• Journal of Sasang Constitutional Medicine
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• v.12 no.1
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• pp.48-62
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• 2000

Creativity is the most important characteristic and ability in the 21st century. Recently leading people in Korean society are aware of the significance of the enhancement of the creativity. However, Korean students are less likely to take initiative or depart from standard ways of thinking or doing things, because Korean Confucius culture puts an emphasis on collectivism. An individual has an obligation to conform in order to avoid conflict and maintain social harmony. The rule of respecting parents and teachers leads to a lack of self-expression and entails silence. Brainstorming technique developed by American Osbron, who originated the group brainstorming in 1953, is the most popular creative thinking method for the students. Brainstorming technique has two principles : ideation can be more productive if criticism is concurrently excluded; The more ideas the better. In doing BS, each panel should consist of chairperson, an assistant chairperson, recorder, and 10 others including 2-3 females. However there are several problems in doing group BS, such as production blocking, uniformity thinking, evaluation apprehension, and social loafing. This study was undertaken to investigate the proper way of forming Brainstorming groups with Korean students according to the Sasang Constitutional Medicine originated by Korean Lee Je-ma in 1894. Human beings are classified in four group in Sasang Constitutional Medicine : Taeyang-In, Teaum-In, Soyang-In and Soum-In. Two Yang-Ins are more self-expressive : Taeyang-In has very unique ides and thoughts; Soyang-In is very humorous and like to present his/her ideas. On the other hand, two Um-Ins are passive and are not likely to speak out their ideas in group. Therefore, in this investigation firstly, the brainstorming group was formed with two Yang-Ins (Taeyang-In and Soyang-In) and two Um-Ins(Taeum-In and Soum-In) separately and secondly, Yang-Ins and Um-Ins were mixed. And the first method was compared with the second method in terms of the degree of participation of the group members and finally the better grouping method to produce more and better ideas was discussed and suggested for the educational system.

• Lingua Humanitatis
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• v.6
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• pp.321-357
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• 2004

In this article the structure of modern Russian humor is analyzed on the basis of some theories: bi-sociation theory (Koestler 1964), semantic script theory of verbal humor, using the concept of semantic presupposition, pragmatic felicity condition (Searle 1969; Levinson 1983) and grammatical rules (Chomsky 1965). Up to now the listed former theories were not examined and less analyzed by the semantic structure in the study of the structure of Russian humor(HcaeBa 1969; 3 $a_{OPHOB}$ 1991; 1992). Kreps (1981), who analyzed the works of Zoschenko, presented 21 types of humor, using the term 'humoreme'(Kpenc 1981, 36-37). These types are the list of the available means of humor that work not in the base of semantic criteria, but in the base of means of literary rhetoric. Kreps presented types of humor means, such as contradiction, antonymic substitution, macaronic speech and correlation of humoremes in the various types of humor. Apart from Kreps, Manakov (MaHaKOB 1986, 61-79) also studied these problems. He also set the system of the basic types of humor. Manakov introduced the linguistic means of humor of some Russian writers: Gogol, Tchechov. The means that Manakov showed with detailed examples, are trope, epithet, comic comparison, comic metaphor, comic periphrasis, euphemism, pun, zeugma, comic toponym, comic onomatopoeia, mania of foreign vocabulary, folk etymology, dialect etc. But these studies don't explain why these means make the works humorous. An, B.p tried to answer this question (안병팔 1997 a; b). An B.p. explains contexts of humor through the Release theory, the Superiority theory and the Incongruity theory. An, B.p. explained the process of deviation from the grammatical norms through morpho-syntactic and lexical means. But in these studies the humor was not analyzed by the semantic criteria. In order to linguistically evaluate various means of humor formation, it is necessary to elicit its deep structure, which makes it possible to research the formation and interpretation of humor. For this purpose this article, being based on the Incongruity theory, defined the structure of humor as negation of presupposition. Of course the former traditional studies also well shared the concept of 'contradiction' and 'contrast' of humor structure, but they didn't explain the structure by semantic differential features. This study, analyzing the works of' Zadornov, M., tried to note that through the negation of semantic presupposition the structure of contradiction is formed with semantic differential features on the semantic, syntactic or lexical dimensions.

