한글 글자체의 인상(印象)

이용제 한국타이포그라피학회 2017 글짜씨 Vol.9 No.2

Everything has impression and each character also has different impression. Furthermore, every typeface even in a single character system has impression of its own. It is hard to clearly define impression of a typeface as it is decided by one’s experience and subjectivity. If there is sympathy between a typeface designer and a user regarding impression of various typefaces, the impression of typeface would assist or highlight communication and serve as criteria to definitively determine and explain design direction of a Hangeul typeface. A user can select a Hangeul typeface based on that context and a type researcher would be assisted in order to judge similarity of typeface. In addition, limitations that have been so far in typeface categorizing method can be supplemented. Why universal sympathy has not been yet formed on impression of Hangeul typeface is that category setting of typeface is narrow; comparison target is not detailed enough and; vocabulary to express impression of typeface is not sufficient. It is also contributory to the problem that there is no method or criteria to decide typeface impression along with lack of understanding in past typeface. I’ve searched vocabularies that can be used to express typeface impression and elements that determine typeface impression. For the former purpose, I examined 1,338 vocabularies collected from previous studies in the field. Total of 122 words were left after filtering vocabularies that are decided inappropriate to express typeface impression such as ones that express shape, motion and state; determiners from which it is hard to associate typeface form and; disputable ones in their interpretation. More vocabularies other than ones above would be used to express typeface impression when users form sympathy one another. I’d like to suggest a way to separately analyze typeface impression with levels of appearance (letter form, phoneme structure, weight, embellishment), internality (stroke and space) and gathering (sentence and printing plate). I adopted these levels as impression on a letter form may vary depending on phoneme structure, weight or embellishment. It is because dynamics of stroke or spaces between characters affect impression and the impression when characters are gathered may also be different from that formed on phoneme. In determining typeface impression, some parts are strengthened while others are weakened when looking closely or from a distance and observers have different level of knowledge and experience to read off information that determines typeface impression; it requires multi-level approach to review and define grounds. It is necessary to find more vocabularies to establish sympathy among people and to refine methods for judging typeface impression with future attempts for detailed expression of typeface impression.

