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    ์œ ๋„๊ต์œก์ž ์„์ง„๊ฒฝ์˜ ์‚ฌ์ƒ๊ณผ ํ™œ๋™

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    ํ•™์œ„๋…ผ๋ฌธ (์„์‚ฌ)-- ์„œ์šธ๋Œ€ํ•™๊ต ๋Œ€ํ•™์› ์‚ฌ๋ฒ”๋Œ€ํ•™ ์ฒด์œก๊ต์œก๊ณผ, 2017. 8. ๋‚˜์˜์ผ.ํ˜„์žฌ ์šฐ๋ฆฌ๋‚˜๋ผ ์œ ๋„๊ฐ€ ์˜ค๋Š˜๋‚ ์˜ ๋ฐœ์ „์„ ์ด๋ฃฐ ์ˆ˜ ์žˆ์—ˆ๋˜ ๊ณ„๊ธฐ๋Š” ์œ ๋„ ๊ธฐ์ˆ ์˜ ๋ฐœ์ „, ์œ ๋„์ธ๋“ค์˜ ๋…ธ๋ ฅ์— ์˜ํ•œ ์œ ๋„ ์ €๋ณ€ ํ™•์‚ฐ๊ณผ ์ธ์žฌ ์–‘์„ฑ ๊ทธ๋ฆฌ๊ณ  ๋‹ค์–‘ํ•œ ์ฒด์œก ๋ถ„์•ผ์—์„œ์˜ ์œ ๋„ ์ด๋ก  ์—ฐ๊ตฌ๋ฅผ ๋“ค ์ˆ˜ ์žˆ๋‹ค. ํ•˜์ง€๋งŒ ํ˜„์žฌ ํ•œ๊ตญ ์œ ๋„๊ณ„๋Š” ๋ถˆํŽธํ•œ ์ด์Šˆ๋กœ ๋งŽ์ด ๊ธฐ์‚ฌํ™” ๋˜๊ณ  ์žˆ๊ณ , ์˜ค๋žœ ํŒŒ๋ฒŒ ์‹ธ์›€์œผ๋กœ ์ธํ•ด ์ „๋ฐ˜์ ์œผ๋กœ ์นจ์ฒดํ•ด ๊ฐ€๊ณ  ์žˆ๋Š” ์ƒํ™ฉ์ด๋‹ค. ์œ ๋„ ๊ฐ•๊ตญ์ธ ์šฐ๋ฆฌ๋‚˜๋ผ๊ฐ€ ํ•œ๊ฑธ์Œ ๋” ๋‚˜์•„๊ฐ€ ์œ ๋„ ์„ ์ง„๊ตญ์ด ๋˜๊ธฐ ์œ„ํ•ด์„œ๋Š” ํ•œ๊ตญ ์œ ๋„๋ฅผ ํ˜„์žฌ์˜ ๋ฐ˜์—ด๊นŒ์ง€ ์˜ฌ๋ผ ์„ค ์ˆ˜ ์žˆ๋„๋ก ์ดˆ์„์„ ๋‹ค์ ธ๋†“์€ ์œ ๋„ ์„ ๊ฐ์ž๋“ค์˜ ์‚ฌ์ƒ๊ณผ ํ™œ๋™์— ๊ด€ํ•œ ๊ณ ์ฐฐ์ด ํ•„์š”ํ•˜๋‹ค. ๋งŽ์€ ์œ ๋„ ์„ ๊ฐ์ž๋“ค ์ค‘์—์„œ ํ•œ๊ตญ ์ตœ์ดˆ ์œ ๋„ 10๋‹จ์— ์˜ค๋ฅธ ์„์ง„๊ฒฝ(1912-1990)์ด ์žˆ์—ˆ๋‹ค. ์ด์— ์„์ง„๊ฒฝ์˜ ์œ ๋„์‚ฌ์ƒ๊ณผ ๊ต์œกํ™œ๋™์— ๊ด€ํ•˜์—ฌ ๊ทธ๊ฐ€ ํ™œ๋™ํ•œ ํ•™๊ต์™€ ๋‹จ์ฒด์กฐ์ง์„ ์ค‘์‹ฌ์œผ๋กœ ํ˜„๋Œ€ ํ•œ๊ตญ ์œ ๋„์˜ ์ „๋ฐ˜์ ์ธ ๋ฐœ์ „์— ์–ด๋– ํ•œ ์˜ํ–ฅ์„ ๋ฏธ์ณค๊ณ  ๊ธฐ์—ฌ๋ฅผ ํ–ˆ๋Š”์ง€ ์‚ดํŽด๋ณด์•˜๋‹ค. ๋ณธ ์—ฐ๊ตฌ์˜ ๋ชฉ์ ์€ ํ•œ๊ตญ ์œ ๋„์— ์žˆ์–ด ๋นผ๋†“์„ ์ˆ˜ ์—†๋Š” ์ธ๋ฌผ์ธ ์„์ง„๊ฒฝ์˜ ์œ ๋„๊ต์œก ํ™œ๋™๊ณผ ์‚ฌ์ƒ์— ๋Œ€ํ•˜์—ฌ ์•Œ์•„๋ณธ ๊ฒƒ์ด๋‹ค. ๋ณธ ์—ฐ๊ตฌ๋ฅผ ์œ„ํ•˜์—ฌ ์„์ง„๊ฒฝ์˜ ์ž์„œ์ „๊ณผ ์œ ๋„ ๊ด€๋ จ ๋ฌธํ—Œ ๋ฐ ์‹ ๋ฌธ, ์žก์ง€๋ฅผ ํ† ๋Œ€๋กœ ๋ฌธํ—Œ๊ณ ์ฐฐ์„ ํ†ตํ•œ ์ƒ์• ์‚ฌ ๋ถ„์„ ๋ฐฉ๋ฒ•์„ ์ฑ„ํƒํ•˜์˜€๋‹ค. ๋˜ํ•œ ์„์ง„๊ฒฝ๊ณผ ๊ด€๋ จ๋œ ์ธ๋ฌผ์ธ ๊ทธ์˜ ์ฐจ๋‚จ ์„์ค€ํ˜ธ์™€ ๋™์•„๋Œ€ํ•™๊ต ์ œ์ž์ธ ์ •์‚ผํ˜„์„ ์‹ฌ์ธต์ธํ„ฐ๋ทฐ ํ•˜์—ฌ ๊ทธ์˜ ์ƒ์• ์‚ฌ ์ „์ฒด๋ฅผ ์กฐ๋งํ•ด๋ด„์œผ๋กœ์„œ ์‚ฌ์‹ค์  ๊ฐ€์น˜๋ฅผ ๋„์ถœํ•˜๊ณ ์ž ํ•˜์˜€๋‹ค. ์ด์ƒ์œผ๋กœ ๋ณธ ์—ฐ๊ตฌ๋Š” ๋‹ค์Œ๊ณผ ๊ฐ™์€ ๊ฒฐ๋ก ์œผ๋กœ ์š”์•ฝ ํ•  ์ˆ˜ ์žˆ๋‹ค. ์„์ง„๊ฒฝ์˜ ์œ ๋„์‚ฌ์ƒ์€ ์œ ๋„๋ฅผ ํ†ตํ•œ ํ•œ๋ฏผ์กฑ์ž๊ฐ•์šด๋™์˜ ์‹ค์ฒœ์œผ๋กœ ๋ฏผ์กฑ์ฃผ์˜์™€ ๋ฐ•์• ์ฃผ์˜๊ฐ€ ์•„๋ž˜์™€ ๊ฐ™์€ ํ™œ๋™์„ ํ†ตํ•ด ๋‚ด๋ฉด์— ์ฒดํ™”๋˜์—ˆ๋‹ค. 1912๋…„ ํ•œ๊ตญ์˜ ์ „ํ†ต์ ์ธ ์œ ๊ต ์ง‘์•ˆ์—์„œ ํƒœ์–ด๋‚œ ์„์ง„๊ฒฝ์€ ๋ฐฐ์žฌ๊ณ ๋ณด์™€ YMCA์—์„œ ์œ ๋„ ์ˆ˜๋ จ์„ ์‹œ์ž‘ํ•˜์˜€์œผ๋ฉฐ ์ผ๋ณธ ๋ฆฌ์“ฐ๋ฉ”์ด์นธ๋Œ€ํ•™์— ์œ ํ•™ํ•˜์—ฌ ๋ฒ•ํ•™๊ณผ ๊ฐ•๋„๊ด€ ์œ ๋„๋ฅผ ๋ฐฐ์› ๋‹ค. ๊ท€๊ตญ ํ›„ ์„์ง„๊ฒฝ์€ ์œ ๋„๋ฅผ ์šฐ๋ฆฌ๋‚˜๋ผ์— ๋ณด๊ธ‰ํ•˜๋ฉด์„œ ์œ ๋„๊ฐ€ ์ผ๋ณธ์˜ ๊ฐ€๋…ธ ์ง€๊ณ ๋กœ์— ์˜ํ•ด์„œ ๋งŒ๋“ค์–ด์ง„ ๋ฌด๋„๋ผ๋Š” ๊ฒƒ์„ ๋ถ€์ •ํ•˜์ง€ ์•Š์•˜๋‹ค. ๊ฐ€๋…ธ ์ง€๊ณ ๋กœ์˜ ์œ ๋„์‚ฌ์ƒ์„ ๋ฐ›์•„๋“œ๋ ค ์šฐ๋ฆฌ๋‚˜๋ผ์˜ ์ •์„œ์— ๋งž๊ฒŒ ์œ ๋„์˜ ์‚ฌ์ƒ๊ณผ ๋ฐฉ๋ฒ•์„ ๊ณ ์•ˆํ•˜์˜€๋‹ค. ๋˜ํ•œ ๊ฑด๊ตญ์น˜์•ˆ๋Œ€ ๊ฒฝ๋ฆฌ๋ถ€์žฅ๊ณผ 6ยท25, ์‚ฐ์—…ํ™”, ๋ฏผ์ฃผํ™” ์ „ ์„ธ๋Œ€๋ฅผ ๊ฒช์œผ๋ฉฐ ๊ทธ์˜ ์‚ฌ์ƒ์  ๊ธฐ๋ฐ˜์„ ๋‹ค์กŒ๋‹ค. ์„์ง„๊ฒฝ์€ ์œ ๋„๋ฅผ ํ†ตํ•ด ์˜ฌ๊ณง์€ ์ •์‹ , ์ƒ๋Œ€์—๊ฒŒ ์œ„์••๊ฐ์„ ์ฃผ๊ณ ๋ฐ›๋Š” ์˜์›…์ด ์•„๋‹ˆ๋ผ ์ƒ๋ช…์„ ์‚ด๋ฆฌ๋Š” ์„ฑ์ธ์˜ ์‚ถ์„ ๊ฐ•์กฐํ•˜์˜€๋‹ค. ์ฆ‰ ์œ ๋„๋ฅผ ์ˆ˜๋ จํ•˜์—ฌ ๋‚˜ ์ž์‹ ์ด ๊ฐ•ํ•ด์ง€๋ฉด ๊ฑด๋ฐฉ์ง€๊ฒŒ ํ–‰๋™ํ•˜์ง€ ๋ง๊ณ  ๋”์šฑ ๋‚ฎ์€ ๊ณณ์œผ๋กœ ๋‚ด๋ ค๊ฐ€ ๊ฒธ์†ํ•ด์ง€๋ฉฐ ๋ฒ ํ‘ธ๋Š” ์‚ถ์„ ์‚ด๋ผ๊ณ  ๊ฐ€๋ฅด์ณค๋‹ค. ์„์ง„๊ฒฝ์€ ์ œ์ฃผ ๋†์—…ํ•™๊ต์—์„œ ์ง€๋„์ž์˜ ์ฒซ๊ฑธ์Œ์„ ์‹œ์ž‘ํ•˜์—ฌ ํ•จ๊ฒฝ๋‚จ๋„ ํ•จํฅ ์˜์ƒ์ค‘ํ•™๊ต, ์ˆ˜๋„๊ฒฝ์ฐฐํ•™๊ต ๋“ฑ์—์„œ ํ›„ํ•™์„ ๊ฐ€๋ฅด์ณค๋‹ค. ๊ทธ๋ฆฌ๊ณ  ํ•œ๊ตญ์œ ๋„์ง€๋„์ž ์–‘์„ฑ์„ ์ ˆ์‹คํžˆ ๋Š๋‚€ ์„์ง„๊ฒฝ์€ ๋œป์ด ๋งž๋Š” ์œ ๋„์ธ๋“ค๊ณผ 1953๋…„ ๋Œ€ํ•œ์œ ๋„ํ•™๊ต๋ฅผ ์„ค๋ฆฝํ•˜์˜€๋‹ค. ๋Œ€ํ•œ์œ ๋„ํ•™๊ต์—์„œ๋Š” ์ œ์ž๋“ค์—๊ฒŒ ๊ธฐ๋ณธํ•™๋ฌธ ๊ณต๋ถ€์™€ ์ธ์„ฑ๊ต์œก์„ ์ฒ ์ €ํ•˜๊ฒŒ ์‹œ์ผฐ๋‹ค. 1955๋…„ ์„์ง„๊ฒฝ์€ ๊ตฌ๋ผํŒŒ์œ ๋„์‚ฌ์ ˆ๋‹จ์˜ ๊ฐ๋…์œผ๋กœ ํ•œ๊ตญ ์œ ๋„๋ฅผ ์œ ๋Ÿฝ์— ์ „ํŒŒํ•˜๋ฉฐ ์šฐ๋ฆฌ๋‚˜๋ผ ์œ ๋„์ธ๋“ค์ด ์ „ ์„ธ๊ณ„์— ์ง„์ถœํ•  ์ˆ˜ ์žˆ๋Š” ๊ณ„๊ธฐ๋ฅผ ๋งˆ๋ จํ•˜์˜€๊ณ , ์šฐ๋ฆฌ๋‚˜๋ผ๋งŒ์˜ ์œ ๋„ ๊ธฐ์ˆ  ํ˜•ํƒœ์ธ ๋˜์น˜๊ธฐ๋ณธ์„ ์™„์„ฑํ•˜์—ฌ ๋ณด๊ธ‰ํ•˜์˜€๋‹ค. ๊ท€๊ตญ ํ›„ 1957๋…„ ๋™์•„๋Œ€ํ•™๊ต ์œ ๋„๋ถ€ ์ดˆ๋Œ€ ๊ฐ๋…์ด ๋˜์–ด 18๋…„๊ฐ„ ๊ต์ˆ˜๋กœ ๋ด‰์งํ•˜๋ฉฐ ๋ถ€์‚ฐ ์œ ๋„๊ต์œก์˜ ์ดˆ์„์„ ๋‹ค์ง„๋‹ค. ๋˜ํ•œ 1960๋…„ ๋Œ€ํ•œ์œ ๋„ํšŒ ํšŒ์žฅ, 1962๋…„ ๊ตญ์ œ์œ ๋„์—ฐ๋งน ๋ถ€ํšŒ์žฅ์„ ์—ญ์ž„ํ•˜์˜€๋‹ค. ์„์ง„๊ฒฝ์€ ์—ฌ๋Ÿฌ ๋‹จ์ฒด์˜ ์ž๋ฆฌ์—์„œ ๋ฌผ๋Ÿฌ๋‚œ ์ดํ›„ 1975๋…„ ๋‡Œ์กธ์ค‘์ด ๋ฐœ๋ณ‘ํ•˜๊ธฐ ์ „๊นŒ์ง€ ์œ ๋„๊ณ„์˜ ํŒŒ๋ฒŒ์‹ธ์›€์„ ๋ชฉ๊ฒฉํ•˜๊ธฐ ์‹ซ์–ด ์ „๊ตญ์ ์œผ๋กœ ์œ ๋„ ๊ต์œก์—๋งŒ ์ง‘์ค‘ํ•˜๋ฉฐ ํ•œ๊ตญ ์œ ๋„๊ณ„์— ํ›Œ๋ฅญํ•œ ์ธ์žฌ๋“ค์„ ์–‘์„ฑํ•˜์˜€๋‹ค. ๋˜ํ•œ ์ผ๋ณธ์˜ ์œ ๋„ ๊ธฐ์ˆ ๊ณผ ์‹ฌํŒ ์šฉ์–ด๋ฅผ ํ•œ๊ธ€ํ•™์ž ์ด๊ทน๋กœ์™€ ํ•จ๊ป˜ ํ•œ๊ตญ์–ด๋กœ ์ƒˆ๋กญ๊ฒŒ ์ •๋ฆฌํ•˜์˜€์œผ๋ฉฐ, ์ผ์ œ์˜ ํ”์ ์ด ๋‚จ์•„์žˆ๋˜ ์œ ๋„ ์กฐ์ง๋“ค์„ ์กฐ์„ ์œ ๋„์—ฐ๋งน์œผ๋กœ ํ†ตํ•ฉ, ๊ตญ๋‚ด์™€ ๊ตญ์™ธ์— ํ•œ๊ตญ์˜ ์œ ๋„๋ฅผ ๋ณด๊ธ‰ํ•˜์˜€๋‹ค. ํ˜„์žฌ ์šฐ๋ฆฌ๋‚˜๋ผ ์œ ๋„๊ณ„๊ฐ€ ์œ ๋„์˜ ๊ฒฝ๊ธฐ์ ์ธ ๋ฉด๋งŒ์„ ๊ฐ•์กฐํ•˜๊ณ  ๊ฐœ์ธ์˜ ์ด์ต์„ ์œ„ํ•œ ํŒŒ๋ฒŒ์‹ธ์›€์— ๊ธ‰๊ธ‰ํ•œ ์‹œ์ ์—์„œ ์„์ง„๊ฒฝ์ด ๊ฐ•์กฐํ•œ ๊ธฐ๋ณธ๊ณต๋ถ€, ๋ฐ”๋ฅธ์ธ์„ฑ, ์ฒด์กฐ์˜ ์ค‘์š”์„ฑ, ์˜ฌ๋ฐ”๋ฅธ ์œ ๋„์˜ ์‚ฌ์šฉ, ์œ ๋„๋ฅผ ํ†ตํ•œ ์„ฑ์ธ์ด ๋˜๋Š” ์‚ถ์€ ์ „๊ตญ์˜ ๋ชจ๋“  ์œ ๋„์ธ๋“ค์—๊ฒŒ ๋˜์ƒˆ๊ธฐ์–ด ์œ ๋„๊ณ„์˜ ํ†ตํ•ฉ์„ ์ด๋ฃฐ ์ˆ˜ ์žˆ๋Š” ๋ณธ์งˆ์ ์ด๊ณ  ์ฐธ์‹ ํ•œ ๋ฉ”์‹œ์ง€๊ฐ€ ๋  ์ˆ˜ ์žˆ์„ ๊ฒƒ์ด๋‹ค.โ… . ์„œ๋ก  1 1. ์—ฐ๊ตฌ์˜ ํ•„์š”์„ฑ 1 2. ์—ฐ๊ตฌ์˜ ๋ชฉ์  8 3. ์„ ํ–‰์—ฐ๊ตฌ ๊ฒ€ํ†  8 1) ์ฒด์œก ์ธ๋ฌผ์˜ ์ฒด์œก ํ™œ๋™๊ณผ ์‚ฌ์ƒ์— ๊ด€ํ•œ ์—ฐ๊ตฌ 9 2) ํ•œ๊ตญ ์œ ๋„์‚ฌ์— ๊ด€ํ•œ ์—ฐ๊ตฌ 12 3) ์œ ๋„ ์ธ๋ฌผ์˜ ์‚ฌ์ƒ๊ณผ ์œ ๋„ ๊ต์œก์— ๊ด€ํ•œ ์—ฐ๊ตฌ 18 4. ์—ฐ๊ตฌ๋ฐฉ๋ฒ• 23 โ…ก. ์ด๋ก ์  ๋ฐฐ๊ฒฝ 26 1. ํ•œ๊ตญ ์œ ๋„์˜ ๋ฐœ์ „๊ณผ์ • 26 1) ์ผ์ œ๊ฐ•์ ๊ธฐ(1910-1945) 26 2) ํ•ด๋ฐฉ ์ดํ›„๋ถ€ํ„ฐ ํ•œ๊ตญ์ „์Ÿ๊นŒ์ง€(1946-1953) 29 3) ํ•œ๊ตญ์ „์Ÿ ์ดํ›„๋ถ€ํ„ฐ ์„œ์šธ์˜ฌ๋ฆผํ”ฝ๊นŒ์ง€(1954-1988) 30 4) ์„œ์šธ์˜ฌ๋ฆผํ”ฝ ์ดํ›„๋ถ€ํ„ฐ ํ˜„์žฌ๊นŒ์ง€(1989-2017) 33 2. ์„์ง„๊ฒฝ์˜ ์œ ๋„๊ต์œก ํ™œ๋™๊ณผ ์‚ฌ์ƒ์  ๊ธฐ๋ฐ˜ 35 1) ๋ฐฐ์žฌ๊ณ ๋“ฑ๋ณดํ†ตํ•™๊ต ์žฌํ•™ ์‹œ์ ˆ 35 2) YMCA ์†Œ์† ์‹œ์ ˆ 36 3) ๋ฆฌ์“ฐ๋ฉ”์ด์นธ ๋Œ€ํ•™ ์‹œ์ ˆ 38 4) ๋Œ€ํ•œ์œ ๋„ํ•™๊ต(็พ ์šฉ์ธ๋Œ€ํ•™๊ต) ์ด์‚ฌ์žฅ ์‹œ์ ˆ 39 5) ๋™์•„๋Œ€ํ•™๊ต ๊ต์ˆ˜ ์‹œ์ ˆ 40 โ…ข. ์„์ง„๊ฒฝ์˜ ์œ ๋„๊ต์œก ํ™œ๋™ 42 1. ํ•™๊ต๋ฅผ ํ†ตํ•œ ๊ต์œก ํ™œ๋™ 47 1) ๋Œ€ํ•œ์œ ๋„ํ•™๊ต(็พ ์šฉ์ธ๋Œ€ํ•™๊ต) ์„ค๋ฆฝ ์‹œ์ ˆ 48 2) ๋™์•„๋Œ€ํ•™๊ต ๊ต์ˆ˜ ์‹œ์ ˆ 51 2. ๋‹จ์ฒด ์กฐ์ง์„ ํ†ตํ•œ ๊ต์œก ํ™œ๋™ 56 1) ์กฐ์„ ์œ ๋„์—ฐ๋งน(็พ ๋Œ€ํ•œ์œ ๋„ํšŒ) ์ด์‚ฌ ์‹œ์ ˆ 56 2) ๊ตฌ๋ผํŒŒ์œ ๋„์‚ฌ์ ˆ๋‹จ(ๆญ็พ…ๅทดๆŸ”้“ไฝฟ็ฏ€ๅœ˜) ๊ฐ๋… ์‹œ์ ˆ 59 โ…ฃ. ์„์ง„๊ฒฝ ์œ ๋„์‚ฌ์ƒ์˜ ํŠน์ง• 64 1. ์„์ง„๊ฒฝ์—๊ฒŒ ๋‚ด์žฌ๋œ ๊ธฐ์ดˆ์‚ฌ์ƒ 64 1) ์œ ๊ต์‚ฌ์ƒ 64 2) ๋ฐ•์• ์ฃผ์˜ 65 3) ๋ฏผ์กฑ์ฃผ์˜ 66 2. ์œ ๋„์‚ฌ์ƒ 67 1) ๊ฐ€๋…ธ ์ง€๊ณ ๋กœ์˜ ์ˆ (่ก“)์—์„œ ๋„(้“)๋กœ 67 2) ์œ ๋„๋ฅผ ํ†ตํ•œ ์„ฑ์ธ(่–ไบบ)์œผ๋กœ 70 โ…ค. ๊ฒฐ๋ก  ๋ฐ ์ œ์–ธ 74 ์ฐธ๊ณ ๋ฌธํ—Œ 78Maste

