• 한국멀티미디어학회논문지
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• 제20권3호
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• pp.533-542
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• 2017

Novels include various character names, depending on the genre and the spatio-temporal background of the novels and the nationality of characters. Besides, characters and their names in a novel are created by the author's pen and imagination. As a result, any proper noun dictionary cannot include all kinds of character names. In addition, the novels translated into Korean have character names consisting of two or more nouns (such as "Harry Potter"). In this paper, we propose a method to extract noun phrases for character names and to cluster the noun phrases into coreferents for the same character name. In the extraction of noun phrases, we utilize KKMA morpheme analyzer and CPFoAN character identification tool. In clustering the noun phrases into coreferents, we construct a directed graph with the character names extracted by CPFoAN and the extracted noun phrases, and then we create name sets for characters by traversing connected subgraphs in the directed graph. With four novels translated into Korean, we conduct a survey to evaluate the proposed method. The results show that the proposed method will be useful for speaker identification as well as for constructing the social network of characters.

• 한국IT서비스학회지
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• 제15권3호
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• pp.115-125
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• 2016

Novels includes various character names, depending on the genre and the spatio-temporal background of the novels and the nationality of characters. Besides, characters and their names in a novel are created by the author's pen and imagination. As a result, any proper noun dictionary cannot include all kind of character names which have been created or will be created by authors. In addition, since Korean does not have capitalization feature, character names in Korean are harder to detect than those in English. Fortunately, however, Korean has postpositions, such as "-ege" and "hante", used by a sentient being or an animate object (noun). We call such postpositions as animate postpositions in this paper. In a previous study, the authors manually selected character names by referencing both Wikipedia and well-known people dictionaries after utilizing Korean morpheme analyzer, a proper noun dictionary, postpositions (e.g., "-ga", "-eun", "-neun", "-eui", and "-ege"), and titles (e.g., "buin"), in order to extract social networks from three novels translated into or written in Korean. But, the precision, recall, and F-measure rates of character identification are not presented in the study. In this paper, we evaluate the quantitative contribution of animate postpositions to character identification from novels, in terms of precision, recall, and F-measure. The results show that utilizing animate postpositions is a valuable and powerful tool in character identification without a proper noun dictionary from novels translated into or written in Korean.

• 인문언어
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• 제1권1호
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• pp.159-183
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• 2001

This paper surveys the meaning of the pen name ′Yi Sang(李箱)′ in the light of the arbitariness of language and the relationship among names, observing in three ways how the images of ′Sang′ (Box) appear differently in his works. In Particular, we look into (1) the relationship between a box and its inner boxes, (2) the divisional relationship in the box, and (3) the relationship between the box and an outer box. In Yi Sang′s work, image (1) gives shape to the relationship between the writer himself and his ancestors who are responsible for his present existence. Image (2) gives shape to two internally divided Yi Sangs, and is symbolized as a mirror that reflects two selves. Image (3) gives shape to a relationship between himself in the closed world and other people and/or a bigger outside world. All these symbolic relationships are fully represented in his work "Nalgae" (The Wing)". What is interesting is that Yi Sang has already employed these box images in his earlier poetry "Geonchuk-muhan-yukmyeon-gaucho" (Infinite Architectural Hexagon). furthermore, by visualizing his name as a sqaure($\square$), he means to suggest the intentional image of his pen name as a ′box′.

• 정보보호학회논문지
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• 제30권3호
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• pp.379-388
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• 2020

최근 신용카드의 사용 비중이 늘어나고 있으며 그에 따른 보안 위협이 증가하고 있다. 특히 신용카드 부정사용, 명의 도용 등의 관련 범죄에 취약함에도 불구하고 카드 결제 시 이를 방지하기 위한 보안 장치가 없는 상황이다. 이러한 현재 신용카드 결제의 한계점을 보완하기 위해 본 논문에서는 기존 거래 방식에 가속도 센서가 내장된 스타일러스 펜을 활용하여 결제 서명을 하고, 합성곱 신경망을 통해 해당 서명의 이미지와 센서를 통해 측정한 서명 정보를 분류하여 상호 비교하는 과정을 추가한다. 이와 같이 스타일러스 펜의 소유 여부와 서명의 특징 값을 통해 본인 인증과정을 수행함으로써 금융 거래에서의 보안성을 증진시키는 방법을 제안한다.