스토아에서 ‘비감각인상’의 파악

양호영 한국서양고전학회 2019 西洋古典學硏究 Vol.58 No.2

Stoic epistemology starts from impression (phantasia) in general which is a mental state suffered by corresponding object. Impression reveals the object which produces it, and the impression “generated from what is real, in accordance with what is real moulded and stamped” is called by the Stoics ‘cognitive impression’(katalēptikē phantasia). Primary object of cognitive impression is sensory. But the Stoics include in the category of impression non-sensory impression, “obtained through thought such as those of the incorporeals and of the other things acquired by reason” as well as sensory one. If every cognitive impression is sensory, there would be no cognitive impression which is non-sensory. However, if the fundamental principles of Stoic system are non-cognitive because of their being non-sensory, how can we cognize them? This paper deals with this problem of perceptibility of non-sensory impression, by considering it as incorporeal. In the first section, I will examine Stoic view on non-sensory impression, the object of which belongs to incorporeals and the other things acquired by reason. This impression excludes things acquired through sensation. In the second section, the characteristics of incorporeals as objects of non-sensory impression are elucidated. Incorporeals do not exist but subsist since they do not act on nor are acted upon. The controversy of perceptibility of non-sensory impression is concerned with the notion of ‘what is real’ in Zeno’s definition of cognitive impression mentioned above. Two contrary positions are suggested. The one claims that ‘what is real’ indicates sensory object only; the other claims that what is real includes non-sensory object as well. This paper agrees with the latter view, though there still remain some points to discuss about. Since the notion of ‘body’ as something acting on others or being acted on remains untouched throughout the history of Stoicism, there still remains a question how incorporeal objects devoid of faculty of acting can generated impressions of soul. In the third section, I will examine the way that we can perceive non-sensory impression, if it is possible, and explain the role and implication of non-sensory impression in Stoic epistemology. 스토아 논리학의 출발점인 ‘인상(phantasia)’은 대상의 촉발에 의해 영혼이 겪은 모든 상태를 가리키는 유적인 개념으로 볼 수 있다. 인상은 그것을 야기한 대상을 드러내며, 특히 “실재하는 것(hyparchon)으로부터 생겨나고, 실재하는 것 자체에 일치해서 찍히며 날인되는” 인상을 스토아학파는 ‘파악인상(katalēptikē phantasia)’으로 부른다. 파악인상의 일차적 대상은 감각대상이다. 하지만 스토아학파는 감각인상 이외에도 ‘비물체적인 대상 및 사유를 통해서 포착되는 대상’에 기인한 ‘비감각인상’도 인상에 포함시킨다. 만일 모든 파악인상이 감각인상이라면, 어떤 비감각인상도 파악될 수 없을 것이다. 그런데 스토아학파의 체계를 구성하는 공리들은 개별 감각에서 도출된 것으로 보기에는 어려운 가장 근원적인 원리들이다. 만일 이 원리들에 상응하는 비감각적 파악인상이 존재하지 않는다면, 스토아 이론의 가장 핵심적인 자연학, 논리학, 윤리학의 원리들을 흔들림 없이 확보하기가 어렵다. 이 글은 비감각인상을 비물체적인 것에 대한 인상으로 해석하고, 비물체적인 것에 대한 파악인상이 가능함을 보여주는 것을 목표로 한다. 1절에서는 스토아의 인상 분류 체계를 검토하면서 비감각인상에 대한 스토아의 견해를 살펴본다. 비감각인상은 ‘비물체적인 대상 및 사유를 통해서 포착되는 대상’에 기인한 인상으로 정의되므로, 개별 감각인상을 통해서 포착되는 것들을 배제한다. 2절에서는 비감각인상의 대상인 비물체적인 것, 특히 논리학에서 중요한 역할을 담당하는 비물체적인 ‘렉타’가 물체적인 인상을 영혼에 산출하는 모델을 제시한다. 마지막 3절에서는 비감각적 파악인상의 존재여부에 대한 대립된 입장을 살펴보면서, 비감각적 파악인상의 존재가능성을 검토하고자 한다.

Accuracy of new implant impression technique using dual arch tray and bite impression coping

Shin-Eon Lee,Sung-Eun Yang,Cheol-Won Lee,Won-Sup Lee,Su Young Lee 대한치과보철학회 2018 The Journal of Advanced Prosthodontics Vol.10 No.4

PURPOSE. The purpose of this in vitro study was to evaluate the accuracy of a new implant impression technique using bite impression coping and a dual arch tray. MATERIALS AND METHODS. Two implant fixtures were placed on maxillary left second premolar and first molar area in dentoform model. The model with two fixtures was used as the reference. The impression was divided into 2 groups, n=10 each. In group 1, heavy/light body silicone impression was made with pick up impression copings and open tray. In group 2, putty/light body silicone impression was made with bite impression copings and dual arch tray. The reference model and the master casts with implant scan bodies were scanned by a laboratory scanner. Surface tessellation language (STL) datasets from test groups was superimposed with STL dataset of reference model using inspection software. The three-dimensional deviation between the reference model and impression models was calculated and illustrated as a color-map. Data was analyzed by independent samples T-test of variance at α=.05. RESULTS. The mean 3D implant deviations of pick up impression group (group 1) and dual arch impression group (group 2) were 0.029 mm and 0.034 mm, respectively. The difference in 3D deviations between groups 1 and 2 was not statistically significant (P=.075). CONCLUSION. Within limitations of this study, the accuracy of implant impression using a bite impression coping and dual arch tray is comparable to that of conventional pick-up impression.

