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- 저자 : 김종신(Jongshin Kim) (검색결과 5 건)
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김종신,김남주,Jongshin Kim,Nam Ju Kim 대한안과학회 2009 대한안과학회지 Vol.50 No.2
Purpose: To report a case of orbital leiomyoma presenting with proptosis. Case summary: A 69‐year‐old woman presented with a 3‐month history of proptosis in her left eye. Intraocular pressure was 17 mmHg in her right eye and 23 mmHg in her left eye. There was a left hypotropia on upgaze. A fundus examination showed retinal folds in the superotemporal area in her left eye. Computed tomography revealed a 2.6 cm‐sized well‐defined enhancing solid mass in the superotemporal extraconal space of the left orbit, pushing her left eye forward. Lateral orbitotomy, tumor removal, and biopsy were performed. Pathological findings showed a fascicular pattern of benign spindle cells with mild cellular pleomorphism and hyaline degeneration, without mitotic figures. Immunohistochemical stain was positive with smooth muscle actin (SMA), which was compatible with orbital leiomyoma. Conclusions: Orbital leiomyoma is rare, but it should be considered as a differential diagnosis of orbital tumor when the presenting symptom is proptosis and limitation of ocular movement.
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20세기초 음악에서의 새로운 조성관계 -바르톡, 스크리 아빈의 음악을 중심으로-
김종신 ( Jongshin Kim ) 한양대학교 음악연구소 2003 音樂論壇 Vol.17 No.-
This paper investigates the musical style of Scriabin and Bartok who not only introduced distinctly new musical elements into early 20th century music but blended them with the traditional aspects. Through analyzing the two composer’s works, we find that the main theme of their music exhibits specific intervallic elements as either a vertical unity or a horizontal entity, resulting in seemingly triadial structure or extremely dissonant chordal forms. That is, the theme that is comprised of specific intervallic elements develops beyond traditional tonality and achieves the unity of the music. The tonal system in their works consists of a new system of scales not based on the major-minor scales and at the same time it shows intervallic characteristics of the theme. In the Scriabin’s tonal progression, the phrasing structure is organized along with the movement of a tonal center, following the traditional phrasing structure. Specifically the movement of the tonal center comprises a new tonal system by introducing the whole-tone scale. In the case of Bartok's works, the intervallic characteristics of the theme form the tonal property of the entire pieces and his works exhibit the uniformity based on the mutual relationship between the two opposite elements: i.e., the extreme chromatic modes and the diatonic modes. Thus by focusing on the tonal system of the music of the two composers, this paper attempts to show how both the new elements and the traditional ones are utilized to develop the early 20th century music.
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드뷔시의 <솔로 플롯을 위한 시링크스> 분석을 통해 본 20세기 초의 조성개념
김종신 ( Jongshin Kim ) 한양대학교 음악연구소 2006 音樂論壇 Vol.20 No.-
This paper analyzes Syrinx for Solo Flute, a late piece of Debussy and attempts to investigate how new musical elements got merged into early 20th century music within the framework of tonal concept. The Syrinx for Solo Flute is a monodic piece and it proceeds with main motives of 3 and 4 note groups. The overall flow of the piece is developed by the intervallic relation which has free rhythmic pattern and it can be analyzed as a piece that ignores the tonal and solely consists of intervallic relation. Thus, this piece has been analyzed as proceeding with simple intervallic alignment by many analysts. However, this analysis exhibits that the distinct melodic line that is shown by the note group with a very regular rhythmic pattern proceeds within the framework of the traditional tonal concept. In this piece, Debussy exquisitely combines the pentatonic scale with the whole tone scale within the framework of the traditional B<sup>b</sup> and D<sup>b</sup> tonal, consequently achieving both conservative and progressive tendencies. The whole piece shows that on a large scale it contains the pentatonic scale having B<sup>b</sup> and the whole tone scale having D<sup>b</sup> as their tonal centers. Therefore, from the perspective of the tonal, Debussy exhibits the dual aspects of the attempt to destroy the traditional tonal by introducing a new scale and at the same time to blend the new musical element into the traditional tonal system. This way of analysis focusing on the tonal aspect thus can help us understand the various characteristics and tendencies of early 20th century's music.
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김서영(Seoyoung Kim),조민기(Mingi Cho),김종신(Jongshin Kim),권태경(Taekyoung Kwon) 한국정보보호학회 2020 정보보호학회논문지 Vol.30 No.6
라이브러리 구현의 결함을 발견하기 위해 동적 분석 방법인 퍼징(fuzzing)이 사용되고 있다. 라이브러리 대상 퍼징은 구현된 함수만 테스트를 할 수 있으므로 더 높은 코드 커버리지를 달성하기 위해서는 구현되지 않은 함수들을 추가로 구현해주어야 한다. 하지만 라이브러리 함수들의 호출 관계를 고려하지 않고 함수를 추가하면 이미 테스트를 수행한 함수가 추가되는 문제가 발생할 수 있다. 본 논문에서는 라이브러리 퍼징의 코드 커버리지 성능을 향상시키기 위한 개선 방법을 제안한다. 먼저, 라이브러리 퍼징의 대상 함수를 효율적으로 추가하기 위해 라이브러리의 함수 호출 그래프 분석하고 구현되지 않은 라이브러리 함수를 추가 구현한다. 그리고 라이브러리의 해결하기 어려운 제약조건을 가진 분기를 탐색하는 방법으로 하이브리드 퍼징을 적용한다. OpenSSL, mbedTLS, Crypto++을 대상으로 실험한 결과, 제안한 방법이 코드 커버리지를 증가에 효과적인 것을 확인하였다. Fuzzing is used to find vulnerabilities for a library. Because library fuzzing only tests the implemented functions, in order to achieve higher code coverage, additional functions that are not implemented should be implemented. However, if a function is added without regard to the calling relationship of the functions in the library, a problem may arise that the function that has already been tested is added. We propose a novel method to improve the code coverage of library fuzzing. First, we analyze the function call graph of the library to efficiently add the functions for library fuzzing, and additionally implement a library function that has not been implemented. Then, we apply a hybrid fuzzing to explore for branches with complex constraints. As a result of our experiment, we observe that the proposed method is effective in terms of increasing code coverage on OpenSSL, mbedTLS, and Crypto++.
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