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        • KCI등재

          호혜성 소액 대출기구 : 농촌금융의 지속적 발전을 위한 선택

          王睿,明悦,蒲勇健 부산대학교 중국연구소 2008 Journal of China Studies Vol.4 No.-

          본 연구는 중국의 5개 성, 1개 시, 9가지 상이한 유형의 소액 대출기구들에 대하여 현지조사와 연구를 거쳐 소액 대출기구는 “호혜성”를 가지고 있으며 보편 특혜제도 금융체계를 실현하는 것은 중국 농촌 금융의 지속발전 가능성을 확보하는 중요한 요인이라는 것을 발견하였다. 그러므로 반드시 소액 대출 기구와 같은 “호혜성”금융조직을 대대적으로 발전시켜야 한다. 기구는 금융조직을 새롭게 창조한 형태로 금융개혁의 목표와 발전방향을 제시하고 있으며 다양한 조직형식, 다원적인 투자 주체, 다양한 시장패턴의 발전추세를 보여주고 있다. 현 정책의 시행과 제도 구축은 근본적으로 발전을 저애하는 요인이 되고 있다. 이밖에 정책적인 관여, 법률보장, 정부지원, 자체관리 및 농호자신의 의식과 시장개념의 육성 또한 제도측면에서 소액 대출 금융기구가 지속적으로 발전하는 중요 조건이다. Based on a investigation of 9 different types microfinance institutions covered in China's six provinces, Reciprocal of The Microfinance institution is the important factor to achieve Inclusive Financial Systems and sustainable development of China's Rural Finance. As an innovative type of financial organization, embody the goals of China's financial reform and development direction, with a trend of various organizational forms, multiple investors and market diversification patterns. At present, policy measures and institutional design restricts its development. In addition, policy supervision, legal protection, government support, and self-management, as well as farmers' credit consciousness are the indispensable condition for microfinance institutions' sustainable development. Microfinance institutions are also effective ways and important channels to establish the goals and development of Inclusive Financial Systems.

        • KCI등재

          將七巧板圖形運用於手机UI中的研究

          王睿(Wang, Rui), 徐漢錫(Seo, hansok) 한국전시산업융합연구원 2013 한국과학예술융합학회 Vol.14 No.-

          We live in a world build by traditional culture. Design, is the product of culture and art with the combination of science and technology, and art and technology are both belong to the broad category of culture. Culture is the sum total in process of human social and historical practice which created by the material civilization and spiritual civilization, and .Although the generation after generation of artists and designers, always trying to get rid of the shadow of the traditional culture, to create their own artistic milestone, but they never get rid of traditional culture. Therefore, we could say that the traditional culture have a very profound impact on art and technology, and All joint of the great influence on modern design through the art and technology. This paper first through the understanding of graphics, go deep into the historical survey of jigsaw puzzle. The jigsaw puzzle of seven plate combined with graphic design, analysis the characteristic and the jigsaw puzzle game. Secondly through the works of famous designers as the foundation, analysis the method of combines of the characteristics and design of the jigsaw puzzle. Finally through the results of the analysis we combine the jigsaw"s character of game and graphic design and then used into the UI design of mobile phone. in order to combine the national, regional, social and historic traditional culture with modern design and develop and expand it.

        • KCI등재

          The software interfacial design of the mobile phone user - Take the individualized design as an example -

