• Journal of the Korean association of regional geographers
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• v.18 no.2
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• pp.141-160
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• 2012

This paper evaluates the governance of the Andong International Mask Dance Festival. The evaluation focuses on mutual cross-assessment of agents engaging in governance relating to four elements: social justification, reliability, professionalism and transparency. Governance based on co-operative partnership was the essential factor leading to the mask festival's success. Governance of the Andong International Mask Dance Festival in 2011 was privately initiated governance having horizontal and open partnership among festival specialists, civil society organizations, regional business organizations, volunteers and local government, with the Andong Festival Tourism Foundation as the central figure. Three of governance elements were successfully carried through; the exception was transparency. The agents who gave more positive evaluations were those who played leading roles in planning and conducting events, as well as in assessing those events. The reasons for positively assessing the elements are the significance of the festival and the guarantee of agents' participation in social justification; the ability of agents, as well as cognitional and institutional trust in reliability; expert knowledge, capacity to suggest alternatives and duality of business in professionalism; and effective communication, the guarantee of opening of information and information sharing in transparency. To improve the effectiveness of governance, the system for allowing passive agents to contribute usefully should be strengthened. Mutual communication and sharing of information among agents, as well as between agents and residents, also should be more strongly reinforced.

• Industry Promotion Research
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• v.6 no.2
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• pp.55-62
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• 2021

The number of single-parent families in South Korea increased since 2000, related to a sharp rise in the divorce rate of 50s and an increase in male mortality rates among those aged 40s-50s. Middle-aged single mothers experience a critical period realizing self-actualization needs, while being in the middle adulthood from the lifespan developmental perspective. In this respect, it is significant to study self-actualization of middle-aged single mothers through guided imagery and music (GIM) in order to provide them with psychological support. This study was conducted from September 2018 to June 2020, and the GIM sessions were conducted at least 10 times. Four participants were selected among the middle-aged single mothers. The imagery experiences of participants in the GIM sessions were classified into four sub-elements: physicalness, emotion, memory, and sense. Within those sub-elements, eight semantic units were categorized into 46 elements. Finally, 152 semantic units were derived. Moreover, the self-actualization which participants experienced through GIM presented three archetypal images: shadow, persona, and the self. In the GIM sessions, experiences of putting their negative emotions associated with family into words and changing passive self-imagery into active one enabled participants to bring the shadow into their consciousness, there by recognizing their positive and bright internal self. Furthermore, participants could map that their current status as people marginalized by siblings and parents, enraged and holding double standards for others, was suppressed by their 'good daughter' and 'religious' personas. This realization lead them to realize and restore their persona. The use of GIM in the study allowed participants to elicit re-experiences of the negative events, while experiencing various imagery and music. This process helped participants achieve self-actualization.

• Journal of electromagnetic engineering and science
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• v.9 no.2
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• pp.85-97
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• 2009

As operating frequency is raised and as more integration with active and passive elements is required, it becomes difficult to fabricate more than 120 ${\Omega}$ characteristic impedance of a mierostrip line. To solve this problem, an equivalent high impedance transmission-line section is suggested, which consists mainly of a pair of coupled-line sections with two shorts. However, it becomes a transmission-line section only when its electrical length is fixed and its coupling power is more than half. To have transmission-line characteristics(perfect matching), independently of coupling power and electrical length, two identical open stubs are added and conventional design equations of evenand odd-mode impedances are modified, based on the fact that the modified design equations have the linear combinations of conventional ones. The high impedance transmission-line section is a passive component and therefore should be perfectly matched, at least at a design center frequency. For this, two different solutions are derived for the added open stub and two types of high impedance transmission-line sections with 160 ${\Omega}$ characteristic impedance are simulated as the electrical lengths of the coupled-line sections are varied. The simulation results show that the determination of the available bandwidth location depends on which solution is chosen. As an application, branch-line hybrids with very weak coupling power are investigated, depending on where an isolated port is located, and two types of branch-line hybrids are derived for each case. To verify the derived branch-line hybrids, a microstrip branch-line hybrid with -15 dB coupling power, composed of two 90$^{\circ}$ and two 270$^{\circ}$ transmission-line sections, is fabricated on a substrate of ${\varepsilon}_r$= 3.4 and h=0.76 mm and measured. In this case, 276.7 ${\Omega}$ characteristic impedance is fabricated using the suggested high impedance transmission-line sections. The measured coupling power is -14.5 dB, isolation and matching is almost perfect at a design center frequency of 2 GHz, showing good agreement with the prediction.

