• Journal of English Language & Literature
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• v.55 no.2
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• pp.241-257
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• 2009

The essay discusses the way in which the aesthetic of Pre-Raphaelites reformulates the habitual system of knowledge in the Victorian age by adapting $Ranci{\acute{e}}re^{\prime}s$ concept of aesthetics. $Ranci{\acute{e}}re$ develops an original theory of aesthetics, a regime of knowledge which enables to perceive and reflect art as such. In this way, aesthetics turns to be the logical system by which the consensus idea of the beautiful comes to exist. For $Ranci{\acute{e}}re$, aesthetics is an agreed system of the sensible and reproduces the habitual knowledge of the world. Therefore, a new aesthetic movement means an attempt to break the given aesthetics and reorients the new distribution of the sensible. The important point of $Ranci{\acute{e}}re^{\prime}s$ argument is that he does not presuppose the dimension beyond the present unlike Frankfurt School. What $Ranci{\acute{e}}re$ claims is that there is no such the aesthetic which can correct the instrumental reason, but rather an indifferent moment in which a worker finds out himself as a creator who can give rise to the new regime of the sensible and feels free from what he must work for. From this perspective, the essay explores the aesthetic of Pre-Raphaelites and its meaning in nineteenth century Britain. Pre-Raphaelites was an artist group who railed against a so-called academic style of paintings and created a new aesthetic criterion to describe the truth of the natural world. The essay examines the interrelationship between Pre-Raphaelites and photography that would enable them to re-distribute the sensible and produce a new way of seeing the order of things. This is related to the birth of a modern gaze as in the case of landscape paintings. What is crucial is that the distribution of the sensible is always-already doubled with the political. In short, Pre-Raphaeltes is not only an aesthetic movement but also a political pursuit to achieve a disenchanted perception of nineteenth century industrial capitalism.

• Journal of English Language & Literature
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• v.55 no.2
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• pp.359-382
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• 2009

Eliot's The Waste Land represents the last century in many respects. While working on the poem in cooperation with Pound, Eliot intended to make "Gerontion" a prelude in The Waste Land. But, as we read in his letter to Eliot, Pound advised him against it. As a result, Eliot had excluded it from The Waste Land. "Gerontion" was published separately, as an independent poem. Between "Gerontion" and The Waste Land, we find that the theme and the techniques are very much alike. However, for this very reason Eliot and Pound must have had thought differently. Eliot must have thought that "Gerontion" would serve well as a preface to the long poem, The Waste Land. It will provide a good introduction to the long poem, he may have thought. In the meantime, Pound must have thought that such similarities in theme and techniques would weaken both works, which would be redundant. To Pound, it would be too much to have the summary of everything that is to be repeated in The Waste Land. Eliot intuitively followed Pound's judgment. Both "Gerontion" and The Waste Land have similarities in theme and techniques. The theme of both works is "aimlessness, spiritual sterility, barrenness" in modern man living in the waste land. For example, in "Gerontion," there appear an old man Gerontion, Mr. Silvero, Hakagawa, Madame de Tornquist, Fraulein von Kulp, who are representative of spiritual barrenness of modern world; in the same context, in The Waste Land those who are most representative of modern world are the Typist, clerk, Thames's daughters, Madamn Sosostris, Tiresias, Phelabas. And in terms of techniques, "Gerontion" and The Waste Land both use dramatic monologues, allusions, and the techniques of modern art, such as montage and mosaic. Here in these works Eliot in fact practises his theory of the "Objective Correlative" that he has invented.

• Journal of Physiology & Pathology in Korean Medicine
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• v.36 no.3
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• pp.94-99
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• 2022

