• Korean journal of communication and information
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• v.71
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• pp.75-115
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• 2015

This study is to describe the meaning of associations at $5{\cdot}18$-related photographic portrait phenomenologically. Referent in the photography arouses different and unique type of associations. Moreover, it appears differently emotional experience by the associations. Therefore, the purpose of this study is to describe types of associations and emotional experience about referents gained through $5{\cdot}18$ photography and to construct the meaning. It is based on concepts of primordial associations discussing in the phenomenology but this study was described the meaning of $5{\cdot}18$ the May 18th democratic uprising focusing on types of associations and meanings derived by direct experience from photography. According to this result, the viewpoint of $5{\cdot}18$ Democracy Movement approaches from objective academic system or cannot be withdrew as dynamics of the political ideology. It is that the fundamental and impulsive emotions from each individual who participated in the movement are affected. The fundament of the May 18th democratic uprising is based on their basis of life and the will to primitive power of a love & affective community.

• Proceedings of the Korean Society for Cognitive Science Conference
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• 2002.05a
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• pp.65-71
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• 2002

우리의 기억에 표상되어 있는 개념의 본질과 근원 그리고 이들의 관계에 대한 연구는 연상과 기억구조의 관계에 집중되어 왔다 따라서, 어떤 한 개념과 다른 한 개념이 관계되어 있다는 의미적 혹은 연상적 점화의 양상은 의미기억 구조를 적절히 예시할 수 있을 것이다. 본 연구는 어휘수준에서 보여지는 연상의 양상이 문장수준에서도 유사한 예측을 해낼 수 있는지를 살펴보고자 한다. 즉, 어휘수준에서 연상적 관계에 있는 두 개념이 선행사와 연상 조응사라는 문법성을 띠면서 문장에서 예상되는 역할을 수행할 때는, 의미기억의 또 다른 양상을 보여줄 것이라 예측되며, 이것은 문장의 의미·화용적 추론의 기제로 유인되고 있음을 제안하려고 한다. 또한, 의미·연상적 점화와 추론의 기제간의 적절한 상호작용은 문장의 응집성과 처리속도 간에도 유의미한 예측을 할 수 있음을 제안한다.

• Cartoon and Animation Studies
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• s.37
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• pp.463-489
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• 2014

Virtually unanimous praise poured over him notwithstanding, critical discussions of Yeon Sang-ho's animation works largely remain amorphous. Except for scattered reviews, no serious work of engagement with his works has yet to exist. In seeking to fill this yawning void, this paper insists his works be treated as oeuvre. By analyzing the two animated features along with his shorts, I will show how radical Yeon's works remain vis-a-vis contemporary Korean society. At their narrative core, his works, I argue, revolve around the problem of solidarity, or lack thereof among the abjected people. In contradistinction to the critical common sense whereby the supposed continuity between the two works is casually bypassed, I insist on the peculiar ways in which both resonate with difference. Further, and perhaps more importantly, I will demonstrate how these otherwise merely thematic concerns are rendered formally in his animated works in terms of what I call "abyssal surface". Despite his allegedly "realistic" style, Yeon's works rather embody the utter lack/excess of trust among the abjected people as animation, i.e., ominously superficial surface beyond whose facade lurks abyssal lack/excess of mutual trust. Precisely in this double sense of the term, i.e., that thematically they touch on the roots of society, and, formally, those of animation as such, Yeon's animation works are radical.