소프트웨어 컴포넌트 재사용에 관한 연구

朱福奎 홍익대학교 산업기술연구소 2001 産業技術 Vol.11 No.-

Software reuse and component-based development methods are regarded as one of the most important tools for developers to cope with ever-increasing needs for reliable software and software complexity. This paper presents how to generate integrated software from resuable components, and how to develop the functions of composed software, by the analysis of domain relations of components, This study is based on the dataflow systems architecture and process components, and the domain analysis technique presented here is an application of domain testing techniques.

프로그램 군 개발 방법에 관한 연구

朱福圭 홍익대학교 산업기술연구소 2002 産業技術 Vol.12 No.-

In a software product line approach, developers first develop common software architecture and components by analyzing the characteristics of all software members, and then produce each application by integrating components. The approach is considered very effective means for developing and maintaining in parallel a software family of many members. Main disadvantages of this approach is that it requires a big up-front investment in preparing product line and it takes time to deliver the first version. In this paper, we present an incremental approach to the development of software family, which requires little additional cost for initial versions and allows an organization to move smoothly to full-scale product line.

多周波 홀로그래피 法을 利用한 마이크로波 홀로그래픽 영상방법

周昌福,金兌孝,鄭周洙 慶南大學校 附設 工業技術硏究所 1989 硏究論文集 Vol.7 No.-

多周波 홀로그래피法에 의한 홀로그램데이터 收集方法과 신호처리방법을 제시하고 數値像再生을 위한 알로리즘을 확립하였다. 本 硏究의 알고리즘에 의해 컴퓨터프로그램을 개발하고 컴퓨터 시뮬레이션을 통하여 開口合成에 관한 마이크로파 영상기법을 확립하였다. A multi-frequency microwave holographic imaging method with high resolution capability in both range and azimuth directions are described. This paper develops 1) the collection method of hologram data and the signal processing method for signal compression, 2) an algorithm for numerical image reconstruction method, 3) a computer software for microwave imaging technique. Numerical image reconstructions are presented well for demonstsrating the capability of the method.

첨단 연구 교육망에 관한 조사 연구

朱福奎 弘益大學校 産業技術硏究所 2005 産業技術 Vol.15 No.-

In the last decades, inter-networking technologies advanced more rapidly than any other field. Today, the Internet became an indispensible tool of everyday's life of human beings and then became a basic infrastructure to the nations and to the world. Since late 1990s, developed countries recognized the advanced network as one the most important tool for the future of science and technology development and for education, and has made every effort to develop and improve national research and education networks. This paper is a survey on the research and the deployment of advanced research and education networks. The result will provide network researchers with the current status of advanced network deployment around the world and future trends of internet technologies.

