• Trans-
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• v.3
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• pp.55-86
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• 2017

This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.1-13
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• 2020

This study closely analyzed poems and paintings related to Beijing-Palgyeong, as well as ancient maps and ancient writings. Through the study, people who read this study can consider, Beijing-Palgyeong's the process of changing times, changing landscape perception, physical and symbolic landscape elements, structural analysis, national management relationships, and finally how it was localized as symbolic place. The view point of the Beijing-Palgyeong is distributed in four places, one outside and one inside the city. Outside of the capital city of Beijing-Palgyeong were concentrated in Seosan(西山) where the resting place of the emperor and the center of the landscape view of Beijing. The view point of Beijing-Palgyeong inside the capital city is located in two places in the royal palace's Imperial Garden and in two villages around the fortress. In other words, Beijing-Palgyeong was selected as a place closely related to the imperial family, emperor, and royal palace from the time of its initial creation. Since then, many scholars, including the emperor, have used it for national management through Won(元), Ming and Qing Dynasty, and it have become more and more characteristic of 'The capital city of eight scenic views'. The two places inside the capital city praised the Gods and Emperors in the same way. Outside the capital city, the two sites depict the comfortable lives of the people who are governed by the emperor and depicting the village landscape around the city. In the end, it can be seen that most of the Beijing-Palgyeong are related to imperial palaces and emperors. If you look at the physical landscape of Beijing-Palgyeong by element, it mainly contains the contents of national management and the emperor's eulogy. Qianlong Emperor established the Beijing-Palgyeong in 1751 through the construction of a monument. A four-character on the front of the monument, and inscribed with a seven-word written by the person on the back. It can be said that Qianlong Emperor's Beijing-Palgyeong were intended to show off the results of Manchurian rule through the material symbol of the monument. Beijing-Palgyeong have been transformed into a landmark, and modern people use it as an indicator of the Beijing-Palgyeong.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.8
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• pp.3444-3451
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• 2012

Safety and health related information for the proper use and handing of pesticides is usually printed on the surface of the pesticide products in the form of texts. But, the guidelines or standards for the appropriate presentation of the texts for the pesticide products are most vague or not practical. Thus, this study aimed to provide the preliminary guidelines for the text sizes based on the legibility experiments. To achieve the objective legibility evaluation experiments were conducted to test the effects of different near vision (0.6, ${\geq}0.8$), gender, font type(thick gothic-type and fine gothic-type), thickness of font(plain and bold), and number of syllables(2 and 3 syllables) in the same age group of 20s. The results showed that legibility was different according to the visual acuity (p<0.05), and no other main effects showed statistically significant effects. The 'maximum illegible size' to read at least one word correctly in all the text conditions was 2 pt when the near vision was ${\geq}0.8$, and 2 pt or 3 pt when the near vision was 0.6. The 'minimum legible size' for 100% correct answer was 9 pt for the near vision of 0.6, and 5.3 pt for ${\geq}0.8$, respectively. Mean character size does not read any discomfort in 0.6 was 15.5 pt in both male and female but male was mean 8.5 pt, female was 10 pt in ${\geq}0.8$. Considering these experimental results, it was recommended that the 16 pt or larger characters should be used the important information such as 'Pesticides' or toxicity, and the minimum character size was 9 pt for the less important information.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.12 no.7
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• pp.1218-1226
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• 2008

With the development of semiconductor integrated technology and with the increasing use of multimedia functions in computer, more functions have been implemented as hardware. Nowadays, most microprocessors beyond 32 bits generally implement an integer multiplier as hardware. However, as for a divider, only specific microprocessor implements traditional SRT algorithm as hardware due to complexity of implementation and slow speed. This paper suggested an algorithm that uses a multiplier, 'w bit $\times$ w bit = 2w bit', to process $\frac{N}{D}$ integer division. That is, the reciprocal number D is first calculated, and then multiply dividend N to process integer division. In this paper, when the divisor D is '$D=0.d{\times}2^L$, 0.5 < 0.d < 1.0', approximate value of ' $\frac{1}{D}$', '$1.g{\times}2^{-L}$', which satisfies ' $0.d{\times}1.g=1+e$, $e<2^{-w}$', is defined as over reciprocal number and then an algorithm for over reciprocal number is suggested. This algorithm multiplies over reciprocal number '$01.g{\times}2^{-L}$' by dividend N to process $\frac{N}{D}$ integer division. The algorithm suggested in this paper doesn't require additional revision, because it can calculate correct reciprocal number. In addition, this algorithm uses only multiplier, so additional hardware for division is not required to implement microprocessor. Also, it shows faster speed than the conventional SRT algorithm and performs operation by word unit, accordingly it is more suitable to make compiler than the existing division algorithm. In conclusion, results from this study could be used widely for implementation SOC(System on Chip) and etc. which has been restricted to microprocessor and size of the hardware.

