宋元話本小說 ‘篇尾’에는 다양한 ‘修辭格’이 운용되고 있는데, 이러한 修辭格의 표현을 통해 수사 예술의 뛰어난 성과를 살펴볼 수 있다. ‘篇尾’에 운용된 ‘修辭格’은 어문의 기세와 독자 의 인상을 강조하거나, 혹은 작품 내용을 응집하고 정련하면서 간단하고 정제된 방식을 유지 하기 위해서거나, 또는 어문 형식을 응용하여 서술적 흐름에 변화와 조화를 구현하는 등의 예술적 의미를 지닌다. 이러한 수사 예술의 의미를 고찰하는 것은 먼저 서술자에 대한 감정 과 견해, 주장과 생각을 폭넓게 이해할 수 있는 시각을 제시하며, 이어서 작품 내용에 대한 직접적이고 적극적인 이해를 도와주는데 중요한 역할을 담당하고 있다. 또한 당시 話本小說 에 나타난 다양한 수사 기교를 통해 小說修辭學의 미학적 관점과 표현 예술의 구현 과정을 자세히 살펴볼 수 있다. 宋元話本小說 ‘篇尾’에 나타난 수사 기교와 예술적 성취는 상당히 체 계적이고 숙성된 것이라고 할 수 있다. 이것은 청자(독자)를 주요한 대상으로 그들에게 가장 효과적이고 직접적인 방식으로 예술적 감흥을 전달하는 법을 강구하는 것이며, 동시에 작가 자신의 미적 감각을 ‘修辭格’의 운용을 통해 적극적으로 발현하는 것으로 볼 수 있다. 작가는 작품에 대한 내용과 형식, 주제와 의미에 대한 예술적 안배와 조정을 ‘篇尾’를 통해 적절하게 표현하고 있으며, 또한 청자(독자)에게 효과적이고 적확하게 작품의 내용과 주제를 종결하거 나 정리하여 전달하고 있다.

This study investigated the preference of sensibility expression factors regarding fashion materials, such as the color, pattern and texture of fabric. Moreover, this study analyzed the relationship between the preference of sensibility expression factors and the preference of fashion images by identifying the preference of fashion images. The survey subjects were 312 women ranging in age from 20 to 40 years old. This study utilized a questionnaire as a measurement tool. First, this study performed a factorial analysis on the preference of sensibility expression factors of fashion materials. In regards to color preference, this study considered color depth such as light tone color, moderate tone color, dark tone color and vivid tone color. In regards to pattern preference, this study examined: geometric pattern, floral pattern, animal skins pattern, check pattern and symbolical pattern. In regard to preference of the texture, this study assessed: roughness, luster, flatness and lightness. Second, this study performed a factorial analysis on the preference of fashion images. This study examined five factors: dignity, uniqueness, femininity, activity and simplicity. Third, this study analyzed the effects of the preference of sensibility expression factors of fashion materials on the preference of fashion images. As a result, the color preference was related to the image preference associated with dignity, femininity and simplicity, whereas the pattern preference was related to the images of uniqueness, femininity, activity and simplicity. Moreover, the preference of texture image was related to the images of dignity, uniqueness, femininity and activity.

The purpose of this paper is to check the Game Rating and Administration Committee(GRAC), established in 2013 as revision of law to the Game Industry Promotion Act, restricts the freedom of expression. Game Rating system in Korea is not formed spontaneously in the market, unlike oversea, the Government has designed public systems. The GRAC has classified only “Rating”, but it regulates the expressions of the Game and gaming industry itself by other than raising rating. In cases the GRAC issued decisions of rating rejection are suspected to be in mistake in the interpretation of relevant laws, resulting in expressions of the game is limited. The content modification notifying system has unclear criteria, and it regulates not the contents of the game but the ways of using games. It is contrary to the principle of the content centrality of rating, and Operators have to impose self-censorship when they change game contents.

In this paper, we proposed novel continuous tone representational method based reaction-diffusion model. We extended previous related research of hedcut-style rendering by adding controllability to reaction-diffusion based texture generation method. These controls includes pattern size and pattern direction for various style rendering. Our method is comparable with stipping method which can generate artistic style rendering with continuous tone representation of input images. While stippling can show stable tonal results for low density points area, high density region which stipples redundant is suffer from non-linear brightness. On the contrary, our method shows stable tonal results for all brightness spans. We also present anisotropic diffusion for directional pattern generation which can applied to more various style rendering. In this contribution includes mathematical model and results of various style.

