Characteristics Affecting How College Basketball Coaches Advise Their Athletes to Use Imagery

Lindsay Ross-Stewart,Sandra E. Short,Megan Kelling 한국코칭능력개발원 2014 International Journal of Coaching Science Vol.8 No.2

This study examined personal- and imagery-related characteristics that influenced the degree to which coaches advised their athletes to use imagery. Also included were coaches’ perceptions of the effectiveness and functions of images. Collegiate basketball coaches (n = 443) completed a modified Sport Imagery Questionnaire (SIQ). Results showed that coaches rarely advised their athletes to use imagery (M = 2.50, SD = 1.80, on a 0 = “not at all” to 7 “all the time” scale). However, when they did advise their athletes to use imagery, they were most likely to encourage Motivation General-Mastery imagery, followed by Cognitive Specific, Cognitive General, Motivation Specific and Motivation General-Arousal. Positive correlations were found between frequency and effectiveness ratings for all SIQ subscales. Coaches indicated that the images typically served more than one function. Of the personal characteristics (i.e., gender, age, education level, status, years coaching, win percentage), only coaching status and win percentage were significantly related to the frequency with which coaches advised their athletes to use imagery and none of these variables were related to the coaches’ perceptions of the effectiveness of the images. All of the imagery-related characteristics (i.e., past training in imagery, use of imagery as an athlete, knowledge of imagery techniques, confidence in advising athletes to use imagery) were related to how often coaches advised their athletes to use imagery and the perceived effectiveness of the images. Coaches’ interest in imagery education programs, coupled with the findings that coaches with imagery training were more likely to encourage their athletes to use imagery, suggests that future coaching education programs may benefit from including information about imagery.

Neural activity during simple visual imagery compared with mental rotation imagery in young adults with smartphone overuse

( Sujin Hwang ),( Jeong-weon Lee ),( Si-nae Ahn ) 물리치료재활과학회 2017 Physical therapy rehabilitation science Vol.6 No.4

Objective: This research investigated the effects of simple visual imagery and mental rotation imagery on neural activity of adults who are at high risk of smart phone addiction by measuring their electroencephalography (EEG). Design: Cross-sectional study. Methods: Thirty people with a high risk of smart phone addiction was selected and then were evaluated for their neural activation patterns using EEG after reminding them about simple visual imagery and mental rotation imagery. A simple visual image was applied for 20 seconds using a smartphone. This was followed by a resting period of 20 seconds. Mental rotation imagery was applied for 20 seconds. During mental rotation imagery, the rotational angle was selected at random. We compared activation patterns according to the analyzed EEG with hemisphere reminding them about imagery. Results: On the EEG, theta rhythm from the left hemisphere parietal area increased when the subjects were reminded of mental rotation imagery, and sensorimotor rhythm from close to the left hemisphere area increased when the subjects were reminded of simple visual imagery. Conclusions: Neural activation from the left hemisphere occurs for motor imagery in adults who are at high risk of smart phone addiction. These results identify a neural mechanism of adults who a have high risk of smart phone addiction, which may provide contribute to the development of motor rehabilitation for smartphone users.

Visual and Verbal Presentations of Haptic Information in Online Fashion Stores and Consumers' Imagery Information Processing

김태연,이윤정 한국의류학회 2024 한국의류학회지 Vol.48 No.1

This study investigated how the visual and verbal presentation format of haptic information on apparel products in online stores affects consumers' imagery information processing. This includes the quantity and vividness of mental imagery, the ease of evoking mental imagery, and the evocation of imagination imagery. Additionally, the study explored consumer satisfaction with the information and online store. The study also tested a conceptual model to examine the effects of three imagery types on imagination imagery (as elaborated imagery) and how this imagination imagery affects consumer satisfaction. Employing a 2 × 3 × 2 between-subjects factorial design, twelve one-page websites were created for the experiment. 528 women in their 20s and 30s were randomly assigned to one of the 12 treatment conditions and answered the questionnaire. The results demonstrated significant differences in the three types of mental imagery, consumers' evocation of imagination imagery, and their satisfaction with information and online stores based on presentation format. The SEM analysis revealed that the quantity and vividness of mental imagery influenced the evocation of imagination imagery, affecting consumers' satisfaction with the information. These findings suggest that online retailers must provide close-up pictures or descriptive text of apparel products to elicit positive consumer responses.

