• Journal of the Korea Institute of Information and Communication Engineering
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• v.9 no.8
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• pp.1768-1773
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• 2005

The IEEE 802.1x standard provides an architectural framework which can be used various authentication methods. But, IEEE 802.1x also has vulnerabilities about the DoS, the session hijacking and the Man in the Middle attack due to the absence of AP authentication. In this paper, we propose a WLAN secure system which can offer a robust secure communication and a user authentications with the IEEE 802.1x framework. The user authentication on the WLAN secure system accomplishes mutual authentications between authentication severs, clients and the AP using PKI and prevents an illegal user from intervening in communication to disguise oneself as a client, the AP or authentication servers. Also, we guarantee the safety of the communication by doing secure communication between clients and the AP by the Dynamic WEP key distribution.

• Journal of Sensor Science and Technology
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• v.6 no.4
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• pp.298-306
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• 1997

Ultrasonic sensors are widely used in various applications due to advantages of low cost, simplicity in construction, mechanical robustness, and little environmental restriction in usage. But the main purposes of the noncontact sensors are rather narrowly confined within object detection and distance measurement. For the application of object recognition, ultrasonic sensors exhibit several shortcomings of poor directionality which results in low spatial resolution of an object, and specularity which gives frequent erroneous range readings. To resolve these problems in object recognition, an array of the sensors has been used. To improve the spatial resolution, more number of sensors are used in essence throughout the various devices of the sensor arrays. Under the disguise of a fixed number of the sensors, the array can be shifted mechanically in several steps. In this paper we propose a practical sensor resolution enhancement method using an electronic circuit accompanying the sensor array. The circuit changes the transmitter output voltage in several steps. Using the known sensor characteristics, a set of different return echo signals provide enhanced spatial resolution. The improvement is obtained without the cost of the increased number of the sensors nor extra mechanical devices.

• Journal of KIISE:Computer Systems and Theory
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• v.29 no.4
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• pp.220-231
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• 2002

Trojan-horse programs are the programs that disguise normal and useful programs but do malicious thing to the hosts. This paper proposes an anti-Trojan horse mechanism using the information attached to the code by the developers. In this mechanism, each code is accompanied with the information on their possible accesses to resources, and based on this information users determine whether the code is malicious or not. Even in the case a code is accepted by users due to its non-malicious appearance, its runtime behaviors are monitored and halted whenever any attempts to malicious operations are detected. By hiring such runtime monitoring system, this mechanism enables detecting unknown Trojan horses and reduces the decision-making overhead being compared to the previous monitoring-based approaches. We describe the mechanism in a formal way to show the advantages and the limitations of the security this mechanism provides.

• Cross-Cultural Studies
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• v.31
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• pp.95-118
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• 2013

Robert Frost's poetry has generally been considered fairly readable partly because of the simplicity or down-to-earth-ness of the messages that go along with the poet's projected public image and the 'traditional' forms he used. Against the grain of such general perception, this study reads some of the early poems of Robert Frost to re-characterize the beginning of the poet's career as a modernist attempt to challenge the dominant poetic conventions of the time: the genteel conventions. In reading the poems, this study focuses on frost's strategic method of using the speaker or persona regarding the delivery of meanings. Those readers who would like to find the immediate presence of Frost's voice in the poems, fail to distinguish the speaker and the poet, readily accepting the face value of what the speaker tries to convey: those messages which are in line with liberal individualism, like self-reliance, autonomous self, work ethics, etc. Frost's speakers, however, are rarely the mouthpiece of the poet himself. Rather, they are fictional characters who, while on the surface of the text appear to be hammering out a stable theme out of their everyday experience, under a heuristic scrutiny of the textual structure, turn out to be undermining the logic or the rationality of the theme, which can be identified as a modernist textual strategy that challenges the traditional conventions regarding the stability of meaning in a poetic text.

• The Southeast Asian review
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• v.28 no.1
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• pp.1-20
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• 2018

Southeast Asia witnessed a paradox of political stagnation and economic development in 2017. The 'dual order' of security dependence on America and economic dependence on China was sustained in East Asia. In this regard, Southeast Asia of two faces was quite similar to broader East Asia. On one hand, the old socialist group with totalitarian nostalgia lurked in the buffer zone between totalitarianism and authoritarianism, while the original capitalist group under democratic disguise roamed in the gray zone between authoritarianism and democracy. On the other, the old socialist group with the legacy of the planned economy succumbed to the temptation of the Beijing Consensus on state capitalism, while the original capitalist group with the myth of the market economy was exposed to the pressure of the Washington Consensus on liberal capitalism. The ASEAN Community representing the regional integration of Southeast Asia was caught in the strategic predicament of a looming 'new cold war' between the continental and maritime powers.