          왕예,서한석 한국전시산업융합연구원 2014 한국과학예술융합학회 Vol.17 No.-

          The mobile phone, as the most common in dailylife, is the terminal and aggregation of personalelectronic supplies which has the fastest updatespeed, involving more and more in and impactinglarger on human daily life. It is not only a mobilephone to be taken along, but more an aggregationof entertainment, life and information. Its terminalnature has also determined the humanization,interest, function integration and interfaceindividuation must be more in the man-machineinteraction .We are living in a world constructedwith traditional culture. The design is a connectiveproduct of culture and art, science and technology,however, art and technology belong together togeneralized cultural category. The culture is asummation between the material civilization andspiritual civilization, which has irreversibleinheritance. Though artists and stylists fromgeneration to generation always attempt to get ridof the shadow of traditional culture, and create theart milestone of their own, the traditional culturewill also be very closely associated with them, andvisible everywhere. Therefore, we can say, it isnecessary that any traditional culture will generatea very deep influence on the development of artand technology, and directly or indirectly influenceon our lives through them. This paper firstly through theoretical propertyresearch of the tangram, deeply into the designexample of the existing famous stylist`s applicationof tangram as the basis. Then it draws forth thecontent that the tangram is applied to the mobilephone interface, through the analysis of variousmobile phone interfaces and draws and summarizesa conclusion, using the morphological characteristicsand game characteristics of the tangram to carryout mobile phone interface design. It combines thetraditional culture with the national character,regionalism, sociality and historic nature and themodern design, finally completes the scheme.

        • KCI등재

          추상적 형태를 이용한 창의적 사고능력 도구 측정 개발에 관한 연구

          왕예 ( Rui Wang ), 조열 ( Youl Cho ), 전신종 ( Shin Jong Jeon ) 한국기초조형학회 2014 기초조형학연구 Vol.15 No.6

          20세기가 정보화 시대라면 21세기는 창조화 시대, 또는 문화 창조화 시대라고 한다. 특히 디자인 전공분야에서는 창의적 사고능력이 요구되고 있다. 미국의 심리학자 길포드(Guilford)는 인간의 창조적 사고능력이 유창성, 융통성, 독창성, 정교성 등 네 가지 요소로 구성되었음을 밝힌바 있다. 본 연구는 길포드의 연구 성과와 로르샤하테스트와 같은 자유연상법을 이용하여 창의적 사고능력 측정 모형을 개발함으로써 디자인 발상교육의 효과검증,또한 예술, 디자인 분야에서의 전공 적합도 판단에도 유용하게 쓰일 수 있도록 하는 것이다. 서론에서는 연구배경과 목적 그리고 연구방법 및 범위에 관하여 기술하였고, 2장과 3장은 확산적 사고로서의 창의력에 관하여 길포드(Guilford)의 연구와 로르샤하의 테스트 카드 등의 선행연구를 개관하였다. 4장은 설문을 위한 연상테스트 이미지 제작과 선별 과정을 소개하고 설문을 통한 예비 실험1과 실험 2에 의한 실험결과를 분석하였다. 5장과 6장에서는 검증과정으로 서울 소재 디자인 대학의 전공자 150명을 대상으로 실험하였으며, 차이는 “그룹1>그룹2>그룹3” 순서대로 창의력을 높다는 점을 알 수 있다. 실험의 최종결과를 F-test와 t-test 등의 통계 툴을 통하여검증한 결과, 유창성, 융통성, 독창성, 정교성 등 4개 부문에서 95%의 신뢰 수준으로 각 그룹 간 창의적 사고능력에 현격한 차이가 있음을 알 수 있었다. 따라서 본 연구 실험의 예상 결과의 추정치와 일치한 것을 알 수 있다. 본 이미지 카드를 창조적 사고능력 측정 도구로 개발 할 수 있다는 가능성을 보였다. If the 20th century was the age of information technology, the 21st century is the age of creativity or cultural creativity. In the field of design especially, there is a growing demand for creative thinking abilities. Guilford, the American psychologist stated that creative thinking abilities are made of four elements; fluency, flexibility, originality, and elaboration. The present study uses Guilford's research and free association tests such as the Rorschach test to develop an assessment model for creative thinking that will enable us to evaluate the effectiveness of design conception training as well as assessing aptitude for art and design. The Introduction illustrates the background, purpose, methodology and scope of the research, while chapters2 and 3 looks at previous research on the cognitive mechanism of creativity such as Guilford's study and the Rorschach test cards. Chapter 4 introduces the process in which the present study developed and selected images for free association tests, and analyses the survey results of the first and second preliminary experiments. Chapters 5 and 6 illustrate the main experiment and the assessment of its validity. The selected images are tested on 150 students in design schools within Seoul to verify the model, and the results of the experiment were assessed using statistical tools such as the F-test and t-test to assess its validity. As a result, the assessment showed a 95% confidence level in the 4 categories of fluency, flexibility, originality, and elaboration, and confirmed that there is a significant difference in the creative thinking abilities among each group. Thus, the image cards developed through this study showed possibility for development as an assessment tool for creative thinking abilities.