20세기 캐나다 藝術歌曲의 文獻的 考察

정복주 이화여자대학교 한국문화연구원 1991 韓國文化硏究院 論叢 Vol.59 No.1

For the most part, the Canadian art songs in the 20th century have reflected the influence of various European stylistic elements. The European influence on Canadian composers has often proved to be an enriching contribution to their personal stylistic synthesis. Art songs were composed from around the middle of the 19th century. The earliest Canadian art songs surviving in print are the two canzonets by Stephen Codman published in 1827. But many of the solo songs written in the 19th century and in the beginning of the 20th century were sentimental pieces designed for the salon. Literally hundreds of them were composed for an eager market, and a large percentage reached publication. Prior to World War I, many of the art songs were composed to German texts with German titles in the models of German conservatives. Two prominent art song composers at the turn of the century were W. O. Forsyth and Clarence Lucas. Other composers of the first half of the 20th century who saw songs in print included Ernest MacMillan, Leo Smith, and Healey Willan. Songs have continued to be composed by Canadians to words by poets of international fame(Emily Dickinson, Paul Eluard, Alfred housman, James Joyce, Paul Verlaine, William Shakespeare, and others) and also by Canadian poets. Composers often have selected pieces by well known Canadian writers as Earle Birney, Bliss CARMen, Marjorie Pickthall, E. J. Pratt, and Duncan Campbell Scott. Notable are certain productive collaborations; for example, the ones between Dorothy Livesay and Barbara Pentland and between James Reaney and John Beckwith. Since the end of World War Ⅱ, Canada has entered fully into the mainstream of western music. As a result of population growth, economic prosperity, and the government support organizations, there has been a great increase in performance, composition, and teaching. Art song compositions also increased in quantity and quality after World War Ⅱ. The songs were composed in diverse styles and techniques. Three of the most prominent romantic composers are Oscar Morawetz, Godfrey Ridout and Jean Coulthard whose songs have been widely accepted into the repertoire of contemporary singers. Composers such as John Weinzweig, Barbara Pentland, Harry Freeman, Murray Schafer, and Harry Somers wrote songs in serial, or aleatoric and controlled improvisational techniques. Even they have recently returned to the writing of fully prescribed scores and of songs with clearly defined tonal centers in at least part of their works. Therefore there is some indication that the stylistic pendulum may be swinging back towards the center. No. "schools" of Canadian art song composers were discovered. One of the special features in the Canadian art songs is that a large number of songs were composed for the prominent Canadian singers, such as Maureen Forrester, Lois Marshall, Mary Morrison, Phillis Mailing, James Milligan, and Francis Jammes. At the present time the Canadian art songs do not enjoy a high status in Canadian culture relative to its total music scene, and the outlook for its future development was found to be discouraging. From about 1960, songs for solo voice and piano have continued to diminish in proportion to those for voice and other instruments. Because of the added expense, there continued to be a disappointing paucity of solo song in published form. Mainly because of the strong choral tradition, choral works are more often preferred and performed to solo songs. Furthermore there still seems to be a tendency for singers to prefer European art songs to their own Canadian art songs partly because of the lack of awareness of this genre of Canadian music and of their inferiority complex. There are, nevertheless, many more Canadian art songs in the 20th century than are generally believed. These compositions encompass the complete stylistic range of the 20th century music. The quality of much of these are of a high caliber and deserves to be more widely known than is now the case.

