• The Journal of the Korea Contents Association
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• v.16 no.3
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• pp.198-209
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• 2016

The Movie, A Werewolf Boy, describes metaphorically the hidden desire of female audience. The majority of stories about wolves contains fear of wolves inherited by and learned through human history struggling with the nature. They also shows punishment and reward toward wolves as a cultural symbol of evil. This study focuses on analyzing wolves as a metaphor of hidden original desire rather than as a subject of fear and punishment. Soon-Hee's experience with a wolf-boy in her period of puberty and her remembering the experience in her old age expresses her original sexual desire. The movie, A Werewolf boy does not directly deal with sexual content. However, SU-NI's growth through the interaction with the wolf-boy informs us Freudian theory of sex and the mechanism of sexual desire and its repression or realization. Brun Bettelheim's "Little Red Riding Hood" was used to analyze Soon-hee's desire during her puberty and Clarissa Estes's "Women Who Run with the Wolves" were used to explore SU-NI's wildness forgotten in her elderlyhood. This study shows in the process of wolf boy's transformation from biological being into social being awakened the hidden and original desire of woman.

• Journal of Digital Convergence
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• v.16 no.4
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• pp.157-166
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• 2018

This study was conducted to identify the social perception of schizophrenic patients through films expressed in schizophrenic patients. We analyzed 48 films and scenarios that have been screened for the last 40 years by content analysis method to perceive interpersonal and emotional perception, perception of families and treatment measures. Patients were violent, dangerous, and burdensome to the family. However, specific experience or internal description has increased, and attitude of family or patients related to treatment has been more actively described since 1996. In conclusion, the perception of patients seen negative, want to avoid, giving burdens and pain to others. Therefore, to improve the social perception of mental disorders, it is necessary to make active use of films that have a high impact on public perception, and try to study the influence of visual media on perception change.

• Journal of Korean Philosophical Society
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• v.116
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• pp.437-464
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• 2010

The article, focusing on the theory of Zhong-He, sheds a new light on the philosophy of Daizhen. The theory of Zhong-He, according to the philosophical system of Zhuxi, serves as the theoretical foundation in erecting the apriori moral nature and guiding mental cultivation of subjects. Daizhen, on the contrary, criticizes the doctrine of Zhonghe in Zhuxi's philosophy as it produces negative side-effects of moral dogmatism. Zhuxi's doctrine, according to Daizhen, as it reduce the origin of morality to apriori condition of consciousness and delimit the range of cultivation to psychological realm of subjects, restricts moral subjects in the fortress of their own subjectivity. In this vein of his criticism, Daizhen attempts new interpretation on Zhonghe. The character Zhong (中), according to him, does not refer to apriori moral state or metaphysical moral substance as it does in the doctrine of Zhuxi. On the contrary, it denotes the state in which diverse existent beings are placed in their own position by their own dispositions. Similarly, the other character He (和) does not refer to the condition where an individual's consciousness is in equilibrium, but to the process of achieving the harmony of entire society in which diverse existent beings are communicating to each other. With his novel interpretation of the theory of Zhong-He, Daizhen could dissolve the tradition of Weifa (未發) and moral subjectivism in Zhuxi's philosophy and provide a way of establishing reciprocal communication and harmony between various individuals. It is in his ethics of rational mutual understanding where the significance of Daizhen's philosophy should be found.

• Proceedings of the Korea Society for Industrial Systems Conference
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• 2003.11a
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• pp.505-515
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• 2003

인터넷은 시간이 흐름에 따라 그 규모가 매우 큰 형태로 확대되어 가고 있는데, 이러한 특성의 내면에는 인터넷 위상을 구성하고 있는 노드들의 증가와 때에 따라서는 지역적 특성이나 사정에 따라서 삭제되는 노드들이 존재하게 된다. 인터넷은 이렇게 삭제되는 노드와 추가되는 노드들로 구성되며, 시간이 지남에 따라 변화를 하면서 확대되어 가고 있다. 그러나 대부분의 기존 연구들은 인터넷이 시간에 따라 변화하는 특성에 대해서는 충분히 연구가 이루어지지 않고 있다. 따라서 본 논문에서는 시간이 경과함에 따라 노드가 생성되고 소멸되며 이에 따라 위상이 변화하는 현상을 모델링하고, 미래의 위상을 예측할 수 있는 모델들을 제안한다.

