• Cross-Cultural Studies
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• v.39
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• pp.287-308
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• 2015

Biographical film is a genre narrativizing the actual person and history, and reproducing the character and history in a biographical film is in a dimension different from a film focused on a fiction. Discussion between these methods of narrative composition and image reproduction in a biographical film is also, in line with artistic/aesthetic problems and ethical/philosophical theses of the film text. This study discusses the phase of the way of reproduction of the actual person, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ in the biographical film, The Golden Era and the time she lived in a biographical film and how the audience's discussion of the film and socio-cultural discourse differ depending on their attitude towards the cinematic introspection of the text. The narrative structure, the method of image reproduction and cinematic devices of the film, The Golden Era are completely off the point of the general format of the traditional biographical film. In The Golden Era, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ and the history which she lived in did not revive depending on an omniscient subject's selective statement and meta-film structure. Ann Hui removed general, mythic images of $Xi{\bar{a}}o$ $H{\acute{o}}ng$ formed in the field of traditional Chinese culture and reproduced her through multilateral visions of a real, fictional narrator. Each spectator's judgment and interpretation of the film intervene in the multi-layered and sparse descriptions of the actual person's images and the era of the characters. Through this, it is possible to approach the uniqueness and authenticity a historical character, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ and to have an opportunity of multi-layered reflection on how to secure a critical distance and make a perception in historical judgment.

• Journal of Sensor Science and Technology
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• v.28 no.6
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• pp.366-370
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• 2019

In this study, we have successfully fabricated a highly conductive transparent electrode using Ag nanowires, based on piezoelectric polyvinylidene difluoride (PVDF) film, that can be applied as transparent and flexible speakers. The structural morphology of the Ag nanowires was confirmed by a detailed scanning electron microscopy. Ultraviolet-visible spectroscopy demonstrated that the transparent electrode fabricated by the Ag nanowires exhibited a transmittance of above 70%. The transparent electrode also showed very low sheet resistance with high flexibility. We have further developed an anti-oxidation coating layer by using a tetraethyl orthosilicate-poly trimethyloxyphenylsilane (TEOS-PTMS) slurry technique. It was confirmed that the transmittance and sheet resistance of the antioxidant film depends critically on the humidity of the film surface. We believe such Ag nanowire electrodes are a very promising next-generation transparent electrode technology that can be used in future flexible and transparent devices.

• Journal of ILASS-Korea
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• v.20 no.3
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• pp.168-174
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• 2015

Combustion instability is critical problem in developing liquid rocket engine. There have been many efforts to solve this problem. In this study, the method was sought through the injector as part of these efforts to suppress combustion instability. If the injector can suppress the disturbance coming from the supply line as a kind of buffer it will serve to reduce combustion instability. Especially we target at gas propellant oscillation in gas-centered swirl coaxial injector. The phenomenon is simulated with acoustic excitation of speaker. The film thickness response at injector exit was measured by using a liquid film electrode. Also the response of spray to the disturbance was observed by high-speed photography. Gas-liquid momentum flux ratio and the frequency of feeding gas oscillation were changed to investigate the effect of these experimental parameters. The trend of response by varying these parameters and the cause of weak points was studied to suggest the better design of injector for suppressing combustion instability.

• Transactions of Materials Processing
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• v.23 no.1
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• pp.10-15
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• 2014

Recently, micro-speakers have attracted much attention due to their increasing demand in mobile devices. Micro-speakers use polymer diaphragms, which are manufactured from thin polymer film by the thermoforming process. The diaphragm is generally designed to be a circular membrane with a cross section consisting of a double dome structure, and a number of corrugations are located in the outer region to produce better sound quality. In the current study, a finite element (FE) analysis is performed for thermoforming, and the resulting thickness reduction in the corrugation regions is estimated. The estimated thickness distribution is used in further structural and modal FE analyses, from which the effects of local thickness reduction on the stiffness and vibration characteristics are determined.