The discovery of biomarkers related to pattern identification (PI), the core diagnostic theory of Korean medicine (KM), is one of the methods that can provide objective and reliable evidence by applying PI to clinical practice. In this study, 40 diabetic patients and 41 healthy control subjects recruited from the Korean medicine clinic were examined to determine the human electrical response related to the deficiency pattern, a representative pattern of diabetes. Qi-Blood-Yin-Yang deficiency pattern scores, which are representative deficiency patterns for diabetes mellitus, were obtained through a questionnaire with verified reliability and validity, and the human electrical response was measured non-invasively using a bioimpedance meter. In ANCOVA analysis using gender as a covariate, the 5 kHz frequency resistance and 5-250 kHz frequency reactance were significantly lower in the diabetic group than in non-diabetic control group. In addition, the multiple regression analysis showed a positive correlation (R2=0.11~0.19) between the Yang deficiency pattern score and resistance value for the diabetic group; the correlation was higher at higher frequencies of 50kHz (R2=0.18) and 250kHz (R2=0.19) compared to 5kHz(R2=0.11). In contrast, there was no such significant association in the control group. It implies that bioimpedance resistance measured at finite frequencies may be useful in predicting Yang deficiency, which is closely related to diabetic complications by reflecting the decrease in body water content and metabolism. In the future, large-scale planned clinical studies will be needed to identify biomarkers associated with different types of PI in diabetes.

• Steel and Composite Structures
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• v.42 no.4
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• pp.501-511
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• 2022

Earthquake Resistant Design Philosophy seeks (a) no damage, (b) no significant structural damage, and (c) significant structural damage but no collapse of normal buildings, under minor, moderate and severe levels of earthquake shaking, respectively. A procedure is proposed for seismic design of low-rise reinforced concrete special moment frame buildings, which is consistent with this philosophy; buildings are designed to be ductile through appropriate sizing and reinforcement detailing, such that they resist severe level of earthquake shaking without collapse. Nonlinear analyses of study buildings are used to determine quantitatively (a) ranges of design parameters required to assure the required deformability in normal buildings to resist the severe level of earthquake shaking, (b) four specific limit states that represent the start of different structural damage states, and (c) levels of minor and moderate earthquake shakings stated in the philosophy along with an extreme level of earthquake shaking associated with the structural damage state of no collapse. The four limits of structural damage states and the three levels of earthquake shaking identified are shown to be consistent with the performance-based design guidelines available in literature. Finally, nonlinear analyses results are used to confirm the efficacy of the proposed procedure.

• Journal of Korean Port Research
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• v.10 no.1
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• pp.1-14
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• 1996

Rapid change in the technological environment of marine transportation and the development of the ocean shipping industry have fostered a revolution in the port system. This in turn has caused major changes in the function and use of port in Korea. Aside from this, Mokpo Port, however continues to decline, because the existing port facilities and related subsystem are already obsolete with no chance of regaining operational effectiveness and treatment for proper implementation. Although a few studies have been done on the Mokpo Port, has not been found, any reseach for the analytical approach to the transportation system of it. This paper aims to make an extensive analysis of the physical distribution system in Mokpo Port focusing on the coordination of subsystems such as navigational aids system. The base of introduced simulation tool here is the queueing theory. The overall findings are as follows: 1. Among those vessels called at Mokpo Port in 1994, 556 ships(2,736,669 G/T) are oceangoing while 8155 ships(2,587,217 G/T) are domestic. The average size of oceangoing vessels is 4,922,1 G/T, and the domestic is 317,8 G/T. The average arrival interval and service time of the domestic vessels are 6.0 hours and 24.1 hours respectively marking the berth occupation rate over 100%. Those for oceangoing vessels are 34.5 hours, 120.0 hours and 37.2%. In order to maintainin the berth occupation rate to 70% the capacity considering the 1994 of domestic piers must be extended to 145% and oceangoing vessels must be increased to 165%. 2. The capacity of approaching channel is enough to handle the total traffic volume of 3. Tugs are sufficiently being provided to handle all ships requiring their services 4. The capacity of storage and inland transportation systems are sufficient to handle the throughput and the yard stroage utilization rate of No.1 - No.5 is 4.5% and No.6 is 30% of 1993's. 5. The utilization rate of LLC(Level Looping Crane) and PNT(PNeumaTic) are 2.7% and 18.8%, respectively.

• Journal of the Korea Institute of Building Construction
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• v.23 no.1
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• pp.103-111
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• 2023

Accurate cost estimation in the early stages of a construction project is critical to the successful execution of the project. In this study, an ANFIS model was presented to predict construction costs in the early stages of a construction project. To increase the usability of the model, open construction cost data was used, and a model using limited information in the early stage of the project was presented. We analyzed existing studies related to ANFIS to identify recent trends, and after reviewing the basic structure of ANFIS, presented an ANFIS model for predicting conceptual construction costs. The variation in prediction performance depending on the type and number of membership functions of the ANFIS model was analyzed, the model with the best performance was presented, and the prediction accuracy of representative machine learning models was compared and analyzed. Through comparing the ANFIS model with other machine learning models, it was found to show equal or better performance, and it is concluded that it can be applied to predicting construction costs in the early stage of a project.

