• 대한한의학원전학회지
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• 제25권4호
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• pp.95-103
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• 2012

Objective : There are several terms on palpation such as cunkou(寸口), qikou(氣口), maikou(脈口). In traditional medicine dictionary or even WHO international standard terminologies on traditional medicine in the western pacific region, there are no discriminations about them. However, there are some differences in usages of cunkou, qikou, maikou at Maijing. Method : First, we searched usages of term, cunkou, qikou, maikou in Huangdineijing(黃帝內經) and Maijing and compared the meanings. Result : Meanings of cunkou, qikou, maikou in Huangdineijing are pair with renying(人迎) and inch-bar-cubit on wrist. Meanings of cunkou in Maijing are pair with renying, inch-bar-cubit on wrist and only inch on wrist. Meanings of qikou, maikou in Maijing are inch-bar-cubit on wrist. Conclusion : Cunkou, qikou, maikou are known as same terms. However, scholars have to be cautious when they use cunkou, qikou, maikou term and comprehend those in book.

• 건축역사연구
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• 제16권4호
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• pp.57-75
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• 2007

Bulguk Temple, one of the national temples, sublimated the high formalism and symbolism into lovely art, and thus be called the pinnacle of Korean architecture. Of many characteristic structures of Bulguk Temple, the stone stereobate and stairs have a great importance in that we can read out the purpose of the architect through their relics. Especially, the stone stairs are noteworthy for they structuralize the intentional space division. The objects of this observation are Yeonwhagyo and Chilbogyo bridges at the entrance of Keungnakjeon precinct, and Cheongwoongyo and Baekwoongyo stairs at the entrance of Daewoongjun precinct. All these relics are the structures that divide the precinct areas on the basis of Buddhist theory and have strong symbolic meanings as well. Although the diverse studies have made on the structures, there are many insufficient aspects for the manifestation of the meanings. In this study, I considered the Buddhist dogmatic meanings of the structures in the formalistic view of the Buddhist architecture. The study was proceeded in the way that the establishments of former studies were fully reflected in it. Through the study, I could confirm that the objects of consideration have the double formalistic meanings and they are strongly structuralizing the symbolism.

• 아동학회지
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• 제33권1호
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• pp.205-221
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• 2012

The purpose of this study was to examine effects of father involvement, marital happiness and conflicts, and meanings of parenthood on maternal parenting stress and compare the relative importance of those variables in three (low, middle, and upper) income groups. The subjects of this study were 654 nuclear families which consisted of 3 family members, couple and their infant children aged between 4 months and 10 months. Data was taken from the 2008 Panel Data of Korean Children. The results of this study were as follows : First, maternal parenting stress, father involvement, mother's marital satisfaction and conflicts were statistically significant according to income levels. Second, mother's marital satisfaction was the most significant variable in predicting father involvement, and mother's marital conflict was the most significant one in predicting maternal parenting stress. Third, the significance and numbers of variables which were impacted upon maternal parenting stress and father involvement varied according to income groups. Fourth, in all three income groups, the effects of father involvement on maternal parenting stress was not significant when marital relationship and meanings of parenthood underwent in regression analysis. However, father involvement was impacted upon maternal parenting stress by itself.

• 디지털융복합연구
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• 제18권11호
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• pp.449-457
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• 2020

한국 전통도자에 적용된 식물의 시각적 표현은 우리 민족의 의식과 정서에 기반하고 있으며, 당시 사람들이 추구하던 길상(吉祥)적 염원(念願)과 벽사(辟邪)를 볼 수 있다. 이러한 상징적 표현은 도자의 형과 장식의 표현, 그리고 그들의 융합을 통해 새롭고 다채로운 의미로 확장되어왔다. 본 연구에서는 한국 전통도자에서 보이는 융합표현의 현상을 형과 형, 형과 장식, 그리고 장식과 장식으로 구분해 그것들의 특별한 의미를 분석한다. 이를 위해 한국 전통도자에서 활용된 식물의 형과 장식의 특징을 문헌적 정보를 바탕으로 고찰한다. 2장에서는 의미를 담은 형과 장식의 배경이 되는 식물을 개괄적으로 분석하고 의미를 소개한다. 3장에서는 식물들의 특징과 의미를 기반으로 형과 형, 형과 장식, 장식과 장식의 융합 형태로 구분하고 그들의 융합현상을 통해 새롭게 발현된 의미를 제시한다.

