이 논문의 예이츠와 아오키 읽기는 문학과 예술의 두 주요 운동, 형식 과 반형식/개념주의에 근거한다. 언뜻 보면, 간단히 말해서, 예술작품은 자족적이어서, 이를테면, 소금장이 는 어떻게 쓰여 졌는지에 대한 배경지식 없이, 작품 그 자체만으 로 충분하다는 것이다. 개념주의는 좀 더 복잡한데, 마셀 듀상이 원류이며 정의하기가 어렵다. 이 논문에서 예이츠, 아오키, 이우환을 원형적 개념주의 예술가로 취급한다. 개념미술은 듀상으로부터 출발한다. 개념주의예술은 새로운 예술을 창조하려는 시도이 다. 그러나, 본질적으로 이것은 “반형식주의”의 또 다른 형식으로, 옛 형식을 허물고 새 형식을 만드는 노력이다. 이 노력은 예이츠가 환상록에서 해명한 달의 28상이나 문명의 순환을 상기시킨다.

I present here one approach to general relativistic radiation hydrodynamics. It is based on covariant tensor conservation equations and considers only the frequency-integrated total energy and momentum exchange between matter and the radiation field. It is also a mixed-frame formalism in the sense that, the interaction between radiation and matter is described with quantities in the comoving frame in which the interaction is often symmetric in angle while the radiation energy and momentum equations are expressed in the fixed frame quantities in which the derivatives are simpler. Hence, this approach is intuitive enough to be applied straightforwardly to any spacetime or coordinate. A few examples are provided along with caveats in this formalism.

Bulguk Temple, one of the national temples, sublimated the high formalism and symbolism into lovely art, and thus be called the pinnacle of Korean architecture. Of many characteristic structures of Bulguk Temple, the stone stereobate and stairs have a great importance in that we can read out the purpose of the architect through their relics. Especially, the stone stairs are noteworthy for they structuralize the intentional space division. The objects of this observation are Yeonwhagyo and Chilbogyo bridges at the entrance of Keungnakjeon precinct, and Cheongwoongyo and Baekwoongyo stairs at the entrance of Daewoongjun precinct. All these relics are the structures that divide the precinct areas on the basis of Buddhist theory and have strong symbolic meanings as well. Although the diverse studies have made on the structures, there are many insufficient aspects for the manifestation of the meanings. In this study, I considered the Buddhist dogmatic meanings of the structures in the formalistic view of the Buddhist architecture. The study was proceeded in the way that the establishments of former studies were fully reflected in it. Through the study, I could confirm that the objects of consideration have the double formalistic meanings and they are strongly structuralizing the symbolism.

We present a theoretical formalism by which the global and the local mass functions of dark matter substructures (dark subhalos) can be analytically estimated. The global subhalo mass function is defined to give the total number density of dark subhalos in the universe as a function of mass, while the local subhalo mass function counts only those sub halos included in one individual host halo. We develop our formalism by modifying the Press-Schechter theory to incorporate the followings: (i) the internal structure of dark halos; (ii) the correlations between the halos and the subhalos; (iii) the subhalo mass-loss effect driven by the tidal forces. We find that the resulting (cumulative) subhalo mass function is close to a power law with the slope of ${\~}$ 수식 이미지 -1, that the subhalos contribute approximately 10% of the total mass, and that the tidal stripping effect changes the subhalo mass function self-similarly, all consistent with recent numerical detections.

Modernism in architecture is a very complex and contradictory phenomena. So much so that it has been defined in various ways throughout the history, depending on one's position in the cultural and historical circumstances. It is thus necessary to map out the various concepts of modernism and their relationships in order to have a more comprehensive understanding of modern architecture. This paper attempts to define the various positions as functionalism, formalism and artistic avant-gardism, and to trace their history from the early twentieth century to the present. The change of the concept of modernism from functionalism to artistic avant-gardism seems a logical process in the history of western modem culture. The tendency of contemporary architecture to be more abstract and self referential artistic practice reflects the fragmentation of modern culture and the separation of art and technology. The validity of this position, of course, depends on how one evaluates the role of modern art in the situation of modern culture. It could be viewed either negatively or positively. However, this position is problematic in that it disregards the fundamental differences between architecture and other arts and distanced architecture farther from its material base. Given this historical perspective on the concept of modernism, modernism in Korea should not viewed simply identical to the western modernism, nor should western modernism be imported uncritically. The characteristics of her modernization and their differences from the west should be considered, along with the different status and role of architecture in korean modern society.

In order to cope with the changes of container terminal situation in these days, many simulation studies for container terminal have been accomplished. But previous simulation studies using simulation language have limitations in model representation and difficulties in modeling of large scaled container terminal system. To make these problems better, this paper addresses an object-oriented simulation of container terminal system using a DEVS formalism. The DEVS(Discrete Event System Specification) formalism, developed by Zeigler, supports specification of discrete event system in a hierarchical and modular manner. The formalism provides a mathematical basis for studying discrete event systems with better understood and sounder semantics. In a step of system modeling, a DEVS formalism aims at the exact system modeling that has a basis of semantics and utilizing the object-oriented manner can flexibly cope with the changes of system environment. In this study a model is developed and verified through the simulation of some alternatives.