• Cross-Cultural Studies
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• v.25
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• pp.453-482
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• 2011

Until now and in the studying of fantastic literature, there has been likely to regard the character as secondary element, compared to their actions. However, it has to be recognized that the characters is a barometer to divide the boundary among the marvellous literature, or fantasy, magic realism, etc., in particular it is an important narrative element to understand an epistemological vision of fantastic literature. This thesis analyzes the characters, focusing on two dimensions divided such as between protagonist/antagonist and protagonist narrator/editor narrator. The characters in fantastic literature are usually set-up as people like ourselves, because it is necessary for the readers to consider the supernatural phenomenon as real world situation. The reason why many characters in fantastic literature usually meet a tragic end is that the structure of fantastic literature embedded unresolved supernatural confusion into ordinary order in the end, while antagonists are viewed as holders of extraordinariness and they are far from vero-similarity. Together with usual characters who represent the world of logic and reason, antagonists who seek to understand more about the universe totally and thus regarded as symbols of intuition and imagination and ultimately are the elements of fantastic literature. On the other hand, the "first person narrator" is divided between "protagonist narrator" who narrates the supernatural things through his/her own experience to readers and "editor narrator" who narrates the other's experiences. Particularly in the case of "editor narrator", he/she may narrates the stories with different explication and angle, which lead to hesitation and confusion for readers to identify between reality and unreality or natural logic and supernatural one. Even though there are various categories in fantastic literature, this thesis exclude 'neo fantastic', 'metaphysical fantastic' ones, characterized as a possibility of convergence with the secondary interpretation and symbolic implication. Beyond these materials, the literatures which involved with this thesis and analysis are normally related with traditional fantastic literary works which supernatural events intervene in real world and bring out collision between real and unreal, or natural and supernatural logics. Based on this criteria, this thesis chooses literary works such as "De los Reyes Futuros", "El Perjurio de la Nieve" written by Adolfo Bioy Casares who is a representative author in Latin American fantastic literature.

• Publications of The Korean Astronomical Society
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• v.30 no.1
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• pp.1-9
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• 2015

The National Foundation Day of Korea (개천절, 開天節) is currently celebrated on October 3 in Gregorian calendar. We review the history of dating the National Foundation Day of Korea and make a suggestion that it be celebrated on October 3 in the lunar calendar. We present numerous historical records on heaven-worship rites supporting the date October 3 in the lunar calendar. It is pointed out that October 3 in the solar calendar has been adopted in 1949 by the National Assembly with the thought that the lunar calendar is inferior and behind the times. The thought originates from misunderstanding on the value of the lunar calendar and from the ignorance of importance of history and tradition. Since there are now many national holidays that follow the lunar calendar, the logic of the National Assembly in 1949 also makes no sense. We emphasize that the lunar calendar should be followed for the National Foundation Day of Korea for its historical and symbolic characteristics restoration. We also investigate the year of the foundation of the first country of Korea, Dangun Joseon. It is found that even though the majority of the literature before late 15th century recorded the beginning year of Dangun Joseon dynasty to be equal to that of Liao Dynasty (堯), it was accidentally changed to the 25th year of Liao Dynasty in 1484 through a misinterpretation of the previous records. We claim that the beginning year of Dangun Joseon should be set to that of Liao Dynasty as recorded in the original literature in the earlier days. According to the two main opinions accepted by Korea, the beginning year of Liao Dynasty was 2357 B.C. or 2333 B.C., which correspond to the year of Gap-Jin (the 41st year of the sexagenary cycle) or Mu-Jin (the 4th year of the sexagenary cycle), respectively.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.15 no.5
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• pp.91-103
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• 2015

This paper presents "The 3-User NOR switching channel based on interference decoding with receiver cooperation" in succession to "Jeju Jong Nang channel code I, II". The Jeju Jong Nang code is considered as one of the earliest human binary coded communication (HBCC) in the world with a definite "1" or "0" binary symbolic analysis of switching circuits. In this paper, we introduce a practical example of interference decoding with receiver cooperation based on the three user Jong Nang NOR switching channel. The proposed system models are the three user Jong Nang (TUJN) NOR logic switching on-off, three-user injective deterministic NOR switching channel and Gaussian interference channel (GIC) with receiver cooperation. Therefore, this model is well matched to Shannon binary symmetric and erasure channel capacity. We show the applications of three-user Gaussian interference decoding to obtain deterministic channels which means each receiver cooperation helps to adjacent others in order to increase degree of freedom. Thus, the optimal sum rate of interference mitigation through adjacent receiver cooperation achieves 7 bits.

