• 영어어문교육
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• 제18권3호
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• pp.175-190
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• 2012

The purpose of this article is to explain the meanings and uses of the English auxiliaries will morpho-syntactically, and answer the question of whether will is a tense auxiliary or a modal one. Some writers even exclude will completely from the semantics of the modal auxiliaries. They argue that the semantics of will is fundamentally non-modal and has only a few modal-like uses. There are some people who treat will to be semantically separate from the other modal auxiliaries. In the light of modal will, the semantics of will basically remains anchored in volition because the lack of required speaker subjectivity, but has undergone so much semantic bleaching that it may also express future time without volition. On the other hand, the semantics of will in the exclusionist view is erroneous and that its semantics is in fact closely related to the semantics of the other modals. This view reinforces the argument that the morpho-syntactic kinship of will, can, may and must also reflects semantic kinship. It is suggested that all the modal auxiliaries show that the correspondence relation is non-verified but potential. And the specific place that will holds is that the correspondence is unverified at the time of utterance but will turn out to become verified. The overall conclusion is that idiosyncratic morpho-syntax shared by the modals reflects the semantics and pragmatics of the English modal auxiliaries and is forced also to include will.

• 한국전산구조공학회논문집
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• 제23권6호
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• pp.615-626
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• 2010

The discrete-layer model is proposed to analyze the edge-effect problem of laminates under extension and flexure. Based on three-dimensional elasticity theory, the displacement fields of each layer in a laminate have been treated discretely in terms of three displacement components across the thickness. The displacement fields at bottom and top surfaces within a layer are approximated by two-dimensional shape functions. Then two surfaces are connected by one-dimensional high order shape functions. Thus the p-convergent refinement on approximated one- and two-dimensional shape functions can be implemented independently of each other. The quality of present model is mostly determined by polynomial degrees of shape functions for given displacement fields. For nodal modes with physical meaning, the linear Lagrangian polynomials are considered. Additional modes without physical meaning, which are created by increasing nodeless degrees of shape functions, are derived from integrals of Legendre polynomials which have an orthogonality property. Also, it is assumed that mapping functions are linear in the light of shape of laminated plates. The results obtained by this proposed model are compared with those available in literatures. Especially, three-dimensional out-of-plane stresses in the interior and near the free edges are evaluated and convergence performance of the present model is established with the stress results.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2007년도 춘계학술대회 논문집
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• pp.222-226
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• 2007

Buildings form interior space when part of an external environment is limited by a physical surface. And, the interior space forms an appearance of building when space-defining elements, such as floor, wall, and roof. An appearance or a form of building has a lot of meanings depending on the physical and psychological conditions, as well as symbolism. Especially, the prevailing meaning of form in the modern age was, "Form follows function," was quite different from the meaning of form in the architectural era of Louis I. Kahn, who asserted "Form always supercedes function," when functional modernism was still existed even after some 50 years later. Existing studies on Louis I. Kahn usually analyzed his architectural terminology and philosophical concepts of Centrality, Light, Order, Form, and Design; or they were focused on an overall plane and the principle of composition. The purposes of this study are: (1) to investigate how the formal composition characteristics of building are expressed on skylights; and (2) to demonstrate that the formal composition characteristics of skylights plays an important role in constructing a whole structure of building in relation with other architectural elements.

• 한국실내디자인학회논문집
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• 제24권5호
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• pp.31-41
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• 2015

The objective of this research is to investigate the artistic meaning of "infinity," manifested by the fourth dimensional value in the genres of photography and architecture, by analyzing how Sugimoto Hiroshi's photographic spatio-temporal infinity transfers to his architectural approaches. The research is initiated by scrutinizing the themes, characteristics, techniques, and artistic meaning of Sugimoto's famous photographic series, including "Seascapes," "Theatres," and "Architecture"; the concept of infinity can be defined as infinite divergence and infinitesimal convergence between antithetical concepts in time, space, and being. Sugimoto's photographic works display "temporal infinity" by connecting ancient times, the present, and the future; "spatial infinity" by offering the potential for transformation from flat photographs into infinite three-dimensional space and fourth-dimensional concepts through time; and "existential infinity" of life and death by making us think about being and essence, being and time, and origin and religion. These perspectives are also used to analyze Sugimoto's architectural works, such as "Appropriate Proportion" and "Glass Tea House Mondrian." As a result, the research finds that in Sugimoto's architectural approaches, spatio-temporal infinity between antithetical values is manifested through the concept of origin, geometric form, extended axis, immaterial threshold, transparent materiality, and connectivity of light and shadow, provoking our existence to transcend into infinity itself.

