• Archives of design research
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• v.9
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• pp.601-616
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• 1994

avant garde poet Yi Sang wrote his poetry with architectural and artistic inspirations. his artistic creativity was exploded by typographic expression. he lirerated the !iterated word into visible language also. he played with his-own-created-signs. fighted against the reality, traditions and cliches. his typographic characteristic poetry is an evidence for the lengthening the history of korean modern typography as a pioneer. because his experimental works is the great evident. so we evaluated the worth of it.

• Korean Medical Education Review
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• v.8 no.1
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• pp.13-22
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• 2006

인문학은 인간에 대한 깊은 성찰과 세계에 대한 폭넓은 조망에서 잉태한다. 이런 인문학 교육은 인문대학만이 아니라 전반적인 의료교육 현장에 접목되어야 한다. 따라서 인문학 역시 현실을 도외시한 언어유희가 아니라 현실속의 사회 문화적 통로를 접근하는 방식으로 도입되어야 한다. 인문학적 성찰은 전문가만의 소유물이 아니다. 특히 의료인문학적 성찰은 죽은 몸이 아니라 살아 있는 몸을 다루는 임상행위의 전제이다. 이렇게 살아 있는 생명의 몸을 다루는 의학 부문에서 과학적 설명의 적용범위와 그 실현가능성은 아직 충족되고 있지 않다. 이는 과학탐구 대상으로서의 톰과 증상과 치료의 대상으로서의 구체적인 의학적 몸 사이의 간극이 있음을 무시할 수 없다는 점이다. 인문학적으로는 설명 장르의 몸에서 제외된 이해 장르의 몸이 다시 조명되어야 한다. 정확히 말하면 설명 장르와 이해 장르가 통합되어야 한다는 뜻이기도 하다. 이러한 인문학적 반성이란 추상적 이론으로 그쳐서는 안 되며, 의학과 의료 현실에 어떻게 실천적으로 적용가능한지를 질문하는 일이다. 이 논문에서는 그 적용사례로서 증거중심의학(EBM)과 문제기반학습(PBL)를 다루었다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.8
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• pp.123-129
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• 2020

In this study, I want to find the meaning of art by revealing the common points of art in two books: Heidegger's The origin of the work of art and Heejae You's An outline of art. This is maybe not only two men's view but also the very basic concept of general art. This study is divided by three main parts. First, "How are language and thought connected?" and "How could the meaning of art be considered through this concept." Heidegger insists that language is the important medium that determines thought of 'being itself', not just a way of conversation. In An outline of art, Heejae You presents similar concepts. Second is the connection between Heidegger's "Art is basically a dichtung" and An outline of art's view. Dichtung is not simply reading the meaning of text or image, but also incorporates speculation about the part without being thought. Third, Heejae You's corresponding point about Heidegger's 'das besinnliche Wissen'. The main study finding is the commonness between Eastern and Western art by comparing Heidegger's art view and Heejae You's art view, who studied the ancient China's overall literature.

• Cross-Cultural Studies
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• v.40
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• pp.7-39
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• 2015

A kite in Japanese is the octopus. The reason is that when they saw the tail of the kite, they remembered the foot of octopus. And this kinds of associative action is called a mitate(見立て) in Japanese. Mitate is similar to metaphor, but these two concepts are somewhat different in causing laugh. Korean and Chinese comedic story's metaphor cause laugh by similarity of two things, but Japanese comedic story's mitate cause laugh by dissimilarity of two things. Chinese and Korean comedic stories focus on 90%'s similarity of two things, but Japanese comedic stories focus on 10%'s dissimilarity of two things. So, in this paper, I tried to consider the mitate of comedic stories of East Asia, and I found that there are the following three features. First, we can see the tendency of Chinese and Korean comedic stories's mitate concern on the human body's physical weakness. But, Japanese comedic stories subject to not the human body's physical weakness but the human's professional or identification temperament. Second, East Asian's comedic stories mitate which related character and word play came from the method of decomposition of Chinese characters, for that area's people have used Chinese characters for a long time. However, there are different cases in Japanese comedic story's Chinese characters mitate, where that characters mitate is combined with two different type's characters, for example, to associate one Chinese character and another Japanese characters, hiragana or katakana. Third, there are next type's mitate which came from misunderstanding of Chinese characters, it can be seen in Chinese and Korean comedic stories. Perhaps, this pattern related with Chinese three syllable's character pattern, which is a Chinese traditional word and character play.

