• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.139-155
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• 2019

The Plays of Kang Yang Won and the Theatre Troupe Dong don't aim to use the body as a system of sign in order to express the mind. They want to show the physical presence of an actor which induces sensuous perception of audience, so the possibility of the aesthetics of performativity can be open. Therefore, the properties of body sound and space have important meaning. At the same moment the body of audience has to be open to the perception. It means that the audience has to be ready to perceive the energy breathing density and tension etc. which the body of actor causes. As a result, the audience experiences a simultaneous opening of consciousness and perception: simultaneous opening of consciousness and perception gives the chance of receiving the emergent meaning.

• Smart Media Journal
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• v.12 no.9
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• pp.19-27
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• 2023

Since morphemes are the smallest unit of meaning in Korean, it is necessary to develop an accurate morphemes analyzer to improve the performance of the Korean language model. However, most existing analyzers present morpheme analysis results by learning word unit tokens as input values. However, since Korean words are consist of postpositions and affixes that are attached to the root, even if they have the same root, the meaning tends to change due to the postpositions or affixes. Therefore, learning morphemes using word unit tokens can lead to misclassification of postposition or affixes. In this paper, we use morpheme-level tokens to grasp the inherent meaning in Korean sentences and propose a morpheme analyzer based on a sequence generation method using Transformer. In addition, a user dictionary is constructed based on corpus data to solve the out - of-vocabulary problem. During the experiment, the morpheme and morpheme tags printed by each morpheme analyzer were compared with the correct answer data, and the experiment proved that the morpheme analyzer presented in this paper performed better than the existing morpheme analyzer.

• The Journal of Korean Philosophical History
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• no.25
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• pp.333-354
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• 2009

Zhuangzi contends that one of the reasons to cause life difficulties is mistaking the truth of cosmos and the existence meaning of human. There is no difference of value between the existence of human and universal creatures. However, "human mind" can not being peaceful because of " ChengXin(成心)" causes the difference of right and wrong. Zhuangzi contends the ideal world is "ZhiDe zhi World(至德之世)" of unmoved mind. Because of the value of "RenYiDaoDe(仁義道德)" in politics, the status of ideal existence of human and creatures is destroyed, i.e., disturbing the status of peaceful mind. This is also a reason of life difficulties. Zhuangzi contends the reasonable relationship of human and creatures is to recognize creatures as creatures, and therefore, there is no difference of value between creatures. Additionally, one shall understand the concept of "universal creatures are the same(萬物?一)" is based on the fact of continuous change of universal creatures. The socalled concept of "universal creatures are the same(萬物?一)" in Zhuangzi's thought is based on three dimensions: one is the materials of forming universal creatures; one is the same meaning of "Hisn" between human and creatures, and universal creatures are continuously changing. Therefore, one shall get a clear understanding of the nature of things, and one may treat the universal creatures in the concept of "universal creatures are the same(萬物?一)".

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.164-183
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• 2020

