• 한국지능시스템학회논문지
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• 제6권4호
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• pp.10-16
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• 1996

본 논문에서는 입력, 상태, 그리고 상태 변화에 따른 오토마타의 상태표를 구성하고 그 상태표를 기호 다치 논리식으로 변환한다. 또한 기호 다치 논리 함수 미분의 성질을 이용하여 오토마타의 입력 스트링 따라 상태의 변화 및 출력이 동적으로 적응할 수 있는 적응오토마타를 제안하고 그 성질을 해석한다.

• 한국조경학회지
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• 제29권5호
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• pp.71-83
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• 2001

The purpose of this study is to find out the characteristics of landscape details in representing symbolic images in memorials on the themes of war, tragedy, and the democratization movement. In considering the characteristics of memorial landscapes, the researcher divided the characteristics of landscape details into 3 analysis categories. They are the symbolic application of landscape elements, the embodiment of landscape details, and the organization of landscape details to represent symbolic images, for example, memory, mourning, reflection, healing, glory, and identity. Among details in 24 memorials designed in or after 1970. 133 symbolic details were selected including 64 items in Korea. The analysis revealed that among 30 elements used by designers for memorialization, walls, ponds, sculptures were used more often than other elements in representing the meaning of mourning, reflection, and healing that are the basic function of memorial. In regard to detail form, the designers used basic shapes like circles, squares and rectangles, horizontal and vertical lines to heighten the symbolic effect of shapes in confined form. Stone and water utilized from nature were also used as main materials because of their materiality meaning of death, eternity, life, and healing. The techniques of using lighting, fire, and sound were introduced to make details more effective. Details were organized in harmony and repetition to represent the flew of time and space in symbolic images. The study identified the following characteristics of memorial landscapes in Korea that were different from other country first, in designing memorials, most designers in Korea have been more focused on the organization of space than the details in memorials, and so, they have been neglecting to deliver symbolic image through detail design, while depending mainly on the introduction of art works. Lastly, because they introduced traditional elements which have little relation with the symbolic image needed, there have been many details which inaccurately represent symbolic meanings.

• 복식
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• 제44권
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• pp.153-167
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• 1999

The purpose of this study was to supply the opportunity of being used as a material which can predict future fashion. This study had been divided the symbolic meaning into three parts. The first part was the symbolic expressions in the materials of modern fashion, and the second part was symbolic meaning which was expressed in the accessories, and the last part was the symbolic meaning which was expressed in the physical ornament. The results could be summarized as follows. First, among the forms of heraldry were expressed in modern Fashion, were such as animals like a lion and eagle, which evoked the powerful and lively mood. A vegetable heraldry was expressed on a pattern of textile fabric to pursue the beauty of dress, represented female and classical beauty. A inanimate object heraldry was included all natural material that didn't have all lives the world, represented the mystery and intensity of nature as using the design that sets off the idea through color and figure. Second, in the case of being the forms of heraldry used as a mark or logo in modern fashion, it was visualized the fashion of traditional sense, marine look and military look. This mark or logo had important characteristics of symbolic in that the product had a special meaning and function by trade mark. Third, tattos were used to heighten the people's union in the various subordinate cultures. By ornamenting their bodies, they expressed their special identity and consciousness. Tattos represented a unique menas, which effected a mood of fashion.

• 복식
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• 제44권
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• pp.144-152
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• 1999

The purposes of this study are to 1) enforce the necessity of liturgical vestments though clarifying the symbolic meaning, function and ritual importance of Christian liturgical vestments of ministers, 2) figure out the process of changes and characteristics of Christian liturgical vestments of ministers. 3) clarify the liturgical year, symbolic patterns and colors of the liturgical vestments, and 4) study on the status of current liturgical vestments worn by protestant ministers. Based on the catholic and the protestant churches, the scope of the study was decided and the study was conducted along with research on documents and materials. The results are as follows: 1) The liturgical vestments of priests in the Old Testament era had to be worn by stipulated rules and, instructions to perform duties. 2) The liturgical vestment of the catholid church are very various in their kinds and has their unique origins and meanings. 3) The symbolic patterns, color and meanings used by liturgical years of christianity. 4) Design on the liturgical gown and stole of christian ministers.

• 한국HCI학회논문지
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• 제13권3호
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• pp.17-33
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• 2018

사람들은 시각을 통해 대상물의 형상, 크기, 색, 표면 재질 등과 같은 미적기능을 처리하는 것과 동시에 과거의 자신의 경험을 결합시켜 새로운 심리적 해석을 통한 상징적 기능으로서 대상물을 바라보기도 한다. 그렇기 때문에 단순히 사람들이 눈을 통해서 무엇을 보고 있느냐가 중요 한 것이 아니라 눈으로 받아들이고 이해한 것이 사람들에게 어떤 생각과 느낌과 심리적인 영향을 불러오는 것인가를 연구하고 이해하는 것이 매우 중요하다고 할 수 있겠다[15]. 이러한 연구목적의 하나로서 본 연구에서는 상징적 기능으로서 아날로그 이미지와 디지털 이미지의 인지적 특성이 무엇인지를 "형태적 관점"에서 디테일하게 밝혀내려 하였다. 그리고 다섯 가지 가설을 세우고 다음과 같은 실험을 진행하여 가설을 검증하였다. 우리주변에서 가장 많이 사용되고 있는 스마트폰을 2차원형상의 선화(線?)로 단순화하고 그 스마트폰 2차원형상의 가로라인에 R(radius)값이 부여되었을 경우와 런인알(run-in-r; radius)이 부여되었을 경우 그리고 그 도형들의 모서리에 R(radius)굴림이 적용 되었을 경우를 설정하고 12가지 짝(pair)을 이룬 도형의 조합을 실험방법으로 고안하여 피험자들에게 실험을 실시하였다. 그 결과 몇 가지 인간의 특징적인 현상을 발견할 수 있었으며, 특히 어떤 형상에서 사람들은 상징적 기능으로서의 아날로그이미지와 디지털이미지를 심리적으로 강하게 인지하는지를 객관적으로 검증할 수 있었다. 이와 같은 연구를 통해 얻어진 사람들의 생각과 느낌들을 확정된 하나의 가치로서 데이터베이스화 하여 제품디자이너들에게 제공할 수 있다면 소비자들이 원하는 기초적인 감성 디자인으로서 디자인형상에 응용할 수 있을 것으로 생각된다.

• 영어영문학
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• 제58권4호
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• pp.701-721
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• 2012

This paper aims to revisit William Faulkner's Absalom, Absalom! by focusing on the corporeal body and its role in dismantling the Southern ideology of white patriarchy. The latter, which is represented by Thomas Sutpen and his attempt to establish a white male dynasty, is a symbolic space in which the corporeal body turns into a symbolic one through the process of inscribing social ideologies on it. However, this symbolic space is also a contending site between the two bodies. The symbolic body of Sutpen cannot entirely erase its corporeal traces, and therefore the corporeal body, which is buried but nonetheless existent, threatens to undermine rules and premises of the symbolic order. Given that, this paper approaches Faulkner's critique of the Southern white patriarchal ideology from the tension that the corporeal body and the symbolic body create. The 'flesh' roughly corresponds to racial and sexual otherness, namely black flesh and the homoerotic desire of male body. Although they-as the matter of race and that of gender - function in different levels of signification, they still share a common purpose in revealing the logical paradox within Sutpen's symbolic order. The idea of pure whiteness that Sutpen subscribes to is a concept that prerequisites the existence of blackness. Likewise, his idea of male homosociality based upon patriarchal legacy stands precariously on the verge of disintegrating into homoetoricism. As internal otherness that Sutpen's symbolic order cannot fully incorporate, the corporeal body functions to indicate the limitation of Sutpen's Design and its body-signification process.

• 복식
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• 제38권
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• pp.101-122
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• 1998

The purpose of this study is to define the fundamentals of one symbolic concept, so calles vestment-sign, based on the logical relationship of sign system about the trichotomy by charles S. Peice's sign concept for the communication system of meaning in the non-linguistic image domain. To prove the argument of vestment-sign, I selected 3 type of vestment language by styliste, Elsa Schiaparel-li. The third image vestmental chosen here, titled“Larme-Illusion(1938)”,printed by Salvad-or Dali will produce one symbolic proposition as a logical result which is generated and developed through the interpretation of other images. First of all the text, which is manifested by Elsa Schiaparelli's first image vestmental, tit-led“Notation Musical(1937)”and is symbolized as one category in the representation of the form, is regarded symbolic and metaphorical from a standpoint that the title and the meaning is connected to the form. The second image vestment, titled“Ruches Noirs(1938)”represents externally splendid feminity man-ifested by the symbolic and metaphorical expression. And the purity of sensitivity aiming to humanity in the detail of the poetic feeling of naturalism makes us imagine the battle fild of furious sensitivity. Like as the result of the battle, the third image stimulated our eyesight with the“absence”of dressing function. The proposition of the text,《Death》which the third image delivers, constructs sign system to bring up a meaning with the disappearance of physical“signifier”. This establishment of the symbolic concept presents the etymological authority of symbol generation called“Design”.