• Korean Institute of Interior Design Journal
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• v.18 no.4
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• pp.61-70
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• 2009

Rapid social changes and scientific advances of the $21^{th}c$ have brought on a major paradigm shift towards consilience, making boundaries more or less irrelevant. In the field of architecture, this is manifested in the emergence of colors that can be described as 'being aleatory', 'non-formal', 'non-deterministic' and 'perpetually evolving'. Contemporary architectural colors are not definitively fixed. They are rather liquid and metaphorical. Whereas the more traditional architectural colors have delivered clearly and precisely the intended symbolic meaning and visual information, those of today are less definitive and embody a more liquid and conceptual value system. This paper discusses the denoted signification and the meaning effect of the metaphorical color system found in contemporary architecture. This paper analyzes works of architecture from the late 20th century, when dramatic change sin architectural color system surfaced, to the more contemporary creations. Here, three categories of color are suggested, namely material color, spatial color and liquid color. Each categories considered in connection with deconstruction, holistic interactivity and the multiplicity of meanings that may result as information from the external world is perceived as stimulus to the inner mind. Contemporary architectural color scheme is characterized by its unpredictable vagueness of meaning, synesthetic engagement of imagination and chance, and expansion of the inner and outer world, all of which contribute to a metaphorical effect. The metaphorical color system of contemporary architecture can be classified into three dimensions, and it connects with human consciousness and amplifies itself through flexible and fluid communication. In this process non-physical colors materially serve as formal logic and room for varied interpretation of architectural space and our conceptual framework.

• Journal of KIISE
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• v.45 no.1
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• pp.22-29
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• 2018

Over the decades, neural networks have been successfully used in numerous applications from speech recognition to image classification. However, these neural networks cannot explain their results and one needs to know how and why a specific conclusion was drawn. Most studies focus on extracting binary rules from neural networks, which is often impractical to do, since data sets used for machine learning applications contain continuous values. To fill the gap, this paper presents an algorithm to extract logic rules from a trained neural network for data with continuous attributes. It uses hyperplane-based linear classifiers to extract rules with numeric values from trained weights between input and hidden layers and then combines these classifiers with binary rules learned from hidden and output layers to form non-linear classification rules. Experiments with different datasets show that the proposed approach can accurately extract logical rules for data with nonlinear continuous attributes.

• Journal of architectural history
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• v.3 no.1
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• pp.161-172
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• 1994

This is part of a study on the origin of modernist forms and settings. Forms in Modern Architecture are totally new as though they seemed to be originated from some remote culture. Archaeological studies and Laugier's primitivist attitude to the classical architecture provided a way leading, in the end, to pure structures and abstract forms. An application of the classical elements was combined with the ultimate image of nobility, simplicity and rationality. What the seventeenth and eighteenth century theorists realized in the ruines of the classical structures were not the ones with their original organic vitality but the deteriorated, naked and abstracted ones. The essence of the classical structures has been the one of the main references of the modern white architecture. Ration and Nature were the quintessential terms in the design process of the Enlightenment architects of the late eighteenth and nineteenth centuries as they were in the twentieth century architecture. Pure geometric and symbolic forms were new inventions for the new revolutionary age after the development of architectural Styles, successive until Baroque and Roccoco, ceased to go on to the next phase. Many of their buildings appeared so modem in character, for they were omitted all but the essential structure and decoration. Other sides of rationality in the pre-modern age were evolved in terms of the paradigmatic research and the logic in structure. Durand developed a systematic typological approach to the forms. Geometry was the basis of his designs and his illustrations resembled endless simple geometrical problems. One of the other rational approaches was mainly developed by Viollet-le-Duc. To him, Gothic architecture was the model in which each members functioned actively and exerted counterpressure and the Middle Ages invented new fantastic forms. The several ways of rational approaches in architecture were led to the 'tabula rasa' planning in modern architecture. Nature was remained untouched and not deformed as Ledoux's houses in the $H{\hat{o}}tel$ de $Th{\acute{e}}lusson$ were setted on informal gardens. It is part of the modem image that Nature flows or interpenetrates through the white prisms of the strictest classical purity and machines.

• Journal of English Language & Literature
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• v.55 no.1
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• pp.153-176
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• 2009

This paper attempts an allegorical reading of female sexuality in Henry James' The Aspern Papers, wherein the narrator reveals his obsession with the love letters of the dead poet, Jeffrey Aspern. Not only the old papers, but does he also fetishize female protagonists in order to maintain his belief in the "great poet." Discussing such fetishistic elements in the novella is in order firstly to reveal the self-splitting logic of phallocentric language, and secondly to analyze the limitation of such language, which resonates with the Freudian construction of female sexuality as critically presented by Irigary. The first part of this study explains the binary structure of The Aspern Papers crystalized in the symbolic courtship in the Bordereaus' garden. It also represents the psychological mindset of the narrator/protagonist: symbolically located "outside," the narrator describes the two Bordereaus as being closed "inside" in a dark mansion, concealing the precious papers from him and the public. In other words, the women are nothing but the obstacle for the self-elected agent, the narrator, from the publication of the language and ideas of the "great man". The women are associated with secrecy and surreptitiousness, while the man with transparency and the truth. Second part of this paper mimics this In/Out binary as a means to reveal insufficiency, if not impropriety, of the predominant discourse of female sexuality constructed and controlled from the male perspective. Employing Irigary's argument, this paper reads the female characters as allegory for female sexual organs, which explains the narrator's inevitable failure. That is, female sexuality is something that cannot be articulated by the intruding language of a masculine subject. since the female sex as such is not only plural but also harmonious and self-contained,