• 동양고전연구
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• 제48호
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• pp.289-310
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• 2012

본고에서는 <수오재기(守吾齋記)>의 내용을 분석한 후, 이 작품의 특징과 의미가 무엇인지를 먼저 살펴보고, <수오재기>를 가지고 교육적으로 활용할 수 있는 방안을 고찰하였다. <수오재기>의 내용을 보면 정약현이 정약용과는 달리 자기를 지키는 집에서 계속 살고 있는 것 또한 '나'를 잃지 않고 지조를 지킨 덕분이라고 말하면서 '나'를 잃어 버려 지금 장기에 유배를 온 자기와는 다르다고 얘기하고 있다. 즉, <수오재기>에서는 정약현을 통해 '나'를 지키는 것이 무엇인가를 보여주고 있다. <수오재기>의 특징과 의미에서는 정약용이 한문양식 중 하나인 '기(記)'를 매개로 하여, 귀양지에서 본질적 자아인 나와 대화를 나누는 등 표현상의 독창성을 보여주고 있다. 그리고 <수오재기>는 나의 모습을 되돌아보는 것으로 반성과 성찰의 행위를 가시적으로 보여주고 있는 작품이다. <수오재기>의 교육적 활용에서는 자(字)와 호(號)를 짓는 방법과 자기소개서 쓰는 것을 학생들 교육에 활용하고자 한다. 자와 호를 짓도록 하는 것이 현실에서는 실효성이 적지만 어떻게 짓는가를 알려주어 선인들이 자와 호를 짓는 의미를 파악하기 위함이다. 자기소개서는 요즘 학생들에게 필요한 것인데, <수오재기>에서처럼 '나'를 먼저 파악한 후에 자신을 다른 사람에게 알리면 그 효능이 클 것이다. 이를 교육에 활용하면 국어교육에 효과가 클 것으로 기대된다.

• 대순사상논총
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• 제25_1집
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• pp.1-22
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• 2015

This paper took Jeonkyeong (典經) of Daesunjinrihoe(大巡眞理會) as the basic text and studied how Kangjeungsan(姜甑山), the Sangje (上帝), had embraced Chinese myth in process of formation of his religious thought focusing on Yan Emperor(炎帝) Shennong(神農) myth and Shanrangang(禪讓) myth (namely Danchu myth). First when we examine the myth surrounding Kangjeungsan's birth, it deeply emraced a feeling-birth myth(感生神話), we could realize that this is a universe motif through myth of hero birth in East Asia. Further judging from the analysis of geographic space of Kangjeungsan's activity, it included a variety of mythical and Daoist related place names. I think this is because of the fact that birth place of Kangjeungsan and the surrounding area is the locality of Xian(仙) tradition where major characters of Danhak sect(丹學派) have been turned out, and that Korean way of Xian suppressed by the regulatory system has been widely rooted in the public. Especially it's interesting that Jeungsan, the pen name of Kangjeungsan, ambiguously connotes Siru mountain(甑山), a place of his training, and the spiritual realm of the 『Zhouyicantongqi(周易參同契)』. Then I examined the God of fire Shennong myth which has been actively admitted and embraced by Kangjeungsan. Kangjeungsan put the root of his pedigree on Shennong and there is a close affinity between Shennong and Dongyi(東夷) such as Buyeo(夫餘), Goguryeo(高句麗), etc. These Dongyi spirits are losers against the Chinese major myth and beings of ressentiment. At the same time the predecessor of Jiutianyingyuanleishengpuhuatianzun(九天應元雷聲普化天尊) who shares mythical characteristics with the God of fire Shennong was a formerly Taishi(太師) Wenzhong(聞仲) of Yin(殷) dynasty. He was defeated and died by Zhou(周) dynasty, and was deified. The fact that Kangjeungsan regarded himself as a descendent of Shennong and possessed divinity of Jiutianyingyuanleishengpuhuatianzun connotes that he represents all beings of ressentiment such as family of Yin and Dongyi. However, Kangjeungsan set a religious milestone by turning revenge for such ressentiment at tribe level into religious sublimation. At the end Shanrang myth which has been critically embraced by Kangjeungsan was reviewed. According to the existing Shanrang myth, Danchu(丹朱) was unworthy and not succeeded in the succession to the throne. Then good natured Emperor Shun(舜) succeeded to the throne from Emperor Yao(堯). However, the reality of Shanrang myth was a violent change of sovereign power and Danchu was a victim in the process of such violent change. Kangjeungsan shrewdly grasped the reality of ancient China and cast light on presence of Danchu. And he emphasized the need of religious sublimation of revenge, Haewon(解冤). His such awareness of culture had a close relation with revisionist standpoint of independent Danhak sect expressing a skeptical glance at systematic, commensurate and authentic historical view of Chinese civilization. And further Kangjeungsan cosmologically and causationally reinterpreted revenge of Danchu. He established a universal salvation theology which has a corresponsive connotation in regard to embracement of Shennong myth. In conclusion, embracement of Chinese myth by Kangjeungsan was a creative work of reinterpretation resulting in an inherent religious connotation through a process of appropriation, that is independent and selective introjection.