• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.496-501
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• 2021

The representation of shamanism or shaman in Korean cinema has changed according to eras. Since the 2000s, shamanism and shaman appear more frequently than before as the main subjects and characters in movies. The full-scale exploration of shamans usually takes places in documentary works, such as <'Mudang'>(2002), (2006) and (2011). Shamans are summoned in more various appearences in feature films. In this article, we will compare and analyze the representations of shamanism and shaman in recent Korean occult genre films. (2015), (2016), and (2017) are works that utilize new subjects and visual effect styles that were difficult to see in Korean horror films before. In these three films, the meaning of shaman and gut shows distinct differences from each others. Through the analysis of these films, we would like to explore the characteristics and possibilities of Korean occult films.

• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.89-96
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• 2022

This study examines the strategy of delivering the drama's poet Kim Soo-young and his literary works to the public through the drama (2004). This drama shows Kim's inner self and his literary view by inserting poems into scenes where the poet suffers internal conflict, while presenting relatively less well-known poems to broaden the public's understanding of poetry. In addition, the drama maintains viewers' interest by properly placing elements of conflict, and effectively shows how the conflict affected his life and the world of time. Therefore, the drama is a meaningful text that embodies a poet named Kim Soo-young in three dimensions along with the historical transformation and social problems of the time and the literary chapter of the time through the video.

• Koreanishche Zeitschrift fur Deutsche Sprachwissenschaft
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• v.9
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• pp.109-128
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• 2004

Bei den vorigen Untersuchungen von VP-Ellipsen handelte es sich urn Auxiliarverben, die im elliptischen Satz auftreten und auf die Wiederherstellung der elliptischen VP bezogen sind. Im Unterschied dazu, geht es bei der vorliegenden Arbeit urn die Partikel auch, die in den VP-Ellipsenkonstruktionen auftritt. Zuerst spielt die Partikel auch als ein Fokusoperator eine Rolle, d.h. sie identifiziert das Subjekt des elliptischen zweiten Satzes als eine Fokuskonstituente und addiert die Fokusbedeutung der Fokuskonstituente. Zweitens spielt die Partikel auch als ein $Pr\"{a}suppositionsausl\"{o}ser$ eine Rolle. Hierbei behauptete ich, dass sie eine einfachere Proposition 'Jemand anders als das Subjekt des elliptischen zweiten Satzes existiert.' als in den vorigen Untersuchungen $pr\"{a}supponiert$. Aufgrund von oben genannten Beobachtungen $repr\"{a}sentierte$ ich im Rahmen von $Diskursrepr\"{a}sentationstheorie$ die Bedeutung der VP-Ellipsenkonstruktionen. Insbesondere, indem ich nach Kamp et al. (2003) zweistufige Prozedure von DRS-Konstruktionen annehme, konnte ich einzelne Bedeutungen der Partikel auch erfassen und beschreiben.

• Journal of Science of Art and Design
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• v.1
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• pp.11-62
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• 1999

The paper aims to survey some features in the 20th century's semantic analyses of the pictorial representation as a paradigm concept. Here the most typical pattern of paradigms to approach it were thought that one is Referential Semantics which begins with Wittgenstein's Picture Theory, the other, Ontological Semantics concerned with .Langer's Symbol Theory. In the light of paradigm theory, some results acquired are as follows. First, the two paradigms are recognized as those of a mutually different philosophical background. So as far as the researcher is concerned, their arguments are contradictory each other. Second, it must be emphasized that each of them all have a possible aspect of necessary and sufficient requirements. to interpret and analyze the meaning of artistic representation. In result, the Referential and Ontological Semantics can work with a complementary partnership. In short, the referential meaning constructs a infrastructure of the picture, whereas the ontological meaning does it's infrastructure.

• The Mathematical Education
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• v.42 no.5
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• pp.697-706
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• 2003

In this paper we consider the equality sign as a mathematical concept and investigate its meaning, errors made by students, and subject matter knowledge of mathematics teacher in view of The Model of Mathematic al Concept Analysis, arithmetic-algebraic thinking, and some examples. The equality sign = is a symbol most frequently used in school mathematics. But its meanings vary accor ding to situations where it is used, say, objects placed on both sides, and involve not only ordinary meanings but also mathematical ideas. The Model of Mathematical Concept Analysis in school mathematics consists of Ordinary meaning, Mathematical idea, Representation, and their relationships. To understand a mathematical concept means to understand its ordinary meanings, mathematical ideas immanent in it, its various representations, and their relationships. Like other concepts in school mathematics, the equality sign should be also understood and analysed in vie w of a mathematical concept.

