• 인문언어
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• 제8집
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• pp.409-427
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• 2006

This paper deals with the various conceptual metaphors of 'mind' in Korean and English within the Cognitive Semantics. The purpose of this paper is to investigate the metaphorical expressions of the concept 'mind' represented andunderstood in various ways in Korean and English, to find out the linguistically-universal conceptual metaphors underlying the uses of the metaphoric expressions. In addition, this paper discusses the differences in linguistic realization of the concept 'mind' between Korean and English from the socio-cultural background. In the traditional view, metaphor was thought only as the linguistic matters and a deviance from literal or normal use. However, within the Cognitive Linguistic view such as Lakoff and Johnson(1980), metaphor has been considered as a means of understanding and conceptualizing world. According to them, metaphor is found in everyday life because it is not only as a matter of language but also as a nature of human conceptual system controlling cognition, thought and behavior. Conceptual metaphor is suggested as a device to understood abstract and less familiar things through concrete and more familiar things. Conceptual metaphors may be realized linguistically as well as non-linguistically, in the form of movies, arts or behavior. To define the concept 'mind' shared among the Koreans, conceptual metaphors used to represent 'maum(mind)'in Korean are examined. Then they are compared with the ones used to represent 'mind' in English. This is based on the idea that conceptual metaphors represented in linguistic expressions naturally reflect the speakers' concept and conceptualization is a universal irrespective of language. This paper exemplifies the Korean sentences as well as English sentences to utilize some conceptual metaphor such as Johnson(1987)'s THE MIND IS THE BODY and shows many other conceptual metaphors used in Korean and English to represent the same concept 'mind'. What are some metaphors shared by two languages and what is specific to one of them will be shown, too. This paper also suggests that the different conceptualization or lexicalization is partly due to the effect of the oriental cultural background that is more interested in the mental world than the physical world.

• 동의생리병리학회지
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• 제35권5호
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• pp.139-150
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• 2021

This paper examines whether the conceptual metaphor theory, which has been recently treated as important research topic in the field of cognitive linguistics, can be a new method that can promote the modernization of basic Korean medicine (KM) theory. In addition, the significance and potential of this study are reviewed by looking at Chinese research cases that applied this theory to Traditional Chinese Medicine theories and terminologies. The results are summarized as follows. From the viewpoint of metaphoric cognition, KM is a medicine that attempts to understand the human body (microcosm) through nature (great universe) by metaphorically projecting human experiences of nature on the human body based on the thought of correspondence between nature and human (天人相應). The language system of KM is based on a metaphor that extends our experience of nature to the human body, and an abundance of metaphors can be seen throughout the language of KM. Understanding and interpreting KM theories and terminologies from a metaphorical point of view allow us to understand the nature of KM theoretical key terms more deeply than now. And this understanding can help define and describe KM theoretical key terms and promote the modernization of KM theory research. In addition, various image schema that plays an important role in the metaphorical expansion of physical experience can be used for modeling KM theory. Research of KM theories and terminologies from a metaphorical point of view can serve as a bridge between traditional KM theory and modernization research, opening a new path to the modernization of basic KM theory in difficult situations.

• 한국의류산업학회지
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• 제11권6호
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• pp.867-877
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• 2009

