• Journal of Digital Convergence
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• v.18 no.3
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• pp.357-362
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• 2020

By analyzing abstract book cover design, this study aims to examine the applicability of the semiotic methodology of Roland Barthes and to conduct a preference survey of how people would accept it. The selected books for the study are and published in Openbooks publishing company to mark the 30^th anniversary of the opening. The research results are as follows. First, it was confirmed that Roland Barthes' semiotic approach is a suitable tool for identifying the symbolic phenomena of visual elements that constitute abstract book cover design. Second, people were well informed of what the abstract form of design conveys, but they showed personal differences in preference, making it difficult to achieve clear results. This study, together with the importance of the internal meaning that appears in the book cover design, gives graphic designers an indication that interaction between the communicator and the acceptor should be sought.

• Fashion & Textile Research Journal
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• v.1 no.3
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• pp.218-230
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• 1999

The purpose of this study is -under the post-modem situation- to emphasize the role of women which has various several logic on feminism, to look forward to division of men's consciousness of women, and to reflect a trend to accept the role of sex which is occurring in the system of sex, that is, 'The Third Gender and Homosexuality'. The category of biological and sociocultural on feminism discussed, meantime expressed the sexual logic under post-modern situation, and probed the sexual logic on feminism which was expressed in modem dress and its ornaments by redefining some characters as follows; Imitation-it was to attain masculinity by imitating the body of the opposite sex. Interaction such situations like...... masculinity in women, feminity in men was demonstrated as transvestism of cross-dressing and the symbolic meaning of homosexuality was demonstrated in the shoes of sociocultural on Feminism. Dispersion appeared as a moderation charm and a resistance against the men-ruling culture. Destruction-expressed the fetishism of punk of porny image and maternal affectional image of biological trend as playful satire. Therefore, It is conceived that Feminism would be created true human-phase come true in the men's world as long as the realization of women themselves make the phase of women higher; and further not only propose new image of women but the system of gender.

• Asian Pacific Journal of Cancer Prevention
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• v.17 no.6
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• pp.2917-2921
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• 2016

Background: To explore factors that influence quality of life (QOL) in patients receiving breast conserving therapy (BCT). Materials and Methods: In this sequential mixed methods study, 118 women from Songklanagarind Hospital were included. We used participants' characteristics, Body Image Scale (BIS), and Functional Assessment of Cancer Therapy with the Breast Cancer Subscale (FACT-B) for analysis. The BIS transformed into presence of body image disturbance (BID). Factors that influenced QOL were determined by stepwise multiple linear regression. Forty-one participants were selected for qualitative analysis. Our female researcher performed the semi-structured interviews with questions based on the symbolic interaction theory. Final codes were analysed using thematic analysis along with investigator triangulation methods. Results: Ninety percent had early stage breast cancer with post-completed BCT, for an average of 2.7 years. The median BIS score and FACT-B score were 2 (IQR=10) and 130 (IQR=39). In the regression analysis, an age of more than 50 years and BID were significant factors. As for the value of conserved breasts, two themes emerged: a conserved breast is an essential part of a participant's life and also the representation of her womanhood; the importance of a breast is related to age. Conclusions: Body image influenced QOL in post BCT participants. The conserved breasts also lead to positive and better impact on their body image as an essential part of their life.

• Journal of Information Technology Applications and Management
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• v.28 no.3
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• pp.77-87
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• 2021

The color gray in the cinema expresses the private or public memory and oblivion in the reminiscence scenes. The aesthetic function and meaning of gray that interacts with other elements in cinematic time and space are expanded in various ways. This study was analyzed the cases in which gray was used as the main visual style by limiting the scope to Korean films. Based on the traditional cultural symbolic meaning of gray, I analyzed how it was applied and transformed in films, and interpreted the cultural-social meaning by the interaction between gray and other elements. In film history starting from monochrome, gray has been used as a visual device suitable for realizing cinematic or imaginary reality. Gray is adopted when dreams or recollections are visualized as imaginary reality, and it is used when dreamy imaginations of daydreaming are demonstrated. Gray, which reproduces the dreamlike reality of imagination, is the concrete and realistic way of expression. First, in Korean films, gray is a flashback visual device that recalls the past, and is an intermediary visual form that materializes the imaginary. In films such as Ode to My Father (2014), DongJu (2015), A Resistance(2019) and The Battle : Roar to Victory (2019), the gray of the past is a visual device for cultural memory that builds the homogeneity and identity of the group. In the era of hyper-visibility, gray in black and white images is intended to be clearly remembered by unfamiliarity rather than blurry oblivion by familiarity. Second, in genre films with disaster materials such as Train To Busan (2016) and Ashfall (2019), the grays of rain, fog, clouds, shadows and smoke highlight other elements, and the gray color causes anxiety and fear. In war films such as TaeGukGi: Brotherhood Of War (2003) and The Front Line (2011), gray shows a more intense brutality than the primary color. In sports films such as 4th Place (2015), Take Off (2009) and Forever The Moment (2007), gray expresses uncertainty and immaturity. Third, gray visualizes the historical memory of A Petal (1996), the oblivion in Oh! My Gran (2020) and Poetry (2010), and the reality of daydreaming Gagman (1988) and Dream (1990). At the boundary between imagination and reality, gray is a visual form of dreams, memories and forgetfulness.

