• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.157-167
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• 2019

The actor Song Gang Ho who appeared in the late 1990s, expanded the personality of his characters on his own way by using his unique characteristics (way of talking and appearance) as a nuance of diverse characters, while playing the wide range of roles from the petite bourgeoisie to kings in various genres. Especially in films such as , which are based on real incidents and real people, Gang Ho Song's character embodies Korean history and cultural identity. Not only his serious, but light and seemingly uncalculated realistic acting style harmonizes with his character and reveals the sense of humanity creating a new genre called "Gang Ho Song's character", but also Gang Ho Song is solidifying his base and range as an actor. Therefore, this research aims to analyze his character and acting through the film while concentrating on his realistic expression and creativity based on Barry King's concept of authorship. First, the research will analyze the features of the historical and cultural identity of Song Gang Ho's character which reenacts the real people and incidents as well as analyzing his realistic acting and improvisation of his acting which adds vibrancy to his character. While looking at Song Gang Ho's acting as a self-reflective acting, he enhances the character's reality by creating the character's personality using his own physical features and this research will analyze how Song Gang Ho's self-reflectiveness harmonizes with the character's features which are expressed realistically in the film and how his character and acting creates a continuum.

• Cross-Cultural Studies
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• v.51
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• pp.329-356
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• 2018

Types of emotional expressions are comprised of vocabulary that describes emotion and composition of sentences to express emotion such as an exclamatory sentence and a rhetorical question, expressions of interjection, adverbs of attitude for an idea, and a style of writing. This study is focused on vocabulary that describes emotion and analyzes the aspect of translation when emotional expression of 'Kyo(驚)' is shown in "Kokoro". As a result, the aspect of translation for expression of 'Kyo(驚)' showed that it was translated to vocabulary as suggested in the dictionary in some cases. However, it was not always translated as suggested in the dictionary. Vocabulary that describes the emotion of 'Kyo(驚)' in Japanese sentences is mostly translated to corresponding parts of speech in Korean. Some adverbs needed to add 'verbs' when they were translated. Different vocabulary was added or used to maximize emotion. However, the corresponding part of speech in English was different from Korean. Examples of Japanese sentences expressing 'Kyo(驚)' by verbs were translated to expression of participles for passive verbs such as 'surprise' 'astonish' 'amaze' 'shock' 'frighten' 'stun' in many cases. Idioms were also translated with focus on the function of sentences rather than the form of sentences. Those expressed in adverbs did not accompany verbs of 'Kyo(驚)'. They were translated to expression of participles for passive verbs and adjectives such as 'surprise' 'astonish' 'amaze' 'shock' 'frighten' 'stun' in many cases. Main agents of emotion were showat the first person and the third person in simple sentences. Translation of emotional expressions when a main agent was the first person showed that the fundamental word order of Japanese was translated as in Korean. However, adverbs of time and adverbs of degree were ended to be added. The first person as the main agent of emotion was positioned at the place of subject when it was translated in English. However, things or causes of events were positioned at the place of subject in some cases to show the degree of 'Kyo(驚)' which the main agent experienced. The expression of conjecture and supposition or a certain visual and auditory basis was added to translate the expression of emotion when the main agent of emotion was the third person. Simple sentences without the main agent of emotion showed that their subjects could be omitted even if they were essential components because they could be known through context in Korean. These omitted subjects were found and translated in English. Those subjects were not necessarily human who was the main agent of emotion. They could be things or causes of events that specified the expression of emotion.

