• 한국문헌정보학회지
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• 제29권
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• pp.141-172
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• 1995

The main objective of this study is to analyse the information flows and representations which is shown at the displays of the user-OPACs interfaces in the 5 academic library automation systems. The findings made in the study are summarized as follows: 1) The interactive styles of that displays are based on the menu selection style. 2) The structures of information flow on that displays are the compound structure which is basically made of the network, the binary, and the pop-up structures. 3) The elements of the displays are consisted with the fields concerning the database name, the current working area, the indicator, the menu, the exit, the prompt and the system message. 4) The essential entries of the main menus are Book, Periodical. and Thesis. 5) The important languages of the command language styles are Search, Display, Print, Help, and End. 6) The elements of the display structures for the retrieval are the retrieving key, the Boolean operators, and the exit. 7) The major retrieving keys are Title, Author, Subject name, Call Number, and Publisher. 8) The marks of Boolean operators on the retrieval displays is different among the systems each other.

• 대한조선학회지
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• 제30권2호
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• pp.44-52
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• 1993

선박에 있어서 철의장품은 종류와 수량이 다양하고 형상이 불규칙하여 대부분의 사업장에서 설계 전산화가 이루어지지 못하고 있는 실정이다. 의장설계실에서는 이를 전산화하기 위하여 먼저 철의장품의 표준을 제정 및 극대화하고 설계작업절차와 물량의 흐름을 전산과 연계하여 체계화 및 표준화하였다. 또한 선박의 전구역에 설치되는 철의장품들을 관련 양식과 함께 국제표준을 근거로 BASICA CADDS, SURFACE DESING, SDDP(structural Design ＆ Detailing Package) SOFTWARE를 이용하여 2차원(2-dimension) 및 3차원(3-dimension) 데이터베이스(database)화 하였으며 이를 POP-UP MENU를 이용, 쉽게 선택함으로써 모델링(modeling) 작업시수를 대폭 감소 시켰으며, 그래픽(graphic)에서 추출한 의장품의 데이터(data)를 의장품의 표준정보 FILE과 연계하여 라벨(LABEL) 및 치수(DIMENSION)를 기입하여 배치도를 추출하고 의장품의 제작, 설치, 계산 및 관리에 소요되는 설치도, 제작도 및 관련 보고서인 BOM(bill of material), PML(pallet material list), 의장제작품 LIST, COG(center of gravity), 관리점 등을 자동추출 및 관리전산망(PC-lan)과 연계할 수 있는 DECOM(철의장 전산설계 전용 package)을 89년에 개 발하여 의장설계에 적용하여 왔으며 ORACLE사의 RDBMS(relational database management system)를 도입하여 이를 보완하므로써 정보의 일관화 및 공유화가 가능하게 되었다. 그 결과 설계 M/H절감, 생산성 향상, 자재 및 관련 정보 전달에 혁신적인 변화 향상을 가져오게 되었다.

• 한국전자통신학회논문지
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• 제13권5호
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• pp.1059-1064
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• 2018

많은 사용자가 편집한 파일을 분실하여 큰 고통을 받고 있다. 매우 심각한 시간과 비용의 손실이다. 이런 문제는 전자 메일첨부 파일을 '받은메일함'에서 편집하고 곧바로 '저장하기'로 컴퓨터를 종료하기 때문에 발생한다. 임시 폴더에 '저장하기' 한 것을 안전한 하드디스크에 저장했다고 착각하기 때문에 발생한다. 본 논문은 전자 메일첨부 파일의 안전한 저장과 폴더 관리를 위한 분실 방지 시스템 WatchDog을 제안한다. 제안한 시스템은 첨부 파일의 '열기(O)'와 '저장하기'할 때 경고창 팝업을 동작한다. 또한, 안전한 복사 및 이동을 위한 편리한 폴더 관리방안을 프로그램 예시를 통해 실증적으로 보인다.