간경변증 환자에서의 위 배출 시간

기주영,채희복,박선미,윤세진,정현용 충남대학교 의과대학 의학연구소 2003 충남의대잡지 Vol.30 No.1

간경변증 환자에서 소화기 증상의 정도와 울혈성 위염, 복수의 유무가 위 배출 시간의 지연과 관련이 있는지 알아보고자 하였다. 대상 환자는 2001년 3월 1일부터 2002년 5월 31일까지 간경변증으로 진단 받은 33명의 환자를 대상(평균연령 54.3세)으로 하였고, 정상 대조군을 위 장관 질환의 과거력이 없고 소화 장애등의 자각증상이 전혀 없으며 위 배출등에 영향을 줄 수 있는 약물 복용이나 전신 질환이 없었던 15명을 대상(평균 연령 30세)으로 하였다. 위 배출 시간검사는 50gm의 달걀 1개에 Tc^(99m)-tincolloid lmCi를혼합하여 고형질화 시킨 TC^(99m)-tin-colloid-steamed egg를 섭취한 후부터 single-head-gamma camera(Picker Co,. USA)을 이용하여 위 배출 시간 반감기(T1/2)를 찾아냈으며 위배출 시간은 T1/2의 평균±표준편차로 표시하였다. 위 배출 시간의 지연은 정상 대조군 T1/2의 mean±1 SD(45.0+12.7분) 이상으로 하였다. 정상 대조군(n=15)의 위 배출 시간은 42.64±16.80분이었고, 간경변증 환자군(n=33)은 42.54±20.80분으로 두 군 사이에 유의한 차이가 없었고, 울형성 위염 및 복수의 유무, 증상점수 4점을 기준으로 하였을 때 위 배출 시간은 두 군 사이에 유의한 차이가 없었다. 식도 정맥류가 있는 군(n=26)과 없는 군(n=7)의 위 배출시간은 각각 49.27±16.80분, 31.71±10.61분이었고, 위 정맥류가 있는 군(n=7)과 없는 군(n=26)의 위 배출 시간은 각각 53.14±11.71분, 43.50±5.85분으로 정맥류가 있는 군에서 위 배출 시간의 지연을 보였으나 통계적으로 유의하지는 않았다(식도 정맥류 p=0.654, 위 정맥류 p=0.991). 혈청 알부민 수치와 위 배출 시간 반감기는 서로 유의한 상관관계가 없었다(p=0.177). 결론적으로, 간경변증 환자에서의 소화불량 증상의 정도와 울혈성 위염, 복수의 유무에 따라 위배출 시간에 차이가 없었다. The purpose of this study was to evaluate whether delayed gastric emptying time(GET) was associated with the degree of gastrointestinal discomfort, congestive gastropathy, and ascites in patients with liver cirrohsis. Thirty three patients, aged 54.3 years, with liver cirrhosis and fifteen control subjects, aged 30 years, without gastrointestinal symptoms and history of gastrointestinal disease were participated from the first of March in 2001 to the 31st of May in 2002. For GET, solid phase gastric emptying was done with radionuclide scintigraphy using single-head gamma camera after ingestion of Tc99m tin-colloid-steamed egg. Delayed GET was defined as the half time period in GET(T1/2) longer than the mean value plus 1SD of controls (45.0+12.7min). GET between Control group and patients with liver cirrhosis was 42.64±16.80min, 42.54+20.80, respectively. Therefore, there is no significant difference. On the base of congestive gastropathy, symptom score '4', and cirrhosis, there is no difference statistically between two groups. GET measured in the group with esophageal varix(n=26) or without esophageal varix(n=7), was 49.27±16.80min, 31.71±10.61min, respectively. GET measured in group with gastric varix or without varix, was 3.14±11.71min and 43.50±5.85min, respectively. But, there is no difference statically between two groups. There was no significant correlation between serum albumin level and T1/2 of GET(p=0.177). This study shows that there is with no apparent clinical difference between gastric emptying time and liver cirrohtic patients with gastrointestinal discomfort, congestive gastropathy, and ascites.

PLL을 利用한 아날로그 이상기 구현에 관한 硏究

鄭周洙,周昌福,愼瑋縡 慶南大學校 附設 工業技術硏究所 1993 硏究論文集 Vol.11 No.-

본 논문에서는 PLL 모델에 위상제어전압을 부가시킴으로서 기준입력신호에 대하여 VCO 출력신호를 위상제어 시킬 수 있는 PLL 이상기 모델을 보이고 제작실험을 통하여 우수한 아날로그 이상기로서의 동작특성을 갖고 있음을 입증하였다. 실험용으로 제작된 PLL 아날로그 이상기는 36.326㎒~42.326㎒의 주파수대역에서 주파수 동기특성을 보이면서 0~6.5[V]의 위상제어전압 변화에 대하여 0~2즉, -π~π까지 연속적으로 위상제어가 가능 하였으며 선형적인 위상전이 특성을 갖는다. This thesis modeled the analog phase shifter using PLL by means of adding the phase control voltage to the analog PLL model. The PLL phase shifter synchronized well to the input reference signal from 36.326㎒ to 42.236㎒ and the experimental results presented showing that the synchronous frequency range becoming wide, the phase control range also expanded well. Changing the phase control voltage variation step, the phase shifting step can be variable, and analysing the experimental measurement waveforms, it is verified that the PLL phase shifter have very useful linear phase shifting characteristics from -π to +π continously for the phase control voltage variation from 0 to 6.5 volt.