• Journal of English Language & Literature
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• v.57 no.5
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• pp.813-838
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• 2011

Toni Morrison's ninth novel A Mercy delves into the colonial American history of the seventeenth century when Europeans began to migrate to the New World and when the first slaves were brought to Virginia. Morrison presents a diverse group of people such as white Europeans, an American Indian, a free black man, indentured servants, and slaves from Africa in order to explore the subjects of ownership, freedom and racism. She emphasizes the fact that most of the Europeans who came to America in the early seventeenth century were the people who were thrown out from the society such as felons, prostitutes, servants and children. By portraying how these castaways tried to settle in a new environment surrounded by unknown dangers and challenges, Morrison demystifies and reconstructs the myth of the birth of America as a nation state. In continuation of Morrison's writings about love and the betrayal of love, her novel A Mercy explores the subjects of trauma, memory and subjectivity by choosing the topic of motherly love and its betrayal which she dealt with poignantly in Beloved. The female protagonist, Florens, is given away by her mother in partial payment of debt incurred by the owner of Florens's mother. The traumatic memory of Florens's separation from her mother shapes Florence's character. She has to revisit the site of the original traumatic experiences of being given up by her mother in order to reconstruct her fragmented memory and past. The recurring dream of the traumatic incident that takes hold of Florens can be explained by the trauma theory of Freud, Cathy Caruth, Suzette Henke, and Judith Herman. The paper explores the self journey of Florens in which she faces the traumatic past and comprehends its meaning which enables her to construct her subjectivity by understanding the true meaning of being free and of owning oneself. In particular, it demonstrates how the process of writing a confession, a story about one's history, enables one to reclaim the traumatic experience and to locate it in the narrative memory.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.641-659
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• 2009

Since Plath killed herself in 1963, the theme of death has become one of the central motifs and allusions in her work. The biographical emphasis continues to blur the boundary between the artistic world and the material world. While approaching Plath's work from the perspective of personal experience, the objective of this paper is not to suggest that we encounter Plath's personal voice and emotions directly in her work. Rather, I emphasize how Plath's work of mourning is substantiated in the act of writing. Plath protects herself from the unnamable or the existential void by writing poems. She shows the way in which art or writing enables the subject to confront traumatic memory. While the death drive propels Plath towards destruction, artistic formation serves to alleviate her psychic crisis. What I shall suggest in the paper is how works of art lead the melancholic subject to challenge traumatic events. Plath herself suggests the therapeutic power of language. Plath's hostility toward women as well as men situates her work nearer to the Kristevan psychoanalytic theory which examines depressive anxieties intrinsically linked to the loss of maternal objects. Kristeva's particular focus on the concept of "death-bearing mother" or the unnamable offers a fruitful reading of the representation of infantile fantasies, sexuality, anger, and ambivalence toward lost loved object which clearly dominates most of Plath's poems. Kristeva elaborates mourning and melancholia through the framework of signification and it is of especial relevance in deciphering the recurring death drive and melancholic rage in Plath's work. Melancholic subjects in Plath's work are characterized by an amorphous state, occupying a borderline state regulated by the death drive.

• Information Systems Review
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• v.19 no.1
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• pp.185-202
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• 2017

Most studies based on production function theory have concluded that economic growth is a result of information technology (IT) capital use. However, some studies have indicated that economic growth is a determinant of IT investment. To determine if these results also hold at the industry level, we use the Granger causality test to analyze bidirectional causality with industry-level data for 1977~2007 from the United States. The results generally reveal that IT investment causes economic growth in many industries under the concept of Granger causality, that economic growth causes IT investment in some industries, and that IT investment is not associated with economic growth in some industries. In the country-level time-series data made by summing up the IT capital and gross output for each industry, the results do not show any causality between IT investment and economic growth. However, they show bi-directional causality between IT investment and economic growth in the panel data. These results may be a source of IT productivity paradox.

