멀티모드 단말기를 위한 셀 경계 지역에서의 SINR 기반 사용자 선택 방법

금동현,최승원,Kum, Donghyun,Choi, Seungwon 디지털산업정보학회 2015 디지털산업정보학회논문지 Vol.11 No.3

We consider a cell edge environment. In cell edge, a user interfered by signal which is generated by a base stations not including the user. In cell edge environment, that is, there are inter cell interference (ICI) as well as multi user interference (MUI). Coordinated multi-point transmission (CoMP) is a technique which mitigates ICI between base stations. In CoMP, therefore, base stations can coordinate with each other by sharing user state information (CSI) in order to mitigate ICI. To improve sum rate performance in CoMP, each base station should generate optimal user group and transmit data to users selected in the optimal user group. In this paper, we propose a user selection algorithm in CoMP. The proposed method use signal to interference plus noise ratio (SINR) as criterion of selecting users. Because base station can't measure accurate SINR of users, in this paper, we estimate SINR equation considering ICI as well as MUI. Also, we propose a user selection algorithm based on the estimated SINR. Through MATAL simulation, we verify that the proposed method improves the system sum rate by an average of 1.5 ~ 3 bps/Hz compared to the conventional method.

柳夢寅 散文理論의 構造과 意味

금동현 한국한문학회 2004 韓國漢文學硏究 Vol.0 No.34

김매순 문학론의 창작 지향과 미학적 성격

금동현 대동한문학회 2002 大東漢文學 Vol.16 No.-

김정희 (金正喜) 문예이론의 인식론적 기반과 미학적 성격

금동현 한국한문학회 2001 韓國漢文學硏究 Vol.27 No.-

This paper mainly discusses the meaning and the aesthetical characteristics of the literary theory of Chu-sa Kim Jeong hui(秋史 金正喜). Kim pursues 'practicality and truth(silsagusi 實事求是)' in his learning, which are connected with his aim of recovering the spirit of 'The six classics(六經)' by exegesis(訓詰). In re-interpreting Chinese Classics, he finds that the Chu-hsi's school is confined to non-essential questions, and thus he critically reconsiders its whole system of thought. Furthermore, he tries to find the vision of a new science and thought based on rationality. In short, 'practicality and truth' are the conclusions of this thought-process. Kim Jeong-hui proposes two main categories as the prerequisites of literary invention: 'the fragrance emanated from a letter or volume', and 'no pains, no gains' The former is obtained by the writer through endless discipline and repeated training in addition to inspiration, in order to represent the essence of an object(神似) beyond its appearance. For Kim, this whole process reflects the writer's aesthetic sense. The latter means that a writer cannot create the higher level of beauty in literature and art, until he experiences the political difficulties in his life. Human nature and refined style are two pillars of Kim Jeong-hui's literary theory. Human nature is the nature of a writer which is based on the beauty of his personality. This in turn reflects his abilities which he has cultivated to the highest degree. In general terms, refined style refers to the style of a piece of work as a whole, which involves following well-specified rules. Kim seeks to correct the conventional style, by combining human nature and refined style harmoniously and creating literary works with a high level of artistic quality and personal style. In his literary theory, profound insight and realistic imagery refer to the creation of an imaginative and poetic state experienced by the writer as he describes the world around him. Consequently, in the process of writing, Kim draws attention to the interaction between the poetic state of the writer's mind and his free imagination. Kim Jeong-hui tries to embody the principle of the pine and the cypress - not withering, evergreen in the harsh winter conditions - in his literature and his art. This principle is Kim's ideological and aesthetical aim. At this point, the aesthetical characteristics of his literary theory can be described as "'a raw-coarse' and 'dignified-elegant' aesthetics with a strong 'classical flavour'". This may appear, at first sight, to be a mere regression to the qualities of the past. However, it is neither reviving the past, nor even imitating it, but exemplifying past virtues.

