• 국제초고층학회논문집
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• 제4권1호
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• pp.65-73
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• 2015

Detailed finite element (FE) analyses of a full-scale four-story steel frame structure, subjected to consecutive 60% and 100% excitations from the JR Takatori records during the 1995 Hyogoken-Nanbu earthquake, are conducted using E-Simulator. The four-story frame was tested at the largest shake-table facility in the world, E-Defense, in 2007. E-Simulator is a parallel FE analysis software package developed to accurately simulate structural behavior up to collapse by using a fine mesh of solid elements. To reduce computational time in consecutive dynamic time history analyses, static analysis with gravity force is introduced to terminate the vibration of the structure during the analysis of 60% excitation. An overall sway mechanism when subjected to 60% excitation and a story mechanism resulting from local buckling of the first-story columns when subjected to 100% excitation are simulated by using E-Simulator. The story drift response to the consecutive 60% and 100% excitations is slightly smaller than that for the single 100% excitation.

• 건축역사연구
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• 제2권2호
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• pp.89-106
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• 1993

Wherever Buddhism has flourished, there were stupas in the form of monuments which have their origin in the tumulm of prehistoric times. After the death of Buddha, his body was cremated following the Indian funeral custom. His ashes, which long reserved for the remains of nobles and holymen, were enshrined under such artificial hills of earth and brick. The Stupa was in origin a simple burial-mound. The form of the burial-mound was a symbolical or magic reconstruction of the imagined shape of the sky, like a dome covering the earth. The domical form of the earliest tumuli may have been concious replicas of the shape of the Vedic hut. There are relationships which may have originally existed between the stupa and West Asiatic monuments. Buddhist Stupa originally cosisted of an almost hemispherical tumulus(anda) and an altar-like structure (harmika) on its top, surmounted by one or several superimposed honorific umbrellas (hti, catta). This hemispherical form is associated with centralisation, lunar worship, mother earth, and Siva. Anda means a symbol of latent creative power, the harmika symbolizes the sanctuary enthroned aboved the world. The honorific umbrella, as an abstract imitation of the shade-giving tree is one of the chief solar symbols and that of enlightenment.

• 건축역사연구
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• 제14권4호
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• pp.7-28
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• 2005

We are so used to the concept of the term 'space' that we do not question its conceptual validity. However, this paper argues that the notion of space prevailing all over the world, is not a universal concept that can be applicable to all architectures of the world, but is a particular concept that is generated from the Western way of thinking. This paper alms to identify the conceptual structure of the idea of space as it is originated in the tradition of the West, and, as an alternative view of space, tries to identify the nature of the view of space perceived in the tradition of the Eastern architecture. Comparison of the two views, that of the East and the West, and their meaning in the future of architecture, is another task to discuss in this paper. To be able to clarify the meaning of space in East Asian tradition, a set of new perspective of understanding of space was invited. They are ; 1. sky-earth(天地); insisting that the notion of space should be replaced within the context of sky, which is one half of sky-earth totality 2. energy of the air (空氣), space is not empty part inside of a building, but is a dynamic condition of air that is a part of the sky which always exist in form of energy 3. place(자리): instead of space, which, basically. is a man-made concept, idea of place is necessary, which include not only space but also earth Such concept of space which is different from the notion of space of the West, is meaningful not only to identify the idea of space in the East, but also to be able to contribute for more dynamic, varied, and balanced understanding of space.

• 영어영문학
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• 제55권1호
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• pp.83-105
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• 2009

Modern poetry begins as criticism of modernity and, by so doing, rejects its idea of time. Modernity emphasizes sequential, linear, and irreversible time and progress. Williams rejects the modern view of time, and attempts to substitute literature for history assuming that literature can take us into the immediacy of time. His poetry asserts the true moment of experience as an immediacy, of words co-existent with things. He suggests that modernity and its idea of time already led to World War I and could clearly lead to an actual, manmade apocalypse with continued technological progress. Already in the 1920s, Williams sensed that he was living in a world where such an end could come all true, which is why Spring and All, his greatest early achievement, begins with a parody of the modern apocalypse. Throughout the work, Williams criticizes "crude symbolism" and expresses his longing to annihilate "strained associations," for he believes that the metaphoric or symbolic association is related to order, the center, and the traditional concept of time itself. The metonymic model of Spring and All substitutes a self-reflexive, open-ended, and indeterminate structure of time for the linear and closed one. Instead of supplying an end, Williams only asserts the rebirth of time and attempts to arrive at immediacy while attacking the mediacy of traditional art. His characteristic use of fragmentation and abrupt juxtapositions disrupts the reader's generic, conceptual, syntactic, and grammatical expectations. His radical poetic experiments, such as the isolation of words and the disruption of syntax, produce a sense of immediacy and force the reader to confront the presence of the poem. His destruction of traditional forms, of the tyrannous designs of history and time, opens up rather than closes the possibility of signification, and takes us into a moment of beginning while disallowing temporal distancing. Spring and All, as a criticism of the modern idea of time, asks us to view Williams's work not as an ahistorical text but as a cultural subversion of modernity.

