• Journal of Intelligence and Information Systems
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• v.21 no.1
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• pp.99-118
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• 2015

Object-oriented programming languages have been widely selected for developing modern information systems. The use of concepts relating to object-oriented (OO, in short) programming has reduced efforts of reusing pre-existing codes, and the OO concepts have been proved to be a useful in interpreting system requirements. In line with this, we have witnessed that a modern conceptual modeling approach supports features of object-oriented programming. Unified Modeling Language or UML becomes one of de-facto standards for information system designers since the language provides a set of visual diagrams, comprehensive frameworks and flexible expressions. In a modeling process, UML users need to consider relationships between classes. Based on an explicit and clear representation of classes, the conceptual model from UML garners necessarily attributes and methods for guiding software engineers. Especially, identifying an association between a class of part and a class of whole is included in the standard grammar of UML. The representation of part-whole relationship is natural in a real world domain since many physical objects are perceived as part-whole relationship. In addition, even abstract concepts such as roles are easily identified by part-whole perception. It seems that a representation of part-whole in UML is reasonable and useful. However, it should be admitted that the use of UML is limited due to the lack of practical guidelines on how to identify a part-whole relationship and how to classify it into an aggregate- or a composite-association. Research efforts on developing the procedure knowledge is meaningful and timely in that misleading perception to part-whole relationship is hard to be filtered out in an initial conceptual modeling thus resulting in deterioration of system usability. The current method on identifying and classifying part-whole relationships is mainly counting on linguistic expression. This simple approach is rooted in the idea that a phrase of representing has-a constructs a par-whole perception between objects. If the relationship is strong, the association is classified as a composite association of part-whole relationship. In other cases, the relationship is an aggregate association. Admittedly, linguistic expressions contain clues for part-whole relationships; therefore, the approach is reasonable and cost-effective in general. Nevertheless, it does not cover concerns on accuracy and theoretical legitimacy. Research efforts on developing guidelines for part-whole identification and classification has not been accumulated sufficient achievements to solve this issue. The purpose of this study is to provide step-by-step guidelines for identifying and classifying part-whole relationships in the context of UML use. Based on the theoretical work on Meta-model Formalization, self-check forms that help conceptual modelers work on part-whole classes are developed. To evaluate the performance of suggested idea, an experiment approach was adopted. The findings show that UML users obtain better results with the guidelines based on Meta-model Formalization compared to a natural language classification scheme conventionally recommended by UML theorists. This study contributed to the stream of research effort about part-whole relationships by extending applicability of Meta-model Formalization. Compared to traditional approaches that target to establish criterion for evaluating a result of conceptual modeling, this study expands the scope to a process of modeling. Traditional theories on evaluation of part-whole relationship in the context of conceptual modeling aim to rule out incomplete or wrong representations. It is posed that qualification is still important; but, the lack of consideration on providing a practical alternative may reduce appropriateness of posterior inspection for modelers who want to reduce errors or misperceptions about part-whole identification and classification. The findings of this study can be further developed by introducing more comprehensive variables and real-world settings. In addition, it is highly recommended to replicate and extend the suggested idea of utilizing Meta-model formalization by creating different alternative forms of guidelines including plugins for integrated development environments.

• Sijohaknonchong
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• v.26
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• pp.243-261
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• 2007

In this study, I have looked though the Sijo made by Sowol and Jiyoung who were the frontiers of the Korean modern poetry. Through this study, I've tried to research the relationship between the free verse and their versifying Sijo. Sowol made the eight Sijo : six Sijo made in his early days. and the others made in later days. Sowol's early free verse tended to show the regular form. Although his 6 Sijo maintained the traditional form, he tried to make the formal changes. But the subject of those were in the way of view points of old Sijo. But the rest two Sijo strongly showed the problem of reality. Jiyoung made the 9 Sijo in his early days. But Jiyoung's is different from Sowol's. Jiyoung tried to make a new way of expressing the poetic images while Sowol was focused on the formal changes. Also, his final work 'Eun' had the feature of fixed form of verse. Through the research mentioned above, I confirmed that their tries to make the fixed form of verse were the background of developing and pioneering their free verse.

