• Horticultural Science & Technology
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• v.32 no.2
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• pp.269-275
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• 2014

A standard rose cultivar, 'Love Letter' was selected for cut flower from the progenies of a cross between 'Red Giant' and 'Ensemble' by the rose breeding team of the Gyeonggi-do Agricultural Research & Extension Services (GARES) in 2011. A standard rose cultivar 'Red Giant' with red colored (RHS Red Group 45C) petals and 1.8 prickles per stems of 10 cm was used as a mother plant. A standard rose cultivar 'Ensemble' with white and red purple colored (RHS White Group 155C + RHS Red Group N57B) petals and 2.4 prickles per stems of 10 cm was used as a pollen parent. 'Love Letter' was crossed in 2007 and seedlings were produced. After tests of specific characters from 2008 to 2011, this cultivar was finally selected and named. As a standard type with large sized flower, it has red colored (RHS Red Group 46A) petals with 9.3 cm flower diameter and 32.4 petals per flower. Vase life of this cultivar could be as long as 12 days. It takes 43 days from pruning to blooming and cut flower productivity was 152 stems/$m^2$ in a year. The stems of cut flower have no thorn and the length is about with 70.5 cm. When this cultivar grew below $15^{\circ}C$ and 1,000 lux, the petals color became dark red in winter season. 'Love Letter' was registered as a new cultivar on Korea Seed & Variety Service (KSVS) with No. 4482 on May 8, 2013.

• Cross-Cultural Studies
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• v.33
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• pp.77-94
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• 2013

This article aims at analyzing melodramas in films of Northeast Asia for seeking comparative studies of popular narrative which have been widely favored in Korea, China and Japan since the 1990s. It is explored of expectation and desire of public who have taken pleasure in watching the films in each countries of Northeast Asia as well. It is selected to Letter(1997) made in Korea, The Road Home(1999) in China and Love Letter(1995) in Japan for the research as above Melodrama of each countries has been searched at not only maintaining the traditional melodramatic convention but also corresponding to sociocultural environment of each countries for meeting tastes of public 'in the 1990s' when cultural interchanges have been more active along each countries of Northeast Asia. It will be concretely pursued to the interchanges and influence-reception relation of melodrama for follow-up research as it has been sprightly enjoying as well as transforming common cultural contents at each countries of Northeast Asia since the 1990s.

• Journal of Family Resource Management and Policy Review
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• v.5 no.2
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• pp.59-67
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• 2001

Pu-lei is a well-known translator in Chinese literature. He had delivered his experience, knowledge and paternal love to his son who was studying abroad, by hundreds of letters from 1954 to 1966. These letters are appreciated as the perfect expression for paternal love and concerns. Although he had experienced both cultures of the West and the East, his lessons for son are rooted in the oriental‘sprit training’. What he emphasized in his letters is that one should put sound personality first than merely enhancing abilities. Especially, he valued the recreation from meditation and living up to one's belief. Furthermore, he had taught his son to observe the properties, to manage time, and pride of his country and patriotism. The modern family education has overlooked the enhancement of human nature. The egoistic and jaundiced parental love and over-protectiveness led the disorder and the absence of morality today. In this point, the lessons from Pu-lei's letter will give us important suggestions.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.155-180
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• 2019

Samsaebulhoedo(三世佛會圖) at Yongjusa Temple(龍珠寺), regarded as a monumental masterpiece consisting of different elements such as Confucian and Buddhist ideas, palace academy garden and Buddhist artist styles, unique traditional and western painting styles, is one of the representative works that symbolically illustrate the development and innovation of painting in the late Joseon dynasty. However, the absence of painting inscriptions raised persistent controversy over the past half century among researchers as to the matters of estimating its production period, identifying the original author and analyzing style characteristics. In the end, the work failed to gain recognitions commensurate with its historical significance and value. It is the particularly vital issue in that estimating the production period of the existing masterpiece is the beginning of all other discussions. However, this issue has caused the ensuing debates since all details are difficult to be interpreted to a concise form due to a number of different records on painters and mixture of traditional buddhist painting styles used by buddhist painters and innovative western styles used by ordinary painters. Contrary to other ordinary Buddhist paintings, this painting, Samsaebulhoedo, has a praying letter for the royal establishment at the center of the main altar. It should be noted that regarding this painting, its original version-His Royal Highness King, Her Majesty, His Royal Crown Prince主上殿下, 王妃殿下, 世子邸下-was erased and instead added Her Love Majesty慈宮邸下 in front of Her Majesty. This praying letter can be assumed as one of the significant and objective evidence for estimating its production period. The new argument of the late 19th century production focused on this praying letter, and proposed that King Sunjo was then the first-born son when Yongjusa Temple was built in 1790 and it was not until January 1, 1800 that he was ascended to the Crown Prince. In this light, the existing praying letter with the eulogistic title-Crown Prince世子-should be considered revised after his ascension to the throne. Styles and icons bore some resemblance to Samsaebulhoedo at Cheongryongsa Temple or Bongeunsa Temple portrayed by Buddhist painters in the late 19th century. Therefore, the remaining Samsaebulhoedo should be depicted by them in the same period as western styles were introduced in Buddhist painting in later days. Following extensive investigations, praying letters in Buddhist paintings in the late 19th century show that it was usual to record specification such as class, birth date and family name of people during the dynasty at the point of producing Buddhist paintings. It is easy to find that those who passed away decades ago cannot be revised to use eulogistic titles as seen by the praying letters in Samsaebulhoedo at Yongju Temple. As "His Royal Highness King, Her Majesty, His Royal Crown Prince" was generally used around 1790 regardless of the presence of first-born son or Crown Prince, it was rather natural to write the eulogistic title "His Royal Crown Prince" in the praying letter of Samsaebulhoedo. Contrary to ordinary royal hierarchy, Her Love Majesty was placed in front of Her Majesty. Based on this, the praying letter was assumed to be revised since King Jeongjo placed royal status of Hyegyeonggung before the Queen, which was an exceptional case during King Jeongjo's reign, due to unusual relationships among King Jeongjo, Hyegyeonggung and the Queen arising from the death of Crown Prince(思悼世子). At that time, there was a special case of originally writing a formal tripod praying letter, as can be seen from ordinary praying letter in Buddhist paintings, erasing it and adding a special eulogistic title: Her Love Majesty. This indicates that King Jeongjo identified that Hyegyeonggung was erased, and commanded to add it; nevertheless, ceremony leaders of Yongju Temple, built as a palace for holding ceremonies of Hyeonryungwon(顯隆園) are Jeongjo, the son of his father and his wife Hyegyeonggung (Her Love Majesty)(惠慶宮(慈宮)). This revision is believed to be ordered by King Jeongjo on January 17, 1791 when the King paid his first visit to the Hyeonryungwon since the establishment of Hyeonryungwon and Yongju Temple, stopped by Yongju Temple on his way to palace and saw Samsaebulhoedo for the first and last time. As shown above, this letter consisting of special contents and forms can be seen an obvious, objective testament to the original of Samsebulhoedo painted in 1790 when Yongju Temple was built.

• The Journal of the Korea Contents Association
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• v.16 no.10
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• pp.636-644
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• 2016

The actress of the movie is an operating system called Samantha. She only has a voice in the movie. Theodore, the main actor writes letters for his clients. He got married Katherin after dating for years but they failed to maintain their relationship. It was hard for them to grow with distance. On the contrary, the learning OS doesn't have any fixed pattern and any limits, so it becomes the ideal partner for him. Since she was accessed by him, Samantha has expanded her ability rhizomatically. She could have sex with human and philosophical debates with a departed philosopher. While they have relationship, Theodore experiences the expansion of his conscience. Love cannot be confined in a small box. After realizing how to love people around him, he sends a love letter to Katherine with all his heart. The meaning of co-existing with A.I. and human is to have a chance to introspect our inner side of mind more deeply.

• Proceedings of the Korea Information Processing Society Conference
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• 2003.05c
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• pp.1981-1984
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• 2003

최근에 유포되고 있는 악의적인 소프트웨어로 Melissa와 Love letter와 같은 전자우편 바이러스가 있는데, 이들은 단순히 전자우편을 열기 만해도 메일 주소록에 등록된 모든 사용자에게 자신을 유포함으로써 막대한 피해를 유발시킨다 본 논문에서는 메일 주소 변형모듈 및 복원모듈을 전자우편 송신부에 추가 도입함으로써 전자우편 바이러스에 의한 바이러스 전파를 차단하는 시스템을 제안한다. 변형모듈은 송신자 행위에 의해서만 수행되어 수신자의 메일 주소를 변형하며, 복원모듈은 송신부의 서버 단에서 전자우편 전송 시마다 수행되어 역변형 과정을 거쳐 메일 주소를 복구한다. 변형모듈은 전자우편 바이러스에 의해서는 실행되지 않도록 구현되며, 전자우편 수신부에서는 추가로 하는 작업이 전혀 없다. 제안한 시스템에서는 새로운 전자우편 바이러스 공격에 대응하기 위해서, 다형성(polymorphism) 기법도 적용한다.