• Cross-Cultural Studies
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• v.48
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• pp.289-323
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• 2017

L'Espoir, a novel by Andre Malraux, contains traits of the genre of literacy reportage that depicts the full account of the Spanish Civil War as non-fiction based on his personal experience of participating in war; the novel has been dramatized into a semi-documentary film that corresponds to reportage literature. A semi-documentary film is the genre of film that pursues realistic illustration of social incidents or phenomenon. Despite difference in types of genre of the novel and the film L'Espoir, such creative activities deserve close relevance and considerable narrative connectivity. Therefore, $G{\acute{e}}rard$ Genette's narrative discourse of novel and film based on narrative theory carries value of research. Every kind of story, in a narrative message, has duplicate times in which story time and discourse time are different. This is because, in a narrative message, one event may occur before or later than another, told lengthily or concisely, and aroused once or repeatedly. Accordingly, analyzing differing timeliness of the actual event occurring and of recording that event is in terms of order, duration, and frequency. Since timeliness of order, duration, and frequency indicates dramatic pace that controls the passage of a story, it appears as an editorial notion in the novel and the film L'Espoir. It is an aesthetic discourse raising curiosity and shock, the correspondence of time in arranging, summarizing, deleting the story. In addition, Genette mentions notions of speech and voice to clearly distinguish position and focalization of a narrator or a speaker in text. The necessity to discriminate 'who speaks' and 'who sees' comes from difference in views of the narrator of text and the text. The matter of 'who speaks' is about who portrays narrator of the story. However, 'who sees' is related to from whose stance the story is being narrated. In the novel L'Espoir, change of focalization was ushered through zero focalization and internal focalization, and pertains to the multicamera in the film. Also, the frame story was commonly taken as metadiegetic type of voice in both film and novel of L'Espoir. In sum, narrative discourse in the novel and the film L'Espoir is the dimension of story communication among text, the narrator, and recipient.

• Proceedings of the Korean Institute of Electrical and Electronic Material Engineers Conference
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• 2007.11a
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• pp.346-346
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• 2007

압전세라믹 재료는 현재 압전 변압기, actuator, transducer, sensor, speaker 등에 광범위하게 이용이 되고 있다. 이 중에서 압전세라믹 소결체를 이용한 스피커의 제조는 가공이 까다롭고, 대형의 크기로 제작 시 소자가 깨지는 등의 많은 제약을 받고 있으며, 저음 특성이 떨어져 응용 범위가 한정되어 있다. 따라서 최근에는 이러한 단점을 극복하기 위하여 세라믹/고분자 복합체를 이용한 필름 스피커를 제작하고자 시도하고 있다. 이러한 세라믹/고분자 0-3형 압전 복합체를 이용할 경우, 제품의 경량화를 실현할 수 있고, 크기나 환경의 영향을 거의 받지 않으므로, 고기능성 스피커로의 응용에 적합할 것으로 보인다. 따라서 본 연구에서는 PZT계의 세라믹와 PVDF, PVDF-TrFE, Polyester, acrylic resin 등의 여러 고분자 물질과의 복합체를 제조하여 압전특성을 평가하였다. 본 실험은 먼저 $(Pb_{1-a-b}Ba_aCd_b)(Zr_xTi_{1-x})_{1-c-d}(Ni_{1/3}Nb_{2/3})_c(Zn_{1/3}Nb_{2/3})_dO_3$ (이하 PZT라 표기)의 최적화 조성을 선택하여, $1050^{\circ}C$에서 소결된 분말을 48시간 ball milling방법 로 약 $1{\mu}m$ 크기로 분쇄하였다. 고분자 물질들은 알맞은 용제들을 선택하여 녹였다. 그 다음 소결된 PZT분말과 고분자를 50:50, 60:40, 65:35, 70:30등의 무게 분율로 혼합하고, 분산제, 소포제 등을 첨가하여 3단 roll mill을 이용하여 충분히 분산시켜 페이스트 (Paste)를 제조하였다. 제조된 페이스트를 ITO가 코팅된 PET필름 위에 스크린 프린팅 법을 사용하여 인쇄하여 $120^{\circ}C$에서 5분간 건조하였다. 코팅된 복합체의 두께는 약 $80{\mu}m$ 정도로 측정되었다. Ag 페이스트를 이용한 상부 전극 형성에도 스크린 프린팅 법을 적용하였다. 이를 $120^{\circ}C$에서 4 kV/mm의 DC 전계로 분극 공정을 수행한 후 전기적 특성을 평가하였다. 유전특성을 조사하기 위해서 LCR meter (EDC-1620)를 사용하였고, 시편의 결정구조는 XRD (Rigaku; D/MAX-2500H)을 통해 분석하였으며, 전자현미경(SEM)을 이용하여 미세구조를 분석하였다. 압전 전하상수$(d_{33})$ 값은 APC 8000 모델을 이용하여 측정하였다. PZT의 혼합비가 증가할수록 비유전율 및 압전 전하 상수 등의 전기적 특성이 증가되었다. 또 여러 고분자 물질 중에서 PVDF-TrFE 수지가 가장 우수한 특성을 보였다. 이는 PVDF-TrFE 수지가 압전성을 나타내기 때문인 것으로 판단되었다.