• 한국실내디자인학회논문집
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• 제24권2호
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• pp.88-99
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• 2015

As architecture is designed for humans to live in based on practicality, what one experiences within such spaces is important. Such experiences are not felt only by appreciating the structure's appearance, but involve physical presence inside the space and the deepening of the individuals relationship with the space through the body's sensory perception. However, in modern times there is a much greater tendency to rely on superficial experiences by way of images or tastes rather than more meaningful human participation, while the standardization of the object universe is gradually erasing the uniqueness of experience. In light of this, the restoration of emotional and sensory spatial experiences through the design of sensory spaces can be regarded as an important task in modern spatial design. This study contemplated the meaning of emotional spatial experiences through a phenomenological understanding of such experiences, and analyzed the meaning and main factors in the creation of spatial atmosphere as a phenomenon of spatial experience. In addition, we highlighted the fact that spatial atmosphere can be applied as space design methodology by devising methods of expression through an analysis of actual examples. O.F. Bollnow's space theory and the spatial design of Peter Zumthor were the subjects of this analysis. The spatial atmosphere analyzed using Bullnow's theory is a phenomenon in which both the human and space are connected and the ensuing spatial experience embodies the emotions of both. This spatial atmosphere can be understood as a condition in which the human and space are fused together. Furthermore, coincidental/accidental meeting, mediums using potential objects, reorganization of the center due to autonomous boundaries, as well as the three temporalities were identified as the main factors in the creation of spatial atmosphere. Based on this analysis, through the identification of methods of expression for spatial atmosphere in Zumthor's spaces.

• 한국실내디자인학회논문집
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• 제22권5호
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• pp.11-21
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• 2013

The development of modern industry and the production of new materials of architecture have recognized as an important aspect. This study intended to discuss about the meaning of main elements of the architecture materials, its implications for properties, and, highlighted meaning of the properties of modern interior design. The purpose of this study is to analyze the case studies of Place and Physical materials of synaesthesia of modern architecture as well as modern architecture is not only concentrated in the visual aspect but also the larger ramifications of sensory. Synesthesia in architectural space can be called experiential existence that built in the space of human perception and based on the human emotion that targeted by physical architectural space. Accordingly, these case studies are to consider about how the materials being passed by any effect in a modern interior space presented, In order to find the essential meaning in modern interior space, this studies focused on Swiss architect Peter Zumthor's cases. Following analyze of Peter Zumthor's place of architectural space and materials, this study structured by the six kinds of synesthesia characters. First, time and remember to infer changes, Second, traditional and regional ingredients involve the substitution of one empirical space, Third, non-materiality through the neutralization, Fourth, auditory memory through the embodiment of everydayness, Fifth, trail through the sense of smell for the presence, Sixth, the relationship of natural and industrial products. Peter Zumthor's characteristics of these works are result of factors on the synesthetic relationship with the human response to architecture, the five senses, memories, experiences, and temperature. Also it is a synesthetic result of all human emotion to clarify of the architecture materials and non-material mediums by which light by a compound.

• 한국보육지원학회지
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• 제9권5호
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• pp.357-379
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• 2013

본 연구는 숲유치원에서의 유아의 경험 세계를 살펴보고 그 안에 내재된 유아교육적 함의를 도출하고자 하였다. 더불어 이를 통해 앞으로 숲유치원이 나아가야 할 긍정적 방향성을 모색할 수 있는 기초자료로 삼고자 하였다. 자료 수집은 2012년 3월 넷째 주부터 2012년 11월 셋째 주까지 참여관찰, 면담, 문서 수집, 사진과 비디오 촬영을 통해 이루어졌다. 연구참여자는 부산시 H유치원 만5세반 24명의 유아와 유아들의 어머니 7인, 원장과 담당교사 2인, 숲해설가 2인이다. 연구자는 본 연구의 목적을 실현하기 위해 현상학적 질적 연구 방법을 통해 본 연구의 현장인 숲유치원의 상황적인 맥락을 고려하며 유아들을 관찰하였다. 연구결과 숲유치원에서의 유아들의 경험 세계를 본성의 장, 심미의 장, 참 놀이의 장으로 나타낼 수 있었다. 이를 통해 숲유치원이 유아들에게 타고난 본성을 드러내어 아름다움을 느끼고 참 놀이에 깊이 몰입할 수 있는 공간으로서 의미를 지니고 있음을 확인할 수 있었다.