• Cross-Cultural Studies
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• v.50
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• pp.31-51
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• 2018

The concept of 'monsters' have become popular, again, in recent times. A number of 'monster narratives' that discuss monsters such as zombies, humanoids, viruses, extraterrestrials, and serial killers have been made and re-made in popular media. Noting such an interesting cultural context, this article attempts, first, to find out some essential prototypical elements of a monster narrative and, second, to relate it with a catastrophic narrative. Correspondingly, the word 'monster' has been used as a conceptual prototype category that denies universal and clear definition, which makes it as one of the most widely used and familiar subjects of the use of metaphor. The prototypical meanings of various monster figures can be converged on a certain creature of being in this way held out as bizarre, curious, and abnormal. The monster figure that surpasses existing normality is also connected to 'abjection,' such as something that is cast aside from the body such as the bodily functions seen in its associated blood, tears, vomit, excrement, or semen, and so on. Nevertheless, both the monster figure and abjection produce disgust and horror in the minds of ordinary spectators or readers of media using this metaphor to heighten excitement for the viewers. The abject characteristic of the monster figure also has something in common with the posthuman figure, meaning to apply to a category of inhuman others who are held outside of the normal category of human beings. In the similar vein, it is natural that the most typical monster figures in our times are posthuman creatures embodied in such forms as seen with zombies, humanoids, cyborgs, robots, and so on. In short, the monster figure includes all of the creatures and beings that disarray normalized humanist categories and values. The monster narrative, in the same sense, is a type of story that tells about others outside modern, anthropocentric, male-centered, and Westernized categories of thought. It can be argued that a catastrophic narrative, a literary genre which depicts the world where a series of catastrophic events demolish the existing human civilization, ought to be seen as a typical modern-day monster narrative, because it also discounts and criticizes normalized humanist categories and values as is the result of the monster narrative. Going beyond the prevailing humanist realist narrative that are so familiar with existing values, the catastrophic narrative is not only a monster narrative per se, but also a monstrous narrative which disrupts and reinvents currently mainstream narratives and ways of thinking.

• Journal of Ginseng Culture
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• v.1
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• pp.43-56
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• 2019

Korean ginseng (Panax ginseng) has been known as one of the representative special and healthful products originating from Korea for 4500 to 5000 years. The word of ginseng was first mentioned in JiJuZhang(急就章), written by ShiYou during the reign of King Yuah Di of the Chien Han Dynasty, China (33-48 BC). It has been known that wild Korean ginseng grows in Korean peninsula including Manchuria and the ginseng is found only between the $33^{rd}$ and $48^{th}$ parellels of north latitude. Since the times of three kingdom in Korea at 4-7 century, which is Kokuryo, Baekje and Shila, Korea has been the chief ginseng producing country. A large quantity of ginseng was exported from Korea to China for medicinal use at that times. That was written in SamGukSaGi(三國史記) by BuSik Kim of Koryeo Dynasty in Korea in 1145. The cultivation of Korean ginseng was also recorded in Bencaogangmu(本草綱目) written by LiShi Zen during the regin of the Ming Dynasty in 1596, China. The ginseng seedling, which was known as an original method invented by imitating the method of rice transplantation, appeared in the SeungJeongWon Ilgi(the diaries of the royal secretariat, 承政院日記), 1687 in the regin of King SukJong in Korea. It was suggesting that ginseng cultivation was firstly established in the early 1600s in Korea. On the other hand, red ginseng(written as 熟參) was reported firstly in GoRyeoDoGyeong(高麗圖經)(a record of personal experience in Korea, written in 1123) by SeoGung in Song Dynasty, China. The names of Pansam(written as 板蔘) and Pasam(written as 把蔘), which were the another types of red ginseng products, were came on in the JoSeon Dynasty Annals in 1552 and 1602, respectively. Although the term of red ginseng(Hongsam in Korean) was firstly appeared in the JoSeon Dynasty Annals in 1797, it is believed to have been developed a little earlier periods from the King Jungjong(1506~1545) to the King SeonJo(1567~1608) in Korea. Then, the Korean red ginseng has begun production on a large scale in SamJeong Department of NaeJangWon(內藏院 蔘政課) in the Korean Empire(大韓帝國) in 1899. More detailed records about red ginseng production method were written in the SohoDanag Miscellany(韶濩堂集) by Taekyoung Kim at 1916 year in Korea. On the while, the efficacy of ginseng was first recorded in Shennongbencaojing(神農本草經) written in China(BC 83-96) and the efficacy has been continuously inherited.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.55-68
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• 2020