숭고의 탈신비화 : 김기영의 『흙』 비틀기 -이광수의 『흙』(1933)과 김기영의 <흙>(1978)을 중심으로-

금동현,김경미 한국어문학회 2019 語文學 Vol.0 No.143

The purpose of this article is to interpret Kim Ki-Young’s <Soil>, which has been considered as ‘The Project for Selecting an Excellent Movie’, and to position the film as a latent work with rebellious ideas by subjectively interpreting and twisting the censorship system. Thus, this study examines the political claims and the aesthetic methods that drive political claim in Lee Kwang-Soo’s novel 『Soil』. The 『Soil』 preaches nationalism and chooses the sublimity as its methodology. However, these claims and methodologies have been linked to the cultural politics of the military regime in the 1970s. This suggests that the 『Soil』 is closer to the elements recommended by the 1970s censorship system. By the way, looking through the writings of film director in the 1970s, it can be deduced that censorship did not potentially go on, but there was an indication of its presence. And this creates an avenue where producers / spectators can actively create / participate under the censorship system. In this context, this study assumes that Kim Ki-Young has strategically exploited the <Soil> as a mask of visibility that required by the censorship system, and distorted cultural politics in the 1970s under the mask. The point is apparent when comparing the novel <Soil> and the movie 『Soil』. In the novel <Soil>, Masaki appears as a person who plants nationalism to Heo-Sung. This dismantles the originality of nationalism. In addition, Heo-Sung loses the self-control required as a premise of sublime. These two dimensions dismantle the occlusal ground of the 1970s cultural politics and the novel 『Soil』. 이 글은 ‘우수영화 선정을 위한 기획’으로 다뤄져 온 김기영의 <흙>을 새롭게 해석하여, 검열제도를 주체적으로 해석하고 비틂으로써 불온성을 잠재한 작품으로 위치시키는 데 목적이 있다. 이에 따라 이 글은 이광수의 소설 『흙』이 갖고 있는 정치적 주장과 정치적 주장을 구동시키는 미학적 방법에 대해서 짚어 본다. 『흙』은 민족주의를 설파하는 한편, 그 방법론으로 숭고를 택한다. 이러한 주장과 방법론은 1970년대 군사정권의 문화정치와도 맞닿는다. 이는 『흙』이 1970년대 검열제도가 권장하는 요소들과 가까움을 방증한다. 그런데 1970년대 영화감독의 글을 살펴보면, 검열은 잠재적으로 이뤄진 게 아니라 현재(顯在)했음을 파악할 수 있다. 이는 검열제도 아래 생산자/관객이 주체적으로 창작/감상할 수 있는 틈을 낳는다. 이러한 맥락에서 이 글은 김기영이 『흙』을 검열제도가 요구하는 가시성의 가면으로 이용 했으며, 가면 아래 1970년대 문화정치를 비틀었으리라 추정한다. <흙>과 『흙』을 대조할 시, 이 지점은 분명하게 나타난다. <흙>에는 허숭에게 민족주의를 심는 인물로 마사키를 등장시킨다. 이는 민족주의의 고유성을 해체한다. 또한 허숭은 숭고의 전제로서 요구되는 절제력을 잃게 된다. 이 두 차원은 『흙』과 1970년대의 교합 지반을 해체한다.

Novel SINR-Based User Selection for an MU-MIMO System with Limited Feedback

금동현,강대근,최승원 한국전자통신연구원 2014 ETRI Journal Vol.36 No.1

This paper presents a novel user selection method basedon the signal-to-interference-plus-noise ratio (SINR),which is approximated using limited feedback data at thebase stations (BSs) of multiple user multiple-inputmultiple-output (MU-MIMO) systems. In the proposedsystem, the codebook vector index, the quantization errorobtained from the correlation between the measuredchannel and the codebook vector, and the measured valueof the largest singular value are fed back from each user tothe BS. The proposed method not only generatesprecoding vectors that are orthogonal to the precodingvectors of the previously selected users and are highlycorrelated with the codebook vector of each user but alsoadopts the quantization error in approximating the SINR,which eventually provides a significantly more accurateSINR than the conventional SINR-based user selectiontechniques. Computer simulations show that the proposedmethod enhances the sum rate of the conventional SINRbasedmethods by at least 2.4 (2.62) bps/Hz when thenumber of transmit antennas and number of receiveantennas per user terminal is 4 and 1(2), respectively, with100 candidate users and an SNR of 30 dB.

