• 한국콘텐츠학회논문지
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• 제20권9호
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• pp.648-658
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• 2020

본질적으로 뮤지컬은 다매체성을 지니기 때문에 뮤지컬 음악을 감상할 때 복합적인 감각을 통해 체험하게 된다. 그러므로 뮤지컬 음악을 분석하기 위해서는 그 음악과 직접적인 연관을 가진 가사, 무용, 무대와 같은 다양한 매체와의 상호작용에 주안점을 두어야 한다. 본 연구는 텍스트와 음악의 결합 양상, 움직임과 음악의 결합 양상, 시각적 요소와 음악의 결합 양상을 종합적으로 고려할 수 있는 개념적 혼성 이론(Conceptual Blending Theory)을 통해 뮤지컬 <웨스트 사이드 스토리>의 음악을 분석한다. 뮤지컬에서 가사와 음악의 상호작용으로 만들어지는 결과물, 안무와 음악의 상호작용으로 만들어지는 결과물, 무대와 음악의 상호작용으로 만들어지는 결과물을 탐구함으로써 작품의 예술성과 내재되어 있는 가치를 증명할 수 있다. 또한 개념적 혼성 이론을 적용한 음악 분석을 통해 통합적 해석의 과정 및 체계를 발견할 수 있다. 따라서 개념적 혼성 이론은 뮤지컬 음악 분석 방법론으로써 충분한 효용성을 갖게 된다.

• 한국실내디자인학회논문집
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• 제15권2호
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• pp.81-90
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• 2006

This treatise makes clear not only a structural methodology of 'the conceptual blending theory' using in a linguistics could be applied to the similar process in a hybrid design but also both methods include the same meaning construction in the sense of a mutual educational system. Both methods have something in common that they are fundamentally focused on a metaphorical expression which implies poetic messages to be concentrated on a formal structure. Therefore, the purpose of this treatise is to examine the structural characteristics in the hybrid design in order to analyze the rhetorical expressions(metaphor, allegory) as symbols of communication. One of the those is intertextuality that expresses metaphorically by blending and borrowing codes and another is hypertextual space where various texts twines around each other making brand-new and diverse organizations, as the combined allegory with a number of hidden expression. Ultimately, it is important that this approach could verify whether it deals the illogical present state of a spacial form or structure with a kind of mechanism of a 'conceptual blending theory' or not.

• 한국조경학회지
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• 제31권2호
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• pp.102-112
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• 2003

This study was carried out to research and develop a shallow green rooftop system which would require low maintenance and therefore could be used for existing rooftops. To achieve these goals, the conceptual model was induced by past studies and the experimental systems were deduced from the conceptual model. On the growth of Sedum sarmentosum grown in these rooftop systems, the effects of artificial substrate type, soil depth, and drainage type were investigated from 3 April to 11 October 2002. Artificial substrates were an alone type and a blending type. The alone type was an artificial substrate formulated by blending crushed porous glass with bark(v/v, 6:4). The blending type was formulated by blending the alone type with loam(v/v, 1:1). Soil depths were 5cm, loom, and 15cm. Drainage types were a reservoir-drainage type and a drainage type. The reservoir-drainage type could keep water and drain excessive water at the same time. The drainage type could drain excessive water but could not keep water. Covering area, total fresh and dry weight, visual quality, and water content per 1g dry matter were measured. All the variables were analyzed by correlation analysis and factor analysis. The results of the study are summarized as follows. The growth increment was higher in the blending type than in the alone type, the highest in loom soil depth and higher in the reservoir-drainage type than in the drainage type. The growth quality was higher in the blending type than in the alone type, the highest in l0cm soil depth, and higher in the drainage type than in the reservoir-drainage type. In consideration of the permissible load on the existing rooftops and the effects of the treatments on the growth increment and quality, the system should adopt the blending type in artificial substrate types, 5~10cm in soil depths, and the drainage type in drainage types. This system will be well-suited to the growth of Sedum sarmentosum, and when the artificial substrate was in field capacity, the weight will be 75~115kg/$m^2$.

• 중국학논총
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• 제69호
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• pp.121-143
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• 2021

'老' refers to the old man with the characteristics of being aged in the original meaning 'to be aged' (adjective), which is a metonymy of 'substituting the whole with a part'. In combination with nouns, '老' uses a lot of metaphorical expressions that are understood through animals closest to the attributes of people with aged characteristics, plants and objects. '老' can be extended to the meaning of 'the survival time, duration, recognition time, and existence time of a person, animal, plant, or object are long', or 'the survival time is over', which can be said to be a metonymy of 'substituting cause with result'. An experienced target respected by people on a positive level and a target with banal thoughts, habits, nature, and personality on the negative level can also be conceptualized and expressed as '老'.