• The Journal of Korean Philosophical History
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• no.30
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• pp.191-225
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• 2010

This paper is the outcome of attempting to approach for reading the Analects of Confucius through the polysemy of Chinese character and indecidability of articles. For this purpose at first, I explained which this Chinese character can be applied for 'philosophy language'. In the 16th century Matteo Ricci had tried to find out the possibility of ideographic script as standing for a universal language. On the other hand, Hegel and Heidegger strictly insisted on the Chinese character is inappropriate for expressing the logic thought of the human being. The reason was as next; firstly, this character had not the preposition and articles, and secondly the only one word could not indicates the bisemy including the meaning of opposition, lastly this language system expresses and communicates only with the change of word order without inflection. But With some scholar like Cassirer, Saussure and Derrida we can confirm the possibility which will discover the Chinese character for using the logic and reasoning language of from different view. Because in the language system of this Chinese character the connection of words in contexts is more important other than meaning as the individual word, in comparison to the language of the West. The Chinese character hides the original meaning until being what kind of event and thing relationship watch inside with different letters. So to speak, the Chinese character is called as 'language of indecidability'. For these points, even though The Chinese character lacks of preposition, articles, and inflection speech etc. the letter systematic, this language system can play a role for expressing as the philosophic language which manages with the complicated problems of the human being.

• Sim-seong Yeon-gu
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• v.26 no.1
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• pp.1-35
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• 2011

The number of Frida Kahlo's works is 143, 55 of which are her own portraits. She spent a great deal of time on the production of her works, a large portion of which is taken up by her portraits. Art and creation by artist are the expressive process of artist's unconsciousness. Certain works express personal unconsciousness and collective, archetypal unconsciousness. These works evoke certain impressive image or unknown emotion in their mind impulsively. Artist could talk with their own work in this process. The producted symbolic images want to seek harmony with the artist's consciousness. This study has examined, from the viewpoint of analytical psychology, the psychological changes of Frida Kahlo by way of interpreting 4 of her own realistic portraits. These particular 4 works were finished in the most critical life time of Frida Kalho. We tried to find out what the purpose of her work would be. From the examination the following characteristics were gound. 1) Her portraits are not only concerned with her personal life and personal unconscious, but they also contain elements of the collective unconscious. 2) She experienced a psychological healing for herself in the process of transforming shocking events into painful portraits. 3) Her self portraits are the expression of the creative transformation she underwent.

• Cartoon and Animation Studies
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• s.27
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• pp.199-219
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• 2012

An innovative narrative film-making always came out of conflict and negotiation between reality and film form. A lesson we learn from their film-making is a certain reality is no more possible to be dealt with by conventional narrative. A dialectic between a real life and a representation drives a certain film-makers to make films. Kore-eda Hirokazu is internationally known as developing his own method of meshing of so-called real life and the artifice of film. As He began his career as a documentary film-maker, made several documentaries for TV and then turned to his feature film-making, documentary film-making defines the basic stance in all of his film-making. He in particular emphasized that he considered the fundamental ethical standpoint of documentary to be filming from the standpoint that one does not - or cannot - know the person one is filming. And therefore even in his fiction films he avoids subjective cinematic structures that offer easy access to the internal states of his characters. He makes his audience observe the internal states of his characters from the outside with his narrative strategy. This article will analyse two documentary films of Koreeda Hirokazu in such a way that his documentaries meshes a real life and the artifice of film and then explores such a fiction film like that changes its documentary methods into narrative strategy for the same effect on the audience.

• Journal of the Institute of Convergence Signal Processing
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• v.12 no.3
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• pp.188-193
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• 2011

In this letter, we have derived another exact performance analysis for the OADF(opportunistic adaptive decode-and-forward) relay systems over Rayleigh fading channels. Based on error-events at relay nodes, the received instantaneous SNR(signal-to-noise ratio) is presented and its PDF(probability density function) is expressed as a more tractable form in which the number of summations and the length of each summation are specified. Then, exact average error rate, outage probability, and average channel capacity are obtained as general forms. Simulation results are finally presented to validate that the proposed analytical expressions can be a unified frame work covering all Rayleigh fading channel conditions. Furthermore, it is confirmed that OADF schemes can outperform the other schemes on the average error rate, outage probability, and average channel capacity.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.364-369
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• 2008