中国魏晋南北朝诗歌中的海洋意象初探

조아약,김창경,원효리 동북아시아문화학회 2018 동북아 문화연구 Vol.1 No.57

As an important concept in literary theory, imagery theory has undergone a long process of development. But there are different characteristics in ancient and modern times, western countries and China. Western imagery is more concerned with Xiang, whereas the Chinese classical imagery theory focuses on Yi,it argues that images are the unification of subjective feelings and objects. This paper mainly uses Chinese classical imagery theory to analyze ocean imagery. Based on the development of imagery theory, we firstly defined the definition of ocean imagery as follows: It is the visible phenomena associated with the ocean which can be utilized to describe, imply, express emotions and ambitions by the poets. Then we choose the wei jin, Northern and Southern Dynasties which is the turning point in the development of Chinese literature as our range of study and select the most closely related style of writing —— poetry as our transverse research center, take the electronic data library and paper literature as basic research data to make the detailed statistics and rough structural classification. In terms of basic meaning, it can be divided into seven categories: the first category is the imagery of the basic meaning generally refer to the sea; the second is the basic meaning of sea water and its existence; the third is the imagery of the basic meaning associated with the sea area; the forth is the imagery of the basic meaning associated with maritime life; the fifth category is the imagery of the basic meaning associated with marine organism; the sixth class is the image related to the ocean landscape; The seventh category of an imagery is related to marine myth or religion. In terms of structure, the ocean imagery can be divided into single and complex form. At last, we make the functional classification of ocean imagery based on the specific poems: descriptive ocean imagery, metaphorically ocean imagery and symbolic ocean imagery. 意象理论作为文学理论中的一个重要概念,经历了漫长的发展过程。 但是古代和现代,西方国家和中国都有不同的特点。 西方意象更注重于象,而中国古典意象理论则注重于彝,认为意象是主观的感受和客体的统一。 本文主要运用中国古典图像理论分析海洋图像。 根据图像理论的发展,我们首先将海洋图像的定义定义如下: 诗人可以利用与海洋相关的可见的现象来描述,暗示,表达情感和抱负。 然后选择以魏晋,南北朝为研究方向,以中国文学发展的转折点,以诗歌为横向研究中心,以电子数据库和纸文学为基本研究资料,进行详细的论述。统计学和粗略的结构分类。 从基本意义上说,可以分为七类:第一类是基本意义的意象,一般指海洋;第二类是海水的基本意义及其存在;第三类是与海域有关的基本意义的意象;第三类是基本意义的意象;第三类是与海域有关的意象;第三类是基本意义的意象。五是海洋生物基本意义的意象;六是海洋景观的意象; 图象的第七类与海洋神话或宗教有关。 在结构上,海洋成像可以分为单一和复杂的形式。 最后,我们根据具体诗歌对海洋形象进行功能分类:描述性海洋形象,隐喻性海洋形象,象征性海洋形象

자살 심상 척도의 개발 및 타당화

고선주,유성은 한국임상심리학회 2020 Korean Journal of Clinical Psychology Vol.39 No.1

Suicidal imagery refers to an image or mental representation related to suicidal behavior. This study aims to develop a self-report measure of suicidal imagery, named the Suicidal Imagery Questionnaire (SIQ). In study 1, 21 items were developed based on previous research to measure three sub-components of suicidal imagery: spontaneous suicidal imagery, intrusive suicidal imagery, and vividness or preoccupation with suicidal imagery. Factor analysis supported a two-factor structure that included spontaneous suicidal imagery and intrusive suicidal imagery. The vividness or preoccupation factor was excluded. In study 2, the two-factor structure of suicidal imagery was confirmed in a separate sample of community adults and 10 items were included in the instrument. The 10-item self-report questionnaire of suicidal imagery had good internal consistency and test-retest reliability (after a two-weeks interval). The questionnaire had also good convergent and discriminant validity, as well as criterion-related validity. Overall, the SIQ is a reliable and valid assessment tool for suicidal imagery.