• 대한기계학회논문집B
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• 제31권9호
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• pp.741-753
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• 2007

The elliptic conceptual second moment model for turbulent heat fluxes, which was proposed on the basis of elliptic-relaxation equation, was applied to calculate the turbulent heat transfer in an axially rotating pipe flow. The model was closely linked to the elliptic blending model which was used for the prediction of Reynolds stress. The effects of rotation on the turbulent characteristics including the mean velocity, the Reynolds stress tensor, the mean temperature and the turbulent heat flux vector were examined by the model. The numerical results by the present model were directly compared to the DNS as well as the experimental results to assess the performance of the model predictions and showed that the behaviors of the turbulent heat transfer in the axially rotating pipe flow were satisfactorily captured by the present models.

• 중국학논총
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• 제64호
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• pp.75-98
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• 2019

味觉是人类感受的基本五感之一. 味觉语不仅表现为味道, 还扩展到多个领域, 因为这种语义扩展与我们身体经验有着密切的联系, 所以在多种语言中可以发现其相似性. 但是由于语言使用者的文化, 价值观与思维方式等方面的差异, 所以味觉语也存在着差异. 本论文聚焦于此类现象, 以韩语和汉语的味觉形容词"달다"与"甜"词类的词汇为研究对象, 首先进行了形态结构和基本意义方面的对比. 以此词类为基础, 通过汉韩语的语料分析, 并提出了具体事例, 考察了语义扩展的过程. 接下来根据认知语言学的概念合成理论, 对其机制进行对比分析, 发现了如下特点:韩语的味觉语"달다"与汉语的"甜"在词典上的基本意义都是"蜂蜜或糖的味道". 两种语言的"달다"与"甜", 都是嗅觉, 听觉, 感情, 视觉, 触觉等在其他领域的语义扩展, 是对甜味的肯定经验, 被概念化为积极价值. 相反, 在感情与视觉领域的部分语义扩展中存在两种语言的差异. 除此之外, 在价值意义上, "달다"与"甜"除了具有积极价值意义外, 也具有否定价值意义. 通过本研究, 我们了解到了对人类体验的普遍性以及韩中语言文化圈的特殊性是如何在味觉语"달다", "甜"中体现出来的.

• 대한기계학회논문집B
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• 제29권11호
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• pp.1265-1276
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• 2005

The elliptic conceptual second moment models for turbulent heat fluxes, which are proposed on the basis of elliptic-blending and elliptic-relaxation equations, are applied to calculate the combined forced and natural turbulent convection in a vertical plane channel. The models satisfy the near-wall balance between viscous diffusion, viscous dissipation and temperature-pressure gradient correlation, and also have the characteristics of approaching its respective conventional high Reynolds number model far away from the wall. Also the models are closely linked to the elliptic blending model which is used for the prediction of Reynolds stress. In order to calibrate the heat flux models, firstly, the distributions of mean temperature and scala flux in fully developed channel flow with constant wall difference temperature are solved by the present models. The buoyancy effect on the turbulent characteristics including the mean velocity and temperature, the Reynolds stress tensor, and the turbulent heat flux vector are examined. In the opposing flow, the turbulent transport is greatly enhanced with both the Reynolds stresses and the turbulent heat fluxes being remarkably increased; whereas, in the aiding flow, the opposite change is observed. The results of prediction are directly compared to the DNS to assess the performance of the model predictions and show that the behaviors of the turbulent heat transfer in the whole flow region are well captured by the present models.

• 한국의상디자인학회지
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• 제15권1호
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• pp.59-74
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• 2013

Post-modern society leads us to accept diversity and variability instead of pursuit of the absolute truth, beauty or classical value systems, thus leading to hybrid phenomena. The purpose of this study is to analyze characteristics and expressive effects of hybrid expressions through which to provide conceptual bases for interpreting expanded meanings of fashion illustrations that express aesthetic concepts of hybrid culture. Hybrid refers to a condition on which diverse elements are mixed with each other, so any one element can not dominate others. It is often used to create something unique and new by a combination of unprecedented things. Hybrid can be classified into four categories: temporal hybrid, spatial hybrid, morphological hybrid and hybrid of different genres. Temporal hybrid from a combination of past and present in fashion illustration includes temporal blending by repetition and juxtaposition. Spatial hybrid shows itself in the form of inter-penetration and interrelationship by means of projection, overlapping, juxtaposition and multiple space. Morphological hybrid expresses itself through combination of heterogenous forms and restructuring of deformed forms. Hybrid of different genres in fashion illustration applies various graphic elements or photos within the space, and represents blending of arts and daily living. Such hybrid expressions in fashion illustrations reflect the phenomena of diversity and variability of post-modern society. Hybrid expressions in fashion illustrations predict endless possibility of expressing new images through combining various forms or casual elements and can develop toward a new creative technique.

