• Title/Summary/Keyword: Text style analyses

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A Study of Changes in Consumption Values Shown in Women's Magazines - Focus on Advertisement Content in Women's Magazines from 1955 to 2008 - (여성잡지광고에 나타난 소비가치의 변화와 광고소구방법 및 문장표현방법 분석연구 - 1955~2008년 여성잡지광고내용 분석을 중심으로 -)

  • Ko, Eun-Ju;Do, Hyun-Ji;Kim, Seon-Sook
    • Journal of the Korean Society of Clothing and Textiles
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    • v.34 no.2
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    • pp.226-241
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    • 2010
  • This study details the history and characteristics of consumption values, text style analyses, and appeal types expressed in magazine commercials from 1955 to 2008. This study analyzes the level of the social structure of commercial expression for each period. Consumption values based on the categories of consumption values by Sheth (1991) were classified through a total commercials analysis. Analyses on closing types of sentences, types of sentences, and rhetorical figures were executed focusing on headline text and text style. Appealing types were composed of rational, emotional, and ethical appeals. For analysis, the crosstab analysis and chi-square test of SPSS are used. The results are as follow. Seven values were constructed, functional value, social value, emotional value, conditional value, epistemic value, fashionable value, and indistinct value. The ratio of emotional value was the highest and functional value, epistemic value conditional value, fashionable value, social value, and indistinct value followed. The emotional value social value, conditional value, fashionable value, and epistemic value that focused on the emotion of consumers increased, while the functional value decreased. Sentences that use narrative styles, hyperboles, and metaphors that increased the interest of readers were dominantly used in the headline texts. For sentence expression, a declarative sentence in a sentence type, exciting curiosity in the expression method where hyperbole and figures of speech in rhetorical expressions are used most often. Emotional appeal was used almost twice more than the reasonable appeal for appeal types of the total commercial. The lower level of reasonable appeal is information that provides the product function. Interest and expression (such as pleasure and achievement) were used most often for emotional appeal. These results show that the most important issue is the emotional value in consumption in understanding the consumer. Marketing managers should also be aware of the functional value as well as an emotional value.

A Study on the Reading King, Deuk-shin Kim's Doksoogi (독서왕 김득신의 「독수기(讀數記)」에 대한 연구)

  • Han, Mi-kyung
    • Journal of the Korean Society for Library and Information Science
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    • v.49 no.1
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    • pp.423-441
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    • 2015
  • The results of this study are as follows. Firstly, out of existing manuscripts of Baeggokjib, the one possessed by Sang-hyun Kim and the one possessed by Jonkyunggak, Sungkyunkwan University shows reading reaords. Secondly, as a result of the analyses of the differences between Doksoogi and Gomoonsamshibyookdoksoogi, in terms of 1) order of records 2) the difference in the number of old texts included in the mentioned reading records 3) the difference in the title of old text, 4) the difference in records of reading times, they were revised and rearranged to Doksoogi after the record of Gomoonsamshibyookdoksoogi. Thirdly, as a result of investigations and analyses of 36 types of old texts recorded in Dogsoogi, it was found out that 1) in terms of contents, he mainly read literary books 2) in terms of style of literary books, he read mainly prose, preface, epistle, idle stories, funeral orations, etc. 3) in terms of authors, he read the old texts of Han Yoo who was the literary person during Tang Dynasty 4) Deuk-shin Kim read tend to read mainly old texts instead of single books.

