• Journal of Korean Theatre Studies Association
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• no.48
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• pp.51-84
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• 2012

In Korea, historical plays took an epoch-making turn from the previous historical plays in terms of approaches to topic and material and methods of rewriting history in the 1990s. Historical plays became dehistoricized with individual, everyday life, and faction emerging as major codes of historical plays according to mistrust in history and grand narrative as the original and disappearance of trust in the growth and totality of history. A new trend became dominant of presenting fictionality prominent instead of reproduction of history and freely playing with history outside the context. While modern historical plays were subject to the content of history, post-modern historical plays sought after new history writing to tell a new story on history within a framework of fiction. Focusing on some of the trends in post-modern historical plays since the 1990s, which include play with history, daily life-style history writing, and reproduction patterns of colonial modernity, this study examined the goals, representations, and text strategies of new history writing in three historical plays, Generation After Generation(2000) by Park Geunhyung, The Mercenaries(2000) by Park Sujin, and Chosun Detective Hong Yunshik(2007) by Sung Giwoong. In Generation After Generation, the author adopts a plot of starting with the present and tracing back to the past, breaking down the myth of racially homogeneous nation. At the same time, he discloses that the colonial history is not just by the oppressive force of Japan but also by the voluntary cooperation of Korean people. That is, we are also accountable for the colonial history of the nation. The Mercenaries contrasts the independence movement during the colonial period against the modern history developed after Liberation, thus highlighting the still continuing coloniality, namely post-colonial present. The past is presented as the "phantom of history" making its appearance according to the request of the present hoping for salvation. The author politicizes history and grants political wishes to history by summoning the history by personal memories such as fictional diaries and letters with Messiah-like images opposed to the present of collapse and catastrophe. In Chosun Detective Hong Yunshik, the author makes an attempt at the microscopic reproduction of daily life by approaching the 1930s as the modern period when capitalist daily life started to take root. The lists of signs comprising daily life in colonial Gyeongseong are divided between civilization and savagery and between modern and premodern. With the progress of narrative, however, they become mixed together and reversed in the representation system in which the latter overwhelms the former.

• Cross-Cultural Studies
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• v.41
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• pp.299-320
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• 2015

Lewis Carroll's Alice's Adventures in Wonderland expands scope of Children's Literature genre by introducing the discourse of pleasure as opposed to that of didactic discipline. Carroll's narrative is important, not only for children's literature, but also as a forerunner of post/modernism of James Joyce with its language play and linguistic invention. Its treatment of Alice's body change follows the motif of body transformation in myth and literature. Comparing "stasis" of Susan Sontag's character Alice (James) in her play Alice in Bed and "movement" of Carroll's Alice, this study explores the issues of woman's alienation and the dichotomy of mobility/immobility in reality and in their literary representations. Focusing on a female child's double alienation as woman and child, I argue Alice's Adventures in Wonderland is a counter-narrative of alternative bildungsroman. Alice gains her subjectivity through her adventure by power of language and story-telling. Through representation of the dream/adventure of two desiring sisters, Carroll's narrative exhibits subversion of social order and emergence of new order of "chaosmos" out of chaos. As a method of study, this study traces genealogy of "curiosity" in myth and literature as a motivating force that triggers adventure and argues "creative curiosity" is a dynamic energy propelling Alice's adventure.

• Cross-Cultural Studies
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• v.46
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• pp.227-251
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• 2017

This article is designed to study the conceptualization process of one of the ancient Chinese classical literature heritages, the so-called, the Triple Virtue(三達尊). By showing the principle meanings and the newly embodied symbolism of this Triple Virtue, this article is prepared to encourage revitalization of the moral virtues and self-identical pride among the elderly and to promote the young people's social consciousness of respecting the elderly. The author identifies the philosophical origins of the Triple Virtue, implying that the virtuous trinity is composed of morality, position and age, by analyzing poems in "Daya(大雅)", "Xiaoya(小雅)" of the Book of Odes and archives in "Zhoushu(周書)" of the Book of Documents(尙書). The author especially emphasizes that the concept of Triple Virtue was created by governing classes for meeting the political needs in the Zhou Dynasty. Moreover, by regarding King Wen of the Zhou Dynasty as the symbolic representation in the beginning era of the Western Zhou Dynasty and Shao BoHu as the embodiness representation in the end of the Western Zhou Dynasty, the author performs an in-depth study related to the above two great men. Finally, the author sheds lights on how symbolic and embodiness representations had played significant roles in formulating a typical model of the Triple Virtue in the following generations.

