• Journal of Science of Art and Design
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• v.6
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• pp.119-139
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• 2004

The intention of the research is to look into the form reflecting the spiritual image due to Oriental aesthetic from a realistic point of view. In this regard, I will pay attention to examining the process from figurative perspectives, in which painting image by subject acquires the beauty of form. Of the main subjection this paper, figure is an image itself appearing in painting. At this point, I will attempt to show how the meaning and value of image have been interpreted and judged on the aesthetic standard in Oriental painting in particular. For this process, I generalize the conception of the image as 'figure' and through this I will reconsider the standard of understanding and the value of perception regarding painting images on the method which are more applicable to the expressions of Oriental painting. The reason why I try to find out the true nature of images in Oriental painting from a figurative viewpoint is to convert a conventional sense of value which recognizes the images of Oriental painting only as results of idealism, into more practical field. If the true nature of Oriental painting is fixed and restricted to natures of idealism, any productive development and any changes in form for future couldn't be expected at all. In fact, what the ideological and aesthetic values of art suggest is clearly a proof of real art form. However, it is not a hard thing to prospect that only a superficial idealism will be ceaselessly produced, while the practical study about aesthetic values, meaningful results of painting expressions, is totally ignored, if ideology itself is used as criteria to judge the identity of it or if only the idealistic aesthetic values are emphasized while any clue to show a real existence of oriental paintings is not certain. Actually, nobody can deny the fact that interests about real natures regarding art expressions have been relatively ignored while armed with mental ideology for esthetic view of oriental painting in traditionalism Therefore, it is clear that 'spiritual status' itself can generate any form. Traditionally, in the Orient, the standard of judging a real value of things, which put a focus on a spiritual view of value rather than on a materialistic view of it, has been vaguely positioned the identity of images in painting As a result, the aesthetic convention has finally committed to an error that for images of oriental painting, ideological criteria like so called spiritualism are applied as a judging way, and esthetic meanings and values of real painting are considered as strategic results and spiritual intentions.

• Journal of Korean Society of Forest Science
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• v.25 no.1
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• pp.49-71
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• 1975

The importance of bamboo as raw material for bamboo wares and several kinds of industrial products is highly appreciated at home and abroad. But different kinds of bamboo-bundle systems have been traditionally used in the local areas. There being no reasonable bamboo-bundle system, we have a lot of difficulty in trading bamboo products and executing adrinistmative works. Therefore, a reasonable bamboo-bundle system based on scientific proofs needs to be tested and established for fair trade and administration. This study is carried out to solve the above difficulty with statistical investigation and analysis. The results obtained are as follows. 1. The larger the circles at eye-height become, the more the possibility of the largest internode covering the span between eye-height and 1/4 height increases. 2. The longest internodes are distributed according to a rule without relation to circles at eye-height. 3. The tapering grade of bamboo culms is very high and its form is almost the same without relation to its size. (Form exponent; 0.71-1.05, eye-height form factor; 0.60-0.66, 1/4 becomes, seeing that the circle grade and the percentage of actual volume height form factor; 0.61-0.69). 4. The larger the circles at eye-height are, the lower the percentage of actual volume have negative curve relation to each other. 5. It is considered that the numbers of bamboos bundled in a "Sok" is not decided according to the usefulness of bamboos, judging from the fact that the outputs of bamboo wares per "Sok" in every circle grade are not the same. 6. As the results of the regression analysis, the empirical formulae of several amounts to circles at eye-height and culm length are as follows; Volume, $${\hat{y}}_i=\bar{3}.821874+2.013181log\;C_i+0.839128log\;H_i$$ $$V=0.0066355\;C^{2.013181}\;H^{0.839128}$$ Actual volume, $${\hat{y}}_{ai}=3.915338+0.776549log\;C_i+1.857000log\;H_i$$ $$V_a=0.0082288\;C^{0.776549}\;H^{1.857000}$$ Weight, $$w_i=3.869148+1.936410log\;C_i+0.566904log\;H_i$$ $$W=0.0073986\;G^{1.936410}\;H^{0.565904}$$ 7. Korean Phyllostachys bambusoides Sieb. et Zucc. is almost the same as that of Japan in several amounts, just the same especially in the weight. 8. It is found that the bamboo-bundle systems of Korea and Japan have much closer relation to the weight than other amounts. So It is, therefore, considered that the weight is important factor in deciding bamboo-bundle system. 9. According to the item 8, I should like to propose the appropriate numbers per "Sok" adjusted on the basis of the weight in the Table 18.