김기영 영화미학 형성기 연구 - 연극 활동과 <양산도>(1955)를 중심으로 -

금동현,이정숙 한국문학언어학회 2019 어문론총 Vol.82 No.-

This article analyzed Kim Ki-young's theatrical activities and the significance of the movie, <Yangsando>(1955). Researches on Kim Ki-young have found his problematical elements after <The Housemaid>(1960), so his early activities were barely not recognized. As a result, Kim has gained an unexplainable 'exceptional existence' in Korean film history. This seems to have happened because Kim Ki-young's theatrical activities and <Yangsando> have not been specifically reviewed. Kim Ki-young's theatrical activities and <Yangsando> are positioned respectively in prehistory and beginning of his fim career. Hence, reviewing Kim’s theatrical activities and <Yangsando> will provide us that his view toward the world has come from the beginning of artistic activity Kim Ki-young performed at various theater groups during his college years. What's noteworthy is that Kim Ki-young directed Chekhov‘s 「On the highroad」 and Ibsen’s 「Ghost」-both known for its naturalistic tendencies-as expressionism play. 「On the highroad」 and 「Ghost」 depict a human’s general subordination to sexual desire. This common feature is also primary motive of expressionism that has continued in Kim Ki-Young’s film world afterwards. Kim Ki-young then expresses the techniques he developed in his theatrical activities in <Yangsando>. It’s not well-known to public but <Yangsando> is adaptation of <Butterfly lovers(Yang-Chuk story)>. Kim, the adaptor of this film, deals with ‘love’ in terms of ‘sexual desire’ by relegating the narrative and teaching themes of the original text. In addition, this film is not presented in the manner of ordinary realism, which is at the point of being correlated with the expressionistic form of strict anti-realism. Based on his theatrical activities and <Yangsando>, the article looked back at Kim's unnoticed spots trying to reconsider Kim’s “exceptional existence” in Korean film history and to find Kim’s true face. 이 글은 김기영의 연극 활동과 영화 <양산도>(1955)를 주목하고 그 의의를 분석하였다. 기왕의 김기영 연구는 <하녀>(1960)에서부터 연출가 김기영의 특성이 나타나기 시작한다고 판단했기 때문에 초기 김기영의 작품은 주목받지 못하였다. 그 결과 김기영은 한국영화사에서 해명되지 않는 ‘신화적 위치’를 점하게 되었다. 이는 김기영 연극 활동과 <양산도>가 구체적으로 검토된 바 없기 때문에 발생한 것으로 보인다. 김기영의 연극 활동과 영화 <양산도>는 김기영 영화의 전사(前史)이자, 영화 활동의 시작 지점으로 이 시기에 이미 김기영의 작가의식 및 세계관이 상당부분 구축되어 있었다. 김기영은 대학시절 여러 극단에서 활동하며 연극을 연출했다. 김기영의 연극 활동에서 주목할 점은 자연주의 경향으로 알려진 작품인 체홉의 <악로>와 입센의 <유령>을 “표현파”적으로 연출했다는 점이다. <악로>와 <유령>을 연출하면서 그는 ‘성욕’에 종속되는 인간을 그리려 했고 이러한 시각은 김기영의 영화로도 이어진다. 영화 <양산도>를 일관하는 연출가의 시각은 욕망, 구체적으로 성욕에 종속되는 인간이다. 「양축설화」를 각색한 <양산도>는 출전의 설화적·교훈적 주제를 욕망의 층위로 강등함으로서, ‘사랑’을 ‘성욕’의 차원에서 다루고 있다. 인간 내면의 욕망, 특히 성욕이라는 문제를 드러내는 데 초점을 두었기 때문에 영화의 기법도 통상적인 사실주의의 방식에서 벗어나고 있다. 이러한 기법은 이후 <하녀>와 같은 김기영 특유의 영화 문법으로 이어지는 것으로 볼 수 있다. 김기영의 초기 영화에 나타난 작가의식과 영화적 표현의 측면을 다시 읽는 과정은 한국영화사에서 김기영이 점하고 있는 ‘예외적 위치’를 재고하고 작가의 본질적 문제의식과 그의 영화적 지향을 읽어내기 위한 첫 과정으로도 의미가 있다.

