• Journal of architectural history
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• v.22 no.3
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• pp.37-48
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• 2013

The purpose of this study is to evaluate Aldo Rossi's work as representation or non-representation, for some hold that the works of Aldo Rossi are representative and others say that they are non-representative. According to the three kinds of novelties appearing after Stephen Pepper's concept, "the breaking of reference" happens, and Aldo Rossi's concept, "the sense of deposition" Rossi's work is uncovered as non-representation. In order to clarify Rossi's work as non-representation, we are going to borrow Pepper's terms, intrusive novelty, emergent novelty, and naive novelty. The breaking of reference accompanies intrusive novelty to bring a sense of representation, emergent novelty to intuit a sense of non-representation, and naive novelty to a sense of newness of disorder. We hope to verify a hypothesis that Aldo Rossi's architectural thought and the architecture come from 'emergent novelty' on the basis of his two books, A Scientific Autobiography and Architecture of the City. Also this paper discusses qualitative aspects rather than visual aspects. The main concepts of emergent novelty are applied to Aldo Rossi's works and his thought. Finally this paper verifies 'the hypothesis' through revealing what Aldo Rossi means by the quality of suspension, the sense of deposition, and idea of the unfinished(repetition). Rossi's work is not textural reference of representation appearing after blocking, but qualitative reference of non-representation.

• The Research Journal of the Costume Culture
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• v.9 no.2
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• pp.259-276
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• 2001

Hitchcock, "a master of the thriller" "leading figure of thriller", was famous for his work style. He never starts filming until completing a perfect conception in his mind before shooting. He started filming after getting a perfect filming plan adding a picture even one detailed shot picture. Also the movie costumes was not an exception in his movie. He put more main object to express a symbolic meanings by recreating movie costumes which were fit to drama′s subject than function which spoke for contemporary popularity also he guides actors to put on the movie costumes examined previously to shape a definite visual character in that works. This research intends not only to look into symbolic and expressive means of dresses through the movie costumes on thriller appeared in Hitchcock′s movie, but also the comprehension width by grasping importance of the movie-costume and dress image in the movie. Hitchock made about 55 movies, mostly thriller movies, from Number 13(1922) n unfinished work to family plot(1976) ones posthumous work. This research examined his the second half of term works(after 1950) such s Rear Window(1954), Vertigo(1958), Psycho(1960), Torn Curtain(19660, Topaz(1969) and Frenzy(1972) which are generally familiar to the public. In conclusion, we can find that the thriller movie costumes as well s the other movie and appeared a character of the film′s characters, social rank, economic level, personality. But expecially, a costume of Hitchcock′s thriller movie can be contained a characteristic factor of a kind of five.

• Korean Journal of Social Welfare
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• v.65 no.4
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• pp.271-294
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• 2013

This study aims to grasp a slice of development of Korean Social Welfare. For this study, a character critique has been conducted on Kim, Man-doo who had been superbly equiped by social work practice and study as well. The accomplished critique came from literature criticism is based on his social work practice and his literatures. Five and six themes have been elicited each from Kim's social work practice and his literatures. Through the association of those two kinds of themes has been finally reasoned out another five themes; emphasis on integrated approach, encompassment of social welfare from America and Japan, virtuous cycling formation of Social Welfare, paradigm shift of Social Welfare, and regrettable unfinished harmony of practice and study. In regards to the results, some subjects are discussed as follows; Kim's social work practice had been refined crossing the social welfare system, a slice of Korean social welfare in 1960-90s was exposed, children-based social work practice in 1960s had been practiced unitedly, and Korean Social Welfare in 1960-80s had been structured differently according to the scholars'inclination.

• Journal of National Security and Military Science
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• s.7
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• pp.305-331
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• 2009

This year I published a Korean translation of On War in three volumes, written by Prussian general Carl von Clausewitz. I believe it is the first unabridged Korean translation from the original German text, Vom Kriege. It is true that the work has been translated into Korean several times, but some translations have been done from English or Japanese versions, while others are abridged ones. It is not easy to make a good translation of On War, partly because the book is actually an unfinished work, and partly because it contains almost all academic subjects in social sciences. Moreover, two aspects of the dialectical logic in the book make it more difficult to understand. One is inductive reasoning, the other is deductive explanation. The former is to 'ascend' to draw principles and generalizations from empirical experience, the latter is to 'descend' to describe and explain given principles, often by concrete examples. Considering these difficulties, if we want to have better translations than existing ones, there should be substantial commentaries which contain not only history of wars, but also biographies and geographies concerned. I hope that On War can be taught and studied in many universities, for it will make it easier to produce reliable commentaries.

