004

The purpose of this study is to speculate on the history and the meaning of so-called "princess fashion" based on the feminist's viewpoint. While many designers in Korean fashion world have fostered the trend of princess fashion, relatively little insight has been developed regarding its socio-cultural meanings. For this problem, the researcher traced the historical background and the development of the princess fashion in both the western and the Korean fashion world. As a case of the princess fashion study, Andre Kim(a renowned Korean designer)'s collection was selected and analyzed since he has often been a central figure for the princess fashion trends in Korea. Here the operational definition of the princess fashion is the lavish dresses designed based on the western court dress styles. As a result, the researcher found that the princess fashion was originated from the eighteenth century in France. In the nineteenth century, male designers took over the role to make extravagant dresses such as empire and crinoline dresses which became the prototypes for the princess fashion. In Korea, the western court dress style was introduced at the end of the nineteenth century and it became a uniform of prostitutes during the Korean War. By analyzing Andre Kim's collection, it is found that his romantic dresses imitated the nineteenth century court dresses. Therefore, from the feminist's viewpoint, his princess fashion is a mere reproduction of anachronistic styles reflecting inferior and passive images of women. The researcher draws a conclusion that today's fashion should transcend the princess fashion that signifies the female's submissive-masochistic roles operated by the male's sexual expectation.

• 영어영문학
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• 제55권3호
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• pp.383-398
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• 2009

Based on the Greek myth of Pygmalion and the fairy tale of Cinderella, Shaw's Pygmalion demonstrates a masterful coalescence of these two narrative motifs into a coherent plot scheme. Even more significant is his keen insight into the conflicts created at the tripartite intersection of human activity concerning language/class/culture, which, as the leitmotif, revolves around lessons in language learning. This play basically deals with human transformation and by its very nature, Higgins's experimentation with transforming Eliza cannot stop at language alone. Her cultural transformation ripples over into the realms of gesture and even a unique way of living (modus vivendi) intimately associated with taste and manners, which Bourdieu terms as habitus. By acquiring a new fashion and language, Eliza is reborn as a new lady aspiring to be filled with a newly acquired habitus. While separating her from her old Cockney style, Higgins inculcates Queen's English in Eliza, in which process her changed speech styles gradually transforms and restructures her deportment and manners, finally generating new practices, perceptions and attitudes. The gist of Pygmalion is however less Eliza's ascent into the middle class than her battle for symbolic capital waged at the level of language. By problematizing his contemporary practice of habitus conventionalized and warped by class distinctions based on economic, social and cultural capitals, Shaw creates a new humanist model of man founded on spiritual and rational virtues. In conclusion, Eliza is not a frigid Galatea but a dynamic character that goes through a brilliant transformation of three stages: 1) linguistic; 2) cultural, and 3) humanist. Finally she is built into a "consort battleship" on an equal standing with her sculptor. The process of her character-building cannot be illuminated without resorting to the dynamic notion of habitus, which highlights the process of inculcation, structuring, generation and transposing. Given the overwhelming weight of the heroine's role and the dynamic process of her transformation as the major plot scheme, this play should be christened Galatea in lieu of Pygmalion.

• 영어영문학
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• 제57권3호
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• pp.515-527
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• 2011

Miss Pettigrew Lives for a Day, Winifred Watson's novel of 1938, is a fairytale in novel form. Set in London of 1938, the story revolves around a one-day adventure of an ill-starred but truthful governess who is granted a second chance. This light-hearted comedy of manners was turned into a film by director Bharat Nalluri in 2008. An Anglo-American collaboration, co-scripted by Simon Beaufoy and David McGee, the film converts Watson's quaint novel into an edged heritage piece that encapsulates the 1930s, the problematic decade between the two World Wars. The film, while sustaining the narrative core of Watson's Cinderella story, attempts to place it firmly within a wider current of the novel's setting or London in 1938, tapping into the major concerns of the interwar years that engage with characters in one way or another. Stylistically, the film presents Art Deco as a main visual idiom to convey the prevailing mood of nihilism and decadence of the day. The setting here takes on significance in that it offers a telling counterpoint to the giddy superficial world of the novel. The 1930s was a highly charged decade under the threat of fascism and the Great Depression, fraught with economic and socio-political tensions and apprehensions. The film makes an explicit reference to the dismal context which is suppressed in the original text. The thirties is, therefore, portrayed as a decade of contradiction. It features gay buoyant festivity, rampant consumerism, and shifting morals and attitudes towards love, marriage and sexuality. Yet lurking beneath the surface glamour are the symptoms of crises and the deep-seated anxieties on the eve of World War II. In this way, Watson's novel of manners has been recreated into a defining film on the 1930s with its period feel propped by the atmospheric lighting, the exuberant Jazz score, and the splendid Art Deco costume and production design.