• The Journal of the Korea Contents Association
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• v.20 no.2
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• pp.265-276
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• 2020

This research is to study about the extrinsic characteristics of imaginary friends in the picture books which are published in Korea and its publishing trend. At first, the pioneering country which is publishing picture books telling about the imaginary friend belongs to the western countries, and some part of them are printed in Japan and Korea among east asia, and its story is most likely fiction, since 2000, the picture books about the imaginary friends have been steadily published. Secondly, its extrinsic characteristics among them are the gender, name of the main character and his/her imaginary friends, and whether the imaginary friend present themselves, their physical types, and the numbers of imaginary friends in the picture books. The percentage of gender between man and woman who is more likely to have the imaginary friends in the picture books are higher to girls than boys, and their imaginary friends are to be called by the intimate or unique name rather than the its general name and/or the name reflected by it appearance, and the imaginary friend are only visible to the main character, and its type are widely ranged from animal, human, and others in frequent order, and the main character tend to have only one imgainary friend rather than to have multiple ones.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.6 no.7
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• pp.1089-1094
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• 2002

We can travel every imaginary world and do every impossible thing via 3D character. People interest in 3D character animation for modeling like real world due to the increase of 3D game and imaginary Virtual Reality on the internet. In this paper, new framework for present of 3D character of high quality is applied. I represent 3-dimensional Humanoid modeling and animation technology and show the adequacy via simulation for various and natural representation certificate using VRML as a Web3D information type and XML.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.380-390
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• 2022

This research is to find out what kinds of function imaginary companions do to the characters in a picture book featuring imaginary companions. To this end, a total of 26 picture books featuring imaginary companions published in Korea were analyzed using content analysis to assess the function of imaginary companions in the relationship between the main character and imaginary companions. As a result of the study, the imaginary companions were found to play the function of playmates (77%), care givers and/or advisers (42%), companions (42%), other egos (38%), those who get wish realized (23%), those who sharing emotion (23%), and emotion controllers (19%). In the picture book, the imaginary companion was performing various functions according to the situation and needs of the characters. Mostly two to three (2~3) kinds of functions were performed in the each analyzed picture book, and as a result of analyzing trends out of 26 picture books, it showed that there are three types of trends in relationship, which was horizontal, vertical and other egos. The imginary companions depicted in the picture books were not only being who helps realize whishes, take care of main characters, and control their emotions, but also appeared to share hearts, project other ego and be a good friend with an equal level of relationship that plays together always.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.113-122
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• 2013

The movie "Beautiful Mind" directed by Ron Howard is about a genius global mathematician, John Nash's life. In the movie, the main actor, John Nash is a schizophrenic patient who suffers from hallucination and delusion, and his illusion appears as three distinct characters. Each researcher has had a different opinion on the interpretation of these three characters, but many parts of their opinions are losing consistency. Especially the girl is assumed to be a character from the main actor's hallucination because she is ageless or there is no interpretation of the girl. Although the director Ron Howard did not adopt Aldous Huxley's theory "the more you know the more you see" for the movie, he analyzed the characters in the way of his own with thinking that he can analyze them in accordance with the knowledge level of audience. The imaginary characters come out from John Nash's head and who he wants to be. They are the basic human needs, earthly desire, sexual desire and the desire for honor. John Nash minutely reflects these three kinds of desires in an imaginary world through the three characters. This thesis is to newly suggest the symbolic meaning of the imaginary characters in the movie by clearly analyzing the meaning of the controversial three characters.

• Cartoon and Animation Studies
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• s.31
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• pp.1-27
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• 2013

The study looks a shape of hybrid character in animation and suggests extended discussion to develop the Korean creative characters and to repeat traditional culture that can reproduce in mass media. First, this study considers Jangseung and Dokkaebi that appear frequently in the Korean traditional culture, and prepares a way to try to develop the Korean hybrid characters. To do this, I analyze examples of hybrid characters direction in as-found animation characters, and grasp the meaning of it. Hybrid character is classified as a character produced by mix and combination of shape and a character produced by shape exaggeration. And I shed new light on characters and meanings of Jangseung and Dokkaebi remaining as cultural assets. Through this, the study wants to help handling measure about a problem of character that the Korean animation has. Therefore, this study looks characters of description about imaginary creatures expressed in existing animations, and wants to shed new light on the Korean Jangseung and Dokkaebi regarded as from an object of folk religion and custom, to an object that is possible to use in the Korean traditional character development.

• The Journal of the Korea institute of electronic communication sciences
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• v.6 no.1
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• pp.90-96
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• 2011

In this paper, we propose a new discrete logarithm problem(DLP) based on the class semigroups of imaginary quadratic non-maximal orders using the special character of non-invertible ideal and analysis its security. To do this, we first explain the mathematical background explicitly and prove some properties of Cls (O) which relate to constructing the DLP and guaranteeing the security. To test the security of the proposed DLP, we compare the class number of the maximal order with that of the non-maximal order and investigate the unique factorization problems of ideals between class groups of the maximal orders and class semigroups of non-maximal orders to ensure the security of the cryptosystem.