• Journal of the Korean Statistical Society
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• v.32 no.3
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• pp.311-311
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• 2003

This paper contains the following errors. 1. "$I_{\{x>D\}}{\lambda}dt_{p0}(t)s(x)$" should be added to the right hand side of (2.3). 2. "$I_{\{x>D\}}{\lambda}_{p0}(t)s(x)$" should be added to the right hand side of (2.6). 3. "$I_{\{x>D\}}{\lambda}_{p0}s(x)$" should be added to the right hand side of (2.9). 4. In Theorem 2.3 and its proof, "${\lambda}{\int}_{0}^{D}f(y)s(x-y)dy$" appears three times (including one in (2.20)). To each of these, "${\lambda}_{po}s(x)$" should be added. 5. In Remark 2.5, "${\lambda}dt_{p0}/s(x)dx" should be added to "${\int}_{0}^{D}{\lambda}dt\;s(x-y)dxf(y)dy$". As a result of these corrections, a simpler proof of Theorem 2.3 becomes available. Substituting (2.18), (2.21), (2.22) into the left hand side of (2.20) and comparing the result with (2.10), we have the right hand side of (2.20).

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.12 no.1
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• pp.287-307
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• 2018

There are two targets to schedule parallel jobs in the Cloud: (1) scheduling the jobs as many as possible, and (2) reducing the average execution time of the jobs. Most of previous work mainly focuses on the computing speed of resources without considering other attributes, such as bandwidth, memory and so on. Especially, past work does not consider the supply-demand condition from those attributes. Resources have different attributes, considering those attributes together makes the scheduling problem more difficult. This is the problem that we try to solve in this paper. First of all, we propose a new parallel job scheduling method based on a classification method of resources from different attributes, and then a scheduling method-CPLMT (Cloud parallel scheduling based on the lists of multiple attributes) is proposed for the parallel tasks. The classification method categories resources into different kinds according to the number of resources that satisfy the job from different attributes of the resource, such as the speed of the resource, memory and so on. Different kinds have different priorities in the scheduling. For the job that belongs to the same kinds, we propose CPLMT to schedule those jobs. Comparisons between our method, FIFO (First in first out), ASJS (Adaptive Scoring Job Scheduling), Fair and CMMS (Cloud-Minmin) are executed under different environments. The simulation results show that our proposed CPLMT not only reduces the number of unfinished jobs, but also reduces the average execution time.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.2
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• pp.12-27
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• 2003

The purpose of this study is to look for an environmental design method based on open narrative structure, and to promote various experiences and interpretations of space through user's engagements. That is to say, the designer does not lead specific events through separate Boning but using the continuous open composition users are provided with margins for their imaginations. Spatial formulation through open narrative structure gives us various thoughts and it plays an important role in making a sequential space. Like an abstract painting, it is a complex story making or arranging a montage of images containing stories that elicit the reader's engagement through diverse interpretations. Like this, open composition exists in an ambiguous state and it is possible to interpret unfinished‘evolving work’within it. Utilizing open narrative structure, this study attempts to apply the idea of sequencing and open composition in the case of designing Arirang Culture Park. Open composition should induce various engagements by users and could be a medium which organically connects nature, culture and people. The spatial strategies of‘ambiguity’ and‘transparency’are like a bundle of complex and heterogeneous factors. Finally, the study focuses on the ‘integration’of the main ideas that compose multilayered space. ‘Voidness’and‘thickening’are also used for spatial strategies in open narrative structure. As alternative plans for undecided programs of the space, the voidness can be a strategic design program with flexibility about changes of futures. Also, thickening can be a strategic design program for functional reinforcement of the space, for the dramatic effects and for the generation of incidental events. Although both voidness and thickening seem paradoxical, we can see they are similar in the way that both focus on various spatial uses and by how they do not function as one-to-one correspondence, but as multiple correspondences. Therefore, open narrative structure is possible to apply in designing space and it can be an alternative design strategy for inducing multiple interpretations of space.

