• Cartoon and Animation Studies
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• s.51
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• pp.129-158
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• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.

• Cartoon and Animation Studies
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• s.44
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• pp.143-161
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• 2016

This study was conducted focusing on the role of auteurism animation. The purpose of auteurism animation is to criticize irregularities of a society in witty and fierce way through satires from the sharp perspectives of a animator that is not bound by tastes of people or the interests or standpoints of specific groups, and thus to induce positive changes in a society as a purifier. In the context, this study investigated satires shown in by Jan Svankmajer and by Norman Mclaren among the animators who utilize animation as a tool to produce social meaning. As a result, the following characteristics and meanings were found. First, Dimensions of Dialogue is an animation that satires absurdity and irregularities of a human society in symbolic and exceptional way through directing by segmentations of images and omnibus structures. The satire carries the lesson of improvement in the hidden part of cynical attack to history, society, and human beings. It also maximizes absolute reality and engagement of images of Jan Svankmajer through unique and grotesque images of the animator such as alienated world, confusing shapes, and amusement of irregularities. Second, the movie, is an exemplary animation that applied core concept of animation through pixilation techniques based on an event story structure by causal relationship. It satires the changing process of a good man to violent madness through confrontation and conflicts for material desires, with exaggerated slipstick movements and humors as a black comedy. The satire methods of both animation works are delivered through unique image styles and symbolic wordage of the animators who triggered ironical laughter in attacking humanism and moral insensitivity that might be felt seriously otherwise. That is, the animators try to show the positive will for changing the society to a sound one through the form of negativity in terms of moral perspective in animation rather than destruction against the target. As such, the satires in both works worked as an auteurism allegory that maximizes social functions and artistic influence of animation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.48-58
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• 2013

The results of this research to study forms, structure, changes, symbolic meanings of 16 Hahoe sceneries through analyses of "Hahwaesipyukgyeong" and "Hahwaenakgangsanghaildaedo" are as belows. The coherence of headword is not discovered in 16 Hahoe sceneries, but based on various variables and sense dependence, endemicity with original natural scenes, human's life and phenomena of riverside village are spread in 3km viewing areas within 200m from Gyeonamjeongsa(謙巖精舍) and Okyeonjeongsa(玉淵精舍). As the viewing points of Gyeonam and Okyeonjeongsa are symmetrically facing and separately independent, while viewing angles do not intersect at Wonjijeongsa (遠志精舍) and Binyeonjeongsa(賓淵精舍) because of Buyongdae(芙蓉臺), and crating each independent viewing area, we can see 16 Hahoe sceneries are perfect views by supplementing Gyeonam and Okyeon Jeongsa, as well as points of views from Wonji and Binyeonjeongsa. Meanwhile, as the view point of 16 Hahoe sceneries, Gyeomam, Okyeon, Binyeon, and Wonji Jeongsa are clearly described, and 12 natural sceneries, which are Hwasan(花山), Ipam(立巖), Maam(馬巖), Jando(棧道), Bangi(盤磯), Hoengju(橫舟), and Honggyo(虹橋), among landscape elements of 16 Hahoe sceneries that can be expressed on canvas in the Haoedo are realistically described, there is high possibility that Haoedo is the 'Mental Stroll about Nature(臥遊) of 16 Hahoe sceneries. The belted forest surrounding the village in the painting is assumed to be an erosion control forest, and considering row-expressed trees, the south belted forest may be a different broad-leaved forest from current Mansongjeong(萬松亭) pine forest. In 16 Hahoe sceneries, there is Neo-confucianism tendency, which connects the nature and human life, and moreover prioritize human life than the nature. Especially as seen in the 'Choljae(拙齋)', the pen name of 16 Hahoe sceneries' author park, the 16 Hahoe scenery poet suggests 'Beauty of Jolbak(拙撲美)' based on the simple life that upright classical scholars pursued as the basic emotion. The thinking system shown in the poet is interpreted as Neo-confucianism category including one's sense and emotion depended on natural features or phenomena. Ultimately, 16 Hahoe sceneries are landscape that reflects moral world views of Confucianism scholars who wanted to express ideal thoughts based on natural features and phenomena in reality at Jeongsa in Buyongdae and Hahoe Village.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.3
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• pp.76-93
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• 2017

