• 통상정보연구
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• 제8권4호
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• pp.159-175
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• 2006

This paper that explain exchange rate determination using Korea's economy data moment investigate whether each theory cause effect that is some on exchange rate showdown analyzing actual proof relation between foreign exchange fluctuation and financing part variance examine wish to. Because korea economic enters in the 1990s and the 2000s and the change is notable, foreign exchange fluctuation by such change is real condition that is changing. In this paper, I wish to enforce actual proof analysis if change such as him is grasped by form that is some about foreign exchange fluctuation. First, the second chapter investigates exchange rate decision theory that is used on actual proof interpretation, and executes actual proof Test in reply in subsequent the third chapter. And finally, the fourth chapter wishes to drive conclusion of this paper.

• 한국컴퓨터정보학회:학술대회논문집
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• 한국컴퓨터정보학회 2017년도 제56차 하계학술대회논문집 25권2호
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• pp.180-183
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• 2017

우리나라 민법 제3조는 "사람은 생존하는 동안 권리와 의무의 주체가 된다"고 규정하고 있다. 이것은 출생이라는 근거에 의하여 자연인이 됨과 동시에 출생자에게 권리능력이 발생한다는 것을 의미하며, 또한 출생 전에는 태아는 권리능력이 없다는 의미로도 볼 수 있다. 그러나 이 원칙을 그대로 적용하면 태아 대한 불이익과 불평등은 필연적으로 우리사회의 법감정에도 반하는 것이 되기 때문에 여러 나라에서는 태아에게 미치게 되는 부분을 제대로 바로잡기 위하여 특별한 규정을 두고 있다. 이에 대해 우리나라도 태아에게 이롭지 못한 일이 일어나는 경우가 발생을 할 수 있게 때문에 민법에서 예외적인 사항을 두어 태아를 보호하기 위한 권리능력을 인정하는 규정을 두고 있다. 하지만 1958년 민법이 제정된 이후 태아의 권리능력에 관한 법률규정이나 해석이 크게 변화하지 못하여 태아를 보호함에 있어서 소홀할 수 있다는 문제점이 대두 되고 있는 것이 현실이다. 따라서 본 논문에서는 보다 태아를 적극적으로 보호할 수 있는 대책을 살펴보기 위하여 현재 우리나라제도에 대한 문제점은 검토하고, 국민의 법 감정과 정서에 맞는 가장 바람직한 태아의 권리보호방안을 제시하고자 한다.

• 한국분말재료학회지
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• 제5권2호
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• pp.122-128
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• 1998

NiAl based ODS (Oxide Dispersion Strengthened) intermetallic alloys have been produced by mechanical alloying (MA) process and consolidated by hot extrusion. Subsequent thermomechanical treatments have been applied to induce secondary recrystallization in an attempt to improve creep resistance in this material. The creep behavior of secondary recrystallized MA NiAl has been investigated and compared with those of as-extruded condition. Minimum creep rate were shown to be approximately two orders of magnitude lower than that in as-extruded condition. The improvement in creep resistance is believed due to the grain coarsening, restricting of dispersoid coarsening as well as increase in grain aspect ratio. Creep threshold stress behavior, below which no measurable creep rate can be detected, has been discussed on the basis of particle-dislocation interaction theory. The threshold stress becomes negligible after secondary recrystallization in MA NiAl, presumably due to dispersoid coarsening and a decrease in grain boundary area during secondary recrystallization.

• 대한수학회지
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• 제35권4호
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• pp.1045-1060
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• 1998

