• Industry Promotion Research
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• v.6 no.3
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• pp.79-88
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• 2021

Jonah complex is a psychological term put forward by Maslow, a famous American psychologist. In short, "Jonah complex" is the fear of growth. It comes from a hypothesis in psychodynamic theory: "people are not only afraid of failure, but also afraid of success." It represents a kind of psychology of self-evasion and retreat in the face of opportunities. It is an emotional state, which leads us not to do what we can do well, or even to avoid exploring our potential. From the perspective of self-actualization, it is a psychological obstacle to self-actualization. This paper consists of the following parts: the first chapter describes the research background and significance of this paper; the second chapter describes the theoretical basis of this paper; the third chapter explains that the research method of this paper is literature method; the fourth chapter analyzes the reasons for the formation of Jonah complex in detail; the fifth chapter describes how to overcome Jonah complex.

• Proceedings of the Korea Water Resources Association Conference
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• 2022.05a
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• pp.378-378
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• 2022

상수도시스템의 과정 중 최종 단계인 급수단계에서 지역전반에 수질문제가 발생할 경우, 직간접적인 피해의 해결은 장기간 지속될 수 있다. 본 연구에서는 실시간 비정형정보의 빅데이터 분석을 통해 상수도시스템에서 수질사고 문제의 파급력과 2차 피해 등의 연결 관계 변화 추적을 위한 기초적 분석을 수행하였다. 과거 대규모 수질사고가 발생된 바 있는 인천광역시 유충발생 사고를 대상으로 뉴스 기사 웹크롤링 절차를 정립하고, 그 결과를 분석하였다. '인천 유충'이 최초 보도되었던 2020년 7월 13일 부터 이후 1년을 대상으로 네이버 통합검색에 의해 표출되는 뉴스기사를 웹크롤링하였으며, 프로그래밍을 통한 불용어 제거 및 관련성 검토를 통해 총 920건의 기사를 분석하였다. 수질사고의 전개양상에 따라 사고발생, 확산, 수습, 그리고 보상의 4단계로 임의 구분하여 분석하였다. 의미분석을 위한 토픽모델링 기법은 잠재 디리클레 할당(Latent Dirichlet Allocation, LDA) 방법을 적용하였으며, 긍부정 감정분석은 KNU 한국어 감성사전(KNU sentiment lexicon)을 활용하여 수행하였다. 토픽 모델링 결과, 사고 발생에서부터 확산, 수습, 보상의 단계에 맞춰 적절한 주제어의 조합에 따른 기사들이 도출되었으며, 단계별 긍부정 기사 비율역시 사고의 전개단계에 따라 적절히 나타남을 확인하였다. 제시된 수질사고 관련 비정형정보 분석 방법론과 결과는 과거 사고 사례 분석을 통한 검색 및 긍부정 키워드 확정, 키워드 발생 비율 변동(사고전과 후)에 따른 상황판단 기준설정 등에 활용이 가능하다.

• Cartoon and Animation Studies
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• s.48
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• pp.333-358
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• 2017

Mainland China is under different conditions both socially and politically than other countries, so there is a lack of practical researches on cartoon characters. With a profound interest, the researcher has selected a character that is realistic and loved by many Chinese. The subject of the study is "Shan Mao Series." Out of 16 seasons, the most famous one is the Chronicle of Shan Mao's Wander. I analyzed the character thoroughly, dealing with the beginning of the character, the process of character development, and a reality shown in the chronicle, etc. on chapter II, and the character's image component on chapter III. Chinese modern cartoons were affected by a situational anxiety because of foreign powers and war. Thus satire cartoons went in fads among the public. The epitome of a typical cartoon was the Shan Mao Series. From 1935, when the character was first created, to now it has eaten into Chinese people's hearts. It's because the story happens during a war period and it deals with a playful, humorous main character's life and these facts show the hidden side of the unfair social system. Most of readers prefer a smart, playful, righteous, and brave character. Shan means three and mao, hair in Chinese, so Shan Mao is a child who has three hair. The character is not just a simple cartoon character; it has developed into a national figure among many Chinese. The reason why the researcher has chosen the series created by Zhang Leping, the author of the cartoon, is because a good cartoon, good animation, and even good movie stimulate the feelings that we get from our surroundings. The character which is created in China seems very unique and bizarre but there is a sense of friendliness. Also its character image and scenes make people laugh and it has become a typical symbol of a modern cartoon in China.

