• Journal of Popular Narrative
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• v.25 no.1
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• pp.393-425
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• 2019

This paper focuses on Alain Resnais's representative works (1955), (1959), and (1963), and analyzes how he implements a representation of memory though cinematic apparatus. These three films deal with horrific memories that seem impossible to reproduce aesthetically such as the Holocaust, the Hiroshima Atomic Bomb, World War II, and the war in Algeria. The reappearance of events that stripped humans of even their minimum dignity can naturally be associated with ethical issues. These events can never be reproduced because they cannot be explained in the human language. It is also impossible to reproduce in a way that doesn't invade other peoples' sufferings, nor displays the pain of others as spectacles. Alain Resnais was a director who realized that if factual representation was not possible from the beginning, truthfulness would have to be approached through cinematic form. Therefore, he tries to overcome these problems through cinematic forms. First, he shifts to action films to avoid the obscenity of documentary. shows the records of camps captured by German forces in the past, while shows the pain of others in a fictional form of representation. Next, he describes how the trauma affects the identity of the main character through a flashback in , but also shows a main character who is experiencing trauma without a flashback in Flashbacks have the effect of showing the effects of trauma on the main character, but at the same time they involve the obscenity of enjoying the suffering of others. Nonetheless, the absence of flashbacks highlights the impossibility of representation. This is because it is not silent in the impossibility of representation but is constantly approaching. The attitude that repeatedly circles around impossibility is an ethical form that maximizes the impossibility of representation. In conclusion, this is the ethics of representation that Alain Resnais showed in his films.

• Journal of Korea Multimedia Society
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• v.1 no.2
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• pp.224-238
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• 1998

The EMFG (Extended Mark Flow Graph) is not only a powerful tool for designing the discrete-event system conceptually or specifically but also a good representation tool for implementing the system directly. But it is difficult to design or analyze the system because the impossibility of mathematical analysis results from some complicated representation of the EMFG. In this paper, therefore we redefined EMFG representations to provide the possibility of mathematical analysis, and employed an output inhibit are of a transition, which makes possible the adequate representations for the indescribable parts. We also solved trouble parts in the circuit translations of the EMFG and proposed the circuit translation method by using the mathematical formula. Finally, we compared the conventional EMFG with the redefined EMFG, and we designed a 0101 detecter with the redefined EMFG and translated it to the corresponding circuit.

• Research in Mathematical Education
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• v.8 no.2
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• pp.107-114
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• 2004

University teachers of linear algebra often feel annoyed and disarmed when faced with the inability of their students to cope with concepts that they consider to be very simple. Usually, they lay the blame on the impossibility for the students to use geometrical intuition or the lack of practice in basic logic and set theory. J.-L. Dorier [(2002): Teaching Linear Algebra at University. In: T. Li (Ed.), Proceedings of the International Congress of Mathematicians (Beijing: August 20-28, 2002), Vol. III: Invited Lectures (pp. 875-884). Beijing: Higher Education Press] mentioned that the situation could not be improved substantially with the teaching of Cartesian geometry or/and logic and set theory prior to the linear algebra. In East Asian countries, science-orientated mathematics curricula of the high schools consist of calculus with many other materials. To understand differential and integral calculus efficiently or for other reasons, students have to learn a lot of content (and concepts) in linear algebra, such as ordered pairs, n-tuple numbers, planar and spatial coordinates, vectors, polynomials, matrices, etc., from an early age. The content of linear algebra is spread out from grades 7 to 12. When the high school teachers teach the content of linear algebra, however, they do not concern much about the concepts of content. With small effort, teachers can help the students to build concepts of vocabularies and languages of linear algebra.

