• The monthly packaging world
• /
• s.363
• /
• pp.60-67
• /
• 2023

• The Korean Publising Journal, Monthly
• /
• s.222
• /
• pp.22-22
• /
• 1997

토요일마다 산길에 매혹되고 바위맛을 알아버린 출판인들이 자일에 몸을 지탱해 단단한 바위의 굴곡을 오른다. 순발력과 체력보다는 뚝심과 지구력으로 오르는 암벽등반은 곧 외길 출판인생의 축소판이다.

• The Science & Technology
• /
• v.34 no.3 s.382
• /
• pp.16-17
• /
• 2001

스위스에서 가장 아름다운 도시 루체른은 중세의 문화와 자연미 그리고 21세기 문명의 이기가 잘 결합되어 있는 천의 얼굴을 가진 매혹의 도시이다. 이곳에 있는 루체른 교통박물관은 중기기관차와 등산전차 외에도 자동차, 비행기, 버스, 배 등 모든 교통수단이 생생하게 전시되어 과거ㆍ현재ㆍ미래의 교통통신 발달사를 한눈에 볼 수 있으며 매년 60만명의 관광객들이 찾는다고 한다.

• Communications of Mathematical Education
• /
• v.12
• /
• pp.57-66
• /
• 2001

우리는 공간적인 패턴, 모양, 그리고 움직임의 세계-즉, 기하의 세계-에 살고 있다. 아동들은 그들의 환경에 자연스럽게 매혹되고, 보고, 듣고, 움직임으로써 계속해서 정보를 받아들이므로, 그들의 공간적인 능력은 일반적으로 수(數)기능을 능가하기도 한다. 이러한 차원에서 볼 때, 우리나라의 수학과 7차 교육과정에 공간 감각을 기르기 위한 내용이 새로이 추가되었다는 것은 아주 고무적인 일이라고 생각하며, 이와 관련하여 문헌 연구를 통해서 공간감각에 대한 개념을 살펴보고, 교육과정 및 교과서를 분석하여 공간감각을 길러줄 수 있는 내용을 체계화하며, 공간감각을 증진시킬 수 있는 교구 활용 방안을 제시하고자한다.

• Cartoon and Animation Studies
• /
• s.29
• /
• pp.209-241
• /
• 2012

Is a failed blockbuster film? Is there no room for reconsideration of the value of the film in terms of its contents and forms? The purpose of this study is to answer these questions. In 2007, SHIM Hyung-rae's was in the limelight due to the nationalist discourse around the film rather than evaluation of the film itself. In terms of its narrative and formal properties, the film showed the difference from the Korean nationalist blockbuster films. It led to the disaccord and hard-to-understand results of having somewhat disappointed box-office success of 8,500,000 audiences in comparison to the input, of receiving well by a generous part of the audiences absorbed by nationalism, and of getting the critics' cynic criticism of the film's cinematic value. Eventually only provided the cultural battlefield of nationalism, was left as an unnoticed film in the realm of industry and criticism. However, it was interesting that there was a common ground between the film's supporters and the cynic critics. Both sides were being acknowledged that the spectacle of was way out of proportion to the degree that the spectacle was unbalanced with the story unfolding, achieved more than expected. Its spectacle overwhelming the narrative enfever a few audiences, and at the same time, it provided some reasons making critics face away from the film. In this context, the purpose of this study is to examine 's aesthetics that 'the spectacle dominating narrative' or 'the narrative as a pretext for showing spectacle,' leading to discussion of artistic/theoretical/critical value and to find out cinematic value of the film being regarded as a failure. In addition, this study is significant in that it suggests that is a new kind of moving image that it cannot be analyzed with existed critical methods of narrative film criticism; as a result, this study provides the chance to be evaluated through a new conceptual frame of the film. In order to grasp the narratological aesthetics, this study focuses on the concept of trickality that Andre Gaudreault suggests, and Tom Gunning's 'the cinema of attractions,' referring to the spectacle-oriented narrativity or the mode of production displaying the spectacle more than the narrative.

• Korean Journal of Environment and Ecology
• /
• v.30 no.6
• /
• pp.1057-1066
• /
• 2016

This study examined how 'forest name' or 'information of forest healing effectiveness' influence their perceived environmental restorativeness (PER) and perceived healing effectiveness (PHE). Study area was the 'Forest Healing Road (FHR)' in Mudeungsan National Park. Data were collected from 247 visitors selected by convenient sampling method using questionnaire survey during May-June, 2015. Respondents who read interpretive signs (forest name and information on forest healing effectiveness of FHR were written) installed along the FHR were regarded as placebo group and respondents who didn't read them as control group. The results showed that there were no overall differences on PER and PHE between control and placebo groups. Placebo group, however, rated more positive on 'being away' factor of PER than control group. All four factors (i.e., being away, coherence, fascination, comparability) of PER statistically influenced PHE (p<0.001), and these factors explained 51.1% of PHE. The 'coherence' was the most influential to PHE, followed by 'being away', 'comparability', and 'fascination' in order. Placebo effects on PER were shown in male, in lower age group(age${\leq}54$), or respondents with lower visiting experience to FHR(${\leq}20$ times/year). Placebo effects on PHE were found in male, in small group (${\leq}2$ persons), in respondents who visited 'alone' or 'with relatives/family', or in respondents with lower visiting experience to FHR(${\leq}20$ times/year). Some research and managerial implications were suggested.

