• Cartoon and Animation Studies
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• s.23
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• pp.1-17
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• 2011

The paper analyzed the metaphoric expressions appeared in whose cinematic quality has been subjectively recognized on the global stage by winning the Oscar for Best Animated Short Film. Many contents and visual effects of the film were expressed with metaphor. Story and sequence were analyzed through the language system-based 'Conceptual Metaphor Analysis Framework'. In addition, characters have been analyzed through the 'Visual Metaphor Analysis Framework'. The framework is to analyze visual dimensions which are derived when concepts are structuredin animation. This paper has attempted to investigate and reveal patterns how animation self-organizes or how animation self-realizes through linguistic objectives. That is, it is to reveal how animation communicates with the audience from the metaphoric perspective among many conventional ones. In an animated film, metaphor is a fundamental means to connect fragmented images, produce a holistic view and therefore induce creative communication with the audience. The essential motive of metaphor which is expressed in various styles in is modern people's feeling of loss and sense of missing something. Train, bottle top, food, lost-and-found center, in-between space and lost items have significance across the movie. According to an analysis, metaphor offers simplicity and freshness as an aesthetic function. In addition, the metaphor expresses lengthy contents and various meanings implicitly, delivering an economic function. With a creative function, metaphor is a tool to generate new meanings. In other words, an animated film is a medium to inspire and move the general public as a means of communication and thinking, not just an entertainment for young generations. After all, metaphoric expressions have been used to deliver diverse and deep meanings in animated films.

• Journal of the Korea Furniture Society
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• v.21 no.2
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• pp.133-143
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• 2010

Although past design developments that emphasized only the outer appearances of products were mostly concentrated on the areas of forms and colors in an attempt to satisfy humans' visual needs, it is expected that future designs to come will go in the direction to stimulate more diversified human senses. This means expansions to the five senses including the auditory sense, the sense of smell, the tactile sense and the taste and even to the area of synesthesia where two or more senses are stimulated or coexist. Although the dictionary definition of synesthesia is a concept of arousing another sense through a sense, studies of synesthesia in design go one step further from here to mean compound senses, that is, the synesthesia in an expanded meaning to feel an object (thing) through many sensory organs simultaneously. The synesthesia in the expanded meaning is applying multiple senses simultaneously in recognizing one thing to comprehensively judge and feel the thing. Recent design trends are going in a direction to basically satisfy humans' visual needs through controlled forms and colors while inducing another new feeling through expressions of diverse feels of materials within existing forms. In this change of the times, studies on furniture designs are conducted through factors of in synesthesia linked with other senses and have an important meaning that can enhance the value of designs.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.375-388
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• 2001

This study looks into the appearances and contents of undercloths advertisements by analyzing them appeared in women\`s magazines of Korea, which are , and published between 1965 and 1999 mainly targeting the women at the age of 20s through 40s. This study leads to the following conclusions : 1. Most of advertisements use 1 or 2 pages of the magazines with colored pictures. 2. The most frequently advertised underclothes is brassieres and white and pastel are dominant colors. Also, spandex and cotton are the most frequently appeared fabrics in the advertisement. 3. Professional Korean female models in twenties are the most favored choice for those underclothes advertisements and those models dominantly face their fore part with showing the body parts higher than their knees. Solo model appear in most of the advertisements and independent appearance is dominant. 4. In the visual expression of the advertisements explicitly show the products for visual expression, whereas verbal expressions mostly emphasize the benefits to be obtained from the underclothes advertised. 5. Advertisement appeals are mainly base on readers\` reason rather than sensibility.

• Asia pacific journal of information systems
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• v.11 no.2
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• pp.121-139
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• 2001

VOQL* query language, recently proposed, is a visual language for object-oriented databases. It is based on Ven Diagram and graph, so that the underlying schema structure can be naturally implied in query expressions. In VOQL*, structural relationship among the objects used in a query expression is represented graphically and thus it has formal semantics that can be inductively defined, as well as it can be used with ease. In this paper, we proposed revised VOQL* and introduced its query processor, InQs(Intelligent Querying System). While retaining the merit of VOQL* that it allows the structural relationship among the objects to be represented visually, the revised VOQL* has another merit that users can formulate a query interactively using various forms supplied by InQs. As a query processor that translates queries in revised VOQL into those in ODMG OQL, InQs provides an environment in which users express queries in revised VOQL* and then the system automatically translates them into those in ODMG OQL. Translation algorithm of InQs is much simpler and intuitive than other algorithms used in QUIVER and other systems, since it reflects the formal semantics of VOQL*, which is defined inductively.

