• Journal for History of Mathematics
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• v.22 no.4
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• pp.145-160
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• 2009

In the end of 20th century, the concept of p-adic invariant q-integral was introduced by Taekyun Kim. The p-adic invariant q-integral is the extension of Jackson's q-integral on complex space. It is also considered as the answer of the question whether the ultra non-archimedian integral exists or not. In this paper, we investigate the background of historical mathematics for the p-adic invariant q-integral on $Z_p$ and the trend of the research in this field at present.

• Journal of the Korean Geographical Society
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• v.35 no.2
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• pp.307-319
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• 2000

본 연구는 도시 및 지역의 지속가능성을 측정하고 평가하기 위한 수단으로 요구되는 ‘지표’의 개발방법과 절차를 설정하는데 목적이 있다. 사례지역으로 미국의 잭슨빌, 시애틀, 오레건 지역을, 지표개발을 위한 방법론으로서는 Maclaren의 이론을 분석하였다. 분석을 통하여 지속가능성 지표는 단순한 평가수단이 아니라 그 개발과정을 통해 시민그룹의 지속가능한 발전에 대한 인식을 제고함과 동시에 구성원의 협력과 노력에 입각하여 미래지향적인 새로운 공동체를 만들어 나가는 강력한 매개체가 될 수 있다는 시사점을 추출하였다. 이를 토대로 지속가능성 도시지표 개발절차를, \circled1 지표개발 주체 형성 \circled2 목표 및 비전의 정립 \circled3지표개발에 따른 기본방침의 설정 \circled4 지표개발을 위한 측정 및 분석 \circled5 예비지표의 발굴과 지표선택기준 마련 \circled6 예비지표 평가를 통한 최종지표의 선택 \circled7 지표에 대한 측정 및 분석 \circled8 지표분석 결과 보고 및 발표 \circled9 지표작업평가 및 새로운 목표 수립 등 9단계로 설정하였다. 본 연구가 제시한 지속가능성 도시지표 개발절차는 우리 나라의 지역 및 도시단위에서 지속가능성 도시지표를 설정하는데 준거로 활용될수 있을 것이다.

• Journal of the Korean Geographical Society
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• v.39 no.6 s.105
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• pp.888-906
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• 2004

With industrial restructuring and growing competition among places throughout the world, many countries including Korea are getting highly dependent on place marketing as their development strategy. Previous discussions on place marketing strategy maintain that the strategy should be performed on the basis of the unique placeness of each place. Not all places, however, have placeness that can be used for the place marketing strategy. Also, there are some cases of success in place marketing by introducing elements irrelevant to the places. In this context, this study aims to analyze previous debates on place and place marketing, and to investigate the possibility of creating placeness. In addition, it selected as case places the city of Ashland and the city of Jacksonville in the state of Oregon, USA and Tongyeong-si in Korea and examined how the art festivals, one of major means of place marketing, can be used in creating placeness.

• Journal of KIISE:Information Networking
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• v.29 no.2
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• pp.147-155
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• 2002

Seamless connection can be a good solution to reduce processing delays in interworking points, a possible big burden to the data transmission in Internet. This paper, therefore, will present several interworking methods which can minimize the delays through seamless connections in interworking between MPOA networks, usually ATM-LANs, and MPLS networks, mainly Internet backbones. We compare characteristics of those networks, propose requirements for interworking, and describe three Interworking methods. Proposed Interworking methods reduce end-to-end transmission delay for seamless connection between ATM VC and LSP, as decreases the number of IP lookup processing in LER. We describe detailed process and characteristic of each interworking method, And we analyze and compare end-to-end delay, using Jackson's network theorem, of proposed interworking methods.

• Cartoon and Animation Studies
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• s.35
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• pp.107-128
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• 2014

Cultural Content industries based on imagination and creativity are attracting attention and the animation high value-added industry is still spotlighted. Among them, Disney Studios make money through using their professional skills. There are the know-how has developed for a long time, and there are timeless strategy. This study is analyzing by fantasy elements for knowing the messages of Disney animation. Fantasy defined as genre of literature by Todorov and Jackson emphasized its social role and significance. Hume expanded the area of fantasy and Tolkein Jahoriski and Boyer classified the fantasy according to the purpose. Through the analyzing Disney animation , Disney's fantasy show the specific expression depending on the target. Disney is based on the three types of fantasy depending on the growth of the journey. The first area is composed of the main character's growth and satisfy the desire and escapism, The second is the word of antagonist who opposed to reality and break the rules of the dominant ideology. The last area is the utopia provided after hero beat the antagonist. Disney characters give the messages by using the fantasy like the transformation or alter ego. That show the subject of the main character's growth and the supporting characters as the expression of the multiple personality of main. These emphasize the hero's growth and give the fun. Also, in the subject of the otherness, the hero always destroy the evil who broke the rules of reality. In this way, the fantasy offered by Disney give the messages of sacrifice and family from true love. Disney has the support of their target audiences continue to be able to convey ideology.