• 기호학연구
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• no.57
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• pp.121-153
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• 2018

In terms of the story told, we see that Oh! Soojung(Virgin Stripped Bare by Her Bachelors) is a film of the ideololgy of masculinity. However, from the point of view of the manner of presenting story, Oh! Soojung is a film that aims to devalue this ideology. How will it be possible? This is the principle of the irony that the speaker, by saying P, wants to make Q listen that devalues and contradicts P. Our study is tempted to explain the process of interpreting the irony in the film. The ideology of the film occurs when the presupposed contents have become the subject. For example Cendrion who tells a story of a girl married to a prince presupposes that the girl, Cendrion, is obedient. The subject of this story is that the presupposition: /the girls who want to be happy must be obedient/, which represents the ideology of masculinity. Presupposed content thus imposes on the public a collective and conservative value, as its enunciator belongs to the collective voice. Since ironisation occurs when the utterance itself is annulled, one must also deny or cancel the story told of Oh! Soojng: /Jeahun who is rich and Soojung who is obedient and virgin have become lovers/. Since there is no semantic mark within the utterance, irony is a voice that comes from without; this is how we understand irony in a purely pragmatic way. The outer voices are two things: the way to build the story: question of focusing, ocularization and auricularization, and the way to present the story: question the order, the frequency or the plot. Our study is focused on the question of frequency at Oh! Soojung which has a repetition structure in which the memory of Jeahun and that of Soojung are represented one after the other. Since the memories of two characters are not identical, the repetition is accompanied by differences. The differences at first allow the public to build their own story from the di?g?se of the film and then make the audience fall into confusion where we can not be certain of what we see and know in the di?g?se of the film, and finally make their knowledge questionable. About repetition, so that it can have validity in terms of the informativeness of the utterance, it must deny the existence of the previous repetition. This is how repetition cancels itself and consequently the utterance. We see that the irony of Oh! Soojung occurs by repetition with differences that cancels the story of the film.

• Clinical and Experimental Reproductive Medicine
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• v.10 no.2
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• pp.39-47
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• 1983