• Cartoon and Animation Studies
• /
• s.12
• /
• pp.87-102
• /
• 2007

Animation techniques that can freely create any movement of color and shape produce strong attraction by visualizing fantasy. Like animation, fantasy is often misunderstood that it has nothing to do with reality, but it is not the case. Fantasy introduces a little confusion in our symbolic order by reorganizing elements from reality and commonness. This confusion, which becomes desire, induces attraction. However, the confusion beyond our comprehension creates total chaos in which we cannot be interested. Attraction happens only when the introduced confusion is far less than the total symbolic order which has already been established. The images of animation are neither completely mundane to us nor beyond our comprehension; thus, animation produces attraction by offering us images that stimulate our unconscious desire.

• The Journal of the Korea Contents Association
• /
• v.21 no.7
• /
• pp.30-44
• /
• 2021

The study analyzed Sofia Coppola's early films and to study her views about social frames on women. Moreover, the study shows the connection to Coppola's worldview on women in her other films; and . The study also analyzed the cinematography in her films as Coppola did not convey the messages directly. In addition, the study pursues a re-evaluation on , which was a controversial film among critics, and unravels the uncertain open-ending in . Throughout the comparative analysis, the study reveals that the two films have consistent views that do not differ from each other and that it was the progress to the growth of Coppola's worldview. The conclusion of these two films connects to another controversial content in Coppola's next film. Hence, one expects the analysis of these films to provide a better understanding of Sofia Coppola's other films.

• Journal of Popular Narrative
• /
• v.25 no.2
• /
• pp.9-32
• /
• 2019

This paper tried to analyze the post-human phenomenon of our age with a focus on the 'emotional machine' motif. The post-humans of our time are closely linked to the creatures in very old storie. The post-human concept is based on the universal and intellectual imagination of humanity that is shared beyond humanities and technical civilizations, cultural and historical boundaries between East and West. This paper is about the creatures from mythical stories that have fascinated human beings, the mechanical humans who brought fear through the sophisticated mechanism of technology civilization era, the post humans. Through my process of looking at the post humans, I sought to clarify the conditions of the sensitivity and humanity of the age. In the process, we come to understand the vagueness of the boundaries between human beings, nature, and machines, and study the coexistence of humans, nature, and machines in the post-human era of the 21^st century, beyond the limitations of human-centered humanity.

• Journal of English Language & Literature
• /
• v.55 no.4
• /
• pp.693-718
• /
• 2009

Kate Burns, a disillusioned Irish woman in Quetzalcoatl, has alternating feelings of fear, repulsion, oppression, compassion, and fascination vis-à-vis Mexican people. Together, these feelings are constitutive of a psychic process in which an imaginary appropriation of the other takes place. In this process white subjectivity represents or reconstructs the dark race precisely as its other. At the same time, Kate's feelings register her anxious recognition of the resistant, unappropriated being of the dark people: their true 'otherness,' or what Žižek calls "the excess of existence over representation." The otherness, frequently racial and sexual, evokes mixed feelings in the white subject. Kate's at once amorous and aggressive response to Ramón's body provides a case in point. Kate's emotional undulation is considerably mitigated in The Plumed Serpent, the revised version of the novel in which the theme of 'blood-mixing' is pushed to the ultimate point. Yet the interracial marriage resolves neither the racial nor the ontologico-sexual issues raised in the first version. Kate is still attracted to Ramón in his sagacious sensuality but goes on to get married to Cipriano, a pure Indian, only to find his mechanical masculinity ever unpalatable. This shows, not just Lawrence's wilful commitment to the 'blood-mixing' theme, but perhaps his lingering taboo against miscegenation as well. Changes in the plot entail those in the narrative voice. In Quetzalcoatl, Owen, a spectatorial and gossipy character, frequently competes for narration with the fully participant third-person narrator. In The Plumed Serpent, the third-person narrator becomes predominant, now attempting with greater confidence to present the reality of the racial other immediately to European readership. While such immediacy is illusional, narrative insistence on it implies a struggle to displace racial stereotypes and offer an experiential understanding of the other.