    Considering the Cultural Issues of Web Design in Implementing Web-Based E-Commerce for International Customers

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    The web design for international e-commerce sites is becoming an increasingly important issue. This paper addresses issues about cultural differences in web design and designersโ€™ views. The summary of research work includes understanding of designersโ€™ attitudes and approaches in designing web sites for different countries. Some suggestions about important aspect of localized design are made from case studies conducted during this research

    Memoria de mis Putas Tristes: Un Romance Hecho Novela

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    Desde la epoca de la Conquista, el romance de origen europeo se empezo a difundir en America Latina y llega hasta hoy con nuevas variantes a zonas diferentes. Se han producido multiples romances latinoamericanos y, pese a su desaparicion cuantitativa, esta vivo en la memoria del pueblo latinoamericano. El romance colombiano de la tradicion oral constituye un importante elemento en la ultima novela de Gabriel Garcia Marquez, Memoria de mis putas tristes, en el que estan diluidas y recreadas las caracteristicas generales del romance. Los personajes y la historia de la novela son semejantes a los del romance Delgadina, que trata del amor de un rey enamorado de su hija. El tema del incesto en Delgadina, no aceptable ante la sociedad, coincide con el del amor de un anciano de noventa anos por una chica de quince a quien le pone el nombre Delgadina. Mas que eso, la novela asimila varios elementos del romance Delgadina, dando como resultado el que Memoria de mis putas tristes de Garcia Marquez se constituya sobre la base de la cultura colombiana de tradicion oral

    A Scalable Deep Neural Network Architecture for Multi-Building and Multi-Floor Indoor Localization Based on Wi-Fi Fingerprinting

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    One of the key technologies for future large-scale location-aware services covering a complex of multi-story buildings --- e.g., a big shopping mall and a university campus --- is a scalable indoor localization technique. In this paper, we report the current status of our investigation on the use of deep neural networks (DNNs) for scalable building/floor classification and floor-level position estimation based on Wi-Fi fingerprinting. Exploiting the hierarchical nature of the building/floor estimation and floor-level coordinates estimation of a location, we propose a new DNN architecture consisting of a stacked autoencoder for the reduction of feature space dimension and a feed-forward classifier for multi-label classification of building/floor/location, on which the multi-building and multi-floor indoor localization system based on Wi-Fi fingerprinting is built. Experimental results for the performance of building/floor estimation and floor-level coordinates estimation of a given location demonstrate the feasibility of the proposed DNN-based indoor localization system, which can provide near state-of-the-art performance using a single DNN, for the implementation with lower complexity and energy consumption at mobile devices.Comment: 9 pages, 6 figure

    ๋ฌธํ™”.์˜ˆ์ˆ ์ธ๋“ค์„ ์ค‘์‹ฌ์œผ๋กœ ํ•œ ๋„์‹œ์žฌ์ƒ์— ๊ด€ํ•œ ์—ฐ๊ตฌ

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    ํ•™์œ„๋…ผ๋ฌธ (์„์‚ฌ)-- ์„œ์šธ๋Œ€ํ•™๊ต ๋Œ€ํ•™์› : ๊ฑด์ถ•ํ•™๊ณผ, 2013. 2. ๋ฐฑ์ง„.The purpose of this paper is to re-address the value of the city that prompts our nostalgia and recover humanity and identity of the city exploring through case studies of Yeongdeungpo-gu Mullae-dong Art district. This study is focused on exploring the case study, Mullae-dong Art district, which is revitalizing the small-scale residual space through a cultural catalyst. This paper is divided into three parts and the first part would briefly introduce cultural catalysts as a one of a kind in urban catalysts as methodology for urban regeneration. The research on the historical background of Mullae-dong would help to better understand how the area has changed throughout the 1990s. The second part of this paper would try to find out the environmental factors that have caused the phenomenon of cultural catalyst through cultural activities of artists at Mullae-dong. It would be analyzed from the period when artists started to flow into the area. Finally, the physical products that has been regenerated via the local artists as catalyst of the chosen site at Mullae-dong would analyze what regenerating effects were brought up from the changes so that the environmental factors and regenerated products can become guidelines to provide support to achieve maximum urban regeneration with minimal investment.Contents Abstract Acknowledgement Contents List of Tables List of figures Chapter 1. Introduction 1.1 Defining problems and research questions 1.2 Methodology Chapter 2. The concept of catalysts in architecture 2.1 The concept of urban catalysts 2.11 Aldo Rossi 2.12 Attoe and Locan 2.13 Jane Jacobs 2.2 Characteristic of urban regeneration through catalysts 2.21 Urban regeneration through catalysts 2.22 Urban regeneration without catalysts Chapter 3. Characteristics of Mullae-dong Art District 3.1 Intro of Mullae-dong Art District in Seoul 3.11 Historical background of Mullae-dong in 20th C 3.12 Decline of Mullae-dong in 1980s 3.13 The formation of Mullae-dong Art district in 21st C 3.2 Environmental factors that attract artists Chapter 4. Recovery of identity at Mullae-dong area 4.1 Analysis of products regenerated through artists as catalysts 4.2 Recovery of historical values and regional characteristics 4.3 The movement of Mullae-dong Art community Chapter 5. A lesson from Mullae-dong artists as catalysts 5.1 The role of artists 5.2 An approach to the institutional support Chapter 6. Conclusion BibliographyMaste

