• Knowledge Management Research
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• v.21 no.3
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• pp.89-103
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• 2020

When people feel powerless (with losing control), they show compensatory behaviors to get out of this state. The actions to compensate for powerlessness have been studied in the contexts of products or brands, but this study focuses on compensatory behaviors when using social media. Social media, which can express consumers' selves freely, has become a platform for self-expansion. It has been confirmed that the possibility of relieving psychological powerlessness through self-expression on social media exists. Therefore, we examined how people who felt powerless showed compensatory behaviors on social media. According to the analysis, consumer's powerlessness does not directly affect narcissistic self-expression on social media. However, it is derived as being fully mediated by the feeling of anxiety. The more anxious consumers feel, the more narcissistic they express themselves by posting photos of themselves with luxury brand objects that can show social power or authority. In other words, when consumers experience social powerlessness coupled with anxiety, they are likely to show compensatory consumption behaviors such as narcissistic self-expression in order to make their images cool and luxurious and draw others' attention on social media. We confirm that the compensatory consumption due to consumers' powerlessness, which leads to having anxiety, can appear in ways of presenting narcissistic selves on social media.

• Korean Journal of Cognitive Science
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• v.21 no.4
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• pp.447-458
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• 2010

Time expressions are a very important form of information in different types of data. Thus, the recognition of a time expression is an important factor in the field of information extraction. However, most previously designed systems consider only a specific domain, because time expressions do not have a regular form and frequently include different ellipsis phenomena. We present a two-level recognition method consisting of extraction and transformation phases to achieve generality and portability. In the extraction phase, time expressions are extracted by atomic time units for extensibility. Then, in the transformation phase, omitted information is restored using basis time and prior knowledge. Finally, every complete atomic time unit is transformed into a normalized form. The proposed system can be used as a general-purpose system, because it has a language- and domain-independent architecture. In addition, this system performs robustly in noisy data like SMS data, which include various errors. For SMS data, the accuracies of time-expression extraction and time-expression normalization by using the proposed system are 93.8% and 93.2%, respectively. On the basis of these experimental results, we conclude that the proposed system shows high performance in noisy data.

• Trans-
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• v.2
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• pp.161-190
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• 2017

As times progress, creative change is achieved by attempts to embrace different needs. These attempts are expressed as the form of an Object which pulls down the barriers of genre between art. There is now in fact difficult to find a work that doesn't contain the characteristic of an Object. The necessity of this study is that it tries to approach an Object with a holistic perspective and understand it as a single system. It also tries to analyze the roles that an Object's characteristic and expression and the research ways they influence the dance work by contemplating the aesthetic discussion process of an Object in the art field. Also, by researching the characteristics of expression and how Objects stimulate a dance work, this study will take an important part in developing the dance works. Based on this necessity, this research choose the works of William Forsythe, (2006), (2009), (2009) which clearly depicts the expression characteristics of an Object. It is noted that the usage of an Object maximized creativity and brought expansion of expressions in a dance performance by using diverse mediums, body actions and even nonmaterial components without losing the essence of a dance. As a result, this usage of an Object provides theories that bring the enlargement of expression and suggests various ways to overcome the limits of other existing dance works.

• Journal of the Korean association of regional geographers
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• v.16 no.1
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• pp.1-15
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• 2010

A feng-shui map(山圖) represents the most ideal natural landform on a map of feng-shui space model, highlighting propitious spots and grave sites in terms of feng-shui. This study made an analysis into feng-shui maps featured in the Chinese feng-shui manual Jiriinjasuji published in the Ming dynasty of China and did research on the following points regarding the traits of landform expressions: viewpoints of feng-shui maps, perspective points, center-oriented maps, double map scales, mountain theories, detailed expressions of propitious spots, etc. The major characteristics of landform expressions in the Chinese feng-shui manual Jiriinjasuji are as follows: the viewpoint technique was aerial one; the maps were center-oriented, that is to say, the center of grave sites or propitious spot was depicted in detail; and often the important terrains around grave sites were exaggerated or delete compared with real landforms. In addition, other vital landforms not observed from grave sites were depicted with viewpoints moved and were represented in greater details' The part of mountain theories had the following points as their main subject matter: geographical locations, overall orientations of mountain ranges, topographical traits, grave seat directions, surrounding terrains and extent of fortune-bringing. The directions of the maps were relative and there was no definite concept of scales. But, there are many cases where the maps made use of the double scale technique when expressing the terrains that have propitious space, logistical cities or directional importance. Furthermore, they often utilized multiple scale in expressing near views, mid-range views and distant views.

• Journal of Life Science
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• v.19 no.7
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• pp.905-916
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• 2009

Pinelliae rhizoma (Pr, 半夏) is a traditional medicine used in the treatment of incipient stroke. We investigated the effects of Pr on gene expression in a hypoxic model using cultured rat cortical cells. Pr (2.5 $\mu$g/ml) was added to the culture medium on DIV 12. A hypoxic shock (2% 0$_2$/5% CO$_2$, 37$^{\circ}$C, 3 hr) was given two days later (on DIV 14), and total mRNAs were isolated at 24 hr post-shock from both Pr-treated samples and untreated control cultures. Microarray using TwinChip $^{TM}$ Rat-5K (Digital Genomics, Seoul) indicated that Pr upregulated genes for cell growth and differentiation (tubb5, tgfa, ptpn11, n-ras, pdgfa) and antiapoptosis (mcl-1), while downregulating the apoptosis-induced gene (tieg). Therefore, it is interpreted that Pr protects neurons from hypxoic shock by maintaining cell growth and differentiation and by preventing apoptosis.

• Education of Primary School Mathematics
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• v.16 no.3
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• pp.285-301
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• 2013

The purpose of the study is to analyze the 4th graders' visual representation in mathematics problem solving process and to find out how to teach the visual representation in mathematics problem solving process. on the basis of the results, this study gives several pedagogical implication related to the mathematics problem solving. The following were the conclusions drawn from the results obtained in this study. First, The achievement level of students and using visual representation in the mathematics problem solving are closely connected. High achieving students used visual representation in the mathematics problem solving process more frequently. Second, high achieving students realize the usefulness of visual representation in the mathematics problem solving process and use visual representation to solve mathematical problem. But low achieving students have no conception that visual representation is one of the method to solve mathematical problem. Third, students tend to especially focus on 'setting up an equation' when they solve a mathematical problem. Because they mostly experienced mathematical problems presented by the type of 'word problem-equation-answer'. Fourth even through students tried visual representation to solve a mathematical problem, they could not solve the problem successfully in numerous instances. Because students who face a difficulty in solving a problem try to construct perfect drawing immediately. But generating visual representation 2)to represent mathematical problem cannot be constructed at one swoop.

• Koreanishche Zeitschrift fur Deutsche Sprachwissenschaft
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• v.3
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• pp.277-301
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• 2001

우리가 간단히 사용하는 언어는 실제적으로 아주 복잡한 진행과정을 가지고 있다. 사전상의 각 어휘는 대화상황에서 상호 작용하는 초기단계의 역할을 하며, 표현은 과거나 현재에 행해지는 대화상황 및 대화참여자의 발화 과정에서 생기는 일종의 일체감을 표시한다. 의사 소통을 한다는 것은 단어나 문장에 대한 다양한 의미와 각각의 개념에서 지시되는 표현을 수단으로 발생하는 대화상의 연관성을 의미한다. 이러한 모든 것은 의사소통에 있어 의미의 다양성과 관련을 맺고있다. 우리는 표현을 통하여 매우 복잡하고 다양한 양상들을 볼 수 있다. 대화내용에 따라 똑같은 표현들이 서로 다르게 이해될 수 있기 때문이다. 언어는 단지 사람이 행하는 언어처리의 일부만을 보여줄 뿐이다 언어를 처리하는데 있어서 문제가 되는 것은 매우 복잡하고 구성적인 진행과정이다. 청자는 의사소통이 진행되는 과정에서 활자와 함께 주어진 정보를 처리함으로써 상황을 내적 형상화하게 된다. 따라서 청자는 표현의 의미를 이해하려고 노력하며, 다양한 방법을 동원한 지식을 사용한다. 의사소통에 있어서 통사적$\cdot$의미적인 지식, 문맥에 맞는 대화지식 혹은 일반 지식을 대화상황에 맞게 적용하는 것이 그 예라 할 수 있다. 지시적 언어의 표현은 사전적으로 고정된 단어의 의미를 규정하거나 또는 이와 같은 단어의 의미에 정확하고 적절한 지시사를 규정하는 근거가 된다. 인칭$\cdot$장소$\cdot$시간을 지시하는 언어 Personal-, Lokal-, Temporaldeixis는 언어 시스템을 형성하게 되는데, 활자와 청자는 이러한 표현을 인칭$\cdot$장소$\cdot$시간으로 형상화하면서 의사소통을 한다. 따라서 자연어의 처리과정에 나타나는 다양한 표현들에 대한 심리학 및 언어학의 강력한 연구가 요구된다.에 기대어 텍스트, 문장, 어휘영역 등이 투입되어 적용되었으며, 이에 상응되게 구체적인 몇몇 방안들이 제시되었다. 학습자들이 텍스트를 읽고 중심내용을 찾아내며, 단락을 구획하고 또한 체계를 파악하는데 있어서 어휘연습은 외국어 교수법 측면에서도 매우 관여적이며 시의적절한 과제라 생각된다. Sd 2) PL - Sn - pS: (1) PL[VPL - Sa] - Sn - pS (2) PL[VPL - pS] - Sn - pS (3) PL(VPL - Sa - pS) - Sn - pS 3) PL[VPL - pS) - Sn -Sa $\cdot$ 3가 동사 관용구: (1) PL[VPL - pS] - Sn - Sd - Sa (2) PL[VPL - pS] - Sn - Sa - pS (3) PL[VPL - Sa] - Sn - Sd - pS 이러한 분류가 보여주듯이, 독일어에는 1가, 2가, 3가의 관용구가 있으며, 구조 외적으로 동일한 통사적 결합가를 갖는다 하더라도 구조 내적 성분구조가 다르다는 것을 알 수 있다. 우리는 이 글이 외국어로서의 독일어를 배우는 이들에게 독일어의 관용구를 보다 올바르게 이해할 수 있는 방법론적인 토대를 제공함은 물론, (관용어) 사전에서 외국인 학습자를 고려하여 관용구를 알기 쉽게 기술하는 데 도움을 줄 수 있기를 바란다.되기 시작하면서 남황해 분지는 구조역전의 현상이 일어났으며, 동시에 발해 분지는 인리형 분지로 발달하게 되었다. 따라서, 올리고세 동안 발해 분지에서는 퇴적작용이, 남황해 분지에서는 심한 구조역전에 의한 분지변형이 동시에 일어났다 올리고세 이후 현재까지, 남황해 분지와 발해 분지들은 간헐적인 해침과 함께 광역적 침강을 유지하면서 안정된 대륙 및 대륙붕 지역으로 전이되었다.

