• Journal of Korea Multimedia Society
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• v.20 no.3
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• pp.533-542
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• 2017

Novels include various character names, depending on the genre and the spatio-temporal background of the novels and the nationality of characters. Besides, characters and their names in a novel are created by the author's pen and imagination. As a result, any proper noun dictionary cannot include all kinds of character names. In addition, the novels translated into Korean have character names consisting of two or more nouns (such as "Harry Potter"). In this paper, we propose a method to extract noun phrases for character names and to cluster the noun phrases into coreferents for the same character name. In the extraction of noun phrases, we utilize KKMA morpheme analyzer and CPFoAN character identification tool. In clustering the noun phrases into coreferents, we construct a directed graph with the character names extracted by CPFoAN and the extracted noun phrases, and then we create name sets for characters by traversing connected subgraphs in the directed graph. With four novels translated into Korean, we conduct a survey to evaluate the proposed method. The results show that the proposed method will be useful for speaker identification as well as for constructing the social network of characters.

• Journal of Information Technology Services
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• v.15 no.3
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• pp.115-125
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• 2016

Novels includes various character names, depending on the genre and the spatio-temporal background of the novels and the nationality of characters. Besides, characters and their names in a novel are created by the author's pen and imagination. As a result, any proper noun dictionary cannot include all kind of character names which have been created or will be created by authors. In addition, since Korean does not have capitalization feature, character names in Korean are harder to detect than those in English. Fortunately, however, Korean has postpositions, such as "-ege" and "hante", used by a sentient being or an animate object (noun). We call such postpositions as animate postpositions in this paper. In a previous study, the authors manually selected character names by referencing both Wikipedia and well-known people dictionaries after utilizing Korean morpheme analyzer, a proper noun dictionary, postpositions (e.g., "-ga", "-eun", "-neun", "-eui", and "-ege"), and titles (e.g., "buin"), in order to extract social networks from three novels translated into or written in Korean. But, the precision, recall, and F-measure rates of character identification are not presented in the study. In this paper, we evaluate the quantitative contribution of animate postpositions to character identification from novels, in terms of precision, recall, and F-measure. The results show that utilizing animate postpositions is a valuable and powerful tool in character identification without a proper noun dictionary from novels translated into or written in Korean.

• Lingua Humanitatis
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• v.1 no.1
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• pp.159-183
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• 2001

This paper surveys the meaning of the pen name ′Yi Sang(李箱)′ in the light of the arbitariness of language and the relationship among names, observing in three ways how the images of ′Sang′ (Box) appear differently in his works. In Particular, we look into (1) the relationship between a box and its inner boxes, (2) the divisional relationship in the box, and (3) the relationship between the box and an outer box. In Yi Sang′s work, image (1) gives shape to the relationship between the writer himself and his ancestors who are responsible for his present existence. Image (2) gives shape to two internally divided Yi Sangs, and is symbolized as a mirror that reflects two selves. Image (3) gives shape to a relationship between himself in the closed world and other people and/or a bigger outside world. All these symbolic relationships are fully represented in his work "Nalgae" (The Wing)". What is interesting is that Yi Sang has already employed these box images in his earlier poetry "Geonchuk-muhan-yukmyeon-gaucho" (Infinite Architectural Hexagon). furthermore, by visualizing his name as a sqaure($\square$), he means to suggest the intentional image of his pen name as a ′box′.

• Journal of the Korea Institute of Information Security & Cryptology
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• v.30 no.3
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• pp.379-388
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• 2020

As the use of credit cards increases, security threats increase. In particular, despite being vulnerable to related crimes, such as fraudulent use of credit cards and theft of names, there are virtually no security procedures to authenticate the validity of user while paying with the credit card. In order to overcome these limitations of current credit card payments, we add a process of signing payment using a stylus pen with built-in acceleration sensor in the existing transaction method, and classifying and comparing the image of the signature and signature information measured by the sensor through the convolutional neural network. we propose a method to improve security in financial transactions by performing the user authentication process through the possession of the stylus pen and the characteristic values of the signature.