• Cartoon and Animation Studies
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• s.32
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• pp.43-61
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• 2013

The aberrant movement that Gilles Deleuze wanted to describe represents 'unclosed' or 'unlimited' possibility; it also means that a being has unlimited virtual power until it turns into a thing. In this paper, I analyzed and classified "Dialogue Factual,"one of the animation films by Jan Svankmajer, based on the logical grounds by Gilles Deleuze. First, as a result of analysis according to the seven characteristics in the experimental animation by Paul Wells, 'Dialogue Factual' has all of the features in the experimental animation, and, as I have found, the analysis through a comparison with Carl Dreyer's "The Passion of Joan Of Arc" indicates the works by Jan Svankmajer do not conform to Sensory-motor schemata. Such aberrant properties are involved with the time-image by Gilles Deleuze; by comparison with "Lavender Mist No. 1", one of the artworks by Jackson Pollock, it has been confirmed that "crystal image," the important concept of the time-image, is inherent in "Dialogue Factual". Lastly, the analysis of shots suggests that the movement-image and the time-image coexist in "Dialogue Factual". However, they are not to be classified by a clear-cut dichotomy.

• Journal of Korean Ophthalmic Optics Society
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• v.14 no.1
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• pp.115-119
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• 2009

Purpose: This study has been conducted to know the relation among accommodative amplitude, response, and facility. Methods: 61 subjects were students without any ocular diseases and presbyopia in a university, Korea. After far distance visual acuity was fully corrected, the amplitude was measured through Push-Up test, the response was measured through Jackson crossed cylinder ${\pm}$0.25D and the facility was measured through +2.00/ -2.00D flipper. Results: The relation among accommodative facility, response and amplitude had not indicate significant level in monocular and binocular. In binocular, 12 eyes (19.6%) had a difference in amplitude, 9 eyes (14.7%) had a difference in response, 2 eyes (3.2%) had a difference in facility from norm which would be expected from their age. 4 eyes (6.5%) had difference in both amplitude and response. 2 eye (3.2%) had difference in both amplitude and facility. In all three of the amplitude, response, facility had not difference. Conclusions: The evaluation of accommodative functions and a patients accommodative dysfunction is examined all facets of amplitude, response, and facility.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.135-158
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• 2019

The purpose of this paper is to elucidate the characteristics that make Guillermo del Toro's film Pan's Labyrinth (2006) a fantasy film, and the meaning and function of the labyrinth motifs closely related to it. Tzvetan Todorov defined the 'fantastic' as the hesitation between natural and supernatural interpretations in the face of supernatural events that invade reality. In Pan's Labyrinth, the fantastic continues to be seen, because the film does not allow the hesitation to disappear; thus, the fantastic does not enter the 'uncanny' genre or 'marvelous' genre, and because it keeps its fantastic state. In this case, the labyrinth symbolizes art as a passage into the fantastic world and a space that represents it. Rosemary Jackson saw the fantasy as a "literature of desire to compensate for a lack resulting from cultural constraints" and thus repeatedly dealing with unconscious materials. Del Toro's film shows the character of the fantastic as an expression of desire by allowing 'family romance' to take place in the fantastic world. In this case, the labyrinth symbolizes the mind as a place of desire. Kathryn Hume defined fantasy as a reaction to reality, like mimesis, and 'departure from consensus reality.' The film, operating in a 'vision' genre, satisfies its definition by allowing the fantastic world to illuminate the reality world through 'contrastive' technique, and brings out the fantastic it has. In this case, the labyrinth symbolizes the world as a mirror of the world of reality. Thus, Pan's Labyrinth is representative of fantastic film in that the fantastic functions very effectively, and the labyrinth appearing in this film can be evaluated as a motif that is full of meaning by symbolizing all three elements of art, world and mind. The significance of this paper is to shed light on how a motif works in a particular genre through the above considerations.