• Korean Association of Arts Management
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• no.58
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• pp.205-239
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• 2021

This study explores the importance of semantic web-based network construction in art data archiving, as well as its meaning and value in the context of arts management along with its potential for future application. The study focuses on oral history obtained from the Arko Arts Archives that contained records of the lives and artistic views of early artists. In this study, the possibility of applying semantic web-based technology to materials concerning culture and the arts was discussed in five aspects based on the results of the case analysis. First, checking the relationship and discovering hidden artists are possible by revealing relationships between characters. Second, understanding and studying society and culture at a given time is possible by interpreting the contextual meaning of information. Third, art exploration can be done broadly and deeply, encompassing various genres from the perspective of the consumer. Fourth, through art construction, history can be reconstructed using a new and rich method. Fifth, expanding the scope beyond the boundaries of art is possible through convergence and collaboration of programs that handle big data. The network data can be used in various methods, such as art history research, art planning, and creation, throughout the art ecosystem. The results of the study suggest that digitizing a large quantity of data concerning culture and the arts is meaningful in arts management as well as identifying and analyzing the relationship network among data clusters using semantic web-based technology.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.75-83
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• 2021

This study will analyze the meaning of the signifiant, which occupies an absolute position in Lacanian psychoanalysis, and will prove the slip of meaning and signification that are accompanied together at the same time when the signifiant was utter through the subject. By directly citing the part where Lacan explained signification in his seminars and Écrits, I would like to examine how signifiant is carried out in everyday conversation. In addition, the dialogue that takes place in our discourse has the purposefulness and groundless purposelessness of the signifiant. Understanding this purpose is the core part that Lacanian psychoanalysis aims to pursue, and it discovers the cracks of the hidden meaning in the relationship between the signifiant and the signifiant connected to the next, presenting that the signifiant which arouses unrelenting fantasy of the subject is the practical ruler of body and mind. This thesis is aimed to present the above points mentioned above, and as an alternative to overcome the limitations of the signifiant, the ruler in discourse, this study would like to suggest the autonomy as a subject resisting against "Where it was, I must come into being," pursued by Lacan psychoanalysis.

• Journal of Christian Education in Korea
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• v.69
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• pp.45-75
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• 2022

The purpose of this study is to explore the implementation of Bibliodrama on the metaverse platforms. In other words, to create interesting and effective Bible education for modern learners, this study took a didactical approach to the implementation of Bibliodrama through the metaverse. The main reason to be enthusiastic about using the metaverse for education is because users, who have been only content consumers, now able to experience and create values. As a Bible didactical approach, Bibliodrama is a an emphatical and communicative learning method in the form of role play. Bibliodrama seeks to interact with the world of the learner and the world of the Bible through improvisational acting, to study the Bible. Through the Bible didactical approach, the meeting of Bibliodrama and the metaverse can have a positive effect on modern learners, in terms of improving learning environment and, above all else, increasing learning interest. In terms of biblical didactics, implementing Bibliodrama in the metaverse has the following advantages. First, it helps to construct a dramatic situation and environment so that the meaning of the biblical text can be proved relevant to today's learners, not something belonging to the past. Second, in the metaverse, the historical space and characters of the Bible can be realized in virtual reality to produce a 'situational play'. Demonstrating freedom, imagination and creativity in the metaverse learners play in Bibliodrama. This way they also become aware of the hidden meaning of the blank pages in the Bible. Third, the metaverse environment is not static but dynamic and interactive; Bibliodrama pursues an interpretation that harmonizes spirit and body. Therefore, through the dynamic activities of discovering the meaning and significance of the Bible, it is possible to form a holistic faith in which spirit and body act as one.

• Journal of KIISE:Software and Applications
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• v.35 no.5
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• pp.313-324
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• 2008

A sentence reduction is the information compression process which removes extraneous words and phrases and retains basic meaning of the original sentence. Most researches in the sentence reduction have required a large number of lexical and syntactic resources and focused on extracting or removing extraneous constituents such as words, phrases and clauses of the sentence via the complicated parsing process. However, these researches have some problems. First, the lexical resource which can be obtained in loaming data is very limited. Second, it is difficult to reduce the sentence to languages that have no method for reliable syntactic parsing because of an ambiguity and exceptional expression of the sentence. In order to solve these problems, we propose the sentence reduction method which uses templates and POS(part of speech) information without a parsing process. In our proposed method, we create a new sentence using both Sentence Reduction Templates that decide the reduction sentence form and Grammatical POS-based Reduction Rules that compose the grammatical sentence structure. In addition, We use Viterbi algorithms at HMM(Hidden Markov Models) to avoid the exponential calculation problem which occurs under applying to Sentence Reduction Templates. Finally, our experiments show that the proposed method achieves acceptable results in comparison to the previous sentence reduction methods.

