원형도를 이용한 직물 드레이프성 측정

이경우,조성종,주기세 한국정보통신학회 2004 한국정보통신학회논문지 Vol.8 No.1

본 논문은 컴퓨터 그래픽에서 주요 이슈중 하나인 의류 착장시스템 구현을 위하여 직물의 가장 큰 특성중의 하나인 드레이프성 측정에 관한 연구이다. 가장 최적의 직물의 드레이프성을 구하기 위해 거리함수를 이용하여 볼록점을 계산한 후 직물의 둘레 및 면적, 볼록점 사이의 최대 최소 점과 평균거리와 같은 정보를 구하였다. 그리고 직물의 드레이프성을 나타내는 척도로 직물의 둘레와 면적을 기준으로 원형도를 구하였다. 실험결과 원형도가 직물의 드레이프성을 나타내는 여러 특성치 중 가장 좋은 결과를 보였다. 측정된 직물의 드레이프성은 의류 착장시스템 개발에 기여할 것이다. This article is concerned with cloth wearing system issues arising in the computer graphics. In particular, we study the issues of fabric drape properties for representing cloth wearing system. The convex points based on distance function are calculated to represent useful fabric drape properties. The information such as perimeter area, max and min point among convex point, the average distance between convex points are extracted. A strategy of a circularity based on the perimeter and area is considered for fabric drape property measurement. By experimental result, the circularity is most powerful factor to represent the drape property among the several characteristics. The measured drape properties will contribute to cloth wearing system development.

교육적 경험을 앙양하기 위한 교사의 임무

이경우 이화여자대학교 사범대학 교육학과 1960 교육 연구 Vol.- No.16

2009 동아시아 신종교 국제학술회의 ; 기조강연 : 한국신종교의 발생과정과 현황

이경우 한국신종교학회 2009 신종교연구 Vol.20 No.-

교육적 측면에서 본 야외 조각의 기능과 역할

이경우 공주대학교 교육연구소 1999 교육연구 Vol.15 No.-

W . C . Williams의 Americanism과 詩

李慶雨 한국중앙영어영문학회 1982 영어영문학연구 Vol.22 No.1

두 직교이방성 재료사이의 표면 계면균열과 면외 특이점의 상호영향 ( Elastic Interaction of Interfacial Edge Crack with A Screw Dislocation in Two Bonded Dissimilar Orthotropic Quarter Planes )

이경우,엄윤용 대한기계학회 1996 대한기계학회 춘추학술대회 Vol.- No.-

부직포의 열적 성질과 보온성에 관한 책구 (III) -풍속과 두께 변화에 대하여-

이경우,박명수,신현세,주강,Lee, Kyung-Woo,Park, Myung-Soo,Shin, Hyun-Sae,Joo, Kang 한국섬유공학회 1990 한국섬유공학회지 Vol.27 No.12

The change of warmth retaining properties of non-woven fabric with thickness and air velocity has been studied. The transmission of air velocity was approached to inverse proportion at above thickness 30 mm in air velocity 1.5 m/sec but in the above air velocity that was disregarded. The effect of air velocity could be indicated to time of reach thermal equilibrium and transmission of air velocity. In the thermal equilibrium state, transition area which has less influence on the air velocity was detected in sample thickness 30 mm to 50 mm.

