• 대한조현병학회지
• /
• 제24권1호
• /
• pp.26-35
• /
• 2021

Objectives: Social function deficit is known as a core feature of schizophrenia. This study aimed to investigate differences in empathic tendencies and theory of mind (ToM) skills between healthy controls and young individuals with schizophrenia, and to examine the associations between empathic tendencies, ToM skills and schizotypy, and executive function in schizophrenia. Methods: Thirty patients with schizophrenia and 30 healthy controls were enrolled and assessed using the interpersonal relationship index (IRI; perspective taking, fantasy, empathic concern, and personal distress subscales), ToM-Picture Story Task (ToM-PST; sequence and cognitive questionnaire), Wisconsin schizotypy scale (revised physical anhedonia and perceptual aberration), and Stroop tests for empathic tendencies, ToM skills, schizotypy, and executive function. Results: In individuals with schizophrenia, the IRI for perspective taking and ToM-PST score for cognitive function were lower, and the IRI for personal distress was higher than those in healthy controls. The IRIs for perspective taking and fantasy were related to revised physical anhedonia, and that for empathic concern was associated with revised physical anhedonia and perceptual aberration. The ToM-PST score for sequence was associated with the Stroop test score for schizophrenia. Conclusion: These findings indicate deficits in empathic tendencies and ToM skills, which may be independently and primarily associated with schizotypy and executive function in young individuals with schizophrenia.

• 한국실내디자인학회논문집
• /
• 제16권4호
• /
• pp.21-30
• /
• 2007

`Desire` in this study is not something desire in the used to be-way we can deal with it. This study is to figure out 'desire structure' of interior architecture as a significant measure to interpret the Lacan's desire theory. It is also examines Lacan's concept of desire as defined in the mechanisms of language, in relation to architecture and interior architecture, and in the concept of the objet a(the unattainable object of desire), in the structure of desire as it can be seen in interior architecture. In particular, it analyzed that the desire structure have influenced on some kind of specific desire types what is expressed a characteristic to interior spaces of intimacy, perpetuity, representation, expression. These types reveal the characteristics of desire structure in inner space of interior architecture through negativing and fantasying. The focus on the structure becomes a major issue in almost many kinds of contemporary knowledge-system that starts from the mind to go out to the space in a material or non-meterial(spiritual) way. Therefore, the desire structure reconstructs the Real to make itself through negative and fantastic creation-process. It is important that desire characteristics help detect behind beneath the singularity of interior spaces more than what we know.

• 한국멀티미디어학회논문지
• /
• 제25권9호
• /
• pp.1356-1366
• /
• 2022

In the display of virtual space, the degree of space virtualization cannot be judged only by the degree of material technology. Based on the non-material relationship, the virtual space that this research focuses on is a conceptual and ontological point of view (based on the conceptual and ontological viewpoints of non-material relations), including practical technical issues. The research on the characteristics of virtual space ontology not only has an impact on the space design of science fiction movies, but also becomes a powerful medium that brings changes to the world. In the future, there will be a large number of cases where fantasy things in science fiction movies are actualized. From this perspective, based on the study of several science fiction movies using virtual reality scenes, this paper puts forward a study on the representation characteristics of virtual space ontology. In addition, the study of the virtual reality is of great significance for verifying the possibility of virtual reality in the application of deep space technology in the future. At the same time, it provides reference value for the development of special effects film field from montage theory-based to Bazin theory-based expression, and contributes to the theoretical system of film space.

• 경영과정보연구
• /
• 제35권4호
• /
• pp.99-122
• /
• 2016

특정한 관심이나 활동을 공유하는 사람들 사이의 관계망을 기반으로 서비스를 제공하는 페이스북이나 트위터와 같은 SNS의 활성화로 정보공유나 의사소통이 활발해지면서 SNS에 대한 관심이 증가하였다. 본 연구는 관심의 대상이 되고 있는 SNS에 대한 연구를 수행할 것이며, 새로운 매체의 이용 동기를 설명하기 위한 이론인 이용과 충족이론을 기반으로 SNS 이용 동기를 살펴본다. SNS 이용 동기를 감정적 동기와 인지적 동기로 구분하고, 이용 동기와 SNS 중독 간의 관계를 알아보았다. 감정적 동기는 SNS에 대한 오락성과 환상으로 구분하고 인지적 동기는 SNS에서의 정보 부담과 시스템 사용 부담으로 살펴한다. SNS 중독은 시간적 내성, 금단 불안, 중단 실패, 생활 장애로 구분하였으며 SNS 중독과 주관적 웰빙과의 관계를 살펴본다. 마지막으로 사회적 자본 이론을 기반으로 SNS 특성인 사회적 유대감의 조절효과를 분석한다. SNS 사용자들을 대상으로 설문을 수행하였고, 가설을 검증하기 위하여 286부의 설문지를 분석에 활용하였다. 가설검증결과를 보면, 감정적 동기인 오락성과 환상은 SNS 중독에 정(+)의 영향을 미쳤고, 인지적 동기인 정보 부담과 시스템 사용 부담도 SNS 중독에 정(+)의 영향을 미쳤다. 또한 SNS 중독은 주관적 웰빙에 통계적으로 유의한 영향을 미쳤으며, 마지막으로 사회적 유대감에 따라 SNS 중독이 주관적 웰빙에 다른 영향을 미치고 있음을 알 수 있었다. 본 연구의 결과는 SNS 사용자와 SNS 관련 종사자들에게 유용한 정보를 제공할 수 있을 것이다.