서체 디자인 요소 변화에 따른 인상 연구

문미화 ( Mi Hwa Moon ),장동련 ( Dong Ryun Chang ) 한국기초조형학회 2015 기초조형학연구 Vol.16 No.4

개인의 감성만으로 서체를 선택할 수는 있다. 그러나 감성만으로는 서체를 선택하기엔 불충분하다. 서체의 함축적인 의미와 표현하려는 의도와의 조화가 고려되어야 하기 때문이다. 그러므로 적절한 서체를 엄선하기 위해서는 서체의 인상을 파악해야 한다. 따라서 본 연구에서는 서체가 나타내는 다양한 감성적 표현인 서체의 인상을 파악하기 위해, 서체의 인상을 결정하는 주요인자가 디자인 요소임을 객관적으로 검증하는 것이 목적이다. 디자인 요소의 차이에 따라 어떻게 서체 인상 변하는지 알아보고자 바탕체와 돋움체 대상으로 연구모형을 설정하였다. 서체의 인상을 결정하는데 영향을 미치는 중요 변인들로 공간, 굵기, 엘리먼트, 중심, 기준선을 제시하고, 변인들에 의해 서체 인상이 어떻게 변하는지 검증하였다. 서체 인상을 정략적 측면에서 연구하고자 디자인 요소와 서체 인상의 상관관계를 어의차이척도를 이용하여 분석하였고, 요인분석을 통해 서체 인상을 평가할 때 가장 중요하게 생각하는 요인을 추출하였다. 이를 통해디자인 요소는 서체 인상에 영향을 미치는 것으로 나타났고, 특히 디자인 요소 중 굵기와 엘리먼트 및 기준선이 서체인상에 가장 큰 영향을 미치는 것으로 나타났다. 그리고 요인분석을 실시한 결과, 서체 인상을 평가할 때 2 가지 요인을 평가한다는 것을 알 수 있었다. ‘정교한’, ‘깔끔한’, ‘산뜻한’, ‘현대적인’, ‘재미있는’, ‘예쁜’, ‘친근한’ 순서의 제 1요인과 ‘복잡한’, ‘화려한’, ‘독특한’ 순서의 제 2 요인으로 평가하였다. 이 검증을 통해 디자이너는 사용자가 원하는 인상의 서체를 쉽게 고를 수 있을 것이고, 서체 디자인의 콘셉트 도출이 체계적으로 이루어질 수 있을 것으로 생각된다. It is possible to select a typeface by only personal sensibility, but this is not enough. Because the implicative meaning of typeface and harmony with intention that people express must be considered. So understanding of typeface impression is required to select the proper typeface. To understand the typeface impression that the typeface exposes the various emotional expressions, it is the purpose to verify objectively that the main factor to determine the typeface impression is design factors. The research model for Batang type and Dotum type was prepared to investigate how to change the typeface impression by the difference of design factors. The space, weight, element, center and baseline that affect to represent the typeface impression were main changing factors. And they were used for verification how to change the typeface impression. The correlation between design factor and typeface impression was analyzed by Semantic Differential in order to research on typeface impression from political aspect. And the most important factor for evaluation of typeface impression was selected by factorial analysis. The above explanation shows the design factors affect the typeface impression. Especially, weight and element and baseline of design factors have the most effect. And from the result of the factorial analysis, the 2 factors were evaluated from the typeface impression. ‘Exquisite’, ‘tidy’, ‘fresh’, ‘modern’, ‘interesting’, ‘pretty’, ‘familiar’ are first factors and ‘complicated’, ‘showy’, ‘distinctive’ are second factors in the order named. On this research, the designer can easily choose the typeface of impression that users want. And the design concept of typeface will be drawn systematically.

임플란트 인상채득 방법과 인상용 코핑 연결 고정에 따른 정확성 비교

홍기윤,신수연 대한턱관절교합학회 2023 구강회복응용과학지 Vol.39 No.1

Purpose: We investigated the effect of open tray impression using pick-up impression coping and close tray impression using transfer impression coping on the accuracy of impression in edentulous patients on their mandibular parts. the effect of material types of pick-up type impression copings for splinting in open tray impression on the accuracy of impression was also evaluated. Materials and Methods: Two implant fixtures were implanted in parallel in the left molar of the mandibular in the shape of a mandibular partial edentulous model. The 40 individual trays were fabricated using 3D printer. The prepared individual trays were classified into 4 groups (i.e., PN, PG, PH, and TN groups), and a total of 40 impression-takings were conducted. A master cast was connected to a Scan Body. The converted STL file was super-imposed on the scan images of the various groups. Results: The order of standard deviation values decreased as follows: PN (0.2343 ± 0.0844 mm), TN (0.2192 ± 0.0840 mm), indicating that the high accuracy of impression for TN group. In addition, for the comparison results between the material types used in splinting the open tray impression, the PH group showed a relatively lower standard deviation (0.1910 ± 0.1176 mm) than that of the PN group (0.2343 ± 0.0844 mm), PG group (0.2556 ± 0.1082 mm). Conclusion: The acrylic resin synthesized by light-induced polymerization exhibited a higher accuracy of impression taking than that of autopolymerizing acrylic resin. Meanwhile, the accuracy of impression taking was not dependent on the implant impression taking method or the presence of connection/fixation of impression copings.

