• Cartoon and Animation Studies
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• s.9
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• pp.80-93
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• 2005

This study analyzes current situation of Korean comics market, emphasizes the necessity of studying comics audience. Presenting the differentiated methodology for comics study, the alternative solution for Korean comics market is given. The theoretical foundation is based on the cultural approach for audience studies. This study aims to find out the changing environment of taking comics contents and using behavior of it. Most audience of comics make use of them in various ways and try to use them in new experimental method. To analyze the tastes and using behavior of comics audience is necessary for preplanning of comics production.

• Korean Journal of Logic
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• v.8 no.2
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• pp.3-32
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• 2005

Hilbert's rational ambition to establish consistency in Number theory and mathematics in general was frustrated by the fact that the statement itself claiming consistency is undecidable within its formal system by $G\ddot{o}del's$ second theorem. Hilbert's optimism that a mathematician should not say "Ignorabimus" ("We don't know") in any mathematical problem also collapses, due to the presence of a undecidable statement that is neither provable nor refutable. The failure of his program receives more shock, because his system excludes any ambiguity and is based on only mechanical operations concerning signs and strings of signs. Above all, $G\ddot{o}del's$ theorem demonstrates the limits of formalization. Now, the notion of provability in the dimension of syntax comes to have priority over that of semantic truth in mathematics. In spite of his failure, the notion of algorithm(mechanical processe) made a direct contribution to the emergence of programming languages. Consequently, we believe that his program is failure, but a great one.

• Cartoon and Animation Studies
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• s.26
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• pp.31-56
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• 2012

This is a scientific study of subjectivity on recognition types and preferences of animation audience. Therefore, Q-methodology was used as a methodology of this study. As a result, it was possible to find the various characteristics according to the preferences of audience on animation genres. The features of each type were classified into 3 types. First was an artistic and literary value-oriented type that explored storytelling and descriptive value. Second was a pictorial and aesthetic value-oriented type that explored visual beauty such as characters and Mise en scene. Third was a visual and entertainment value-oriented type that explored entertainment factors and attractions. Thus, according to the classification of preference types, it was inferred that digital image generation audience with an active preference that can create and consume images have developed a tendency that independently consumed their preferences based on thoroughly personal or subjective preferences rather than classified and accepted their preferred culture as their symbolic expressions of hierarchical position. In this aspect, Q-methodological consideration that is useful to analyze the subjectivity of audience could be a significant work. Nevertheless, this study alone could not reveal various generative contexts of specific preferences. It seems to have more significant results by applying various qualitative or quantitative methodologies together with this study and analyzing recognition types and preferences of audience.

• Journal of the Korean Society of Costume
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• v.38
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• pp.101-122
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• 1998

The purpose of this study is to define the fundamentals of one symbolic concept, so calles vestment-sign, based on the logical relationship of sign system about the trichotomy by charles S. Peice's sign concept for the communication system of meaning in the non-linguistic image domain. To prove the argument of vestment-sign, I selected 3 type of vestment language by styliste, Elsa Schiaparel-li. The third image vestmental chosen here, titled“Larme-Illusion(1938)”,printed by Salvad-or Dali will produce one symbolic proposition as a logical result which is generated and developed through the interpretation of other images. First of all the text, which is manifested by Elsa Schiaparelli's first image vestmental, tit-led“Notation Musical(1937)”and is symbolized as one category in the representation of the form, is regarded symbolic and metaphorical from a standpoint that the title and the meaning is connected to the form. The second image vestment, titled“Ruches Noirs(1938)”represents externally splendid feminity man-ifested by the symbolic and metaphorical expression. And the purity of sensitivity aiming to humanity in the detail of the poetic feeling of naturalism makes us imagine the battle fild of furious sensitivity. Like as the result of the battle, the third image stimulated our eyesight with the“absence”of dressing function. The proposition of the text,《Death》which the third image delivers, constructs sign system to bring up a meaning with the disappearance of physical“signifier”. This establishment of the symbolic concept presents the etymological authority of symbol generation called“Design”.

• Science of Emotion and Sensibility
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• v.4 no.2
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• pp.15-24
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• 2001

This study is designed to examine on the effectiveness of emotional advertisement, including analysis of the physiological response of customers’ feelings for effective development of advertisement, and to provide a base for emotional advertisement production by presenting the methods of linguistic and non-linguistic response. It provides a framework for symbolic analysis about costumers’ emotions along with a general review of emotional advertisement. Based on the results, it will analyze aspects of linguistic and non-linguistic utterance of costumers’ physiological response for emotional advertisement. The results will present a frame of effective emotional advertisement that appeals to the emotion of costumers

• The Journal of the Korea Contents Association
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• v.7 no.7
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• pp.68-76
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• 2007