• Cross-Cultural Studies
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• v.45
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• pp.7-32
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• 2016

This article considers the meaning of 'Zainichi (在日)' expressed in epic poem Niigata (1970) written by Korean-Japanese poet Kim Shi Jong. Kim sets two points in his creation of poetry. One is summer of liberation released from Japanese colonial domination in 1945. The other is Japan where he lives as a Korean-Japanese. These two points have made him think about the meaning of living in post-colonial era and the national division of Korea, his home country. His thought like this is well expressed in his epic Niigata. Niigata was written in 1959 when the ship returning to North Korea departed from Niigata of Japan. However, Kim couldn't return to his home country at that time. He stowed away from South Korea to Japan in 1949. He participated in antigovernment activities occurred in Jeju Island to block the national division between the south and the north after the liberation in 1945, the so-called 4.3 incident. Besides, he was having conflict with the organization of North Korea at that time because it required a doctrinaire belief and creation in Korean. Kim was writing poems in Japanese and pursued the life of existence as a Korean-Japanese. Therefore, he decided to remain in Japan instead of returning to North Korea. Of course, he could not return to South Korea because he was a refugee. Kim imagined in Niigata, the place located in an extension of the 38th parallel and the spot of national division. He could not cross the division line when he was in his home country, but he could do it in Niigata through imagination. The life as a Korean-Japanese makes it possible. 'Zainichi', which means living in Japan, has been recognized as a worse situation compared to living in Korea. However, Kim changed his way of thinking. Zainichi can embrace South Korea, North Korea, and Japan. This is the very reason why he lives there as a Korean-Japanese. His thought like this is well expressed by symbolic representations and metamorphose as well as the imagination of spatial extension.

• Journal of the Korea Institute of Information Security & Cryptology
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• v.17 no.1
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• pp.21-32
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• 2007

Vuillaume-Okeya presented unsigned receding methods for protecting modular exponentiations against side channel attacks, which are suitable for tamper-resistant implementations of RSA or DSA which does not benefit from cheap inversions. The proposed method was using a signed representation with digits set ${1,2,{\cdots},2^{\omega}-1}$, where 0 is absent. This receding method was designed to be computed only from the right-to-left, i.e., it is necessary to finish the receding and to store the receded string before starting the left-to-right evaluation stage. This paper describes new receding methods for producing SPA-resistant unsigned representations which are scanned from left to right contrary to the previous ones. Our contributions are as follows; (1) SPA-resistant unsigned left-to-right receding with general width-${\omega}$, (2) special case when ${\omega}=1$, i.e., unsigned binary representation using the digit set {1,2}, (3) SPA-resistant unsigned left-to-right Comb receding, (4) extension to unsigned radix-${\gamma}$ left-to-right receding secure against SPA. Hence, these left-to-right methods are suitable for implementing on memory limited devices such as smartcards and sensor nodes

• Smart Media Journal
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• v.9 no.4
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• pp.144-151
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• 2020

In a mobile environment, communication takes place via SMS text messages. Vocabularies used in SMS texts can be expected to use vocabularies of different classes from those used in general Korean literary style sentence. For example, in the case of a typical literary style, the sentence is correctly initiated or terminated and the sentence is well constructed, while SMS text corpus often replaces the component with an omission and a brief representation. To analyze these vocabulary usage characteristics, the existing colloquial style corpus and the literary style corpus are used. The experiment compares and analyzes the vocabulary use characteristics of the colloquial corpus SMS text corpus and the Naver Sentiment Movie Corpus, and the written Korean written corpus. For the comparison and analysis of vocabulary for each corpus, the part of speech tag adjective (VA) was used as a standard, and a distinctive collexeme analysis method was used to measure collostructural strength. As a result, it was confirmed that adjectives related to emotional expression such as'good-','sorry-', and'joy-' were preferred in the SMS text corpus, while adjectives related to evaluation expressions were preferred in the Naver Sentiment Movie Corpus. The word embedding was used to automatically construct a sentiment lexicon based on the extracted adjectives with high collostructural strength, and a total of 343,603 sentiment representations were automatically built.

• Journal of the Korean earth science society
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• v.42 no.1
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• pp.88-101
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• 2021

The purpose of this study was to qualitatively examine the meaning of students' drawings in outdoor classes and modeling-based learning cycles. Ten students were observed in a gifted education center in Seoul. Under the theme of the Hantan River, three outdoor classes and three modeling activities were conducted. Data were collected to document all student activities during field trips and classroom modeling activities using simultaneous video and audio recording and observation notes made by the researcher and students. Please note it is unclear what this citation refers to. If it is the previous sentence it should be placed within that sentence's punctuation. Hatisaru (2020) Ddrawing typess were classified by modifying the representations in a learning context in geological field trips. We used deductive content analysis to describe the drawing characteristics, including students writing. The results suggest that students have symbolic images that consist of geologic concepts, visual images that describe topographical features, and affective images that express students' emotion domains. The characteristics were classified into explanation, generality, elaboration, evidence, coherence, and state-of-mind. The characteristics and drawing types are consecutive in the modeling-based learning cycle and reflect the students' positive attitude and cognitive scientific domain. Drawing is a useful tool for reflecting students' thoughts and opinions in both outdoor class and classroom modeling activities. This study provides implications for emphasizing the importance of drawing activities.