In the textile culture of the Joseon Dynasty, the historic record of Banpo is fragmentary and contains many missing details. The main reason is a lack of associated literature, and it is also significant that the actual substance used is not clear at present. Banpo is a kind of cotton, but this has not been confirmed in the traditional textiles that are currently handed down. The word Ban [斑] in Banpo means "stain", and the letter Po [布] means "fabric". At the border of white discourse, Banpo did not receive attention as a research topic. This study is an attempt to restore some of the textile culture of the Joseon Dynasty through Banpo. Banpo is not just limited to the Joseon Dynasty; it is an important material for examining the development of textile culture and exchange in East Asia. This study was broadly divided into three parts. First, the record and meaning of Banpo during the Joseon Dynasty were examined. Records of Banpo can be seen from the early Joseon period during King Sejo and Seongjong, and the production and actual use of Banpo have been confirmed. Banpo was maintained until the beginning of the 20^th century, but is no longer observed. Banpo is a woven fabric made of cotton yarn dyed in many colors and has appeared in Southeast Asia since ancient times. In East Asia, there are other fabrics similar to Banpo, such as Ho [縞], Sum [纖], and Chim [綅]. In particular, the correlation between Banpo and Ho is an important link in understanding Banpo in the Joseon Dynasty. Second, the meaning of Banpo was examined from various angles through comprehensive analysis of Chinese and Japanese literature records and cases. The appearance and development of Banpo moved in sync with the period when cotton was introduced into East Asia. In East Asia, cotton was introduced and produced in earnest from the end of the Song Dynasty to the beginning of the Yuan Dynasty, and the meaning of Banpo was diversified. In China, the name of Banpo was changed to Hwapo [花布], Gizapo [碁子布], Gizahwapo [棋子花布], etc. Japan was late to introduce cotton and developed it in acceptance of the changed meaning. In Japan, use of the name Banpo is not on record, but a Ryujo [柳條] fabric of the same type as banpo has been identified. This Ryujo is the same concept as Ho and Hwapo, and later merged into Ho. Names such as Ho, Hwapo, Banpo, etc. were used differently in each country, but the form was shared across East Asia. Third, based on the meaning of Banpo shared in East Asia, the format of Banpo in the Joseon Dynasty was classified. The format of Banpo in the Joseon Dynasty can be divided into grid and striped versions. The name Banpo disappeared over time, but the form remained and was passed down until recently. I hope that this study will help restore Banpo in the future.

• Journal of the Korean Society of Costume
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• v.40
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• pp.25-35
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• 1998

This thesis is a study of Kas ya, robes of buddhist monk, which is having peculiarity among human clothes. I kept my attention mainly on the symbolism of the color of Kas ya. To elucidate this, I chose the principle of T -chi and Yin-yang and Wu-shing as a frame-work of interpretation. In the first place, the original meaning of Kas ya mean a name of peculiar color. The concrete names of the color are color of persimmons juice, brown, yellow tinged with red, radish brown, non-primary color etc. The main motive to dye three robes of buddhist monk from white or primary color to the color of Kas ya was to differentiate buddhist monks from heathen or laymen. Therefore, as luxurious and primary colored cloths was donated to the buddhist monks, they are necessary to discolor them. Accordingly. they established 'non-primary color' as well-mate one for a ascetic. The non-primary color is called discolored color' as a result of discoloring primary colors. The discolored color is a synonym of Kas ya and the process of discoloring is necessary for making robes of buddhist monk. Secondly, discoloring means to mash five primary color. That is say, the process of discoloring means to return five primary colors back to 'profoundity·abstruseness·obscurity, namely darkness' as the source of them. Darkness as a condition amalgamated and not appeared all materials is the source and at the same time the terminus of all colors. Therefore, color of Kas ya symbolizes 'profound color' as the ultimate meaning of discoloring. Thirdly, discoloring garments of buddhist monk symbolize to destroy evil passions and haughtiness arising in ascetic's mind as well as means don't attach to the shaped materials'. Fourthly, discoloring means to return 'color'. namely 'all kinds of shaped material' to the inherent nature. Process of discoloring means to reture to the empty. nya. nya essentially do not make any colors, but over and over again come into being and become extinct as becoming colors. R pa, by one time Yin and the other time Yang'. R pa, color is a metaplasia of nya and nya is discoloring one of all colors. Then, discoloring means R pa is nya, R pa is nya at the same time and Because this is another expression of Dharma the original meaning of Kas ya symbolize true robes. Consequently, Kas ya means truth and beyond time and space do not be changed and conserve the color of the first till now.

• The Journal of the Korea Contents Association
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• v.17 no.6
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• pp.650-660
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• 2017

This study aims to research the indication way and contents description of grammar presented in Korean textbooks. Therefore we examine the common elements of grammar in four Korean textbooks and the transcription, notation methods and meaning descriptions the books use to present grammar items. After analyzing Korean textbooks for the beginner level, we found just 20 similar items among a total of 100-150 grammar items. Advanced researches required to examine the selection and classification of grammatical items in Korean education. The results show that it used as the same name "grammar" expressed in Korean textbooks compared to using different names in the past. We consider that just 20 grammar items are the same because the range of grammar items in every textbook is different including vocabulary, sentences etc. The study found that grammar items are expressed differently in the type of indication way, order of arrangement, and marks. We suggest that it is better to indicate the style of representation used in grammar items because an additional problem such as type of indication way, order of arrangement is removed by doing so. The study also found grammar items are expressed differently in the meaning description and grammar range of explanation of Korean textbooks. This study suggests that morphological information, restriction information and meaning should be described at a basic level. This study allows us to consider the indication way and contents description of grammar are presented in Korean textbooks.

