• 제목/요약/키워드: expression of emotion

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소설 『こころ』에 나타난 감정표현 '경(驚)'에 관한 번역 양상 - 한국어 번역 작품과 영어 번역 작품을 중심으로 - (A study about the aspect of translation on 'Kyo(驚)' in novel 『Kokoro』 -Focusing on novels translated in Korean and English)

  • 양정순
    • 비교문화연구
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    • 제51권
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    • pp.329-356
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    • 2018
  • 감정표현의 종류에는 감정을 묘사하는 어휘, 감탄문 수사의문 등의 감정표현을 위한 문 구성, 간투사 표현, 발상태도의 부사, 문체 등이 제시되고 있다. 본고는 이러한 감정표현 가운데서 감정을 묘사하는 어휘를 중심으로, "こころ"에 나타난 '경(驚)'의 감정 표현의 번역 양상을 분석했다. 그 결과 '경(驚)'에 관한 번역 양상을 보면 사전에 제시한 대로의 어휘로 번역되는 경우도 있었지만 꼭 그렇지만은 아니라는 것을 알 수 있었다. 일본어 문에서 사용된 '경(驚)'의 감정 어휘에 대해, 한국어 역에서는 대체로 '동사⇨동사, 형용사', '부사+동사⇨동사' '부사⇨부사'로 번역되었지만, 감정표현을 강조하기 위해 다른 어휘가 더해진 경우가 있었다. 일부 '명사'는 용언을 이용해 번역되기도 했다. 상황에 따라 번역어휘는 'Surprise류(類)' 뿐 아니라 'Fear류(類)'과 'Sadness류(類)'의 어휘까지도 다양하게 사용되었다. 영어 역의 경우, 한국어 역에서 보였던 것과 다른 양상을 보였다. 주로 '동사⇨be+동사의 과거분사', '부사+동사⇨be+동사의 과거분사' '부사⇨be+동사의 과거분사'로 번역되었으며, 'Surprise류(類)', 'Fear류(類)' 등의 감정을 표현하는 동사 외에 감정 주체의 상태를 대체 표현할 수 있는 동사로 까지도 이용되는 등 매우 다양했다. 문중에 감정주체가 있는 경우의 한국어 역은 대체로 일본어 문과 일 대 일 대응 방식을 보였다. 문중에 감정주체가 없는 경우도 유사한 성향을 보이면서도, 3인칭인 경우에는 생략된 요소가 복원 가능하도록 유도한 번역이 보였다. 영어 역을 보면, 문중에 감정주체가 있는 경우에서만 아니라, 문중에 감정주체가 없는 경우도 생략된 감정주체 및 이를 판단하는 판단주체까지도 복원시켜 번역했다. 일본어와 한국어와 달리 주어는 감정을 느끼는 사람만 온 것이 아니라, 사건, 행위, 감정을 일으키는 원인이 제시되기도 했다.

어머니가 지각한 아동의 기질, 어머니의 정서조절 및 양육행동과 아동의 정서조절간의 관계 (Child's Sex, Temperament, Mother's Emotion Regulation and Parenting as Related to Child's Emotion Regulation)

  • 임희수;박성연
    • 아동학회지
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    • 제23권1호
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    • pp.37-54
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    • 2002
  • The purpose of study was to examine child emotion regulation as a function of child's sex, temperament, mother's emotion regulation, and mother's parenting. The subjects were 386 mothers of fifth or sixth graders in Seoul and Kyonggi province. The data were gathered through questionnaires developed for the current study. The major findings were as follows: 1) There were significant sex differences in some categories of child's emotion regulation. 2) The more active the child's temperament, the child showed more negative emotion regulation(venting, aggressive expression, avoidance). 3) Mother's negative emotion regulation was significantly related to the child's negative emotion regulation. 4) There were significant correlations between mother's parenting and child's emotion regulation. That is, mother's positive parenting was related to child's positive emotion regulation. 5) The relationship between mother's emotion regulation and child's emotion regulation was mediated by mothers' parenting.

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기호로서의 신체적 연기: 그것의 연극적 특성과 인지과학적 원리 (The Physical Acting as a Sign: Its Theatrical Features and Cognitive Science Principles.)

