• 복식문화연구
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• 제16권2호
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• pp.382-396
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• 2008

The purpose of this study is to analyze the transition of glamour style expressed in modern fashion throughout the history. The glamour style in modern fashion was categorized into five periods which are Hollywood glamour(H), Feminine glamour(F), Rich glamour(R), Decadent glamour(D), and Trash glamour(T). These categories were analyzed and compared in the viewpoint of aesthetic values deduced on the previous study. As a method of analysis, literature study and case study through the publications in aesthetics, history and preceding theses were used. The results of analysis are: Ostentatious luxury was suggested by extravagance of the movie star in H, the splendid American lifestyle in F, conspicuous consumption in R, fin de siecle bad taste in D and self-assured exposure in T. Mysterious idolatry was studied as exaggerated goddesshood of the movie star in H. It was expanded to celebrities including fashion models, television actresses, pop singers and young couture designers in the other periods. Artificial sensuality was originated from the femme fatale image of the courtesan as well as the traditional femininity of Victorian era in H. It was developed through exaggerated hourglass silhouette of the wife dressing in F. But an aggressiveness in R, a hyper-sexual femme fatale in D, an independent and defiant image of the showgirl in T were observed. Playful queerness stood out clearly by the fin de siecle phenomena. Though it was embodied in sexual perversive subculture, it emerged as hi fashion by young designers in the late R and became a crucial aesthetic value throughout D and T. It is more connected with the origins of glamour which arouses sexual ambiguity, crudity, aggressiveness and death. The continuity and discontinuity of the glamour style based on the theory of 'linked solution' were also analyzed.

• 한국의상디자인학회지
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• 제16권2호
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• pp.139-150
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• 2014

The purposes of this study are to analyze current situation of fashion market of Vietnam who is mainly influenced by Korean wave, analyze preferred fashion brand product and street fashion style of women in 10~20s interested in fashion so much, and develop the design suitable for Vietnamese consumers' preference so as to seek the methods domestic fashion industry can have competitive edge in emerging economic market. It's significant to suggest the direction of Korean new contents and seek the possibility of advancing new market by getting out of domestic market which is stagnated by preparing the foothold of fiber and fashion industry, beyond the first effects of Korean wave. Through this study, current situation of Korean wave which recently becomes new Korean wave based on the K-pop and futhermore, one of worldwide cultural situation could be recognized. Based on the preference of the Korean wave, current situation of Korean fashion industry spread gradually in Vietnam and design characteristics of fashion style preferred by Vietnamese consumers could be grasped. As the result, the design which can satisfy various needs of Vietnamese female consumers preferring fashion style was developed based on the characteristics by product's styles of Vietnamese fashion market. In addition, it intended to be helpful to plan the design of casual wear which is more professional so that Korean fashion industry can advance Vietnamese market through it.

• 한국의류학회지
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• 제21권3호
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• pp.544-558
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• 1997

Black street style has made unique fashion in popular music such as Jazz, Soul, Rhythm Il Blues. Reggae, and Rap, and it is counterculture and subculture against white. Furthermore, the black street style has played a starring role in the development of white culture as well as black culture, which emerged in direct opposition to the dominant cultures practised by a fraction of fellow countrymen within the black diaspora. The objectives of this study are to examine the social chronology of the black street style and the contemporary fashion, and the influences of the black street style on white culture. The seeds of black's style were sown in the late forties, developing throughout the fifties with the arrival of black immigrants from the west Indies and its examples were zooties, hip cats 8l hipsters, modernists. Rude boy & two-tone was anti·fashion style in sixties and then rastafarians continued in seventies costume is used to convey an essential symbolic class and ethnic message. The latest black's street fashion is hip-hop dress, which is pluralistic and electric, and funk is also erratic. During its ten-year reign as an international style, it has undergone numerous shifts because it is decline of racism B-boy & flygirls toraggamuffins & bhangra style to acid Jazz. These have played a crucial part in influencing the gigh fashion and avant-grade fashion designers' work. Today's street fashion has characteristics of postmodern culture without a racism in global village. Moreover, pop music stars take an effect on the street style continuously. With the opening of a new century, the study of the street style will overcast popular fashion and suggest the direction of fashion design.