• Journal of Korean Medical classics
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• v.22 no.4
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• pp.1-13
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• 2009

When feeling the pulse, healthy man' pulse is the criterion for diagnosis whether you are a sick person. Healthy man is defined as one who is harmonious and not sick in sympathy with natural order. Among the factors for being Healthy man, breathing and pulsation, Chon-gu(寸口) and Inyeong(人迎) are most closely connected with the representative methods of feeling the pulse which are used currently. According to "Hwangjenaegyeong(黃帝內經)" on breathing and pulsation, the pulse beats twice per a breathing-in and a breathing-out each. And for a specific breathing, it beats 5 times including the remnant with a big breath. That the pulse beats twice means that it beats not only twice, but also regularly and repeatedly. The remnant is related to the meaning on a leap month, 5-time beating during a breath is connected with the contents of Osipyeong(五十營). A human is not always in stable and sticks to balance continuously with changes under the circumstances. So when it comes to a criterion how to measure the pulsation frequency, breathing is much more reasonable than pulsation and breathing calculated for a minute. According to "Hwangjenaegyeong(黃帝內經)", Healthy man is the person of whose Chon-gu and Inyeong are in order and much the same in response to each other. Although there is a minor difference in the meaning of term between Chon-gu and Gigu(氣口), Maekgu(脈口) in originally, it is used as almost same meaning when Chon-gu is used in opposition to Inyeong. Afterwards, depending on medical men, around neck or Chon-gu of the left hand are measured for Inyeong. However, Inyeong described in "Naegyeong(內經)" is Jokyangmyeong(足陽明) and it means the Hyeol(穴) around neck where the pulse beats, it looks like about the carotid area. Chon-gu is fall under Eum(陰) and Inyeong(人迎) is fall under Yang(陽). Therefore Chon-gu is continuous with eumgyeong(陰經) and Inyeong is continuous with yanggyeong(陽經). In addition, the pulse and the four seasons meet each other and Inyeong is a little stronger in spring summer and Chongu is a little stronger in fall winter.

• Trans-
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• v.7
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• pp.19-48
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• 2019

This study was described to examine the meaning of the media exhibition work <70mK>, which aims to capture the topography of the collective consciousness of the Korean people through large-scale interviews. <70mK> edits and organizes interview images of individual beings in mosaic-like layouts and forms, creating video exhibitions and holding exhibitions. The objects in the split frame show the continuity of differences that reveal their own thoughts and personalities. This is a synchronic and conscious collective typology in which the intrinsic nature of the individuals is embodied in a simultaneous and holistic image. Interview images reveal their own form as a actual being and convey the intrinsic nature of one's own as oral information. <70mK> constructs a new individualization by aesthetically structuring the forms and information of life individuals in the extension of a specific group. The beings in the frame are not communicating with each other and are looking straight ahead. it conveys to visitors their relationship and personality as the preindividual reality. It is the repetitive arrangement and composition of heterogeneity and difference that each individual shows, and is a chain operation that includes collective identity behind it. <70mK> constructs the direct images and sounds of individual interviewee, creating a new form of information transfer called Video Art Exhibition. This makes metaphors and perceptions of the meaning and process of transindividual relationships and the meaning of psychic individuation and collective individuation. This is an appropriate case to explain with modern technology and individualization of Gilbert Simondon thought together with the meaning of becoming and relation of individualization. The exhibition space constructed by <70mK> is an aesthetic methodology of the psychic and collective meaning and its relationship to a particular group of individuals through which they are connected. Simondon studied the meaning of the process of individualization and the meaning of becoming, and is a philosopher who positively considered the potential of modern technology. <70mK> is a new individual as structured and generated ethical reality mediated by modern technology mechanisms and network behaviors. It is an case of an aesthetic and practical methodology of how interviews function as 'transduction' in the process of individualization in which technology is cooperated. The direct images and sounds of <70mK> are systems in which the information of life individuals is carried, amplified, accumulated and transmitted. It is also a new individual as a psychic and collective landscape. It is a newly became exhibition art work through the multiple individualization, and is a representation of transindividual meanings and process. The media exhibition art of individualized metastable states leads to new relationships in which viewers perceive the same preindividual reality and feel affectivity. The exhibition space of <70mK> becomes a stage for preparing the actual possibility of the transindividual group beyond the representation of the semantic function.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.355-387
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• 2008