• Journal of Creative Information Culture
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• v.4 no.2
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• pp.95-101
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• 2018

As a result of introducing robot assisted learning which utilizes social robots or telepresence robots in language learning or special education, research on technology acceptance model for robot-assisted learning is also being conducted. The unified theory of acceptance and use of technology (UTAUT) model of intelligent robot has been studied, but of tele-operated robot is insufficient. The purpose of this paper is to estimate the UTAUT model by pre-service teachers who experienced telepresence robot-assisted learning that can be done in future school. It is found that the estimated UTAUT model consists of more concise factors than social robots, and the importance of perceived enjoyment is higher. In other words, the pre-service teachers showed significant acceptance of tele-operated robots with enhanced enjoyment composed of its mobility, communication, and touchable appearance of the face and body.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.195-203
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• 2011

This case study is based on a fundamental class actually done in the film and video department in Sungkyul University. It aimed at suggesting supportive role for typical film production class in universities in Korea. The list of film styles mentioned in this text is selected from the actual ones for the class and it is focused on utilization of sound and camera. It is ultimately designed to guide students to actual making films. First of all, for example, with a humble camcoder, students are encouraged to record both image and his/her narration which is directly recorded into the built-in microphone. Also directional microphone could be used to experience various positions of 'point-of-hearing'. Regarding camera movements, only distinctive ones out of typical utilization are selected to be dealt with. The movements created by moving vehicle such as dolly or crane beyond the limit of human ability could bring up high imagination of students on movement, besides this could be also easily applied to them for using hand-held technique instead of vehicle. This attitude acquired through the course is important for gettig over the resistance they might have before actual experiencing machinary use in production.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.215-237
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• 2020

This paper is written to introduce and review Shinji Matsunaga's The Aesthetics of Video Games which published in Japan in 2018. Shinji Matsunaga has studied video games from a philosophical and aesthetic perspective. In The Aesthetics of Video Games, he took video games as a hybrid form of traditional games. Shinji Matsunaga particularly notes that video games can design human behaviors and experiences. From this point of view, he tries to construct a theoretical framework that will be able to describe the ways of signification in games and fiction respectively. In previous studies, video games have been mainly discussed in the context of cultural studies and entertainment culture in Japan. The Aesthetics of Video Games is distinguished from the previous studies in the following points. First, The Aesthetics of Video Games pioneered the method of studying video games in art theory. Second, it established various types of relationships with video games and traditional aesthetic concepts. Third, this book connects new concepts that emerged in the age of artificial intelligence to video games as an aesthetic action. Through this work, not only video games were discussed academically, but also the fields of aesthetics and art were expanded. The Aesthetics of Video Game is like a collection of philosophical concepts for video games. Through this book, it can be said that the path for artificial intelligence to approach human secrets is closer than before.

• The Journal of the Korea Contents Association
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• v.16 no.5
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• pp.282-289
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• 2016

A term that has been used since ancient times, 'trickster' means 'a person who performs general tricks'. In other words, a trickster is a person who exhibits his or her intrinsic characteristics by using tricks, or who has a special ability to make any situation work well only for him or herself. This thesis looks for basic concepts and features of tricksters in research undertaken into tricksters to date. It also aims to uncover the trickster side of Maltugi in Talchum (a traditional mask dance). A trickster is a person who tricks, but the characteristic itself is unclear and abnormal. A trickster also has borderline, duplicitous or multi-value characteristics, so it is impossible to merely define him or her as 'a person who tricks'. When dealing with a trickster's characteristics, the 'Liminality' element is very important, because he or she is a person who exists in all the borderlines of space, time, society, and language, and assaults the social order via deceit, play, and the fulfillment of greed. Maltugi in Talchum is a man of humble birth, but he is a character who attacks the Yangban (aristocrats) without hesitation. He is a kind of representative of the people who speaks for the commoners' feelings. At a time of the Three Policies' Disorder and frequent external aggressions, the commoners felt a sense of helplessness against the Yangban, who they viewed as immoral. Maltugi laughs at and depreciates the Yangban through the use of puns, and shows a faithful attitude to the present without being afraid of the result caused by his activity. This implies that he has the characteristics of a trickster.