• 한국정보통신학회논문지
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• 제10권6호
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• pp.1153-1158
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• 2006

자궁 경부 세포진 영상의 핵 영역 분할은 자궁 경부암 자동화 검색 시스템의 가장 어렵고도 중요한 분야로 알려져 있다. 자궁 경부 세포진 영상은 배경과 세포의 영역이 확실히 구분되지 않는 경우가 많기 때문에 이들을 확실히 구분하는 것이 매우 중요하다. 본 논문에서는 이러한 문제점을 해결하기 위해 자궁 경부 세포진 영상에서 Region growing 기법을 적용하여 세포 영상을 분할한다. Region growing 기법은 화소간의 유사도를 측정하여 영역을 확장하여 분할하는 방법이다. 세포와 배경이 분할된 영상을 일정 임계값을 이용하여 영상을 이진화 한 후, 8방향 윤곽선 추적 알고리즘을 이용해 세포 영역을 추출한다. 추출된 세포 영역을 원 영상인 RGB 컬러로 변환한 후에 K-means 알고리즘을 적용하여 각 세포 영역의 RGB 화소를 R, G, B 채널로 각각 분리하여 클러스터링 한다. 클러스터링된 각 각의 R, G, B 채널의 클러스터 값을 이용하여 HSI 모델로 변환시킨 후에 세포핵 영역의 Hue 정보를 추출한다. 추출된 세포핵의 특징을 오류 역전파 알고리즘을 적용하여 정상 세포와 비정상 세포를 분류하고 인식한다.

• Restorative Dentistry and Endodontics
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• 제29권3호
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• pp.219-225
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• 2004

This study evaluated the microshear bond strength of composte resin to teeth bleached with commercial whitening strips and compared with those bleached with home bleaching gel. Twelve extracted human central incisors were cut into pieces and central four segments were chosen from each tooth and embedded in acrylic resin. Four blocks with 12 tooth segments embedded in acrylic resin were acquired and numbered from group one to group four. Group 1 was bleached with Crest Whitestrips, group 2 with Claren, group 3 with Opalescence tooth whitening gel (10％ carbamide peroxide). Group 4 was used as control. The bleaching procedure was conducted for 14 days according to the manufacturer's instructions ; the bleaching strips twice a day for 30 min and the bleaching gel once a day for 2hr. After bleaching, composite resin (Filtek Supreme) was bonded to the enamel surfaces with a self-etching adhesive (Adper Prompt L-Pop) using Tygon tube. Microshear bond strength was tested with a universal testing machine (EZ-test). The data were statistically analysed by one-way ANOVA. The study resulted in no statistical differences in microshear bond strength between the tooth segments bleached with 2 different whitening strips and bleaching gel. It can be concluded that the effect of bleaching with either commercial whitening strips or bleaching gel on enamel is minimal in bonding with self-etching adhesive to composite resin.

• Restorative Dentistry and Endodontics
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• 제29권3호
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• pp.273-280
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• 2004

The purpose of this study was to evaluate the etching effects and bond strength of total etching and self-etching adhesive system on unground enamel using scanning electron microscopy and microtensile bond strength test. The buccal coronal unground enamel from human extracted molars were prepared using low-speed diamond saw. Scotchbond Multi-Purpose (group SM). Clearfil SE Bond (group SE), or Adper Prompt L-Pop (group LP) were applied to the prepared teeth. and the blocks of resin composite (Filtek Z250) were built up incrementally. Resin tag formation was evaluated by scanning electron microscopy. after removal of enamel surface by acid dissolution and dehydration. For microtensile bond strength test. resin-bonded teeth were sectioned to give a bonded surface area of $1\textrm{mm}^2$. Microtensile bond strength test was perfomed. The results of this study were as follows. 1. A definite etching pattern was observed in Scotchbond Multi-Purpose group. 2. Self-etching groups were characterized as shallow and irregular etching patterns. 3. The results (mean) of microtensile bond strength were SM: 26.55 MPa, SE: 18.15 MPa, LP: 15.57 MPa. SM had significantly higher microtensile bond strength than 8E and PL (p < 0.05). but there was no significant differance between SE and PL.

• 한국정보처리학회논문지
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• 제4권10호
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• pp.2596-2604
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• 1997

ACK는 가상 스택 기계에 기반을 둔 EM 중간 코드로부터 레지스터 구조에 기반을 둔 SPARC 기계에 대한 목적 코드를 생성하기 위해서는 코드 확장기(code expander)를 이용하고 있다. 따라서 EM 코드로부터 SPARC 목적 코드를 생성하기 위해 스택 지향 구조로부터 레지스터 지향 구조로 변환하여야 한다. 코드 확장기를 이용한 SPARC 코드 생성 기법은 각 EM 명령어에 대해 SPARC 코드로 확장하는 루틴들로 구성되며 코드 생성기에 비해 코드의 질을 개선하기 위해 푸쉬-팝 최적화 동작을 수행한다. 하지만 코드 확장시에 별도의 자원과 관리를 요구하는 혼합 스택(hybrid stack)을 이용하고 있으며 전단부의 정보 손실로 레지스터 윈도우를 이용한 효율적인 매개변수 전달을 고려하지 않는다. 본 논문에서는 ACK의 전체적인 구조의 변경 없이 목적 기계의 스택과 매개변수 전달을 고려하나 효율적인 SPARC 코드를 생성하기 위해 EM 트리를 이용한 SPARC 코드 확장기를 설계하고 구현하였다. 이를 위해, 순차적인 EM 코드를 입력으로 받아 스택 속성을 반영한 트리로 구성하며 혼합 스택을 제거하기 위해 지역 변수 정보를 별도로 관리하였다. EM 트리의 순회 및 확장 과정에서 목적 코드를 생성할 수 있는 루틴을 통하여 목적 코드를 출력하며 추출된 정보와 노드의 성격에 출력 시기와 목적 코드를 결정한다.

