세부 공정별 CO₂ 배출 분석 및 환경비용 원가배분을 위한 Activity-based LCA 모델의 도입 - 커튼월 공사를 중심으로 -

임지연,이준성,신승우,손정욱,Lim, Ji-Youn,Yi, June-Seong,Shin, Seung-Woo,Son, Jeong-Wook 한국건설관리학회 2012 한국건설관리학회 논문집 Vol.13 No.4

지구 온난화의 주범인 온실가스 배출량을 규제하고자 하는 전 세계적인 기조에 따라 건설 분야에서도 이와 관련하여 다양한 노력이 시도되고 있다. 그 일례로 LCA (Life cycle Assessment) 방법론 도입을 통해 $CO_2$ 배출량을 정량적으로 측정하려는 연구가 활발하게 수행되고 있다. 그러나 일반 제조업에서 수행되고 있는 기존의 LCA 방법론은 다양한 자재의 투입과 복잡한 생산구조를 가지고 있는 건설업에 활용되기에는 많은 한계가 있다. 이에 본 연구는 보다 정확하고 세분화된 환경영향 평가를 도출할 수 있도록, 기존 LCA 방법론에 ABC원가관리방식을 도입한 Activity-based LCA 모델을 제안하였다. 이를 기반으로 대표적 온실가스인 $CO_2$의 주요 배출 Activity와 각각 배출량에 대한 정확한 예측이 가능하도록 하는 모델을 제시하였으며, 실제 시공 중인 건물의 커튼월 시스템 공정을 대상으로 하여 그 유용성을 검증하였다. As worldwide efforts to reduce global warming gases, the construction Industry is endeavoring to diminish carbon dioxides emissions. Especially, by introducing the LCA methodology to the industry, A variety of related studies to measure the emission of carbon dioxides have been conducted. However, when the conventional LCA methodology is applied to the construction projects, some limitations have been reported. To overcome the restrictions derived from the industry characteristics, this research suggested the Activity-based LCA model by applying the Activity-based Costing (ABC), which breaks down the whole life cycles into more detailed stages. By implementing the newly developed model, forecasting accuracy of $CO_2$ emission was elevated, and the critical control points on carbon dioxides were established. Through the case study of aluminium curtain-wall system, this research verified the usefulness of the Activity-based LCA.

2비트 시그마-델타 변조를 이용한 새로운 폴라 트랜스미터

임지연,전상훈,김경학,홍성철,김동욱,Lim, Ji-Youn,Cheon, Sang-Hoon,Kim, Kyeong-Hak,Hong, Song-Cheol,Kim, Dong-Wook 한국전자파학회 2007 한국전자파학회논문지 Vol.18 No.8

본 논문에서는 2비트 시그마-델타 변조기를 도입한 새로운 구조의 폴라 트랜스미터에 대해 논의한다. 제안된 구조에서는 2비트 시그마-델타 변조 방식을 도입하여 양자화 잡음을 낮추도록 하였다. 전력 증폭기는 2비트 디지털 처리된 진폭 신호를 받아들이기 위하여 2진법의 형태로 분할되도록 고안되었다. 새로운 구조의 폴라 트랜스미터를 EDGE 시스템에 적용하여 시뮬레이션 한 결과, 전체 전송 대역에서 스펙트럼 특성이 개선되는 것을 확인할 수 있었다. 2비트 변조기에 세밀한 양자화 방식을 적용함으로써 오버 샘플링 비가 2배 이상 증가한 정도의 잡음 감소 특성을 얻을 수 있었고 오버 샘플링 비를 증가시키지 않고도, 트랜스미터 출력 신호의 주파수 잡음을 10dB 이상 낮출 수 있었다. 또한, 전력 증폭기를 2진법으로 분할한 결과 다이나믹 영역이 5dB 정도까지 증가하는 효과를 얻었다. This paper presents a novel polar transmitter architecture with a 2-bit sigma-delta modulator. In the proposed architecture, the 2-bit sigma-delta modulator is introduced to suppress quantization noise of conventional sigma-delta modulator. The power amplifier configuration is also modified in a binary form to accommodate the 2-bit digitized envelope signal. The Ptolemy simulation results of the proposed structure show that the spectral property is greatly improved in full transmit band of EDGE system. The fine quantization scheme of the 2-bit modulator lowers the noise level by 10dB without increasing the over-sampling ratio, which may be obtained if the over-sampling ratio increases twofold. Dynamic range is also enhanced up to 5dB owing to the new form of the power amplifier in the transmitter.