• 한국컴퓨터정보학회지
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• 제2권1호
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• pp.45-54
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• 1995

본 연구는 ASCII 코드중에서 잘 쓰이지 않는 코드를 반달점(ˇ)으로 할당, 글꼴을 제작하여, 사용자가 국어 로마자 표기법 기본원칙을 모르더라도 한글단어, 문장, 문서를 문자열(string)로 입력받아 알고리즘화된 음운법칙을 적용하여 소리글자로 자동 변환 후 현행 정부 표준안인 국어 로마자 표기법 테이블에서 대응 글자를 참조하여 기계화 코드 변환이 가능토록 설계하였으며, 예외어 처리, 화면색상 및 풀다운 팝업 메뉴 방식을 지원, 마우스 활용 방식을 채택, 사용자 편리성을 제공하였으며, 다양한 서체, 글꼴 확대 및 축소, 이단ㆍ혼합 인쇄기능 등을 고려 C언어를 이용하여 구현하였다.

• Fisheries and Aquatic Sciences
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• 제27권2호
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• pp.76-86
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• 2024

The bio-logging method could be a valuable approach to studying the underwater movement of marine fish. We investigated the horizontal and vertical movement patterns of two yellowtails Seriola quinqueradiata weighing 8.7 kg and 9.5 kg with a popup satellite archival tag from October 2020 to January 2021 in the East Sea of Korea. Our results showed that a yellowtail migrated northward in October and November, and then shifted southward in mid-December. The average swimming depth and temperature of the fish monitored over 82 days were 24.9 ± 9.3 m (average ± SD) and 16.5 ± 1.9℃, respectively, and the total traveled distance was 1,172.4 km. The fish swam significantly deeper during the daytime (33.70 ± 14.80 m) than at nighttime (20.65 ± 8.44 m) from November to December (p < 0.05). These results suggest that the horizontal migratory route of yellowtails in accordance with the East Korea Warm Current which is the main branch of Tsushima Warm Current in the fall and early winter seasons, and showed significant diel vertical movement patterns from November to December.

• 한국연극학
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• 제52호
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• pp.229-270
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• 2014

Ostermeier's Hamlet has no particular contemporary reinterpretation. Alternately devoting to show retrospect in illusion and existence through revenging actions. However, Shakespeare's metaphorical and implicative language is dissipated and the style of the play is not an illusive space-time, but a tragic theatrical production that uses rough language to express the depth of the story. The Perfomance of Hamlet is a sensuous jumble up of a diverse range of mass media. The double roles that the actors carry out give an affect of isolation between the audience and the play itself showing both empathy and liberty. Ostermeier's Hamlet distinctively shows a post-modern performance through the prominent elements of dirt, the use of mixed genre, theatric emphasis, making an image and the fulfillment of acting. Nonetheless, Ostermeier's performance stays off the point on the breakup strategy of the post-modern drama without suspending the narrative of Shakespeare's Hamlet. Besides aiming to show a performance centered by the imagery of physical expression, his performance shows New Realism in the 1960's, showing everyday life. Ostermeier thinks, that theatre helps give contemporary people an accurate reality check in the constant unstable periods of time. Therefore, Hamlet shows post-modern physical expression and outspoken dramaturgy using the effects of mass media in New Realism without breaking up realistic narration. With being the aberration of the Castle Helsingor, the main character Hamlet, expresses lunacy and can be considered as metaphor for young adults whom are broken down and isolated from the economic system. He is a substitute for those who experience agony, anger, torment, etc. and other suppressed emotions in everyday life. With the method of direction in the portrayal of Hamlet show signs of succession in the abundant popularization of the classics by communicating with the audience by following the trend of modern mass media and audio-visual perception; emphasizing the point of the philosophical topic 'life and death,' 'life and theatre,' and 'illusion and reality.'