Stranger in a Foreign Land. How to Impress and how to be Impressed. A Comprehensive Review on the Differences of Impression Management Behavior between Two Culture

Deonna Harris(헤리스 디오나),Yunsuk Cha(차윤석) 한국콘텐츠학회 2017 한국콘텐츠학회논문지 Vol.17 No.10

본 연구는 자메이카와 한국과의 통합적 그리고 방어적 인상관리 행동 및 자신을 표현하고자 하는 행동에 있어서의 두 나라간 차이를 연구하였다. 인상관리행동에 관한 선행연구와 문화관련 연구들은 문화에서의 차이점들은 인상관리행동의 스타일을 결정한다고 주장하고 있다. 따라서 본 연구는 자메이카와 한국 문화 중 어떠한 요소들이 구성원들이 좀 더 인상관리 행동을 하는지 그리고 다른 국가 간 문화적 차이를 토대로 어떠한 인상관리행동의 차이를 보이는지 연구하였다. 자메이카와 한국의 102 명 개인을 대상으로 설문 조사한 결과 양 국가에서의 인상관리 행동은 비슷한 점과 다른 점 두 가지를 모두 확인하였다. 비록 본 연구에서는 여러 제한점에도 불구하고, 본 연구의 두 국가 간 문화차이로 인해 조직 내 구성원들의 인상관리전략이 다르다는 것을 확인하였다. 특히 한국은 자메이카보다 좀 더 인상관리를 중요시 여기는 것으로 나타났다. 또한 자메이카는 방어적인 인상관리 행동을 높게 사용하는 반면 한국은 자기프로모션과 통합적 인상관리 전략을 좀 더 많이 사용하는 것으로 나타났다. This study examines the differences in the use of self promoting, ingratiating and defensive impression management behavior between Jamaica and South Korea. Previous researches on impression management behavior and culture suggests that differences in culture will determine the type of impression management behavior one uses. This study, therefore aimed to determine which of the two will be more motivated to engage in impression management behavior and does the use of impression management behavior differs based on the differences in culture. Analysis of 102 individuals from Jamaica and South Korea, through the use of questionnaire survey, shows both similarities and differences in the use of impression management behavior. Although there were a few limitations to this research, our findings do highlight some cross-cultural significant differences in the use of impression management behavior between both countries. Results showed that South Korean will be more likely than Jamaican to be motivated to engage in impression management. In addition, South Korean respondents reported higher use of self promoting and ingratiating impression management behavior while Jamaican respondents reported a higher use of defensive impression management behavior.