• The Journal of the Korea Contents Association
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• v.20 no.2
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• pp.141-149
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• 2020

In this paper, I studied the relation between narrative construction (especially focusing on motif) and humor mechanism based on binge watching environment. Several motif theories such as B. Tomachevski, Horst and Ingrid Dämmrich and S. Chatman are used as a basic study method in chapter II. In popular sitcom , sometimes kernels(according to S. Chatman's term) in certain season's story are changed into satellites(according to S. Chatman's term) in other season's stories. The motif of Ross and Rachel's conflict is a representative example for this switching process. Especially on binge watching environment, as the interval length is much more shortened, viewers tend to reflect their own emotional memory into characters less strongly than segment watching environment. As a result, the possibility 'heavy' stories such as seperation are quickly changed into 'light' humorous matters is increased. This kind of hierarchy variation of repeated motif make the viewers laugh, because they can feel sudden liberating energy by eliminating psychological pressure. It means the characteristics of sitcom's humor on binge watching environment can also be explained by the theory of 'laugh as a eliminating tension', which I. Kant representatively said.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.4
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• pp.746-762
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• 2016

This study considers expression techniques and aesthetic values in the images of head dress reflected in a natural motif. The conclusions of the study are as follows. The first type is the realistic expression (52.4%) such as the reproduction of a natural object's essential form (27.0%), the partial derivation of the natural object (19.3%), and the planarization for the actual image of the natural object (6.1%). The second type is a metaphorical expression (39.0%) which emphasizes the morphological characteristics of nature (18.2%), the structuration of the natural object's silhouette into a three-dimensional or two-dimensional form (11.5%), and the abstract expression of the form in the natural object (9.3%). The third type is a hybrid expression (8.6%) that is a compromise between practical (or metaphorical expressions) so that expression techniques represent a compromise between the natural object's essential form and abstract expression (4.6%) or the combination of the natural object's silhouette into a three-dimensional or a two-dimensional visualization (4.0%). Aesthetic head dress values reflected in the natural motif first indicate a primitive value. This state of natural instinct recreates the natural object or combines part of the biological elements of the natural object to create an inducement to escape from the practical world. The second is amusement in the expression of animals in dynamic and humorous forms creates an illusion of animals being alive with a representative playful enjoyment. The third is abstraction that grant freedom in the observer's aesthetic rational through a reinterpretation of the fashion designer. The fourth is eclecticism where a compromise represents an act of mixing a variety of independent factors to create harmony with the imagery of nature created through the grafting of diverse expression techniques that break away from stereotypes of existing natural objects to create a type of nature that cultivates new values.

• Archives of design research
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• v.17 no.1
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• pp.25-36
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• 2004

The purpose of this study is to analyse and interpret the way of differentiated expression and changing creative trend following 5-day workweek which has been recently adopted. For this aim 11 pieces of distinctive advertising text were analysed. The criteria for selection of analysing text were relativeness with 5-day workweek and cognitive inconsistency. These texts were negative phrases, exaggerated expression, and excessively humorous appeals. The study revealed the followings: First, 5-day workweek concerned advertising texts were considered as high attention getting and successful in stimulating advertising audiences' curiosity by using the elements opposing the value and belief system formed in the existing audience. Second, consumption-driving lifestyle was found in most expressions for credit cards advertising. Third, hedonic need-oriented lifestyle was typical in young consumer products category. Fourth, family centered lifestyle emphasized meaning of rest and solidarity of family.

