• Fashion & Textile Research Journal
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• v.17 no.1
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• pp.53-63
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• 2015

The necessity on children dresses for cultural events and emotional aspects in designs have become important according to the development of kids industry and revitalization of party culture, and so grasping emotional requirements of consumers is necessary actually. This study aims at purpose of this research, the study used 27 color pictures on the whole bodies of children who wore children dresses that mixed clothing design factors differently (sleeve, skirt length, waist line, materials, color, decoration type and location) through a survey. Regarding the survey objects, this study objected children of 5~6 years old in full and their mothers who lived in Gwangju Metropolitan City, and its results were same as follows. First, dress preferences between children group and mother group were similar generally, but differences were displayed from dress lengths. That is, children preferred long length in general, and whereas mothers were come out to prefer shot length comparatively. Second, the study could get results by mixing ranking 1 and ranking 2 according to clothing design factors that were preferred by children group and mothers group deduced through an empirical analysis. Merely, the location according to decoration type was limited to ranking 1. Based on the research, this study expects that various forthcoming researches have been made continuously, and it could become a guideline for the development of children dress industry afterwards.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.996-1000
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• 2009

There can be three objectives why we apply 3D graphics in TV interface. First, inevitable usability. 3D space is the most inevitable way for product-user interaction deviating from the current aesthetic or technical purpose of use. Second, enhance emotional satisfaction by merging interface into real life. Beyond digilog(analog+digital), we wanted users to naturally use the interface as if they are using everyday objects. And in order to do this properly, we analyzed the behaviors of users how they use their everyday objects and then analyzed the attributes beyond each behavior. Third, capaticy for enourmous contents of the incorporated TV. The most efficient way to display enormous amounts of contents in a limited screen is 3D. And that 3D space gives us almost unlimited capacity in accepting contents. Now to conclude, using 3D graphics for TV interface has significance in many ways but the issue is how we can maintain the 3D effects while customizing them into real products.

• Journal of the Korean Institute of Intelligent Systems
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• v.7 no.3
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• pp.55-64
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• 1997

In this paper, a fuzzy set based decision support system is designed for the color planning, that uses the linguistic image words of the space to be colored and progressively recommend the harmoneous colors for each objects in the space. The linguistic image words denotes various emotional effects of the colored space represented as the adjectives like 'romantic', 'beautiful', and so on. The search for object color should not destroy the overall image of the colored space and should be harmoneous with the previously determined object colors. The developed color planning system is composed of five subsystems; two dimentional graphic tools to draw the color space, the input system to receive the linguistic image words, the system to determine and recommend the main colcrs, the system to determine the harmonious colors and the system to adjust the determined wlor objects. We expect that the system can help designers and the persons who are not good at color design, and it can be applied to various color design such as interior, fashions, and product design.

• Cartoon and Animation Studies
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• s.49
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• pp.325-357
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• 2017

