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코드북 영상을 이용한 고속 프랙탈 영상 복호기에 관한 연구
이기욱,곽노윤 한국산학기술학회 2003 한국산학기술학회논문지 Vol.4 No.4
Since Jacquine introduced the image coding algorithm using fractal theory, many fractal image compression algorithms providing good quality at low bit rate have been proposed by Fisher and Beaumount et al.. But a problem of the previous implementations is that the decoding rests on an iterative procedure whose complexity is image-dependent. This paper proposes an iterative-free fractal image decoding algorithm to reduce the decoding time. In the proposed method, under the encoder previously with the same codebook image as an initial image to be used at the decoder, the fractal coefficients are obtained through calculating the similarity between the codebook image and an input image to be encoded. As the decoding process can be completed with received fractal coefficients and predefined initial image without repeated iterations, the decoding time could be remarkably reduced. Jacquin에 의해 프랙탈 이론을 이용한 영상 부호화 기법이 소개된 이래로, Fisher와 Beaumont 등에 의하여 낮은 비트율에서도 우수한 화질을 제공하는 프랙탈 영상 압축 기법들이 다수 제안되었다. 그러나 기존에 고안된 기법들이 갖고 있는 하나의 문제점은 복호화가 반복 처리를 통해 구현되며 그 복잡도가 각각의 영상에 따라 상이하다는 것이다. 본 논문에서는 복호 시간을 단축시키기 위해 반복 변환이 필요 없는 프랙탈 영상 복호 알고리즘을 제안하고자 한다. 제안된 방법은 복호기에서 사용할 초기 영상과 동일한 코드북 영상을 부호기에 보유하고 있는 상태에서 부호화 과정에서는 이 코드북 영상과 부호화하려는 영상의 유사성을 찾아 프랙탈 계수를 구한다. 이후, 복호화 과정에서는 수신된 프랙탈 계수와 기설정된 초기 영상을 이용하여 반복 변환 없이 한 번에 영상을 복호함으로써 복호 시간을 현저하게 단축시킬 수 있었다.
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李起旭 제주대학교 1991 논문집 Vol.33 No.1
A drama is a presentation of an action or closely linked series of actions, expressed directly by means of speech and gesture. This action is not a real, or actual action, but an action which imitates a complete action, adapted to the sympathetic attention of man, developed in a succession of continuously interesting and related incidents, acted and expressed by means of speech and the symbols, actualities and conditions of life. Therefore drama is never a direct reflection of cultural phenomena and events. In contrast to other types of texts, drama exploits the real world not for its own sake, in order to describe and comment upon, but for the play itself, the consturction of a fictive world. Thus we may say that the events and objects taken from the world out here are in the text for the sake of the text as is in other types of texts. However with this regard, it is also noted that drama like any other artistic forms is in the cultural system and that it is thus, in itself, a part of culture that produced it. Neither the author nor the many concrete readers of the literary text operate in a vacuum. The author's creative act proceeds in the context of the artistic codes and the texts generated by these codes of his time and place. Not only artistic codes and their text touch upon the author subliminally as he creates his text but also other cultural codes and concrete manifestations do so as well. O'Neill's Long Day's Journey Into Night is autobiographical, in which the basic facts of life experiences of O'Neill's family are candidly shown. In dedicating the original manuscript to his wife, he said that her love gave him the faith in love necessary to write this play, to write it with deep piety and understanding and forgiveness for all the haunted Tyrones. His original stipulation that it not be published until twenty-five years after his death prove its authenticity as the pages from the author's life. And it is suggested that Long Day's Journey is more impressed as a cutural document than it is as autobiographical because this autobiographical document includes rich iformation about culture and it is easily regarded as the cuture text describing the Irish culture in New England. O'Neill's family are Irish Immigrants and O'Neill himself is one of the third generation of Irish immigrants who were settled down in America and who are called Irish, not American. Many critics agree that most of his Plays are showing and describing the characteristics of Irish culture. Culture text is the very text connected with describing culture. Therefore to grasp the meaning of the play is to understand the meaning of the culture, and so to know the meaning of Long Day's Journey is thought to know Irish cultural meaning in transition in the strange society of America. To understand the meaning of O'Neill's drama we examined the cultural aspects described in the text. Irish cultural traits can be traced such as loquaciousness, the importance of the bottle, the need for the family ties, the anti-Yankee sentiment, the acceptance and rejection of catholicism. In spite of being in the process of assimilation, all family of the drama share Irish culture. They are excessively familial, noncommunal, turbulent, drunken, alteratively and simultaneously sentimental and ironical about love, pathologically obsessed with betrayal, religious-blasphemous and loquacious. Adding to these characters, there can be found post-famine phenomenon, namely a tendency toward less and later marriage on the part of young man. Like all the Celts, as Toynbee said in A Study of History, the passionate Irish have beem imprisioned by an endless stasis;historical, political, religious, cultural, sexual, and personal. With this result, it is pointed out that the Irish came to have such ambiguous culture. So they are violently rebellious, anarchic, inhumanly passive, and acquiescent to nusing over past glories in a dull and tedious present, as de the characters of Long Day's Journey Into Night.
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李起旭 濟州大學校 새마을硏究所 1987 새마을硏究論文集 Vol.4 No.-
The aim of this study is to elucidate the structuralist's thought by examining the works of several French thinkers commonly associated with structuralism. We examined first the similarities and differences in the use of the term, "sturcture, used" by different theorists and investigate whether its proponents all work with a similar conceptual frame work, paying particular attention to Saussure. Levi-Strauss. and Barthes. And next we looked into the historical background on which structuralism grew out. Definitions of structuralism have gone through many tramsformations, and structuralist practioners are no more able to define their discipline than are their observers. Each structuralist has defined his own system of thought. However outsiders have perceived them as a group that shares in the search for hidden universal relations and their rules. In Saussure, we found that linguistic structurlism goes back directly to him. Saussure revealed that diachronic development is not the only process to be taken notice of in the study of a language, and in fact the history of a word may give a seriously inadquate account of its meaning. In addition to its historical aspect, he indicated that language has systematic aspect: A systematic aspect embodies laws of equilibrium which operate on its elements and which, at any given point in its history, yield a synchronic system. The implecation of Saussure's work on language are seen at their clearest in the work of Levi-Stauss, who has declared Saussure to be one of the two truly formative influences in his intellectual life. Levi-Stuauss has studied anthropological phenomena as if they were languages. He has studied them as systems : the systems of kinship, of totemism, of myth. And also he has attended to the relations between the different units. In literary criticism we showed that the Russian formalists and structural critics have worked toward discovering the universal principles that govern the literary use of language, from the syntax of fictional construction to the paradigms of poetry Structuralist activity has found its center. It is also noticed that structuralist activity has found its center in linguistic study and taken much of its impetus from the achievements of Saussure, and Jakobson. Finally in this study we indicated several levels of deformities which the structuralist methodology includes in common.
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