• 한국게임학회지
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• v.6 no.1
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• pp.70-72
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• 2009

This research is focused on defining interaction within the context of digital media and creating a multi cultural definition of interactivity. The concept of multi digital culture and a definition of interaction in digital media have often been overlooked by other researchers and this has caused the emergence of many different notions on this issue. As a result of these varied notions of the concept, public confusion has arisen regarding interactivity. The main purpose of this research is to find a suitable multi definition of interaction through examining local digital culture. In order to analogise multi digital culture, the video game culture is employed as a metaphor to interpret local digital culture. The reason for this is that a specific national culture can be easily identified within the video game culture. Four countries, South Korea, Japan, the U.S. and the UK have been chosen for comparison purposes. Case study, questionnaire and publicly accessible video game related data, such as, video game charts, are used for formalising and analysing unique local digital culture. The Heyri POP UP IMAGE Festival, S. Korea, was also used as a pilot study, with some of the above research methods being employed to analyse South Korean digital culture. In relation to western cases, interview and questionnaire were primarily used. The data from the case countries was carefully compared and analysed and then it became the basis of a theory of multi definition of interaction in digital media. The case study employed the cultural metaphor for this research and in addition video game culture related questionnaires and interviews with experts of interactive art genre, regarding new notions of digital interaction were utilised. The survey was conducted simultaneously in the four different cultural case nations of this research. Twenty respondents from each case nation participated in the survey, in order to investigate firstly, the existence of 'local digital culture' and secondly, the trends and phenomena of 'digital culture' in these four different 'local digital cultural areas'. In terms of interviews with experts of the interactive art genre, these were focused on obtaining their understanding of contemporary digital culture in their research. Using gathered data from the observation of local digital culture, the basic theory of interaction and the terminology of interaction are reformed. Localised definitions of interaction on digital media, control based interaction and communication based interaction are presented, in order to identify a 'locality' in terms of various contemporary digital cultures. As a result of analysing digital culture, new definitions of 'multi definition of digital interaction' were formulated. As mentioned above, 'control' and 'communication' based interaction were initiated, based on 'user to media' relationships. Based on the degree of physical interaction, 'liminal' and 'transitive' interactions were initiated. Less physical digital interaction is named 'liminal' interaction and more physical digital interaction is named' transitive' interaction. These new definitions of interaction were applied to the real world examples of uses of digital interaction, such as, digital interactive installation artworks and video games. The newly defined meaning of digital interaction can be applied to analysing digital interactive installation artworks and possibly indicate their future development and the prospects of future electronic games. Three leading digital interactive artists were selected for this analysis and their works were studied in terms of the implementation of 'multi definition of digital interaction'. Throughout these processes, the meaning of 'communication' in digital interactive media was emphasised. Many of the selected artists' digital installations were focused on 'communication' or 'interaction between each user through digital media', rather than the concept of 'control' in digital interaction, otherwise termed, 'communication with digital media'. In their artworks, interaction between each audience was digitally engaged within the physical interactive environment which was created by the digital media. Both the audience's action and all the reaction throughout the interaction between the audiences, triggered the digital media' s reaction. This audience-audience-media interaction is the key to understanding the concept of 'communication' in physical digital media and it is the main interactive concept upon which the selected digital interactive installation artists for this research and many other artists from similar fields, are concentrating their efforts. In the case of the video game, a similar trend was noticed to that of digital interactive installations. Based on this research's 'multi definition of digital interaction', the video game has evolved from the early stage of being conventional game, which was focused on control based interaction, to the on-line game which was focused on communication based interaction, to physical interactive games, such as, Nintendo Wii, which are focused on more physical interaction and finally, the ubiquitous interactive game, which is mainly concentrated on the concept of 'communication' in physical digital interaction. It is possible that this evolution of the video game concept of interaction is comparable to the progress of digital interactive artworks. This view is based on the fact that both genres show evidence that they are developing in the direction of the concept of 'communication', in terms of physical digital interaction. The important emphasis of this research's results is 'locality' and 'communication' in physical digital interaction. The existence of different digital culture trends, which were assessed by the 'multi definition of digital interaction', can explain the concept of 'locality' in digital interaction. This meaning of 'locality' may assist in understanding contemporary digital culture and can reduce possible misunderstanding as regards 'local' digital culture. In the application of the concept of digital interaction to the field of either artworks or video games, it is possible to form the opinion that an innovative concept of physical digital interaction is 'communication' within this context. This concept and its applications can improve the potential of both digital interactive culture and technology.