  • 김용수
    • 한국연극학
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    • 제52호
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    • pp.271-317
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    • 2014
  • This essay studied the acting theories of Diderot, Delsarte, Meyerhold, and Artaud to know the historical formation of 'sign acting' and its theoretical and aesthetic appropriateness. The sign acting so far discussed shows the repetitive patterns of idea as follows. The sign acting (1) emphasizes the physical expression such as gesture and movement, (2) assumes that the physical expression functions as a sign evoking special emotion and thought, (3) thus recommends the imitation of the outer sign, (4) uses a tableau for the effective reception of outer sign, (5) aims for the spectator oriented aesthetics as it stresses the result of outer sign rather than the creative process of a role, (6) assumes that the emotional reaction or the intellectual understanding springs from the physical experience, (7) thus emphasizes the physical language rather than speech, (8) can attain the appropriateness of physical language by the recent theories of cognitive science. Besides having such commonness, the sign acting also reveals the individual differences. For instance, the intended sign for Diderot and Delsarte was the sign of emotion, for Meyerhold the stylized sign of circus and acrobatics, and for Artaud the spiritual sign. If Diderot and Meyerhold demands the cool consciousness for the correct sign acting, Artaud's sign acting tends to pursue the state of trance. And if Diderot, Delsarte, and Meyerhold think the sign acting on the level of sensory appeal, Artaud insists that the sign acting should dismantle the spectator's sense. As such the discussion of sign acting shows both recurrent ideas and new visions, forming an unity out of diversity. Perhaps the sign acting is a matter of practice before we consider it as a theory. It is not only supposed to have been existed practically since ancient theatre, but also used by actors consciously and unconsciously in expressing certain emotion and thought. We need to study the sign acting more academically, considering its long history and aesthetic potentials. In fact the sign acting has been an essential element of acting, in spite of bad reputation judging it as a banal and worn-out style. It is true that the sign acting, in the worst case, could produce a stereotypical expression. It was this aspect of sign acting that caused a fierce negative reaction of the realists who sought the natural expression based upon psychological truth. Of course the sign acting has a serious problem when it stays banal and artificial. But we need to see this issue from a different perspective. What is the natural expression of emotion? How is it free from the learned way of expression? In some respect, we use, in reality, a learned expression of emotion that could be accepted socially. For instance, when we attend a funeral, we use the outer sign of mourning gestures learned socially. If a semiotic expression pervades various aspects of our life, the acting, being the representation of life, seems not to be free from codified expression. The sign acting could be used consciously and unconsciously in all kinds of acting.

유아의 정서능력과 놀이행동 간의 관계 (The Relationships Between Children's Emotional Competence and Play Behavior)

  • 이효림;엄정애
    • 아동학회지
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    • 제26권6호
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    • pp.1-15
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    • 2005
  • The purposes of this study were to assess children's emotional competence, to examine whether there was a difference in children's emotional competence according to their gender, and to investigate the relationship between children's emotional competence and their play behavior. The subjects of this study were 104 four-year-old children(56 boys, 48 girls). Collected data were analyzed by frequency, percentage, means, standard deviation and Pearson's correlation. The results were as follows : First, there was meaningful correlation among the emotional competence measured by teacher, the understanding and expression of emotion and the emotional regulation measured by mother. Second, there was difference in children's emotional competence according to gender. Specifically, girls showed better competence in the socio-behavioral emotional competence and the understanding and expression of emotion than boys. Third, the dramatic play and the group play had some meaningful correlation with the emotional competence measured by teacher and the understanding and expression of emotion measured by mother.

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현대 패션에 나타난 정중동(靜中動)의 표현 연구 (A Study on the Jeong-Jung-Dong [Movement in Silence] Expression Contemporary Design)

  • 이연규;간호섭
    • 복식
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    • 제67권2호
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    • pp.52-67
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    • 2017
  • This is the precedent study on the modern fashion design using Korean emotions, and its aim is to study the expressions in the modern fashion based on 'Jeong-Jung-Dong' idea from Korean dancing, which implicates the Korean emotion deeply among the artworks and give essence similar to the clothing. 'Jeong-Jung-Dong', a unique idea, in the Korean traditional dancing is the philosophy that involve the paradox expression, 'Movement in Silence,' which represented the emotion of Korean dancing for a long time. The main characteristics deducted in 'Jeong-Jung-Dong' were 1) the incomplete and complete by atypical, 2) the beauty of temperance by symbolism, and 3) amusing mutual relationship. Upon the analysis results of previous studies on the expressions in the modern fashion with 'Jeong-Jung-Dong', they demonstrated the atypical expressed by metaphor, symbolic expression through margin, and mutual relational table by harmony. The analysis of modern fashion expression by 'Jeong-Jung-Dong', which is a philosophical idea in the Korean dancing, could highlight the new way of looking at the clothing and systemize the theory on the Korean emotion to seek the effective expression of artistic features for the culture together with introduction of our unique emotion in the creative design process by understanding of humanitarian and philosophical ideologies to be utilized in the future Fashion Design.

