• Journal of Fashion Business
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• v.14 no.5
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• pp.49-65
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• 2010

The purpose of this paper is to derive the categories of negative e-WOM (electronic word of mouth) via consumer review. Disclosing the details of negative e-WOM based consumer reviews has never been done before. For this reason, a content analysis was adopted to provide knowledge and understanding of the phenomenon. This paper analyzes the content of 630 consumer reviews posted on the open market internet site, www.auction.co.kr. The analysis was conducted from October 20th, 2008 to March 10th, 2009. The results indicated that the negative e-WOM based consumer reviews can be divided into two categories: the cognitive evaluation and the expression of consumer's emotion. The category of cognitive evaluation is consisted of negative e-WOM of product, negative e-WOM of service, and warning about the risk of purchasing products. The category of expressing consumers' emotion are composed of venting customers' dissatisfaction and passive response of dissatisfaction. Investigating the details of negative e-WOM has a number of implications. Most importantly, the results revealed multidimensional structure of negative e-WOM. This understanding of negative e-WOM communication allows marketers to improve products and services that better meet customers' current and future needs.

• Journal of Korean Society for Quality Management
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• v.44 no.3
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• pp.649-660
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• 2016

Purpose: The purpose of this study is to find empirical studies the causal relationship among positive defining representation, negative defining representation, surface acting, deep acting, dissatisfaction of job, and intention of job transfer. Methods: The collected data through the survey by customer satisfaction team of "A" company call center. Results: The result of this study is that emotion and behavior norm influence on deep act of expressing both positive impacts of the employees. Conclusion: Feelings of corporate representation norm is psychologically of employees that because it affects even also must facilitate the surface acts and internal acts of employees and job dissatisfaction at the same time due to emotional dissonance and emotional exhaustion and turnover are hidden on the back emotion norms in the contact department, it should be aware of the need to address the emotional problems. Companies need to develop a variety of programs with attention to addressing the emotional difficulties experienced by workers.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.1
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• pp.127-138
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• 2009

This study is about the analysis on symbolic meaning and kunstwollen of Issey Miyake's art works which is influenced by various external factors such as social and cultural background, nationality and philosophy. Especially, this research focused on 'Pleats Please Issey Miyake' and 'A Piece of Cloth' which are the core of his works. The most important concept of Issey Miyake's works is the relationship of human body and a piece of cloth. Miyake's clothes has provided the time and the space where inspires the vitality into wearer. He accomplishes the most perfect beauty through incomplete beauty of cloth. Miyake wants to express the emotion of the human being through his clothes and tries to make special code between creator, wearer and viewer. Fashion is accomplished in connection with human body, not exists just as 'clothes'. Fashion has valued as an art which expresses the ideology and the sentiment of human being most directly. Issey Miyake who has tried to express human life and emotion has promoted fashion as an important part of art. Miyake is accepting and delivering the history and culture, expressing and communicating empathy, and combining the different fields harmoniously.

• Journal of the Korea Convergence Society
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• v.12 no.6
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• pp.119-125
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• 2021

In the elementary school period, since the developmental stage in the area of emotional regulation is immature, it is necessary to develop emotional regulation ability. In order to promote emotional regulation, this study provides an emotional regulation art class that utilizes the right brain function. Results were derived by analyzing through pre- and post-questions and post-interviews. As a result of the pre-post analysis, among the sub-elements of emotional regulation after class, 'Self-Emotion Recognition and Expression', 'Emotional Recognition and Consideration of Others', and 'Interpersonal Relationships' were statistically high. As a result of interview analysis, it was found that all students had a positive effect in the emotional regulation sub-item. As a result, they recognized and understood their emotions after class rather than before class, and had the effect of expressing emotions by purifying negative emotions into positive emotions. It is suggested that it is necessary to develop a program that applies various teaching and learning methods for emotional regulation art class in the future.