This thesis recapitulates the current status of Nujeongs(樓亭) by the Han River(漢江) from the late Joseon dynasty, and to contemplate the possible options regarding their restoration. The book Yeon-gang-jeong-sa-gi(沿江亭?記) written by Eom Gyeong-su(嚴慶遂) in 1716 was selected as an object of study. After Hanyang was selected to be the capital of Joseon, Han River was considered to be the greatest venue to visit to take some time off and enjoy the view. The nobleman of the Joseon dynasty built Nujeongs around the riverside and enjoyed boating inthe current status of Nujeongs(樓亭) Han River. Eom Gyeong-su, after traveling on a boat to personally collect information, combined such information with preexisting information to create a well-organized and thorough list of the 29 Nujeongs built by the riverbank, which can be found in his book Yeon-gang-jeong-sa-gi. It is probable that a closer look into Yeon-gang-jeong-sa-gi will reveal more information regarding the general atmosphere of the era, which focused on the history and culture of Han River, and will also enable a more thorough research involving the Han River Nujeongs. The Nujeongs listed in Yeon-gang-jeong-sa-gi were analyzed in this paper. Based on the explanations found in Yeon-gang-jeong-sa-gi, the locations of the 29 Nujeongs were checked and reconfirmed, and the origins and the meanings behind their names were analyzed. In addition, the history of the Nujeongs were recapitulated with information gained from the basis of the fact that Yeon-gang-jeong-sa-gi was written in 1716, The origin of each Nujeongs were revisited, and the history of their change and demise were analyzed. Lastly, the sceneries around each Nujeongs were analyzed based on the poetries that were written and read in the respective Nujeongs, and the general taste for the arts in the era was analyzed. Some Nujeongs remain in the form of paintings, enabling us to take a closer look at the institutions and other aspects of the era. The analysis of Yeon-gang-jeong-sa-gi by this paper has revealed the location of some Han River Nujeongs that were unknown previously. Also, the revelation of some history regarding certain Nujeongs that were unknown previously has created an opportunity for the reinterpretation of the spaces surrounding Han River, and also the opportunity for a new story. Han River has lost most of its old self due to repeated exploitation. However, there are some areas where traces of the original form remains and that may be restored, and some areas may be relocated and restored based on existing paintings. Yeon-gang-jeong-sa-gi in particular may provide us with numerous possible options to reinvigorate and restructure the riverside with a more modern interpretation, especially in relation to the Han River cruise ship, as it is a book written after traveling Han River on a boat.

• Journal of Distribution Research
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• v.15 no.2
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• pp.71-99
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• 2010

Most of studies on patriotism in the marketing area have focused on ethnocentric tendencies observed in consumption behaviors. On the contrary, there have been few empirical studies on how patriotism in the general sense, indicating affection for, attachment to, and pride in the country, influences consumers' evaluation of domestic and foreign products. Given the current situation that marketing activities appealing to people's patriotism is increasing, this is somewhat surprising. Thus, this study examined empirically how patriotism influences people's evaluation of domestic and foreign products. In addition, we tested whether consumer ethnocentrism works as an intervening variable in the relation between patriotism and product evaluation. The empirical analysis was conducted through a questionnaire survey of undergraduate and graduate students at universities in Seoul. The survey asked about the respondents' patriotism, consumer ethnocentrism, domestic product evaluation, foreign product evaluation, and demographical characteristics. In foreign product evaluation, the respondents were requested to evaluate Chinese and Japanese products. Email was used to send and recover the questionnaires, and 135 replies were used in the analysis. Major findings from the empirical analysis are as follows. First, a significant relationship was observed between patriotism and domestic product evaluation. That is, patriotic participants evaluated domestic products more favorably. On the other hand, no significant relationship was observed between patriotism and foreign product evaluation(See Table 1-1 and 1-2). Next, the effect of patriotism on domestic product evaluation was mediated by consumer ethnocentrism. However, whether the effect of patriotism on domestic product evaluation is mediated by consumer ethnocentrism partially or fully was different according to product(See Table 2-1 and 2-2). Lastly, we tried to analyze the relation between consumer ethnocentrism and product evaluation and comparing the results with findings of previous researches. According to the results, a significant relationship was observed between consumer ethnocentrism and domestic product evaluation but not between consumer ethnocentrism and foreign product evaluation. The meanings of this study are as follows. First, there have been few marketing studies that investigated the relation between patriotism and product evaluation. Thus, this study is meaningful in that it supplemented the limitation of previous research. Second, consumer ethnocentrism was found to mediate the relation between patriotism and domestic product evaluation. Considering the absence of previous research that examined the role of consumer ethnocentrism as an intervening variable, this study is significant in that it expanded the scope of research on consumer ethnocentrism. Third, from the practical aspect, the results of this study suggest that marketing appealing to patriotism is effective in stimulating consumers' purchase and consumption of domestic products. Accordingly, such a marketing strategy is expected to be effective in protecting domestic markets from imported goods and overseas brands and to increase demands for domestic products and brands. However, there is the question of whether the effect of patriotism based marketing strategies in promoting demand for domestic products would persist. That is, this study could not find a significant relation between patriotism and foreign product evaluation, and this means that the increase in patriotism for the home country does not damage people's view to the quality of foreign products negatively. Accordingly, without change in people's perception of foreign products, it is highly likely that the increase in demand for domestic products or brands induced by patriotism elevated at a specific time or situation may not last long. Fourth, the results of this study suggest that the patriotism level may influence consumers' choice behavior toward retailers strongly connected to a specific country or region. That is, consumers with high level patriotism may hesitate or avoid using a retailer associated with some foreign country. Fifth, according to the results of this study, when people's patriotism is stimulated by a specific social situation or event, it can be an opportunity for domestic franchise brands to increase their market performance such as sales and market share and, at the same time, for foreign franchise brands to experience adversities. Therefore, during a period like the Olympic Games or the World Cup when people's sense of belonging or attachment to their country is heightened, domestic franchise brands need to make marketing activities that may lead market opportunities to substantial results and foreign franchise brands to cope with such adversities. Sixth, consumers' brand choice is often made in retail stores. It has been demonstrated by numerous studies that in store stimuli such as point of purchase display can affect consumers' behavior. Considering this, domestic brands facing competition with foreign brands should make continuous efforts to enhance the market performance of their products through developing in store stimuli that can stimulate consumers' patriotism. Finally, based on the major findings of this study, both academic and practical issues were discussed. Suggestions for future studies were provided.