• Journal of the Daesoon Academy of Sciences
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• v.17
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• pp.113-134
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• 2004

According to Hans Kippenberg, the foundation of an academic study of religions coincided with the beginnings of modernization. Since the second half of the nineteenth century most European countries were involved in a process of rapid social change. The repercussions that this had for daily life were momentous. Instead of working for their traditional needs, people now had to produce goods for a market. Old customs ceded to private contracts and political laws. The superior knowledge of science replaced the inherited worldview. This deep changed severed societies from their ties to the past. Many educated people in Europe believed in an imminent end of all religions. Had not the scientific progress superseded the religious worldview? Historians had to come to terms with that expectation when they directed their attention to historical religions. Friedrich Max Muller introduced a new science, so-called Religionswissenschaft through the study of the ancient Vedic sources. He thought that genuine religion was a taste for, and sense of, the infinite. From his point of view, the Indian sources confirm that nature is more than mechanical laws. Thus his interpretation sought to contradict the materialist ideology of his day. Edward Burnett Tylor described religions as a kind of natural philosophy. His notion of 'soul' functioned to explain natural events. This legacy of the past cannot be missed even in modern society. Only the concept of the soul may preserve human dignity in an age of materialism. Gerardus van der Leeuw, also tried to perform the same function of the cultural critique for the renewal of the religious imagination in modern, rationalized Europe imprisoned in the iron-cage. In this respect, we could think that the interpretations of the history of the History of Religions in the light of the intellectual history are very suggestive for the korean student of religion. It helps them to describe the early history of the study of religion in Korea. For example, Yi Neung Wha(李能和) is regarded as 'a father of korean religious studies, but no one could present a proper answer for the question of why and through which connection of his intellectual milieu he was interested in the religious history and the study of religion. We would discover its signification in his confrontation of the prevailing social thought, such as social evolutionism.

• Journal of Korean Neurosurgical Society
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• v.63 no.2
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• pp.137-152
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• 2020

In spite of the developing endovascular era, large (15-25 mm) and giant (>25 mm) wide-neck cerebral aneurysms remained technically challenging. Intracranial flow-diverting stents (FDS) were developed to address these challenges by targeting aneurysm hemodynamics to promote aneurysm occlusion. In 2011, the first FDS approved for use in the United States market. Shortly thereafter, the Pipeline of Uncoilable or Failed Aneurysms (PUFS) study was published demonstrating high efficacy and a similar complication profile to other intracranial stents. The initial FDA instructions for use (IFU) limited its use to patients 22 years old or older with wide-necked large or giant aneurysms of the internal carotid artery (ICA) from the petrous segment to superior hypophyseal artery/ophthalmic segment. Expanded IFU was tested in the Prospective Study on Embolization of Intracranial Aneurysms with PipelineTM Embolization Device (PREMIER) trial. With further post-approval clinical data, the United States FDA expanded the IFU to include patients with small or medium, wide-necked saccular or fusiform aneurysms from the petrous ICA to the ICA terminus. However, IFU is more restrictive in South Korea than in United States. Several systematic reviews and meta-analyses have sought to evaluate the overall efficacy of FDS for the treatment of cerebral aneurysms and consistently identify FDS as an effective technique for the treatment of aneurysms broadly with complication rates similar to other traditional techniques. A growing body of literature has demonstrated high efficacy of FDS for small aneurysms; distal artery aneurysms; non-saccular aneurysms posterior circulation aneurysms and complication rates similar to traditional techniques. In the short interval since the Pipeline Embolization Device was first introduced, FDS has been firmly entrenched as a powerful tool in the endovascular armamentarium. As new FDS are developed, established FDS are refined, and delivery systems are improved the uses for FDS will only expand further. Researchers continue to work to optimize the mechanical characteristics of the FDS themselves, aiming to optimize deploy ability and efficacy. With expanded use for small to medium aneurysms and posterior circulation aneurysms, FDS technology is firmly entrenched as a powerful tool to treat challenging aneurysms, both primarily and as an adjunct to coil embolization. With the aforementioned advances, the ease of FDS deployment will improve and complication rates will be further minimized. This will only further establish FDS deployment as a key strategy in the treatment of cerebral aneurysms.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.10-20
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• 2014