• The Research Journal of the Costume Culture
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• v.26 no.3
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• pp.327-345
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• 2018

This study analyzes characteristics related to Kineticism found in different kinds of displays and arts in order to contemplate modern window displays. The standard of analysis is based on kinetic arts pioneer George Rickey's six display factors. Projection features and movements were categorized into "Direct movements," "Indirect movements," and "Relative movements." Results were obtained through analysis of different examples of each category. First, the most observed form of Kineticism was direct movements on the window display. Along with the development of science and techniques, a variety of divergent motional methods has arisen. After that followed indirect movement, which uses visual media and lights for presentation. The third was relative movements, which provides communication in practical experience; users' motion is used to provide modification in vision. Fourth, we observed that direct movements and indirect movements can express fluidity depending on materials, inducing a sense of tension within the window display through visual stimuli together with dynamism from mechanical exposure. Fifth, when direct movements pair with relative movements, it triggers customer participation; though it does not deliberately induce participation, the effects are beyond expectation. Sixth, if indirect movements meet relative movements, the motion of lights offers a major stimulation to the customers along with various expressions, thus achieving an interactive domain.

• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.1-10
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• 2015

This study, which focuses on a masquerade, starts from the concept that all men exist as visual objects as well as visual subjects before discussing an issue of sexuality to inquire into masquerade characteristics of fashion photography. Masquerade is a concept that can describe various and multidimensional attributes of humans in social norms prescribed separately for men and women till now, and the concept has not yet been introduced in the field of fashion. However, it is considered a measure to analyze contemporary expressions of sexuality, on which a need for this research is raised. This study looks into the basic concept of the object and the ego through a psychoanalysis-related literature review. This study, then inquires into Jacques Lacan's notion of gaze and Roger Caillois's theory of mimicry through related specialty publications. This study reinterprets the concept of masquerade from Lacan's perspective and carries out an empirical analysis of masquerade characteristics in contemporary fashion photography based on the result drawn in parallel. Sexual masquerade shown in fashion photography based on the concept of masquerade is as follows: first, it appears as normative sexual description, divided into male and female by social norms; second, sexual ambiguity, obscuring the distinction between the sexes through playful and bombastic forms; and lastly, sexual subversion, disguising as the opposite sex through putting on clothes of the opposite sex.

• Journal of Fashion Business
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• v.6 no.3
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• pp.94-109
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• 2002

The advent of the information age, advancement of the multi-media, and proliferation of internet are all ushering-in a new era of a cyber world. The artistic expression is unfolding into a new genre of a new era.. In the modern art, the boundary between the fine art and the applied art is becoming blurred, and further, distinction of fine art from popular art is also becoming meaningless. The advancement of science and technology, by offering new materials and visual forms, is contributing to the expansion of the morden art's horizon. As fashion illustration is gaining recognition as a form of art which mirrors today's realities, it has also become increasingly necessary to add variety and newness. Fashion illustration is thus becoming the visual language of the modern world, capable of conveying artistic emotion, and at the same time able to effectively communicate the image of fashion to the masses. The increasing awareness of artistic talent and ingenuity as essential components of fashion illustration is yielding greater fusion between fashion illustration and art & technology. This has resulted in the use of the advanced computer technology as a tool for crafting artistic expressions, such as fashion illustration, and this new tool has opened-up new possibilities for expressing images and colors. Further, the computer-aided fashion illustration is emerging as a new technique for expression. The concept of fashion illustration, history of fashion illustration from its incepton to modern date is reviewed and the simplicity has been researched throughout past studies published in Korean and overseas Journals.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.6
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• pp.1027-1037
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• 2023

