• 한국수학사학회지
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• 제33권4호
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• pp.237-257
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• 2020

In this paper, we classify the mathematical terms in Korean Standard Unabridged Dictionary into four groups; ① group 1 consists of the terms which coincide with the mathematical terms in the 2015 Editing Material, ② group 2 consists of the terms which are synonyms or old terms or inflection forms of the mathematical terms in the Editing Material, ③ group 3 consists of the terms which do not belong to group 1 or group 2, but relate to the elementary or secondary school mathematics, ④ group 4 consists of the terms which do not relate to the elementary or secondary school mathematics. And then we make a comparative study with the mathematical terms in the Editing Material. In this study, we find out the mathematical terms in the Editing Material, but not in Korean Standard Unabridged Dictionary. And by using synonyms and old terms of the mathematical terms in the Editing Material we guess the rough tendency which terms belong to the Editing Material. By investigating the terms in group 3 and 4, we find out the mathematical terms which may belong to the Editing Material. We also find out the wrong or inconsistent explanations in Korean Standard Unabridged Dictionary.

• 지능정보연구
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• 제21권1호
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• pp.1-13
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• 2015

빅데이터 및 오피니언 마이닝 분야가 대두됨에 따라 정보 검색/추출, 특히 비정형 데이터에서의 정보 검색/추출 기술의 중요성이 나날이 부각되어지고 있다. 또한 정보 검색 분야에서는 이용자의 의도에 맞는 결과를 제공할 수 있는 검색엔진의 성능향상을 위한 다양한 연구들이 진행되고 있다. 이러한 정보 검색/추출 분야에서 자연어처리 기술은 비정형 데이터 분석/처리 분야에서 중요한 기술이고, 자연어처리에 있어서 하나의 단어가 여러개의 모호한 의미를 가질 수 있는 단어 중의성 문제는 자연어처리의 성능을 향상시키기 위해 우선적으로 해결해야하는 문제점들의 하나이다. 본 연구는 단어 중의성 해소 방법에 사용될 수 있는 말뭉치를 많은 시간과 노력이 요구되는 수동적인 방법이 아닌, 사전들의 예제를 활용하여 자동적으로 생성할 수 있는 방법을 소개한다. 즉, 기존의 수동적인 방법으로 의미 태깅된 세종말뭉치에 표준국어대사전의 예제를 자동적으로 태깅하여 결합한 말뭉치를 사용한 단어 중의성 해소 방법을 소개한다. 표준국어대사전에서 단어 중의성 해소의 주요 대상인 전체 명사 (265,655개) 중에 중의성 해소의 대상이 되는 중의어 (29,868개)의 각 센스 (93,522개)와 연관된 속담, 용례 문장 (56,914개)들을 결합 말뭉치에 추가하였다. 품사 및 센스가 같이 태깅된 세종말뭉치의 약 79만개의 문장과 표준국어대사전의 약 5.7만개의 문장을 각각 또는 병합하여 교차검증을 사용하여 실험을 진행하였다. 실험 결과는 결합 말뭉치를 사용하였을 때 정확도와 재현율에 있어서 향상된 결과가 발견되었다. 본 연구의 결과는 인터넷 검색엔진 등의 검색결과의 성능향상과 오피니언 마이닝, 텍스트 마이닝과 관련한 자연어 분석/처리에 있어서 문장의 내용을 보다 명확히 파악하는데 도움을 줄 수 있을 것으로 기대되어진다.

• 한국콘텐츠학회논문지
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• 제10권4호
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• pp.438-446
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• 2010

한글과 한자가 혼합되어 나타나는 분야의 언어정보처리를 수행하기 위해서는 한글 및 한자 정보를 동시에 지원할 수 있는 전자 사전이 요구된다. 본 논문에서는 국어대사전의 표제어에 나타나는 한자 통계 정보에 대하여 고찰하였다. 대상 정보는 KSC-5601 코드에 기초하여 엔트리에 한자가 포함된 엔트리 수, 엔트리에 나타나는 한자의 음과 훈의 출현빈도 수, 품사별 한자 출현빈도수, 엔트리당 평균 출현 한자 수 등이다. 440,594개의 표제어 중 303,951개에서 한 글자 이상의 한자가 나타나 68.99%의 표제어에서 한자가 출현 하였다. 440,594개의 표제어에서 858,595글자의 한자를 포함하고 있어 표제어 당 평균 1.95개의 한자가 출현하였다. 표제어의 평균 음절길이 3.56이고 1.95개의 한자가 출현하므로 표제어를 구성하는 글자 중 54.78%가 한자임을 알 수 있다. 4,888개의 한자 코드 중 한번 이상 출현한 한자는 4,660개이며, 228개의 한자는 한 번도 출현하지 않았다. 4,000번 이상 출현하는 한자는 5개였다. 엔트리에 출현하는 858,595개의 한자에 대응하는 한글 음은 471개였다.

• 한국언어정보학회지:언어와정보
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• 제7권1호
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• pp.41-54
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• 2003

According to Jeong Ho-seong (1999), Koreans use an average of only 20% of the 508,771 entries of the Korean standard unabridged dictionary. To establish MRD for natural language processing, it is necessary to select Korean lexical units that are used frequently and are considered as basic words. In this study, this selection process is done semi-automatically using the KAIST large corpus. Among about 220,000 morphemes extracted from the corpus of 40,000,000 eojeols, 50,637 morphemes (54,797 senses) are selected. In addition, the coverage of these morphemes in various texts is examined with two sub-corpora of different styles. The total coverage is 91.21 % in formal style and 93.24% in informal style. The coverage of 6,130 first degree morphemes is 73.64% and 81.45%, respectively.

• 건축역사연구
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• 제19권6호
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• pp.99-120
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• 2010

According to it, a final goal of this study sets up 'Renovation of the Red brick architecture' and development of theoretical foundation and substantial conservation about Red brick architecture through historical records must be settled without delay. Firstly, it analyzes related terminology and adjusts brick architecture's history and features for architectural authenticity about Red brick architecture. It would study production and construction process of brick in korea. From analysis of records, brick of traditional meaning is 'Jeondol' and western brick of modern meaning is 'Red brick'. 'Brick' defines a common designation. This study shows definition of words based on documents published until 19th century and a korean language and architecture terms dictionary. In view of this results, the meaning of brick which combines different types extensively uses 'Chu', 'Jeon', 'Byeok' according to the purpose of use and the current of the times. In case of 'Jeon', it uses jointly different types such as '塼', '磚', '甎'. but '塼' is frequently used. Even though these words like 'byeok' used individual or combination types until the late 19th century, there is no use because of japanese terms in japanese colonial. After liberation, it was the term of the traditional brick. Brick is generally used through modern times. In an unabridged Korean language dictionary, it defines this term as orthodox korean '壁乭' and '?乭'. At that time of japanese colonial, 'Yeonwa(煉瓦)' used in combination with brick. Due to influence it, it partly uses until now but it is not in common use. Also, a Korean language dictionary contains transcription of 'Yeonwa' with same definition as 'Byeokdol'. In the other side, it results from translating japanese into Korean. It would make exact definition of 'Yeonwa'.

• 미술이론과 현장
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• 제2호
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.