19 세기 한국한문학의 제양상 - 김매순 경학의 특징적 국면에 대한 연구

금동현(Dong Hyun Kum) 동방한문학회 2002 東方漢文學 Vol.0 No.22

N/A

慶州 皇龍寺址에 대한 遺構內容과 文獻資料와의 比較檢討

金東賢 동국대학교 박물관 1991 佛敎美術 Vol.10 No.-

이상의 배변 경험과 ｢烏瞰圖 : 詩第五號｣ 새로운 해석

금동현(Geum, Dong-hyeon) 이상문학회 2020 이상리뷰 Vol.- No.16

이 글은 이상의 연작시 『烏瞰圖』의 ｢詩第五號｣의 새로운 해석 가능성을 제시했다. ｢烏瞰圖: 詩第五號｣에 대한 기왕의 연구는 타이포그래피 조작, 장자 사유, 해석의 통일성 중 한 가지 요소를 결하고 있었기에, 전체 요소를 아우르는 해석은 아직 도출되지 않았다. 이에 이 글에서는 ｢烏瞰圖: 詩第五號｣의 원형에 해당하는 일문 시 ｢二十二年｣의 시제를 실마리로 이상이 스물두 살 당시 창작한 시 ｢LE URINE｣을 ｢烏瞰圖: 詩第五號｣ 해석의 참조 텍스트로 삼고, 배변 과정을 담은 ｢LE URINE｣과 ｢烏瞰圖: 詩第五號｣가 동일한 상황을 배경으로 하고 있다고 결론을 내렸다. 또한 ｢烏瞰圖: 詩第五號｣ 해석의 난점을 일으켜 온 “翼殷不逝 目大不覩”를 타이포그래피 조작을 통해 장자적 사유의 맥락을 더욱 부각시킨 것으로 간주했다. 이러한 바탕 위에서 ｢烏瞰圖: 詩第五號｣를 이상이 배변 경험을 위티즘의 방법으로 변용한 것이며, 시의 마지막 행 “臟腑라는것은浸水된畜舍와區別될수잇슬는가”에서 분명히 드러나듯 인간과 변 사이의 지위를 무화하는 인식에 도달하는 과정을 담은 작품으로 해석하였다. This article suggested the possibility of a new interpretation of “Poem Ogamdo the Fifth”. No interpretation of the whole element has yet been derived, as previous research on “Poem Ogamdo the Fift” lacked one of the elements of typography manipulation, Zhuang Zhou idea, and uniformity of interpretation. In this article, the title of “Twenty Two Years,” which corresponds to the prototype of “Ogamdo The Fifth” is a clue to the interpretation of “The Ogamdo The Fifth”. When Lee Sang was 22 years old, he wrote the poem “LE URINE” which describe the process of defecation. This article used “LE URINE as reference text for “Ogamdo The Fifth” and concluded both ｢LE URINE｣ and “Ogamdo The Fifth”, are are set in the same situation, contain the process of defecation. And also “翼殷不逝 目大不覩”, which has caused difficulties in interpreting “Ogamdo The Fifth”, as more emphasizing the context of the idea of Zhuang Zhou through typography manipulation. On this basis, “Ogamdo The Fifth” was transformed by Lee Sang’s Experience of Defecation into the method of Witism, and as clearly evident in the last line of Poem, it is a work that contains the process of reaching the recognition that negates the position between humans and excreta.