        • KCI등재

          칠교판 도형을 활용한 휴대폰 UI Design 에 관한 연구

          왕예 ( Rui Wang ), 서한석 ( Han Sok Seo ) 서울과학기술대학교 과학문화전시디자인연구소 2014 한국과학예술융합학회 Vol.17 No.-

          The mobile phone, as the most common in daily life, is the terminal and aggregation of personal electronic supplies which has the fastest update speed, involving more and more in and impacting larger on human daily life. It is not only a mobile phone to be taken along, but more an aggregation of entertainment, life and information. Its terminal nature has also determined the humanization, interest, function integration and interface individuation must be more in the man-machine interaction .We are living in a world constructed with traditional culture. The design is a connective product of culture and art, science and technology, however, art and technology belong together to generalized cultural category. The culture is a summation between the material civilization and spiritual civilization, which has irreversible inheritance. Though artists and stylists from generation to generation always attempt to get rid of the shadow of traditional culture, and create the art milestone of their own, the traditional culture will also be very closely associated with them, and visible everywhere. Therefore, we can say, it is necessary that any traditional culture will generate a very deep influence on the development of art and technology, and directly or indirectly influence on our lives through them. This paper firstly through theoretical property research of the tangram, deeply into the design example of the existing famous stylist`s application of tangram as the basis. Then it draws forth the content that the tangram is applied to the mobile phone interface, through the analysis of various mobile phone interfaces and draws and summarizes a conclusion, using the morphological characteristics and game characteristics of the tangram to carry out mobile phone interface design. It combines the traditional culture with the national character, regionalism, sociality and historic nature and the modern design, finally completes the scheme.

        • KCI등재

          中国の大学の日本語教科書におけるオノマトペの分析 - 新日本語能力試験と比較して -

          왕예,김영아 일본어문학회 2020 일본어문학 Vol.88 No.-

          Widely used in Japanese, onomatopoeia are a striking characteristic of Japanese. Comparatively, Chinese does not have too many onomatopoeia. Additionally, Chinese and Japanese vary significantly between each other in terms of their word class and morphology. Thus, it can be seen that Chinese learners find Japanese onomatopoeia very difficult. Therefore, from the perspective of Japanese education, this paper adopts onomatopoeia in Japanese textbooks used by Chinese colleges, and extracts this onomatopoeia to build a database for analysis. Moreover, on the basis of analyzing these Japanese textbooks, the collection of onomatopoeia in Japanese‐Language Proficiency Test is studied. These onomatopoeia are extracted from Japanese‐Language Proficiency Test to establish a database. At the same time, onomatopoeia in Japanese textbooks and in Japanese‐Language Proficiency Test are comparatively studied. Results show that a small number of onomatopoeia is collected in five textbooks. This comparison of onomatopoeia in Japanese textbooks used by Chinese colleges and in points out the differences between onomatopoeia appearing in these two situations. オノマトペは日本人の日常生活に広く使われており、日本語の特徴の一つと言える。しかし、中国人日本語学習者にとって日本語オノマトペを使いこなすことは非常に難しい。そこで、本稿では、日本語語彙教育の立場からより効果的なオノマトペの習得のために、中国の大学の日本語教科書と中国で出版された新日本語能力試験の9年間の既出問題集に収録されたオノマトペを研究対象とし、オノマトペをデータベース化して比較研究を行った。その結果、第一に、中国の大学の日本語教科書の延べ語数と異なり語数にほとんど差がないことや、日本語教科書に収録されるオノマトペの数は少なく、各教科書の巻別の間にはオノマトペ語彙数の差が見られた。第二に、新日本語能力試験に出現した高頻度オノマトペは、選択肢としての高頻度オノマトペに比べ、高頻度オノマトペに対する重要度も異なっていることがわかった。第三に、日本語教科書と新日本語能力試験に共通するオノマトペを比較․分析したが、日本語教科書における日本語語彙教育と新日本語能力試験対策のためのオノマトペの語彙教育との間にずれが見られた。

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