• Cross-Cultural Studies
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• v.25
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• pp.743-773
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• 2011

In this research, the writer has done a comparative analysis of 4,791 trisyllabic modern Chinese vocabularies from "a dictionary for trisyllabic modern Chinese word" and the corresponding Korean words written in Chinese characters out of 170,000 vocabularies hereupon that are collected in "new age new Korean dictionar y". Aa a result, we have the total 407 pairs of corresponding group with the following 3 types: 1) Chinese : Korean 3(2) : 3 syllable Chinese characters with completely same form-morpheme and same meaning, use, class (376pairs, 92.38% of 407), 2) Chinese : Korean 3 : 3 syllable Chinese characters with completely same form-morpheme and partly same meaning, use, class (18pairs, 4.42% of 407), 3)Chinese : Korean 3 : 3 syllable Chinese characters with completely same form-morpheme and different meaning, use, class (13pairs, 3.19% of 407).

• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.1
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• pp.137-149
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• 1993

The concept of style including the external form and internal meaning provides a useful structure to clarify the historical phenomenon on dress. The purpose of this study was to explore surrealism related to the external form and internal meaning and the stylistic change of surrealism through 1930 and 1988 according the linked solution proposed by Brodsky. The results were as follows; 1. In terms of double roots including the external form and the internal meaning on the surrealism of dress, first, the external form was founded to be that each objects having symbolic meaning was dislocated from its original place to dress. Second, the aspects of internal meaning intended to represent not rational and external world but irrational as well as to reveal other nature of object or dress itself. 2. The change of surrealistic style on dress was characterised as "linked solution" change theory than cyclical change theory through the historical data from 1930 to 1988 of documentary sources.

• Lingua Humanitatis
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• v.6
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• pp.7-31
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• 2004

This paper argues that (1) word-for-word literary translation is not possible; all it does is achieve what Chukovsky characterized as 'imprecise precision' (1984:47), (2) contra to Nida (1969) and others, translation does not just mean translating meaning, and (3) therefore, a translator must negotiate an uneasy but inevitable compromise between accuracy and elegance. To make the translated passage just as pleasing, moving, and cathartic as the original passage as much as possible, a great deal of literary skill is required on the part of the translator. The iniquity of translators is not so much infidelity as infertility to produce an offspring worthy of an heir to the original writer. Translators are not traitors; they are traders, or literary merchants, who trade one form of linguistic unit for another, often meaning for form, or sense for sound, but sometimes form for meaning. A translator then is not a man of treason but is a tradesman.

• Cross-Cultural Studies
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• v.30
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• pp.187-222
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• 2013

In this study, From 1,560 entry-level of TOPIK standard vocabularies are 702 Sino-Korean words selected which account for 45% of the whole vocabularies in TOPIK. In addition, the same form and morpheme words in Sino-Korean are sorted out by comparing them with 5,000 words of the NEW HSK vocabularies in Sino-Korean morpheme, array position of morpheme, meaning, and usage. Those are categorized into three parts : type of completely the same form-morpheme and same meaning, use, class(189 pairs), type of completely the same form-morpheme and partly same meaning, use, class(28 pairs), and type of completely the same form-morpheme and different meaning, use, class(10 pairs). The first type of words that account for 83.26% of them are used in exactly the same way in both Chinese and Korean. Through an accurate understanding of these vocabularies could either Chinese-speaking Korean learners or Korean-speaking Chinese learners apply those words in their mother tongue to the acquisition of the target language and get more effective means of learning methods for language proficiency test.

• Journal of Physiology & Pathology in Korean Medicine
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• v.24 no.6
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• pp.911-920
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• 2010

The basic principles in the "Spleen-stomach theory(脾胃論)" sets up the phases and roles of spleen-stomach (脾胃) by establishing Earth(地 坤 土) and exposing the reality of spleen-stomach(脾胃) of human body which has its own shape and form with Heaven's reality exhibited. The meaning of Earth is based on the constant meaning of Earth in 'Earth Original-Earth as extended and stable ground(坤元一正之土)' giving form and shape, and Earth's movement with circulation, then exposes itself as 'Earth as plowing land(耕種之土)' concerning both the application of Five Phases and the physical characteristics of Earth. The Yin-Yang recognition on Earth is revealed as Yin Earth(陰土)-Yang Earth(陽土). Spleen(脾) was established as Yin Earth(陰土) and Stomach(胃) as Yang Earth(陽土). The seasonal assignment of Earth is Indian Summer(長夏), which is divided from Summer, and becomes Heat(熱), and the Yin-Yang recognition of Earth comes to be the meaning of the center and border. According to the Five Phasic recognition, it becomes Earth(土) and gets to be Dampness(濕) in accordance with Six Qi(六氣). 'Extreme Yin(至陰)' indicates Qi's status exposing the fundamental meaning regarding the role of creating, changing, and propelling Spleen-Stomach(脾胃) as a characteristic Yin Earth. Earth comprehends 'Four Courses(四維)' meaning, recognizes them as four parts of the 12 Earth's Branches(辰戌丑未) and the terminals of four seasons(四季之末), and has the meaning of the president of the change in four seasons. The theory of principle in the "Spleen-stomach theory(脾胃論)" stands on the basis of the 'Form Qi theory(形氣論)' and that of 'Upbearing, Downbearing, Floating, and Sinking theory(升降浮沈論)'. It manifests the theory of movement in the interaction between Form(形) and Qi(氣), and 'Qi Interior Form Exterior(氣裏形表)' indicates that Qi(氣) moves interiorly and Form(形) exteriorly.