• 한국콘텐츠학회:학술대회논문집
• /
• 한국콘텐츠학회 2006년도 춘계 종합학술대회 논문집
• /
• pp.279-284
• /
• 2006

미디어의 발달로 표현의 영역이 넓어진 영화 예술분야도 급속도로 성장해 왔다. 최근 한국 영화에서도 특수 효과(SFX)의 하나인 컴퓨터 그래픽스(CG)를 이용한 디지털 영화에 관심과 인력이 형성되고 있다. 본 논문에서는 형태가 갖는 게슈탈트 이론에 근거하여 한국 영화에서 3D 애니메이션이 삽입되어 2005년 최고의 흥행을 이루었던 <웰컴투 동막골>을 중심으로 그 조형성을 고찰하였다. 그 결과, 3D 애니메이션을 영화에 삽입함으로써 제작자의 의도에 따라 실사에서 느낄 수 없는 환영성이나 가상적인 세계를 이끌어 갈 수도 있으며 이는 촬영상의 공간의 제약을 받지 않는 자유로운 공간성이 적용되었음을 확인하였다. 또한, 지각의 대상에 전체성을 부여하며 완결을 필요로 하는 게슈탈트 이론에 의해 부분적인 애니메이션의 설정일지라도 영화의 의미를 파악하고 이해할 수 있는 역할을 할 수 있다는 것을 알 수 있었다.

• 한국의류학회지
• /
• 제42권5호
• /
• pp.823-838
• /
• 2018

The article surveys the technique and characteristics of contemporary fashion exhibitions in terms of fashion museography and fashion curation. The article reviewed both a literature study on the history of fashion exhibition focused on the display technique as well as a case study of domestic and international contemporary fashion exhibitions. The results of the article is as follows. Fashion brand exhibitions are about building competitive business advantage by planning differentiated contents. It gives viewers a brand fantasy and increases brand loyalty. This type mainly displays the latest collections on the commercial purpose as well as uses diverse mediums and high technology to make a spectacular space that provides an immersive experience to the viewer. Second, the museum fashion exhibition focuses on the roles of fashion in terms of social, cultural and artistic aspects that also focus on public education. The presentation technique emphasizes careful collection conservation rather than celebrate fashion business. The article is to encourage a further scholar discourse of fashion curatorial practice and theory.

• 대한수학교육학회지:수학교육학연구
• /
• 제12권2호
• /
• pp.163-180
• /
• 2002

The purpose of this paper is to reconsider the meaning of mathematical literacy based on the investigation of the nature of mathematical knowledge communicated in university level mathematics classes. The analysis of classroom discourse has revealed three different kinds of mathematical knowledge circulated in mathematics class, which include 'factual mathematics', 'mathematical fantasy', and 'mathematical savior faire.' The fact that a mathematics teacher delivers diverse categories of mathematics knowledge suggests that the mathematical literacy is not confined to the development of technical competence. More specifically, the kinds of mathematical knowledge identified above tell that mathematical literacy developed through learning mathematics reflects the cultural norms and values of doing mathematics. This means that mathematical literacy is not merely involve with technical competence but rather with cultural competence. In this regard, this paper highlights the meaning of mathematical literacy as a cultural identity, which has been underestimated in the theory and practice of mathematics education dominated by technocracy of the twentieth century In particular, the notion of mathematical savior faire implies that teaching and teaming mathematics ultimately deals with a system of cultural meaning. Hence, through learning mathematics, a learner gets transformed as a whole person according to the cultural norms and values. In this regard, it is concluded that mathematical literacy can be considered as a necessary condition to become a competent member of mathematics community sharing cultural norms of doing mathematics as well as a repertoire of mathematical skills.