• 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.

• Cartoon and Animation Studies
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• s.36
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• pp.349-374
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• 2014

The light is the language. Directors have to describe the scene component effectively his intention to configure the scene as an appropriately. After this act of the character, the layout of the props and scene lights will enter to the scene components. Those things help to audiences can understand narrative of work and emotion that producer want to send. Expressing their emotions especially using the lights by adjusting the colors and contrast makes audience to concentrate on work and understand naturally. This lighting technique clearly appears on early year theaters stage of England and Rembrandt's paintings. Properly dividing and controlling the lights dramatically increases the beauty of the work elements to express a variety of emotions such as worries and fear. Therefore, it can be evolve depending on director's intent of using lights on his work. Lights can increase involvement of human emotion through basic features that cognition of object, visualization of space-time and by artistic method in the product. This study will examine the role and how to use lighting to express the proper sentiment based on the narrative of the work. Making research named "Lighting Research of 3D animated film which applying light features to express emotion" previous study and have to combine emotional vocabulary and emotion-based theory for classifying the emotional language that can be applied on 3D animation. And choosing most emotional scene from 3D animation for analyze how they used lighting to expressing emotions. Directors trying to show up about the light role through light method that matched perfectly with an emotional language. Expecting this research work of directing 3D animations light for expressing emotional feelings will be continue successfully.

• Cross-Cultural Studies
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• v.50
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• pp.225-259
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• 2018

In this study, according to the Institut d'Estudis Catalan, it is noted that the traditional Catalan time telling system is essentially based on delineating time by the use of the 'quarts (=quarters)' of an hour. In this fasion, to tell the time 8:15, 8:30 and 8:45 they use '${\acute{E}}s$ un quart de nou.,' '$S{\acute{o}}n$ dos quarts de nou.,' and '$S{\acute{o}}n$ tres quarts de nou.,' but do not use constructions such as '$S{\acute{o}}n$ les vuit i quinze.,' '$S{\acute{o}}n$ les vuit i trenta/mitja.,' '$S{\acute{o}}n$ les vuit i quaranta-cinc.,' because these expressions are considered to be as dialectal variants or international notation-based variants. Moreover, the traditional Catalan time telling system does not use cardinal numbers, except in the case of 'cinc (five)' and 'deu (ten).' These linguistic phenomenon cause the invention of a unique Catalan digital watch, and has noted special designs for the creation of a Catalan analogue watch. For this reason, the quarter system in colloquial Catalan provokes an enormous interpretative ambiguity in daily routine expressions with 'quarts' like '$S{\acute{o}}n$ quarts of nou.' or 'entre dos i tres quarts' whose meaning is not delineated between sixteen and forty-four minutes. We will argue that the traditional Catalan time telling expressions do not have the use of the subtractive system, and the fraction word 'quart' lacks a specific meaning of fifteen minutes because the Catalan word 'quart' is etymologically related to the classical public bell system, not definitively to the traditional clock system.