한국인의 의사소통과 자기표현에 대한 연구 -칼 융의 심리학과 퇴계의 심성론을 중심으로- (A Study on the Korean's Way of Communication and the Self-Expression - Centered to Carl G. Jung's Psychology and T·oegye Yi Hwang's theory of Human Mind and Nature -)

  • 김장이
    • 한국콘텐츠학회논문지
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    • 제14권8호
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    • pp.137-149
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    • 2014
  • 본 연구의 목적은, 한국인의 의사소통과 자기표현에서 한국인의 정서를 고찰하여, 그에 따른 감정을 이해하고 자기표현의 중요성을 밝히는데 있다. 연구 방법은 한국인의 정서는 정(情)이라고 보고, 우리가 통상적으로 사용하고 있는 정(情)의 개념과 상담 및 심리학에서 사용하고 있는 감정(感情) 개념에 대한 차이점을 규명하는 것이다. 아울러 한국인의 정(情) 문화가 의사소통에서 온전한 감정 이해와 자기표현을 어렵게 한다고 보고, 어떻게 감정이해를 하고 자기표현을 할 것인지를 고찰하는 것이다. 이를 위하여 본 연구는 소통에 있어서의 감정이해와 자기표현에 대하여 서양의 경우는, 칼 융 심리학을 통하여, 한국사상에서는 퇴계 심성론을 통하여 어떻게 보고 있는지 연구하였다. 본 연구를 통하여 밝히고자 한 것은, 의사소통과 자기표현에서 가장 중요한 것은 칼 융의 심리학에서는 큰 자기(Self)에서 나오는 감정이며, 퇴계 심성론에서는 성(性)에서 나오는 올바른 정(情)에 의한 감정이라는 것이다. 결론적으로 동 서양을 막론하고 우리의 행위의 주체는 이성이 아닌, 감정이라는 것과 마음이 통해야 행동으로 움직인다는 것을 알 수 있었다.

감성 커뮤니케이션을 위한 디지털 눈 콘텐츠 표현 연구 (A Study on The Expression of Digital Eye Contents for Emotional Communication)

  • 임윤아;이은아;권지은
    • 디지털융복합연구
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    • 제15권12호
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    • pp.563-571
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    • 2017
  • 본 연구는 디지털 환경에 적용될 수 있는 디지털 눈 콘텐츠의 감성 표현 요소를 정립하는데 목적이 있다. 특히, 스마트 인형의 적용 가능한 감성을 도출하고, 각 감성에 대한 표현 요소의 가이드라인을 제안하고자 한다. 본 연구를 위하여 첫째, 문헌 정보, 애니메이션, 실제 사람의 영상을 바탕으로 눈으로 표현되는 감성 표현에 대한 개념 및 특징을 연구한다. 둘째, FGI를 통해 스마트 인형의 디지털 눈에 필요한 6가지 감정 -Happy, Angry, Sad, Relaxed, Sexy, Pure-을 정의하고, 각 감성에 따른 표현 요소를 추출하였다. 셋째, 추출된 요소를 분석하여 디지털 눈의 감성 표현에 대한 가이드라인을 정립하였다. 연구 결과 각 감성을 구분하고 표현하기 위한 요소는 눈매, 시선, 홍채 크기, 특수 효과의 총 4가지로 나타났고 각 감성 별로 구분되는 요소별 정의와 특징을 도출하였다. 얼굴 표정에 있어서 가장 중요한 요소인 눈에 대한 감성 표현 연구는 애니메이션을 포함한 디지털 콘텐츠와 로봇, 스마트 인형 등의 감성 커뮤니케이션 효과를 높일 수 있는 방법으로 활용될 수 있을 것이다.

아동의 정서지능과 자아존중감의 특성 및 상호관계 (Characteristics and Relationships of Emotional Intelligence and Self-Esteem in Children)

  • 박영애;최영희;박인전
    • 아동학회지
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    • 제21권3호
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    • pp.5-23
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    • 2000
  • This study of the characteristics and the relationships of children's emotional intelligence (EQ) and self-esteem had a sample of 1060 5th grade children. The rank order of four EQ factors from highest to lowest was "perception of emotion", "other-regulation and self-expression", "self-regulation and emotion utilization", and "empathy". Among self-esteem factors, "general self-worth" had the highest correlation with overall self-esteem; "physical appearance" was most strongly correlated with "general self-worth". Relationships between EQ and self-esteem showed that higher EQ was associated with higher self-esteem. Among EQ factors, "other-regulation and self-expression" was the strongest predictor of "behavioral conduct." The next strongest predictor of self-esteem among EQ factors was "self-regulation and utilization of emotion". Other self-esteem factors well predicted by EQ were "general self-worth", and "scholastic competence".

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An Intelligent Emotion Recognition Model Using Facial and Bodily Expressions

  • Jae Kyeong Kim;Won Kuk Park;Il Young Choi
    • Asia pacific journal of information systems
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    • 제27권1호
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    • pp.38-53
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    • 2017
  • As sensor technologies and image processing technologies make collecting information on users' behavior easy, many researchers have examined automatic emotion recognition based on facial expressions, body expressions, and tone of voice, among others. Specifically, many studies have used normal cameras in the multimodal case using facial and body expressions. Thus, previous studies used a limited number of information because normal cameras generally produce only two-dimensional images. In the present research, we propose an artificial neural network-based model using a high-definition webcam and Kinect to recognize users' emotions from facial and bodily expressions when watching a movie trailer. We validate the proposed model in a naturally occurring field environment rather than in an artificially controlled laboratory environment. The result of this research will be helpful in the wide use of emotion recognition models in advertisements, exhibitions, and interactive shows.