    Synthesis and characterization of ultra violet curable renewable polymer graphite composites

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    This thesis aims is to evaluate the synthesis and characterization of ultra violet (UV) curable renewable polymer graphite (RPG) composites. Accordingly, the renewable polymeric composites were prepared through a film slip casting method at room temperature wherein graphite particles of various weight loadings were mixed with mass proportion 2:1 of renewable monomer and Methylene Diphenyl Diisocyanate, MDI respectively. The main concerned was given to renewable monomer based vegetable cooking oil produced at the SPEN-AMMC UTHM. The morphology-structural relation of the RPG composites confirmed that the graphite particles contain functional groups such as hydroxyl and carboxylic groups are randomly distributed and attributed to formation of interconnected interface within the polymeric composites. Furthermore, as the graphite particle loading increased, the thermal degradation temperature at three distinct decomposition stages shifted and to some extent, resulting in much higher crystallinity. As expected, the mechanical properties of the composites were also enhanced with the modulus and tensile strength increment up to ~440% and ~100% respectively. Significantly, all of these results correlate with viscoelastic properties in which the composites achieved percolation threshold at RPG20 composites. Moreover, the decreased in optical energy band gap (Eg) which afterwards took the leads to electrical conductivity (ฯƒ). Aptly, the composites (RPG20, RPG25 and RPG30) were found to possess favorable electrical conductivity range of 10-5 โ€“ 10-4 S/m, while all other samples were deemed to be not conductive due to improper dispersion of graphite particulates. On the contrary, UV curable composites did not show any significant enhancement and graphite particle acted as UV stabilizer in this manner. Therefore, the stability of the conductive renewable polymer graphite composite is suitable to be used in various composites applications

    Understanding of User Preferences in Global Electronic Commerce Sites

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    This paper addresses issues of user preferences in web design of global e-commerce. Increasing attention to global e-commerce sites are not only global companies concerns but also an issue for users. This research is an attempt to identify issues of global web design and user preferences particularly from different culture backgrounds. An exploratory study relating to user preferences for design features in popular global sites is presented, and through it identifies a number of factors related to design in the B2C context and proposes a framework based on understanding of users preferences of these factors. Results indicate that users are more likely to use global web sites if they find their favorite features in it. Users form different culture groups and their preferences are likely to influence different levels of design content in a web site. Furthermore, a user with his/her favorite design features that promote user s attention and lead to purchase of goods through the global sites

    A New Collaborative Digital Social Space

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    To understand the web design principles in a Digital Social Space (DSS) that can attract multiple national cultures into one SNS platform, Internet communication users from different cultures were chosen as targets for this investigation, using questionnaires to collect user preferences on a digital social space. Social network sites (SNS) evolved within a short time into a popular Internet-mediated tool that is being used worldwide on a daily basis. Though presumptions in interaction through SNS create bias in web design that does not translate well into foreign cultures. Results revealed that different culture groups have different understandings of online communication tools in a Digital Social Space (DSS)
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