• Journal of the Korean association of regional geographers
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• v.20 no.3
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• pp.300-314
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• 2014

The study is to systematically review "DaedongYeojiJeondo", the mid-sized wood block map of Chosun to shed light on the cartographic characteristics not discovered by previous studies. First it was discovered that Kim Jung-ho is the developer of the map as the distance information from Seoul to towns is identical with the information on "Daedong Jiji" the manuscript map drawn by Kim Jung-ho himself (assumed to live from 1804~1866) that is still remaining unfinished. Second, the information Kim Jung-ho wanted to specify most precisely and specifically was distance from Seoul to towns and for this purpose he invented unique symbols for towns in tiny size on the map. Third, in selecting information to mark on the map including road network, street information, mountain routes and streams and location of islands, "DaedongYeojiJeondo" is not just a simple smaller copy of "DaedongYeojido" but an independent creative work as it is much different in many aspects of quality. Forth, but still "DaedongYeojiJeondo" and "DaedongYeojido" have something in common in the fact both of them tried to mark land and mountain routes and streams most precisely and specifically.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1211-1234
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• 2010

Mule Bone (1931), Zora Neale Hurston's collaboration with Langston Hughes, has been credited as the 'first' attempted by African Americans to create black folk comedy. The proposed research is driven from a question to the recent scholarship's tacit consent on such historic importance imposed on the play. This paper suggests a possibility that De Turkey and De Law (1930), Hurston's edition of the collaboration work, could be the truly first attempt in the tradition of American black folk comedy. By illuminating a series of historical moments in which Hurston first expressed her dream for writing a real black folk comedy that would be a really new departure in the African American drama, then collaborated with Hughes on the dream play project, and eventually quit the collaborationship due to artistic dispute with Hughes, this paper explains why Hughes edition Mule Bone came to remain 'unfinished' and, more importantly, fall short of Hurston's original goal and expectation from the collaboration. On the other hand, this paper sheds light on the significance of often-ignored Hurston's edition De Turkey and De Law by demonstrating how this play, compared to Mule Bone, fulfills her original idea of black folk comedy in terms of contents and themes compared with Mule Bone. Adding to the knowledge about little known behind story related to the Mule Bone controversy and the subsequent birth of the two different editions of the Hurston-Hushes collaboration project, supplementing the dearth of the related research with a critical comparison of the two editions, and discussing the validity of Hurston's edition as the real sense of black folk comedy, this paper argues for the necessity of reconsidering the origin of the mentioned genre. This paper finally concludes that De Turkey and De Law, replacing Mule Bone, deserves a right to be truly the first American black folk comedy genre in the sense that it was completed and copyrighted three months earlier than Mule Bone and that, more importantly, it cherished the original aim and artistic vision of black folk comedy Hurston first planned and expected through the collaboration with Hughes.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.30 no.6C
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• pp.585-592
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• 2005

One of the most important things in the researches on diseases is to attach more importance to prevention of a disease and preservation of health than to treatment of a disease, also to foods rather than to medicines. In this context, the most significant concern in examining a patient is to find the presence of disease, and, if any, to diaguose the type of disease, after which a pharmacotherapy is followed. In this paper, various diagnosis methods of Oriental medicines are discussed. And ocular inspection, the most important method among the 4 disease diagnoses of Oriental medicines, is studied. Observing a person's shape and color has been the major method for ocular inspection, which usually has been dependent upon doctor's intuition as of these days. We are developing an automatic system which provides objective basic data for ocular inspection. As the first stage, we applied the signal processing techniques to automatic feature extraction of faces for ocular inspection. Firstly, facial regions are extracted from the point of frontal view, which was followed by extraction of their features. The experiment applied to 20 persons showed that frontal face regions are perfectly extracted, as well as their features, such as eyes, eyebrows, noses and mouths. Future work will seek to address the issues of morphological operation for a few unfinished extraction results, such as combined hair and eyebrows.