• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2011.05a
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• pp.83-84
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• 2011

• Journal of the Korea Convergence Society
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• v.8 no.9
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• pp.265-270
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• 2017

This study purposed to investigate harmonic compositions and progressions that are appropriate for emotion vocabulary. In study 1, eight(8) professional music therapists were asked to provide harmonic compositions and progressions reflecting the tonal characteristics of emotion vocabulary and the rationales. Various attributes of harmonic compositions and progressions were examined and the content analysis were administered. In study 2, the obtained data on study 1 were evaluated by 124 music therapy and music majors for the validity. In the first study, analyzed results showed that 'happy' vocabulary utilized major, tonic, consecutive chord changes, 'angry' vocabulary utilized minor, augmented, $9^{th}$, $11^{th}$, unsolved $7^{th}$ chord progression, 'sad' vocabulary utilized minor, diminish, chromatic chord progressions. In the second study, there was statistically significant difference with 'happy' vocabulary. These results can provide basic evidences for musical ideas of harmonic compositions and progressions to better communicate emotional aspects of lyrical messages when composing melody in a song.

• Archives of design research
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• v.17 no.2
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• pp.199-208
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• 2004

In cyberspace based on internet, users constitute communities and interact one another. Avatar means not only the other self but also the 'another being' that describes oneself in the cyberspace. If user's avatar shows expressive faces and behaves according to his thinking and emotion, he will have a feel of reality much more in the cyberspace. If avatar's countenances can be animated by just typing characters in avatar-based chat communication, the user is able to express his emotions more effectively. In this study, emotion-expressing vocabulary is analyzed and classified. Emotion-expressing vocabulary is essential to develop self-reactive avatar system in which avatar's countenances are automatically converted according to the words typed by users at chat. The results are as follows; First, emotion-expressing vocabulary selected out of Korean adjectives and intransitive verbs is made up of 209 words and is classified into 25 groups. Second, there are only 2 groups out of the 25 groups for positive expressions and others are for negative expressions. Therefore, negative expressions are more abundant than positive expressions in Korean vocabulary. Third, avatar's countenances are modelled according to the 25 groups by using the Quantification Method 3. The result shows that the emotion-expressing vocabulary has dose relations with avatar's countenances and is useful to communicate users' emotions. However, this study has some limits, in that Korean linguistical structure - the whole meaning of context - cannot be interpreted quantitatively.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2012.05a
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• pp.13-14
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• 2012

• Science of Emotion and Sensibility
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• v.15 no.1
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• pp.105-120
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• 2012

This study aimed to develop a Korean emotion vocabulary list that functions as an important tool in understanding human feelings. In doing so, the focus was on the careful extraction of most widely used feeling words, as well as categorization into groups of emotion(s) in relation to its meaning when used in real life. A total of 12 professionals (including Korean major graduate students) partook in the study. Using the Korean 'word frequency list' developed by Yonsei University and through various sorting processes, the study condensed the original 64,666 emotion words into a finalized 504 words. In the next step, a total of 80 social work students evaluated and classified each word for its meaning and into any of the following categories that seem most appropriate for inclusion: 'happiness', 'sadness', 'fear', 'anger', 'disgust', 'surprise', 'interest', 'boredom', 'pain', 'neutral', and 'other'. Findings showed that, of the 504 feeling words, 426 words expressed a single emotion, whereas 72 words reflected two emotions (i.e., same word indicating two distinct emotions), and 6 words showing three emotions. Of the 426 words that represent a single emotion, 'sadness' was predominant, followed by 'anger' and 'happiness'. Amongst 72 words that showed two emotions were mostly a combination of 'anger' and 'disgust', followed by 'sadness' and 'fear', and 'happiness' and 'interest'. The significance of the study is on the development of a most adaptive list of Korean feeling words that can be meticulously combined with other emotion signals such as facial expression in optimizing emotion recognition research, particularly in the Human-Computer Interface (HCI) area. The identification of feeling words that connote more than one emotion is also noteworthy.

• 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.

