• Phonetics and Speech Sciences
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• v.12 no.3
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• pp.25-32
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• 2020

An analysis of emotional English utterances with 7 emotions (calm, happy, sad, angry, fearful, disgust, surprised) was conducted using the measurement of prosodic distance between 672 emotional and 48 neutral utterances. Applying the technique proposed in the automatic evaluation model of English pronunciation to the present study on emotional utterances, Euclidean distance measurement of 3 prosodic elements such as F0, intensity and duration extracted from emotional and neutral utterances was utilized. This paper, furthermore, extended the analytical methods to include Euclidean distance normalization, z-score and z-score normalization resulting in 4 groups of measurement schemes (sqrF0, sqrINT, sqrDUR; norsqrF0, norsqrINT, norsqrDUR; sqrzF0, sqrzINT, sqrzDUR; norsqrzF0, norsqrzINT, norsqrzDUR). All of the results from perceptual analysis and acoustical analysis of emotional utteances consistently indicated the greater effectiveness of norsqrF0, norsqrINT and norsqrDUR, among 4 groups of measurement schemes, which normalized the Euclidean measurement. The greatest acoustical change of prosodic information influenced by emotion was shown in the values of F0 followed by duration and intensity in descending order according to the effect size based on the estimation of distance between emotional utterances and neutral counterparts. Tukey Post Hoc test revealed 4 homogeneous subsets (calm

• Science of Emotion and Sensibility
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• v.24 no.3
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• pp.115-124
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• 2021

Non-verbal communication is important in human interaction. It provides a layer of information that complements the message being transmitted. This type of information is not limited to human speakers. In human-robot communication, increasing the animacy of the robotic agent-by using non-verbal cues-can aid the expression of abstract concepts such as emotions. Considering the physical limitations of artificial agents, robots can use light and movement to express equivalent emotional feedback. This study analyzes the effects of LED and motion animation of a spherical robot on the emotion being expressed by the robot. A within-subjects experiment was conducted at the University of Tsukuba where participants were asked to rate 28 video samples of a robot interacting with a person. The robot displayed different motions with and without light animations. The results indicated that adding LED animations changes the emotional impression of the robot for valence, arousal, and dominance dimensions. Furthermore, people associated various situations according to the robot's behavior. These stimuli can be used to modulate the intensity of the emotion being expressed and enhance the interaction experience. This paper facilitates the possibility of designing more affective robots in the future, using simple feedback.

• Korean Journal of Child Studies
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• v.14 no.2
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• pp.95-114
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• 1993

The purpose of this study was to examine developmental trends in children's understanding of the effect of emotion on moral transgressions. The subjects were 120 children, 15 boys and 15 girls each at 4, 6, 8, and 10 years of age. The subjects listened to the moral transgression stories which were revised by this investigator based on Arsenio and Kramer's(1992) study. They reported their emotional attribution, justification, and emotional intensity about the story children engaged in moral transgression. The data of the present study were analyzed by ${\chi}^2$ and 2-way ANOVA for repeated measures. The results showed that (1) most of the children expected victimizers to feel happy. While happy responses decreased with age, fear responses increased with age. Most of the four-year-olds expected victims to feel sad, but 6-, 8-, and 10-year-olds expected anger. (2) Most children justified victimizers' emotions in terms of the outcome produced by victimization. This outcome-focused justification decreased with age, but morality-focused justification increased with age. In contrast, most children justified victims' emotion in terms of the victimization. This victimization-focused justification decreased with age, but morality-focused justification increased with age. (3) Most children viewed physical harm more negatively than theft on the part of victims.

• The Korean Journal of Community Living Science
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• v.20 no.2
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• pp.169-180
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• 2009

This study was performed to examine the emotion expectations and explanations of four participants(an actor, a recipient, a child observer, and an adult observer) in moral, social-conventional, and personal rule transgression situations. Six vignettes describing the rule transgressions were presented to 200 children who were either five or seven years old. The children were asked to predict and explain each participant's emotions. The children's emotion expectations were different depending on the domain of the rule transgressions and on the type of the participant. The actors were predicted to feel happy during all transgressions, while the recipients and two observers(a child and an adult) were predicted to feel unhappy. The seven-year-old children attributed more happiness to the actors, and more negative affect to the recipients compared to the five-year-olds. This result was inconsistent with the previous findings that older children attributed more happiness to actors. This finding was discussed in relation to the 'happy victimizer'. Some categories of emotion explanations were differentiated according to the domain of rule transgressions. The personal rule transgressions, newly defined and examined in this study, were judged to be less serious than the moral rule transgressions in terms of the intensity of the negative affect.

• Journal of Wellbeing Management and Applied Psychology
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• v.7 no.2
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• pp.13-21
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• 2024

Purpose: The purpose is to expand the role of local senior welfare centers as a place for intergenerational integration by analyzing the intergenerational awareness and satisfaction of participants in the intergenerational integration program. Research design, data and methodology: The empirical study conducted a survey on 205 participants (114 seniors, 91 teenagers) of the generation integration program being implemented at a senior welfare center located in Seoul. Results: Regarding the satisfaction of participants in the generation integration program, both the elderly and youth showed that the more contact they had between generations, the higher the satisfaction with participation. In the case of the elderly, the better the subjective health status, the older the respondent, and the lower the educational level, the higher the satisfaction, and the more frequently they met youth, the higher the satisfaction. On the other hand, the longer the youth participated in the program, the weaker their negative emotions toward the elderly, and the higher the degree of visits to grandparents, the higher their satisfaction with participation. Conclusions: The biggest determinant of satisfaction with the generational integration program at senior welfare centers is the intensity and frequency of contact between the elderly and youth generations.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.76-88
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• 2020