• 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.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.271-317
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• 2014

This essay studied the acting theories of Diderot, Delsarte, Meyerhold, and Artaud to know the historical formation of 'sign acting' and its theoretical and aesthetic appropriateness. The sign acting so far discussed shows the repetitive patterns of idea as follows. The sign acting (1) emphasizes the physical expression such as gesture and movement, (2) assumes that the physical expression functions as a sign evoking special emotion and thought, (3) thus recommends the imitation of the outer sign, (4) uses a tableau for the effective reception of outer sign, (5) aims for the spectator oriented aesthetics as it stresses the result of outer sign rather than the creative process of a role, (6) assumes that the emotional reaction or the intellectual understanding springs from the physical experience, (7) thus emphasizes the physical language rather than speech, (8) can attain the appropriateness of physical language by the recent theories of cognitive science. Besides having such commonness, the sign acting also reveals the individual differences. For instance, the intended sign for Diderot and Delsarte was the sign of emotion, for Meyerhold the stylized sign of circus and acrobatics, and for Artaud the spiritual sign. If Diderot and Meyerhold demands the cool consciousness for the correct sign acting, Artaud's sign acting tends to pursue the state of trance. And if Diderot, Delsarte, and Meyerhold think the sign acting on the level of sensory appeal, Artaud insists that the sign acting should dismantle the spectator's sense. As such the discussion of sign acting shows both recurrent ideas and new visions, forming an unity out of diversity. Perhaps the sign acting is a matter of practice before we consider it as a theory. It is not only supposed to have been existed practically since ancient theatre, but also used by actors consciously and unconsciously in expressing certain emotion and thought. We need to study the sign acting more academically, considering its long history and aesthetic potentials. In fact the sign acting has been an essential element of acting, in spite of bad reputation judging it as a banal and worn-out style. It is true that the sign acting, in the worst case, could produce a stereotypical expression. It was this aspect of sign acting that caused a fierce negative reaction of the realists who sought the natural expression based upon psychological truth. Of course the sign acting has a serious problem when it stays banal and artificial. But we need to see this issue from a different perspective. What is the natural expression of emotion? How is it free from the learned way of expression? In some respect, we use, in reality, a learned expression of emotion that could be accepted socially. For instance, when we attend a funeral, we use the outer sign of mourning gestures learned socially. If a semiotic expression pervades various aspects of our life, the acting, being the representation of life, seems not to be free from codified expression. The sign acting could be used consciously and unconsciously in all kinds of acting.

• Proceedings of the ESK Conference
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• 1998.04a
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• pp.93-98
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• 1998

Recently, consumers are tend to purchase the user-centered designed product using interface enginnering and human factors techniques. Therefore, it is important that the designer's requirements should be analyzed focused on the human machine interface. This paper described the interface usability evaluation technique(suvjective evaluation) for the interface between user and product. This methodology is the integrated interface usbility evaluation method AHP and Conjoint Analysis. AHP(Analytic Hierarchy Process) is a multicriteria decision model to give priority after expressing hierarchically for decision making problem. Conjoint Analysis enduavors to unravel the value, or partworths, that consumers place on the product or service's attributes from experimental subjects' evluation of profiles based on hypothetical products or services. A new usability test methodology proposed by this paper includes techniques jointed both consistency test by AHP and experimental subjective evaluation of profiles by Conjoint Analysis for evaluating the user's emotion and impression.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.296-300
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• 2006

It is difficult to let computer express feelings because of the ambiguity and nonlinearity. But it is said that expressing emotions is very important for high quality data processing and improvement of interactivity in WBI. In this paper, I surveyed emotion models from the view point of psychology. Next, I proposed WBI(Web Based Instruction) based on character agent considering emotional experience. By experimental result, the proposed model shows that has more user's preference than other existing WBI.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.05a
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• pp.237-241
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• 2007

Artificial environments and spaces developed in 20th century provided conveniences and comforts and developed spatial thoughts of interior design. But it caused significant environmental estrangement due to environmental disruption and materialism. This caused raising necessity of emotional design in human life spatial design as liberation of human nature is discussed and interest in emotion among human natures is being enhanced. This study manages how emotional design is expressed in basic area of human, residential area. Emotional design is proceeding to the direction designing interface between human and environment considering human physical and psychological characteristics focused on correlation between human and interior space. Therefore through this study, meanings and effects of design considering user emotions are reviewed to materialize expressing factors for combining into actual design.

• Journal of Korea Multimedia Society
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• v.19 no.3
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• pp.659-672
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• 2016

In animated films, characters materialize narratives through acting. The narrative is an element to materialize accurate delivery of lines and emotions. The non-verbal actions should express lots of emotions and lines in scenes, and also they can be used as a way of empathy. This study analyzed the visualization factors of narrative focusing on a cat character frequently shown in animated films. For this, the visualization factors of non-verbal actions expressed in characters' personal space and dynamic space were extracted. Based on this, it aims to suggest the emotion expressing method of characters to realize effective narrative visualization. In the future, it aims to be used as reference data in case when producing non-verbal communication for 3D characters.