These days, the fantastic in opposition to classic beauty becomes a genre of creative body expression. The purpose of this study was to analyze the expressive characteristics of body types and meanings in recent fantastic fashion illustration. The method of this study was to analyze recent documentaries, fashion books, internet web site and so forth. The results were as follows: In literatures, pictures and movies, the category of the fantastic body's expressive types were classified as dominant mutant based on SF, multi body or fragment body by disruption, heterogeneous compound based on myth, personified humanoid and non substance in supernatural boundary. The dominant mutant based on SF was expressed image morphing, composition of machine image with body and modern metamorphosis of classic SF body. It means propensity to post-feminism and reservation of meaning analysis based on human unconsciousness. The multi body or fragment body by disruption in fashion illustration was expressed distorted composition of same body pictures, replacement of different bodies, deconstruction and partial omission of body and composition of meaning or non meaning images. It means permanence of self and basic narcissism. The heterogeneous compound based on myth was expressed general composition or optical illusion of various and aggressive animal motive. It means reinterpretation of original myth, metaphor of basic femme fatale, pursuit of permanence and sign of primitive mind in unconsciousness. The personified humanoid was expressed real human body description of mannequin or ball joint doll and anthropomorphism of robot image. It means representative satisfaction and nostalgia of childhood. The non substance in supernatural boundary was expressed grotesque description of ghost, zombie, vampire, angel, fairy, using of symbolic red, black color and non body. It means human's basic desire about immortality and taboo. Through the result of these study, the expression of fantastic body in fashion illustration will expend expressive method and we will understand human and cultural codes of today.

• 패션비즈니스
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• 제14권2호
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• pp.95-109
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• 2010

The goal of this dissertation is to analyze the formative characteristic and the aesthetic values of Romantic style. To attain the goal of this study, the selected objects are the Romantic styles that were prevalent from the 1830s to the 1880s. The methodology for this study consists of literary research, aesthetics, dress and case study based upon the analysis of the 19th century dress. Based upon the theoretical study, two results are derived from the analysis of Romantic style in $19^{th}$ century dress. First, the formative characteristics of Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The suppression of body is embodied by two ways. One is tightening body parts, such as the off-the-shoulder line and the corset, and the other is applying weights on body through the wearing of layers of petticoat, crinoline and bustle. The characteristic of the fixed form created the fixed silhouettes of women's dress, for example, an X-silhouette formed with wide shoulders created by big puffed sleeves, narrow waist by corset, and wide hemline of voluminous skirt and petticoats. In addition to the X-silhouette, the bustle style created fixed h-silhouette. Volume in the women's dress were visually expressed by big puffed sleeves, a huge skirt and petticoat made with gathers, pleats and flounces, crinolines and a bustle. Ornamentation was used to express an elegant and fantastic style not only by using luxurious materials in various colors and patterns, but also by applying sumptuous details and trimmings. Second, the aesthetic values of Romantic style dress are subordination, sensuality, and maternity. Women's dress of the 19th century not only restricted free movement and symbolized men's wealth and status, but also was used as an important tool for seducing men by exposing and accentuating the sexual body, thus becoming a symbol of fertility as a metaphor of pregnancy and uterus. These aesthetic values represented in dress incorporated the contemporary requirements of women of the time.

• 복식
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• 제51권6호
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• pp.5-24
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• 2001

This paper is intended to explore femininity the ideal beauty of body and the features in fashion pursued in the Fashion system and the Anti-Fashion Movement in the Victorian period, on which the modern fashion is based. For the informative facts needed in this paper, books on history, fashion history, feminism, art history of aestheticism and the ideal beauty of body are referred to. On the part Ⅱ of this paper, the femininity and the ideal beauty of body implied in the Aesthetic Movement and Rational Dress Movement as the anti-fashion movement in the Victorian period will be reviewed. Following are the conclusion : First, the works in Aesthetic Movement mainly include the image of sensual female. The essence of femininity is categorized by cultural value, poetic spirit. appetite for sex and self-expression. The ideal beauty of body pursued in this movement is the beauty of immatured body, which means rejection of maternity as well as appetite for sex in the form of metaphor of the power and enthusiasm of female. The features of Aesthetic Movement emphasize the image of sensual and characteristic woman. These features are expressed in the natural waist line and the vertical H silhouette of high waist, natural exposure of body by means of drapery, simplicity and decency by design without fixed forms and seemingly faded colors. Second, Rational Dress Movement attempted to evaluate the femininity in a different way and ultimately pursued masculinity. Therefore, morality, liberty, intelligence, spirituality, self-control, willingness, which had been believed to exclusively belong to male, are added to the categories of femininity. The ideal beauty of body is expressed in the form of Venus Coelestic which is refined and strong. This symbolizes woman's freeing from the fate of reproduction and subordinate relationship with male, morality, decision of one's own and willingness. The features of Rational Dress Movement represent the image of strong-willed and moral woman in its internal meaning. The features of its fashions represent the concealment of the body, emphasis on activeness in pants without decoration and simplicity in its external form. All these features resulted from the pursuit of masculinity.