Subjective Assessments and Analyses of Letter Sizes Under Black and White Contrasts for Various Font Sizes Through the Irradiation-effect (광삼효과를 이용한 흑백 대비에서의 여러 글자크기에 대한 주관적 평가와 분석)

  • Kong, Yong-Ku;Kim, Dae-Min;Sohn, Seong-Tae;Han, Jun-Goo
    • Journal of the Ergonomics Society of Korea
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    • v.29 no.1
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    • pp.107-112
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    • 2010
  • Irradiation is a phenomenon that causes white objects on a black background to appear to spread into near dark backgrounds, but the reverse is not. In this study, the effects of font size and thickness of letters on the legibility were investigated in combinations of black letters/white background as well as white letters/black background. Ten subjects who had been no disease of eyes and their eyesight is over 1.0 were recruited and tested subjective assessments of letter sizes for various font sizes (2pt to 80pt) and thickness of letters (normal, bold) under 600lux illumination and 50cm-distance of eyes and target letters for this study. Ming-style font type which was generally used in text of books, papers, and journals were tested in this study. Results showed that generally people subjectively assessed the white letters on black background (W/B) were larger sizes of letters than the black letters on white background (B/W) even both letter sizes were the same in both normal and bold thickness of letters. This phenomenon was happened in case of only over 22 font size (with border line about 22~24pts). Less than 22 font sizes, many people reported that both letters (W/B and B/W) are looks the same sizes in normal as well as bold letters. These findings were interpreted also by the irradiation phenomenon and more detail information was presented in this manuscript.

A Destructive Method in the Connection of the Algorithm and Design in the Digital media - Centered on the Rapid Prototyping Systems of Product Design - (디지털미디어 환경(環境)에서 디자인 특성(特性)에 관한 연구(硏究) - 실내제품(室內製品) 디자인을 중심으로 -)

  • Kim Seok-Hwa
    • Journal of Science of Art and Design
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    • v.5
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    • pp.87-129
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    • 2003
  • The purpose of this thesis is to propose a new concept of design of the 21st century, on the basis of the study on the general signification of the structures and the signs of industrial product design, by examining the difference between modern and post-modern design, which is expected to lead the users to different design practice and interpretation of it. The starting point of this study is the different styles and patterns of 'Gestalt' in the post-modern design of the late 20th century from modern design - the factor of determination in industrial product design. That is to say, unlike functional and rational styles of modern product design, the late 20th century is based upon the pluralism characterized by complexity, synthetic and decorativeness. So far, most of the previous studies on design seem to have excluded visual aspects and usability, focused only on effective communication of design phenomena. These partial studies on design, blinded by phenomenal aspects, have resulted in failure to discover a principle of fundamental system. However, design varies according to the times; and the transformation of design is reflected in Design Pragnanz to constitute a new text of design. Therefore, it can be argued that Design Pragnanz serves as an essential factor under influence of the significance of text. In this thesis, therefore, I delve into analysis of the 20th century product design, in the light of Gestalt theory and Design Pragnanz, which have been functioning as the principle of the past design. For this study, I attempted to discover the fundamental elements in modern and post-modern designs, and to examine the formal structure of product design, the users' aesthetic preference and its semantics, from the integrative viewpoint. Also, with reference to history and theory of design my emphasis is more on fundamental visual phenomena than on structural analysis or process of visualization in product design, in order to examine the formal properties of modern and post-modern designs. Firstly, In Chapter 1, 'Issues and Background of the Study', I investigated the Gestalt theory and Design Pragnanz, on the premise of formal distinction between modern and post-modern designs. These theories are founded upon the discussion on visual perception of Gestalt in Germany in 1910's, in pursuit of the principle of perception centered around visual perception of human beings. In Chapter 2, I dealt with functionalism of modern design, as an advance preparation for the further study on the product design of the late 20th century. First of all, in Chapter 2-1, I examined the tendency of modern design focused on functionalism, which can be exemplified by the famous statement 'Form follows function'. Excluding all unessential elements in design - for example, decoration, this tendency has attained the position of the international style based on the spirit of Bauhause - universality and regularity - in search of geometric order, standardization and rationalization. In Chapter 2-2, I investigated the anthropological viewpoint that modern design started representing culture in a symbolic way including overall aspects of the society - politics, economics and ethics, and its criticism on functionalist design that aesthetic value is missing in exchange of excessive simplicity in style. Moreover, I examined the pluralist phenomena in post-modern design such as kitsch, eclecticism, reactionism, hi-tech and digital design, breaking away from functionalist purism of modern design. In Chapter 3, I analyzed Gestalt Pragnanz in design in a practical way, against the background of design trends. To begin with, I selected mass product design among those for the 20th century products as a target of analysis, highlighting representative styles in each category of the products. For this analysis, I adopted the theory of J. M Lehnhardt, who gradated in percentage the aesthetic and semantic levels of Pragnantz in design expression, and that of J. K. Grutter, who expressed it in a formula of M = O : C. I also employed eight units of dichotomies, according to the G. D. Birkhoff's aesthetic criteria, for the purpose of scientific classification of the degree of order and complexity in design; and I analyzed phenomenal aspects of design form represented in each unit. For Chapter 4, I executed a questionnaire about semiological phenomena of Design Pragnanz with 28 units of antonymous adjectives, based upon the research in the previous chapter. Then, I analyzed the process of signification of Design Pragnanz, founded on this research. Furthermore, the interpretation of the analysis served as an explanation to preference, through systematic analysis of Gestalt and Design Pragnanz in product design of the late 20th century. In Chapter 5, I determined the position of Design Pragnanz by integrating the analyses of Gestalt and Pragnanz in modern and post-modern designs In this process, 1 revealed the difference of each Design Pragnanz in formal respect, in order to suggest a vision of the future as a result, which will provide systemic and structural stimulation to current design.