T.S.Eliot의 다면주의와 The Waste Land

이경우 忠南大學校 1970 論文集 Vol.9 No.-

T.S. Eliot had a particular sense of time which was briefly suggested in his earlier essay Tradition and the Individual Talent, but in detail in his later philosophical poem, Four Quartets, and I recognize that his universalism which was practiced in his poem, The Waste land, was originated from the sense of time Then what is the universalism? It means that one as a whole human being who exists with such a particular sense of time should recognize all the aspects of a thing or an affair past and present at the same time, so that he may not fall into a narrowly limited view of point in his judgement of something. In other words, Eliot always expected to take a serious and impartial place in his observation and consideration of some objects. This attitude of Eliot reminds us of the doctrines and devices of Cubism which, being a painter’s only work in the field of space. As for the questions that how founctionally Eliot’s poetical theories - sense of tradition, impersonal theory and classicism --co-operate, in a body, to embody his universalism, we are able to epitomize as follows: 1)The sense of tradition which, Eliot professed, makes an author acutely conscious of his own place in the literary tradition means: first, the awareness of European literary background in which Eliot looked for his own poetic device, so far confining himself to English literature, that of metaphysical poets, not because of their marvellous conceits but because of their mechanism of sensibility which can devour any kind of experience; second, that of all the past literature from which he accepted all his possible materials to be re-written in his work, for his universalism. Eventually the essential meaning of ‘to re-write’, of course, is that he must not obey past authors, but keep them alive in the state of harmony with the materials of his own age. 2)Classicism primarily provided Eliot with a unique test in which to distinguish his possible devices and materials, comparing all the past literature of Europe in the light of his universalism. Of coruse, I know some critics say that none of the relationships can be found between his tradition and classicism, that is, Eliot insisted on tradition in his earlier time, but recognizing the imperfectness of the doctrine he turned toward classicism. However, I can not agree with this kind of remark, because for Eliot the sense of tradition was blind without the co-opreation of the test, briefly described as maturity in his earlier essay, The Function of Criticism, where he insisted that the differences between classicism and romantioism are the defferences between the complete and the fragmentary, the adult and the immature, the orderly and the chaotic, but the idea of maturity was defined more precisely in his later lecture, What is a Classic? delivered at Yale University. 3)Impersonal theory was necessarily needed for Eliot’s making of his poem, and it enabled him to reject the private ideas, impressions, emotoins and feelings, but to accept the racial ones while poet-Eliot’s mind was in the role of receptacle, and re-write them to be harmonized with the materials of present day while his mind in that of medium of platinum. So that his universalism could be realized in his work, espacialy in The Waste Land. But this theory has brought a lot of adverse criticisms on him because of his incomplete explanation of it. Therefore, I have brought light on it borrowing Freud’s theory of unconscious psychology in this paper. Presumably, here someone might say to borrow Freud’s theory is absurd procedure, but it is, I believe, reasonable rather than contradictory to interprete Eliot’s theory in the tarm of Freud’s, if we know Eliot himself gave us an adivice that a good poet ought to be, at adequate time, conscious and unconscious to be impersonal in the process of his making of a poem. The poet’s mental process of the making of a poem based on the impersonal theory adopts free association, and at the stage it requires the power of wit to adapt his visual languages of free association enough to pass the sensorship of reason (Super-ego), when the combination of ideas and languages in a particular and unexpected way arises. Here we notice that wit works in two ways: one to discover dissimilitudes between things which look alike; the ofher similitudes between things unlike. But the later function has been thought to be the only one mechanism of wit by many short-sighted critics. Eliot, however, maked use of these both functions so much well, and it is the matter of our concern that he preferred to use them vertically to meet and balance old and new, or past and present, but this my remark does not mean that he never used them horizontally to combine old and old, or present and present. It is by the vertical uses of wit’s function that Eliot had successed in accomplishing his universalism which permitted him to apprehend the unity of life through the development of the cultural history of human race, and all the lines or passages of his poetry, seeming to lack any logical coherence at a glance, as Yvor winters remarked, between them, are functional to each other, in the means of his deliberate uses as such of wit. And here finally I come to conclude that Eliot, in the making of poetry, quoted numberless lines and passages from the past authors, but owing to such remarkable uses of wit he is not a pseudo-poet, nor a plagiarist, but a true poet in his literary personality, which results in his universalism, and that the maturity from this ‘ism’in his work should be the test to reestimate how much he has done everlasting achivement to the literary tradition, reforming the traditional order all the past classics have ever had since the beginning of European literature.

어선의 통항 및 접이안 안전성 평가에 관한 연구

박계각,김형근,이경우 木浦海洋大學校 1998 論文集 Vol.6 No.3

문학 중심 언어교육 프로그램 개발 연구

이경우,이은화,김정준,이순영 이화여자대학교 교과교육연구소 1998 교과교육학연구 Vol.2 No.1

The concern for foreign language during early years is to cultivate children’s high level of leadership in language, for they are going to live their lives in the era of globalization. This study emphasizes using good books to implement whole language for Korean children who live in Korea and outside of the country as well as children who are enrolled in K-E BIP(Korean-English Bilingual Immersion Program). The curriculum development frame work is adapted from Fiorino's 'Model for Planning Instructional System'. Therefore, the Literature based Language Arts Program followed instructional flow chart which contains the need of an individual and society, over-all purpose or goal, select types of content, organize content, specify scope and sequence, select teaching and teaming strategies, system constraints, and evaluation. The program focuses on whole language, and especially Strickland's idea which means thinking and integrates the language process to help children' think with language' as they listen and speak and 'think with text' as they read and write. Finally, this study shows 15 picture book texts which has 3 levels; easy, medium, and upper levels. An example of the integrated approach is introduced by webbing with a literature.