• Language and Information
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• v.9 no.2
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• pp.23-48
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• 2005

This study aims to discuss the word sense distinction of Korean middle verbs for restructuring KorLexVerb 1.0. Despite the duality of its meaning and syntactic structure, the word senses of middle verb are not clearly distinguished in current dictionaries. The underspecification causes very often mismatches that a same Korean word sense is used for two different English verb senses. A close examination on the syntactic and semantic properties of middle verb shows us that the word sense distinction and the reconstruction of hierarchical structure are indispensable. Finally, by doing this fine grained word sense distinction, we propose an alternative way of classification and description of the verb polysemy for KorLexVerb 1.0 as well as for dictionary-like language resources.

• Language and Information
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• v.9 no.1
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• pp.1-18
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• 2005

In Korean terminologies, adjectival terms are rare, and the meaning and function associated with adjectives in Indo-European languages are often realized instead in noun form. However, the rarer adjectival terms we, the more they are used in restrictive and repetitive ways in specialized domains. Thus, it is important to distinguish the different senses of these terms. In this work, focusing on semantic modeling in terminology, we distinguish the different senses of adjectival medical terms by applying lexico-semantic criteria (L'Homme, 2004a) and by classifying the semantic category of the arguments of the adjective (Bae and others, 2002). The result not only contributes to enriching medical terminology, but also empirically demonstrates a method for distinguishing the different senses of adjectival medical terms. In this work, we obtained an average of 1.854 senses for each term. We used the KAIST corpus, composed of medical texts (1,500,000 eojeols), and a group of texts on various subjects (40,000,000 eojeols)

• Korean Journal of Cognitive Science
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• v.6 no.1
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• pp.31-46
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• 1995

According to the Fregean theory of meaning based on the distinction between sense and reference,the cognitive significance of coreferential names may be distinct or The so-called direct reference theorists. however,claim that unamhbiguous,coreferential names.which have the same denotation from context to context, must have the same cognitive significance.Thereby,Fregean senses,counted as intermediate entities that determine the denotation of a term,are altogether rejected.Once Fregean senses are rejected.however,it is hard to explain why the substitytivity of coreferential names fails in the contexts of propositional attitudes.Thus,the puzzles of propositional attitudes have been the stumbling block for direct reference theorists. Recently, Zalta claimed that by small amendation it is possible to reconcile the conflicting views of Fregeans and the direct reference theorists without losing their important insights.Indeed, he claimed that his suggestion admirably solves the propositional puzzles.In this article,we shall critically examine his eclectic solution only to highlight some of the more basic issues.

• The Research Journal of the Costume Culture
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• v.29 no.6
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• pp.849-864
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• 2021

This study analyzed product conditions in terms of "size system," "clothing construction depending on fit," "details," "colors," and "prices," with an emphasis on young contemporary brands for spring/summer 2021, in order to provide basic data for the development of small-sized women's jackets. Out of 96 domestic and foreign brands, the study analyzed 254 small-sized jacket products from 23 brands that produce size-XS jackets. First, when examining the sizes for women's jackets, we found that 8 out of the 23 brands offer a size-XXS option. After conducting tree analysis to analyze the factors affecting the production of size-XXS, the study found significant results in the areas of "distinction between domestic and foreign brands" and "product price." Second, after categorizing small-sized women's jackets into 3 categories-fit-slim, basic, and straight-the study analyzed clothing construction elements depending on fit. This seasons mainly feature straight-fit's hip-line length jacket, a 4-panel pattern, and a panel without a waist dart. Third, the study, through the analysis of the colors of small-sized women's jackets, found a higher frequency of colors in the order of black (23.0%), white (13.3%), and beige tones (10.1%), with additional colors such as sky blue, rose pink, and aquamarine in production, which exhibit the senses of the seasons. Price analysis revealed that small-sized jackets constituted a price range at the mid-to-low end, as in ₩50,000-100,000 (30.3%), ₩100,000-150,000 (19.3%), and ₩150,000-200,000 (11.8%).