• 영어영문학
• /
• 제58권4호
• /
• pp.565-588
• /
• 2012

This paper aims at reconsidering 'suture,' a key concept in early Lacanian film criticism, with a view to narrowing a supposed gap between early Lacanian and later Lacanian film criticism. Early Lacanian film theorists, among whom Jean-Pierre Oudart, Jean-Louis Baudry, Laura Mulvey and Daniel Dayan, to name a few, are prominent, focus on cinematic signifying system as well as its ideological effects on shaping subjectivity of the audience. Initiated by Jacques-Alain Miller's article on suture as the logic of signifier and grafted into film as the logic of the cinematic by Oudart's writing, the concept of suture was established as a key word in early Lacanian film criticism. In their taxonomy, suture refers to the processes by which the audience are stitched into the story-world of a film. The audience are drawn into the film and take up positions as subjects-within-the-film such that they make sense of and respond to what the film represents as they are encouraged to do so by the film itself. On the other hand, later Lacanian film critics, who are much influenced by Lacan's later emphasis on the Real, focus on concepts such as gaze, petit objet a, fantasy, rather than suture. They are more concerned with the failure of suture and the disruption of the Symbolic than the ideological effects of suture and the consolidation of the Symbolic. They require a break from the previous approach of Lacanian film theory which centers around the Imaginary and the Symbolic. However, early Lacanian and later Lacanian film theory do not manifest as much disparity as they are supposed to do, for both are against the ideological manipulation of suture. Slavoj Žižek, a leading scholar of later Lacanian psychoanalysis, revives the concept of suture as a patch of the Symbolic which covers the gap, if not always successful.

• 비교문화연구
• /
• 제34권
• /
• pp.93-114
• /
• 2014

Gaston Bachelard had a revolutionary progress in the field of human understanding by proposing his theory of image and imagination. His theory of the new image was so powerful, almost all areas of human science, particularly that of literary criticism, were strongly influenced and this influence continues until today. Today almost everyone accepts his theory of the image without much objection, but not rarely asked where began his transfer from the philosophy of science to the images. We propose a hypothesis that the beginning of the new concept of Bachelard's image was inspired by studies of contemporary science, especially quantum mechanics. The Heisenberg's uncertainty principle was the core of quantum mechanics, and opens new perspectives on the material world. We could summarize the message of the uncertainty principle : the material world is made up of various layers, and the material can not be measured by the location and movement at the same time. So we must have a new point of view of another dimension to know this material world. Bachelard had accepted this view of Heisenberg and developed his own theory of epistemological rupture. What is revolutionary in the theory of Bachelard's image is the fact that he looked at the images with the new perspective. The human psyche is another world compared to the rational world that dominates our daily lives. Bachelard insists that the image can not be explained by the concept. The fantasy world is a totally different world to that of rationality. That is why it can not be explained by the language of rationality as the concept. The imaginary world exists independently of the real world, but it is superimposed on the real world. These two worlds are influencing each other, and it is between these two world where our daily lives continues. The declaration of Bachelard 'image is a specific reality' is never a metaphor or rhetorical expression. This is an ontological expression that must truthfully. The imaginary world is a world built on the image and it works according to its own law. It is not a representation or copy of the real world. But the world of imagination are not alone. It exists in the same time and space with the world of science. It is superimposed with the world of science. Both two world influence each other. Bachelard has made a revolutionary change by studying the images. He gave them their own place. It has changed the views on the images that were treated as mere representations of reality. Thanks to him, the image can have its own value, that of a factor that creates reality. Bachelard shows how we can go deep into the source of being and the universe if we look at the pictures with the eyes of other dimensions.

• 한국콘텐츠학회논문지
• /
• 제12권9호
• /
• pp.126-135
• /
• 2012

본 연구는 학문적 연구 대상에서 소외돼 온 텔레비전 드라마 작가에 관한 후속 연구로, 멜로드라마 <사랑과 야망>과 <내 남자의 여자>의 여주인공을 중심으로 김수현 작가 의식 저변을 탐구하는데 그 목적이 있다. 김수현 작가는 자율 통제 의식에 의해 텔레비전 드라마 장르에서는 보기 드물게 홈드라마와 멜로드라마의 장르 선긋기를 명확히 하고 있으며, 상대적으로 멜로드라마에서 두드러진 작가 의식이 발화된다. 본고는 멜로드라마를 통해 발화되고 있는 김수현 작가의 의식 심층을 탐구하기 위하여 라깡의 주체와 욕망이론을 적용한다. 라깡에게 주체는 언어의 기호작용에 의해 형성되지만, 언어의 상징계는 불완전함으로 주체는 '존재'로부터 '소외'되고 '결여'와 '분열'에 시달리는 주체이다. 이 주체는 타자와의 관계 속에 타자의 욕망을 욕망하고, 욕망의 대상이 되기를 원한다. 이 욕망은 전일체, 완전히 조화로운 상상계, 완전한 사랑을 끊임없이 요구하고, 상징계의 불완전성을 거부함으로써 지속된다. 이 거부 과정에는 무의식적 환상이 작동한다. 라깡은 '환상 가로지르기'와 '분리'를 통해서만 주체의 진정한 탄생, 해방이 이루어진다고 말한다. 20년 세월의 간극 속에도 <사랑과 야망>과 <내 남자의 여자> 속 두 여주인공의 갈등의 요체는 동일하다. 인간의 근원적이고 본질적인 주체의 결여와 욕망이 그것이다. 완전한 사랑에의 이상 추구, 그러나 현실에서는 불가능하며, 주체의 소외와 결여를 낳는 욕망의 고리 속에 주체의 진정한 해방, 자유를 향한 물음이 김수현 작가 의식 저변에 자리한 영원한 테제이다.