건물에너지 소요량 산정 프로그램 활용 건축정보 데이터베이스 설계

임지연(Ji Youn Lim),이승언(Seung-eon Lee) 대한설비공학회 2016 대한설비공학회 학술발표대회논문집 Vol.2016 No.6

윤석중의 아동극 활동 고찰

임지연(Lim Ji-youn) 한국아동청소년문학학회 2010 아동청소년문학연구 Vol.- No.6

The purpose of this thesis is to study Yoon Seok-joong’s activities related to children’s theater. Yoon Seok-joong engaged in his literary activities with interest in more genres forseveral years in the early stage when he began his activities as a writer on a full scale than he did in any other time. Particularly, he was strong in cultural sentiments, curiosity about the products of new civilization, experiments on new genres, and critical consciousness about the Japanese imperialism. Yoon Seok-joong appeared to have attempted to put the contents of reality criticism in the genre of epic rather than in children’s songs. However, the existing researches have hardly dealt with the contents of Yoon Seok-joong’s activities related to children’s theater. Although there are not many works of Yoon Seok-joong’s children’s theater, he clearly left his footmarks on the modern children’s theater with his experiments on the modern genre of children’s theater, epic completeness, and realistic description of children. He had another tendency that was quite different from that he showed in other genres such as children’s song, children’s poem, and fairy tale. In it, the contents of reality criticism were described more concretely than in any other works. However, Yoon Seok-joong’s works of reality criticism have often been treated as ‘exceptional works simply pursuing tendencies.’ The aspects of conflict and the methods of solution shown in Yoon Seok-joong’s children’s theater are differentiated from the aspects of other works shown in proletariat children’s theater. To say that he ‘simply pursued tendencies’ is only a hasty judgment made without meticulous research on Yoon Seok-joong’s biographical facts and works. Yoon Seok-joong appears to have chosen the genre of ‘children’s theater’in order to convey critical consciousness of the colonial realities to the children. This is due to the expected value of the social and cultural role of children’s theater in the Japanese colonial era and the writer’s experiment on the epic genre. His attitude like this toward the children’s theater provides the room for reinterpreting the so-called ‘optimistic childlike innocence’ shown in the children’s songs in the same period.

한국 근대 아동극 장르의 용어와 개념 고찰

임지연(Lim Ji-youn) 한국아동청소년문학학회 2009 아동청소년문학연구 Vol.- No.5

The purpose of this thesis is to examine the aspect of forming and practicing Korean children’s theater by analyzing the genre terminology and concept of children’s theater during the period of Japanese colonial era when children’s theater was formed and developed on a full-scale basis. In this thesis, the actual state of using Korean children’s theater genre terminology was first empirically studied, and the changes in the concept according to the times were examined. Since children’s theater is common name of both children’s theater as ‘literature’ and children’s theater as ‘performance’, both were placed in the scope of analysis. All accessible data such as children’s magazines and newspapers containing children’s theater works and criticism, textbooks, drama reviewer examined meticulously, if not thoroughgoing enough. It was after the 1910s when organization of theatrical troupes began to become an issue while children practiced new-school dramas that werepopular at that time that the genre term ‘adonggeuk’ instead of ‘yeongeuk’ began to be separately used. It was from the time when dramas that children, instead of adults, play, i.e. ‘children as performers’ were newly recognized. Afterwards, as children-oriented contents and forms of dramas gradually develop, the dramas begin to branch into the genre of children’s theater and new genre terminology begins to emerge. The aspects of using such terms have been varying subtly in each period. In other words, the use of the terms has changed depending on recognition of the factors for composing children’s theater such as performers, performing form, and contents. Up to the 1920s, diverse terms such as children’s play, nursery drama, lyric drama, fairy tale drama, children’s song drama, and maiden drama emerged and in the late 1920s, the use of common names of ‘donggeuk’, ‘adonggeuk’ began to be generalized. It is because full-fledged academic approaches to children’s theater such as organization of research institutions of children’s theater, and criticism of children’s theater began to be made. In the late 1930s, broadcast plays newly emerged. So far, researches on children’s theater have been made with consistent standards such as materials of work of art, themes, and forms, without examining the characteristics and concepts of the genre inherent to the times. So, in order to provide the more meticulous basis of researches on children’s theater, this study examined the trends of changes in the use and concepts of the terms of the children’s theater genre. After this, I will clarify the formal and historical characteristics of Korea children’s theater by more closely examining the characteristics of each genre.