Recently, Chung and et al. ([11], 1991c) introduced a new concept of a manifold, denoted by ＊g-SE $X_{n}$ , in Einstein's n-dimensional ＊g-unified field theory. The manifold ＊g-SE $X_{n}$ is a generalized n-dimensional Riemannian manifold on which the differential geometric structure is imposed by the unified field tensor ＊ $g^{λν}$ through the SE-connection which is both Einstein and semi-symmetric. In this paper, they proved a necessary and sufficient condition for the unique existence of SE-connection and presented a beautiful and surveyable tensorial representation of the SE-connection in terms of the tensor ＊ $g^{λν}$. This paper is the first part of the following series of two papers: I. The SE-curvature tensor of ＊g-SE $X_{n}$ II. The contracted SE-curvature tensors of ＊g-SE $X_{n}$ In the present paper we investigate the properties of SE-curvature tensor of ＊g-SE $X_{n}$ , with main emphasis on the derivation of several useful generalized identities involving it. In our subsequent paper, we are concerned with contracted curvature tensors of ＊g-SE $X_{n}$ and several generalized identities involving them. In particular, we prove the first variation of the generalized Bianchi's identity in ＊g-SE $X_{n}$ , which has a great deal of useful physical applications.tions.

• 대한한의학원전학회지
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• 제11권1호
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• pp.224-307
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• 1998

The above study is based upon the Theory of Five Woon(Reasons) and Six Qi(Climates), namely Five dynamic Yin and Yang, the principle of five-six combination, the rules of ten periodically changing Woon and twelve periodically changing Qi, and its reference to the main chapters of the theory by several experts. After careful, comprehensive research and study, the followings are concluded. 1. The Theory of Five Woon and Six Qi controls all of the physical phenomena of the universe, yet it originates from Essence of the Sky that is replete and in constant motion within the abysmal expanse of the universe. So it is natural to claim that it is the Essence of the universe that is the source of the variety of phenomena in nature. 2. There is order of dynamics in the Essence and it is Yin Yang Five Movement and expressed by Five Woon and Six Qi. Therefore the Five Woon and Six Qi, which is the climatic changes of nature, is the basis and condition for all of the natural, physical occurrences including the organic phenomena of human beings. 3. Since the Sky embodied the number Five, and the Earth the number Six, Qi of the Sky itself is consequently Five Woon and Qi of the Earth itself is Six Qi. 4. In Sixty Repetition Intervals (Yuk Sip Kap Ja), the Sky took the number Six, designating the six times repetition of the ten Intervals of the Sky and the Earth chose the number Five, symbolizing five times recurrence of the twelve Intervals of the Earth. Though the number for the Sky is Five and the number for the Earth is Six, the two combine and interact in order for the Sky to exploit the number Six and for the Earth to use the number Five. This interplay implies the relationship of operation and principle of Yin in Yang and Yang in Yin. 5. There seems to be clear and intimate association between five dynamics, five bearings and five Qi' in nature and five organs, five stamina, and five emotions in physiological activities of human beings. Such an correlation apparently demonstrates the idea of climatic changes of the universe in balance among human beings, the Sky, and the Earth. 6. Because nature is of an endlessly dynamic organism itself, to have changes must mear there being movements. Thus the climatic changes in nature are the subsequent consummation of the interaction in mutual balance and unbalance of the rise and fall of the Five Woon and Six Qi. 7. The interpretation, by Chang Ji Chong of "Yin and Yang of the Sky are for birth and growth and Yin and Yang of the Earth for demise and interment" as an explanation that the first half is mainly for life and the second half for death, appears to be correct by his view that there is balance and harmony between the long and short and the strong and weak. 8. In addition to Three Yang and Three Yin, as attributes of the Intervals of the Sky and the twelve Intervals of the Earth, Five Woon and Six Qi are utilized in the annual observation of the perpetual changes of climates.

• 대한한의학원전학회지
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• 제23권6호
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• pp.51-72
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• 2010

