• English Language & Literature Teaching
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• v.9 no.1
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• pp.189-203
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• 2003

This paper attempts to prove Dickens's hopeful view of the future in his last completed novel Our Mutual Friend. This novel has been usually regarded as one of the "dark" novels, "dark" in the sense of viewing social reality and the future negatively. However, although it has the dark descriptive color of society typical in Dickens's later novels, it still contains some elements that point to a better future. To prove this positive view of future, this paper will disentangle the intricate narrative structure of Our Mutual Friend and find out the true meaning of the dust--money. In addition, it will investigate how people react to dust(-like money). From a close study of several characters' lives, it will testify that the dark world of Our Mutual Friend, in the end, could be a world of regeneration, a world that will lead to a better future.

• Bulletin of the Korean Chemical Society
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• v.33 no.7
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• pp.2359-2364
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• 2012

Two new chemosensors, rhodamine 6G derivative bearing hydroxyethyl group (1) and rhodamine base derivative bearing 15-crown-5 group (2) were synthesized and their sensing behaviors toward various metal ions were investigated by UV/Vis and fluorescence spectroscopies. Addition of $Hg^{2+}$ ion to a $CH_3CN$ solution of 1 and 2 gave visual color changes as well as fluorescent OFF-ON observations. Selectivity and sensitivity of 1 towards $Hg^{2+}$ are excellent enough to detect micromolar level of $Hg^{2+}$ ion, even in equeous media and biological sample (HeLa cell).

• The Research Journal of the Costume Culture
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• v.18 no.4
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• pp.755-773
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• 2010

The purpose of the study was to examine concept of subculture and style of subculture by each age and to analyze internal meaning of hairstyle in subculture. The study carried out literary review on the basis of books related to subculture and hairstyle focused on the cradle of subculture and preceding researches of subculture style, and strived to find internal meaning of hairstyle by describing in-depth descriptive methods of qualitative research. And the study limited its range in the hairstyle in style of subculture from 1930s to early 1990s commonly described in subculture related books. As a result, there were natural pattern, cutting pattern, exaggerated pattern, set pattern, braid pattern, color pattern and addition pattern in types of hairstyle in subculture. The hairstyle in subculture symbolizes their internal value and ideology and hairstyle is a kind of language to express identity of subculture.

• Proceedings of the KOSOMBE Conference
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• v.1998 no.11
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• pp.57-59
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• 1998

For medical students and doctors, knowledge of the three-dimensional (3D) structure of brain is very important in diagnosis and treatment of brain diseases. Two-dimensional (2D) tools (ex: anatomy book) or traditional 3D tools (ex: plastic model) are not sufficient to understand the complex structures of the brain. However, it is not always guaranteed to dissect the brain of cadaver when it is necessary. To overcome this problem, the virtual dissection programs of the brain have been developed. However, most programs include only 2D images that do not permit free dissection and free rotation. Many programs are made of radiographs that are not as realistic as sectioned cadaver because radiographs do not reveal true color and have limited resolution. It is also necessary to make the virtual dissection programs of each race and ethnic group. We attempted to make a virtual dissection program using a 3D image of the brain from a Korean cadaver. The purpose of this study is to present an educational tool for those interested in the anatomy of the brain. The procedures to make this program were as follows. A brain extracted from a 58-years old male Korean cadaver was embedded with gelatin solution, and serially sectioned into 1.4 mm-thickness using a meat slicer. 130 sectioned specimens were inputted to the computer using a scanner ($420\times456$ resolution, true color), and the 2D images were aligned on the alignment program composed using IDL language. Outlines of the brain components (cerebrum, cerebellum, brain stem, lentiform nucleus, caudate nucleus, thalamus, optic nerve, fornix, cerebral artery, and ventricle) were manually drawn from the 2D images on the CorelDRAW program. Multimedia data, including text and voice comments, were inputted to help the user to learn about the brain components. 3D images of the brain were reconstructed through the volume-based rendering of the 2D images. Using the 3D image of the brain as the main feature, virtual dissection program was composed using IDL language. Various dissection functions, such as dissecting 3D image of the brain at free angle to show its plane, presenting multimedia data of brain components, and rotating 3D image of the whole brain or selected brain components at free angle were established. This virtual dissection program is expected to become more advanced, and to be used widely through Internet or CD-title as an educational tool for medical students and doctors.