지역 소득 수준에 따른 가정 부문 에너지 사용량 영향 분석

임지연(Lim, Ji Youn),이승언(Lee, Seung-Eon),김덕우(Kim, Deuk-Woo) 대한건축학회 2017 대한건축학회 학술발표대회 논문집 Vol.37 No.2

국내외 건축용 단열재 개발 동향 및 CO₂발포 플라스틱 단열재 개발

임지연(Ji Youn Lim),최경석(Gyeong Seok Choi),강재식(Jae-Sik Kang),이승언(Seung-Eon Lee) 대한설비공학회 2014 대한설비공학회 학술발표대회논문집 Vol.2014 No.6

Development of Building Energy Integrated Support System for the Spread of Low-energy Bulding

Lim Ji-Youn(임지연),Lee Seung-Eon(이승언),Kim Yu-min(김유민),Kim Chun-Hag(김천학) 한국태양에너지학회 2014 한국태양에너지학회 학술대회논문집 Vol.2014 No.11

공급업체 만족도 설문 분석에 근거한 중요 협업 비즈니스 요인 규명과 개선 우선순위 결정

임지연(Lim, Ji-Youn),이장희(Lee, Jang-Hee) 대한경영학회 2012 大韓經營學會誌 Vol.25 No.9

현대 그림책에 나타난 <빨간모자>의 서사적 특징과 확장성

임지연 ( Lim,Ji-Youn ) 한국문학치료학회 2021 문학치료연구 Vol.61 No.-

본고에서는 <빨간모자>의 기본 서사와 변이양상을 페로와 그림형제 본을 통해 살펴보고, 최근에 재탄생되고 있는 그림책의 표현 양상을 살펴보았다. <빨간모자>의 기본 서사와 함께, 현재 유통되고 있는 그림책을 살피는 것은 구비설화가 다양한 장르에 기대어 확장되고 재탄생해 가는 과정을 확인할 수 있는 작업이다. 그림책에 나타난 <빨간모자>의 특징을 살펴보려면 우선 페로본과 그림 형제본 중 어떤 이야기를 선택했는가, 각 서사 단계별로 이미지와 텍스트를 어떻게 묘사했는가, 이미지와 텍스트는 어떻게 상호 조응하는가 등을 검토해야 한다. <빨간모자>의 이야기는 집 → 숲 → 할머니의 집으로의 공간을 이동하며 전개된다. 기본 서사는 ‘빨간모자’의 등장 → 과제부여 → 집떠남 → 늑대와의 만남 → 과제지연 → 늑대에게 잡아먹힐 위험에 처함 → 비극적 결말 / 위기 탈출 및 보상과 성장으로 정리할 수 있다. <빨간모자>는 이러한 서사를 뼈대로 독자의 연령대를 어떻게 상정하느냐, 어떤 교육적 메시지와 시대정신을 담고자 하느냐에 따라 이야기가 조금씩 달라진다. 현대 작가들은 옛이야기의 충실한 복제보다는 새로운 글쓰기의 일환으로 다가간다. 현대 그림책의 개방성, 유연성, 확장성은 옛이야기가 지닌 특성과도 비슷하다. 옛이야기가 시공간을 초월하여 꾸준히 사랑받고 전승되는 데에는 인간의 보편적인 정서를 이야기를 통해 확인하며, 우리가 어떻게 살아야 하는가 하는 질문에 대해 적확한 모델을 보여주기 때문이다. 그림책은 언어텍스트와 이미지가 다양하게 결합함으로써 색다른 변주를 시도하고 있다. 이렇게 재화된 옛이야기는 다양한 해석의 층위를 가지고 다음 세대에 계승된다. 그동안 <빨간모자>는 그림형제본의 이야기를 유아 대상으로 출판하는 것이 대세였다. 그런데 최근 그림책에서 <빨간모자>가 변화하고 있다. 그림책에 나타난 <빨간모자>의 텍스트와 이미지는 수용 독자의 연령대, 교육적 메시지, 표현기법의 발달과 함께 유기적으로 조응하고 변화한다. 그동안 그림책에서 표현되지 않았던 페로본이 다양하게 출판되었고, 유아용 이미지가 대세였던 그림형제본의 빨간모자도 새롭게 변화하고 있다. 어리고, 순진무구한 인물만이 아닌 좀 더 성숙하고 재기발랄한 이미지를 가진 빨간모자가 새롭게 등장하는 것이다. 현대 그림책에서는 구연으로 전승되었던 <빨간모자>의 이야기가 페로와 그림형제에 의해 기록문학으로 정착하면서 각각의 화소가 구분되었던 것이 다시 경계가 허물어지고 있음을 볼 수 있다. 그동안 <빨간모자>는 어린 독자를 암묵적으로 상정하고 아동용 그림책으로 출판되었으며, 심리적ㆍ 교육적 방향에 따라 이미지와 서사를 달리 접목했다. 그런데 최근에는 페로본과 그림형제본이 서로 변주되고, 독자층이 넓어지고 있으며, 새로운 어린이 상을 보여주고 있다. 낯선 사람을 경계하고, 한눈을 팔지 말아야 한다는 교훈을 넘어 보다 확대된 시각으로 생각하고 즐길 수 있는 이야기, 아동의 읽을 거리를 넘어 여러 세대가 즐기는 이야기. <빨간모자>의 이러한 확장 가능성을 현대 그림책을 통해 확인할 수 있었다. This paper examines the basic narratives and variations in the Perrault and Brothers Grimm editions of Little Red Riding Hood and in its reinvented expressive forms in recent picture books. This study also identifies how oral folktales are expanded and reinvented thein different genres. To examine the characteristics of the story as presented in the picture books, we first determined whether the Perrault or Brothers Grimm version was chosen, then we examined how the