• Journal of Science of Art and Design
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• v.3
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• pp.87-144
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• 2001

This study looks into historical genealogy of autonomy in art criticism on modernism and presents the view of the judgment and correction about that. A matter of autonomy in art appeared in the attempt to totally reconsider and upset the theory of 'Mimesis' or 'Representation' which was the basis of traditional aesthetic theory. In the traditional theory of representation, they assumed primary image exists first and then tried to obtain visual similarity to it through art works. However, in the theory of autonomy in modernism, they maintained the reduction to pure form' or medium', regarding what art works represents and how similar to primary image are not the true essence of art. In the early 20th century, C. Bell laid the foundation stone of the theory of Formalism', providing that a matter of autonomy is significant form', which is the combination of lines and colors Aesthetic autonomy theory came to a climax by C. Greenberg, who systemized art criticism on modernism in the middle 20th century. According to his theory, the pursuit of the essence of form resulted in the specificity of medium' and flatness. They thought that the autonomy of art would be achieved by eliminating outward social factors from art works. This theory ended by Minimalism preventing the instructive function of art work and only emphasizing its material property. Since the middle 20th century, the autonomy theory was confronted with the limit and intense attack because it resulted in this fixed canon and materialism, so they began laying emphasis on those extrinsic factors around art works such as human life, society, history, and so on. This study focuses on arguing and complementing the limit of autonomy such as the adhesive and fixed canon, and then defining the more dynamic area of it. For this, first, I introduced the view of T. J. Clark and T. Crow who criticized the aesthetic autonomy theory. They denied the transcendental structure of form, and found form only in the association with substantial life and society. And they insisted the dynamism of form by emphasizing form as a result of negation insisted by avant-garde. Second, I researched the view of A. C, Danto and M. Fried, who complemented the traditional autonomy theory. They made autonomy emerge from the fixation of form like flatness through connecting essentialism with historical view. In conclusion, I insist that autonomic position of art make it possible to connect or mediate between material form and human or social elements. Therefore, autonomy should not be reduced to the axis of form or that of society but make interaction between two heterogeneous axes.

• Journal of the Korean Chemical Society
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• v.62 no.5
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• pp.352-357
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• 2018

Celecoxib (4-[5-(4-methylphenyl)-3-(trifluoromethyl)-1H-pyrazol-1-yl]benzenesulfonamide) is a cyclooxygenase-2 inhibitor used in the treatment of arthritis, acute pain, and dysmenorrhoea. Celecoxib is a Biopharmaceutics Classification System (BCS) class II compound whose oral bioavailability is highly limited owing to its poor aqueous solubility. Several polymorphs of celecoxib have been identified as Form I, Form II, and Form III with melting points of about $162.8^{\circ}C$, $161.5^{\circ}C$, and $160.8^{\circ}C$, respectively. Form IV was generated from the precipitated suspension in the presence of HPMC (Hydroxypropyl methylcellulose) and Polysorbate 80. A rapid rate of dissolution is useful because the rate of dissolution of a drug typically increases its bioavailability. The aim of this study was to investigate the possibility of production of new crystal form of celecoxib that has higher solubility than Form III. New crystal form of celecoxib (Form A) has been isolated by recrystallization and characterized by differential scanning calorimetry (DSC), thermogravimetric (TG) analysis and powder X-ray diffractometry (PXRD). Form A was dissolved faster than Form III. At 30 minutes, the dissolution of Form A was 97.3%, whereas the dissolution of Form III was 82.2% (p < 0.1). After storage of three months at $20^{\circ}C$, in 24% RH (Relative Humidity), the crystal form was not transformed.

• Sijohaknonchong
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• v.19 no.1
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• pp.63-84
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• 2003

The purpose of the thesis is to clarify the basis and the substance in Sijo of the fixed form of verse. Sijo has the fixed form of verse in the national identity and the subjectivity of the culture up to now. To examine problems suggested above. at first in the point of the culture I researched the continuation of Sijo to the fixed form of verse in 21th centuries. And in the point of the education of Korean I classified into the subjectivity. Through the modem poetry I came to find out that the modern Sijo is displayed the originality between the modem poetry and the ancient Sijo today. To sum up I researched the substance and the originality in Sijo in 21th centuries. In order to study the originality in the basis and the identity in Sijo which have succeeded up to present without interruption, it is to gather more materials, widen an appreciative eye for our culture and deepen the till now study continuously.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.8
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• pp.35-46
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• 2019

