• Journal of the Korean Society for Library and Information Science
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• v.22
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• pp.219-257
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• 1992

Among the Chinese Characters originated in Japan, some of them are very ancient in their origin and others come to exist as different forms by being used widely in forged books in Chinese. These Characters can be divided into three groups. First, the Chinese Characters whose forms are different. Most of these are 'hoiui' (회의)character, being made by imitating the forms of the original Chinese Letters. These characters do have meaning but not pronunciation. This is one distinct feature of Chinese Characters originated in Japan. Second, the Chinese Characters whose meaning has been assigned by the Japanese people. These letters can be grouped into two. One is the letters whose meanings are entirely different from original Chinese Characters, and the other is the letters whose meanings are not known although their pronunciations are known. It can be explained that the letters with different forms are made because of the ignorance of letter's existence. Or, the letters were made on purpose in ordoer to be used in different meanings. Third, the Characters with a partial modification of original Chinese Characters. Among the Characters in three groups above, pure Japanese-made Chinese Characters are those in group one and three since those in group two are Chinese Letters whose meanings (or pronunciation) only are Japanese. As a results of detailed investigation of pure Japanese-made Chinese Character in JIS X 0208-1990, the followings are discovered: 1. Pure Japanese-made Chinese Characters are 147 in numbers. 2. The Characters which were originally Chinese but now considered to be Japanese-made are 5 in numbers. Among these letters, 39 Characters are not listed in TaeHanHwaSaJon(Whose fame is well known as the authoritative dictionary of Chinese Characters), 47 Characters are not found in the dictionaries of Chinese Characters compiled in Korea. 3. 14 Characters seem to be Japanese-made Chinese Characters although it cannot be said so with accuracy because of various meanings found in several dictionaries of Chinese Characrters.

• Proceedings of the Korean Society for Language and Information Conference
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• 1998.02a
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• pp.283-294
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• 1998

• 중국학논총
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• no.61
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• pp.127-153
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• 2019

In this article, I singled out the examples of punishment and compensation seen in Liaozhaizhiyi which is an eighteenth century collection of short stories, and reconstructed the viewpoint of Chinese fortune and misfortune and furthermore presented the cultural meanings that this viewpoint has. The traits of Chinese culture seen in Liaozhaizhiyi are classified as follows: ① Only after carrying on a family line by birth of son(s), a happy conclusion can be made. ② AMain character passes state exam or alternatively his son(s) passes them. ③ Beautiful women / women given as reward have special abilities and talents. ④ Mostly, punishment and Compensation are made on a family basis, not on an individual basis. ⑤ Misfortune derives from a main character's desire; fortune from his sacrifice. ⑥ Norm and criteria for the punishment and compensation are based on confucianism but the procedure of the execution is based on taoism, buddhism, transcendent being and rules of folk religions.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.96-97
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• 2004

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.31-31
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• 2003

To study the clothing names has been one of the research subjects in the history of clothing since the name could be the basic tool to understand the clothing. In the past, the name of clothing were used in Chinese character which is hieroglyphic. Each character of Chinese has special meaning. They had been changed into Korean after Korean characters were invented. During the period when they were changed into Korean, some of them retained the original meaning while others widened the original meaning. Some of them even translated into totally different meaning.

• Journal of the Korean Society of Costume
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• v.38
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• Journal of KIISE:Computer Systems and Theory
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• v.33 no.12
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• pp.894-906
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• 2006

There are many difficulties to develop a mobile contents due to many constraints on mobile environments. It is difficult to make a good mobile contents with only visual reduction of existing contents on wire Internet. Therefore, it is essential to devise the data representation and to develop the authoring tool to meet the needs of the mobile contents market. We suggest the compact mobile contents to learn Chinese characters and developed its authoring tool. The animation which our system produces is realistic as if someone writes letters with pen or brush. Moreover, our authoring tool makes a user generate a Chinese character animation easily and rapidly although she or he has not many knowledge in computer graphics, mobile programming or Chinese characters. The method to generate the stroke animation is following: We take basic character shape information represented with several contours from TTF(TrueType Font) and get the information for the stroke segmentation and stroke ordering from simple user input. And then, we decompose whole character shape into some strokes by using polygonal approximation technique. Next, the stroke animation for each stroke is automatically generated by the scan line algorithm ordered by the stroke direction. Finally, the ordered scan lines are compressed into some integers by reducing coordinate redundancy As a result, the stroke animation of our system is even smaller than GIF animation. Our method can be extended to rendering and animation of Hangul or general 2D shape based on vector graphics. We have the plan to find the method to automate the stroke segmentation and ordering without user input.

• The Journal of the Korea Contents Association
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• v.10 no.9
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• pp.1-8
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• 2010

In this paper, we propose a large scale entertainment system based on gesture recognition for learning Chinese character contents. The system is consisted of parts that forecast user's posture in two infrared images and part that recognize gestures from continuous poses. And we can divide and acquire in front side pose and side pose about one pose in each IR camera. This entertainment system is immersive in nature and convenient for its gestures based controlling system. Also, it can maximize information transmission because induce immersion and interest using two large size displays and various multimedia elements. The learning Chinese character contents can master Chinese character naturally because give interest to user and supply game and education at the same time. Therefore, it can expect synergy effect that can learn playing to user combining with large entertainment system based on gesture recognition.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.12
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• pp.482-492
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• 2019

This study began with the assumption that the phonetics-centered interpretation of 100 Chinese characters would enhance thinking ability and comprehension. For this purpose, two experimental groups and a comparative group were recruited from the graduate students from June 3, 2017 to February 22, 2018. The experimental group participated in the phonetics-centered Chinese character lecture for 4 hours per week for 6 weeks for a total of 24 hours. QEEG were measured before and after the phonetics-centered Chinese character lecture. A total of 18 subjects ( nine subjects in the experimental group and nine comparative subjects) were included in the study, and the difference between before and after the QEEG of the experimental and comparative groups was analyzed, respectively. The conclusions drawn from this study are as follows. First, the Chinese character lecture changed brain waves. Second, the LORETA analysis before and after the lecture in the experimental group significantly decreased the delta wave in the brain region (Broadmann 40) associated with the meaning of language and phonology. This study result is meaningful because it shows the significant changes of EEG via the lecture.

• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.585-592
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• 2024

Recent Chinese animations emphasize the harmony between content and form, as well as the fusion of reality, emotion, and aesthetic ideals, through character designs that blend traditional cultural elements with modern aesthetic sensibilities. We have observed that this fusion has significantly contributed to the development of the Chinese animation industry. In particular, "Nezha: Birth of the Demon Child" stands out as an important example, where traditional character images are reinterpreted in a modern way, showcasing a unique artistic direction. In this study, we have conducted an in-depth analysis of the major characters in "Nezha: Birth of the Demon Child", focusing on their form, acting, and movement elements based on the theoretical foundation of traditional Chinese aesthetics.We explored how traditional Chinese costumes, totems, and painting styles were utilized in the design of the characters' forms, and discovered that these elements imparted a distinctive artistic quality. Furthermore, we found that the acting and movement elements were influenced by Chinese cultural practices, traditional theater, and martial arts, enriching the characters' motions and expressions. Through this research, we aim to highlight how Chinese animation integrates tradition and modernity, creating new artistic value, and establishing a unique competitive edge in the global animation market.