The inscription found on buncheong ware (粉靑沙器, grayish-blue-powdered celadon) provides information on the bowl today, but in the past served as a device for controlling tributary payments (貢納) and the movement of government property (官物). The inscription had to be written or engraved clearly so that it could be recognizable to officials in charge of managing bowls. Such inscriptions offer important clues for contemporary research on buncheong ware. Buncheong Bowl with Stamped Design and Inscription of "Naeja" (內子) (bon 13808) in the collection of the National Museum of Korea bears a distinct inscription compared to other buncheong ware. Commonly, the inscription on buncheong indicated the name of the government office (官司名) to which the vessel belonged or the name of the place (地名) where the vessel was produced. However, the inscription "Naeja" on the buncheong bowl at the National Museum of Korea has no corresponding government office. "Naeja" is in fact a misspelling of Naeja (內資), meaning this bowl belonged to the Naejasi (內資寺, Royal Bureau of Procurement). Although "Naeja" (內子) was a misspelling of the intended Naeja (內資), it was still understood as a reference to the Naejasi since they were homophonic. Recently, buncheong ware with misspelled yet homophonous inscriptions have begun to be excavated in downtown Seoul. Examples including "Naeja" (內子) instead of Naeja (內資) and "Insu" (仁守) instead of Insu (仁壽) have been unearthed from historical sites in Seoul that functioned as consumption sites, meaning they were in fact circulated as government property despite the misspellings (whether accidental or the outcome of ignorance). Such misspelled yet homophonous inscriptions are characterized by the use of simple characters and a few sloppy strokes. Like other buncheong ware bearing the inscriptions of government office names, the bowls with the inscriptions of "Naeja" (內子) and "Insu" (仁守) were discovered at historical sites in Seoul. These misspelled homophonous inscriptions reveal that errors occurred during the process of engraving inscriptions on buncheong ware produced as a tributary payment during the early Joseon Dynasty and that buncheong ware with such errors were still distributed.

• (The)Study of the Eastern Classic
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• no.69
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• pp.115-146
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• 2017

This paper is about the research on ontology design for a digital archive of seonsaengan(先生案) of the Joseon Period. Seonsaengan is the register of staff officials at each government office, along with their personal information and records of their transfer from one office to another, in addition to their DOBs, family clan, etc. A total of 176 types of registers are known to be kept at libraries and museums in the country. This paper intends to engage in the ontology design of 47 cases of such registers preserved at the Jangseogak Archives of the Academy of Korean Studies (AKS) with a focus on their content and structure including the names of the relevant government offices and posts assumed by the officials, etc. The work for the ontology design was done with a focus on the officials, the offices they belong to, and records about their transfers kept in the registers. The ontology design categorized relevant resources into classes according to the attributes common to the individuals. Each individual has defined a semantic postposition word that can explicitly express the relationship with other individuals. As for the classes, they were divided into eight categories, i.e. registers, figures, offices, official posts, state examination, records, and concepts. For design of relationships and attributes, terms and phrases such as Dublin Core, Europeana Data Mode, CIDOC-CRM, data model for database of those who passed the exam in the past, which are already designed and used, were referred to. Where terms and phrases designed in existing data models are used, the work used Namespace of the relevant data model. The writer defined the relationships where necessary. The designed ontology shows an exemplary implementation of the Myeongneung seonsaengan(明陵先生案). The work gave consideration to expected effects of information entered when a single registered is expanded to plural registers, along with ways to use it. The ontology design is not one made based on the review of all of the 176 registers. The model needs to be improved each time relevant information is obtained. The aim of such efforts is the systematic arrangement of information contained in the registers. It should be remembered that information arranged in this manner may be rearranged with the aid of databases or archives existing currently or to be built in the future. It is expected that the pieces of information entered through the ontology design will be used as data showing how government offices were operated and what their personnel system was like, along with politics, economy, society, and culture of the Joseon Period, in linkage with databases already established.

