• Journal of the Institute of Electronics Engineers of Korea SP
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• v.46 no.4
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• pp.157-164
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• 2009

An efficient pipeline MDC Radix-4 FFT structure is proposed in this paper. Every stages in pipeline FFT structure consists of delay' commutator and butterfly. Proposed butterflies in front and rear stages utilize CORDIC and Common Sub-expression Sharing(CSS) techniques, respectively. It is shown that proposed butterfly structure can reduce the number of adders through sharing common patterns of CSD type coefficients. The Verilog-HDL modeling and Synopsys logic synthesis results that the proposed structure show 48.2% cell area reduction in the complex multiplication part and 22.1% cell area reduction in overall 256-point FFT structure comparison with those of the conventional structures. Consequently, the proposed FFT structure can be efficiently used in various OFDM systems.

• Journal of Powder Materials
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• v.7 no.4
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• pp.205-211
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• 2000

Distribution of $Y_2BaCuO_5$ (211) Particles within $YBa_2Cu_3O_{7-x}/$ (123) grains of melt infiltration processed YBCO oxides was investigated. Processing parameters were a temperature, atmosphere (air and $O_2$) and initial 211 size. The 211 particles were distributed randomly within the 123 grains when the initial 211 size was large, while they made x-like pattern and/or butterfly-like patterns when the 211 size was small. The 211 patterns were more clearly observed in the samples prepared at higher temperatures and under $O_2$ atmosphere. The 211 distribution was explained in terms of the interfacial energy relationship among the solid, particle and melt.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.8
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• pp.1255-1263
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• 2008

Study on Hwal-ot, woman's wedding robe of the Joseon Dynasty, has been limited to the Princess Bock-on's Hwal-ot and some folk remains. In this study, I tried to identify formative characteristics of Hwal-ot by studying embroidery design patterns in the royal Hwal-ot. On Mar 26, 2007, I inspected total of 15 pieces of embroidery design patterns for Hwal-ot held at the National Palace Museum of Korea. I classified them into three types of Hwal-ot by considering characteristics in embroidery design patterns as well as composition of embroidery design patterns held by the private. For the Hwal-ot embroidery design pattern type I, there is a calligraphy called "Embroidery Design Pattern of Red Long Robe for leo-dong Palace", which is presumed to be the embroidery design pattern of Princess Deok-on, the third daughter of King Sunjo and a little sister to Princess Bock-on. Its patterns are very similar to that of Princess Bock-on's, with similar flower patterns and treasure patterns, as well as overall stripy structure. The Hwal-ot embroidery design pattern type II maintains the same flower patterns and butterfly patterns as in the type I, but does not have the striped decorative. The Hwal-ot embroidery design pattern type III has illustrative design with waves and mountain at the background and a pair of water birds flying around lotus. In particular, the type III design has a nine phoenix pattern at the front part of the robe, illustrating nine baby phoenixes (four in the left, five in the right) under a mother phoenix, which is closer to characteristics found in the Hwal-ot embroidery design patterns at the end of the Joseon dynasty.

• Korean journal of applied entomology
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• v.50 no.2
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• pp.97-105
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• 2011

Understanding the metapopulation structure and movement of a species are required for conserving the species. In this paper, migration patterns and connectivity of patches of a threatened butterfly, Parnassius bremeri Bremer, were postulated using the mark-release-recapture (MRR) technique in a habitat located in the mid-southern region of the Korean peninsula. A total of 194 individuals were captured (137 males and 57 females) and, of them, 93 individuals (73 males and 20 females) were recaptured during the MRR experiment. The migration analysis showed 23-150% immigration and 28-53% emigration. There were high correlations between the migrating individuals and the distance between patches, but there was no correlation between migrating individuals and patch size or between migrating individuals and the number of host plants. Consequently, the migration of butterflies occurred frequently between closer patches, while patch size and quantity of the food plant had minor effects on migration behavior. Additionally, males migrated more frequently than females. Analysis of the migration patterns of P. bremeri showed that the central patch played an important role on linking patch groups and more frequent migrations were monitored between nearby patches than between the remote patches. This study suggested that active migrations take place between the neighboring multiple patches and these are accelerated if there is a stepping-stone patch between them.

• Journal of agriculture & life science
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• v.46 no.2
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• pp.75-82
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• 2012

This is a study on the flower pattern artwork of the west wall of the Jagyeongjeon in Gyeongbokgung to find out the type of plants and flowers represented and their symbolism. The research was conducted from July 2010 to March 2011 and the artwork classified on the basis of its horticultural traits. A number was assigned to each pattern for analysis: No. 1 is Prunus mume, No. 2 is Prunus persica, No. 3 is Paeonia suffruticosa, No. 4 is Punica granatum, No. 5 and 6 is Dendranthema grandiflora, No. 7 is Rhododendron mucronu and No. 8 is Phyllostachys bambusoides. These 8 flower patterns symbolize longevity and fecundity and their presense around the Jagyeongjeon helped to bestow good fortune on the royal family so that they might live long lives and bear many children. 4 artworks symbolize longevity, 2 artworks symbolize integrity and 1 artwork symbolizes wealth and happiness. There is also symbolism of the need to have constancy in a royal household even during secular change. Out of the 8 artworks, the imagery of a bird and a moon is represented only once, but the image of a butterfly is represented five times in the surrounding elements. The bird and butterfly symbolise freedom and happiness from free love. Women in the palace are like a butterfly wanted to be like love as a freedom and have a free and open relationship like a butterfly. But a harmonious relationship between the royal family wanted to have a symbolic meaning that could be seen of the symbolistic. Based on the "Yangwhasorok"only plants with the highest values, from the 1st and 2nd grades, were used in the artwork of the west wall of the Jagyeongjeon.