이 연구는 정보와 지식을 효과적으로 시각화하기 위해 만들어진 개념적 맵(Conceptual map)들의 종류와 그 특성과 차이점을 분석하고 활용 방안으로서 디지털 스토리텔링으로의 적용 가능성과 방법에 대한 연구이다. 사회현상에 존재하는 다양한 정보에서 사용자가 원하는 정보를 검색하고 조직하기 위해 다이어그램, 그래프, 맵 등 정보시각화를 통한 여러 방법들이 사용되고 있다. 특히 이 중에서 맵을 이용한 시각화에 주목하는 이유는 수많은 정보와 지식을 기반으로 만들어진 개념적 지도가 정보와 지식을 표현해 줄 뿐만 아니라, 이들 사이의 관계를 조직해주는 데에도 효율적으로 사용되고 있기 때문이다. 이러한 정보시각화는 대량의 정보 속에서 사용자들이 찾고자 하는 정보를 빠르고 용이하게 찾을 수 있도록 도와준다. 또한, 일련의 스토리 라인을 갖고 있는 책의 시각화의 경우 등장인물과 그들 주변에서 일어나는 사건들의 관계를 형상화할 수 있다. 이러한 과정을 통해 만들어진 개념적 맵에서는 개개인이 알고 있는 이야기와 그에 관한 정보를 다른 사람들과 의사소통하며 그 정보와 지식들이 확장될 수도 있어, 이는 지식시각화의 좋은 활용사례가 될 수 있을 것이다. 본 연구에서는 대표적인 개념적 맵의 세 가지 종류인 개념맵(Concept map), 지식맵(Knowledge map), 토픽맵(Topic map)의 정의와 특성들을 살펴보고, 각각의 구성요소의 차이점을 비교하여 시각화 방법론을 제안하였다. 또한, 각 맵의 특성과 차이점을 이용해 루이스 캐롤(Lewis Carroll)의 <이상한 나라의 엘리스>의 이야기 요소들을 각각의 개념적 맵들로 구성해봄으로써, 그 효과를 확인해보았다. 스토리텔링을 개념적 맵을 이용하여 표현할 경우, 사용자들은 스토리텔링을 효과적으로 접근할 수 있으며, 이러한 분석은 개념적 맵을 제작할 때 가이드라인으로 활용될 수 있을 것이다.

• Journal of the Korean Society for Library and Information Science
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• v.50 no.3
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• pp.361-381
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• 2016

This study proposed two topical relevance models, simple and complex models, using EEG/ERP techniques. In the simple model regarding simple search tasks, N300 and P3b components are used. The N300 is specific to the semantic processing of pictures and the P3b reflects mechanisms involved in the decision about whether an external stimulus matches or does not match an internal representation of a specific category. In the complex model regarding complex search tasks, on the other hand, N400 and P600 components are used. The N400 reflects activation of an amodel system that integrates both image-based and conceptual representations into a context, whereas the P600 is related to complex cognitive processes. Our research results can be used as a source to design an EEG-based interactive multimedia system.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.89-90
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• 2014

This paper is the music director Miklos Rozsa participated crime To infer the narrative around two classic movie The study of musical functions. Two films are Double indemnity, 1946 and The Killers, 1948. The main theme was used in the movie Keywords that appear only after analyzing crime scenes film Possible inference of narrative musical expression around the room Examine the law. In the case of a crime movie theme music Indicate the start and development progress, planned steps and proceed only Through the proactive behavior of the system behavior and the final results after the acts To commit a criminal act represents lesson. Music maneu Can be inferred by the narrative of the crime and the crime film To progress in the music scene, and combine with effects The maximum tension over.

• Spatial Information Research
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• v.17 no.4
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• pp.445-454
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• 2009

Beyond simple transfer of information through sensor network, this study will provide the insights about the way to embody the real context aware location based service in an ubiquitous computing environment. In this paper, a new formal approach is introduced to derive knowledge about the scope of influence for a point object. A scope of influence is defined as the conceptual area where there is a possibility of the phenomenon or event occurring because of this point object. A point object can be spatially extended by considering this scope of influence in conjunction with the point. These point objects are called Spatially Extended Point (SEP) objects. Compositions of gradual changes of topological relations between a SEP and the environment near the SEP show how to represent the qualitative spatial behaviors of a SEP objects. These qualitative spatial behaviors will be good standards for Location Based Service (LBS) to provide more subdivided and suitable information to the users.