The purpose of the study was to decide Korean translation and the copying period of "Korean Translation of " and to look all around their characteristics in different versions carefully until now. The "Korean Translation" is a collection of Korean-translated romance and love stories excavated by a professor Kim,Il Geun, and there is not a little meaning in the context of novel history in the point of view of 'Korean translation of a court possession'. Arranging conclusion of the study generally, it is as follows. (1) Considering phonological phenomena, grammar and vocabulary in the study of Korean language, it is presumed that they would be translated into Korean and copied between the regime period of the King Sukjong and the regime period of the King Yungjo in the Joseon Dynasty. For, they were composed of a middle declaration of copied 'Myeoknambon "Korean Translation of Taepyeonggwanggi(태평광기)"' and 'NakseonJaebon(낙선재본)' between the middle of the 17th century and the middle of the 18th century and the regime period of the King Jeongjo in the Joseon Dynasty appointed as the background period of the novels should be excepted. Consequently, through the Korean Translation, we can confirm that the novel scope between the 17th century and the 18th century in Korean novel history was widened until 'The Royal Court' and 'Women'. (2) In the side of vocabulary, the "Korean Translation" also has not a little meaning in the side of a collection translated in the Royal Court. It doesn't have new vocabularies, but partial vocabularies as '(Traces:痕)' '(Clean eyes:明眸)', ' (Sail:帆)', '(Get up:起)', '글이플(Weak grass:弱草)', '쇼록(Owl:? 梟 or 鴉?)', '이 사라심(This life:此生)', and '노혀오매(Look for:訪)' are good data in the study of Korean language. (3) The "Korean Translation" is a valuable data about translation and copying of a court novel and we can discover intentionally changed parts and partially omitted sentences rather in the than in the . There are differences between a translation book and a copying book and we can catch sight of intention of translation and unsettledness of copying in the second work. Therefore, we can know that the "Korean Translation" has a double context which one work is translated and a work in different version is derived, compared to a simple copy. (4) The "Korean Translation" has a close relation with "Hangoldong(閒汨董)", but it doesn't regard the same copy as a foundation. The basic copy of translation of the "Korean Translation" is a different version of the same line as "Hangoldong" and "Jeochobon(저초본:정명기 소장본)" and is more similar line to "Hangoldong", but it is also not the same basic copy. (5) Considering that the "Korean Translation" doesn't has a distinct relation with the "Hangoldong", there is no correlation between the "Korean Translation" and and the "Hangoldong" and . In addition, we could not discover a writer's identity between the two.

• Journal of Korea Game Society
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• v.10 no.2
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• pp.37-47
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• 2010

Along with language, emotion is an effective means of expression. By expressing our emotions as well as speaking language, we can deliver our message better. Because each person expresses the same emotion differently, this expression is a useful gauge to measure an individual personality. To avoid monotonous emotional expression from virtual characters, therefore, it is necessary to adjust the creation and deletion of the same emotion depending on each character's personality. This paper has attempted to define personality characteristics that have an impact on each emotion and propose a method to adjust the emotions. Furthermore, the relationship between particular emotion and personality characteristics has been defined by matching the significance of specified personality characteristics with the lexical meaning. In addition, using the Raw Score, the weighted value which is necessary for the adjustment, continuance and deletion of each emotion has been defined. Then, emotion was properly adjusted. When the same emotion was adjusted using actual personality test data, different results have been observed by personality. This paper has been conducted using NEO Personality Inventory (NEO-PI) which consisted of 5 broad domains and 30 sub domains.