This study, with focus on my artworks, aims to examine the 'pictorial expression of mind.' What is mind and how should I control it are the core content of my works. This study looked into mind which is expressed throughout my works. And it argued that the painting realized by senses - senses as the moving and flow of mind, - come from mind. It is to consider the relation between painting and mind by examining the senses for expressing the invisible inner side. I, in the art pieces, used a gem to express mind metaphorically and expressed it with senses. And I presented the birth and polishing process of a gem to express the flow and asceticism of my mind in the works. Such mind, in other words, is ‘one mind,’ ‘mind considered as the only true being,’ ‘unconsciousness,’ and ‘innate pure mind’ which all are based on my Buddhist belief. Realizing being unconscious and becoming one's true self is attaining a happy medium that avoids extremes; it means being completely empty. In this way, one can 'become his or her true self' can be possible through mind control. Regaining one's own innate pure mind and coming to have a peace of mind is enlightenment and nirvana- the process is the Zen meditation. I consider the process of artworks as the process of such enlightenment and regard it in the same light as Zen meditation. In addition, the cause of all phenomena is unconsciousness and painting is the manifestation of such unconsciousness. Thus, painting is like 'all things are made from the mind.' Such sense is the very first physical experience through which one can understand the world as it is - I intend to realize this in paintings. This painting, completed by such sense, can be the existence ‘just being as it is.’ This is the same as the true state in Buddhism meaning the true nature of all existence. Therefore, the painting expressed through senses is just as it is and the true being of an existence. For this reason, I intend to realize the actuality through senses in my artworks. The characteristic of my works is the combination of the photographic realism and expressionism. Some of the former's attributes include photographical image use and close-up; the latter includes some characteristics in expression. Having these attributes, my works can be defined as simulacre, a new existence. I also intended to extract rare images by enlarging the details of objects through close-up filming. The effect of such close-up brings an emphasis on the theme and presents new images - such features are expressed through already experienced fact.

Systemic Functional linguistics considers Modality as the speaker’s attitude betwe en “yes” and “no”. Based on this, we discuss the Chinese modality system. First, we review what has been done on Chinese modals by the previous researchers. Then, we introduce Halliday’s modality system in English to establish a Chinese modality system and analyze the syntactic and semantic features of the typical modal verbs to point out the negotiation of Chinese modality.

국화(Chrysanthemum morifolium)는 다양한 화색과 화 형 때문에 세계에서 가장 인기 있는 관상식물 중 하나 로서 절화, 분화 및 화단용 등 다양한 형태의 국화에 대 한 요구가 증가하고 있다. 본 연구는 SSR 마커를 이용하 여 국화 60 품종에 대한 유전적 유연관계를 조사하고, 군 집분석결과와 표현형간의 상관관계를 조사하기 위하여 수 행하였다. 표현형질 38개를 이용한 군집분석 결과, 대부 분의 국화 품종들이 화형과 화색에 따라 8개의 그룹으 로 분류되는 것으로 나타났다. 본 연구에서 사용된 150 개의 SSR 프라이머는 기존연구에서 보고된 62개와 C. nankingense의 unigene 염기서열 및 C. morifolium의 EST 염기서열로부터 디자인한 88개로 구성되었다. 국화 8품종에 대한 다형성 및 banding pattern 결과를 토대로 하여 국화 60 품종의 DNA 증폭에 사용할 13개의 SSR 마커를 최종 선발하였다. SSR 마커를 이용하여 군집분석을 행한 결과, phylogenetic tree에서 국화 60 품종 전 부가 화색에 따라서 6개의 그룹으로 분류되는 것을 확 인할 수 있었다. Phylogenetic tree와 화색간의 상관관계 를 조사하기 위하여 화색을 종속변수, SSR 마커를 독립 변수로 설정한 다중회귀분석(MRA)을 행하였다. MRA 결 과는 화색과 SSR 마커간에 통계적 유의성이 높은 상관 관계(r2 = 0.903, P < 0.05)를 나타냈다. 본 연구결과는 경 쟁력 있는 국화 신품종 육종을 위한 데이터로 활용될 수 있을 것으로 생각된다.

This paper introduces the Hierarchical Decomposition Mapping Diagram (HDMD) that represents the systematic architecture of axiomatic design. HDMD is composed of the contents of module symbol and the independence/dependence relationship between FRs (Functional Requirements) and DPs (Design Parameters). The examples presented in this paper show the strength of the diagrams in comparison with other studies of systematic architectural representation tools, such as hierarchical diagram, module-junction diagram and system flow diagram.