시적 감동’에 관한 불교심리학적 고찰

정효구(Jeong, Hyo-goo) 한국문학회 2015 韓國文學論叢 Vol.71 No.-

The purpose of this study is to examine the matter of 'poetic impression' in the perspective of Buddhist psychology. The phrase of poetic impression has been used frequently by a lot of people in the circles of poetics, but in fact, in-depth and academic exploration has hardly been made on it. Therefore, it is needed to establish poetic impression as a kind of definite theory of poetry, and the approaches of Buddhist psychology to it satisfy the necessity considerably. There are several conditions to make a good poem. Among them, poetic impression is definitely in the frontline, and it is a crucial source that allows poems to exist on the high place of human society. Poetic impression is to let humans encounter and realize 'divine reality' that can be referred to as terms like pure mind, holistic mind, tao mind, mindlessness, mercy, spirituality, or eternity buried deep in humans or operating within them. Seen from the perspective of Buddhist psychology, humans' mentality seems very complex, but the basic principle of it is simple differently from how we expect. It is because whether the so-called host and guest use separated 'two minds' or employ 'one mind' transcending the host and guest is the core of how any mentality works. Generally, secular mentality originating from consciousness of selfness, 'I exist’, is to use 'two minds' in which the host and guest are divided. On the contrary, self-transcendental mentality realized in consciousness of selflessness and mindlessness is to use 'one mind' in which the host and guest become the one. Undoubtedly, poetic impression is born from the latter. In poetry, such matter of 'using mind' is a crucial factor that determines the poetic impression of a poem and also the viewpoint and imagination of it. Generally, poetry can be easily seen as the matter of language, but in fact, before language, the matter of 'using mind' present in language is the essential aspect of poetry more important than language itself. Since modern poetry is familiar to us and grounded on egocentrism and anthropocentricism that modernity takes as its base, this matter of 'using mind' might be easily taken for granted. Therefore, the lives of modern people setting the character of individual ego and human pride forth as well as the deeds of using mind understanding the matter of 'using mind' in modern poetry properly and opening the dimension existing beyond the character of individual ego and human pride are to be remembered and explored particularly importantly. This author deems that among the three dimensions of Buddhist psychology, the matter of poetic impression meets the matters of mercy above wisdom, mindlessness, holistic mind or absolute nature, the supreme dimension, and examines the substance of the impression with six categories having 6 paramita, the nuclear training of Mahayana Buddhism, as the criteria. As a result, this author has reconfirmed that the matter of poetic impression does not simply end as the matter of poetry and is associated with profound understanding of one existing world and the matter of practice. This means that when it comes to modern poetry, it is related to the dimension of understanding a more essential and ultimate world, not just the matter of genius or acquisition of technique emphasized. Our modern and contemporary poetry so far has been reflecting modern mind grounded on individuals as well as freedom and individuality faithfully and also using the archetypal and deep mind of art itself, so-called mercy, holistic mind, mindlessness, transpersonal psychology, or eternity. In this way, it has significantly succeeded in arousing poetic impression beyond time and space. However, now there is a concern that our poetry of this 21st century is leaning excessively on egocentrism or anthropocentricism and becoming far from the task of creating poetic impression. Though it may not be regarded as a proper name, the title of 'the fu 이 글은 '시적 감동’의 문제를 불교심리학적 관점에서 살펴보고자 씌어진 글이다. 지금까지 시적 감동은 시학계의 수많은 사람들에 의하여 빈번하게 사용된 말이지만 실제로 이에 대한 심층적이며 학구적인 탐구는 부재하였다. 따라서 시적 감동은 하나의 명확한 시론으로 정립될 필요가 있거니와, 이에 대한 불교심리학적 접근은 그 필요성을 상당 부분 충족시켜 준다. 우리는 좋은 시의 요건으로 여러 가지 사항을 들 수 있으나 시적 감동은 그 중에서도 단연 앞자리에 놓일 뿐만 아니라 시를 인간사의 高處에 존재하게 하는 중요한 원천이다. 시적 감동은 인간들의 심층에 묻혀 있거나 그 속에서 작동하고 있는 淸淨心, 一心, 道心, 公心, 慈悲心, 靈性, 永遠性등과 같은 말로 부를 수 있는 '신성한 실재’를 만나고 일깨우는 일이다. 불교심리학적 관점에서 보자면 인간들의 심리는 매우 복잡한 것 같으나 그 근본 원리는 생각과 다르게 단순하다. 이른바 主客이 분리된 '두마음’을 쓰느냐, 아니면 주객을 넘어선 '한 마음’을 쓰느냐 하는 것이 모든 심리 작용의 핵심이기 때문이다. 일반적으로 '내가 있다’는 유아의식에서 비롯된 세속적 심리는 주객이 분리된 '두 마음’을 사용하는 것이다. 그에 비해 무아의식 및 대아의식에서 이루어지는 자아초월적 심리는 주객이 하나가 된 '한 마음’을 사용하는 것이다. 말할 것도 없이 시적 감동은 후자에 의하여 탄생된다. 시에서 이와 같은 '用心’의 문제는 그 시의 시적 감동은 물론 시의 관점과 상상력을 결정하는 중요한 요인이다. 일반적으로 시를 언어의 문제로 보기 쉽지만 실제로 언어 이전에 혹은 언어 속에 존재하는 '用心’의 문제는 언어 문제 이상으로 중요한 시의 본질적 측면이다. 우리에게 익숙한 근대시는 근대가 기저로 삼고 있는 개인중심주의와인간중심주의에 기반해 있기 때문에 자칫 이 '用心’의 문제를 소홀히 하기 쉽다. 따라서 個我의 개성과 인간의 자부심을 전면에 놓고 있는 근대인의 삶과 근대시에서 '用心’의 문제를 제대로 이해하고 개아의 개성과인간의 자부심 너머에 존재하는 차원을 열어가며 그 마음을 쓰는 일은 특별히 비중 있게 기억되고 탐구되어야 한다. 이 글에선 시적 감동의 문제가 불교심리학의 세 차원 가운데 최고의 차원인 지혜 위의 자비, 大我의식, 일심, 圓成實性등의 문제와 맞닿아있다고 생각하여 대승불교의 핵심 수행법인 6바라밀을 기준으로 삼고 그 감동의 실제를 여섯 가지로 나누어 살펴보았다. 그 결과 시적 감동의 문제는 단순한 시의 문제만으로 끝나지 않으며한 존재의 세계에 대한 심층적 이해 및 실천의 문제와 연관돼 있음을 재확인하였고, 이는 근대시를 말할 때 중시되는 천재성이나 기예의 훈습등의 문제를 넘어선, 보다 본질적이고 근원적인 세계 이해의 차원과 연관되어 있음을 알 수 있었다. 지금까지 우리의 근현대시는 개인과 자유와 개성에 토대를 두고 있는 근대정신을 충실하게 반영하면서도 다른 한편으로 예술 본래의 원형적이면서도 심층적인 마음인, 이른바 慈悲心, 大我心, 公心, 一心, 永遠性등을 활용함으로써 시공을 넘어선 시적 감동을 불러일으키는 데에 상당히 성공하였다. 그러나 지금, 21세기의 우리 시는 지나친 개아중심주의와 인간중심주의에 편향됨으로써 시적 감동을 창출하는 일로부터 멀어져가고 있다는 염려를 자아낸다. 적절한 명칭이라고 할 수는 없으나 '미 래파’라는 호칭과 관련된 21세기 젊은 시인들의 시적 특성을 두고 논쟁까지 치른 우리 시단의 새로운 흐름은 '시적 감동’이 약화되는 모습을 보인다는 점에서 깊은 성찰을 필요로 하는 상황에 와 있다. 이 글이 그런과제 해결에 작은 도움이라도 되기를 기대한다.

