• Journal of the Korean housing association
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• v.13 no.3
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• pp.11-20
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• 2002

The purpose of this study is to find out the meanings of water and water spaces in the Western architecture. The meaning of water is investigated by means of mythology and literature studies. It is found that water has ambivalent meanings, i.e. life and death, creation and destruction, chastity and sensuality. The meanings of water spaces in the Western architecture are dramatic, secret and dynamic, and represent publicity, verticality, formality in addition to desire for authority and realization(embodiment) of paradise. Water space is an essential component of beautiful and dynamic spaces and is used to revitalize dreary spaces.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.5
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• pp.713-722
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• 1995

The purpose of the study is to investigate the types of apparel usage situations percieved by female consumers. Data (N=132) were collected via a questionnaire developed on the focused stoup interviews and previous studies. By multidimensional scaling (MDS) analysis, two dimensions of perceptual criteria on apparel usage situations are identified: formality, and normative aspects of apparel style. Results indicate that apparel usage situations perceived by female consumers can be classified into four major types: (1) Formal-Normative Situations, (2) Informal-Normative Situations, (3) Informal-Normless Situations, and (4) Formal-Normless Situations.

• Journal of Educational Research in Mathematics
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• v.17 no.1
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• pp.1-31
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• 2007

Negative numbers have been one of the most difficult mathematical concepts, and it was only 200 years ago that they were recognized as a real object of mathematics by mathematicians. It was because it took more than 1500 years for human beings to overcome the quantitative notion of numbers and recognize the formality in negative numbers. Understanding negative numbers as formal ones resulted from the Copernican conversion in mathematical way of thinking. we first investigated the historic and the genetic process of the concept of negative numbers. Second, we analyzed the conceptual fields of negative numbers in the aspect of the additive and multiplicative structure. Third, we inquired into the levels of thinking on the concept of negative numbers on the basis of the historical and the psychological analysis in order to understand the formal concept of negative numbers. Fourth, we analyzed Korean mathematics textbooks on the basis of the thinking levels of the concept of negative numbers. Fifth, we investigated and analysed the levels of students' understanding of the concept of negative numbers. Sixth, we analyzed the symbolizing process in the development of mathematical concept. Futhermore, we tried to show a concrete way to teach the formality of the negative numbers concepts on the basis of such theoretical analyses.

• Journal of the Korean Society of Costume
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• v.37
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• pp.231-252
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• 1998

Since the costume directly express human mental and emotional status, colors of costume can be valuable data to grasp the spirit of the times. Black is noticeably used in modern fashion and the study for black costume is very useful to understand modern fashion. There-fore the study mainly approaches the black costume, finding its background of appearance and symbolism, reviews the symbolism and formality of black expressed in the field of paint-ing and design beyond the fashion, and compar-es to fashion. The study result of the thesis is as follows ; First, black as a color is a one to light other neighboring colors, while it is a static, con-tractible and outstandigly attractived color. Second, black color traditionally symbolizes death, earth, air, North and inferior level and in the painting, it symbolized death, despair, fantastic world and the expression of pent-up self, while cities have been symbolized in the black printing in modern times. In the design, black has appeared with the industrial society, which symbolizes functionality and modernity. Third, black in the fashion design was symbolized death, sternness simplicity, modernity, sex, resistance and so on. Death became conspicious by a religious factor since the old times, sternness was influenced by Spanish fashion in the 16th century, simplicity by Dutch fashion in the 17th century and modernity by Baudelaire dandyism and Chanel little black dress, while sex and resistance were urged to the modern times by teenage inferior culture and stickiness to sex. Fourth, the formative features of black costume prefer simplicity, tightness and bareness in form, and in material, usually used glancing materials changed by the effect of light, lace, see-through fabric and matte one with depth. As a result, the black color is summarized to symbol death, expression of self and modernity. It is not a color of emotion but of mentality and artificial one against nature. Black color in fashion gets a strong power to express self in the symbolic aspect and draws a higher attention on human body than the fashion itself. By these features, black costume will be continuously prefered in spite of changes of the fashion.

• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.1-15
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• 2003

This study as one of a series of systematic studies about dancing costumes will compare the costumes of the middle age with their normal style of dress. In brief, this study wants people to know about middle a9e dancing costumes and understand the culture in the middle ages. It was found that people's everyday clothes in the middle age such as Surcot. Surcot-ouvert, Pourpoint, Houppelande were used as dancing costumes. They were, however. changed from the public's clothes which were tight and long. Rather than wearing costume over others. dancers wore costumes which had slits on skirt or sleeves to increase motion. With the Wild Man of the Wood's which only nobles used for their dancing costumes. costumers highlighted the beauty of human body There were various costume materials used in the middle ages like silk. cotton fabrics, linen or brocade. These materials were used for Surcot and Pourpoint as dancing costumes. The naturalness of nature or geometric patterns also was expressed on the costumes. Further about those patterns, because the development of stained glass, vivid colors were used especially red, light green, blue etc. As for the hair styles used, dancers let their hair down and put a jeweled crown over their hair. In summation. dancers wore the same clothes that normal People did, but the costumes were different depending on social status and gender. The costumes of ordinary people's were based upon ordinary clothes that moved and emphasized the dynamic motion. On the other side, the court dancers' costumes were very fancy. symbolizing a measurement of nobles' from wealth and authority. as well as an expression of a sense of beauty, The main features of middle ages follows. : To emphasize vitality, there were long slits on the side of skirt. Hair decorations and jewels are more used than in the ancient age's. To hide a dancer's social status. they could use a mask. Wild Man of the Wood's was used for the body makeup. All these features of the dancing costumes must contribute to the progress of the dance in the middle age's.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.5
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• pp.741-752
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• 2008

The purposes of this study are to review the status of dress material in the contemporary fashion design by examining the intertextuality of many materials other than textiles used in the contemporary fashion and to show that the development of new fashion materials is a factor for designing competitiveness. The results of this study are summarized as follows: First, foods and natural objects are used as fashion materials to reveal natural beauty, and at the same time new formative elements are expressed in combinations of life and fashion. Second, common paper and luxurious jewelry are presented as a formative element symbolic of an aspect of the contemporary society or embodied in elaborate handicraft techniques. Those materials boost the luxuriousness of costume and create a strong futuristic image according to how they are expressed. Third, plastics available for a variety of objects in different shapes and colors offer such formative features that could be shaped with textiles, as high-end technology is introduced to fashion. Fourth, metallic materials have added freedom to design formality due to their qualities of convergence and displacement and by the introduction of brand-new technology, suggesting a new future for the fashion industry. Fifth, using a variety of anti-fashion materials including semiconductor chips, mirrors, vinyl, wires, and rubber makes a change in the existing points of view regarding the formality of things and helps create a special aesthetic effect in a visual respect to develop a strong intertextuality of materials.

• Archives of design research
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• v.15 no.3
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• pp.259-270
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• 2002

In 1995, When people read a poem, the image that a poet intends to convey to readers shows in various colors according to the status of their emotion. Poetry is a bridge as well as a text, which connects this world and the poet's world. In such relationship, the communication through Types occurs. The realm of application of modern typography is widening due to the development of the Internet and mass media, and the ways of expression of which are changing with the help of lots of softwares. So, the modern typography is re-born as an organic language which is alive, breathing. Therefore, Types has the structural character similar to that of Typography, which is a language of image, creating today's movement, time, and space. The already existing poetry contains meanings but has a descriptive structures. On contrary, compared with the former, the type appeared in Hangul Concrete Poetry., itself is a poem in another realm due to the formality native to Hangul, and which appears in non-linear structure. So, in this thesis, I will analyze the formality and non-linear structure of Hangul Typography in order to widen the realm of research on typography, which is a very meaningful trial to visualize the literature.