• Industry Promotion Research
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• v.8 no.3
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• pp.153-162
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• 2023

Shen-Xiao-Zhan's 『Zi-Ping-Zhen-Quan』, which is called a commentary on Chart-Structure in MyungLiollgy, After selecting the Chart-Structure and classifying the good luck and bad luck of the case, the Phase-usage is set up according to the principle of Shun reverse. At this time, if two or more the sky symbol hidden in the ground of Monthly intertwine to form several Structure and become Adjunct-Structure, the subject of Structure must be finally known to set up Phase-usage and succeed Structure and failure can be judged. However, in 『Zi-Ping-Zhen-Quan』, only the structure and meaning of Adjunct-Structure were explained, and the method of determining the final subject of Adjunct-Structure was not described. This researcher reviewed various literatures for a study on selecting the subject of Adjunct-Structure, and compared and analyzed various actual cases of Adjunct-Structure by dividing them into Monthly and Chart-Structure. Common results related to the type of sign of the land that met with Monthly, the energy force of the sky sign projected from the sky symbol hidden underground in Monthly and the strength and weakness of the body were drawn. and the law was organized subjectively. It is believed that the results of this study will serve as an opportunity to reduce the confusion of Adjunct-Structure.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.4
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• pp.72-85
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• 2009

This study attempts to examine the principles of landscape composition for a 'Suhwon(書院)' and the meaning and value of its traditional landscape architecture, in order to apply the results to the design of modern landscape architecture. A 'Suhwon' is a vital space containing the form and meaning of human activity. This study analyzes the characteristics of landscape composition in the construction of the Namgea Suhwon, located in Hamyang, by examining the form and meaning of its area and composition. The Namgea Suhwon was constructed with a suitable configuration and harmony in a good location, neither field nor mountain, and which encompasses transcendence and a return after passage through a period of birth and abundance. Its appearance means 'life existence and hidden death(生居死幽)'. Its spatial system is a reflection of the idea of Samshinoje(三神五帝: The three abilities of Providence and its five subjects) connected with Ilsangje -Samshin -Ohje. It was built based on the idea of Biryebudong(非禮不動) meaning that one should follow only good decorum and avoid discourtesy, complying with "the frame of decorum" developed by the family rites of Chu Hsi. The environmental design of the Namgea Suhwon was interrupted by the material confrontation between mountains and water and a binary code system, such as front to rear, length to breadth, and movement to stillness. The design did not adhere to stiff axes, but pursued the harmonic principles of asymmetric balance in the building and the yard, which are very naturalistic. The name 'Namgea Suhwon' is closely related with the view of placement(置) and harmony(和), which are unified with the function and meaning formed by connecting Sung Confucianism with the Pungsu-Sasinsa structure in the layout of the grounds. When examining the D/H ratio of the building and yard, it can be seen that the spaces of Ganghak, Yusang and Jehyang were built appropriately, according to the natural characteristics of each space, such as a sense of openness, enclosure, tension, relief, enhancement, and hierarchical order. The spaces also reflect human scale concepts that take advantage of auditory features. The transition process after the construction of 'Namgea Suhwon' reveals the intentions of the builder to create an ecological landscape composition based on Placement and Harmony. Placement embodies' a purposeful space in which nature and the building are connected naturally, 'incomplete open space pursuing completion', and 'potential beauty in which tension and relaxation are repeated'. Harmony embodies 'order and continuity having a sense of unity with the natural environment' and the 'sharing of daily life and memory'. 'Namgea Suhwon' contains many ideas for landscape planning, land use and the design of a campus environment.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.108-118
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• 2019

