• Bulletin of the Korean Mathematical Society
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• v.57 no.2
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• pp.481-488
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• 2020

In this paper we give an exact formula for the Fourier coefficients of the Jacobi-Eisenstein series of square free discriminant lattice index. For a special case the discriminant of lattice is prime we show that the Jacobi-Eisenstein series corresponds to a well known Eisenstein series of modular forms.

• Journal of the Korean Mathematical Society
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• v.55 no.3
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• pp.507-530
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• 2018

It is shown that for a non-unitary twist of a Fuchsian group, which is unitary at the cusps, Eisenstein series converge in some half-plane. It is shown that invariant integral operators provide a spectral decomposition of the space of cusp forms and that Eisenstein series admit a meromorphic continuation.

• Communications of the Korean Mathematical Society
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• v.34 no.1
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• pp.27-41
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• 2019

We determine explicit formulas for the number of representations of a positive integer n by quaternary quadratic forms with coefficients 1, 2, 5 or 10. We use a modular forms approach.

• Bulletin of the Korean Mathematical Society
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• v.60 no.1
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• pp.237-255
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• 2023

In this article, we find bases for the spaces of modular forms $M_2({\Gamma}_0(88),\;({\frac{d}{\cdot}}))$ for d = 1, 8, 44 and 88. We then derive formulas for the number of representations of a positive integer by the diagonal quaternary quadratic forms with coefficients 1, 2, 11 and 22.

• Journal of the Korean Mathematical Society
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• v.52 no.2
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• pp.333-347
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• 2015

In this paper, by using the modular forms of weight nk ($2{\leq}n{\in}\mathbb{N}$ and $k{\in}\mathbb{Z}$), we construct a formula which generates modular forms of weight 2nk+4. This formula consist of some known results in [14] and [4]. Moreover, we obtain Fourier expansion of these modular forms. We also give some properties of an operator related to the derivative formula. Finally, by using the function $j_4$, we obtain the Fourier coefficients of modular forms with weight 4.

• Kyungpook Mathematical Journal
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• v.59 no.3
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• pp.377-389
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• 2019

We evaluate the convolution sum $W_{a,b}(n):=\sum_{al+bm=n}{\sigma}(l){\sigma}(m)$ for (a, b) = (1, 28),(4, 7),(2, 7) for all positive integers n. We use a modular form approach. We also re-evaluate the known sums $W_{1,14}(n)$ and $W_{1,7}(n)$ with our method. We then use these evaluations to determine the number of representations of n by the octonary quadratic form $x^2_1+x^2_2+x^2_3+x^2_4+7(x^2_5+x^2_6+x^2_7+x^2_8)$. Finally we express the modular forms ${\Delta}_{4,7}(z)$, ${\Delta}_{4,14,1}(z)$ and ${\Delta}_{4,14,2}(z)$ (given in [10, 14]) as linear combinations of eta quotients.

• Journal of applied mathematics & informatics
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• v.40 no.5_6
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• pp.813-830
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• 2022

The generating functions of the divisor function σ_s(n) = Σ_0<d|n d^s are quasimodular forms. In this paper, we find the basis of the space of quasimodular forms of weight 6 on Γ₀(10) consisting of Eisenstein series and η-quotients. Then we evaluate the convolution sum Σ_ak+bl+cm=n σ(k)σ(l)σ(m) with lcm(a, b, c) = 10 and Σ_al+bm=n lσ(l)σ(m) and Σ_al+bm=n σ₃(l)σ(m) with lcm(a, b) = 10.

• Journal of the Korean Mathematical Society
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• v.35 no.4
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• pp.903-931
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• 1998

Since the modular curves X(N) = $\Gamma$(N)\(equation omitted)＊ (N =1,2,3) have genus 0, we have field isomorphisms K(X(l))(equation omitted)C(J), K(X(2))(equation omitted)(λ) and K(X(3))(equation omitted)( $j_3$) where J, λ are the classical modular functions of level 1 and 2, and $j_3$ can be represented as the quotient of reduced Eisenstein series. When N = 4, we see from the genus formula that the curve X(4) is of genus 0 too. Thus the field K(X(4)) is a rational function field over C. We find such a field generator $j_4$(z) = x(z)/y(z) (x(z) = $\theta$$_3$((equation omitted)), y(z) = $\theta$$_4$((equation omitted)) Jacobi theta functions). We also investigate the structures of the spaces $M_{k}$($\Gamma$(4)), $S_{k}$($\Gamma$(4)), M(equation omitted)((equation omitted)(4)) and S(equation omitted)((equation omitted)(4)) in terms of x(z) and y(z). As its application, we apply the above results to quadratic forms.rms.

• Communications of the Korean Mathematical Society
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• v.16 no.4
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• pp.585-594
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• 2001

Let η be the complex upper half plane, let h($\tau$) be a cusp form, and let $\tau$ be an imaginary quadratic in η. If h($\tau$)$\in$$\Omega$( $g_{2}$($\tau$)$^{m}$ $g_{3}$ ($\tau$)$^{ι}$with $\Omega$the field of algebraic numbers and m. l positive integers, then we show that h($\tau$) is integral over the ring Q[h/$\tau$/n/)…h($\tau$+n-1/n)] (No Abstract.see full/text)

• Journal of Information Technology Applications and Management
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• v.29 no.6
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• pp.123-134
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• 2022

War films are a general term for films that have battlefields as their main background. Although war films as a genre directly deal with combat situations, they also deal with characters or subjects related to war. War films promote patriotism and nationalism, but they also argue against war by highlighting the disastrous war. This study is based on the color theory that the meaning of film color is temporarily and infinitely generated according to the cultural differences, with Eisenstein's creative theory on film color and pathos. I wanted to clarify the pathos effect and the meaning of color green expressed in the Korean war films. In war films, colors are visualized in art forms such as symbols, similes and metaphors. In war films, color green symbolizes life. On the battlefield, the green of nature stands against the catastrophic situation. The green of ecology, which insists on the flow of life, evokes fear in ecological crises such as war, disaster and climate change. The dark green caused by a catastrophe like war warns of the destruction of life. The connotation of color is temporarily and infinitely expands according to the cultural differences. The dark green, which visualizes the battlefield of destruction, is a form and element of pathos that indicates changes in emotions such as sadness, pity, grief and despair. Pathos as an emotional appeal is a leap from the quality to the quality of the means of expression and refers to the departure from Dasein. The green color that dominates the visuals of war films is a symbol of life and functions as a pathos that makes emotional changes take a new leap. A qualitative leap through pathos means all changes that become new.