• Parasites, Hosts and Diseases
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• 제40권4호
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• pp.187-189
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• 2002

A 29-year-old Korean woman visited the Department of Surgery in MizMedi Hospital with a palpable itching mass on the right breast that had existed for the past 7 months. She had no history to eat either frogs or snakes, but had the history of drinking impure water. Sonography revealed a serpiginous hypoechoic tubular structure associated with partial fat necrosis in breast parenchymal layer and subcutaneous fat layer. It also revealed oval cystic lesions. At operation, an ivory white opaque ribbon-like worm that measured 16.5 cm in length and 0.5 cm in width was extracted. Anti-sparganum specific serum IgG level in the patient's serum (absorbance ＝ 0.71), measured by ELISA, was found to be significantly higher than those of normal controls (cut off point ＝ 0.21) . Sonography and ELISA appear to be helpful to diagnose sparganosis. Breast sparganosis is rarely found throughout the world.

• 한국철학논집
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• 제30호
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• pp.87-121
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• 2010

소앙은 우리 민족의 고유사상에서 삼균주의의 핵심개념인 '균등(均等)'을 발굴하고, 전통 유학에서 삼균주의의 이론적 구조를 도출했으며, 당시 서구의 여러 사상을 수용하여 삼균주의의 살을 붙였다. 삼균주의는 대부분 서구 사상들을 수용한 결과로 볼 수도 있다. 그런데 소앙은 한결같이 전통에 입각하여 자신의 이념을 정당화하였다. 이를 위해 소앙은 우리 민족의 전통사상 가운데 자신의 신념과 부합되는 내용들을 적극적으로 발굴하여 부각시켰을 뿐만 아니라, 전통을 원형과 달리 창조적으로 재해석하기도 했으며, 때로는 없는 내용을 전통에 가탁하여 창작하기도 하였다. 소앙의 삼균주의와 중도노선은 당시로서는 비록 실패한 것이었지만, 오늘날 우리에게 여전히 중요한 가르침이 될 수 있다. 첫째, '해방공간'에서 중도노선의 실패가 민족의 분단을 뜻하는 것이었다면, 오늘날 우리는 거꾸로 중도노선에서 통일의 기반을 모색해야 한다는 점이다. 둘째, 오늘날 우리 사회에서는 이른바 '양극화(兩極化)'로 인한 갈등이 더욱 심화되고 있거니와, 균등은 갈등을 해소하는 지름길이라는 점이다. 셋째, 유럽연합(EU)의 출범이 입증해주듯이, 왕도적(王道的) 세계일가(世界一家)는 세계평화의 지름길로서 충분히 실현가능성이 있다는 점이다.

• 한국게임학회 논문지
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• 제2권2호
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• pp.37-45
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• 2002

컴퓨터 게임은 실세계에 대한 시뮬레이션으로 간주되어질 수 있다. 소프트웨어 에이젼트의 제어 문제는 인공지능 분야에서 오랫동안 연구되어져 왔으며, 이는 행동기반 접근법이라는 것을 내놓았다. 인공지능 분야에서는 지금까지 크게 세 가지의 접근법을 볼 수 있다. 인지주의는 기호의 형태로 지능이 표현되어질 수 있고 다루어질 수 있다는 것을 제안하였으며, 연결주의에서는 표현이 신체 구조에 내포되어있어서 신체로부터 분리되어질 수 없음이 강조되었다. 행동기반 접근법에서는 인공지능은 동적인 성질을 가져서 어디서든지 존재하지 않는 대신에 에이젼트가 환경에서 행동할 때 비로소 우러나오는 성질을 가진 것으로 제시된다. 본 논문에서는 이러한 세 가지의 접근법을 비교하고 행동기반 접근법의 타당성과 문제점 에 대하여 논한다. 본 논문은 또한 행동기반 접근법의 컴퓨터 게임의 에이젼트 제어에 대한 활용을 제안한다.