• Science of Emotion and Sensibility
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• v.25 no.1
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• pp.91-102
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• 2022

As virtual space activities become more common, human-virtual agents such as avatars are more frequently used instead of people, but the uncanny valley effect, in which people feel uncomfortable when they see artifacts that look similar to humans, is an obstacle. In this study, we explored the uncanny valley effect for celebrity avatars. We manipulated the degree of atypicality by adjusting the eye size in photos of celebrities, ordinary people, and their avatars and measured the intensity of the uncanny valley effect. As a result, the uncanny valley effect for celebrities and celebrity avatars appeared to be stronger than the effect for ordinary people. This result is consistent with previous findings that more robust facial representations are formed for familiar faces, making it easier to detect facial changes. However, with real faces of celebrities and ordinary people, as in previous studies, the higher the degree of atypicality, the greater the uncanny valley effect, but this result was not found for the avatar stimulus. This high degree of tolerance for atypicality in avatars seems to be caused by cartoon characters' tendency to have exaggerated facial features such as eyes, nose, and mouth. These results suggest that efforts to reduce the uncanny valley in the virtual space service using celebrity avatars are necessary.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.22 no.2
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• pp.63-70
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• 2022

Although 2D Object detection has been largely improved in the past years with the advance of deep learning methods and the use of large labeled image datasets, 3D object detection from 2D imagery is a challenging problem in a variety of applications such as robotics, due to the lack of data and diversity of appearances and shapes of objects within a category. Google has just announced the launch of Objectron that has a novel data pipeline using mobile augmented reality session data. However, it also is corresponding to 2D-driven 3D object detection technique. This study explores more mature 2D object detection method, and applies its 2D projection to Objectron 3D lifting system. Most object detection methods use bounding boxes to encode and represent the object shape and location. In this work, we explore a stochastic representation of object regions using Gaussian distributions. We also present a similarity measure for the Gaussian distributions based on the Hellinger Distance, which can be viewed as a stochastic Intersection-over-Union. Our experimental results show that the proposed Gaussian representations are closer to annotated segmentation masks in available datasets. Thus, less accuracy problem that is one of several limitations of Objectron can be relaxed.

• Kyungpook Mathematical Journal
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• v.61 no.4
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• pp.679-710
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• 2021

We study the tensor product algebra P_k(x₁) ⊗ P_k(x₂) ⊗ ⋯ ⊗ P_k(x_m), where P_k(x) is the partition algebra defined by Jones and Martin. We discuss the centralizer of this algebra and corresponding Schur-Weyl dualities and also index the inequivalent irreducible representations of the algebra P_k(x₁) ⊗ P_k(x₂) ⊗ ⋯ ⊗ P_k(x_m) and compute their dimensions in the semisimple case. In addition, we describe the Bratteli diagrams and branching rules. Along with that, we have also constructed the RS correspondence for the tensor product of m-partition algebras which gives the bijection between the set of tensor product of m-partition diagram of P_k(n₁) ⊗ P_k(n₂) ⊗ ⋯ ⊗ P_k(n_m) and the pairs of m-vacillating tableaux of shape [λ] ∈ Γ_k^m, Γ_k^m = {[λ] = (λ₁, λ₂, …, λ_m)|λ_i ∈ Γ_k, i ∈ {1, 2, …, m}} where Γ_k = {λ_i ⊢ t|0 ≤ t ≤ k}. Also, we provide proof of the identity $(n_1n_2{\cdots}n_m)^k={\sum}_{[{\lambda}]{\in}{\Lambda}^k_{{n_1},{n_2},{\ldots},{n_m}}}$ f^[λ]m_k^[λ] where m_k^[λ] is the multiplicity of the irreducible representation of $S{_{n_1}}{\times}S{_{n_2}}{\times}....{\times}S{_{n_m}}$ module indexed by ${[{\lambda}]{\in}{\Lambda}^k_{{n_1},{n_2},{\ldots},{n_m}}}$, where f^[λ] is the degree of the corresponding representation indexed by ${[{\lambda}]{\in}{\Lambda}^k_{{n_1},{n_2},{\ldots},{n_m}}}$ and ${[{\lambda}]{\in}{\Lambda}^k_{{n_1},{n_2},{\ldots},{n_m}}}=\{[{\lambda}]=({\lambda}_1,{\lambda}_2,{\ldots},{\lambda}_m){\mid}{\lambda}_i{\in}{\Lambda}^k_{n_i},i{\in}\{1,2,{\ldots},m\}\}$ where ${\Lambda}^k_{n_i}=\{{\mu}=({\mu}_1,{\mu}_2,{\ldots},{\mu}_t){\vdash}n_i{\mid}n_i-{\mu}_1{\leq}k\}$.