It can be assumed that the reasons why the animation characters, 'Olaf (in Frozen Kingdom)' and 'Minions (in Super Bad)', etc., which were very successful in the merchandising market while having won the popularity better than the main characters are very popular even though such characters appeared only by playing a funny role while assisting the adventures of the main characters are not only because of their cute appearances but also because such characters have their own core features in their inner world as the transitional object-characters. Simply expressing, a 'Transitional Object' as a concept suggested by a child psychologist, 'Donald Winnicott', means a lovey doll or an imaginary friend which temporarily replaces an infant's mother during the procedure when the infant is mentally separated from its mother. However, in case that the theory of transitional objects was applied directly to many narrative content characters for doing a study, there must have been done some studies in advance for establishing some new criteria and indexes related to the transitional object-characters of such narrative contents. Accordingly, while thinking that the 'emotional relationship' between a growth-subject and a growth mediator must be dealt with as the most important content in order to define a transitional object-character in a narration clearly, this researcher established some emotional index for judging the propensities of a transitional object-character on the basis of such way of thinking. The index is composed of 4 kinds of emotional roles (quasi-family member, growth mediator, lovey doll, an imaginary friend), 6 kinds of emotional supports (hugging, protecting, accepting, giving the initiative, improving the relationship and mutual supervising) and 4 kinds of emotional impressions (impression by contacting, impression to protect and impression accepting an attack). In case that some main characters of a family feature animation, 'Inside Out', are analyzed while the index mentioned above is applied, it was found that 'Bing Bong' and 'Sadness' have a high propensity as a transitional object-character. Especially, it could be inversely inferred in which ways some good transitional object-characters can help the narrations on growth of a family feature animation by taking a look at the character, 'Sadness' that has the highest propensity as a transitional object-character. The transitional object-character, 'Sadness' assists the narration on growth internally and externally by helping the internal maturity of a growth-subject in a way of projecting the tasks for the internal maturity of a growth-subject while helping the growth-subject to be successfully externally in a way of providing the growth-subject with some kinds of facilitating emotion. As the results from this Study, since such kinds of emotional experiences provided by such transitional object-characters are displaced to not only the relevant growth-subjects but also the audience who are emphasized with such growth-subjects as they are, such transitional object-characters play a role of hidden benefactors who induce some immersion into the narrations and provide child and adult audience with various layers of emotional satisfaction.

• Science of Emotion and Sensibility
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• v.23 no.2
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• pp.75-88
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• 2020

Given the development of information technology, various methods for efficient information delivery have been constructed as the method of delivering product information moves from offline and 2D to online and 3D. These attempts not only are about delivering product information in an online space where no real product exists but also play a crucial role in diversifying and revitalizing online shopping by providing virtual experiences to consumers. 360 product image is a photorealistic VR that allows a subject to be rotated and photographed to view objects in three dimensions. 360 product image has also attracted considerable attention considering that it can deliver richer information about an object compared with the existing still image photography. 360 product image is influenced by divergent production factors, and accordingly, a difference emerges in the responses of users. However, as the history of technology is short, related research is also insufficient. Therefore, this study aimed to grasp the responses of users, which vary depending on the type of products and the number of source images in the 360 product image process. To this end, a representative product among the product groups that can be frequently found in online shopping malls was selected to produce a 360 product image and experiment with 75 users. The emotional responses to the 360 product image were analyzed through an experimental questionnaire to which the semantic classification method was applied. The results of this study could be used as basic data to understand and grasp the sensitivity of consumers to 360 product image.

• Journal of Internet Computing and Services
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• v.22 no.1
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• pp.51-63
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• 2021

Identifying characters who appear in a story and analyzing their relationships is essential to understanding the story. This paper aims to identify the two actants (or character roles) as Helper and Opponent in Greimas's Actantial model by identifying Subject (i.e., protagonist) and analyzing the emotional interactions between the Subject and the two actants (Helper/Opponent). Our proposed method consists of three steps. First, we identify objects (i.e., characters) appearing in the text story. Next, we extract relational information through the interaction of the characters, and then classify emotions in the text expressed as relational information. Finally, we represent the flow of emotional relations among characters as a directed graph. The node with the highest degree is considered as the Subject because it includes the most relational information. The node that sends the most positive/negative emotions to the Subject is considered as the Helper/Oppenent, respectively. Our research contributes to the computer-based narrative understanding by providing a computational method that automatically extracts the three key character roles (Subject, Helper, and Opponent) from the text story.

• Korean Journal of Social Welfare Studies
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• v.42 no.4
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• pp.217-238
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• 2011

This study aims to investigate the effects of active coping of spouses on recidivism of domestic violence. In order to obtain better study results, 21-month follow up interview was conducted for spouses of batterers who completed domestic violence batterer intervention program. Spouses were interviewed for three times; 9-month, 15-month, and 21-month after program completion. Finally, data till 15-month follow-up was used to manage sample size problem. As a results, a total number of 76 spouses were included for final analysis. Data was collected from 2008 to 2009. Based on sample size and study objects, PLS(Partial Least Square) analysis was used. the prevalence rates of emotional abuse was 77.6% at the first interview but 41.3% at the second interview. For physical violence each rate were 43.1% and 18.4%. For emotional violence, problem-solving strategy among active coping shows significant moderating effects on reducing emotional violence(p<.001) while help-seeking among active coping has significant effects on decrease physical violence(p<.01).