The purpose of this study is to define criteria for landscape restoration of palace gardens. The case study on Gyeongbokgung and Changdeokgung was used not only to evaluate effectiveness of the criteria, but also to propose solutions to issues of current restoration process of both palace gardens. Following three pairs of different concepts were chosen as criteria to determine on the original form: Diachrony vs. Synchrony, Originality vs. Contemporary Characteristics, and Invariance vs. Deformability. Gyeongbokgung has been restored based on its contemporary characteristics of Year 1888 and the main focus is on its architectural features rather than both architecture and landscape. However, in-depth complementary work on landscape restoration is necessary to restore its originality in Year 1395 such as analyzing photos of Gyeongbokgung taken in modern era. In case of Changdeokgung, we analyzed separately by region or landmark such as Jondeok-Pavilion(尊德亭), Yeonkyung-Hall(演慶堂), and Okryu-Stream(玉流川). Original form of Jondeok-Pavilion Area was changed in 1884. Since diachronic invariance that lasted for 240 years is more important criterion than its contemporary characteristics, it should be restored as how it was painted in Donggwoldo(東闕圖). In Yeonkyung-Hall Area, both original characteristics at the time of Hyomyung Crown Prince and contemporary characteristics of Emperor Kojong Era appear. Therefore, different solution is required for such area to be restored appropriately. Starting from era of King Injo(1636), diachrony and invariance of Okryu-Stream Area were continued throughout the era of King Sukjong and King Jeongjo(1800). It is more than 250 years before Okryu-Stream Area was altered under the rule of Emperor Kojong in 1884. In fact, alterations made to Okryu-Stream Area after 1884 doesn't hold much significance. Therefore, water landscape of Okryu-Stream Area, which was altered in the era of Emperor Kojong, needs to be restored based on Donggwoldo.

• Journal of the Korean Society of Costume
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• v.31
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• pp.145-164
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• 1997

Cinema costume can stimulate the public to synchronize with and replicate what they see in the movies. Especially when the public thinks the stars in the movies . Especially when the public thinks the stars in the movies are beautiful or dramatic the styles of cinema costumes powerfully affect them. Thus cinema costume designers quickey become fashion designers. Edith Head who strongly believed cinema costumes to be an effective means of portraying the Character's personality and psychological make-up was an innovative designer whose costumes manifested this belief. She enhanced the character's individual image and distinction for the public through her artistic design in costumes. She adapted a realistic approach but her costumes invariably produced aesthetic ef-fects. Since the Academy Awards added the category of costume design she led the field with 35 nominations and eight oscars during 33 years of her productive work. Edith head was a dominant figure in costume design; her creations were highly renowned as an art form while they gained popularity. The purpose of this study was to reveal the ef-fects of Edith Head's cinema costume designs on fashion. This study was also to emphasize the powerful influence on ashion of cinema costume and cinema costume designers in general. The study was done through literature movies for which she created costumes fashion magazines and Edith Head's original sketches. The influence of Edith Head's costume de-sign on fashion is as follows: 1. She introduced and lead the casual fashion in the 1950's combining simplicity and sophistication. 2. She altered uniforms and reconstructed public clothing for multiple functions. 3. She rearranged high school prom dresses through the movie 'A Place in the Sun" to en-hance characteristic of each gender and the Dandy Look of the 1930's into men's apparel in the 1970's through the movie "The Sting" 4. She expanded the traditional style in the 1940's and became a leader in ecological style. 5. She adapted glitter from astronaut's ap-parel into public clothing. 6. She resturctured Sabrina Pants in the 1960's to accentuate the individuals strength by overcoming one's weakness without minimi-zing it's aesthetic appeal and reintroduced the pants in the 1990's. 7. She introduced elegant negligees to gen-eral public and maintained it in the public do-main. As it is revealed Edith Head's costume de-sign not only impacted the field of fashion dur-ing her time but also is presently influencing modern fashion throughout the world as it is witnessed by repeated reintroduction of her fashion styles. Reviewing her cinema costumes it is concluded that cinema costumes it is concluded that cinema costumes powerfully af-fect the public through a visual channel more than any other routes. Cinema costumes can become the origin of fashion by stimulating the public to synchronize with and replicate what they see in the movies. Since cinema costumes can launch fashion trend it requires further research. Based on what is revealed in this study. it would be beneficial to examine how cinema costumes affect people socially and culturally and how they could provide resources for re-search in fashion trends. It is also the writers opinion that there should be more designers such as Edith head who could lead the field of costume design into the twenty-first century.