• Journal of the Daesoon Academy of Sciences
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• v.28
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• pp.133-163
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• 2017

It is the aim of this paper to elucidate the meaning of 'Sangsaeng' in Daesoon Thought on the basis of its relation to Life and Spirit in the philosophy of Hegel. To achieve this aim, this article compares three important concepts from Daesoon Thought, namely the 'gods of heaven and earth,' 'Haewon', and 'Sangsaeng' with Hegel's 'Life,' 'Spirit,' and the 'struggle for recognition.' This paper will clarify the commonalities as well as the differences between Daesoon Thought and Hegelian philosophy. The comparison between Hegel's concept of 'life' and the 'gods of heaven and earth' shows a specific relationship between a life and a soul which is characterized by duality. The point of similarity is that the two thoughts regards the soul as the basis of all things in nature including the life itself and spirit. This is the duality of the soul in nature and spirit as the truth of nature. But the difference is that Hegel does not reduce all things in nature including life itself to the soul as the truth of nature. This paper will argue that Hegel's idea of spirit returning from nature to itself has a similarity with the essence of Haewon in Haewon-sangsaeng. Hegel insists that spirit submerges initially in nature just as human beings in Daesoon Thought have inherent Won. The realization of the spirit in the Subjective Spirit shows that the spirit sublimates this initial submergence in nature und reveals itself in corporeality. This study will suggest that this realization of spirit including the struggle for recognition may be interpreted as the meaning of Sangsaeng.

• Journal of dental hygiene science
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• v.15 no.1
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• pp.12-17
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• 2015

The purpose of this study was to evaluate the marginal and internal gap of metal coping fabricated using additive manufacturing (AM) group and subtractive manufacturing (SM) group by dental computer-aided design (CAD)/computer-aided manufacturing (CAM) systems. Twenty same cases of stone models of abutment teeth 16 by the universal numbering system were manufactured and scanned. Ten metal copings of control group were fabricated using SM and ten metal coping of experimental group were fabricated using AM. Marginal and internal gap of copings were measured using the silicone replica technique and digital microscope (${\times}140$). The data were analyzed using IBM SPSS 21.0 Statistical Software for independent samples t-test (${\alpha}=0.05$). Mean${\pm}$ standard deviation (SD) of marginal and internal gap total size of SM group was $101.00{\pm}40.33{\mu}m$ of AM group was $83.61{\pm}40.37{\mu}m$. Mean${\pm}$SD of marginal and internal gap total size of SM group was significantly greater than that of AM group (p<0.05). This study showed that AM metal copings had a better marginal and internal gap than SM metal copings.

• Journal of the Korean Geographical Society
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• v.40 no.2 s.107
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• pp.172-186
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• 2005

I examine in this paper how the contemporary sacredness of Mt. Chirisan has been modified through the reworking of the embodied experiences of the mountain. 1 examine the theme of escapism through the cases of mountain men and Chonghakdong. The two mountain men, Huh Man-Soo and Ham Tae-Sik, tacitly suggested a modem aesthetic and environmentalist view of nature by articulating a typical form of appreciating nature in a transition period from pre-modern to modern society. Mountain men mediated their own personal dreams of revitalizing the Taoist utopian place with their social practices of modernizing and democratizing the appreciation of nature. Ultimately, the appearances and practices of mountain men symbolize the end of the pre-modern geographical imagination of the mountain as distinctive plate outside society (real world). Therefore, the vision of modem civic-national landscape, national park, was made concrete at the very site where the people's dreams of utopia, the inherited sacredness of the mountain and people's religious beliefs in its protective power were terminated.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.527-533
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• 2008