Charles Ives, Samuel Barber, Ned Rorem을 통해서 본 20세기 美國歌曲의 文獻的 硏究

鄭福珠 이화여자대학교 한국문화연구원 1989 韓國文化硏究院 論叢 Vol.55 No.-

American art songs have been under European influence for 300 years. They began as an offshoot of the European romantic tradition. The European influence on American composers has often proved to be enriching contributions to their personal stylistic syntheses. During the third quarter of the 19th century, as civilization settled back from the scars of the Civil War, the American art song as we know it today started to emerge with one assurance. In the early part of the 20th century Charles Griffes, the Irish American composer of great distinction, established the first landmark in American art song repertoire. But still his songs were written in an amalgam of German and French musical styles. Charles Ives, the father of American music, was a "breakthrough" figure who did no merely reflect his age but created a new one through basic changes in the language of is art form. Later Samuel Barber and Ned Rorem also built their own creative musical world, which was different from European. The purpose of this study is to define the musical characteristics of 20th century American songs through the analyses of the musical styles in the songs of Cahrles Ives, Samuel Barber and Ned Rorem. Ives used a transcendental philosophy as a starting point for his own music. The aesthetic doctrine of the philosophy, "substance and manner" was applied to his music as "content and form." About 200 songs that Ives wrote mainly between 1895 and 1915 represent his stylistic development in microcosm. They began with traditional German and French settings and grew increasingly experimental in all elements of musical style. Ives set eleven American poets, such as Longfellow, Whittier, Holmes, Sprague, Whitman and Thoreau. Ives did not observe poetic integrity. He used fragments of larger poems, word repetition and omissions, changes in word order or in the words themselves and occasionally retitled the original poem. Over against this, however, he paid careful and effective attention to the details of word setting. Complexity of rhythms in Ives ' music excels any composer of today. He freed the performer from the dictating bar-line and meter, allowed more chance for personal interpretation. He used irregular rhythms, polyrhythms, syncopations and rhythmic ostinatos. Ives used basically a tertian harmony. Non-tertian sonorities, constructed in either regular or irregular intervals were also used. His expansive chromaticism and free use of dissonance often carried the music to atonality. Ives preferred thick textures over a thinner, more economical treatment. This accounts for the wide variety of non-tertian structures with irregular interval patterns. Expansive dissonances are widely spaced. Ives ' use of quotations from other composers and sources is an integral part of his writing. In the piano accompaniment, recurring melodic or rhythmic patterns often work as unifying factors in a song. Ives used a clear-cut sectional form or an additive song structure dictated by the poem 's design. The flood of lyric poetry which began to pour from American writers in the early 20th century contributed to quality of the art song. Aaron Copland and Virgil Thomson set considerable numbers of songs to the lyric poems in the 20th century contemporary musical language blending "Americanism". Their music is well accepted on the world musical scene. In the 1940s, many American composers desired to explore the advancing horizons of 20th century music, and made efforts to search for personal style and idiom. Barber built his own creative and clear musical world combining traditional musical elements with contemporary novel techniques. The essence of his music, lyricism, is well expressed in his about 40 or so songs. Unlide Ives, the preponderance of poetry chosen by Barber was European in origin, with English, Irish, and French poets: Stendahl, Dante, Goethe, Joyce and Proust. Agee and Prodosch were two 20th century American poets whose texts Barber set. Barber used basically sectional form largely governed by the form of the text. Melodic line is lyrical and broad in character, with a certain simple freshness. In Barber 's later songs the lyric type of live tends to become more chromatic or more angular with short phrases. Barber used the church modes as an additional scale resource. The vocal live was carefully suited to the rhythms of the words with prequent changes of meter where necessary. Barber demonstrated a natural sensitivity to the prosodic flow. Tonality is the principal determining factor. But sometimes certain intervals dominate the melodic structure. Even in the more dissonant harmonic texture the tonal center is still present. Barber used a wide variety of sonorities including chords of addition and omission, ninth, eleventh, and thierteenth chords, polychords, non-tertian combinations, and even tone clusters. Incomplete spellings combined with the wide spacing given to most sonorities create an open clarity of texture. Ned Rorem is considered one of the most promising song writers of America. Rorem, who has a great passion for American poetry mostly sets the mid-20th century American poets, such as Goodman, Roethke, Moss, Whitman, Ashbery, Stevens and Plath. Rorem is in direct opposition to the experimental techniques and the twelve-tone techniques. His music is based on conservative idioms. Rorem 's chief task was to render "comprehensive" the words of a poem through song. The outstanding qualities of his songs are their sheer lyricism, a sympathetic understanding of vocal tessitura, a discriminating taste for poetry, and an inherent feel for prosody. Rorem 's melodic style includes the use of additional scale resources such as those of the church modes and synthetic scales. Very often two or more of these scales are used in a song. Rorem makes use of a considerable variety of a sonorities, including seventh and ninth chords, bichords, and tone clusters. Parallel fourths, fifths, and the tritone are not rare occurrences. Incomplete spellings are characteristic of a large proportion of the harmonies. This practice, combined with the wide spacing of the chords, gives rise to a transparent texture and clarity of line. Dissonances are often unresolved as the total center changes briefly, establishing temporary tonics in continuously shifting tonalities. Vertical sonorities are not subject to the accepted functional tradition of the 18th and 19th century music, resulting in freedom of harmonic progression and fluidity of tonal center. Rorem employs quite consistently contrapuntal devices which include ostinato, parallelism, and imitation. Such contrapuntal devices and the repetition of a melodic motive or certain intervals often function as unifying factors in a song. Ives, barber and torem are the representative 20th century American song composers. In expressing a poem through music, they put great emphasis on the creator 's personality and greater freedom by releasing song-writing from the worn-out sentimentality of the late 19th and early 20th centuries. From this study three general trends seem to emerge. Firstly, the underlying rhythmic frame of reference in the American art song has been derived from national speech patterns. Secondly, harmony in the developing American style has often turned to widely spaced, expansive dissonances whose verbal description itself forms a visual image of the nature of the land. Finally melody has been as closely tied as rhythm to the sound patterns and inflections of American speech. We can conclude from this study that 20th century American art songs are of high artistic value with a particular aesthetic strength emerging from the cultural reinforcement of American composers.