• 한국연극학
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• 제53호
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• pp.57-87
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• 2014

This article re-reads the messages of the text, 'Incendies', the uncanny actions and the strange words of protagonist Nawal, through the ideas of Jacques Lacan, particularly his notion of sexuation with posing questions about most of the previous reviews which are based on femininity or motherhood. For Lacan, masculinity and femininity are not biological essences but symbolic positions, and the assumption of one of these two positions is fundamental to the construction of subjectivity. So 'man' and 'woman' are merely signifiers that stand for these two subjective positions. Each side is defined by both an affirmation and a negation of the phallic function, by both an inclusion and exclusion of absolute non-phallic jouissance. Unlike the man, the woman is 'not-all' identified with the phallic function, demonstrating the undecidability and impossibility of totalising the woman. Although the woman is bound to do castration through being subject to the phallic function, she is also related to the signifier of the barred Other, S(Ⱥ) which stands for a gap or lack in the Other. Thus, as a consequence of not being entirely within the symbolic, she has an Other Jouissance, Feminine Jouissance, because it's possible to face emptiness of the Symbolic, the Real only in the place of the woman for new Ethics/Politics. This paper finds that Nawal is not completely defined by the phallic function and she is a subject of death drive that practices the signifying cut with passing through the fantasy as a screen for the desire of the Other. Nawal is situated on the position of the woman as 'not-all' unlike masculinity in Lacanian sexuation. This article shows that her strange acts are love, that is the true ethical acts. Above all her acts are related to the ethics of pure desire beyond the ethics of the Good of Aristotle. In that sense the character of Nawal of 'Incendies' is similar to the one of 'Antigone' as a character in all aspects. In psychoanalysis they all are true subjects that face a void, emptiness in a symbolic structure. They assume underlying impossibility of being/the Symbolic. They don't represent the images of compromise and peace in the normally accepted meaning of the word. A love that they show is not compassion but blind recognition of the excluded, embracing uniqueness of the excluded. This thesis finds resultingly Nawal's acts which can't be understood from viewpoint of feminism practice the ethics of the real, the politics of the real.

• 충청수학회지
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• 제23권4호
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• pp.679-689
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• 2010

By developing and using certain operators like those initiated by Burchnall-Chaundy, the authors aim at investigating several decomposition formulas associated with the $Kamp{\acute{e}}$ de $F{\acute{e}}riet$ function $F_{2:0;0}^{0:3;3}$ [x, y]. For this purpose, many operator identities involving inverse pairs of symbolic operators are constructed. By employing their decomposition formulas, they also present a new group of integral representations of Eulerian type for the $Kamp{\acute{e}}$ de $F{\acute{e}}riet$ function $F_{2:0;0}^{0:3;3}$ [x, y], some of which include several hypergeometric functions such as $_2F_1$, $_3F_2$, an Appell function $F_3$, and the $Kamp{\acute{e}}$ de $F{\acute{e}}riet$ functions $F_{2:0;0}^{0:3;3}$ and $F_{1:0;1}^{0:2;3}$.

• 한국조경학회지
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• 제30권2호
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• pp.79-87
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• 2002

This landscape design proposal was presented to a design competition for the KangWon Province Police Agency(KPA). The site, about 27,711 $m^2$, is located at 293-4 Udu-dong, Chunchun, KangWon-Do. Design objectives of the KPA were to build a symbolic place which fall community members with pride, to elevate an identity and status of the KPA by creating a landscape correspondent to the concept of the building design, to provide community residents with a space to enjoy cultural and social activities, and to make environment friendly space. The main concept was developed by one of characteristics of the traditional spatial structure of Korea known as an, 'Open and Closed spatial structure.'By re-interpreting the traditional spatial structure and applying it to the site, the design met the various desires of the KPA. The site is primarily segmented into 6 sub spaces; entrance space Podori plaza, symbolic court, police billeting area, sports area, and rear rest area. The entrance space, Podori plaza, and symbolic court on the south-west part of the site represent the publicity of the site as the concept of ″open space.″ On the contrary, considering the specialty of police affairs, the north-east part of the site, which contains the police billeting area and rest area, were designed to maintain security by using the concept of ″closed space.″ To express an identity of the KPA, 'Podori', a police mascot, the plaza was designed and is suppose to function as the hub of the community. In the front section of the plaza, a symmetrical planting pattern, centering the strong axis, was introduced to strengthen its symbolic meaning. Traditional window frames such as the pattern of 'Pisal-jige'and 'Umulsal-jige' were used for the paving system which is applied as the environment friendly design. Site facilities and furnitrue were placed at every important spot in order to connect various spaces organically. As these well-tied spaces properly shared their function, spatial sequence and management would be promoted. The entire space was designed to allow free access of handicapped people. This proposal is meant to create a new image of KangWon province and to enhance the way of inhabitants' think about their community.