• (The)Study of the Eastern Classic
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• no.49
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• pp.431-459
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• 2012

The purpose of this article is to compare and analyze the conventional expression of Hangul Ganchal in Cheosun Dynasty and Email. Conventional expression is used remarkably in introductions and conclusions. In introduction, it is used for addressing and safety greetings while in conclusion, it is used for closing address and closing words. In Cheosun Dynasty, an envelope of Ganchal only included the details of the receiver because the letter was genuinely delivered by someone who knew the receiver and the sender very well. An envelope of Ganchal is applicable to the screen of the internet which is used for emailing. In an email, we see the name of the sender and the title of the text and once we click the title, we are able to view the text. The difference between the Ganchal and the email was reflected on how the receiver's detail showed on Ganchal and the email show the sender's details. In a case of addressing in a letter while using the conventional expression, we can see how we use "To~" in humble term and " ~께" in a honorific term. We confirmed that the conventional expression has not yet settled in both of the Gnachal and email for the seasonal greetings. The safety greetings comprised with both of the senders' and receivers' latest updates. In Ganchal, this composition is well described conventionally, whereas in emails, only the receivers' latest news are written but the senders' latest updates are hard to be seen throughout the text. In Ganchal's closing section, the closing address and closing words were expressed conventionally. However, in the case of email; those were again hard to be found throughout. To conclude, in Ganchal the conventional expression was developed and placed in 16thcentury(Sun-eon) when there was a focus in our native language. In 17thcentury(Hyeon-eon), it stood still for a sometime and moved on to 19thcentury(Jing-eon) when there was a strong in fluence of Hangul Ganchal, which resulted in regression to the conservative expression. In general, we are able to confirm that the conventional expression is slowly disappearing.

• Journal of The Korean Association For Science Education
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• v.42 no.3
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• pp.311-324
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• 2022

This study analyzed the types of scientific emoticons made by science-gifted elementary school students and their perceptions on making scientific emoticons. To do this, 71 students from 4th to 6th graders of two gifted science education center in Seoul were selected. Scientific emoticons made by the students were analyzed according to the number and types. Their perceptions on making scientific emoticons were also analyzed through a questionnaire and group interviews. In the analyses for types of text in the scientific emoticons, 'word type' and 'sentence type' were made more than 'question and answer type'. And the majority of students made more 'pun using pronunciation type' and 'mixed type' than other types. They also made more 'graphic type' and 'animation type' than 'text type' in the images of the scientific emoticons. In the analyses for the information of the scientific emoticons, 'positive emotion type' and 'negative emotion type' of scientific emoticons were made evenly. The students made more 'new creation type' than 'partial correction type' and 'entire reconstruction type'. They also used scientific knowledge that preceded the knowledge of science curriculum in their grade level. The scientific knowledge of chemistry was used more than physics, biology, earth science, and combination field. 'Name utilization type' was more than 'characteristic utilization type' and 'principle utilization type'. Students had various positive perceptions in making scientific emoticons such as 'increase of scientific knowledge', 'increase of various higher-order thinking abilities', 'ease of explanation, use, memory, and understanding of scientific knowledge', 'increase of fun, enjoyment, and interest about science and science learning', and 'increase of opportunity to express emotions'. They were also aware of some limitations related to 'difficulties in the process of making scientific emoticons', 'lack of time', and 'limit that it may end just for fun'. Educational implications of these findings are discussed.