• 한국비블리아학회지
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• 제25권3호
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• pp.101-118
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• 2014

컴퓨터 정보기술의 발전과 함께 감정 기반 컴퓨팅이 다양한 분야에 빠르게 발전하여 확산되고 있다. 감정 기반 컴퓨팅의 지속적인 발전을 위해서는 이미지와 같은 멀티미디어의 콘텐츠의 감정 기반 색인과 검색이 필수적이다. 그러나 감정과 같은 추상적 개념은 주관적이며 이미지의 하위 수준 속성에서 유추하는데 한계가 있기 때문에 감정 색인은 통상적으로 난제로 여겨진다. 본 연구는 감정 색인 개선을 위해서 이미지에 대하여 이용자가 느끼는 감정 반응을 활용하여 이미지를 감정으로 접근하는데 있어서 확장된 접근점을 제공하는 방안을 고찰하였다. 이를 위하여 유로피아나 DB에서 사랑, 행복, 분노, 공포, 슬픔의 5가지 기본 감정을 표현한 이미지 15건을 선정하여 20명의 연구 참여자에게 보여주고 용어를 수집하였다. 이용자의 이미지 반응에서 수집한 용어는 정련 후 총 399건의 고유한 용어로 나타났다. 고유한 399건의 용어는 전체 1,093회 출현하였으며, 동시출현단어분석을 수행하여 상위 출현한 용어 네트워크를 구현하였다. 동시출현단어분석 기반의 네트워크를 통해서 기본 감정 용어와 함께 빈번하게 출현하는 용어를 규명하였다. 이를 통해 기본 감정용어와 함께 확장되어 제시될 수 있는 용어는 형용사, 동작/행위 표현 등 다양하게 나타났다.

• 건축역사연구
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• 제18권5호
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• pp.41-58
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• 2009

The purpose of this study is to investigate the symbolic meaning of pattern designs attached on the main building of Chungcheongnam-do Provincial Government (CPG). While most of researches mainly focused on the value and evaulation of the CPG building in terms of architectural history, relatively little insight has been gained on the symbolic meaning and mature of the pattern designs. What king of connections are related between the emblem of Governor-General of Chosun(Korea) and those of CPG? What symbolic meanings are engraved on the pattern designs? The researcher then took up the task of elucidating symbolic meanings of patterns and their relation to the building. The existing pattern of the outer wall of the CPG building consists of the symbol of sun(太陽輪), mums(菊花輪), and angle of stairs(雁大角). According to the Japanese Studies of emblems, these visual elements symbolize 'the sun of Japan'((日の丸) or 'the emperor', 'the royal family', and 'rays of the sun'. Based on these preliminary findings, the researcher considered the following in-depth connections: (1) relations with the emblem of Governor-General of Chosun, (2) relations with the emblems of local autonomous entity, Kyoungsung in Chosun. (3) relations with the emblem designs of the local provinces in Japan etc. In conclusion, patterns of the main building were not just an architectural decoration, but they had significant meanings utilizing design elements and methods adopted by local autonomous entities in Japan, The patterns found at the ceilling and floor of hall in the CPG building were associated with the emblem of Governor-General of Chosun. Therefore, all the patterns of the CPG building are powerful symbols that have meanings for the colonial rule by using the shape and method of city identities that Japanese local provinces had enacted. That is, it came out into the open that they were designed for special meanings that Korean and Japanese are united as a single body(內鮮一體) for a subject of the Emperor of Japan(皇國臣民).

• 한국문헌정보학회지
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• 제22권
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• pp.219-257
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• 1992

Among the Chinese Characters originated in Japan, some of them are very ancient in their origin and others come to exist as different forms by being used widely in forged books in Chinese. These Characters can be divided into three groups. First, the Chinese Characters whose forms are different. Most of these are 'hoiui' (회의)character, being made by imitating the forms of the original Chinese Letters. These characters do have meaning but not pronunciation. This is one distinct feature of Chinese Characters originated in Japan. Second, the Chinese Characters whose meaning has been assigned by the Japanese people. These letters can be grouped into two. One is the letters whose meanings are entirely different from original Chinese Characters, and the other is the letters whose meanings are not known although their pronunciations are known. It can be explained that the letters with different forms are made because of the ignorance of letter's existence. Or, the letters were made on purpose in ordoer to be used in different meanings. Third, the Characters with a partial modification of original Chinese Characters. Among the Characters in three groups above, pure Japanese-made Chinese Characters are those in group one and three since those in group two are Chinese Letters whose meanings (or pronunciation) only are Japanese. As a results of detailed investigation of pure Japanese-made Chinese Character in JIS X 0208-1990, the followings are discovered: 1. Pure Japanese-made Chinese Characters are 147 in numbers. 2. The Characters which were originally Chinese but now considered to be Japanese-made are 5 in numbers. Among these letters, 39 Characters are not listed in TaeHanHwaSaJon(Whose fame is well known as the authoritative dictionary of Chinese Characters), 47 Characters are not found in the dictionaries of Chinese Characters compiled in Korea. 3. 14 Characters seem to be Japanese-made Chinese Characters although it cannot be said so with accuracy because of various meanings found in several dictionaries of Chinese Characrters.