• Journal of Intelligence and Information Systems
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• v.21 no.2
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• pp.113-129
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• 2015

Location branding is a very important income making activity, by giving special meanings to a specific location while producing identity and communal value which are based around the understanding of a place's location branding concept methodology. Many other areas, such as marketing, architecture, and city construction, exert an influence creating an impressive brand image. A place brand which shows great recognition to both native people of S. Korea and foreigners creates significant economic effects. There has been research on creating a strategically and detailed place brand image, and the representative research has been carried out by Anholt who surveyed two million people from 50 different countries. However, the investigation, including survey research, required a great deal of effort from the workforce and required significant expense. As a result, there is a need to make more affordable, objective and effective research methods. The purpose of this paper is to find a way to measure the intensity of the image of the brand objective and at a low cost through text mining purposes. The proposed method extracts the keyword and the factors constructing the location brand image from the related web documents. In this way, we can measure the brand image intensity of the specific location. The performance of the proposed methodology was verified through comparison with Anholt's 50 city image consistency index ranking around the world. Four methods are applied to the test. First, RNADOM method artificially ranks the cities included in the experiment. HUMAN method firstly makes a questionnaire and selects 9 volunteers who are well acquainted with brand management and at the same time cities to evaluate. Then they are requested to rank the cities and compared with the Anholt's evaluation results. TM method applies the proposed method to evaluate the cities with all evaluation criteria. TM-LEARN, which is the extended method of TM, selects significant evaluation items from the items in every criterion. Then the method evaluates the cities with all selected evaluation criteria. RMSE is used to as a metric to compare the evaluation results. Experimental results suggested by this paper's methodology are as follows: Firstly, compared to the evaluation method that targets ordinary people, this method appeared to be more accurate. Secondly, compared to the traditional survey method, the time and the cost are much less because in this research we used automated means. Thirdly, this proposed methodology is very timely because it can be evaluated from time to time. Fourthly, compared to Anholt's method which evaluated only for an already specified city, this proposed methodology is applicable to any location. Finally, this proposed methodology has a relatively high objectivity because our research was conducted based on open source data. As a result, our city image evaluation text mining approach has found validity in terms of accuracy, cost-effectiveness, timeliness, scalability, and reliability. The proposed method provides managers with clear guidelines regarding brand management in public and private sectors. As public sectors such as local officers, the proposed method could be used to formulate strategies and enhance the image of their places in an efficient manner. Rather than conducting heavy questionnaires, the local officers could monitor the current place image very shortly a priori, than may make decisions to go over the formal place image test only if the evaluation results from the proposed method are not ordinary no matter what the results indicate opportunity or threat to the place. Moreover, with co-using the morphological analysis, extracting meaningful facets of place brand from text, sentiment analysis and more with the proposed method, marketing strategy planners or civil engineering professionals may obtain deeper and more abundant insights for better place rand images. In the future, a prototype system will be implemented to show the feasibility of the idea proposed in this paper.