• 대한원격탐사학회:학술대회논문집
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• 대한원격탐사학회 2007년도 Proceedings of ISRS 2007
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• pp.361-364
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• 2007

A small sized device with computing, communicating, sensing capability is changing our life. It will be deployed in the world and acquire a lot of data from the world. It is used for various applications such as military surveillance, environmental monitoring, structure health monitoring, building management, asset tracking, etc. In this paper we focus on USN middleware for asset tracking. A mobile asset is moving here and there within a specific area. The USN middleware tracks the mobile assets in real-time by using sensor nodes and notify their current positions to a user. To achieve the goal, the USN middleware provides some features related to the positions of mobile assets.. They are storing location data by using 3D indexing method, retrieving them by using spatio-temporal query, making trace of an asset, and retrieving the history data of an asset. In the paper, we developed USN middleware to adapt the requirements of asset tracking. It can help users increase the efficiency of their business related to mobile assets and make a valuable decision.

• 영어영문학
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• 제55권3호
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• pp.399-413
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• 2009

Pointing out the reality of criticism done mostly on Carlyle s original structure and rhetoric in his Sartor Resartus, this research paper focuses on Carlyle s dualistic philosophy revealed in the work, limiting its focus mostly to the dualistic theme of descendentalism and transcendentalism. The essence of Caryle s descendentalism is his irony and satire on human civilization, not for criticism itself, like other satirists, but rather out of his deep, secret humanism behind his mask. Roughly the two objects of his social criticism in the contemporary, descendentalisitc world, are mechanism and materialism in a variety of new ideologies. To diagnose the Zeitgeist and disillusion man living in contemporary civilization, Carlyle in this work uses a very original metaphor, the clothes-symbol. According to Carlyle, human history and progress can be said to be originated from man s adventitious invention of clothes that was not for biological need or social decency, but for decoration, the instinct of which implies man s innate vanity and desire. Interestingly enough here, however, Carlyle uses the same metaphor of clothes for his vision of transcendence, the world of Everlasting Yea. Man is also God s apparel and Matter is that of Spirit. Carlyle s Everlasting Yea world stresses especially the two attitudes, belief in God and love of man, which have been recently jeopardized in the socalled descendentalistic world. But Carlyle s transcendental and religious vision in Sartor Resartus is, as critics also have agreed, a unique and mysterious vision as something different from orthodox Christianity or other Victorian ideologies, as more like an amalgamation among Calvinism, Romanticism, Platonism and German Idealism. All in all, reading Sartor Resartus is still a valuable experience of an idiosyncratically original vision along with his warning against dehumanizing forces lurking in the name of civilization and with his ultimate eulogy on man, proving descendentalism as just part of transcendentalism, although the reader from time to time can be embarrassed by his male-centered, politically conservative, and individual-oriented dynamism.

• 건축역사연구
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• 제6권3호
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• pp.129-143
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• 1997

The perspective representation and its effect that appeared in the tombs and mural paintings of koguryo are summarized as follows: First, The inside structure of the tombs is likely to show the deepness effect, placing each function in the front and both sides centering around the mane pillars and creating the boundaries and the spaces that have various visibility between the inside and outside spaces of the structure just like a traditional Korean house shows. In addition, The deepness effect is emphasized by suggesting that the spaces are countinued with a storage attached behind the main house or by forming the level and deployment in a narrow space like the scene that a large array is looked out from the main house. Second, The deepness effect is expressed by making the form of ceiling turn to a vertical space of an ascending image, constructing it just as the lotus lamp ceiling of a wooden architecture or drawing it just like the imaginary heavenly world with the sun the moon and mythical fairies and animals spread in it. Thried, The perspective effect is disclosed by drawing the mural pictures in an equally set bird's-eye view without regard to the disfance proportion according to the conceptual visualization which is not a visual penetration, adopting the multiple view points and moving view points that are moving around as an important manner of seeing. Fourth, The deepness effect is emphasized through the scene of changing spaces when they are looked out far or looked into depending on a viewpoint of the daily life by forming the fromes of paintings that we made up with actual pillars, Du Gong, crossbeams or that are painted in most tombs. Fifth, The rich spatial senses are reflected by originating the characters of the three directions, level, deployment and ascending. An example which can support the conclusion of this study can be given here. that is, the construction ground plan of a dwelling house of a nobleman at the end of Koguryo as a remain which was excavated at Dongdae Ja in Jip An.