• 한국의류산업학회지
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• 제17권1호
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• pp.11-21
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• 2015

This study analyzed the expressive phenomenon of a blurred boundary in fashion jewelry focused on the relationship between fashion jewelry and costume or fashion jewelry and body. The method of this study was to analyze recent documentaries about jewelry theories in regards to 607 cases of fashion jewelry design in fashion books, fashion magazines, fashion internet sites from 2000 to 2014. The results were: First, phenomenon of blurred boundary between fashion jewelry and costume was expressed in a see-through wear form made of luxury material (gold and diamond) or paste material, a similar form (like fashion accessories made of crystal, bids, and gold chain), an integration of fashion accessories and jewelry, and an attached jewelry on fashion accessories. It reflected a rearrangement of conventional relationships, a blurred relation of function and meaning, dissolution of jewelry form stereotypes, jewelry styling, a harmony of function and decoration, and an alteration to the central role of a fashion image. Second, the phenomenon of a blurred boundary between fashion jewelry and body was expressed in a body organ wrapping, body surface adhesion and sculptural jewelry based on body pose. It reflected a separation from conventional space of jewelry expression, a realization of mystery and fantastic, an expression of new body surface and a blurred boundaries of fashion jewelry and body art. Aesthetic characteristics were analyzed into metaphor and integration by separation from the conventional relationship of fashion jewelry and costume or fashion jewelry and body.

• 디자인융복합연구
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• 제16권5호
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• pp.177-190
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• 2017

본 연구는 비접촉식 제스처 기반 조형 태스크의 직관성 향상을 위한 다중 모달리티 인터페이스 디자인 GSS를 제안하였다. 디자인 조형 과정 및 조형 형태에 대한 사용자 경험을 조사한 후, 기술 발전에 따른 세대별 조형 시스템을 분석하였다. 또, 비접촉 3D 조형 시스템상에서의 조형 제작 프로세스, 조형 제작 환경, 제스처와 조형 태스크 간의 관계성, 자연스러운 손 조합 패턴과 사용자 손동작 요소들을 정의하였다. 이후, 기존 비접촉 3D 조형 시스템상에서 비접촉식 제스처 인터랙션을 관찰하고 자연스러운 조형 제작을 위해 조형 작성자의 행동체계가 반영된 인터페이스의 시각적 메타포와 자연스러운 제스처 인터랙션을 유도할 수 있는 행동적 메타포를 도출하였다. 프로토타입을 개발한 후, 제안된 주요 조형 태스크별 제스처 세트의 직관성을 알아보기 위해 기존 조형 시스템들과 비교하여 사용성 평가를 진행하였다. 제안된 GSS 시스템의 제스처는 이해도, 기억성, 오류율에서 우수성을 보였다. 제스처 인터페이스는 사용자의 경험에 기반한 시각적/행동적 메타포를 바탕으로 시각적 모달리티가 함께 사용된 제스처 인터페이스를 사용자들에게 제공되어야 한다는 것을 확인하였다.