• The Journal of Industrial Distribution & Business
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• v.12 no.11
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• pp.17-31
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• 2021

Purpose: Despite the fact that face (i.e. Chemyon) is deeply-rooted in Korean culture and significantly affects the behavior of Korean people, the effect of face on leisure consumers' consumption behavior has only reported mixed findings, that is, significant and/or insignificant face effects have been reported. It is necessary to integrate prior research findings, and comprehensively examine the effect of face on leisure consumers' consumption behavior. The purpose of this study was to investigate the effect (i.e. effect size, and moderating variables) of face on leisure consumers' consumption behavior through meta-analysis. Research design, data and methodology: Among 1,019 face-related academic studies, retrieved from the academic research information services (RISS), 34 studies and 300 cases examining the effect of face on leisure consumers' consumption behavior were finally included for meta-analysis. Face measured as face sensitivity and/or a face sensitivity sub-component (shame-consciousness, formality-consciousness, and other-consciousness) were integrated in the meta-analysis. Leisure consumers' consumption behavior was classified as antecedents of purchase (overall conspicuous consumption tendency, overall symbolic consumption tendency, personality, high price, high quality, brand seeking, fashion seeking, enjoyment, other person (interpersonal) consideration, position, reference group, and attitude), purchase (purchase intention, unplanned purchase, purchase, and expenditure), and post-purchase (satisfaction, repurchase, and post-purchase). The data used in the meta-analysis was comprised of correlation coefficients, and the meta-analysis was performed using the R-program. Results: The overall mean effect size of face on leisure consumers' consumption behavior was .248. It was found that the effect size was the largest in the order of shame-consciousness face, formality-consciousness face, and other-consciousness face. Among the types of leisure consumers' consumption behavior categorized as dependent variables, the effect size was found to be largest in the order of position, attitude, reference group, post-purchase behavior, brand seeking, personality, trend seeking, etc. In addition, it was found that the leisure types moderated the effect size of face on leisure consumers' consumption behavior. The effect size was found to be largest in the order of skin diving, baseball, various leisure participation, dance, gambling, golf, etc. Conclusions: Face moderately or significantly influence leisure consumers' consumption behavior.

• Journal of Convergence for Information Technology
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• v.11 no.7
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• pp.91-103
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• 2021

As knowledge management is recognized as an important competency of organizations, organizations are continuously investing in knowledge management policies and technologies. Knowledge management preemptively requires employees to share knowledge, but sharing activities for continuous knowledge management have not been performed. The purpose of this study is to verify the effect of the organization's mutual exchange efforts through collaborative communication on the knowledge sharing intention of its employees. The study surveyed workers of organizations that operate knowledge management policies and verified the research hypothesis by applying 326 samples to structural equation modeling. As a result of the analysis, factors of collaborative communication(rationality, reciprocal feedback, formality) had a positive effect on the intention to share knowledge, and task interdependence and territoriality had a moderating effect on the relationship between collaborative communication and intention to share knowledge. The study has implications in terms of suggesting an activity strategy that an organization should pursue to improve knowledge sharing among its employees.

• Information Systems Review
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• v.18 no.3
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• pp.31-50
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• 2016

This study investigates the impact of social-face sensitivity of smartphones on the adoption of iPhone in China. Social-face sensitivity is divided into three dimensions, namely, other-directed sensitivity, self-directed sensitivity, and formality-directed sensitivity. We surveyed 218 university students in China through an online survey site. The results showed that formality-directed and other-directed sensitivity have significant impacts on iPhone preferences. Self-directed sensitivity was not significant. We investigated two moderate variables, namely, financial ability and brand sensitivity. Both variables showed significantly moderate impacts on the intention to purchase iPhone. The impact of social-face sensitivity on iPhone preferences implies that the iPhone has dual characteristics to the Chinese, namely, as utility and luxury goods. This finding offers managerial implications for Apple and other mobile service companies in terms of production and marketing strategies.