• (The) Research of the performance art and culture
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• no.20
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• pp.63-94
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• 2010

Research on Gong Ok-jin's choreography and its artistic value is still insufficient in the academia of Korea. Her life cannot be said even or smooth - she was born into an artist family with abundant innate talent and sensitivity, feeling joy and sorrow as a gypsy artist begging for food, facing and overcoming the crisis of her trademark deformed dance during the period when she played the solo performance of Changmugeuk, making a transition to the animal dance and finally to the sick dance getting her health back from the long struggle against disease. Her life, however, has always been an artistic expression and we can know that art has been the consolation and driving force of her life. In the Korean artistic tradition that integrates music, singing and dancing, it is beyond doubt that the third has been rather secondary compared with the first two. In the Changmugeuk, however, Gong Ok-jin focuses on each movement of hers, commensurate with the humorous witticism and the traditional opera of pansori. What is her message in such painstaking movements? She puts gestures ahead of words and continues them, reminding her audience of the meaning of dance and driving it into them. Especially, her deformed dance, unprecedented in choreographic history, is hard to understand if you do not sympathize with Koreans' innermost emotions. If you are to understand it, you should first feel what emotions are in Koreans' mentality to be expressed in the form of choreographic elements and what artistic values they carry. This study, in this context, is to reflect upon the original choreographic form of her Changmugeuk solo and to overview Korean dance's unique emotional values with regard to the way Korean choreographic subject matters and traditions are passed down.

• (The) Research of the performance art and culture
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• no.37
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• pp.327-363
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• 2018

Bhutan's mask dance drama, Cham is performed in the festival of Tshechu. Originating from the 17th century, Tschechu is a religious ritual as well as a traditional festival held to commemorate the birth of Padmasambhava, who spread Buddhism in the kingdom of Bhutan. Bhutanese Cham and Tibetan Cham share similar traits in their content of , , and in their characters of Pawo and Pamo. Meanwhile, , , , , , , , are distinctive performances of Bhutanese cham. Moreover, the clown character Atsara in Bhutanese cham is a character that does not appear in the Tibetan Cham. Atsara, a humorous character, can be identified by its use of a long phallus ornament on the head or by a distorted face mask with a phallus in its hand. Bhutanese Cham, originally from Tibet, is a religious mask dance drama handed down in Lamaism temples. In later generations, new performances reflective of Bhutan's history, myth, legends, and religion were added in large amount. Thus, the Cham of Bhutan now has very independent and characteristic aspects.

• Cartoon and Animation Studies
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• s.38
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• pp.145-176
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• 2015

In animation, 'laughter' is an important factor for the fun. Dreamworks' animation is a successful popular animation. It has four series and spin-off animations, and settled as a successful case that created fun with strategic use of parody throughout the productions. Most preceding studies on this animation have focused on its humor, parody, and satire. However, not many studies have discussed its independent comedy as a piece of animation that satisfies the needs of public. This study considered that viewers' desire to watch an animation comes from their fantasies to discuss the comedy of based on its animated characters. Animated characters communicate with the public with wits that ignore the rules of reality. The characters that do not exist in reality are created and animated to turn the world of reality upside down. The comedy in comes from the entertaining deformation of the society's fixed ideas and prejudices. It is a fun variation of the ideology behind fairy tales created by the Disney animations to challenge Disney in the animation market in reality, and twisted the world of fairy tales in the story to quench the thirst of the public. 'Shrek', a monstrous character, stands in the center of the story. A monstrous character that always played an anti-role has become the main character to break the rule of fairy tales. This is the subjectivation of anti-character. Second, it is a new anti-character with an exaggerated and distorted body. Lord Farquad, who looks abject compared to the monstrous character for a person with so much power and ambition, brings laughter. Third, it is the variation of various characters from fairy tales. The conventional fairy tale characters, both animals and non-living things, come out of the box and appear as humorous characters that bring life to the story. uses comedy characters in the process of reinterpreting the fixed ideas, prejudices, and ideologies of the real world created by fairy tales. I hope that it helps Korean animations establish a successful format for creating characters that bring life to the stories.