• Journal of the Korean housing association
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• v.3 no.1
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• pp.35-46
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• 1992

The purpose of this study is to find out the architectural device for two places to be perceived as having distinct characteristics from each other. A residence of Yi Dynasty is selected as the object appropriate for this purpose and analyzed accordingly. The result of the analysis can be presented on two demensionis one is that of the concrete form and the other is that of the abstract meaning generated by the form. It is meaningless to employ the form of the architecture of the past in today's architecture. The language of the architecture of the past must be reinterpreted into that of tody. This means understanding and expressing the meaning of the architecture of the past, using the form and materials available today. Without limiting its scope to figuring out "the architectural device for giving destinction" on the formal demension. this study tries to clarify the meaning generated by the form, on which its significance can be said to lie.

• Journal of architectural history
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• v.12 no.4 s.36
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• pp.27-48
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• 2003

This paper aims to identify the meaning of architectural form of the East and the West. Ordinarily, we know the visual differences of architectural form between the two cultural families, and the technical reasons of such differences. However, the East and the West have their own views of architectural form that are derived from their own views of architecture, and again the views of architecture are rooted in their own views of the world. The paper maintains a comparative stance between the two cultures in analyzing the different concepts of architectural form, and employ the ideas of 'Form(形象)' and 'Energy-Form(氣形)' as a kind of representative concept of the two views of architectural form. It is discussed that the idea of Form pursued the realization of ultimate substance which is less materialistic but more ideal., while, the idea of Energy-Form pursued the realization of oneness and health through mutual interaction between man, architecture and nature. Architectural form in the West has been the purposeful expression of human ideal, while in the East, it was an expediential device for better energy condition. It seems important to understand such differences of the meaning of architectural form between the East and the West, since, in present time, we tend to think that the Western conception of architectural form is the only possible one. But it is not generally known that the Western conception of form has very particular background reason of its own which is unique to Western culture, and on the other hand, the nature of East Asian conception of architectural form is generally unknown.

• Phonetics and Speech Sciences
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• v.4 no.2
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• pp.21-31
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• 2012

The purpose of this study is to find the influence of Chinese falling-rising tone on the pitch pattern of corresponding partly-different-form-same-meaning Sino-Korean words delivered by Chinese learners of Korean and to examine how the falling-rising tone of corresponding Chinese words affects the pitch patterns of Sino-Korean words. The scope of this research is limited to Chinese learners of Korean, especially on two groups of Sino-Korean words - AB:CB type and AB:AC type that the are second-most frequently occuring different-form-same-meaning Sino-Korean words. In this study, Chinese learners pronounced both Chinese words and corresponding Sino-Korean words. Learners' pitch patterns were recorded and analyzed using software and compared with the tone of corresponding Chinese words. Experimental results showed that AB:CB type Sino-Korean words were not affected by Chinese 'falling-rising tone - high and level tone'. As well as AB:CB type, experimental results showed there were no significant influence on the pitch pattern of AB:AC type Sino-Korean words by Chinese falling-rising tone. But it was clear that Chinese learners' made pitch errors on both AB:CB type and AB:AC type Sino-Korean words. In conclusion, the Chinese learners' pitch patterns of partly-different-form-same-meaning Sino-Korean words are different from Korean native speakers', but their pitch errors cannot be attributed to Chinese falling-rising tone.

• Korean Institute of Interior Design Journal
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• no.11
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• pp.57-63
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• 1997

In the early 20'c, scientific thoughts make a change the absolute and separate concept of space-time into relative concept of continual entity; a kind of ideal world. It suggests that the meaning of geometry as absolute truth with which has endowed human beings would changed to a relative meaning of accumulation in intellectual work on 'nature'. This cognitive changes appeared into absolute arts in 20'c like Cubism, Superematism or Constructivism. De Stijl movement which had recepted the relative concepts like Einstein's 'theory of relativity' as a developed thought from Newton-Cartesian cognition on the world. Abstration would be adequate method for expressing the dynamics and interrelationship between forms and for giving values to indivisual elements in a compositiov. This method had appeared Modern architectural form, as a common framework. The expression characteristics of geometrical design in Deconstructive and Experimental architecture were summerized in four features through the results of the analysis. First, the relation of architectural element and intertextuality is expressed in discontinuation of context and refusal of functional building. Second, the concept of trace expresses as connection of place, decomposing of excavation of trace, trace of axis, trace of fragments. Third, anti-gravity expression is there to express of open cubic, to outgrow of rectangular system, to outgrow of volume, to separate of ground connectiov. Fourth, the complex composition of abstracted geometric form is these to abstracted geometry about indefinite shape, to layer through the overlap and collage, to de-meaning and amusement of form through the pursuit of uncertainty, to indeterminate of formal meaning through operation and composition of similar form cause to the diverse of meaning.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.5 s.142
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• pp.649-661
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• 2005

The purpose of this study was to analyze the inner meaning and outer from of the uniform from a historical perspective. As a research method, this study investigated the significance of the meaning and farm of the uniform in history with a focus on the classification suggested by a Japanese scholar, Okuhira Sitse, and analyzed them by design elements. In the theoretical study, the uniform was divided into formal, working and collective uniforms according to the purpose of wear. As results, the plasticity of the uniform was analyzed as the concept involving: authority representing the power and influence within the organization as a inner moaning; differentiation from the rest by expressing the culture and ideology within the organization; cohesiveness among the wearers as members of the specific organization and the binding nature in effect; reliable images to customers due to the appropriate form of dress related to the specific business and controlled self expression; and aesthetics characterizing a given era as a form of aesthetic pursuit. The elements of these inner meanings were translated to the outer form of functional practicality and simplified design, which appeared as the simplified' suit' in a female uniform in workplaces.