• 한국작물학회지
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• 제47권6호
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• pp.427-431
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• 2002

콩나물의 내수규모는 아주 크면서도 실용적인 기술개발은 미진한 실정이다. 본 시험에서는 24시간의 침종 및 6일간의 재배중 가하여지는 광질처리가 콩나물의 발아, 세근발생 및 생장에 미치는 영향을 구명하고자 침종기간에는 청색광과 적색광을, 재배기간에는 청색광, 적색광, 초적색광 및 암 처리를 가하면서 콩나물을 재배한 결과를 요약하면 다음과 같다. 1. 침종시 가하여지는 적색광과 청색광 처리는 재배중 가하여지는 광질처리에 관계없이 세근이 전혀 발생되지 않았다. 2. 침종시 가하여지는 적색광과 청색광 처리는 하배축 길이가 상품으로 출하 가능한 4cm이상의 비율이 비슷한 것으로 조사되었다. 3. 콩나물 자엽의 녹화는 적색광과 청색광은 50분, 초적색광은 300분이 소요되었으나 재배기간중 매일 이러한 범위 내에 처리할 경우 콩나물의 생장에는 영향이 없는 것으로 나타났다. 4. 재배기간중 가하여지는 여타 광질처리에 비하여 초적색광 처리에서 하배축 길이가 7cm이상인 개체의 비율은 가장 낮은 반면, 미발아 종자의 비율은 가장 높았다 5. 재배기간중 가하여지는 적색광과 초적색광 처리는 청색광과 암 처리보다 하배축을 신장을 억제시킴과 동시에 굵게하는 것으로 조사되었다.

• 고전문학과교육
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• 제32호
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• pp.225-260
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• 2016

이 논문은 <도산십이곡>이 교육을 위한 노래라는 성격을 인지하고 이에 입각하여 해석할 때 <도산십이곡>의 의미와 구조가 명확히 드러날 수 있다는 점을 확인하고, 이와 같은 관점에서 시가에 대한 논쟁적 구절의 해석을 확정하고 이를 바탕으로 '언지(言志)' 육곡(6曲)의 의미와 구조를 밝히고자 하였다. 발문과 후대의 여러 기록을 근거로 볼 때 <도산십이곡>은 제자와 후학들에게 체득하여 내면화하게 하려는 교육적 목적을 가지고 창작된 노래로, 이황이 생각한 학자적 삶과 학문의 요체를 담아낸 교육적 노래이다. 따라서 '언지(言志)'에 표현된 뜻은 구체적 개인으로서의 이황의 뜻인 동시에 유학의 학문적 논리로서 정당화되는 유자적(儒子的) 삶의 목적과 의미를 구현하고 있다. 이러한 맥락에서 볼 때, '언지(言志)' 제4수 '피미일인(彼美一人)' 구는 학문하는 가운데 군주를 잊지 못하는 심정을 동시에 갖고 있다는 마음을 노래하여 위기지학(爲己之學)의 길과 임금을 섬기는 길이 상충되거나 모순되지 않는 것임을 보이고 있다. '언지(言志)' 제5수는 "시경" <백구>편에서 언급된 떠나가 은거하고자하는 현자에 대한 군주의 염려를 차용하였으며, 노장의 허무한 학문을 추구하는 데 빠지지 않고 겸선(兼善)하는 사회적 실천의 길을 외면하지 않는 삶을 촉구하고 있다. 자연과 학문, 교육과 실천이라는 항목을 중심으로 파악한 '언지(言志)'의 구조는 "자연 은거의 뜻(제1수) - 자연+학문적 실천(제2수) - 학문+교육적 실천(제3수) - 자연+학문의 자세(제4수) - 자연+교육적 자세(제5수) - 자연의 아름다움=학문과 교육의 최종점(제6수)"으로 요약된다.

• 대한한의학원전학회지
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• 제29권4호
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• pp.75-94
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• 2016

Objectives : The uterus plays an important role in the woman's body. In Korean Medical literature, the uterus is mentioned in various contexts according to different perspectives on its meaning and function. An examination of these various contexts is crucial in understanding the meaning of the uterus and to better understand and approach woman's body. Methods : Aside from the most widely used term Jagung(子宮), there were various terms used to refer to the uterus. Based on a list of these terms, the Siku Qianshu collection of medical literatures was investigated. Contents related to the definition, shape, location, function were extracted and examined. Results : Among the findings, first, there were various terms referring to the uterus similar to contemporary understanding. Some of them referred to the uterus as a whole, while others referred to specific parts, one of which is the placenta. Some reflected a broader perspective on the meaning of the uterus. Second, the functions of the uterus could be summarized as gate keeping, and the maintenance of uterine environment that is related to menstruation, pregnancy, and childbirth. Third, based on the examination of the meaning of the uterus and its functions, perspectives on the uterus in Korean Medicine could be summarized into two. Conclusions : One viewed uterus as an organ dedicated to reproduction, similar to today's common understanding. According to this view, uterus is a special organ specific to women, which functions as an incubator for the fetus. The other viewed the uterus as an intangible source of life in the woman's body. As a general source of life to all human beings, it is not a passive organ but functions as an active source in woman's life phenomena. The two perspectives are not in conflict, but rather reflect the broad range of thought on the concept of the uterus in Korean Medicine. In today's biomedical society, the diversity and flexibility of these perspectives could shed light on medical practices that have resulted from extreme views on the woman's body.