• The Journal of the Korea Contents Association
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• v.7 no.9
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• pp.18-25
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• 2007

A symbol is one of the images that represents individual elements, and it has the power of metaphoric delivery to its audiences. Symbols, in animation, allows the audience to perceive various descriptions as symbols, leading to variety of interpretation. And by providing psychologically deeper meaning to the audience, it enhances the symbolic value of the images. However, detailed study regarding symbol analysis leaves much to be desired. This paper is an semiological approach to the Czechoslovakia animator, Jiri Barta, and his symbolic images, with particular focus on the darkness symbols that appear in the Czech cultural characteristics.

• Journal of Korean Elementary Science Education
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• v.39 no.2
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• pp.204-218
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• 2020

This study aims to investigate the representation patterns used by elementary teachers and their meaning-making process in electromagnetic experiments. In particular, we analyzed the representations depending on three levels of their abstractness: enactive representation (action based), iconic representation (image based) and symbolic representation (language based). For this, four experiment activities of two teachers were analyzed and the results are as follows. First, as an overall pattern of representation, an experiment subject is presented as the form of symbolic representation and the related concepts, experimental materials and methods are embodied through iconic representation. Then, through enactive representation, the actual experiments are implemented. The experimental results are primarily recorded through iconic representations and abstracted into symbolic representations to draw conclusions. The different levels of representations complement each other to expand their meanings, however, sometimes they also make inconsistent meanings among different levels. Based on these results, educational implications were discussed in terms of supporting and improving electromagnetic experiment activities.

• Journal of the Korean Society of Costume
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• v.53 no.7
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• pp.125-137
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• 2003

This study is to explore the Post-modern fashion image appeared in the costumes of the movie $\ulcorner$Matrix2-Reloaded$\lrcorner$, which is believed to adapt successfully the Postmodernism ideas on screen. From this study, we can find that the movie costumes express certain formative characteristics considerably affected by the contemporary fashion trends such as Minimalism, Formalism, Futurism, Ethno-eclecticism, Asexualism. These are mostly common tendencies aroused in the complex and pluralistic circumstances of Postmodernism where many diverse values are equally regarded. Finally, the 5 trends lead to represent the following symbolic meanings with entanglement in multiplex ways, that is Virtual Reality, Mechanic Artificiality, Human Dignity, Mysticism, Multi-Culturism, and Nonsexuality to create a strong unified imagery and style in that Post-modern movie.

• Annual Conference on Human and Language Technology
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• 2001.10d
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• pp.310-316
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• 2001

이 논문은 '에서', '으로'와 같은 한국어의 부사격 조사들을 다국어 기계번역 시스템에서 다룰 때 올바른 역어 선택을 위한 3단계 변환 방식과 이를 위한 부사격 조사의 언어학적 모델링 방법을 제시한다. 3단계 변환 방식은 부사격 조사의 의미 모호성 해소, 의사 중간언어표상 (Quasi-Interlingua Representation)으로의 변환, 전치사 선택의 3단계로 구성되어 있다. 본 논문에서 중점적으로 다루게 될 세번째 단계, 즉 영어나 독일어에서 한국어의 부사격 조사에 대한 전치사 선택의 단계에서 올바른 대역어 선정 방법론의 핵심이 되는 부사격 조사에 대한 언어학적 모델링을 위해 Pustejovsky (1995)의 생성 어휘부 이론 (Generative Lexicon Theory)을 도입한다. 이 논문에서 제시한 방법론은 그 타당성의 수학적 검증을 위해 통합기반 기계번역 시스템인 CAT2에서 구현되었으나, 방법론 자체는 특정 시스템에 제한됨 없이 범용적으로 적용될 수 있을 것이다.

• Proceedings of the Korean Society for Cognitive Science Conference
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• 2000.05a
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• pp.287-291
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• 2000

후천성 한글 난동증 환자인 BHS를 대상으로 두 개의 과제를 이용하여 어휘 처리에 있어서의 구체성 효과(concreteness effect)를 조사하였다. 어휘판단과제를 실시한 결과 BHS는 구체어에 비해 추상어에 대해서 상대적으로 많은 오류를 나타내었다. 그러나 비단어에 대한 어휘 판단은 비교적 정확했다. 음독과제를 실시한 결과 어휘판단과제와 동일하게 구체어에 대한 음독수행은 매우 저조하였다. BHS는 구체어보다 추상어에 대한 처리의 손상 정도가 심한 것으로 판단된다. 이러한 결과는 심성어휘집에 있어서 구체어와 추상어가 독립적으로 표상되어 있을 가능성을 시사한다. 또한 BHS의 비단어에 대한 음독이 거의 불가능하였던 것은 자소-음소 변환 경로(조합경로)의 심한 손상에 기인한 것으로 생각된다.