• 인터넷정보학회논문지
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• 제6권6호
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• pp.13-22
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• 2005

본 논문은 유선용으로 작성된 웹 문서를 모바일용 단말기에서 서비스가 가능하도록 유선 콘텐츠를 모바일 콘텐츠로 변환하는데 목적을 두고 있다. 유선 콘텐츠는 일반적으로 Pop-Up광고창, 불필요한 이미지, 유용하지 못한 링크들로 꾸며져 있어서 유선 환경에 비해 낮은 대역폭, 메모리, 스크린 크기를 갖고 있는 모바일 단말기상에 프리젠테이션이 어려울 뿐만 아니라 모바일 사용자들에게 직접 콘텐츠에 접근하는 것을 혼란스럽게 하고 있다. 그러므로 유선 웹 문서로부터 유용하고 적절한 콘텐츠를 추출하고 이를 모바일 단말기의 특성에 맞춤식으로 제공하는 요구가 대두되고 있다. 따라서 본 논문은 WAP 2,0과 여기에 채용된 콘텐츠 생성 언어인 XHTML Basic을 기반으로 한 콘텐츠 변환 시스템을 제안하였다. 제안된 시스템의 콘텐츠 변환 방식은 유선 웹 문서를 경량화한 후, 기존의 변환 방식인 필터 방식 변환 규칙을 적용하였다. 그리고 적용된 변환 규칙은 수정과 삭제가 쉽게 처리될 수 있도록 XHTML Basic의 모듈단위 기반을 사용하였으며, 또한 변환의 확장성 및 문서의 유효성을 유지하기 위하여 변환 규칙은 XSLT 기술의 XSL 문서 내에 정의하였다. 또한 WAP 1,X의 Legacy한 서비스와의 연동을 위해 CC/PP 프로파일 및 단말기 헤더 정보를 분석하는 모듈을 갖도록 시스템을 구성하였다.

• 디지털콘텐츠학회 논문지
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• 제16권4호
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• pp.565-573
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• 2015

2000년대 소셜 미디어(Social Media)의 발달은 불특정 다수를 같은 주제 아래 연대하게 이끌었다. SNS(Social Network Service)는 각종 대중문화의 감상과 해석을 널리 공유하는 수단이 되었고, 특정 작품을 매개로 하여 사람들의 관계를 돈독하게 해 주었다. 본 연구는 그 구체적인 사례로 미국 TV 드라마 <한니발(Hannibal)>의 제작자와 수용자 간의 커뮤니케이션 양상을 소개한다. 드라마 제작자인 브라이언 풀러(Bryan Fuller)를 비롯한 주요 제작진은 시청자가 원하는 것이 무엇인지 알고 공감하는 수단으로 SNS를 적극 사용하였으며, 이는 시청자 수로는 소규모이지만 헌신적인 시청층에게 열렬한 화답을 받았다. <한니발> 제작진은 작품 공급자이기보다 작품을 즐기는 소비자로서 SNS를 사용했고, 이는 과거의 일방향 홍보와 매우 다른 접근법이다. 본 연구는 사례 연구를 통해 SNS가 제작자와 시청자의 중간 매개자, 혹은 정보의 허브로서 강력한 힘을 발휘하고 있으며, 인터랙티브 컨텐츠가 뉴미디어에서 어떤 방식으로 제공될 때 효과가 좋은지를 제시하였다.

• 복식
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• 제40권
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• pp.151-170
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• 1998