images and the text were described at each narrative stage, and how they correspond with each other. The story of Little Red Riding Hood unfolds in a spatial sequence from the house to the forest and the grandmother’s house. The basic narrative can be summarized as follows: Little Red Riding Hood appears; she is assigned an errand; she encounters the wolf; her errand is delayed; the wolf awaits to devour her; she meets a tragic end/escapes from danger; and she is rewarded and gains maturity. Based on this narrative, the story, its educational message and intended zeitgeist, varies depending on the target reader’s age group,. Modern authors approach it with a new writing process rather than a faithful reproduction of old stories. Modern picture books are similar in their lending of open-endings, flexibility, and expandability to these stories, which are loved and transmitted across time and space because they identify universal emotions storytellingand suggest accurate models of living. Picture books attempt at variations by combining texts and images in several ways, and pass these old stories on to the next generation with layers of interpretation. Until now, Little Red Riding Hood has been mainly published for children based on the Brothers Grimm version. However, there is a changing trend in recent picture books, where the text and images are organically adapted and changed according to the readers’ age groups, the educational message, and the development of expressive techniques. While the Perrault version, which is not used for picture books, has been published in different forms, the Brothers Grimm version, mostly consisting of images for children, is also changing. Little Red Riding Hood is taking on the image of not only a young and innocent character but also a more mature and livelier one. In modern picture books, the different traditions of Little Red Riding Hood, established by Perrault and the Brothers Grimm, are converging again, as the boundaries of each story unit are broken down. Little Red Riding Hood, which implicitly targeted young readers, was mainly published in the form of children’s picture books and combined psychological and educational images and narratives. However, recent variations to the Perrault and Brothers Grimm editions to suit their expanding readership, and the new image of the child. Besides the lesson of being wary of strangers and not losing focus, it is a story that can be thought of and enjoyed in a broader perspective, and enjoyed not just by children but other generations tooas well. Little Red Riding Hood’s expandability could thus be seen in the context of a new trend in modern picture books.