• Korean Journal of Cognitive Science
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• v.21 no.1
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• pp.95-126
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• 2010

This study proposes a bottom-up and inductive manual mapping methodology for integrating two heterogenous fine-grained ontologies which were built by a top-down and deductive methodology, namely the Sejong semantic classes (SJSC) and the upper nodes in KorLexNoun 1.5 (KLN), for HLP applications. It also discusses various problematics in the mapping processes of two language resources caused by their heterogeneity and proposes the solutions. The mapping methodology of heterogeneous fine-grained ontologies uses terminal nodes of SJSC and Least Upper Bounds (LUB) of KLN as basic mapping units. Mapping procedures are as follows: first, the mapping candidate groups are decided by the lexfollocorrelation between the synsets of KLN and the noun senses of Sejong Noun Dfotionaeci(SJND) which are classified according to SJSC. Secondly, the meanings of the candidate groups are precisely disambiguated by linguistic information provided by the two ontologies, i.e. the hierarchicllostructures, the definitions, and the exae les. Thirdly, the level of LUB is determined by applying the appropriate predicates and definitions of SJSC to the upper-lower and sister nodes of the candidate LUB. Fourthly, the mapping possibility ic inthe terminal node of SJSC is judged by che aring hierarchicllorelations of the two ontologies. Finally, the ituorrect synsets of KLN and terminologiollocandidate groups are excluded in the mapping. This study positively uses various language information described in each ontology for establishing the mapping criteria, and it is indeed the advantage of the fine-grained manual mapping. The result using the proposed methodology shows that 6,487 LUBs are mapped with 474 terminal and non-terminal nodes of SJSC, excluding the multiple mapped nodes, and that 88,255 nodes of KLN are mapped including all lower-level nodes of the mapped LUBs. The total mapping coverage is 97.91% of KLN synsets. This result can be applied in many elaborate syntactic and semantic analyses for Korean language processing.

• Journal of Science of Art and Design
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• v.12
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• pp.65-96
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• 2007

Today, the modern art is extremely diverse. It is denying its own boundary through chaos, extreme, abjection. In fact the diversity of the modern art can be best described as questioning and challenging to the essence of the reality, rather than the artistic pursuit of the beauties. The pursuit of the reality has been a long lasting discourse since the ancient. Through the history, the reality (referent) and representation (image) has been complementing and disposing each other in a relationship of a meaningful construction until the modern times. The limit of modernistic self-reference and the emergence of the figure leads to the emergence of Post-modernism in a trend of experimenting new visual arts. The return to the figure is clearly distinguished from existing representation's system and it brought new meanings to approaches and interpretations of the reality. In the case of Pop arts of 1960's and the following the modern sculptures, which is covered by this thesis, I put an emphasis on the diversification of those via changed strategies on the reality. In a situation where the reality is dictated by signified, the modern arts can no longer stay on a classic concept of representation, rather it pursuits new system and diverse strategies. I provide three types of strategic characters of the reality and the diversification of reality: the transition of the reality. These three types can be used as a frame work, which is supporting new aspects of the modern arts in reflecting on existing system. Therefore, the reason of categorizing is to distinguish modernistic arts and post modernistic arts, and to propose new post-modernistic discourses. Adapting J.F, Lyotard's view, absence is used to trace down the diversification of the reality thorough the sublime on the deconstruction of the mega discourses and the relationship of representation. Based on H. Faster's theory of the appropriation, the appropriation is used to exemplify the strategies of visual arts are in variations and being delayed. Lastly, in the transition, J. Baudrilliard's simulacre is used in terms of the concept of post modernistic representation. Based on the core of his theories, the deconstruction of existing concepts and simulation as the post modernistic representation, and the world of hyperreality based on simulacre are explained. These allows us to deny that representation is the expression of reality through mimesis. My aim is to work on the definition of the arts and representation in the modern era, and go further from there in order to clarify meaning and extension of the modern sculptures. Now two artists are reviewed based on their own art works: George Seagal; Jeff Koons. They are selected among numerous artists from the Post Modern era. Epic contents and emphasis on daily life of Seagal's works show good examples to artists from Pop Arts and following time period and may have served as a start point for Postmodernism. Indeed, he tried to show a newly defined relationship between art works and daily life experience. On the other hand, J.Koons used the strategies of fabrication and appropriation, which shows characteristics of the postmodernism. Through his four individual exhibitions, he shows the diversification of the reality based on art works as fetishistic merchandises, and newly defined concept of Ready-made since M Duchamp. Lastly, the diversification of the reality is analyzed again in context of my art works. I focused on the return to the figure among a variety of trends of late 20 th century modern sculpture. It showed the post modernistic point of view on the reality. Post modernistic diversified strategies are adopted as a method of distinguishing each art works via the diversification of the reality. This is the result of contemporary social and cultural situations.