• Journal of the Korean Wood Science and Technology
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• v.43 no.6
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• pp.876-883
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• 2015

Han-green project, which pursues Korean style post and beam timber house with traditional construction technique of Han-ok, has been carried out in KFRI (Korea Forest Research Institute) since 2006. Recently, the improvement of its building energy performance was studied with energy-saving elements. This study was conducted to provide the insulation details of building envelopes in a post-beam timber house for recent enhanced insulation standards and following effect on building energy performance. The level of thermal transmittance (U-value) values of building envelopes was composed of two stages: present Korean insulation standards and passive house. To evaluate building energy performance, the building airtightness values of two stages was ACH50 = $3.0h^{-1}$ for common domestic timber house constructed recently, and ACH50 = $0.6h^{-1}$ for passive house. Consequently, four cases of the building energy performance according to the combination of U-value with airtightness were evaluated. The test house for evaluation was located in Seoul and its energy performance was evaluated with CE3 commercial building energy simulation program. The result showed that enhanced insulation from level I to II reduced $14kWh/(m^2{\cdot}a)$ of annual heating energy demand regardless of airtightness.

• Journal of the Institute of Electronics Engineers of Korea SD
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• v.42 no.9 s.339
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• pp.1-8
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• 2005

A $0.35\mu$m SiGe BiCMOS fabrication process has been timely developed, which is aiming at wireless RF ICs development and fast growing SiGe RF market. With non-selective SiGe epilayer, SiGe HBTs in this process used trapezoidal Ge base profile for the enhanced AC performance via Ge induced bandgap niuoin. The characteristics of hFE 100, $f_{T}\;45GHz,\;F_{max}\;50GHz,\;NF_{min}\;0.8dB$ have been obtained by optimizing not only SiGe base profile but also RTA condition after emitter polysilicon deposition, which enables the SiGe technology competition against the worldwide cutting edge SiGe BiCMOS technology. In addition, the process incorporates the CMOS logic, which is fully compatible with $0.35\mu$m pure logic technology. High Q passive elements are also provided for high precision analog circuit designs, and their quality factors of W(1pF) and inductor(2nH) are 80, 12.5, respectively.

• Archives of design research
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• v.12 no.4
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• pp.99-108
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• 1999

The interior space in a passenger car is consisted with many partial elements, and the instrument panel is the most important part from all of them, which is designate the total image of the interior design and the space variation, drivability and safety of the interior space. ] The instrument panel of a passenger car in the early age had the concept of a wall between the engine room and the passenger cabin on which the instrument for the driver were fitted. Therefore the central mounting of the instruments was the typical feature regardless of the position of a driver seat. As the automobiles became more functional with many equipments, driver oriented instrument panel with energy absorbing materials had been developed, and that was the beginning of the various instrument panel design of these days. The recent instrument panels of passenger car have the tendency of going back to the central instrument mounting as it was at the past on a few cars for the strict safety regulation, a new production technology and for the enhanced drivability. It can be summarized into a few results as these with the analysis of a few recent instrument panels. -minimizing the total volume for the better frontal visibility. -energy absorbing and passive structures for the strict impact regulations. -revival of central instrument mounting for the convenience and safety through minimizing the difference of the focal length of a driver.

• The Journal of the Korea Contents Association
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• v.17 no.5
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• pp.153-164
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• 2017

This research concurrently conducts literature review and quantitative research methodology in order to compare aesthetic experience of and . From the perspective of viewing attitudes, two types of perception equally coexist in both exhibitions: convergent perception is predominant over distracted perception in IL while distracted perception is higher than convergent perception in MIE. However, the influence of convergent perception on the degree of satisfaction and immersion is proved only in MIE. In terms of roles of viewer, there is a tendency to weigh on passive role in both exhibitions. In particular, it is worth noting that the role is relatively high in MIE. The role of viewer do not correlate with on the degree of satisfaction and immersion, as well as modes of perception. The elements of aesthetic experience are highly rated and the use of previous knowledge acts as a positive influence on the role of viewers in IL. Through this study, we witness the fact that visitors who are familiar with traditional artworks depend upon both modes of perception as well as passive role of viewer in the digital exhibition. In conclusion, remediation through digital technology has blurred the boundary of the dichotomy of a viewing attitude and a role of viewer depending on exhibit media, consequently MIE bears both natures of traditional artworks and digital media.