• English & American cultural studies
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• v.10 no.2
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• pp.149-207
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• 2010

Written simultaneously with Prometheus Unbound, Shelley's "Julian & Maddalo" is a masterwork of dramatic poiesis, of doubling embedded in its couplets, dialogic debate on human nature and contrasted symbolic emblems. The emblems mirror each other and are themselves sites of generative paradox: the "heaven illumined" but "dreary tower" of the Maniac and the glorious sunsets on the "ever-shifting sand" of the Lido, a wasteland that is a place of self discovery but also of "abandonment" and barren mingling figured, inter alia, in its "amphibious weeds," a trope of the poem's personae. This essay also explores the poem's dramatic structure and various rhetorical devices, beginning with the Preface, a threshold of complex identity disguise that Shelley uses for veiled self-presentation, as in "Alastor," mirroring and literary references replete with nuanced ironies. I focus mainly on the complex figures of liminality Shelley uses to develop his own thoughts (as well as his ongoing debates with Byron) about man's potential for growth in thought, insight and empathy, in political reform and interpersonal and individual healing. Advancing Shelley's most optimistic ideas, Julian, escorted by Maddalo observes the Maniac, -- a living ruin whose pained eloquence reveals the link of eros to poiesis and the limits of the latter's ability to 'transform a world.' The Maniac is the core of muse-work (remembering, thinking and song) and Shelley presents him as its emblem. He also is prefigured in and reflects the quintessentially liminal Lido with its "barren embrace" of sea and land. Yet it is less the Maniac's feeling that his grief is "charactered in vain…on this unfeeling leaf" than Julian's rationales for leaving the site of pain that point to Shelley's final comment on poetry's transformative limits. As the primary haploids of the drama's meiosis re-combine and two of them, Maddalo and the maniac fall away, an analogy I briefly develop and embedded in the erotic dynamics of poiesis, Shelley suggests, as he did at the beginning of his poetic lyricism in "Alastor" and at its end in "the Triumph of Life"that images mislead and delude; that "the deep truth is imageless" and redemption is not in but beyond figuration.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.2 no.2
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• pp.73-99
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• 2023

The dragon is a special imaginary figure created by the people of East Asia. Its archetypes appeared primarily as totemic symbols of different tribes and groups in the region. The formation of early dynasties probably generated the molding of the dragon symbol. Dragon symbols carried deep imprints of nature. They concealed alternative messages of how ancient people at different locations dealt with or interacted with nature. Under pressure to standardize in the medieval and late imperial periods, the popular dragon had to transform physically and ideologically. It became imposed, unified, and framed, conveying ideas of caste classification and power, and losing itsecological implications. The dragon transitioned from a semi-ecological domain into a total social caste system. However, many people considered the "standardized" dragon as the symbol of the oppressor. Because of continuous orthopraxy and calls for imperial reverence, especially under orthopractic agenda and the surveillance of local elites, the popularized dragon was imbued within local artworks or hidden under the sanctity of Buddhas or popular gods in order to survive. Through disguise, the popular dragon partially maintained its ecological narratives. When the imperial dynasties ended in East Asia (1910 in Korea, 1911 in China, 1945 in Vietnam), the dragon was dramatically decentralized. However, trends of re-standardization and re-centralization have emerged recently in China, as the country rises in the global arena. In this newly-emerging "re-orthopraxy", the dragon has been superimposed with a more externally political discourse ("soft power" in international relations) rather than the old-style standardization for internal centralization in the late imperial period. In the contemporary world, science and technology have advanced humanity's ability to improve the world; however, it seems that people have abused science and technology to control nature, consequently damaging the environment (pollution, global warming, etc.). The dragon symbol needs to be re-defined, "re-molded", re-evaluated and reinterpreted accordingly, especially under the newly-emerging lens-the New Confucian "anthropocosmic" view.