• English & American cultural studies
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• v.14 no.2
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• pp.251-285
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• 2014

Monsters cannot speak. They have been objectified and represented through a particular concept 'monstrosity' that renders the presence of monsters effectively simplified and nullified. In contemporary monster narratives, however, the site of monsters reveals that they could be the complex construction of society, culture, language and ideology. As going into the structure that concept is based on, therefore, meanings of monsters would be seen to be highly unstable. When symbolic language strives to match monsters with a unified concept, their meanings become only further deferred rather than valorized. This shows the language of monsters should disclose the self-contradiction inherent in 'monstrosity,' which has made others—namely beings we define as 'different' from ourselves in culture or physical appearance—embodied as abject and horrifying monsters. Unable to be understood, accepted, or called humans. I analyse Frankenstein and Dracula that firmly converge monstrous bodies into a symbolic meaning, demonstrating how this fusion causes problems in the multicultural society. I especially emphasize the undeniable affirmation of expurgated others we need to have empathetic relations with, because their difference, unfamiliarity, and slight divergences are likely to be defined as abnormalities. In the multicultural society, thus, we must learn to embrace diversity, while also having to recognize there are many others that have been thought of as monsters; ironically enabling us to think about an undeniable imperative of being responsive to other people. In this respect, the monstrous inhuman goes to the heart of the ethical undercurrent of multiculturalism, its resolute attempt to recognize and respect someone else's difference from me. A focus on empathetic relations with others, thus, can strengthen the process of creating social mechanisms that do justice to the competing claims of different cultural groups and individuals.

• Journal of the Korean Society for information Management
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• v.22 no.1 s.55
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• pp.191-208
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• 2005

This study utilizes various approaches for new topic detection in the process of assigning and updating descriptors, which is a representation method of the knowledge structure. Particularly in the case of occurring changes on the knowledge structure due to the appearance and development of new topics in specific study areas, new topic detection can be applied to solving the impossibility or limitation of the existing index terms in representing subject concepts. This study confirms that the majority of newly developing topics in information science are closely associated with each other and are simultaneously in the phase of growth and development. Also, this study shows the possibility that the use of candidate descriptor lists generated by new topic detection methods can be an effective tool in assisting indexers. In particular. the provision of candidate descriptor lists to help assignment of appropriate descriptors will contribute to the improvement of the effectiveness and accuracy of indexing.

• Journal of Popular Narrative
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• v.27 no.2
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• pp.143-177
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• 2021

In the history of Korean literature, evaluations on 『Jirisan』 (Lee Byeong-ju) are bisected. Some evaluate it as a novel of authentic records which reproduces the history before and after the emancipation objectively while others say it takes advantage of anti-communistic ideology. This study analyzes that difference is resulted not from the distinction of perspectives but from cracks in the text. This is associated with the process of 『Jirisan』's publication. 『Jirisan』 was published serially in 『Sedae』 from 1972, and then, part of the manuscript was published in 1978 and the whole edition published in a series came to be republished in 1981. After that, in 1981 and 1985, part of the follow-up story was printed on the magazine, and then, with the memoirs of those two years as materials, the sixth and seventh volumes were again published through 'revision'. In other words, the publication of 『Jirisan』 is divided into that of the edition published in a series and that of the edition published in 1985 including the contents of revision. The theme of the work, 『Jirisan』 differs according to the point of its completion you may think of. This researcher pays attention to the difference of perspectives between the contents up to the fifth volume and those of the sixth and seventh volumes. Particularly, his evaluation on 'partisans' seems to have changed. In the edition published in a series, he extended 'partisans' into the independence movement in the Japanese colonial era under the Revitalizing Reforms system and adopted the representation of 'partisans' three-dimensionally whereas in the sixth and seventh volumes, he reproduced 'partisans' as beings that were the 'doctrinaire' and 'vicious' 'Reds' and had to be punished. In brief, with 『Jirisan』, he represented 'partisans' in the background of history before and after the emancipation and segmented the discourse, representation and ideology of the Cold War system, but in the process of revision, he stitched up 'partisans' as beings that were evil and losers. Consequently, with 『Jirisan』, he revealed the process of division and contention that proceeded around anti-communism/capitalism within the abyss of the 1970's to 80's and reproduced 'partisans' as beings that were either 'hostile (the Reds)' or 'unknown (losers)