The purpose of this study is to develop a design as a high value-added exportable industrial product by developing a cultural product, that can be accepted as having universal beauty by people in the Western cultural area. This is done by, re-analyzing it from a modern perspective after applying the color representation, used in pop art, to Shin Saimdang’s Chochungdo (草蟲圖, insects on flowers) which clearly expresses Korea’s national emotion and aesthetic consciousness. The research method depends upon developing cultural products such as scarfs, neckties, handkerchiefs, and folding fans, which are communicated in the global market The expressive technique of pop art is utilized after reconstructing the color sensation of pop art in the aesthetic dimension of the natural, physical, and formative beauty of Chochungdo based on the whole understanding of our country’s genre of Chochungdo and Western pop art. With regard to the colors in the developed design, the basic colors were extracted and applied by selecting 10 pieces in the flower series, which were made with the silkscreen printmaking technique in the 1970s by Andy Warhol, a master in pop art. A work that integrates pop art, a global art trend, with Korean traditional culture is expected to highlight Korean traditional culture in the global cultural era.

The structural aesthetics of architecture are becoming an inspirational source for many fashion designers and have been reborn in structural fashion. This study planned to analyze the method of expression of structural aesthetics expressed in modern structural fashion design and the construction method to maximize such an effect on the basis of the construction characteristic of Santiago Calatrava as the representative architect of the structural aesthetic. According to the study, the structural aesthetics expressed in modern structural fashion design are as follows: 1) The symbolical formative aesthetic expressed by symbolical inference and analyzation; 2) the dynamic beauty of physic expressed by visual emphasis and dynamics; and 3) the asymmetric beauty of symmetry expressed by metastasis toward the boundary between balance and imbalance. In addition, to maximize structural aesthetics, we used repetition and a progressive technique based on rhythm, asymmetry, and incision-based variances, such as balance, polygon flux, and inference, and analyzation-based distortion as the structuring principle. The following expression methods for maximizing structural aesthetics were found: 1) symbolical and structural exaggeration of appearance; 2) detail technique expansion and material property diversification; and 3) the three-dimensional transformation of structure and shell expression. Structural fashion design was found to have maximized structural aesthetics by using such expression methods to secure artistic esthetics, destroy existing shapes and patterns, and create unique shapes.

Typical games and dance in conjunction with research to express the character and the heart of digital content in it is very difficult relationship, looking for relationship problems also have difficulties. However, analysis of the history and the story of the character and skills, and to extract emotional elements, each with its own character is only through the collective images that melts in your character, and want to revive your character as a human being with a new emotional vocabulary. In other words, game content and prejudices that have a negative genre, thus free from adverse effects it caused, watching the game character as a human being it seeks sublimated into art of dance. This place inside cultural content to the artistic value of game genres, be re-evaluated when the digital element is considered highly likely to have a greater significance that can be converted into a new perspective to the analog element. The research method is a game of emotions LOL prototype model of James Russell (J. Rusell) to organize a theoretical basis mainly characterized by emotion and skill of the women champions background with LG Business Insight Weekly Focus 'emotional code of the digital crowd'It presents a new emotional models centered round. And to analyze the characteristics of the X-axis independent champion (Hero), crowd (Hero) analysis of the structure in the Y-axis line (善) and the plot, and presents an opinion on the scope and sensibility.

Technological change leads to a value shift in human society. Various cultural experiences through the digital paradigm influence the expression of fashion. This article considers fashion film as a new form for presenting fashion and explores the distinctiveness of expression in digital fashion film. For the methodology, a literature review was conducted to examine the concepts and features of digital fashion film and metareality. Empirical research was also performed by drawing from Nick Knight’s digital films, “Sans Couture”, “#asif”, and “The Elegant Universe” and by specifically analyzing the classification of the themes, visuals, and auditory expression. The results are as follows. The proliferation of fashion film has accelerated in the internet environment. New media in the digital era allows images to become more realistic and variable through immaterial conversion. Metareality is the notion of a reality beyond existence. A metarealistic image maintains the metaphysical nature of an object and transcends empirical appearance. It possesses immaterial, transboundary, and multidimensional features, and the image is realized by digital technology. The expression analysis identifies the metareality expressed in contemporary fashion film appearing as atypical forms, irrational combinations, and the playfulness of motion. It shows a positive attitude, transcending the immaterial limit of reality toward fashion. This study indicates how fashion as products challenges the metaphysical transformation in the digital era. The exploration of metareality in digital fashion film promotes a wider perspective and understanding of the concept of fashion.