• The Journal of Korean Association of Computer Education
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• v.22 no.1
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• pp.87-98
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• 2019

It is easy to assume that contradictions are logically incorrect or empty sets that have no solvability. This dilemma, which can not be done, is difficult to solve because it has to solve the contradiction hidden in it. Paradoxically, therefore, contradiction resolution has been viewed as an innovative and creative problem-solving. TRIZ, which analyzes the solution of the problem from the perspective of resolving contradictions, has been used for people rather than computers. The Butterfly model, which analyzes the problem from the perspective of solving the contradiction like TRIZ, analyzed the type of contradiction problem using symbolic logic. In order to apply an appropriate concrete solution strategy for a given contradiction problems, we designed the Butterfly algorithm based on decision making tree. We also developed a visualization tool based on Python tkInter to find concrete solution strategies for given contradiction problems. In order to verify the developed tool, the third grade students of middle school learned the Butterfly algorithm, analyzed the contradiction of the wooden support, and won the grand prize at an invention contest in search of a new solution. The Butterfly algorithm developed in this paper systematically reduces the solution space of contradictory problems in the beginning of problem solving and can help solve contradiction problems without trial and errors.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.9-40
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• 2019

This study presents an investigation into South Korean films in the 1990s in the aspects of genre change and emotional reorganization. The 1990s witnessed a change of genres and a paradigm shift in the history of Korean films according to the revolutionary changes of the film industry structure and media environment. Believing that these changes had something to do with emotional changes driven by global capitalization symbolized by democratization in 1987 and the foreign currency crisis in 1998, the investigator analyzed the phenomena in film texts and examined the opportunities and context behind them. Unlike previous researches, this study made an approach to the history of Korean films in the 1990s with three points: first, this study focused on why the romantic comedy genre emerged in the 1990s and what stages its formation underwent since there had been no profound discussions about them; secondly, this study analyzed the biggest hits during the transitional period from 1987~1999 to figure out the mainstream genres and emotions during that period since these hits would provide texts to show the genre domain and public taste in a symbolic way; and finally, this study grew out of the separate investigation approach between melodramas and romantic comedies and looked into an emotional structure to encompass both genres to make a more broad and dynamic approach to South Korean films in the 1990s. History flows continuously without severance from previous times. When there is attention paid to inflection points and opportunities in the continuum, it can show the dynamics and structures of changes. This research led to the following conclusions: the mainstream genre of South Korean films had been melodramas until the 1980s. The old convention had been kept to offset or suture contradictions and excessive elements deviant from the structural consistency. Here, the structural consistency refers to no compliance to rational regulations or trade. The process of genre reorganization in the 1990s happened while securing some distance from the convention of making the structural consistency a sacrifice. The direction was to reinforce control through reasonable rationalism and logic of capital. It developed into romance, which would start with comedy to keep distance from the objects through laughter, heighten the level of remarks, and expand criticality, symbolize emotions with taste items, and build through the logic of mutual consensus and practical trade. In the 1990s, the South Korean films thus developed in a direction of moving away from the narrative of urgent pathos based on unconditional familism. It was on the same track as the entry of the South Korean society into the upgraded orbits of democracy and capitalism as the twins of modern rationalism since the latter part of the 1980s.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.95-124
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• 2021

As the symbolic images of girls besides its definition have varied according to the age and society, a posthuman girl character recently appears in the digital cinema. This study aims to analyze its cinematic representations and the social contexts in which they are created. For this purpose, the study focuses on what extent the society allows its imagined figurations as a future female body and the meanings revolving around the image of 'technologically body-enhanced female fighter'. Current digital visualization technology has developed to the extent any imaged future humans can be represented, but posthuman girls' representations have its limitation that only a human-like figuration can be allowed in accord with the traditionally idolized image of girls. It is because of the representation logic in which digital cinema is visualized based on perceptual realism that values audiences' experiences. Despite such less critical figuration which does not dare to cross the boundary between the image of human and inhuman, the posthuman girl characters create a new category of the 'dangerous girls' who are both void of sexual femininity and independent of motherhood and heterosexual romance narrative. Of course, they support the modern human-centered belief that humans can take entire control of technology with their moral behaviors and dispel the fear about the negative impact the nature of technology may have on society at large by showing their child-like figuration protecting ethical values. However, the new character of 'unruly girl' exerts her subversive act that seeks to fight against the human-centered liberal humanistic values and melancholic feeling and vulnerability that the neoliberalism and technocracy enforce. When posthuman girl characters are considered to be a marker through which we can see how different social forces are intervening and competing each other in the upcoming posthuman age, the limited figuration of the posthuman girl characters in South Korean movies illustrates the opinionated thoughts toward the instrumentalism in technology but their bloodshed struggles reveal how the corporate or state-governed techno-biopower has oppressively treated and appropriated the human body as the technology-object and also provide a meaningful opportunity to rethink its unethical violence.