• Fashion & Textile Research Journal
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• v.9 no.5
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• pp.538-544
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• 2007

We usually try to accomodate ourselves to our nature surroundings interacting with nature. There fore I've decided to apply nature materials, esp. the pine to Hair Art as a way of expressing our feelings from Nature. 'Hair Art' is a follow-up study based on the various artistic point of view. There has been various works of 'Hair Art' with nature materials. However, it is rare to see a work of 'Hair Art' with the pine. That's why I've decided to study more about this. This study is a new experiment in 'Hair Art' against a conventional idea "Hair Art values practicability." Therefore, the primary goal of this study is to do much for the cause of learning in 'Hair Art' and encourages some development of 'Hair Art' industry. I've researched an image of a pine tree in art of Joseon Dynasty and contemporary art. Then I've tried to apply the image to a work of 'Hair Art'. First of all, in a view of expression technique for the symbolism of the pine, the artists in Joseon Dynasty drew pictures of a pine tree with a paintbrush but the modern artists make a new attempt from the thought of Modernism. We can find it in some photos. Next, to express traditional oriental idea such as 'unconventional and elegance', comtemporary artists chose the symbolism of the pine tree as an object of their works like pen and ink sketches from the thought of Modernism. Third, in a fusion style picture which contains features of both oriental paintings and western paintings and in a sexualism style picture that depicts a harmony of a male and a female as a shape of a pine, we can find colorful images of a pine tree and Their figurative beauty in art. Those are another symbols of the pine. In conclusion, the implication of the pine tree still hasn't changed even there are differences of drawings of pine tree in the past and the present. I've tried to combine these symbolic ideas of the pine with 'Hair Art' and made 5 hair styles. Throughout the process of researching this topic which is 'The Study of Hair Art Using The Symbolism of The Pine', I've realized that pine trees make it possible to express intrinsic tough spirit of human being and abundance in color and figurative beauty in art. I hope this can contribute to the field of 'Hair Art' and would become an important educational resource for further study.

• Korean Journal of Family Social Work
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• no.60
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• pp.73-100
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• 2018

This study aims to develop a scale to capture various components of the family value and apply for comparative study of the family value of East Asian countries. Through literature review and experts consults, 27 preliminary questions of the East Asian family value were developed. A total of 3,000 people of East Asia countries(Korea, China, Japan) aged 20~59 were responded to the questionnaire. For validating the family scale developed, an explanatory factor analysis, confirmatory factor analysis and reliability analysis were conducted. The results were as follows. Two of the 27 questions were deleted because those questions were found to have high correlation with other questions. Through the exploratory factor analysis 5 factors composed of 15 items -post-modern family value, traditional family value, confucian family value, instrumental family value and gender equality family value-were extracted and confirmed the factors with confirmatory factor analysis and reliability analysis. The results revealed that the family value scale was appropriate for measuring various family values in East Asian countries and would contribute to the development of Asian family theory. However, this scale can not cover all the family values and further studies would be needed to confirm the validity of the family value scale.