The Jeokseokji-uyeoryang-tang(赤石脂禹餘糧湯) text of "Sang-hanron(傷寒論)" is adopted in the chapter of So-eumin Interior Disease Pattern in "Dong-uisusebowon(東醫壽世保元)". In this study, I have attempted to analyze the Jeokseokji-uyeoryang-tang(赤石脂禹餘糧湯) texts for the purpose of understanding the So-eumin Interior Disease Pattern thoroughly. In specific, Ijema(李濟馬) stated that the Simhabigyeong(心下痞硬) symptom of the Jeokseokji-uyeoryang-tang(赤石脂禹餘糧湯) text is identical to the symptoms of other conditions that apply Sasimtang(瀉心湯). Which means that the disease pattern of Jeokseokji-uyeoryang-tang(赤石脂禹餘糧湯) is a intensified condition of that of Sasimtang(瀉心湯). Next, unlike Jang Jung-gyeong(張仲景) and other annotators of "Sang-hanron(傷寒論)", Ijema(李濟馬) did not perceive Ijungtang(理中湯) to manage the central cho(中焦). Instead, he perceived it appropriate for Tae-eumbyeong(太陰病_disease of Tae-eum), bringing the meaning of Jeokseokji-uyeoryang-tang(赤石脂禹餘糧湯) into the category of Sameumbyeong(三陰病_disease of the three eum). With this, he made it possible to compare and analyze the texts based on the Sameum/Samyang(三陰三陽) theory. Lastly, Ijema(李濟馬) perceived the symptoms of Jeokseokji-uyeoryang-tang(赤石脂禹餘糧湯) as So-eum pattern, and categorized it into Tae-eum pattern. Following this, a comprehensive review of Ijema(李濟馬)'s unique understanding of the Jeokseokji-uyeoryang-tang(赤石脂禹餘糧湯) text and its implications were discussed. This part is not included in this article, however, and will be exclusively dealt with in a subsequent article.

• 미술자료
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• 제100권
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• pp.50-80
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• 2021

본고는 원각사탑에 대한 지난 백 년간의 근대 학설사를 층수에 초점을 맞추어 비판적으로 성찰하였다. 먼저 제II장에서는 근대 개항기에 조선을 여행한 서양인들이 종래 한성의 '비미(非美)'내지는 흉물로 간주되던 원각사탑을 한성의 '기관(奇觀)'내지 '위관(偉觀)'으로 재발견하는 역동적인 과정을 추적하였다. 이들은 불탑에 관한 예비지식이 거의 없는 서양 출신이었기 때문에, 역설적으로 원각사탑에 대하여 객관적인 견문기를 남길 수 있었는바, 그들이 접촉한 조선 지식인들을 통하여 대체로 13층설을 받아들였다. 이어서 제III장에서는 대한제국 선포 이후 일인 관변학자들이 원각사탑을 본격적으로 학술 조사하고, 일제식민기 동안 조선총독부가 원각사탑을 문화재로서 관리하는 과정 및 그 문제점을 언급하였다. 특히 지난 100여 년 동안 원각사탑 층수 문제에 관하여 가장 큰 영향력을 행사한 세키노 타다시(關野 貞)의 학설이 10층설에서 13층설로, 다시 다층설로 변하는 문제를 집중 조명하였다. 마지막으로 제IV장에서는 해방 이후부터 1962년까지 원각사탑에 대한 인식이 다층설에서 10층설로 바뀐 경과를 정리하되, 선행하는 일제식민기 조선 지식인들의 인식이 13층설 일변도였음을 특기해두었다. 다만 1962년 이후 지금까지 원각사탑에 관련하여 중요한 연구성과가 적지않이 발표되었지만, 층수에 관한 한 대부분 1962년에 확정된 10층설을 전제로 하였기 때문에, 본고에서는 따로 정리하지 않았다. 학설사 검토의 결과, 원각사탑이 13층탑으로서 건립되었다는 근거가 명백함에도 불구하고, 일제시기는 물론 해방 이후 지금까지 백 년이 넘도록 13층설은 단 한 번도 공인받지 못하였으며, 학계에서 층수 문제가 본격적으로 다루어지지도 않았음을 확인할 수 있었다. 원각사탑과 경천사탑이 10층탑이라는 현재의 통설은, 백 년 전에 세키노 타다시(關野 貞)가 최초로 주창하였다. 세키노는 원각사에 남아있는 「원각사비」가 글자를 거의 판독할 수 없을 정도로 마멸이 심하였기 때문에 원각사탑의 현상만 건축학의 관점에서 고찰하고 10층탑이라고 주장하였다. 공교롭게도 그 직후에 발견된 『속동문선』에 실린 「원각사비」에서 '탑 13층을 세웠다.'라는 구절이 확인되었다. 또한 15세기 후반 왕명으로 『동국여지승람』을 편찬한 편찬자들도 원각사탑의 모범인 경천사탑 또한 '13층탑'임을 분명히 인식하고 있었다. 특히 원각사탑 건립 직후 왕명으로 건립된 「원각사비」는 세키노의 10층설이 전제에 오류가 있음을 명백히 보여준다. 세키노는, '3층의 기단 위에 탑신 10층이 올려져 있어서, 세상 사람들이 13층탑이라고 불렀다.'라고 하였는데, 「원각사비」는 세조가 처음부터 13층탑으로서 원각사탑을 건립하였음을 생생하게 증언한다. 다만 이례적이게도 13층탑을 3층의 기단 위에 탑신 10층을 올린 형태로 조성하였을 따름이다. 그렇다면 세조는 왜 13층탑을 세웠으며, 왜 그것을 3층의 기단 위에 탑신 10층이라는 이례적인 형태로 구현하였는가? 세조가 원각사13층탑을 건립한 의도를 온전히 이해하려면, 먼저 원각사탑의 정체를 파악해야 하는바, 그 첫 단추는 원래의 명칭을 회복하는 데 있다. 필자는 전제의 오류 위에 구축된 세키노의 10층설-나아가 절충적인 다층설-은 이제 폐기하고, 「원각사비」에서 말하는 13층설을 복원할 것을 촉구한다.