바로크 성악곡의 장식음 기법

정복주 한양대학교 음악연구소 1999 音樂論壇 Vol.13 No.-

장상피화생과 Helicobactor pylori와의 상관 관계에 관한 연구

이복희,김대수,이현숙,진영주,윤세진,송형근,성노현,정현용,이동호 충남대학교 의과대학 지역사회의학연구소 1994 충남의대잡지 Vol.21 No.2

In 1965 Lauren divided advanced gastric carcinoma into two main types-namely, "intestinal" and "diffuse" type carcinoma, which differ not only morphologically but also in their clinical and epidemiological characteristics. Moreover, a different histogenetic process has been postulated by many authors that intestinal type gastric carcinoma might arise from areas with intestinal metaplasia. Since Warren and Marshall reported the presence of Helicobacter pylori in the stomach in 1983, strong evidence has been obtained that there is a close relationship between Helicobacter pylori and chronic gastritis, atrophic gastritis, intestinal metaplasia, and intestinal type gastric carcinoma. To study the relationship between intestinal metaplasia and Helicobacter pylori infection, we performed gastroscopic biopsies and CLO tests taken from patients with epigastric pain. Only 87 patients with macroscopically suspected antral gastritis were included. The prevalence of intestinal metaplasia in gastric antral biopsies increased from 33.3% in the age group<30 years to 63.6% in the age group 60 years. When all patients were divided into two age groups-namely, (i)<50 years(n=41) and (ii)≥ 50 years(n-=46), intestinal metaplasia was found significantly more often in patients ≥ 50 years. ((i) 39.2%, (ii) 54.3%, p<0.0001). The prevalence of Helicobacter pylori in gastric antral biopsies decreased from 66.7% in the age group<30 years to 62.5%, in the age group in the age group 50 to 59 years. When all patients were divided into the same two age groups-namely(i)<50 years and (ii)≥50 years, the prevalence of Helicobacter pylori did not differ between two groups in a statistically significant way. The mean age of intestinal metaplasia positive patients who were also Helicobacter pylori positive was 48±11.0(mean±S.D.)years, whereas the mean age of intestinal metaplasia positive patients who were Helicobacter pylori negative was 52±9.7(mean±S.D.)years. In conclusion. although our data do not prove a causal relationship between Helicobacter pylori infection and the histogenesis of intestinal metaplasia, we suggest that Helicobacter pylori plays an important role in the development of intestinal metaplasia in the gastric mucosa. Whether Helicobacter pylori has to be present at all times during this process or is only necessary as a 'trigger', needs further research.