The cartoon communicates its messages by cartoon semiotics as a vehicle of emotion, face expression, act, glance, and texts along the story. this style of communication showed in the cartoon can be defined as ${\ulcorner}$Cartoon communication style${\lrcorner}$. Since, the cartoon is cultural and social product, an understanding of ${\ulcorner}$Cartoon communication style${\lrcorner}$ plays a major role in understanding culture and society as well as its production and interchange. To understand what is the ${\ulcorner}$Cartoon communication style${\lrcorner}$, systemic and objective research method through ${\ulcorner}$Cartoon Analysis${\lrcorner}$ is required. The study review cognitive tendency of cartoon expression through semiotic analysis of total 30,081 cuts of Korea, and Japanese published cartoons and consequently, classifies the cartoons by 3 forms - One-Root, One-Idea and One-Style to encode.

• Korean journal of communication and information
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• v.18
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• pp.231-268
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• 2002

This is a study about the audience's aspect of decoding the photography and words comprising photojournalism. For this study, the way of audience's decoding five pictures depicting a foreign worker's death and the captions for each were analyzed. Ethnographic method was used to find distinctive features of the audiences in decoding the pictures. Picture images without any title and caption shown to audiences bring quite different decodings from those of picture images titled and captioned. This led to the following three conclusions. First, picture image added by caption transforms the way the audience decode. Second, the cultural background of an audience works as a major variable, which means how the audience decode the picture image depends on what sort of cultural background the audience has. Third, it is also learned that picture image not captioned would not be able to represent the reality faithfully. The author made an experimental trial in this thesis how the communication process works successfully in a reality that photojournalists tried to represent and the way the audience decode it for the successful communication in photojournalism.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.275-284
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• 2021

This study analyzes the characteristics regarding the image of women in feminist magazine covers. Along with fundamental analysis of the female image that appeared on the covers of feminist magazines and the grammar of visual design by Kress and van Leeuwen, a methodology of socio semiotic research, this study explores the structure and driving principles of symbols that have organized female images. The subject of analysis is set to 200 covers of magazines published from the 1960s to the 2010s. Through analysis, first, female images represented in the covers of feminist magazines showed women of various races, age groups, appearances, and occupations, and the degree od emphasis on the physique was fewer and natural-looking. Second, the study confirms that feminist magazines actively utilize representational and interactive metafunctions to deliver symbolic information such as messages of confidence, strength, and courage. Third, the organized symbols affected the recipient's understanding and interpretation of images. I hope this study helps to contemplate ways to express female images and the dynamic and diverse aspects of women.

• 기호학연구
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• no.54
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• pp.7-36
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• 2018

Michael Polanyi's idea of tacit knowledge came from the realization that scientific objectivity and critical philosophy had become too restrictive for philosophy, especially in the realm of meaning, which is beyond positivistic proof and contains more non-critical elements than critical ones. In social life, people still share certain kinds of knowledge and beliefs which they obtain without making or learning those explicitly. Contemplating the role and significance of tacit knowledge, he called for a post-critical philosophy that integrates the realm of meaning and thereby appreciates the intertwined nature of tacit and explicit knowledge. Polanyi's position towards skepticism and doubt shows similarities with Charles S. Peirce's thinking about the relationship between belief and doubt. Although Peirce's semeiotics stands firmly in the tradition of critical philosophy, he affirms that doubt cannot be a constant state of mind and only belief can form a basis for a specific way of life. Polanyi's approach differs from Peirce's by focusing on the impossibility of scientific knowledge based solely on principles and precision, and his emphasis on the crucial role of the community of scientists. Nevertheless, the deeper implications of Peirce's contemplations on belief and doubt have myriad ramifications on the philosophy of science as well as the sociology of science.

• Journal of the Korean School Mathematics Society
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• v.19 no.1
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• pp.63-82
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• 2016

Mathematical notation is the main means to realize the power of mathematics. Under this perspective, this study analyzed the difficulties of learning an irrational number concept in terms of notation. I tried to find ways to overcome the difficulties arising from the notation. There are two primary ideas in the notation of irrational number using root. The first is that an irrational number should be represented by letter because it can not be expressed by decimal or fraction. The second is that $\sqrt{2}$ is a notation added the number in order to highlight the features that it can be 2 when it is squared. However it is difficult for learner to notice the reasons for using the root because the textbook does not provide the opportunity to discover. Furthermore, the reduction of the transparency for the letter in the development of history is more difficult to access from the conceptual aspects. Thus 'epistemological obstacles resulting from the double context' and 'epistemological obstacles originated by strengthening the transparency of the number' is expected. To overcome such epistemological obstacles, it is necessary to premise 'providing opportunities for development of notation' and 'an experience using the notation enhanced the transparency of the letter that the existing'. Based on these principles, this study proposed a plan consisting of six steps.