• 한국인지과학회:학술대회논문집
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• 한국인지과학회 2000년도 춘계 학술대회
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• pp.157-163
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• 2000

이 글은 최근 인지언어학에서 기본적인 핵심이론 중의 하나로 자리잡고 있는 '정신공간 이론'(mental space theory)에 대한 이론적인 소개와 함께 의미구성에 있어서 중요한 개념의 하나인 '사상'(mappings)의 문제를 다루고자 한다. 1994년 이후 Fauconnier와 Fauconnier & Turner 등을 중심으로 진행되어 오고 있는 정신공간 이론에서는, 언어의 의미를 궁극적으로 인지적 공간들 사이의 상호관계가 언어로 '투사'(projection)된 것으로 간주한다. 그리고 기존의 근원영역과 목표영역 사이의 직접적이고 체계적인 사상, 이른바 '두 영역 모델'의 대안으로 '다공간 모델'을 제시하고 있다. 다공간 모델 속에는 '포괄공간'(generic space)과 '혼합공간'(blending space)이 설정되는데, 그 중에서 포괄공간은 근원공간과 목표공간의 모든 개념이나 추상적인 도식 등이 반영되어 있는 반면, 혼합공간은 실제의 다양한 개념적 혼합의 결과로 나타나며, 입력된 공간에서 나타나는 상응되는 부분들 사이의 연결을 활용하고 발전시키기 때문에 그 자체가 또 다른 혼합공간의 입력공간에서 일어나는 개념적 사상의 양상은 매우 다양할 뿐만 아니라 의미구성에 있어서도 중요한 역할을 한다. 이 글에서는 합성어와 같은 어휘적 측면은 물론, 일상의 문장 표현을 통해 나타나는 개념적 사상의 다양한 양상을 고찰하고자 한다.

• 한국연극학
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• 제49호
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• pp.133-169
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• 2013

Reexamining Brecht's theoretical hypotheses in terms of cognitive science, this essay arrived at several temporary interpretations. Cognitive science implies that empathy can precede the rational understanding in Verfremdungseffekt. The spectator tends to simulate the unfamiliar incident and character and feels the consequential embodied emotion that leads to the cognitive understanding. The similar situation can be found in social gestus. According to cognitive science, gesture(social gestus) is simulated in the mirror-neuron of spectator, arousing consequently the embodied emotion that triggers the succeeding understanding. The spectator apts to experience and feel physically the moving gesture before decoding it as a social signification. Brecht's intention that attempts to reveal the duality of actor and character by eliminating the fourth wall is negated by cognitive science. According to the theory of conceptual blending, the spectator under the eliminated fourth wall mixes actor and character, and simulates this blending image so that he experiences it imaginatively. As such, another kind of illusion can be formed when a fourth wall is collapsed. Meanwhile, the critical thinking of spectator Brecht wanted can be hard to occur during the performance. It is necessary for the spectator to recollect the bygone dialogue and action in terms of social context as if he presses the pause, stopping the playback while watching a play in video. In this respect the social meaning Brecht intended can be achieved more effectively by the stop motion like tableau. It would not only give the time for the spectator to consider the implied social signification, but also make him possible to decode a semiotic meaning as if interpreting a still picture. Or it can be delivered by the dialogue that expresses the playwright's critical judgement. In this case, the subject of critical thinking is not the spectator but the author. The alternative explanation that the cognitive science suggests illuminates theoretically the reasons why Brecht's theory fails to be realized in practice. In a sense, Brecht's theory is nothing but a theoretical hypothesis. It takes the premise that the emotion hinders the rational thinking, understanding emotion and reason oppositively like Plato. This assumption is negated easily by the recent cognitive science that sees the reason as a by-product of physical experience including emotion. The rational understanding, in this sense, begins from the embodied emotion. As such the cognitive science denies the dichotomy of emotion and reason that Brecht adopted. The theoretical hypothesis of cognitive science makes us recognize again the importance of bodily experience in theatre. In theatre the spectator tends to experience physically before decoding the intellectual meaning. The spectator Brecht wanted, therefore, is far from the reality. The spectator usually experiences and reacts physically before decoding the meaning critically. Thus Brecht's intention can be realized by the embodied emotion resulted from simulation. This tentative interpretation suggests that we need to pay more attention to the empirical study of spectatorship, not remaining in a speculative study.