• Journal of the Korean Society of Costume
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• v.53 no.8
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• pp.121-135
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• 2003

The purpose of this study is to suggest a theoretical basis to name Sa(紗) and Ra(羅) remains properly by comparing and analyzing the name, usage, value, length and width of Sa(紗) and Ra(羅) recorded on documents made at the end period of Joseon. The features of Sa(紗) and Ra(羅) at the end of the Joseon Period are as follows. 1. The kinds of Sa(紗) are about 80, those of Ra(羅) are about 12, and those of Sa(紗) are significantly more than those of Ra(羅). In regard to the aspect of patterns, there were about 20 types of patterns in the case of Sa(紗), but no specific pattern for Ra(羅). 2. Some newly revealed patterns in the case of Sa (紗) are as follows. Baek -bok-mun(백복문) was a pattern full of ‘bats(박쥐[복])’, and Baek-jeop-mun(백접문) was a pattern full of ‘butterflies(나비[蝶])’ Jeop-mun(접문) was classified into ‘butterfly patterns(나비문[접문])’ and ‘traditional window flame patterns(창살문[접문])‘. 3. When considering the usages of Sa(紗) and Ra(羅), Sa(紗) was used for various detailed purposes according to their kinds and patterns, but Ra(羅) was mostly used for underwear. The most commonly used Sa(紗) was the Gab-sa type(甲紗類). On the contrary, the Go-sa type(庫紗類) was significantly less used than the Gab-sa type(甲紗類). However, it must have been of relatively high quality Sa(紗), shown by the fact that it was used for outer garments. In addition, the Gung-sa type(宮紗類) was the best quality Sa(紗), shown by the fact that it was used for court dress and official uniforms in the royal court. 4. Sa(紗) and Ra(羅) whose features have been examined we Gapsa(甲紗), Sun-in (純仁), Gosa(庫紗), Gwansa(官紗), Jusa(走紗), Eunjosa(은조사), Gwangsa(廣紗), Waesa(倭紗), Dorisa(도리사), Gong-yangsa(공양사), Rasa(羅紗), Danghangra(唐亢羅), Yanghangra(洋亢羅), Yunjura(윤주라), Eunra(銀羅), Jeohangra(저항라), Chura(秋羅). 5. Regarding the values of Sa(紗) and Ra(羅), they were high quality textures and its length and width of 1 Pil(疋), a roll of cloth, were not subdivided in detail such as in the case of plain weaved silks(平絹).

• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.613-625
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• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.

• Korean Journal of Environmental Biology
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• v.22 no.1
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• pp.35-42
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• 2004

To examine the species composition and population fluctuation of butterflies at Mt. Yudal, Mokpo, we collected butterflies from May, 2001 to April, 2002 by dividing the study site into four subyegions. As a result, seven families comprising 40 species were identified. The patterns of population fluctuations at the four subregions showed that the lower the elevation the higher the number of species and individuals. Monthly fluctuations of buttefly species produced an M-shaped curve, whereas those of individuals produced a monotonic curve with a maximum peak during August. To see effectively the changes of numbers of species and individuals, we calculated the indices of species richness and evenness by subregions and months. As a result, both indices fulfilled the primary criterion of independence and showed more or less negative association: when heterogeneity is higher, evenness is lower. Examination of butterfly populations over long-term periods might provide an evidence of global warming and a guideline to conserve and manage habitats.

• Journal of the Korean Data and Information Science Society
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• v.28 no.5
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• pp.1191-1204
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• 2017

Weighted least squares (WLS) estimation is often easily used for the data with heteroscedastic errors because it is intuitive and computationally inexpensive. However, WLS estimator is less robust to a few outliers and sometimes it may be inefficient. In order to overcome robustness problems, Box-Cox transformation, Huber's M estimation, bisquare estimation, and Yohai's MM estimation have been proposed. Also, more efficient estimations than WLS have been suggested such as Bayesian methods (Cepeda and Achcar, 2009) and semiparametric methods (Kim and Ma, 2012) in heteroscedastic error models. Recently, Çelik (2015) proposed the weight methods applicable to the heteroscedasticity patterns including butterfly-distributed residuals and megaphone-shaped residuals. In this paper, we review heteroscedastic regression estimators related to robust or efficient estimation and describe their properties. Also, we analyze cost data of U.S. Electricity Producers in 1955 using the methods discussed in the paper.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.501-510
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• 2001

This study is focused on apparel textile design process applying pre-developed Korean traditional motifs. Since the fusion culture is in trend, Orientalism or Oriental look is the center of attraction in fashion. Under the circumstances, developing the traditional resources as sophisticated Korean-style is the goal of the BK21 team. This study makes a move to achieve the goal. As a method of accomplishing this study, 4 trendy motif samples such as stylized letter, butterfly, peony, and female face are selected after investigating fashion magazines and fashion related websites. As a result, pre-developted Korean traditional motifs are elected and revised using Adobe Illustrator 9.0. The newly revised motifs are applied to the textile pattern repeat form. The completed textile patterns are simulated on the simulated on the shawls to show their usages as one of souvenir items since the year of 2001 is the year of “Visit Korea”.