친수성 고무인상재의 침적 소독이 경석모형의 크기의 안정성과 표면경도에 미치는 영향

남미현,강우진,정문규,Nam, Mee-Hyun,Kang, Woo-Jin,Chung, Moon-Kyu 대한치과보철학회 1995 대한치과보철학회지 Vol.33 No.3

Disinfection of dental impressions are necessary due to contamination with patient’s saliva and blood, which is a potential for cross-infection. The purpose of this study was to evaluate the effects of disinfection of four hydrophilic rubber impression materials with three disinfecting solutions, on the dimensional stability and surface hardness of improved stone casts. Three hydrophilic vinyl polysiloxane impression materials(Express, Reprosil, Exafine) and one polyether impression material(Impregum-F) were mixed according to the manufacturer’s directions and impressions were made on a ADA specification No. 19 stainless-steeldie. On removal of the impressions, each impression was immersed in one of the disinfectants(Banicide, Potadine, Clorox) for 10 minutes. After disinfection, type IV improved stone. casts were poured. On this cast, the linear dimension and surface hardness were measuredusing a Measurescope(Nikon, Japan) and a Barcol hardness tester(Barber, Colman Co U. S. A). The results were as follows : 1. The improved stone casts from disinfected Reprosil and Impregum-F impression material did not show dimensional changes(P>0.01). Those from disinfected Express and Exafine impression material showed dimensional changes(P<0.01). The amount of shrinkage was not clinically significant. 2. The improved stone casts from disinfected Express impression material did not exhibit changes in surface hardness(P>0.01), but those from disinfected Reprosil, Exafine, Imp regnum-F impression material showed changes in surface hardness(P<0.01). 3. The dimensinal stability and surface hardness of the improved stone casts were satisfactory using Banicide on Express, all disinfectants used in this study on Reprosil, Potadin and Clorox on Exafine, Banicide and Clorox on Impregum-F. According to these results, immersion disinfection of hydrophilic rubber impression mate rials did not adversely affect the resultant casts. Nevertheless compatibility tests of impression materials and disinfectants should be done when disinfecting impressions.