• 비교문화연구
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• 제31권
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• pp.287-308
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• 2013

Russian language tends to be quite open to borrowing. In Russian it has been for a long time the conventional way of expanding the lexicon, accepting many words from adjacent languages, including Church Slavic. In the contemporary Russian English has been the main source for loanwords. There are several linguistic factors for lexical borrowing: 1. the necessity of denominating new facts, phenomena or concepts, 2. the necessity of differentiating concepts, 3. the necessity of specializing new concepts, 4. the introduction of new international terms, 5. the increase of periphrastic expressions, 6. the needs for the more elegant and modern words. These factors have caused borrowing to enlarge the component of the lexicon and phrasal expressions, but excessive use of foreign words has brought about negative effects such as linguistic pollution. Some borrowed words are assimilated without serious conflicts, but other words undergo semantic changes in confrontation to existing words of similar meanings. These types of semantic changes comprise total change of meaning, reduction of semantic scale and extension of meaning. Semantic changes are caused by linguistic factors such as lexical conflict with existing words or by socio-culural factors such as misunderstanding of foreign words. And extension of meaning shows two types: qualitative extension and quantitative extension. The first means extending the semantic scope of a borrowed word and the latter - increasing the number of its sememe. In contemporary Russian language we can witness two productive phenomena: qualitative extension by socio-cultural factors, in which words with negative nuances are changed into those with positive ones and professional terms become common words, losing their professional meanings. On the other hand, by quantative extension some loanwords change their concrete meanings into abstract ones. In such cases loanwords acquire the additional meanings of abstractness, putting aside their original concrete meanings as the basic. On the contrary, the qualitative extension of adding the special meaning to general words or giving the concrete meaning to abstract words is not productive. And it is rarely witnessed that words of positive nuances are negatively used. It is considered that such cases are partly restricted in the spoken language or the jargon. Such phenomena may happen by the incomplete understanding of English words.

• 복식문화연구
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• 제29권3호
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• pp.422-436
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• 2021

The fashion industry analyzes the value of its essence with ecological design and is expressed as an innovative sculpture using digital technology. Accordingly, this study explores ecological images and digital technologies, categorizes types and derives their meanings through analysis of ecological images shown in modern digital fashion. A literature survey was conducted on ecological images and digital technology as a theoretical background. To analyze the expression type and internal meanings of ecological images, designs with ecological formability were selected and analyzed from related journals, books, and internet sites. The finding are as follows: The expression type was first identified as organic curved garment silhouettes of a non-material liquid with digital retouching. Second, ecological fashion design includes structural shape that applies the silhouette of an organism and patterning of the ecosystem. Third, ecosystems consist of interactions between components of an ecosystem that appear in the interactive type. Accordingly, the internal meanings of ecological images in modern digital fashion are: first, digital fashion can encircle the inherent concepts of nature as organic collections of individuals; second, digital ecological images emphasize a sense of community with coexistence and harmony, playing a complementary role; and finally, the images express perceptual features by providing people with transcendent experiences. This study is significant as it analyzes new formative features based on ecological systems in the digital fashion environment, establishes an aesthetic system through internal meanings, and enhances awareness of human-natural relationships.

• Acta Via Serica
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• 제7권2호
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• pp.109-132
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• 2022

Two of the main elements of Persian tangible heritage are rugs and gardens, which have evolved together from the dawn of Iranian history. Emerging from the same system of thought and geographical location, together they represent the Persians' world views, desires, dreams, and design paradigms. In this study, the Persian Garden's patterns, elements, typology, and meanings are introduced and compared with the same aspects of Persian rugs. This paper uses a qualitative comparative methodology to analyze rugs' designs and patterns in relation to Persian Gardens' design principles. Data is collected primarily through library study and observation. The author uses two categories for comparison: meanings and forms. First, the author identifies underlying meanings common to the two art forms and then introduces form, function, and general principal patterns into the analysis. There is a type of rug pattern, known as Chahar-Bagh (literally, "four gardens"), that mirrors a garden design, down to the details, which is the focus of this paper. Additionally, other representations of Persian Gardens in rug design, such as Shekargah ("hunting pattern"), are discussed, as are other rug patterns with fewer elements borrowed from garden design. The paper also considers several motifs that represent flora common in gardening on the Iranian plateau, some of which have symbolic meanings dating to the Zoroastrian era. By comparing these two mediums of art (garden and rug) in the context of Persian history and geography, it becomes clear that the Persian rug design, in its roots, is an attempt to bring a garden into interior space. The study shows that the forms, patterns, and meanings reflected in Persian rugs render the study of their designs incomplete without considering the history of gardens.