• Korean Journal of Social Welfare
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• v.63 no.3
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• pp.239-260
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• 2011

It is very interesting phenomenon that despite a broad consensus on the need for social worker to take cultural aspects into professional practice, thus to be a culturally competent, a number of materials criticising the concept of cultural competence have emerged in these days simultaneously. The main purpose of the study is to clarify such phenomenon, which means that this article is trying to analyze the contents of such critical discourse on cultural competence and the validity of those contents. The result of the study finds out that most of the arguments can be categorized into three aspects: epistemological, ethical, ontological, and that most of the main ideas of the critical discourses have been borrowed from a branch of critical social work theories, especially highly influenced from Foucault and Derrida. This article argues that critical discourses have some significant problems which make a conflict with traditional values and tenets in social work as a human service profession. First, epistemologically, the critical discourse fails to differentiate the matter of discovery from that of justification, which brings the cultural competence to the brink of agnosticism. Second, ethically, insisting that there should be no foundational criteria for cultural hierarchy in term of rightness or goodness, the critical discourses reveal their intrinsic limitations in solving ethical dilemmas and conflict in real world, which can be considered as a kind of evasion of responsibility in disguise of cultural relativism. Third, in practical vein, critical discourses are largely in effective in specifying the concrete model to realize their own ideas, and furthermore they unintentionally promote context-blind perspectives that eclipses the significance of structural and systematical impacts on the cultural identity.

• Journal of Fashion Business
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• v.8 no.1
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• pp.16-33
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• 2004

Up to now, image of femme fatale has undergone constant transformation to be inherited and developed through various genres of movies. With few exceptions such cases have represented sensuality of women by costumes with the most distinctive and exaggerated sexuality. Temptresses in movies are mostly drawn as extravagant and gorgeous one or a gloomy and dreary woman. Such an image is reinforced with make-up, hair style, accessories, attitude and manner of talking. The movie 'Chicago' is a musical film that crosses the boundaries of reality and fantasy with dancing and singing. Its lighting, stage setting, powerful and sexy dancing augmented already exaggerated and sensual costumes. Following is the analysis of costumes for two heroines as images of femme fatale. Strong contrast of color among black, red and blue on see-through & stickingly tight body suit signifies liberal mind and arrogant charisma of Velma. The contrast, haughty gestures, cropped black hair and thick makeups represent sex appeal, aggressive image, and fearlessly determined character of femme fatale. Roxie wears decent dresses in front of public and gorgeous stage costume in fantasy to convey two images of bad girl and angel. Her body suit, showing off lustering materials and dazzling bead decoration, is rather loose but still displays her bodyline to emphasize sexiness for representation of desire in fantasy. Chastity and innocence are implied with the decency of dresses in reality. They were specially chosen to draw public sympathy and indicate cunning disguise of Roxy who desperately wants to realize her desire. These dauntless costumes, which sufficiently express inside aspirations of Velma and Roxie later denote open and realistic social yearning rather than fatal desire hidden behind sensual beauty. It doesn't exist as imperfect, unrealistic and socially disdainful ambition as the image of femme fatale of paintings and movies did before in history. Femme fatale is expressed with deep cleavage, silk dresses that explicitly display bodyline, sexiness of mesh stockings with garter belts. All of these won't be utilized as a negative tool to seduce and destroy someone anymore but rather, they should represent rightful and fair nature of humans such as men's curiosity who secretly steal a look at them or female sexuality that women spontaneously want to show off.

• Journal of the Institute of Electronics and Information Engineers
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• v.51 no.5
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• pp.127-134
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• 2014

In DRDoS(Distributed Reflective Denial of Service) attacks, the victim is bombarded by packets from legitimate reflector unlike DDoS(Distributed Denial of Service) attacks through zombie, which is more dangerous than DDoS attack because it is in stronger disguise. Therefore, the method of filtering packet method on router are useless. Moreover SCTP(Stream Control Transmission Protocol) multi-homing feature, such as with an improved transmission protocol allows detecting attacks is more difficult and the effect of the attack can be maximized. In this paper we propose a DRDoS detection mechanism based on DRDoS utilizing attention to the characteristics of stateful protocols. The proposed scheme is backed by stateful firewall, and detect DRDoS attacks through a rules table and perform a defense treatment against DRDoS attack. Rules table with a simple structure is possible to easily adapt for any kind of stateful protocol can used by DRDoS attack. The experimental result confirm that our proposed scheme well detect DRDoS attacks using SCTP, the next-generation transmission protocol which not known by victim, and reduce the attacking packets rapidly.