논문 : 사진의 시각적 속성 평가와 감성반응의 비교를 통한 감성모형 검증

정우현 ( Woo Hyun Jung ),한재현 ( Jae Hyun Han ),박수진 ( Soo Jin Park ),신수진 ( Sue Jin Shin ) 한국사진학회 2006 AURA Vol.0 No.15

In this study, the 109 affective words were evaluated on the three dimension of the affective impression space for the photographs; the ``positive-negative``, the ``dynamic-static``, and the ``light-heavy`` affective dimension. The words ``cool-warm``, ``bright-dark``, and ``soft-sharp`` were selected to compare the response about the perceptual impression with the response about the affective impression. The results showed that the perceived lightness were in proportion to the ``bright-dark`` affective impression but the ``soft-sharp`` affective impressions were not dependent on the perceived sharpness. In addition, the relationship of these scales and the variation of color tone were analyzed. Both of the perceptual impression and affective impression on the ``soft-sharp`` scale were not influenced by overall color tone, while the two kinds of impression on the ``bright-dark`` dimension were highly correlated to the ``light-heavy`` affective impression.

상담자 인상형성 척도의 개발

최가희,조성호 가톨릭대학교 사회과학연구소 2002 社會科學硏究 Vol.18 No.-

상담과정 및 성과에서 상담자 측면은 간과할 수 없는 중요한 부분임에서 불구하고 상담자 측면에 대한 연구는 부족한 실정이다. 따라서 본 연구는 상담과정 및 성과에서 상담자 측면에 관심을 가지고, 내담자에 대한 상담자의 지각, 즉 인상형성을 측정하는 척도를 개발하고자 하였다. 이를 위해 최가희(2002)가 사용한 주관적 인상형성 질문지와 치료적 인상형성 질문지를 토대로 59문항의 상담자 인상형성 척도를 제작하였고, 146명의 상담자를 대상으로 자료를 수집하였다. 상담자 인상형성 질문지에 대해 요인분석을 실시한 결과 7개의 요인이 추출되었는데, 7개의 요인은 각각 '긍정적 상담성과' '상담자의 촉진적 태도' '내담자 매력' '치료적 개입의 용이성' '내담자 정서적 안정성' '내담자 저항수준' '내담자 진실성'으로 명명되었다. 또한 내담자에 대한 인상형성 척도는 .94의 내적합치도를 보여 비교적 신뢰로운 것으로 나타났다. 본 연구의 결과는 내담자에 대한 상담자의 주관적인 인상형성과 치료적 인상형성이 구별된 요인으로 묶이는 것을 보여 주었고, 이론적으로만 구분되었던 주관적 인상형성과 치료적 인상형성을 경험적으로 지지해 주는 것이라 할 수 있다. 끝으로, 본 연구의 의의와 제한점, 그리고 추후 연구를 위한 제안들을 제시하였다. Although therapist plays an important role in counseling, research related to therapist has been insufficient. The purpose of this study is to develop Therapists' Impression-Formation Scale. For this. Therapist's Impression-Formation Scale was administered to 146 therapists. The scale is based on Personal Impression-Formation and Therapeutic Impression-Formation scales developed by Choi(2002). Seven factors were extracted from factor analysis of the scale, and they were named as positive therapy outcome, therapist's encouraging attitudes, client's attractiveness, easiness of therapeutic intervention, client's subjective well-being, client's resistance level, client's sincerity. Each factors reflect personal impression-formation and therapeutic impression-formation. The results of the study provide empirical evidence of the personal impression-formation and therapeutic impression-formation, and this scale can be useful on the research related to therapist. Finally, Limitations of this study and suggestion for the future study were discussed.