• Journal of Korean Academy of Nursing
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• v.26 no.1
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• pp.223-247
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• 1996

This study was done to provide information which would lead to nursing care of the elderly being more holistically through an understanding of the phenomena of powerlessness based on the lived experience of powerlessness by the elderly, the meaning the elderly give to such phenomena, and what essence of powerlessness is. The methodology used in this study was Max Van Manen's phenomenological method based on the philosophy of Merleu-Ponty and a concerted approach was realized through the 11 steps suggested in the Van Manen's method. Data collection was done from March 2, 1995 to December 30, 1995. The subjects for this study were four elderly persons who lived with their families and who were over 60 years of age. Data were collected about the lived experience of the elderly, this researcher's experience of powerlessness, the linguistic meaning of powerlessness, idioms of the word or a feeling of powerlessness, and descriptions of powerlessness in the elderly as they appeared in the literature, are works, and phenomenological literature. All data were used to provide insights into the phenomena of powerlessness. Data about the experience of powerlessness by the elderly were collected through open interviews, participation, and observation. In the analysis of the theme of this study, the aspects of the theme, powerlessness in the elderly were clarified, thereby abstracting and finding meaningful statements by the elderly about their feeling of powerlessness, and then those significant statements were expressed as linguistic transformations. The summarized findings from the study are as follows : 1. Five meanings of powerlessness in the elderly were defined. 〈weakness〉, 〈dependence〉, 〈frustration〉, 〈worthlessness〉 and 〈giving up〉. 2. 〈Weakness〉 means that the elderly experience, not only their aging but also, their becoming weak and the loss of physical function frequently caused by diseases. 〈Dependence〉 means that the elderly experience dependence without any influence from the surroundings and that elderly patients who are hospitalized lose their autonomy, follow entirely their doctor's prescriptions, use aid equipment and directions, and depend only on those things. 〈Frustration〉 means that the elderly experience the loss of their roles from the past, there by feeling that there is no work for them to do anymore and therefore feel unable to do anything. 〈Worthlessness〉 means that the elderly experience the feeling of losing their social roles from the past, having no financial ability, thereby being a burden to their children or the people around them, and therefore regarding themselves useless. 〈Giving up〉 means that the elderly experience the feeling of closeness to death in the final stage of their lifetime, lose hope to be healed from their disease, and recognize the incontrollability of their own body. 3. From a general view of the meaning of the theme the powerlessness in the elderly-the most essential meaning of the theme is the 〈sense of loss〉. For the elderly are experiencing a sense of loss in the situation of being elderly and therefore being often hospitalized. Brief definitions of the five phenomena could be 〈weakness〉 meaning the loss of physical strength, 〈dependence〉 the loss of mentality caused by disease and hospitalization, 〈frustration〉 and 〈worthlessness〉 the loss of social performance caused by the loss of social functions from the past, and lastly 〈giving up〉 the loss of the controllability of such situations of aging and suffering disease. In light of the discussion above, it is understandable that the hospitalized elderly experience powerlessness not only as it related to their diseases but also to their normal aging, and this related to other characteristics of being elderly means that the 〈sense of loss〉 is the very essence of their powerlessness. 4. While most cases are of the normal elderly experiencing powerlessness in relation to their social network, cases of elderly who are hospitalized are of those experiencing powerlessness in relation to the loss of their physical desire. 5. The findings discussed above can serve as guidelines for nurses who take care of the ill elderly who are hospitalized and that can provide cues to appropriate nursing service, recognizing that the subjective experience of the objective age of the elderly is so important. Nurses can provide highly qualitative nursing service, based on their deep understanding of the suffering of the elderly due to feelings of powerlessness.