• 미술이론과 현장
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• 제1호
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Korean Journal of Acupuncture
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• 제30권4호
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• pp.252-263
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• 2013

목적 : 부항요법은 국소적 부위를 진공상태로 유지시키는 과정 중 유두층 안의 표피혈관을 파괴됨에 따라 발생하는 색소, 응결, 자반, 수포, 압통 반응 등을 살피어 오장육부의 기능이상을 진단하고 있다. 시각에 의존하는 주관적인 혈색소 판별로 인한 진단방법에서 벗어나 정량적으로 측정 및 분석이 가능하기 위하여 교차편광 촬영술을 접목하였으며, 새로운 혈색소 평가 가능성을 확인하고자 하였다. 방법 : 족태양방광경의 좌/우 폐수(BL13), 심수(BL15), 간수(BL18), 신수(BL23) 총 10개에 80 kPa 의 음압으로 1분 동안 자극하였다. 교차편광 촬영술을 이용하여 부항 자극 직전과 60분 이후까지 2분마다 이미지를 획득하였다. 획득한 이미지에서 $L^*a^*b^*$ space로 변환하여 분석하였으며, RGB space에서 홍반지수 (E.I: erythema index)를 계산하여 분석하였다. 또한 부항 자극 전 각 경혈에서 젖산 농도를 측정하여 색 지표들간의 관계성 분석을 통하여, 근육의 상태와 부항 자극으로 유도된 피부 색 변화와의 관계를 확인하고자 하였다. 결과 : 교차편광 촬영술을 이용하여 획득한 이미지에서의 $L^*$, $a^*$ 그리고 E.I 모두 부항 자극에 따른 피부 색 변화를 정량적으로 나타낼 수 있는 유의한 지표임을 확인하였다. 부항 자극 40분 후에 피부 색 변화가 더 이상 관찰되지 않았다. 또한 각 경혈에서의 젖산 농도와 피부 색 변화 정도와 유의한 차이가 없음을 확인하였다. 결론 : 설진을 포함하여 한의학적 색 진단을 하기 위한 방법으로 교차편광 촬영술 활용 가능성을 확인하였다. 또한 $L^*$, $a^*$ 그리고 E.I 모두 색 지표로서 유의성을 확인하였다. 향후, 장부 기능 이상과 혈색소 반응간의 상관성을 확보하기 위한 연구가 진행하기 전에, 음압 도중 발생하는 조직 내 다양한 반응과 혈색소 반응간의 관계를 확보하고자 하는 노력이 우선적으로 진행되어야 한다.