• Convergence Security Journal
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• v.2 no.2
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• pp.39-47
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• 2002

To recently with the love-letter and Back Orifice the same Worm-virus, with the Trojan and the Linux-virus back against the new species virus which inside and outside of the country to increase tendency the malignant new species virus which is the possibility of decreasing the damage which is enormous in the object appears and to follow a same network coat large scale PC is being quicker, it disposes spontaneously to respect, applied an artificial intelligence technique the research against the next generation malignant computer virus of new form is demanded. Will reach and to respect it analyzes the digital immunity system of the automatic detection which is quick against the next generation malignant virus which had become unconfirmed and the foreign countries which has an removal function.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.7
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• pp.1097-1106
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• 2007

The purpose of this study is for development textile design and making fabric actually for dementia patients hospital clothing using symbol which has social care meaning. For achievement the aim, process and research methods were as follows. First the symbol design was developed. Second the symbol was applied as textile design for dementia patients hospital clothing. Symbol design was under processed with a letter 'Alzheimer' and meanings as like 'love', 'happiness' 'care' 'hope' and 12 design samples were developed by CAD and photoshop. Total 15 evaluation members chose 2 design samples. The 2 design sample were practically arrangement 7 textile design pattern with ground different colors. And finally 3 design pattern and 3 colorway were selected and add white ground. Totally 7 textile design was printed on 100% cotton, 20 yarn count, 1/2 twill. Therefore this new textile design for dementia patient's hospital clothing can be used in medical clinically and the symbol can be use for daily care item for the patients more comfort and high quality in their lives in hospital.

• Cross-Cultural Studies
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• v.32
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• pp.29-61
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• 2013

When turning to determining a subject position for the digital age, one may look beyond the invention of its technologies and instead begin with the development of its aesthetic of networked communities, nodal expression, and collaborative identity. Virginia Woolf's The Waves demonstrates this aesthetic in both form and content. In this paper, I will examine the role of collaboration in the form of interdisciplinary composition, arguing that Woolf's use of musical form and dramatic monologue and dialogue structurally secure an investment in collaborative models of expression. Digital texts taut their inherent multimodality, but such compositions are also evident in pre-digital texts. In addition, I will decipher the subject position Woolf puts forward in The Waves by looking closely at how the characters determine their own identity and existence when they are alone, when they interact with one individual, and when they congregate as a group. These are exemplified more specifically in the representations of Rhoda and Bernard as equally refusing to collaborate between a self-defined identity and a group defined identity; Bernard's channeling of Lord Byron while writing a love letter; and Woolf's use of the red carnation as a repeated image of the intertwined nature of the characters' collaborative identity and mutual dependence on one another.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.2
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• pp.5-29
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• 2002

This study was to analyze the social identity described in the dress of the American novelist Pearl S. Buck's (1892-1973) major works. A novelist pursues varying and refined expressions in an effort to convey to readers the character' identities of his or her own creation. In particular, Pearl S, Buck was a great writer who was awarded the Novel Literature Prize, and since her work The Good Earth recorded a world-wide bestseller, she might well be called a popular novelist. She depicted well her characters' identities from divers viewpoints with her unique delicacy and realistic expressions. For this study, the following seven works which are considered to feature the dresses for character's identity well were selected out of her 85 works: The Good Earth (1931), Sons(1932), The Mother (1934), A Housed Divided (1935), The Hidden Flower (1952), Love and the Morning Calm (1953) and Letter from Peking (1957). For an analytical tool, the content analysis method was used. In order to systematically review the social identity described in the dress individuals' identity were classified into the following categories based on the identity theories: Social identity were divided into ① age identity ② sex, gender identity ③ economic identity ④ occupational identity ⑤ political identity ⑥ religious identity ⑦ kinship identity ⑧ regional identity. The characters' age identity, sex, gender identity, economic identity, occupational identity, political identity, religious identity, kinship identity, regional identity were depicted by their dresses and physical features. All in all, it is hoped that this study would provided important cues to the understanding of the other party's identity through his or her dresses in mutual relationship: It is believed that this study would be useful because they are arranged through the analysis of the dresses featured in the great writer's works using a consistent framework of analysis.