This paper examines advertising images of fashion brands in vertical social network site (SNS) from the viewpoints of message strategies. Vertical social network sites are types of social curation systems applied to social networking, where information is selected, organized, and maintained. Fashion brands communicate with consumers by presenting images on vertical SNSs, anticipating improvements in brand image, popularity, and loyalty. Those images portray content for particular brands and seasonal concepts, thus creating paths for product sales information. Marketing via SNSs corresponds to relationship marketing, which refers to long-term interrelationship and value augmentation between the company and consumer, and viral advertising, which relies on word of mouth distribution via social network platforms. Taylor’s six-segment message strategy wheel, often used for analyzing viral ads, was applied to conduct a content analysis of the images. A total of 2,656 images of fashion brands advertised on Instagram were selected and analyzed. Results indicated that brand values were somewhat related to the number of followers. Follower rankings and comment rankings were also correlated. In general, fashion brands projected sensory messages most often. Acute need and rational messages were less common than other messages. Sports brands and luxury brands presented sensory messages, whereas fast fashion brands projected routine images most often. Fashion brands promoted on vertical SNSs should portray advertising images that combine message strategies.

Park, Eun-Ha. 2015. “Social Discrimination Factors in Korean Coursebooks: Focused on Korean Coursebooks for Female Marriage Immigrants, Immigrant Workers, and North Korean Refugees”. The Sociolinguistic Journal of Korea 23(1). 55~83. This study investigates and analyzes social discrimination factors occurring in Korean coursebooks that disfavor immigrant workers, female marriage immigrants, and North Korean refugees as minorities in Korea. Therefore we examine what kind of social discrimination factors high placed and how these are presented in both verbal and nonverbal expressions. With regard to verbal forms, we examine discriminatory expressions in sentences and conversations including vocabularies commonly used in Korean coursebooks. The result prove that of all other forms of social discrimination found in Korean coursebooks, instances of gender role stereotypes occur most frequently. The second most frequently verbal discriminatory expression found referred to gender personality and behavior, while the third most frequently used discriminatory expression referred to physical appearance and body image. Also revealed in the study was a high recurrence of referencing gender role stereotypes in Korean coursebooks for female marriage immigrants as found through comparing two particular coursebooks. Concerning nonverbal forms, we examine discriminatory expressions in main characters and illustrations. In three types of Korean coursebooks, we observe a high recurrence of gender-biases when discussing job positions. For examples, one coursebook referred to restaurant work as suited for women, while describing the position of doctor as male job. Korean coursebooks for immigrants further reveal discrimination in their descriptions of socioeconomic status as determining so-called higher citizenship status. In illustrations, gender-biases of job and gender role stereotypes were presented more frequently in three kinds of Korean coursebooks than in the other kinds.

This study aims to research the Kisho Kurokawa's architectural concepts and expressions that are comprised of various and complex theories system for Korean's globalization of architecture. Kurokawa's architectural concepts are composed by Metabolism, Metamorphosis and Symbiosis. And intermediate zone, ambiguity, multivalence are theories that work as media in changing process levels to three main concepts and these are used as media of Metamorphosis which embody Symbiosis. Metabolism include concepts of Metamorphosis and Symbiosis. Symbiosis is comprise of concepts of Metabolism and Metamorphosis, and is a ultimate goal of these three main concepts. Metamorphosis works as a medium in changing process levels from Metabolism to Symbiosis. The architectural expressions are embodied according to these main three concepts and theories of media in changing process levels. And these architectural expressions are analyzed by three elements as follows: form, material & color, structure & technique.

다양한 기능이나 영역을 통합하여 학습하는 의미로 해석되고 교육계에 화두로 등장한 융합교육에 대하여 바르게 이해하고 수업에 적용하려는 생각으로 국어과 수업에서 융합적 활동으로 학습효과를 올리는 방법을 제시하고자 하였다. 국어과에서의 융합은 듣기, 말하기, 읽기, 글쓰기가 단위 시간 안에 다양하게 시도하는 것을 의미한다. 이야기를 노래로 만들어 부르고, 미술과 융합하여 배경과 연극 소도구를 만들어 상황극이나 역할극, 무언극 등을 하는 등 많은 활동을 하는 과정에서 창의적 표현능력을 기를 수 있었다. 창의적인 대사를 만들고 감상문이나 다짐문, 일기, 편지글을 쓰는 과정에서 인성이나 진로지도도할 수 있었다. 이처럼 여러 교과와 융합을 이루며 다양한 활동과 통합을 시도한 것은 학생들의 흥미를 유발하였고, 적극적인 참여를 유도하게 되었으며 창의적인 언어사용능력을 신장시키게 되었다.