• Broadcasting and Media Magazine
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• v.10 no.1
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• pp.99-112
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• 2005

Christian Metz, the precursor of cine-semiology, considered cinema as a language in the sense that it is a set of messages grounded in a given matter of expression, and a signifying practice characterized by specific codifications. According to Metz, film forms a structured network produced by the interweaving of cinematic codes, within which cinematic subcodes represent specific usages of the particular code. For Metz, cinematic language is a totality of cinematic codes and subcodes, and history of the cinema is the trace of the competition, incorporations and exclusions of the subcodes. He also suggested a filmic text is not just a list of codes in effect, but a process of constant displacement and deformation of codes. Following Metz' textual analysis methodology, I investigated the formal configuration of Hayao Miyazaki‘s animation, Spirited Away. It is interesting to trace the interweaving of cinematic codes in Spirited Away, i.e. codes of lighting, color, movement, and auteurism, across the animation. I focused on the first scene at the bridge to Yubaba's bathhouse, analyzing each cinematic code and its subcode applied. The first bridge scene is carefully constructed to stand out the confrontation of Chihiro (with Haku) and the bathhouse. The bathhouse is not just a building, it represents the powerful witch, Yubaba, yet to appear on the scene, and functions as an antipode to Chihiro. In each shot, every subcode within the codes of framing, direction, angle, color, lighting and movement is used to maximize the contrast between the dominant bathhouse and the feeble 10-year-old girl. In Spirited Away, the subcodes within each cinematic ode are constantly competing and displacing each other to augment the antithesis between the characters and develop the narrative. As Metz's argument that film constitutes a quasi-linguistic practice as a pluricodic medium, Spirited Away communicates with the spectators with the combination and displacement of these cinematic codes and subcodes.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.11
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• pp.583-593
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• 2018

Le Corbusier is an architect known for his use of mostly white color during the Purism period. On the other hand, he actually utilized polychromy in his works while the principles behind his use of polychromy is not well defined. Through the analysis of the Pessac project, where he deliberately utilized polychromy in the exterior of housing, this study examined not only the principles behind his utilization of colors, but also the fact that this project was a laboratory to set up his architectural language and develop the method of how to employ polychromy. An analysis of this project found that he changed spaces and categorized objects using polychromy based on the white color. He also chose and used colors based on the psychophysiological experience that is related to emotions and habits. To compensate for the problems arising from the architectural space and form in the site, he used various techniques, such as camouflage, optical illusion, 'gift box' technique, and dismantlement method of volume. Therefore, polychromy is used as a method to emphasize his architectural language.

• Journal of the Korean Society of Costume
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• v.38
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• The KIPS Transactions:PartB
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• v.11B no.1
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• pp.91-98
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• 2004

This paper proposes how to support various media on online conversational activity using XML(extensible Markup Language). The method converts media information into XML based messages and handles alike conventional text based messages. The XML based messages are unified to an XML document, and then a HTML document is generated using the XML and an XSLT documents in a server. A user in each client can play or present media through the hyperlink that is associated media information on the HTML document. The suggested method supports use of various media (text, image, audio, video, documents, etc) and efficient maintenance of font size, color, and style on messages according to extension and modification of XML tags. For application, this paper implemented the system to support media that has client and server architecture on online conversational activity. A user in each client inputs text or media based message using JAVA applet and servlet on the system, and conversational messages on every users' interfaces are automatically updated whenever a user inputs new message. Media on conversational messages are played or presented according to a user's click on hyperlink. Applications for the media presentation are as follows : distance learning, online game, collaboration, etc.

• The Journal of the Korea Contents Association
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• v.18 no.4
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• pp.234-244
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• 2018

This study is a comparative analysis of the layout of Korean textbooks in Korea and China in the 3rd and 4th grades. According to the times, textbooks are constantly changing and developing in various fields from contents to design. But a tool for learning remains was unchanged. Especially, the textbooks of elementary school are aimed at conveying basic knowledge by inducing interest of children. So the layout design is important. By combining typography, illustration, color, and margins in a well-balanced and uniform design, the contents of textbooks can be well transmitted to children. Therefore, this study has recognized the importance of layout and tried to suggest improvement by grasping the lack of Chinese textbook which is lagging behind design.

• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.267-272
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• 2006

The motion-graphic have been a more important factor in image illustration and typography since the development of visual culture was advanced. Therefore the visualized case of intented content with the creative typography is easily seen in television CF, movies and web pages. They suggest that variable factors such as language, time, shape, motion, color and sound should be applied and produced to motion typogaraphy. But the physiologic features as sex, age, health status, illness and physical size have an important effect in the communication process. So, the more effective result were gained than the fast-developing other mass media if these features were applied to the motion typography with semi-language speciality.