• Cartoon and Animation Studies
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• s.48
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• pp.333-358
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• 2017

Mainland China is under different conditions both socially and politically than other countries, so there is a lack of practical researches on cartoon characters. With a profound interest, the researcher has selected a character that is realistic and loved by many Chinese. The subject of the study is "Shan Mao Series." Out of 16 seasons, the most famous one is the Chronicle of Shan Mao's Wander. I analyzed the character thoroughly, dealing with the beginning of the character, the process of character development, and a reality shown in the chronicle, etc. on chapter II, and the character's image component on chapter III. Chinese modern cartoons were affected by a situational anxiety because of foreign powers and war. Thus satire cartoons went in fads among the public. The epitome of a typical cartoon was the Shan Mao Series. From 1935, when the character was first created, to now it has eaten into Chinese people's hearts. It's because the story happens during a war period and it deals with a playful, humorous main character's life and these facts show the hidden side of the unfair social system. Most of readers prefer a smart, playful, righteous, and brave character. Shan means three and mao, hair in Chinese, so Shan Mao is a child who has three hair. The character is not just a simple cartoon character; it has developed into a national figure among many Chinese. The reason why the researcher has chosen the series created by Zhang Leping, the author of the cartoon, is because a good cartoon, good animation, and even good movie stimulate the feelings that we get from our surroundings. The character which is created in China seems very unique and bizarre but there is a sense of friendliness. Also its character image and scenes make people laugh and it has become a typical symbol of a modern cartoon in China.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.44-55
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• 2012

This study is to interpret how landscape aesthetic characteristics of moderation, which is the point of human-oriented neo-confucianism vision, are projected to the landscape organization of a Dodong-SeoWon, known for its overflow to neo-confucianism grounds and standards among domestic SeoWon. The aspects of neo-confucianism discussion in the shape of Dodong-SeoWon with the beauty of from and contents dominating the landscape of Dodong-SeoWon different from constructive completeness as 7 external and internal landscape organization including placement, circulation, setting, vista, fencing, naming, and decoration are as follows. The left direction of Dodong-SeoWon, part of external organization, is the result of landscape organization that emphasized the stage of moderation through the unification of man and nature by naturalizing natural direction to human-oriented directions. Important aspects to rule external orders and standards of Dodong-SeoWon are principles of one classes based on ranks and bilateral symmetry that is the unity of setting and circulation landscape organization from penetrating the spirit of moderation with no bias. By securing territoriality by fencing the unity of verticality and horizontality, the landscape organization to reach moderation is expressed. Meanwhile, Suwoloo(水月樓) perceived on the floor of central assembly hall, the formation of time frame from roof piles of Hwanjumun(喚主門) as well as pilars of Jungjeongdang(中正堂), and rime link method inducing visual balance and openness through segment, combination, and others are vista organization that show the ideality of unique neo-confucianism building. Also as part of landscape organization contents. semantically, building name including arrangement from Taegukdoseol, ideological naming following the name of Ssanggye-SeoWon, which is the former body, the name of the hall symbolizing the transfer of neo-confucianism enlightenment, impartiality with no bias, as well as Geoinjae(居仁齋) and Geoijae(居義齋) based on olympic, are also results of applying neo-confucianism standards. Additionally. the SeoHoe(瑞花) expressing the change of IleumIlyang(一陰一陽) on the stylobate of Jungjeongdang, Saeho(細虎) which goes up and down, as well as Simul made of four dragons, are artistic expression of the moderation that symbolizes the harmony of ying and yang with no exceeding or insufficiency. Humorous and unique rocks and stones evenly arranged in all spots of Dodong-SeoWon are to promote anti-strict organization by offsetting the image and external order of the lecture hall as strict as it is, and this is very ironic as it is the other landscape organization in different dimension as well as the expression of moderation.