• (The)Study of the Eastern Classic
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• no.71
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• pp.231-258
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• 2018

This paper examines the differences of two different versions of "Cheonuisogameonhae" in terms of stylistics and investigates factors affecting the differences. The interpretations between the woodblock edition and the manuscript edition might be different depending on assumed range of readership, and the stylistic differences between two editions might be different depending on the possibility of extension of the reading population. Thus, this paper examines how stylistic effects are reflected in inter-relations between a translator as a speaker and readers as listeners according to speaker intentions. In Chapter 2, the stylistic differences reflected from two difference editions are examined in terms of the expression of a writer's respect, emotions, and formal consciousness to readers. The expressions of a writer's respect are more clearly emerged in the manuscript edition than in the woodblock edition. The honorific expression of a subject, '-gyeo?dsyeo', and the honorific expression of a writer, '-s?p-', are more frequently used in the manuscript edition than in the woodblock edition. In order to express positive emotions, exclamation endings are used in the manuscript edition, which shows the writer's strong emotional sympathy with readers' words and behaviors. On the other hand, in the woodblock edition, '-이' is used after names in order to treat rebellious subjects and people involved in conspiracy contemptuously by the use of informal forms. In addition, affirmative sentences in the manuscript edition and double negative sentences in the woodblock edition are used respectively, which intends to strongly emphasize a king's will and the appropriateness of the will. The writer's formal consciousness to readers are found in the way of writing names of people and places in Korean. Chinese characters are generally used two show formal consciousness; thus, names of people and places are expressed in Chinese characters in the woodblock edition. In Chapter 3, factors that made the stylistic differences between two editions are examined. The factors causing stylistic differences are examined in terms of the purpose of the interpretation, the class and range of the reading population, a writer's attitudes toward readers, and the face-to-fact situation of a writer and readers.

• (The)Study of the Eastern Classic
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• no.68
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• pp.539-570
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• 2017

This article is for considering and looking through the meaning of Classic of Poetry(Shi jing) Hiku-ka of Kobayashi Issa before reviewing and adapting Classic of Poetry(Shi jing) in Eastern Asia. Issa wrote his works by using Hyanghwa-Gucheop in 1803, and he had adopted it as his creative works of Hikai absorbing Classic of Poetry(Shi jing) for about half a year. There has been no national study about this so far, and this study covered the aspects of Issa's adapting way of Classic of Poetry(Shi jing) in Japan and China. There have been several problems that the contents were limited to Guo-feng and there were no agreement of terminology as well among researchers. To overcome these limitations, therefore, this article aimed at all the works, rejected the view point as just a translation, and denominated this study as Haiku-ka. Above all, this study looked though Issa's Classic of Poetry(Shi jing) by splitting the aspects of Haiku-ka into borrowing topics and materials. In borrowing topics, the works with the topics of homesick and nostalgic parents stood out. Furthermore, annotations and understandings of Issa's original works were deeply involved. In borrowing materials, the original meanings in the works were transformed and changed or even reinterpreted by their own way. Eliminating sublime emotions, furious tone, and condemnation was main characteristic of Haiku-ka in Classic of Poetry(Shi jing). Besides, there were ways of exclusion of reasoning, deviating from the viewpoint of Sigyo(edification by poetry), not including moral senses. In other words, Issa used habits and impressions like the way of Haiku when he was doing Haiku-ka in Classic of Poetry(Shi jing). The meaning that Issa's Hiku-ka of Classic of Poetry(Shi jing) stood out compared to adaptation of Classic of Poetry(Shi jing) in Eastern Asia. Although Classic of Poetry(Shi jing) in Vietnam was transferred in the form of the poem in Vernacular, the meaning and contents were not changed. Moreover, the original works and characters in Joseon were not destroyed because Classic of Poetry(Shi jing) was not liberally translated but literally. However, Issa transferred the Classic of Poetry(Shi jing) in the form of the poem in Vernacular to reveal the value of popular ballads. This was a different adapting way of Classic of Poetry(Shi jing) from that in Eastern Asia.

• The Journal of the Korea Contents Association
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• v.18 no.4
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• pp.636-652
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• 2018

This study is about applying the concept of moral injury in reinterpreting and understanding the experience of female North Korean refugees who have experienced psychological trauma and are struggling with adjusting in their everyday lives. The database KISS and DBpia were used to search for academic peer-reviewed articles published before August 13th in 2017, using 'female or women North Korean,' 'female or women relocated North Korean,' and 'female or women North Korean defector' as keywords. In total 51 studies were finally selected for content analysis and the result were the following. First, listing from the most often occurring study topic to the least occurring topic in order: post-defection adjustment related, mothering experience, experience of North Korean regime and Korean War, work or job or employment related, recovering from psychological trauma as well as growth and resilience related, experiences in China, trauma and psychological difficulties, anxiety treatment process and effects. Second, words related to psychological aspect of moral injury appeared 260 times in 51 selected studies, changes in the existential belief appeared 82 times, cognitive aspects of moral injury appeared 71 times, and behavioral aspects 21 times. Third, two main contexts emerged to be the antecedent that led to moral injury and they were 'identity denial' and 'dismantled family.' In attempts to find opposite cases or stories where aspects of moral injury were not found despite the existence of its antecedents and it was 'identity restructuring.' Based on the finding, practice implications that could help female North Korean refugees prevent or recover from moral injury were suggested.