The XI World Congress on fertility and sterility was held during 26th June-2nd July 1983, in Dublin, Ireland. The general view and impression of the congress are as follows. Scientific Programme 1. Main sessions were consisted of a keynote speaker 30 minutes with 4 supporting speakers for 20 minutes each, followed by discussion between the panelist and audience. 2. Related communication sessions were consisted of a series of 10 minutes papers and 5 minutes discussion. 3. Workshop sessions had a free wheeling time-table of audience/expert interaction, subjects concerned day to day practicalities of fertility and sterility. 4. Special symposium sessions had contributed from a number of invited experts in a particular field under discussion. 5. National society symposium sessions were organised and ran by fertility societies affiliated to IFFS. 6. Meet-the-authnr poster sessions, Film and Video sessions, Medical and industrial exhibitions are also introduced here. Business Programme 1. The meeting of executive and scientific commitees IFFS were held on June 26th, July 1st, and general assembly on June 28th, and July 1st. 2. Accreditation : IFFS Dublin 83, is recognised for 32 cognates formal learning by the American College of Obstetricians and Gynecologists. Social Programme 1. Dublin city orientation tour, welcome reception, Opening and closing ceremonies, evening of traditional Irish entertainment, Irish night at Powercourt Town-house Center, the banquet, State reception-(hosted by Minister of Health and Social secretary at Dublin Castle, and by the Lord Mayor of Dublin at National Concert Hall)-are introduced briefly in this paper. 2. The congress tour;, such as Georgian Dublin and shopping tour, Garden of Ireland tour, Boyne Valley tour and Curragh of Kildare tour were prepared during congress. 3. After closing the congress, for some of delegates an opportunity to sample, A taste of Dublin, such as Abbey theater, Abbey tavern and Jury's Cabaret etc were available.

• 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 .

• Journal of KIISE:Computer Systems and Theory
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• v.26 no.9
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• pp.1031-1041
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• 1999

기존의 한글에 대한 입술 애니메이션 방법은 음소의 입모양을 몇 개의 입모양으로 정의하고 이들을 보간하여 입술을 애니메이션하였다. 하지만 발음하는 동안의 실제 입술 움직임은 선형함수나 단순한 비선형함수가 아니기 때문에 보간방법에 의해 중간 움직임을 생성하는 방법으로는 음소의 입술 움직임을 효과적으로 생성할 수 없다. 또 이 방법은 동시조음도 고려하지 않아 음소들간에 변화하는 입술 움직임도 표현할 수 없었다. 본 논문에서는 동시조음을 고려하여 한글을 자연스럽게 발음하는 입술 애니메이션 방법을 제안한다. 비디오 카메라로 발음하는 동안의 음소의 움직임들을 측정하고 입술 움직임 제어 파라미터들을 추출한다. 각각의 제어 파라미터들은 L fqvist의 스피치 생성 제스처 이론(speech production gesture theory)을 이용하여 실제 음소의 입술 움직임에 근사한 움직임인 지배함수(dominance function)들로 정의되고 입술 움직임을 애니메이션할 때 사용된다. 또, 각 지배함수들은 혼합함수(blending function)와 반음절에 의한 한글 합성 규칙을 사용하여 결합하고 동시조음이 적용된 한글을 발음하게 된다. 따라서 스피치 생성 제스처 이론을 이용하여 입술 움직임 모델을 구현한 방법은 기존의 보간에 의해 중간 움직임을 생성한 방법보다 실제 움직임에 근사한 움직임을 생성하고 동시조음도 고려한 움직임을 보여준다.Abstract The existing lip animation method of Hangul classifies the shape of lips with a few shapes and implements the lip animation with interpolating them. However it doesn't represent natural lip animation because the function of the real motion of lips, during articulation, isn't linear or simple non-linear function. It doesn't also represent the motion of lips varying among phonemes because it doesn't consider coarticulation. In this paper we present a new coarticulation model for the natural lip animation of Hangul. Using two video cameras, we film the speaker's lips and extract the lip control parameters. Each lip control parameter is defined as dominance function by using L fqvist's speech production gesture theory. This dominance function approximates to the real lip animation of a phoneme during articulation of one and is used when lip animation is implemented. Each dominance function combines into blending function by using Hangul composition rule based on demi-syllable. Then the lip animation of our coarticulation model represents natural motion of lips. Therefore our coarticulation model approximates to real lip motion rather than the existing model and represents the natural lip motion considered coarticulation.