본 연구는 기존 RPG에서 주요한 재미 요소로 기능하던 성장 모티프가 MMORPG(Massive Multi-user Online Role Palying Game)에서 어떤 식으로 변형되어 나타나는 지 살펴본다. 성장과 역할 수행을 통해 재미를 얻는 게임인 MMORPG는 성장 서사에서 많이 나타나는 구조인 여정형 혹은 탐색형의 구조를 보편적으로 차용하고 있다. 그러나 기존 서사물에서 성장 모티프가 정체성 찾기와 같은 내면적인 변화를 나타내기 위해 구조를 차용하는 반면, 게임에서는 위의 구조를 통해 얻은 성장의 결과물을 수치의 증가나 외적 형태의 변화를 통해 나타낸다. 즉, 경험치나 아이템을 통해 성장이 수치화되어 나타나는 것이다. 이는 여정형 탐색담이라는 성장 서사의 보편적 구조에서 게임적인 특수성이 더해진 것이라 할 수 있다. 성장 소설만의 서사적 유형이란 바로 주인공의 변화 양상이 미숙에서 성숙으로, 불완전에서 완전으로, 결핍에서 충족으로 변화하는 과정을 담고 있는 이야기적 특질을 의미한다. 그러한 미숙하고 불완전한 존재가 변화하게 되는 계기와 과정, 그리고 그 결과로 구조화된 유형적 특질을 갖고 있는 소설 양식이 성장소설이라 할 수 있는 것이다. 이러한 구조화된 유형적 특질은 신화나 민담에서는 탐색담이나 여행담으로 나타난다. 게임에서의 성장은 캐릭터의 성장과 직결된다. 본격적으로 플레이어와 동일시되어 성장을 대리 경험적으로 체험하는 것은 D&D 온라인을 거쳐, 현재 MMORPG의 형태를 구현해낸 울티마 온라인이 이후부터이다. 세부적으로 구현된 세계와 온라인을 통해 생성된 방대한 네트워크 안에서 플레이어는 자신과 동일화된 캐릭터를 플레이하면서 대리경험을 하게 된다. 즉, 플레이어가 캐릭터의 성장에 작용하는 여러 가지 변수를 선택하고, 조작해가면서 자신만의 캐릭터를 생성해 나가면서, MMORPG가 구현하는 게임 세계에 구성원이자 일원이 되는 것이다. MORPG는 기존의 RPG의 선형적인 성장에 비해 복합적인 양상을 보여준다. 문화에서의 성장 서사에서 일반적으로 발견되는 여정형의 탐색담은 개발자 서사인 배경 스토리에서 나타나며, 레벨시스템과 이에 따른 공간의 배치에 따라 플레이어에게 직접적인 영향'을 끼친다. 영속적인 세계와 플레이어 간의 상호작용을 통해 일어나는 사용자 서사는 완결된 형태의 캐릭터를 무의미하게 만든다. 플레이어는 비선형적인 성장을 끊임없이 계속하게 되는 것이다.

• The Journal of the Korea Contents Association
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• v.6 no.8
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• pp.165-174
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• 2006

Birdwhistell explains in the whole communication, language conveys only 35% of the meaning and the rest 65% is conveyed by non-linguistic media. Humans do not entirely depend on linguistic communication, but are sensitive being, using every sense of theirs. Human communication, by using facial expression, gesture as well as language, is able to convey more concrete meaning. Especially, facial expression is a many-sided message system, which delivers Individual Personality, interest, information about response and emotional status, and can be said as powerful communication tool. Though being able to be changed according to various expressive techniques and degree and quality of expression, the symbolic sign of facial expression is characterized by generalized qualify. Animation characters, as roles in story, have vitality by emotional expression of which mental world and psychological status can reveal and read naturally on their actions or facial expressions.

• Journal of Advanced Marine Engineering and Technology
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• v.21 no.5
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• pp.522-526
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• 1997

잔류 응력이 존재하는 부품의 가공 시에는 잔류 응력 상태가 새로운 평형 상태를 이루기 위해 재 분포되며 이는 가공 자체에 따른 변형 이와의 부가적 변형을 초래한다. 고도의 정밀도를 요하는 가공에는 이러한 잔류 응력에 의한 부가적 변형을 고려하여야 하며, 가공 후의 잔류 응력의 재 분포 상태는 가공 후 부품의 물질적 성능을 결정하는데 중요한 요소이므로 이를 예측할 수 있어야 한다. 본 연구에서는 잔류 응력에 의한 부가적 치수 변화를 고려한 가공 후의 부품의 내경 및 두께와 잔류 응력의 재 분포를 예측할 수 있는 이론적 수식을 제시하고 유한요소법에 의한 시뮬레이션의 결과와 비교하였다. 초기 잔류 응력의 분포는 autofrettage process에 의해 유도되었다.