The purpose of this study is to examine the value of grotesque fashion and to predict the future fashion trend. The grotesque originates the formative art. It emerges towards of a century or transitional period in most case. In particular, it was used as the expressive method of an individual's inside and a satire on society through the work of artists in the Middle Age, the renaissance, the sym-bolism, the dadaism, the surrealism, the pop art, the technology art, and the post-modernism, etc. The grotesque in fashion is represented in the work of avant-garde fashion designers who lead the high fashion. The grotesque fashion which was combined with an image of non-formality, non-rationality, an absurdity and reality. It has been begun shape of female dress in the renaissance. Afterwards, it was represented in extremely exaggerated and distorted pop art, hippies' fashion in the 1960's. In the 1970's, it was reflected in genderless rock star and destructive punk fashion. It was also represented in the androgynous fashion which was combined with both sexes, the goth/gothic fashion which was expressed with a realistic and fanciful shape and the tattoo of skin-head in the 1980's. In the 1990's, the grungy look which was dirty and the cyber punk fashion. In general, it was also expressed by the avant-garde fashion designers. To sum up, a grotesque fashion which is expressed by experimental designers is classified into four shapes. 1, Union of some extraneous is expressed as different kinds of fashion theme, such as abnormality of texture, uses of surrealistic elements and chaos of sex. Although it appears that the abnormal union of grotesque has only discord and collision, it also shows a feeling of freedom for the tension. 2. Introduction of real and fanciful image is expressed as a cyborg, realistic description of disgusting animal skin and aggressive shape. Especially, it is worth while to notice Tierre Mugler and Alexander Macqueen's work which expressed the shape of mingling human of Middle Age. 3. distortion or exaggeration is expressed as an unformed shape, the exaggeration of a clothing size, the abnormal exaggeration of human body and the ignorance of clothing form. 4. Introduction of a disgusting image is expressed as an extremity of reality, motifs of death, clothing material of disgusting hair and the ostentation of sex. Motto which leads modern fashion is something new and shocking. The grotesque fashion is an expression of eagerness for something new. It often show something ironic in the form of humor which is embedded in an abnormal and shocking pattern. The grotesque fashion is represented as an extreme beauty. It will stand as an important element of the future fashion and as a particular style with the change and fluidity.

• 만화애니메이션 연구
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• 통권6호
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• pp.7-22
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• 2002

Animation constitutes the core of the media industry, which in turn lies at the center of the cultural industry. It is considered one of the industries where South Korea has the competitive edge over other countries. With the pool of customers getting wider, the genre of animation has become more and more diverse, forming a great market for it. Aware of this trend, this study focused on animation as a part of the pop culture, and on providing corresponding various viewpoints for future cultural studies. This researcher measured the practicality and persuasiveness of this study through Shreck, a three-dimensional C.G. animation which is acclaimed for its success in dismantling the old grammar of animation movies that represent the anti-Disney ideas. This researcher felt it imperative to heed the unique language of Shreck, which contains discourses on various cultural ideologies such as paradoxical structure that pits entertainment that is shown through dismantling of the canon, feminism and antifeminism against each other. This study analyzed the entertaining element of the animation genre by means of the Semiotics of Keith Moxey, thereby attempting to establish a legitimate social status of the genre, whose artfulness has been depreciated in the art society. In chapter II, this researcher examines the chronological development of three-dimensional C.G. animation that has shown a rapid advancement. Chapter III defines the cultural ideology of Shreck by exploring basic theories and texts employed in analysis of art works. This study started with the assumption that defines, from the viewpoint of symbology, the animation text as an aggregate of discourses on entertainment, and competitive and paradoxical ideologies. Then, this researcher analyzed the text and the generation process of meanings in Shreck. Consequently, this study has come to the following conclusions: First, Shreck induces changes of concepts about the canon by means of distorting and reversing the existing animation movies, which seems to reflect in the contemporary tendency of seeking new interpretations of entertainment. Second, Shreck shows up the cognitive changes of our age as to feminism by competing feminism against antifeminism. Although Shreck serves as a venue of competition between the two opposing ideas, it stops short of brushing off women as outsiders in society. Rather, it represents the resistance to the male chauvinism existing in the structures of animation and culture. As shown in the text analysis, Shreck presents an advent of a new ideology critical of the previous animation films. In addition, it reflects in the struggle between the pro-feminism on the part of the viewers and the anti-feminism that lies in the social and culture structure. This study, however, is limited in its scope and selection of subject. First, although this researcher has stressed the importance of understanding the animation as part of the pop culture and conducting researches within the historic paradigm, this study fails to provide an in-depth insight in the impacts that the changes in the C.G. industry and the systematic conditions may have on the three-dimensional C.G. animation genre. Furthermore, this study runs the risk of being understood as pro-American due to its selection of Shreck as its research subject.