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The Internal Deconstruction Trend Expressed in the Works of Jean Paul Gaultier (장 폴 골티에 작품에 나타난 내적 해체경향)

  • 최영옥
    • The Research Journal of the Costume Culture
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    • v.9 no.4
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    • pp.574-591
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    • 2001
  • This study reviews the concept and characteristics of the deconstruction philosophy in order to analyze the major aspects of the fashion world called the deconstruction fashion based on the deconstruction philosophy, and analyzes the works of Jean Paul Gaultier in terms of Derrida's deconstruction theory. The scope of this research is from 1980 to present, and this study fashion on the many kinds of literature on philosophy, aesthetics and literary criticism, and the domestic and international fashion journals and magazines. The deconstructionism is the philosophical theory which denies the traditionally recognized logocentric metaphysical theory and refuses the closed world and pursues the open world, opposing the dichotomic theory which is the deep-rooted tradition of the Western philosophy. The results of analyses centering on the internal deconstruction trend expressed in the works of Jean Paul Gaultier are as follows. 1 The past style combined with the present appears in the form of the entirely new trace, not the past emotion and meaning in Gaultier's works transcending the time and space. 2 Gaultier presents the unconventional intermeaning of meanings, producing various possibilities according to the wearing method of the wearer by layering several clothes. 3. Gaultier breaks from masculinity and femininity in the intertextuality of gender, and decomposes the fixed idea of men's or ladies'wear through the design sharing bisexual text. 4. In the intertextuality of T.P.O., Gaultier presents the problem of how to wear by mixing different items through obscuring the division of the nature of time, space, and purpose. Especially Gaultier can be called the first designer who, worthy of the father of the deconstructionism, has introduced in the fashion making inner wear like outer wear. 5. In the intertextuality of coordination, Gaultier presents a new perspective of coordination through free combination and contrast, raising a question about the man-made harmony criterion and deconstructing the clothes. On the other hand, Gaultier expresses the intertextuality of the material through the heterogeneous combination of the material. 6. The decomposition trend expressed in the many works of Gaultier reflects an open mind presenting a new perspective through the distortion of the form, exaggeration, and break from the existing construction method. 7. The decentering trend in the works of Gaultier is found to deconstruct the Western-dominated elements against the background of subcultural elements, the elements borrowed from the minority race, md the Oriental culture. 8. The discontinuity clothes of Gaultier present the disordered principle of design without the uniform rules, and express the unrestrained freedom without captivation by the preconceived idea through the disruption of the dress and its ornaments just like Gaultier.

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