This paper presents an efficient method for generating informative apparel fit comments by analyzing 122 fit reviews found in 7 menswear patternmaking textbooks, which include both domestic and foreign sources. The fit reviews for menswear were categorized into top and bottoms, and the expressions varied based on body parts, causes, and fit issue appearances. The causes of fit issues could be attributed to size errors and structural errors in both top and bottoms. Both top and bottoms had fit reviews concerning unique body types, but it could cause trouble among learners as both were based on unclear criteria for body type classification and lacked relevant explanations. Common fit issue appearances included compound wrinkles, pulling wrinkles, sagging wrinkles, and garment being away from the body. No clear correlation was observed between the causes of fit issues and specific appearances. Limitations were identified in using textbooks as educational data, such as inconsistent solutions for different body types or fit issues, and the presence of ambiguous visual materials. As a result, strategies such as categorizing fit issue appearances, providing 3D visual examples with subcategorized causes, body types and parts could enhance quality of fit reviews and improve fit outcomes in clothing production systems.

• International Journal of Advanced Culture Technology
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• v.12 no.1
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• pp.209-219
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• 2024

We studied the effects of science high school students on the change of epistemological beliefs in chemistry and the academic achievement of chemistry by completing 'advanced chemistry'. For seven months from July 2023 to January 2024, 80 first-year students at G Science High School in Gyeongnam were surveyed and analyzed for epistemological beliefs about chemistry before and after classes in advanced chemistry. Chemistry academic achievement was classified by 'upper' and 'lower' levels based on the end-of-semester grades of 'advanced chemistry' in the second semester of the first year and analyzed with the SPSS 28 program. After completing advanced chemistry, the epistemological belief in chemistry increased in the proportion of favorable responses. After completing advanced chemistry, the proportion of favorable responses increased in detailed factors such as 'effort', 'math link', 'outcome', 'reality link', and 'concepts', while the 'visualization' factor decreased. Although completing 'advanced chemistry' positively changed students' epistemological beliefs about chemistry, visual expression showed little contribution to understanding chemical concepts. Based on the above results, we will have to focus on the design of instructors' teaching-learning, such as learner-centered inquiry experiments, creative visual expressions, etc., for successful chemistry teaching-learning.

• Cross-Cultural Studies
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• v.53
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• pp.131-161
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• 2018

Emotional expressions are expressions that show the internal condition of mind or consciousness. Types of emotional expressions include vocabulary that describes emotion, the composition of sentences that expresses emotion such as an exclamatory sentence and rhetorical question, expressions of interjection, appellation, causative, passive, adverbs of attitude for an idea, and a style of writing. This study focuses on vocabulary that describes emotion and analyzes the aspect of translation when emotional expressions of 'Hu(怖)' is shown on "Kokoro". The aspect of translation was analyzed by three categories as follows; a part of speech, handling of subjects, and classification of meanings. As a result, the aspect of translation for expressions of Hu(怖)' showed that they were translated to vocabulary as they were suggested in the dictionary in some cases. However, they were not always translated as they were suggested in the dictionary. Vocabulary that described the emotion of 'Hu(怖)' in Japanese sentences were mostly translated to their corresponding parts of speech in Korean. Some adverbs needed to add 'verbs' when they were translated. Also, different vocabulary was added or used to maximize emotion. However, the correspondence of a part of speech in English was different from Korean. Examples of Japanese sentences that expressed 'Hu(怖)' by verbs were translated to expression of participles for passive verbs such as 'fear', 'dread', 'worry', and 'terrify' in many cases. Also, idioms were translated with focus on the function of sentences rather than the form of sentences. Examples, what was expressed in adverbs did not accompany verbs of 'Hu (怖)'. Instead, it was translated to the expression of participles for passive verbs and adjectives such as 'dread', 'worry', and 'terrify' in many cases. The main agents of emotion were shown in the first person and the third person in simple sentences. The translation on emotional expressions when a main agent was the first person showed that the fundamental word order of Japanese was translated as it was in Korean. However, adverbs of time and adverbs of degree tended to be added. Also, the first person as the main agent of emotion was positioned at the place of subject when it was translated in English. However, things or the cause of events were positioned at the place of subject in some cases to show the degree of 'Hu(怖)' which the main agent experienced. The expression of conjecture and supposition or a certain visual and auditory basis was added to translate the expression of emotion when the main agent of emotion was the third person. Simple sentences without a main agent of emotion showed that their subjects could be omitted even if they were essential components because they could be known through context in Korean. These omitted subjects were found and translated in English. Those subjects were not necessarily humans who were the main agents of emotion. They could be things or causes of events that specified the expression of emotion.