• (The) Research of the performance art and culture
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• no.32
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• pp.243-267
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• 2016

Deonum preexisted prior to it being named. Of course, the object designated as deonum at that time is not the same as the object designated as deonum at this time. There have been historical transitions in the definitions of the term deonum. This paper traced the term deonum to its origin from another angle. On closer inspection about the possible use as the everyday language and the technical language in the field of arts except for pansori, the term deonum was essentially a word for a tune. Deonum was in the same category as deureum, a great word in the Korean traditional music. But the definition of deonum as a tune used in the early part of the former period of eight master singers or before that gradually disappeared for a long time. When the term deonum as an everyday language first entered the field of pansori, it meaned characteristic tune singed by master singers. As pansori develop artistically, the term deonum changed into the word refers to the sori part, and this example become common in the former period of eight master singers. Most sori part acknowledged as a deonum in the former period of eight master singers was a deonum as a creative repertories, the master singer's creative work, but a deonum as a popular repertories, the master singer's specialty, began to be acknowledged as a deonum after the latter period of eight master singers. The differentiation between the definitions of deonum as a sori part occured. And most sori part acknowledged as a deonum after the modern era of five master singers have belonged to a deonum as a specialty. In this context, it was confirmed that Cheong Nosik wrote Joseonchanggeuksa, with carefully considering the historical change of definitions of deonum. This book includes three definitions of deonum, a deonum as a tune, a deonum as a creative work, and deonum as a specialty.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.334-365
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• 2010

Mother-of-Pearl craftwork sketch involves the whole process of making a piece of work. Therefore, it includes types, forms, sizes, and patterns of the work. Some information about when and by whom those works were manufactured and who ordered them are still found in some sketches. This paper seeks to find out popular types and patterns of the works in each period and its demand and the way of supply by examining the collection of approximately 1700 Mother-of-Pearl craftwork sketches from the period of Japanese colonization up to the present time, which are owned by Mr. Song Bang-wung, Important Intangible Cultural Heritage no.10. Typical patterns of sketches are the hua-jo(花鳥 : Flowers and Birds), the Sakunja(四君子 : Four Gracious Plants), cultural treasures, figures in folk tales, 'Su-bok(壽福)' characters, and landscape. The pattern sketches have changed according to the circumstances of Korean society. During the period of Japanese colonization from the 1920s to the 1940s the manufacture and the supply and demand of Mother-of-Pearl craftworks were controled by the Japanese government. As a result, many of the patterns were adjusted to the Japanese taste. Most of its customers were also Japanese. During the 1950s after Independence the American Military Forces appeared as new customers due to the Korean War. Thus, the traditional Korean patterns to decorate accessories adored by American soldiers gained popularity. Foreign Mother-of-Perls were imported from the late 1960s to the 1970s. They were bigger and more colorful than those of Korean and it enabled the sketches bigger and the patterns more various. The most popular pattern in this period was the pattern of cultural treasures, such as an image of Buddha, metalcraft works, porcelains and pagodas. In terms of a technique, new techniques, such as engraving and rusting were introduced. There was a great demand for Mother-of-Pearl craftworks in the 1970s as people were highly interested in them. They were entirely made to order and there was a large demand from diverse organizations, furniture dealers and individuals. And the Mother-of-Pearl craftwork was in full flourish in the 1970s due to the country's economic development and the growth of national income. Mass production of the works was possible and the professional designers who drew patterns actively worked in this period. The favor of Mother-of-Pearl craftworks declined in the 1980s since the built-in furniture and the Western style of furniture became prevalent due to the change of housing into apartments. But it seemed that the manufacture of Mother-of-Pearl craftworks revived for once the technique of Kunum-jil(끊음질 : cutting and attaching) became popular in Tong-young(統營). After the 1990s, however, the making of Mother-of-Pearl craftworks gradually declined as the need of them decreased. Now it barely maintains its existence by a few artisans.