• Cartoon and Animation Studies
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• s.34
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• pp.197-217
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• 2014

The 1920s and 1930s ushered in "the golden age" of Chinese comics when the comics flourished. Satirical cartoons in modern Chinese comics were popular due to emotional instability and war caused by foreign powers. Among many popular comics, this paper analyzes in the 1920s and in the 1930s which were made into films and dramas. Chapter Two shows that China in the Republican era of China expanded its consumer culture into some sectors like films, novels, magazines and fashion in the 1920s and 1930s. However, more than any other things, this chapter considers from the historical perspective "the golden age" of comics including comic magazine in the 1930s and a history of comic magazines that gained popularity with conventional and common story. Chapter Three explains that social satire cartoons were in vogue since the May Fourth Movement and anti-imperialistic and semi-feudalistic stories in the 1920s were realized in life. It also says that comics that describes the negative sides of its society were popular. Ye QianYu, a cartoonist, portrayed many facets of Shanghai through : the daily life of the middle and lower classes, bureaucratic corruption and sympathy for the working class. drawn by Zhang LePing describes the unfair social system between the bourgeoisie and the proletariat and the gap between the rich and poor through the main character, the powerless and poor orphan. and lampooned the reality of its time in an objective, witty and humorous way in terms of ethics and economy respectively. The researcher chooses to study and which are very familiar to us, because good cartoons, animations and movies stimulate the feelings about our surroundings.

• Journal of the Korean Society for information Management
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• v.21 no.4 s.54
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• pp.187-208
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• 2004

In this study, aesthetic impressions were used for a high-level feature of image retrieval. The term, 'aesthetic' has been studied in psychology, art, and literature. It means unconscious, instantaneous parts of visual perception and emotion. The literatures related to aesthetic impressions were reviewed and four kinds of aesthetic impressions were defined operationally : strong impression, soft impression, courteous impression, and refined impression. 66 image files of paintings were sampled randomly from 1100 paintings and low-level color features were extracted from them by a using perceptual color model(Lai, & Tait, 1998). The high-level features of an image, that is, four kinds of aesthetic impressions of each painting were measured by 4 subjects and averaged. In CBIR, 2 subjects performed image retrievals using example queries. They were asked to retrieve images by using the aesthetic impressions or the keywords. In evaluations, subjects showed that they were satisfied with the aesthetic impression-based image retrieval system on the average. And R-precision of the image retrieval with both color features and aesthetic impressions was higher than that of the image retrieval with color features only. But further studies with larger test collections and query sets should be followed for generalization of the result of this study.

• Journal of The Korean Association For Science Education
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• v.37 no.6
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• pp.1005-1014
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• 2017

Focusing on the role of the science museum as an institution to improve the scientific literacy of the public, this study investigated public perception and behavior about science museum to know how much science museums affect the public by using social media big data analysis. For this purpose, we extracted texts containing 'science museum' in Naver blogs and Twitter, analyzed them by using network, frequency, co-ocurrence, and semantics analysis and compared them with the results in English speaking countries. As a result, blogs were mainly concerned with science museum among parents who have young children, while in Twitter posts from many students who visited as a group appeared. Therefore, the Korean public used science museum mainly as a space for children's experience, and in this case, programs and exhibitions of science museums are perceived positively. On the other hand, students who visited as a group showed some negative emotions. The result of comparison with the cases of foreign countries in terms of the function of the third generation science museum such as communications with the science museum and the public and the participation of the public in science, the Korean public hardly mentioned the scientific contents, words related to communications such as 'argue', and curators or staff after visiting the science museum. In contrast to many verbs related to meaningful activities such as 'learn', 'participate', 'listen', 'read', 'ask', 'think' appeared in English, only a small number of verbs include 'ask' and 'thin' appeared in Korean. Therefore, science museum need to improve impression, communicating with public, and involving activity with impact and variety after visit.

• Journal of Science and Technology Studies
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• v.5 no.1 s.9
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• pp.1-30
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• 2005

In recent times, artists rely increasingly on science and technology, whereas scientists frequently use such an aesthetic tenn like 'eauty.' This shows that the gap between the 'two cultures' are narrowing down due to the necessity of both sides. The historical interaction between science and art has been extensively discussed by the historians of art and those of science. As the complexities of scientific and artistic practices were uncovered, similarities between them were also revealed. The goals of this paper, which explores the relationship and interactions between science and art, are the following three. The first is to bridge the gap between the two cultures (i.e., science and art) by disclosing the mutual influences between them. Second, drawing on recent works on the nature of scientific and artistic creativity, this paper aims to show some similarities and even common factors between scientific and artistic creativity. Finally, by highlighting similarities and common elements between scientific and artistic creativity, this paper will emphasize the role of imagination, insight, emotion and visualization not only in art but also in science.