• Cartoon and Animation Studies
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• s.50
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• pp.75-99
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• 2018

Makoto Shinkai, an animated film maker in Japan, has been featured as a one-person production system and as a 'writer of light', but his 2016 release of "Your Name" was a departure from the elements that characterize his existing works. At the same time, by the combination of the traditional musubi(むすび) story, ending these, it was a big hit due to its rich narratives and attraction of open interpretation possibility. As it can be guessed from the title of this work, this work shows the encounter between the Japanese ancient language and the modern language in relation to the 'name', and presents the image that the role of the name(language) is repeatedly emphasized with various variations in events for the perfect 'encounter'. In this work, the interpretations of $Signifi\acute{e}$ for characters and objects are extended and reserved as a metaphorical role of the similarity, depending on the meaning of the subject which they touch. The relationship between words and objects analyzed through the structure of Signifiant and $Signifi\acute{e}$ is an epoch-making ideological discovery of modern times revealed through F. Saussure. Focusing on "the difference" between being this and that from the notion of Saussure, Derrida dismissed logocentrism, rationalism that fully obeyed the order of Logos. Likewise, dismissing the center, or dismissing the owner had emerged after the exclusive and closed principle of metaphysics in the west was dismissed. Derrida's definition of 'deconstruction' is a philosophical strategy that starts with the insight on the nature of language. 'Dissemination,' a metaphor that he used as a methodological concept to read texts acts as interpretation and practice (or play), but does not pursue an ultimate interpretation. His 'undecidability' does not start with infinity, but ends with infinity. The researcher testifies himself and identifies that we can't be an interpreter of the world because we, as a human are not the subject of language but a user. Derrida also interpreted the world of things composed of Signifiant and $Signifi\acute{e}$ as open texts. In this respect, this study aimed to read Makoto's works telling about the meeting of a thing and a thing with name as a guide, based on Derrida's frame of 'deconstruction' and 'dissemination.' This study intends to re-consider which relationship the Signifiant and $Signifi\acute{e}$ have with human beings who live in modern times, examine the relationship between words and objects presented in this work through Jacques Derrida's destruction and dissemination concepts, and recognize that we are merely a part of Signifiant and $Signifi\acute{e}$. Just as Taki and Mitsuha confirm the existence by asking each other, we are in the world of things, expecting musubi that a world of names calls me.

• Koreanishche Zeitschrift fur Deutsche Sprachwissenschaft
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• v.2
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• pp.185-206
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• 2000

Das Wortspiel $hei{\ss}t$ die spielerische $Ver\"{a}nderung$ eines Wortes zum Zwecke $\"{u}berraschender$ Wirkungen, und die Werbetexter betrachten es monentan als ein beliebtes, wirkungsvolles Ausdrucksmittel $f\"{u}r$ die Werbeanzeigen. (1) Sag mal, wie war eigentlich dein erstes Mal? Und wie oft machst du es in der Woche? Und was sagt deine beste Freundin dazu? -Gesichtsreinigungsmittel Clearasil Complete(Janich, 1999:146) (2) 대장님 힘 내세요! 뒷일은 제가 책임지겠습니다. -아락실 (3) 당신은 철없는 여자. -헤모큐 Das Wortspiel $l\"{a}{\ss}t$ den Referenzbezug ausweiten, vage oder $ungew\"{o}hnlich$ werden. Dadurch werden konventionelle Referenzerwartungen der Rezipienten verletzt und unterbrochen. Wortspiele mit Homonyme, Polyseme, Wortkreuzungen, und Referenzspiele sind sehr $h\"{a}ufig$, und die syntaktische und typographische Spiele dagegen eher selten. Die Wirkung des Wortspiel beruht auf die $Ambiguit\"{a}t$ eines Wortes. Aber zwischen der$Ambiguit\"{a}t$ und der Vagheit gibt es den $un\"{u}bersehbaren$ referenziellen Unterschied. $W\'{a}hrend$ diese, die durch die pragmatische Mehrdeutigkeit oder die Unbestimmtheit charakterisiert ist, mit der in einer $\"{A}u{\ss}erung ausgedr\"{u}ckten$ Vorstellung zu tun hat, handelt es bei jener um die Probleme der linguistischen Kategorien an, die unter lexikalischem, semantischem, und syntaktischem Aspekt mehrfach zu spezifizieren sind. Daher $k\"{o}nnen$ den wortspielerischen $Ausdr\"{u}cken$ mehere Interpretationsmoglichkeiten zugeordnet werden. Durch Wortspiele wird die Eindeutigkeit eines Wortes absichtlich aufgehoben, so $da{\ss}$ mehere denotativen Bedeutungen aktiviert werden. Dabei liegt eine semantische Konzentration oder ein semantisches Spannungsverhaltnis vor, Diesbezuglich $erf\"{u}llt$ das Wortspiel zugleich die Funktion, Aufmerksamkeit des Rezipienten auf den geworbenen Inhalt zu wecken, und $f\"{o}rdert$ das Interesse am Werbetext.