Appreciating gardens in garden show has its meaning in appreciating concepts and ideas of artists, hidden inside of garden, as formative arts, as well as the beauty of the nature. This study is aimed to understand the intension of artists in visual expression through formative media in the gardens by assessing structure of visual narrative in the space with 20 artworks among the ones presented in 2018 Taehwagang Garden Show. The formative structure is delivered as contents and forms through formative media and formative language. Thus, for analysis on the artworks, the researcher assessed expressive characteristics of the media, through visual and space language, that forms the formative structure in the contest of narrative structure expressed in the gardens and findings of the analysis are as follows. First, for intertextuality obtained through media image, most of the artworks delivered message through 'figure image.' This means, the concept is delivered as 'affinity of actual objects' through the media and associated 'meaning and meaning action' are expected. Second, the characteristics of signs to show symbolism in the gardens were categorized into 'icon'. 'index' and 'symbol'. The results showed that most of the artworks expressed common characteristics between image and meaning, using 'icon' and 'symbol'. Third, as space formation components, based on formative principles, the components of 'dominant' and 'subordinate' roles were defined as the key components for meaning delivery. Also, it was understood that 'space configuration with overlapped image' and 'space configuration with transparency' were adopted to strengthen conceptional layers. Forth, for space occupation types, there were mostly central hall type, corridor type and passage space type and for open space type, the entire space area was conceptualized, instead of certain object. The circulation line was defined in the frequency order of circular type, pass type and return type. The study on the expressive characteristics of visual narrative in garden design is meaningful as it could build base data for the method of spatial design for visual development of concepts in the future.

• Korean Journal of Social Welfare
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• v.61 no.3
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• pp.205-228
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• 2009

The incestuous assault tends to remain a family secret and not easily be disclosed. Mothers of the victims are usually regarded as the responsible person holding the key to decide whether it should be disclosed or not. Sometimes, therefore, they are blamed with the charge of connivance. The purpose of this study was to explore the essence of mothers' experience of disclosing and to understand the subjective meaning given to this experience. Seven mothers of the female victims of incestuous assault were recruited and interviewed. The collected data was analyzed by hermeneutic phenomenological method. The essential theme of the mothers' disclosing experiences could be summarized as "overcoming pain by going through pain". This major theme contained three sub-themes: "wanting to vent the deepest tormenting pain", "getting hurt again by disregard and indifference from others", "attempting to tear open the festering wound and to feel recovered". Mothers experienced the disclosing process as revisiting the hidden wound to find the meaning of the incident and to cultivate the necessary skill and power to overcome the pain. Especially, mother's disclosing process was characterized by constant restructuring of past trauma through mother's will and knowledge, acknowledging the unmodifiable past, interpreting other people's responses, and, finally, constantly interacting with sociocultural context. The study result stressed the importance of considering the whole array of difficulties and meanings experienced by mothers in the disclosing process. Social work services should provide more professional and sensitive care when mothers try to disclose the dark secret of incestuous assault.

• Cartoon and Animation Studies
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• s.42
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• pp.1-24
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• 2016

The 'fear' in animation has a couple of problems to apply the criteria for identical genre as in movie or literature. First, the mutilation and destruction of one's body and the appearance of monsters and ghosts are not a normal way of expression and could not apply to one genre. Second, the cause of fear comes from the subject of fear which is a reality that is something 'unrealistic' and 'special' and is approachable. This is all possible in a three dimensional world, but animation is not founded on realism. According to this logic, the horror genre in animation or the esthetic experience of animation is not possible. However, many of the powerful images you can see from the horror genre are all created from animation. Therefore, many writers are drawn to the horror in animation and tried to express in many different ways. This study will include the general idea of fear which drives the audience to the felling of fear and terror but we will mainly focus on the three types of fear - ghost story, cannibalism, and madness - and discover the meaning of fear used in animation. Through this process, we anticipate that fear in animation is not just for pure amusement, but will be able to investigate the meaning of fear philosophically even if the hidden side of reality is terrifying.

• Cartoon and Animation Studies
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• s.22
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• pp.31-45
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• 2011

The paper holds its purpose to analyze the descriptive function and meaning of first person animation which the focalizer, character, and all narrators are indicated as 'I', For the purpose, the following was reviewed; the relation between 'I' as child memorizing the days of childhood as adult and the current 'I' as adult, and the aesthetic effect of experience and sense of the child on the audience reading the narration. The retrospective narrating situation of the adult narrator brings descriptive effect which comes from 'the tension between the experiencing self (self as child) and the narrative self (self as adult). The works focus on the content of child experience through the confession of the adult narrator, but the view of the adult always heading towards 'the present'. That is, the aesthetics contained by the first person narrator is related to endless arousal of the values of hidden and forgotten things. In addition, the descriptive method of child focalizer as 'the subject of experience' brings qualitative change which enables reasoning of the subject as itself, which is free from the view tamed by rational system. Becoming an adult, the lost ability of mimesis brings qualitative change by meeting with the generality of childhood sense. Therefore, it can be known that the meaning the narrator contains in the first person narrator condition of animation links with the degree of aesthetic completion of the work, but also, it is a highly strategic descriptive device which determinately affects even the acceptance of audiences regarding the work.