• Cross-Cultural Studies
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• v.38
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• pp.29-63
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• 2015

This paper attempts to re-read Tennessee William's A Streetcar Named Desire from a non-Aristotelian perspective, particularly focusing on the audience performativity. In Chapter 6 of the Poetics, Aristotle says that tragedy has a final purpose or end (telos) and that is to inspire a catharsis (literally "purification") of pity and fear by means of representation and to give pleasure from experiencing their relief. However, a dramatic theoretician Augusto Boal argues that Aristotelian catharsis is not to get rid of pity and fear through their vehement discharge; rather, the basic function of catharsis is the purging of antisocial elements from the social body and the restoration of order because catharsis occurs when the spectator, terrified by the spectacle of the catastrophe, is purified of his "hamartia" which looks similar to the tragic flaw of the hero in the play. Thus, Boal asserts that Aristotle's coercive system of tragedy manipulates the emotions of the passive spectator. By contrast, in non-Aristotelian aesthetics, tragedy functions not as legitimation for a particular political configuration but as the performance of ethical acts-through which all the participants, including not only the actors but also the audience, communicate more actively about practical problems and actively work in order to make sense of themselves, others, and society. Here, the audience is required to restore and reinforce his/her capacity to think and to act; thus, an unquestioning, passive, indifferent attitude is not allowed. In these contexts, this paper explores how Tennessee William's A Streetcar Named Desire involves the audience in the responsibility for what occurs on the stage, in order to urge the audience's ethical judgements and responsible acts. This paper argues that what this play asks of us is not catharsis, the purging of pity and fear, but empathy toward the other's pain, beyond pity and fear, to carry out our responsibility of sharing in and caring for the other's suffering. That is to say that it will be an ethical way to "re-member" Blanche DuBoi-the iconic Williams victim "dis-membered" by traumatic memories and open wounds and is thus unable to complete her grieving and mourning-as one of us, not as the other. It will be the only way to remember right regarding her tragedy.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.6
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• pp.239-245
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• 2016

In this study, a 12 V PWM boost converter was designed with the optimal values of the external components of the power stage was well as the compensation stage for smart electronic applications powered by a battery device. The 12 V boost PWM converter consisted of several passive elements, such as a resistor, inductor and capacitor with a diode, power MOS switch and control IC chip for the control PWM signal. The devices of the power stage and compensation stage were designed to maintain stable operation under a range of load conditions as well as achieving the highest power efficiency. The results of this study were first verified by a simulation in SPICE from calculations of the values of major external elements comprising the converter. The design was also implemented on the prototype PCBboard using commercial IC LM3481 from Texas Instruments, which has a nominal output voltage of 12 V. The output voltage, ripple voltage, and load regulation with the line regulation were measured using a digital oscilloscope, DMM tester, and DC power supply. By configuring the converter under the same conditions as in the circuit simulation, the experimental results matched the simulation results.

• Journal of the Korean Society of Costume
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• v.30
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• pp.85-99
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• 1996

This study has been made to examine the symbolic meaning of our traditional costume colours based on the theory of yin-yang Wu-hsing the interaction of yin and yang with the rotation of the five agents wood firt earth metal and waters. Presenting the spirt and the life of our race the costume culture has been keep-ing its own systematic symbol. Being sensible the colour has to be under-stood as the colour sense therefore the cos-tume colour has begun to have the symbolic meaning with the feeling or the mental value. According to the theory of yin-yang wu-hsing the costume colour has presented our racial sprit way of thinking and way of life for a long time and it has become the tra-ditional culture at last. Based on the doctrine of cosmic harmony through the motion of yin and yang or the passive and active elements are their five agents form the material force of everything. The order of nature has its counterpart in five symbolic costume colours wood-blue ; fire-red: earth-yellow; metal-white: water-black. The five colours are called the primary colours. which produce the next compound colours. Accepted in the social system as well as the social stats the costume colour has set up systematically. The theory of Yin-yang Wu-hsing has given the five colours the symbolic meanings and its mainstream has been the function of Sangsaeng and Sangeuk which are genera-ted by the power of virture. The former is mu-tually beneficial while the latter destructive. The colour as a costume colour has been made distinction between the colour of the up-per classes and the colour of the middle and lower classes and the specific colour has presented the symbolic meanings. The yeollow the red and the purple have been regarded as the colour of king queen and upper classes Being the colour recognition the costume colour has been established by the society and the race generally Implied the spiritual elements the colour recognition could select the lucky colour in accordance with one's des-tiny. Besides the colour recognition has begun to appear as the racial costumes to protect the society and to pray for good fortune. According to the theory of Yin-yang Wu-hsing the costume colour has been forming through our long history and has become our costume culture. Therefore the colour of the costume has signified not only the colour sense but also the important symbolic meanings.