• 한국산학기술학회논문지
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• 제17권9호
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• pp.458-463
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• 2016

융합의 개념은 효율과 성능 개선 등을 목적으로 서로 다른 기술이나 산업분야가 결합함으로써 존재하지 않았던 새로운 기능이나 서비스를 창출하는 현상을 말한다. 우리가 사는 지금 이 시대는 기술의 비약적인 발달로 인해 컨텐츠 생산 및 소비 환경이 급격히 변화하고 있으며, 각 분야의 경계가 소멸하는 방향으로 진행되고 있다. 이는 음악에도 적용된다. 1969년 재즈 연주자 마일스 데이비스에 의해 재즈와 록음악의 융합이 시도되었고, 클래식 또한 예외는 아니었다. 장르간의 크로스오버를 통해 엄격하게만 연주되었던 클래식은 그 틀을 벗어나 새로운 형식으로 거듭나게 되었다. 이러한 추세는 전 세계적으로 확산되었으며, 한국에서도 여러 뮤지션들에 의해 크로스오버가 시도되었다. 본 논문에서는 대중음악의 편곡기법을 활용하여 클래식 음악을 연주한 사례로, 1979년에 발표된 사랑과 평화 1집에 수록된 <여왕벌의 비행>, <베에토벤의 운명> 두 곡을 선정하였다. 각각의 곡은 원곡의 악보와 함께 나열하고 클래식과 훵크의 특징을 리듬섹션을 중심으로 분석하였다.

• 한국멀티미디어학회논문지
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• 제5권4호
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• pp.393-398
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• 2002

기존의 MPEG-1 오디오 부호화 방식 이 사용하는 비트 할당 알고리듬은 비트 할당이 종료될 때까지 최소의 MNR을 갖는 서브밴드를 탐색하는 과정을 반복적으로 수행한다. 따라서 비트 할당을 수행하는데 필요한 전체 계산량의 상당 부분을 서브밴드 탐색 과정이 차지한다. 본 논문에서는 서브 밴드 탐색을 좀 더 효율적으로 수행 할 수 있는 방안을 제 시 하고, 기존의 방식과 음질과 계산량 측면에서 비교하고자 한다. EBU(Europe Broadcasting Union)가 제공하는 음질 평가용 CD에 수록되어 있는 팝 음악 신호를 사용하여 실험한 결과, 128 kbps의 비트율로 오디오를 압축하는 계층 2 알고리듬 환경에서, 제안한 방식이 필요로 하는 계산량은 ［1］의 방식이 필요로 하는 계산량의 42% 정도이며, MNR로 측정한 두 방식간의 음질 차이는 0.2 ㏈ 정도로 별 차이가 없음을 확인할 수 있었다.

• 비교문화연구
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• 제36권
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• pp.123-147
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• 2014

The purpose of this essay is three-fold: to trace the genealogy of the Korean musical, which ever since its inception in the 1960s has been seeking to modernize Korean theater with Broadway as a constant role model; to investigate how the national and the global conflict and are conflated in the form of the Korean musical in the process of its (dis)identification with Broadway; and to examine how its intercultural translations reveal and reflect the dilemma and ambivalence posed by globalization in our era. Drawing on Richard Dyer's signature article Entertainment and Utopia, I analyze how the Korean musical manifests and conduits competing utopian impulses of Korean/Global audiences. I also attempt to problematize the formulaic notion of Broadway musicalsthe Superior Other!which implies a global hegemony that does not, in fact, exist because the boundary between the global and the local as well as the power dynamics of global culture are not fixed but constantly moving and changing. Today's musical scene in Korea shows interesting reversals from the 1990s, when Korean producers were eager to debut on Broadway and impress American audiences. Korean producers no longer look up to Broadway as a final destination; instead they want to make Seoul a new Broadway. They import Broadway musicals and turn them into Korean shows. The glamor of Broadway is no longer the main attraction of musicals in Korea. What young audiences look for most is the glamor of K-pop idols and utopian feelings of abundance, energy, intensity, transparency and community, which they can experience live in the musical with their favorite stars right in front of their eyes. In conclusion, I delve into the complex dynamics of recent Korean musicals with Thomas Friedman's theory of Globalization 3.0 as reference. The binary formula of Global/America versus Local/Korea cannot be applied to the dynamic and intercultural musical scene of today. Globalization is not a uniform phenomenon but rather a twofold (multifold) process of global domination and dissemination, in which the global and the local conflict and are conflated constantly. As this study tries to illuminate, the Korean musical has evolved in a huge net of interdependences between the global and the local with a range of sources, powers and influences.