Since the pre-existing music itself used in has no direct relation to the film, it raises the question of whether it was properly utilized as film music. The purpose of this paper is to clarify that 's 20th century modern music effectively fulfills the role of film music through iconicity with images. This study approached the similarity between the character of fear and the form of music through Hanslick's formal aesthetics to discuss the use of 20th century modern music in the horror film. The formal characteristics of music are observed in the movement of notes, which are similar to the fearful state of mind mentioned by Heidegger. In the analysis, the stagnant movement and the continuity of notes, the special playing method of the musical instrument, the unspecified trembling of the clustered notes, the melody of the weak intensity in the high-pitched range, the smash of percussions, and the progression of the notes that deviate from the center confirms the aptitude of 20th century modern music in the horror film. The fact that this study did not simply rely on the emotions represented in the 20th century modern music, but thoroughly caught the movements of the notes, has great significance in the research of film .

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.68-79
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• 2012

In film various techniques interact organically in order to bring a story to life and, by doing so, influence the audience's perception. The techniques composing the form of a film are part of a format-system and therefore have to be well adjusted to the content of the film to trigger an intended effect. It is then that these techniques boost the intensity of the audience's emotional experience. The subject of analysis in this study of aesthetic composition, which is part of the concept of visual narrative, is the movie "Silence", which depicts a disturbing story based on real events. The goal of this study is the analysis of composition techniques used to support the film's narrative structure, where elaborate frame-composition and techniques are applied with great efficiency. Another goal is also to illustrate the meaning of film-format and its importance. Looking deeper into the question of how meaning and emotions, which are inherent in a film, finally manifest themselves on screen through a single shot, where the cinematographer's ideas and aesthetic vision come together and also the question of how a narrative structure in the context of a film works- these questions are the essence of this study.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.112-126
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• 2012

The style of a dress allows important characterization of an era since they reflect contemporary politics, society, culture and arts. Within a same category, period costumes develop into styles that reflect specific consciousness. The research method and the scope of the study are as follows: the research adopts a historical study method and a comparative research from a microscopic point. The scope includes resistance costumes that proceed with sans-culotte that comprises of the resistance party during the 18th French Revolution (1783-1799), and also a Hippy style which was popularized during the 1960s and 1970s for its anti-war movement. We researched both similarities and differences of design factors reflecting resisting consciousness in costumes that affected costume characteristics related to their socio-cultural background. Sans-culotte and the Hippie style reflect a common denominator in anti-social resisting customs. First, they show common characteristics that combine fashion trends of resistant element and design features. Second, they have common features which are the characteristics of deviation. On the other hand, these two customs also present a discriminative denominator in anti-social resisting customs. In the case of sans-culotte, they tend to symbolize confrontation by dividing into two equal parts: the old and new mode. Sans-culotte confronts the conventional mode and promotes practical costume styles based on justice standpoints. First, hippies pursue an exposition of individual emotions that disclose internal meanings of love and desire. Second, they focus on subjective characteristics and chase after masteries and pleasures by expressing intensity. Third, it extends and develops folk costumes from many countries that reveal ethnic trends. Therefore, this research compares and contrasts different changes in the fashions of revolutionary periods, and aims to recognize the relationship between design and costume characteristics, thus contributing to the predictions of future changes in fashion.

• Journal of the Korea Society of Computer and Information
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• v.25 no.4
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• pp.63-70
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• 2020

In this paper, we propose a globally successful animation rhythm type. Based on the study of spatial variables in Campbell's heroic narrative and the study on the duration of shots in the video, the rhythm of the shot according to the spatial narrative of was analyzed. Through this, three conclusions were drawn. First, the basis for the visualization of narrative intensity is possible through the shot density of narrative, Second, a shot rhythm type was presented, which was presented as an ascending type, a descending type, a mountain type, a depressed type, and a complex type, and the characteristics of the narrative were analyzed. Third, the strength of the shot rhythm shown in the hero narrative spatial map model was divided into top, middle, and bottom, and the measurement criteria of narrative strength were presented. This study is meaningful in that it visualized and typified artistic emotions as objective data in the flow of animation content focused on philosophical and qualitative methods.

• The Korean Journal of Pain
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• v.36 no.1
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• pp.84-97
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• 2023

Background: The concept of high-impact chronic pain (HICP) has been proposed for patients with chronic pain who have significant limitations in work, social life, and personal care. Recognition of HICP and being able to distinguish patients with HICP from other chronic pain patients who do not have life interference allows the necessary measures to be taken in order to restore the physical and emotional functioning of the affected persons. The aim was to reveal the risk factors and predictors associated with HICP. Methods: Patients with chronic pain without life interference (grade 1 and 2) and patients with HICP were compared. Significant data were evaluated with regression analysis to reveal the associated risk factors. Receiving operating characteristic (ROC) analysis was used to evaluate predictors and present cutoff scores. Results: One thousand and six patients completed the study. From pain related cognitive processes, fear of pain (odds ratio [OR], 0.92; 95% confidence interval [CI], 0.87-0.98; P = 0.007) and helplessness (OR, 1.06; 95% CI, 1.01-1.12; P = 0.018) were found to be risk factors associated with HICP. Predictors of HICP were evaluated by ROC analysis. The highest discrimination value was found for pain intensity (cut-off score > 6.5; 83.8% sensitive; 68.7% specific; area under the curve = 0.823; P < 0.001). Conclusions: This is the first study in our geography to evaluate HICP with measurement tools that evaluate all dimensions of pain. Moreover, it is the first study in the literature to evaluate predictors and cut-off scores using ROC analysis for HICP.