• Cross-Cultural Studies
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• v.53
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• pp.131-161
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• 2018

Emotional expressions are expressions that show the internal condition of mind or consciousness. Types of emotional expressions include vocabulary that describes emotion, the composition of sentences that expresses emotion such as an exclamatory sentence and rhetorical question, expressions of interjection, appellation, causative, passive, adverbs of attitude for an idea, and a style of writing. This study focuses on vocabulary that describes emotion and analyzes the aspect of translation when emotional expressions of 'Hu(怖)' is shown on "Kokoro". The aspect of translation was analyzed by three categories as follows; a part of speech, handling of subjects, and classification of meanings. As a result, the aspect of translation for expressions of Hu(怖)' showed that they were translated to vocabulary as they were suggested in the dictionary in some cases. However, they were not always translated as they were suggested in the dictionary. Vocabulary that described the emotion of 'Hu(怖)' in Japanese sentences were mostly translated to their corresponding parts of speech in Korean. Some adverbs needed to add 'verbs' when they were translated. Also, different vocabulary was added or used to maximize emotion. However, the correspondence of a part of speech in English was different from Korean. Examples of Japanese sentences that expressed 'Hu(怖)' by verbs were translated to expression of participles for passive verbs such as 'fear', 'dread', 'worry', and 'terrify' in many cases. Also, idioms were translated with focus on the function of sentences rather than the form of sentences. Examples, what was expressed in adverbs did not accompany verbs of 'Hu (怖)'. Instead, it was translated to the expression of participles for passive verbs and adjectives such as 'dread', 'worry', and 'terrify' in many cases. The main agents of emotion were shown in the first person and the third person in simple sentences. The translation on emotional expressions when a main agent was the first person showed that the fundamental word order of Japanese was translated as it was in Korean. However, adverbs of time and adverbs of degree tended to be added. Also, 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 the cause of events were positioned at the place of subject in some cases to show the degree of 'Hu(怖)' 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 a 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 humans who were the main agents of emotion. They could be things or causes of events that specified the expression of emotion.

• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.545-555
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• 2015

We investigated the influence of negative emotion such as state-trait anxiety and depression and working memory (WM) on Foreign Language Vocabulary Learning (FLVL) of South Korean university students. Also, its implications for developing contents for FLVL were discerned. To do so, state-trait anxiety and depression inventories as well as four kinds of WM test were performed for 132 undergraduate students. Participants also had two semantic learning sessions for Swahili words. The mean scores of negative emotions were normal level. The results of structural equation modeling (SEM) showed that there was no effect of negative emotion on FLVL, while direct effects of the negative emotion on WM and the WM on FLVL were significant. Such results suggested that FLVL would be weakened, with the result that WM had been impaired by negative emotions. These outcomes suggested that when developing FLVL content for university students, it is necessary to consider the negative emotions of foreign language learners and to develop the contents for FLVL in the light of WM load.

• English Language & Literature Teaching
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• v.17 no.4
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• pp.193-206
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• 2011

The purpose of the study is to examine the use of emotion vocabulary by Korean English learners. Three basic emotion fields, pleasure, anger, and fear were selected to elicit the participants' responses. L1 English speakers' data was also collected for comparison. The major results are as follows. First, English learners responded with various inappropriate verb forms like I feel~, I am~ while the majority of English native speaking teachers responded with subjunctive forms like I would feel~. In addition, L2 English learners used mostly simple and coordination sentences. Second, the lexical richness, measured through type/token ratio, was higher in English L1 data than in English L2 data. The proportion of emotion lemmas reflects the lexical richness or the diversity of the emotion words. Lastly, L2 English learners' responses focused on a few typical adjectives like happy, angry and scared. This structural and semantic distinctiveness of Korean English learners' emotion words was discussed from pedagogical perspectives.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.177-185
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• 2012

The purpose of this study is to use as the basic data for design method in commercial space. So, we analyzed whether any emotion was induced by finishing materials in the commercial space. And we was to suggest expression methods of finish materials to induce in the emotional space. The results of this study are as follows : First, we could know that the emotional design is needed to enhance satisfaction of consumers. The role of finishing material is very important in emotional expression in the commercial space. Second, we extracted the adjectives vocabulary(14 pairs) to evaluate the space emotion. we could educe the four kinds of space emotion by Factor Analysis. In addition, we could arrange the emotional words to represent each space type(Decoration : 5 pairs, Expand : 4 pairs, Limitation : 3 pairs, Hierarchy : 2 pairs). Third, to use finishing materials and wall is very effective to induce the emotion in the emotional space. To use the color is good among the elements of finishing materials. Fourth, We could find that the center of the types of emotional space was induced with the boundary and the decoration. If we use contrasting colors and accent colors in the commercial space, we can induce the center and the boundary together. And if we use colorful or unusual patterns, we can induce the center and the decoration together. Fifth, To induce the expand, we should finish with one color in space. And To induce the center, we should finish with one type of the color or pattern and then we should partially use the contrast color and special pattern. the case of boundary, it is good method to part emphasize by color, texture and materials. And we can induce the decoration with materials and patterns.