필자는 요시무라 레이 吉村怜의 불교미술에 등장하는 연화화생 도상에 관한 연구를 통하여 불교미술에 등장하는 연꽃 문양은 몇 변화 단계를 거쳐 불·보살·天人(飛天)으로 化生된다는 것을 알게 되었다. 이를 토대로 관련 연구를 계속하면서 아래 사실이 있음을 알게 되었다. <요시무라가 주장한 연화화생 도상은 넓게는 화생 가운데 하나이며 더욱 넓게는 기의 표현 가운데 하나이다. 그리고 이 모든 기의 표현은 조금씩 차이가 나지 만 범세계적으로 전개되었으며 불교미술에 국한하지 않는다. 우리나라의 경우도 불교 전래 이전부터 도도하게 전개되었다. 특히 기(화생 연화화 생 포함)에 등장하는(표현하는) 여러 문양은 단순한 장식 문양으로 그치 지 않는다. 이들은 기(화생 연화화생 포함)를 표현하고 전달하며 상호 同格을 이루고 互換交互하며 連繫된다.> 필자는 위 견해를 1993년 발견 백제금동대향로 해석에 적용시켰다. 본고는 우리나라 신석기시대부터 기의 표현이 이미 존재했다는 것을 알 리고, 더불어 백제금동대향로 제작 특히 연화화생 등 기의 표현도 당시(6 ∼7세기) 이웃나라(특히 중국)의 영향이 아닌 우리나라의 오랜 전통을 따 른 것임을 알릴 목적으로 출발하였다. 이 논문에서 例示한 토기와 청동기에서 보듯 우리나라 신석기시대부터 삼국시대까지 기 화생 연화화생의 표현은 광범위하고 보편적으로 전 개, 전승되었다. 또한 앞애서 주장한 것처럼 기 화생 연화화생 표현 에 등장하는 여러 문양들은 상호 동격을 이루고 호환 交互하며 連繫된 상태를 어김없이 보여준다. 신석기시대 토기에는 주로 點文(점선문) 직선문 (연속)삼각문으로 표현하였고 기타 연화문 화염문 파상문 당초문 등으로 표현하였다. 이들을 통하여 산 태양 연꽃 또는 그 관련 기 화생을 표현하였는데 대 개 간단한 구성이다. 이 가운데 가장 흔한 (연속)삼각문(그 안 직선문 포 함)은 삼국시대에 이르면 분명 山文으로 정착되었다. 그리고 연화문을 나 타낸 웅기 송평동 출토 토기(도2), 연속 삼각문과 유사한 모습의 연화문 을 나타낸 통영 연대도 출토 토기(도7) 등을 통하여 볼 때 신석기시대에 도 蓮華化生山즉 ‘연꽃으로부터 山이 화생되는 표현’도 있음을 알 수 있 다. 이 山文이나 연화화 생산 표현을 계승, 발전시킨 도상 가운데 하나가 백제금동대향로이다. 청동기시대 기 화생 표현은 주토 청동기에 ‘짧고 조밀한 연속 직선 문’ 점문(점선문) 원문圓文(연속)삼각문 파형문巴形文당초문 등으로 나타냈다. 기본 바탕은 신석기시대의 것을 계승하였지만 비교할 수 없을 만큼 정교하고 치밀한 구성이다. 이들은 불교미술 등 후대에 깊 은 영향을 끼쳤다. 삼국시대(가야시대 포함) 토기에 보이는 기 화생 표현은 그 문양 등 에서 보듯 신석기시대 토기(기원전 5000년경∼기원전 2000년경)와 청동 기시대(기원전 2400년경∼기원전 600년경) 청동기로부터 영향을 받은 것 이다. 기 화생 표현은 더욱 다양화되었고 확산되었으며 특히 연화화생 표현은 더욱 보편화되었다. 연속 산문을 위시하여 원문 半圓文당초 문 연화문 인동문 등으로 나타냈으며 역시 철저하게 상호 동격을 이 루고 호환 교호하며 연계된 구성을 보여 준다. 이상을 통하여 우리 선조들의 강역(오늘날 滿洲와 한반도 지역)에서 신석기시대부터 7세기 중엽에 이르기는 시기에 전개된 기 화생 연화 화생 표현은 독자적 영역을 이루며 전승된 것으로 결론 내릴 수 있다.