• 기독교교육논총
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• 제62권
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• pp.43-74
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• 2020

이 논문은 몸의 인식론을 고찰하고, 그것을 바탕으로 하는 기독교교육의 방향을 고찰한 논문이다. 본고는 메를로 퐁티, 다마지오, 넬슨의 몸의 인식론을 살펴보았는바, 이들은 철학과 뇌과학과 몸의 신학에서 각각 상이하게 연구하였지만, 모두 몸은 감각적이고 직접적 방법으로 세계를 인식하는 주체이며, 인간과 세계를 매개하는 통로가 되고, 인간의 자아형성에 결정적 역할을 한다고 보는 것에서 공통점을 가진다는 것을 발견하였다. 특별히 몸의 신학은 몸이 세상을 이해하는 통로가 되는 것과 마찬가지로 하나님을 이해하는 통로가 되며, 무엇보다 몸을 '하나님의 육화(embodiment of God)'의 자리로 봄으로써, 결국은 육화된 우리의 몸이 참여하는 세상 또한 '하나님의 육화'의 자리가 되어야 함을 밝혔다. 본고는 또한 그러한 몸의 인식론을 바탕으로 하는 기독교교육을 '감각으로부터 시작하는 교육', '참여로서의 교육', 그리고 '성육신적 교육'을 중심으로 살펴보았다. 이 세 개념으로부터 본고는 몸의 인식이 전통적 지식중심교육이나 학교식(schooling) 교육의 대안적 관점을 제시하는바, 교리중심, 객관적 지식의 매개, 언어중심, 교육내용중심의 고정되고 패쇄적 패러다임을 넘어서서, 감각과 경험, 인격적 참여, 비언어적 경험, 교육의장 중심의 개방적 패러다임을 제시한다는 것을 발견하였다. 더 나아가 몸은 교육에 관한 새로운 메타포를 발견할 수 있는 자리로서 추후적으로도 기독교교육을 재개념화하는 기초적 은유를 퍼 올릴 수 있는 우물과 같은 개념임을 발견하였다.

• Architectural research
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• 제18권1호
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• pp.1-12
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• 2016

This thesis explores Vitruvius and his impact upon other Renaissance architects who compare a city to a building or a building to a city, who match the city and the building into a human body, and who develop their own works. The objective of this study is to furnish an interpretation of their theory and practice through their literature and designs. In this point of view, this article takes notice of Vitruvius's six concepts coined from venustas and divides them into two parts: i.e. aesthetic quality (ordinatio, dispositio, and distributio) and technical activity (eurythmia, symmetria, and $d{\acute{e}}cor$) each. This thesis indicates that Vitruvius's successive impacts from the concepts bring about concrete design principles through proportional measurements, placing together, and hierarchic values for the former, as well as appropriate use through beautiful look, symmetrical harmony, and appropriate uses for the latter, tracking notions between a city as a house and vice versa, and either the ideas of the house or the city in the synthesis of the human body, which follows the perfect number and module based on the human body. The thesis shows that the representations of architecture and the city take place with the form of a circle and a square that express the religious belief and the cosmos, substantiating the connection between the proportions of the human body and numbers, and ultimately satisfying a concept of centrality, which is slowly extended to the enclosed plaza at the urban level from chambers, atrium, and corridors at the residence level.

• 한국HCI학회:학술대회논문집
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• 한국HCI학회 2008년도 학술대회 2부
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• pp.329-333
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• 2008

현재 소방관들은 주로 무전기로 다른 소방관이나 중앙 지휘관과 통신을 하고, 필요 정보를 취득 혹은 공유 하면서 소방 활동을 수행 하고 있다. 소방 현장에서는 여러 가지 위험이 존재 하고 이를 극복하기 위해서 많은 정보를 필요로 할 때가 많지만, 이를 미리 모두 숙지 하고 있거나, 동적으로 변화 하는 상황을 무전기를 통하여 취득하고 이해 하기는 쉽지 않다. 이러한 어려운 점을 해소 하기 위하여 웨어러블 컴퓨터를 이용한다면 소방 활동을 도울 수 있을 것이며, 이에 적합한 웨어러블 인터페이스가 디자인 되어야 한다. 이 논문에서는 시나리오에 기반 한 인터액션 모델링, 화재 현장 및 소방 상황에서의 인간공학적 제한 조건, 사용자 설문조사, 그리고 인터페이스 패턴을 기반으로 소방 활동을 효과적으로 도울 수 있는 인터페이스 디자인 및 개발에 대하여 설명하고자 한다.