• (The)Study of the Eastern Classic
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• no.48
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• pp.289-310
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• 2012

The present study analyzes the content of "Suojaegi (The Account of the Suo Residence)," an essay written by the Joseon-dynasty scholar Jeong Yak-yong (丁若鏞, 1762-1836). The study identifies the work's characteristic features and significance, seeking to develop a methodology to use this essay to teach students how to write. In terms of its content, the author of "Suojaegi" asserts what it means to "protect one's self-integrity" as the word "Suo" means in the title of the residence where the author's brother Jeong Yak-hyeon(丁若鉉) lived. According to the author, his elder brother could keep on living in his house, without being sent to exile in the political turmoils, because he preserved his sense of self and adhered to his principles. The originality of the essay is attributed to the use of gi (記), a genre of writing in classical Chinese that can be translated as "record," or "account," to express his thoughts in a place of exile in the form of a dialogue with his own self. Lastly, this self-reflective essay can be served as a guide for teaching students to make their own pen names, and to write a letter of self-introduction.

• Journal of the Daesoon Academy of Sciences
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• v.25_1
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• pp.1-22
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• 2015

This paper took Jeonkyeong (典經) of Daesunjinrihoe(大巡眞理會) as the basic text and studied how Kangjeungsan(姜甑山), the Sangje (上帝), had embraced Chinese myth in process of formation of his religious thought focusing on Yan Emperor(炎帝) Shennong(神農) myth and Shanrangang(禪讓) myth (namely Danchu myth). First when we examine the myth surrounding Kangjeungsan's birth, it deeply emraced a feeling-birth myth(感生神話), we could realize that this is a universe motif through myth of hero birth in East Asia. Further judging from the analysis of geographic space of Kangjeungsan's activity, it included a variety of mythical and Daoist related place names. I think this is because of the fact that birth place of Kangjeungsan and the surrounding area is the locality of Xian(仙) tradition where major characters of Danhak sect(丹學派) have been turned out, and that Korean way of Xian suppressed by the regulatory system has been widely rooted in the public. Especially it's interesting that Jeungsan, the pen name of Kangjeungsan, ambiguously connotes Siru mountain(甑山), a place of his training, and the spiritual realm of the 『Zhouyicantongqi(周易參同契)』. Then I examined the God of fire Shennong myth which has been actively admitted and embraced by Kangjeungsan. Kangjeungsan put the root of his pedigree on Shennong and there is a close affinity between Shennong and Dongyi(東夷) such as Buyeo(夫餘), Goguryeo(高句麗), etc. These Dongyi spirits are losers against the Chinese major myth and beings of ressentiment. At the same time the predecessor of Jiutianyingyuanleishengpuhuatianzun(九天應元雷聲普化天尊) who shares mythical characteristics with the God of fire Shennong was a formerly Taishi(太師) Wenzhong(聞仲) of Yin(殷) dynasty. He was defeated and died by Zhou(周) dynasty, and was deified. The fact that Kangjeungsan regarded himself as a descendent of Shennong and possessed divinity of Jiutianyingyuanleishengpuhuatianzun connotes that he represents all beings of ressentiment such as family of Yin and Dongyi. However, Kangjeungsan set a religious milestone by turning revenge for such ressentiment at tribe level into religious sublimation. At the end Shanrang myth which has been critically embraced by Kangjeungsan was reviewed. According to the existing Shanrang myth, Danchu(丹朱) was unworthy and not succeeded in the succession to the throne. Then good natured Emperor Shun(舜) succeeded to the throne from Emperor Yao(堯). However, the reality of Shanrang myth was a violent change of sovereign power and Danchu was a victim in the process of such violent change. Kangjeungsan shrewdly grasped the reality of ancient China and cast light on presence of Danchu. And he emphasized the need of religious sublimation of revenge, Haewon(解冤). His such awareness of culture had a close relation with revisionist standpoint of independent Danhak sect expressing a skeptical glance at systematic, commensurate and authentic historical view of Chinese civilization. And further Kangjeungsan cosmologically and causationally reinterpreted revenge of Danchu. He established a universal salvation theology which has a corresponsive connotation in regard to embracement of Shennong myth. In conclusion, embracement of Chinese myth by Kangjeungsan was a creative work of reinterpretation resulting in an inherent religious connotation through a process of appropriation, that is independent and selective introjection.