• Cartoon and Animation Studies
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• s.49
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• pp.325-357
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• 2017

It can be assumed that the reasons why the animation characters, 'Olaf (in Frozen Kingdom)' and 'Minions (in Super Bad)', etc., which were very successful in the merchandising market while having won the popularity better than the main characters are very popular even though such characters appeared only by playing a funny role while assisting the adventures of the main characters are not only because of their cute appearances but also because such characters have their own core features in their inner world as the transitional object-characters. Simply expressing, a 'Transitional Object' as a concept suggested by a child psychologist, 'Donald Winnicott', means a lovey doll or an imaginary friend which temporarily replaces an infant's mother during the procedure when the infant is mentally separated from its mother. However, in case that the theory of transitional objects was applied directly to many narrative content characters for doing a study, there must have been done some studies in advance for establishing some new criteria and indexes related to the transitional object-characters of such narrative contents. Accordingly, while thinking that the 'emotional relationship' between a growth-subject and a growth mediator must be dealt with as the most important content in order to define a transitional object-character in a narration clearly, this researcher established some emotional index for judging the propensities of a transitional object-character on the basis of such way of thinking. The index is composed of 4 kinds of emotional roles (quasi-family member, growth mediator, lovey doll, an imaginary friend), 6 kinds of emotional supports (hugging, protecting, accepting, giving the initiative, improving the relationship and mutual supervising) and 4 kinds of emotional impressions (impression by contacting, impression to protect and impression accepting an attack). In case that some main characters of a family feature animation, 'Inside Out', are analyzed while the index mentioned above is applied, it was found that 'Bing Bong' and 'Sadness' have a high propensity as a transitional object-character. Especially, it could be inversely inferred in which ways some good transitional object-characters can help the narrations on growth of a family feature animation by taking a look at the character, 'Sadness' that has the highest propensity as a transitional object-character. The transitional object-character, 'Sadness' assists the narration on growth internally and externally by helping the internal maturity of a growth-subject in a way of projecting the tasks for the internal maturity of a growth-subject while helping the growth-subject to be successfully externally in a way of providing the growth-subject with some kinds of facilitating emotion. As the results from this Study, since such kinds of emotional experiences provided by such transitional object-characters are displaced to not only the relevant growth-subjects but also the audience who are emphasized with such growth-subjects as they are, such transitional object-characters play a role of hidden benefactors who induce some immersion into the narrations and provide child and adult audience with various layers of emotional satisfaction.

• Bulletin of the Korean Mathematical Society
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• v.56 no.4
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• pp.815-827
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• 2019

It is well known that the denominator of the Dedekind sum s(c, d) divides 2 gcd(d, 3)d and that no smaller denominator independent of c can be expected. In contrast, here we prove that we usually get a smaller denominator in S(H, d), the sum of the s(c, d)'s over all the c's in a subgroup H of order n > 1 in the multiplicative group $(\mathbb{Z}/d\mathbb{Z})^*$. First, we prove that for p > 3 a prime, the sum 2S(H, p) is a rational integer of the same parity as (p-1)/2. We give an application of this result to upper bounds on relative class numbers of imaginary abelian number fields of prime conductor. Finally, we give a general result on the denominator of S(H, d) for non necessarily prime d's. We show that its denominator is a divisor of some explicit divisor of 2d gcd(d, 3).

• Archives of design research
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• v.15 no.2
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• pp.187-196
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• 2002

This article is a study on modern wall painting of Korea. The system of wall paintings in Korea is studied in the first chapter. It contains the function, the painters'peculiar character, the psychological basis and the subjects of wall painting. The most popular subjects are the Lee dynasty's folk custom and visual symbols of this period. The second chapter sees the study of these subjects in Lacan's psychoanalytic view. The representation of Lee dynasts custom in this post modern society reveal that the Korean lives in the realm of the imaginary in visual level. That is the projection of their desire to be in the perfect community which is believed to be existed in Lee's dynasty. However the visual circumstance in Korea is the symbolic which is constructed of the Western symbols. This visual confliction reveals Korean Habitus and the lack of independent visual expression method. For conclusion, it is proposed that the relation of Korean Habitus and design must be studied to create proper visual circumstance.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.693-718
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• 2009

Kate Burns, a disillusioned Irish woman in Quetzalcoatl, has alternating feelings of fear, repulsion, oppression, compassion, and fascination vis-à-vis Mexican people. Together, these feelings are constitutive of a psychic process in which an imaginary appropriation of the other takes place. In this process white subjectivity represents or reconstructs the dark race precisely as its other. At the same time, Kate's feelings register her anxious recognition of the resistant, unappropriated being of the dark people: their true 'otherness,' or what Žižek calls "the excess of existence over representation." The otherness, frequently racial and sexual, evokes mixed feelings in the white subject. Kate's at once amorous and aggressive response to Ramón's body provides a case in point. Kate's emotional undulation is considerably mitigated in The Plumed Serpent, the revised version of the novel in which the theme of 'blood-mixing' is pushed to the ultimate point. Yet the interracial marriage resolves neither the racial nor the ontologico-sexual issues raised in the first version. Kate is still attracted to Ramón in his sagacious sensuality but goes on to get married to Cipriano, a pure Indian, only to find his mechanical masculinity ever unpalatable. This shows, not just Lawrence's wilful commitment to the 'blood-mixing' theme, but perhaps his lingering taboo against miscegenation as well. Changes in the plot entail those in the narrative voice. In Quetzalcoatl, Owen, a spectatorial and gossipy character, frequently competes for narration with the fully participant third-person narrator. In The Plumed Serpent, the third-person narrator becomes predominant, now attempting with greater confidence to present the reality of the racial other immediately to European readership. While such immediacy is illusional, narrative insistence on it implies a struggle to displace racial stereotypes and offer an experiential understanding of the other.