• Sijohaknonchong
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• v.20
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• pp.29-50
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• 2004

When we discuss the literature of traditional era in view of ecological mode, Saseol sijo and its common writers were not objects of interests because they were thought only as having the view of the world or nature the same as the noble class and their normal sijo writings had. Also the living things in Saseol sijo were not paid attention to. They were ignored and degraded because they were unfittable and unnatural poetic diction, or they were nonpoetic results of objects. Any critics could not recognize the breathing things as 'the living ones' or 'the subjective things' in the text. In Saseol sijo, the appearance of experienced, substantial and usual animals attract our interest, which is a clue to compare the noble class' sijo with having the ideal and imaginary living things. This study discussed the writer's view and recognition of 'the living things' in Saseol sijo. In this essay 'the living things' mean living and moving creatures. First 'the living things' in Saseol sijo were the creatures of daily life and experience. They were not ideal or dreamy creatures any longer to the writers of Saseol sijo. In Saseol sijo it's possible for creatures which ecological symbiosis cannot be made to appear together. On the contrary there are texts which had outstanding recognition of 'the living things' that were accustomed to the human life. The writers of Saseol sijo understood 'the living things' as creatures familiar to human beings. Their warm and affectionate eyes toward the creatures made 'the living things' the objects of identification and sympathy. There are some works which were complicated with love and hatred toward 'the living things'. In conclusion, the life of Saseol sijo writers were the same as the symbiosis with the living creatures.

• Journal of Families and Better Life
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• v.11 no.2
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• pp.134-146
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• 1993

The purpose of this study was to collect the datas about the child care arrangement and the needs of day care programs of teaching mothers with preschool children and to develop the more desirable day care programs for them. The objects were 255 teaching mothers with preschool children. The results were as follows: 1) Teaching mothers who didn't use the day care center tended to put their children in the care of the paternal or maternal grandmothers, Major contributions of those baby-sitters were to protect the children and make everyday life training (44.0%) 2) The first reason for the mothers who used the day care center was that they had no other hands for their children(43.7%) and next reason was that the concerns for their children's socialization(35.4%) 3) Teaching mothers did not want the day care service during the vacation except 20% of them. 4) Teaching mothers absolutely wanted the day care service center especially inside their jobsite(61.0%) than any other type of day care programs and also wanted supporting by the government(66.5%) About the choice criterions of the day care center nutrition health and safety were suggested as the most important factor. They also prefered the experience with other peers and the programs focusing on the emotional development of the children.

• Journal of Fashion Business
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• v.8 no.3
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• pp.1-9
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• 2004

Scythians kept herds of horses, cattle, and sheep, lived in tent-covered wagons, and fought with bows and arrows on horseback. They developed a rich culture characterized by opulent tombs, fine metalwork, and a brilliant art style. The excavations of royal burials have provided the most complete record of the jewelry of the Scythians. Typical art objects were in the form of stags or other animals, hammered or stamped out of gold and often inlaid with colored stones or glass. The Bracelet consisted of two of distinct technique : One made from heavy forged gold bars, terminated with more delicate spiraled finals. Another technique used beaten gold foil, perhaps as thick as a piece of paper with fabulous designs repousse and chased (impressed in relief into the gold with small hammers and chisels) into the metal. They also used stones and clay dies to form gold foil into people repeated also motifs for use in torques and belts. The Scythian Bracelet were divided into 4 styles according to the shape, Bracelets with ends shaped like beasts style, Spiral style, Layers style, Crown with openwork style. Scythian Bracelet in the Black Sea region had completely degenerated, stifled by motifs and shapes of Greek origin, retaining its representational realism and its full emotional vitality.