This study started from the interest about a theme repeated in a similar way among a group of architects in Japan. They argue that a building composed of random elements can lead to discoverable functions rather than fixed functions. Their work supports this to a certain extent, but at the same time raises the following two research questions. Can 'formal randomness' and 'functional discoverability' be completely identical? Does such a form sufficiently fulfill other functions of the building? In order to answer these two research questions, this study analyzes the relationship between form and function in the 'Children's Center for Psychiatric Rehabilitation' of Sou Fujimoto. The analysis proceeded in three steps. In the first step, I found that alcoves were the most important factor in functional discoverability by comparing scenarios with different conditions. At the same time, however, I could see that these alcoves were weakened in the process of functional adjustment. In the second step, I analyzed the final design and found Sou Fujimoto's response to the preceding problem. He thought that in-between alcoves created from formal randomness, were not enough and thus introduced a new method, cutting alcoves. This means that formal randomness alone does not fully guarantee both the functional discoverability and the fulfillment of the basic functions. In the third step, I searched for the significance of this problem through a brief comparison with other similar projects.

• Communications of the Korean Mathematical Society
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• v.33 no.4
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• pp.1097-1102
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• 2018

Let A and B be matrices which are polynomials in r pairwise commuting nilpotent matrices over a field. We give a sufficient condition for the null space of $A^i$ to equal that of $B^i$ for all i, in particular, for A and B to be similar.

• The Journal of the Korea Contents Association
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• v.17 no.9
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• pp.60-68
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• 2017

Through this thesis, I wanted to understand the form of free indirect discourse of modern films. To this end, I first explored the notion of the polyphonie as a mixture of the speaker and the character' voice in order to establish a concept related to free indirect discourse. However, I could not overlook the differences in the form of novels and movies to apply the following theory to films. Based on the concept of narrative distance, I sought to explore the possibility of free indirect discourse from the dual position of the camera. Next, I introduced the concept of free indirect discourse in the film by introducing the concept of Time in G. Deleuze' CinemaII. In other words, the time from Deleuze is the past and the present cycle, and he sees the Time circulating like the Non-Euclidean space. I wanted to understand the form of free indirect discourse in films by analyzing the concept of Time as an analysis of the movie .

• The korean journal of orthodontics
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• v.40 no.5
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• pp.334-341
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• 2010

Objective: The purpose of this study was to evaluate morphologic differences in the mandibular arch between Egyptian and Korean subjects. Methods: The Egyptian sample consisted of 94 mandibular casts (35 Class I, 32 Class II and 27 Class III). The Korean sample consisted of 462 mandibular casts (114 Class I, 119 Class II, and 135 Class III). The most facial portion of 13 proximal contact areas was digitized from photocopied images of the mandibular dental arches. Clinical bracket points were calculated for each tooth. The subjects were grouped according to arch form to compare the frequency distribution of the 3 arch forms between the ethnic groups in each Angle classification. Results: Egyptians had significantly narrower intermolar and intercanine widths ($p$ < 0.001), and shallower intermolar and intercanine depths ($p$ < 0.001) than Koreans. There was an even frequency distribution of the 3 arch forms within the Egyptian group ($p$ = 0.46). However, in the Korean group, the most frequent arch form was the square arch form (46.7%), while the frequency of the tapered arch form was significantly lower (18.8%). Conclusions: These results might provide helpful information in evaluating morphologic differences between ethnic groups in selection of preformed superelastic archwires.

• Archives of design research
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• v.18 no.3 s.61
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• pp.171-180
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• 2005

The purpose of this research is to investigate the nature of direction of the design corresponding to a human-centered design, digitalism, ecological design, and culture-oriented design which is an issue of design in the 21st century, from the design of the inside of a room. As a method of approach to this objective, first, 1 understand the form of boundary structure appearing in space, through the theoretical investigation of a boundary form. This research is trying to elicit the expression characteristic of kineticism which was introduced to the boundary form as a factor constituting space, by investigating the characteristic of kinaticism which was expressed in plastic arts and other genres. As a process of the proceeding of this investigation, It is explained the background, purpose, and method of this study in Chapter I, and look into the characteristic of the unfolding and expression of kinetic arts as well as the structure of a boundary form of space in Chapter II. In Chapter III, I divide the aspect of modern architectural space into realistic movement, relative movement, and associational movement and examine them. In Chapter IV, I investigate a case of modern space in which the three types of the characteristic of movement mentioned in Chapter Three was expressed, and analyze to what boundary structure the space was introduced. Last of all, in Chapter V, I elicit the characteristic of a boundary form of kineticism which was the result that appeared through the above analysis, and present the nature of future direction of interior.