• Journal of The Korean Society of Integrative Medicine
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• v.9 no.3
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• pp.1-8
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• 2021

Purpose : There is a lack of research on this field in the Republic of Korea, especially those that have seen the effect of interaction between siblings through sensory integration therapy (SIT). Therefore, this study sought to find out the effectiveness of SIT with siblings through the Revised Knox Preschool Play Scale (RKPPS) and playtime. Methods : The experimental group consisted of 10 disabled children, and 10 normal siblings of the disabilities joined the program as a helper. In addition, 10 children with disabilities conducted the intervention as a control group. The difference between the experimental group and the control group is whether they participate with their sibling or not during the intervention period. The present study was conducted a SIT for 40 minutes per week for the experimental and the control group and then had 10 minutes of an interview with the parents of children with disabilities. A total of 10 programs were implemented for 10 weeks. Results : The experimental group showed statistically significant differences in space management, material management, pretense/symbolic, participation, and total scores. The control group showed significant differences between pre and post results in the participation and the total scores. The experimental group and the control group showed significant differences in the pre-post comparison results. The comparison of post-intervention between both groups of the RKPPS and playtime results showed a statistically significant increase in the experimental group. Conclusion : The sibling SIT showed better play level and time than the individual therapy. However, comparisons before and after the intervention in the level of play showed significant results only in participation and total scores in the control group. Clinically, it is recommended to make good use of sibling relationships when applying SIT, and if that is not possible, continuous observation is needed that children who received treatment become familiar with the environment in which they can be treated.

• Journal of Families and Better Life
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• v.5 no.2
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• pp.127-144
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• 1987

The purpose of this study is to explore the family communication and power. Communication is a symbolic, transactional process in functional view . To say tat communication is a process implies a continuous interaction of an indefinite large number of variables with a concomitant, continuous change in the values taken by these variables. Finally the process implies change. Family functions include the primary functions of cohesion and adaptability and supporting functions of family images, themes, boundaries, and biosocial issues, The primary functions reveal concepts integrated family interaction and supporting functions, along with those of cohesion and adaptability, give shape of family life. The message system is the major element of communication process and influences both the form and the content of thier relationship and create and share meanings. The family-of-origin issues influence all aspects of family communication and account for many of the communication patterns, rules and networks. Power does not belong to an individual. rather it is a property of a relationship between two or more persons, Power, a system property is the ability of an individual to change the behavior of other members in a social system. Power operate transactionally in a family and any power maneuvers within it have a system wide effect. In order to study power in families , it is necessary to examine 1) family power operations 2) development of family power and 3) the communication of power strutegies. The research presented indicated that a rigid power structure, characterized by dominance and little sharing, restricts family flexibility reduce cohesion, and adversely affects satisfaction in families. power constantly changes as a family grows and develops within its system. Although power changes may be more obvious in children as they mature and more from a independent stated to an independent one, each of the parents experience egual or greater. Communication and activities take place that either enhance positively or negatively the images, themes, and degree of unity of cohesion the family desires. Power operated within a dynamic, growing, changing, interdependent transactional family system. Power struggle may develop when as issue becomes important to one or more family member. When this happens, and the rational exploration of alternatives ceases, various one-up power maneuvers usally follows, This affect family intimacy. a vital element in meaningful relationships . To resolve differences and not become the victim of another's power , one need to engage in constructive conflict since the ability to clearly and comfortably repudiate another is part of the achievement of intimacy.

• Journal of Advanced Technology Convergence
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• v.1 no.1
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• pp.15-24
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• 2022

This paper tried to investigate the moderating effect of chemyon sensitivity and usage situation in the relationship between self-presentation and brand preference. Data were collected from students of universities located in Chungnam. The analysis results can be summarized as follows. First of all, the effect of self-presentation on symbolic brand preference was not significant in both public and private use situations. On the other hand, the effect of self-presentation on functional brand preference was found to be significant in both situations. Second, the main effect of chemyon sensitivity was significant only when it had a negative effect on functional brand preference in public situations, but was not significant in other cases. Third, looking at the interaction effect of self-presentation and chemyon sensitivity, the brand preference did not show significant changes in those with relatively low chemyon sensitivity, regardless of the level of self-presentation, whether in public or private situations. This study is meaningful in that it reveals that chemyon sensitivity affects brand preference through interaction with self-presentation, whether the consumption situation is public or private.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.926-932
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• 2009

Recently many research reports on effective use of mobile devices for museums to provide information on displayed artifacts providing individualized learning space, collaborative learning, and discovery learning, Such devices have many possibilities to support learning as a participatory media and social network. Mobile devices are used, however, limited for its usability and lack in providing expected learning experiences. It offers one-way interaction and they are often limited in providing customized services for different patrons to experience learning and entertainment. In this research, we have adopted user centered design approach to identify the needs and possible usage of PDA system in the museum. Research methods include contextual observation and inquiry with symbolic interactionism for qualitative research and its epistemology. We have developed conceptual model with scenario and storyboard method, and developed vertical prototype with Flash.

• Archives of design research
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• v.11 no.1
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• pp.173-184
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• 1998

This study deals with the visual quality in the future urban landscape and architectural environment, and as such, aims to identify a scientific and objective aesthetic and visual quality from the perspective of empirical aesthetics. The empirical aesthetics provides a framework that can be utilized in understanding human perception, consciousness, and behavior and a way to categorize the visual quality and to explain and predict its effect. The study examines various theories on environmental perception, cognition, and some new approaches to environmental aesthetics, and tries to present aesthetic properties that can be applied to environmental design. First, the aesthetic experience in visual perception can be defined as a combined effect of psychobiological properties and human activity, i.e. an interaction between the formal and symbolic signs in environment and the conceptual framework of man. The effect of visual quality differs and varies a great deal, depending on the sociocultural, personal and collective value system, so it is hard to define it in absolute terms. Second, the impact of visual quality and its aesthetic effect has to do with pleasure, preference, the aptitude for survival, and self regulation. Third, aesthetics is one of the areas that can benefit a great deal from an interdisciplinary approach. and an empirical study such as this can be used as a basis for design, planning, and evaluation.