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.2 s.115
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• pp.80-98
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• 2006

This study originated from following questions. What can we understand the conception of deconstruction, which has been the core idea of new discourses developed in various ways since modernism? How can this question be interpreted in landscape design? What is the conceptional frame of integration the prominent hybrid post-genre movements and phenomena? The frame can be epitomized with the deconstruction phenomenon. 'Deconstruction' is the core conception appeared in late or post-modern ages in the embodiment of modernity and can be viewed as an integrating or a hybrid phenomenon between areas or genres in formative arts. Therefore, the author regards the hybrid movements widely witnessed in the post contemporary formative arts as one of the most important indicators of de-constructive signs. It is safe to say that the phenomenon of this integration or hybridism, of course, does not threaten the identity of landscape design but serves as an opportunity to extend the areas of landscape design. One of the consequences of this integration or hybridism is the voluntary participation of users who have been alienated in the production of the meanings of design works and hybrid landscape design with the hybridization of genres that is characterized with transformation in forms. This view is based on the distinction between hybridization of interactions between the designer (the subject) and the user (the object), and hybridization of synesthesia. Generally speaking, this is an act of destroying boundaries of the daily life and arts. At the same time, it corresponds to vanishing of modern aesthetics and emerging of post-contemporary aesthetics which is a new aesthetic category like sublimeness. This types of landscape design tries to restore humans' sensibility and perceptions restrained by rationality and recognition in previous approach and to express non-materialistic characteristics with precaution against excessive materialism in the modern era. In light of these backgrounds, the study aims to suggest the hybrid concept and to explorer a new landscape design approach with this concept, in order to change the design structure from 'completed' or 'closed' toward 'opened' and to understand the characteristics of interactions between users and designs. This new approach is expected to create an open-space integrating complexity and dynamics of users. At the same time, it emphasizes senses of user' body with synesthesia and non-determination. The focus is placed on user participation and sublimity rather than on aesthetic beauty, which kind of experience is called simulacre. By attaching importance to user participation, the work got free from the material characteristics, and acceptance from the old practice of simple perception and contemplation. The boundaries between the subject and object and the beautiful and ordinary, from the perspective of this approach, are vanished. Now everything ordinary can become an artistic work. Western dichotomy and discrimination is not effective any more. And there is 'de-construction' where there is perfect equality between ordinary daily life and beautiful arts. Thus today's landscape design pays attention to the user and uses newly perceived sensitivity by pursing obscure and unfamiliar things rather than aesthetic beauty. Space is accordingly defined to take place accidentally as happening and event, not as volume of shape. It's the true way to express spatiality of landscape design. That's an attempt to reject conventional concepts about forms and space, which served as the basis for landscape design, and to search for new things.

• Cartoon and Animation Studies
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• s.28
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• pp.1-25
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• 2012

The rapid digitalization across all aspects of society since 1990 led to the digitalization of cartoons. As the medium of cartoons moved from paper to the web, a powerful visual culture emerged. An encounter between cartoons and multimedia technologies has helped cartoons evolve into a video culture. Today cartoons are no longer literate culture. It is critical to pay attention to cartoons as an "expanded fest" and as visual and video culture with much broader significance. In this paper, the investigator set out to diagnose the current position of cartoons changing in the rapidly changing digital age and talk about future directions that they should pursue. Thus she discussed cases of changes from 1990 when colleges began to provide specialized education for cartoons and animation to the present day when cartoon and Multimedia Comics fests exist in addition to the digitalization of cartoons. The encounter between new technologies and cartoons broke down the conventional forms of cartoons. The massive appearance of artists that made active use of new technologies in their works, in particular, has facilitated changes to the content and forms of cartoons and the expansion of character uses. The development of high technologies extends influence to the roles of appreciators beyond the artists' works. Today readers voice their opinions about works actively, build a fan base, promote the works and artists they favor, and help them rise to stardom. As artist groups of various genres were formed, the possibilities of new stories and texts and the appearance of diverse styles and world views have expanded the essence of cartoon texts and the overall cartoon system of cartoon culture, industry, education, institution, and technology. It is expected that cartoons and Multimedia Comics will continue to make a contribution as a messenger to reflect the next generation of culture, mediate it, and communicate with it. Today there is no longer a distinction between print and video cartoons. Cartoons will expand in every field through a wide range of forms and styles, given the current situations involving installation concept cartoons, blockbuster digital videos, fancy items, and characters at theme parks based on a narrative. It is therefore necessary to diversify cartoon and Multimedia Comics education in diverse ways. Today educators are faced with a task to bring up future generations of talents who are capable of leading the culture of overall senses based on literate and video culture by incorporating humanities, social studies, and new technology education into their creative artistic abilities.