• Cross-Cultural Studies
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• v.51
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• pp.329-356
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• 2018

Types of emotional expressions are comprised of vocabulary that describes emotion and composition of sentences to express emotion such as an exclamatory sentence and a rhetorical question, expressions of interjection, adverbs of attitude for an idea, and a style of writing. This study is focused on vocabulary that describes emotion and analyzes the aspect of translation when emotional expression of 'Kyo(驚)' is shown in "Kokoro". As a result, the aspect of translation for expression of 'Kyo(驚)' showed that it was translated to vocabulary as suggested in the dictionary in some cases. However, it was not always translated as suggested in the dictionary. Vocabulary that describes the emotion of 'Kyo(驚)' in Japanese sentences is mostly translated to corresponding parts of speech in Korean. Some adverbs needed to add 'verbs' when they were translated. Different vocabulary was added or used to maximize emotion. However, the corresponding part of speech in English was different from Korean. Examples of Japanese sentences expressing 'Kyo(驚)' by verbs were translated to expression of participles for passive verbs such as 'surprise' 'astonish' 'amaze' 'shock' 'frighten' 'stun' in many cases. Idioms were also translated with focus on the function of sentences rather than the form of sentences. Those expressed in adverbs did not accompany verbs of 'Kyo(驚)'. They were translated to expression of participles for passive verbs and adjectives such as 'surprise' 'astonish' 'amaze' 'shock' 'frighten' 'stun' in many cases. Main agents of emotion were showat the first person and the third person in simple sentences. Translation of emotional expressions when a main agent was the first person showed that the fundamental word order of Japanese was translated as in Korean. However, adverbs of time and adverbs of degree were ended to be added. 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 causes of events were positioned at the place of subject in some cases to show the degree of 'Kyo(驚)' 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 the 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 human who was the main agent of emotion. They could be things or causes of events that specified the expression of emotion.

• Korean Journal of Child Studies
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• v.23 no.1
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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.

• Journal of Korean Theatre Studies Association
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• no.52
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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.

• Korean Journal of Child Studies
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• v.26 no.6
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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.

• Journal of the Korean Society of Costume
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• v.67 no.2
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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.

• The Journal of the Korea Contents Association
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• v.14 no.8
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• pp.137-149
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• 2014

The purpose of this study is to elucidate the emotion-understanding of Korean and thus to find out the importance of their way of self-expression by exploring the sentiment of Korean as regards their way of communications and self-expression therein. The method of this study is, being presumed the Cheong as the Korean's sentiment, to define the differences of concept between the Cheong traditionally used by them and the emotion employed in the psychology or the theory of consultation. And also, this study examines the aforementioned importance under the presumption that the Cheong in the Korean Culture makes it difficult that their emotion-understanding and self-expression to be perfect in their way of communication. In order to attain such purpose in this study, it investigates how they have seen the emotion-understanding and self-expression as to the way of communication throughout Carl G. Jung's psychology and T oegye Yi Hwang's theory of Human Mind and Nature respectively in the Occidental and Korean's Ideology. The most important thing, to be enlightened in this study, in the way of communication and self-expression are the emotion come from the big-Self(Self) in Carl G. Jung's psychology and that of the righteous sentiment from the human nature in T oegye Yi Hwang's theory of Human Mind and Nature. In conclusion, it reveals that our behavior, unvaryingly in the Orient and the Occident, is not the rational subject but the emotional one to be reacted only if our minds are attached mutually.

• Journal of Digital Convergence
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• v.15 no.12
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• pp.563-571
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• 2017

The purpose of this paper is to establish an emotional expression factors of digital eye contents that can be applied to digital environments. The emotion which can be applied to the smart doll is derived and we suggest guidelines for expressive factors of each emotion. For this paper, first, we research the concepts and characteristics of emotional expression are shown in eyes by the publications, animation and actual video. Second, we identified six emotions -Happy, Angry, Sad, Relaxed, Sexy, Pure- and extracted the emotional expression factors. Third, we analyzed the extracted factors to establish guideline for emotional expression of digital eyes. As a result, this study found that the factors to distinguish and represent each emotion are classified four categories as eye shape, gaze, iris size and effect. These can be used as a way to enhance emotional communication effects such as digital contents including animations, robots and smart toys.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2012.05a
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• pp.75-76
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• 2012

• Korean Journal of Child Studies
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• v.21 no.3
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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".

• Asia pacific journal of information systems
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• v.27 no.1
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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.