이 논문은 뮤지컬 『라이온 킹』에서 그루브(Groove)가 캐릭터 형성, 감정 전달 및 스 토리 전개에 미치는 영향을 분석하였다. 연구의 필요성 및 목적은 그루브가 단순한 리듬 적 요소를 넘어 서사의 긴장감 조성과 정서적 몰입에 기여하는 핵심적 역할을 규명하기 위한 목적으로 수행되었다. 연구 방법으로는 주요 장면 <Circle of Life>, <Hakuna Matata>, <He Lives in You>, <Be Prepared>를 대상으로 악보 분석 및 연출 관찰을 통해 그루브의 리듬적 특성과 서사적 기여를 심층적으로 탐구하였으며, 특히 리듬 구조, 악 기 구성, 음악적 동선 등을 분석하여 각 장면에서 그루브가 어떻게 구현되고, 캐릭터와 서사에 어떠한 영향을 미치는지를 실증적으로 검토하였다. 연구 결과는 그루브가 캐릭 터의 내면적 변화와 감정을 구체화하며, 주요 서사의 전환점에서 극적 긴장감을 조성하 는 중요한 역할을 수행하는 것으로 나타났다. 이 논문은 뮤지컬에서 그루브의 학문적· 실용적 의의를 강조하며, 뮤지컬 창작과 분석 과정에 기초 자료를 제공하였다.
이 연구는 애니메이션 <스파이더맨: 뉴 유니버스>에서 색채 심리학 이 캐릭터 형성과 서사에 미치는 영향을 탐구한다. 연구는 색채가 애니 메이션 영화에서 감정 전달, 캐릭터 개성 형성, 이야기 발전에 대한 잠 재력을 밝히려고 한다. 정성적 분석 방법을 사용하여 영화 내 색채 사 용을 해석하고, 특히 색채가 캐릭터의 감정 표현과 관객의 감정 반응에 어떻게 영향을 미치는지 조사했다. 연구 결과는 <스파이더맨: 뉴 유니 버스>에서 색채 사용이 캐릭터 이미지의 깊이와 감정의 풍부함을 증진 시키고, 서사의 동적성과 시각적 매력을 강화함을 보여준다. 색채 변화 를 통해 영화는 감정과 주제를 성공적으로 전달하고, 관객의 감정 공명 과 이야기 이해를 증진한다. 색채의 전략적 사용은 캐릭터 간의 관계와 이야기의 핵심 전환점을 강조하여, 시각적 서사에서 색채의 필수적인 역할을 보여준다. 이 연구는 애니메이션 영화 제작에서 색채 심리학의 적용을 더 깊이 탐구할 필요성을 강조하며, 향후 연구에서 정량적 연구 방법을 사용하여 색채가 관객 인식과 감정 반응에 미치는 영향에 대한 실증 데이터를 수집할 것을 제안한다. 동시에, 문화적 배경과 개인 경 험이 색채 인식에 미치는 영향을 고려한 개인 차이를 더 깊이 탐구할 필요가 있다.
As a language writing symbol inherited by the Chinese nation for nearly a thousand years, Chinese characters have obvious ideographic characteristics, and the components of Chinese characters play an important role at the ideographic level. Different components are combined with each other to jointly participate in the overall formation meaning of Chinese characters. Therefore, the interpretation of the shape and meaning of Chinese characters is naturally inseparable from the study of components. After the development and evolution of Chinese characters in the past dynasties, both the overall shape and the partial components of the characters have changed over time. Modern Chinese characters use common regular script. If we trace and explore its specific components in combination with past dynasties, it is not difficult to find that the meaning and source of the component itself may be more than one. In modern Chinese characters, there are a large number of Chinese characters with component “口”. In most cases, the component “口” plays the formation meaning function of “mouth”. However, if we trace the origin of the Chinese characters containing the component “口” and start from the early forms of the relevant Chinese characters, we can discover a variety of formation meaning functions of the component “口” except "mouth". Through research, this paper finds that the modern Chinese character component “口” not only means “mouth”, but also has other formation meaning functions such as “ware”, “symbol” and “range”. For the research on the origin of the formation meaning of the Chinese character component “口”, the related academic achievements still need to be improved. This paper has the significance value of exploring and improving the multiple functions of the specific components.
As oracle bone writing entered into its third phase, the script for Phoenix「鳳」was being drawn up as「 」which includes the symbol 「 」. Conventionally, the 「盤」 code, like the 「 」 code, has simply meant a boat. In this article, it is argued that 「 」 means a dugout canoe and 「 」 means a sailing ship. In addition, 「 」 was used as a constituent part of 「 (鳳:Feng)」which was the original character for wind. The word 「凡」 in 「帆」 was used as a metaphorical symbol to mean wind because a sailing ship is used as the metaphor of wind . The Chinese character for「 」later became 「凡」 which constituted the characters for 鳳' and '風'. 般, 'which is considered to be same concept as 「凡」means circling the boat with a sail following the wind according to Shouwen Jiezi(『説文解字』). Dr. Shizuka Shirakawa, a traditional Chinese calligrapher, interpreted 「凡」 as the first sentence of 「盤」. There is an interpretation that 「盤」 has the meaning of 「盤旋」, and therefore 「盤」 has the meaning of wind. However, I cannot understand that 「盤 旋」(circulate)is a metaphor for wind. Rather, it seems to be more reasonable to assume that 「凡」 means that the sail of a sailing ship receives the wind. The word 「凡」 originally meant sailing ship, and in its expanded meaning, wind, and in addition, it meant ship as a symbol that mediates the divine and human worlds.
This study intends to look into management and architectural space composition of Honjeon during the reign of Sukjong. Also it purposes to inspect how to affect management of the Royal Palace. The study is based on each Binjeon․Honjeon Dogam Eugwe between late 17C and 18C. And the data on management of the Royal Palace is based on Joseonwangjosillok and Seungjeongwon Ilgi. Because Sukjong used ChangDeokgung and GyeongDeokgung alternately, Honjeon located at Munjeongjeon of ChangGyeonggung during Sukjong stayed at ChangDeokgung and located at Gyesangdang of GyeongDeokgung during Sukjong stayed at GyeongDeokgung. At that time, often movement of the King modified procedure of moving Honjeon. Between the first year of Hyenjong and the 9th year of Sukjong, architectural space of Honjeon was settled. In 1659, territory of Jeongjeon was settled. Also between 1674 and 1684, Goklimcheong was built. Construction of Goklimcheong is noticeable character. As Munjeongjeon was being used as Honjeon continually, it was recognized as Honjeon. Due to its long utilization as Honjeon, several gonvernment offices were transferred. Also it influenced utilization of Myeongjeongjeon.