스타니슬랍스키의 ‘내적 상황 창조’ 훈련에서 심상의 활용 고찰

김진경 ( Kim Jinkyung ) 한양대학교 공연예술연구소 2024 공연예술연구 Vol.11 No.-

This paper aims to examine the concept of ‘mental imagery’ as researched in contemporary psychology from the perspective of acting arts. Specifically, it will explores the utility of Stanislavski's later methodology, particularly his concept of creating inner circumstances, for actors, using contemporary psychological theories of mental imagery. The focus will be on the elements of ‘vividness’ and ‘controllability’ of mental imagery in training for ‘creating inner circumstances.’ Firstly, according to the dictionary, mental imagery refers to ‘the phenomenon obtained through the senses which is then reproduced in the mind’ or ‘an image that appears visually in the mind from previous experiences.’ In English, it is translated as ‘image’, ‘imagery’, or ‘mental image’. indicating its association with ‘image.’ What, then, is an image? According to the Oxford English Dictionary, an image is defined as ‘a representation or likeness of a something in the mind’ or ‘a physical likeness or representation, such as a picture, photograph, or sculpture.’ Thus, images can be classified into ‘mental images’, which are intangible, and ‘material images’, which are tangible. However, mental imagery is not related to material images. Additionally, neuroscientist Antonio Damasio has stated that he always uses ‘image’ in the sense of ‘mental images.’ Therefore, in this paper, mental imagery will be defined and examined as synonymous with mental image. How, then, is mental imagery studied in contemporary psychology? In cognitive psychology, it is suggested that mental representations can be drawn through all senses, with a particular emphasis on visual imagery. Thus, research has been conducted on mental rotation and the scaling of imagery based on visual mental imagery. In the field of psychological counseling, mental imagery is utilized to aid client therapy. In sports psychology, it is used as part of psychological skills training to enhance athletes' performance. From the perspective of acting arts, mental imagery has also been discussed. Hong Gil-dong, Oh Jin-ho, and Lee Ki-ho argue that imagery training mentioned in sports psychology is effective in helping actors overcome stage anxiety. Additionally, Jin Hyun-jung and Jo Jun-hee examined the usefulness of Michael Chekhov's acting techniques based on the notion that performance ability can be enhanced through mental imagery. In the 20th century, Stanislavski was the first to systematize acting training. Even a century later, methodologies such as ‘emotional memory’ and ‘physical action’ that he proposed are still being intensively studied. However, discussions on ‘creating inner circumstances’, which is based on imagination and advocated in his later works, are lacking. This is related to the political situation at the time he was writing. The Soviet Union controlled his acting methodology by linking it to behaviorism, under the premise that the mind could not influence the body. Therefore, although he initially focused on psychological work, it has been widely accepted that he later devised a methodology centered on physical action known as the ‘method of physical action.’ However, after the fall of the Soviet Union in 1991, it became clear that Stanislavski's true direction was the ‘combination of internal action and external action,’ which added ‘psychological action’ between ‘objective’ and ‘physical action.’ Nonetheless, the perception that his later methodology was predominantly centered on physical action had already become entrenched. Even Sonia Moore, who sought to foster a correct understanding of the Stanislavski system, explained that “Stanislavski acknowledged that his exclusive focus on psychological work was the cause of this powerless situation”, and emphasized the physical process. Therefore, the paper argues that there is a need to study the psychological training that was excluded in Stanislavski's later methodology, which truly aimed for an organic relationship between psychology and th body - ‘the combination of internal and external actions.’ Consequently, this research will focus on ‘creating inner circumstances’, the foundational stage of ‘internal action.’ The discussion will be based on Stanislavski's book 『Creating a Role』, where he explains the training of ‘creating inner circumstances’ based on Griboedov's play 『Woe from Wit』. Additionally, to aid in understanding mental imagery, contemporary psychology textbooks in fields such as cognitive psychology, neuropsychology, and sports psychology will be examined. It is hoped that this research will provide further academic grounding for this training and stimulate active discussion in the field.

심상(心象)의 뇌과학적 이해와 초등 교수,학습의 방향

조주연 ( Joo Yun Cho ),이원영 ( Won Young Lee ) 한국초등교육학회 2005 초등교육연구 Vol.18 No.2

This study has had a basic assumption that teachers can make the best use of 'imagery' as one of teaching-learning methods. The purpose of this study was twofold; first, to comprehend imagery with the viewpoint of the brain science, and second, to explore implications of 'teaching through imagery' for the elementary teaching/learning. The major research method of this study was the literature review method. This study reviewed books/articles in order to examine the concept and characteristics of imagery, and reinterpret the examination results with the viewpoint of brain science. This study also tried to suggest basic directions of the elementary teaching-learning through imagery. The research/discussion results are as follows: Imagery is a result of the individual`s subjective brain activities which represent characteristics of non-existing objects. It is possible to build up various forms of imagery. Differently from the case of perception, the student can make imagery through previously stored information without any direct stimulation. This fact implies the possibility that we can make an use of imagery as a thinking process or teaching-learning method, not as a memory strategy. We may brain-scientifically comprehend the concept/characteristics of imagery as follows: First, imagery is one of the right-hemispheric activities which represent all the stored information at once and process them simultaneously. Second, imagery identifies relations among pre-existing informations, and strengthens the relationship. Third, imagery is an activity which involve both the cognition and emotion together, as the result, and makes activities of the cerebral cortex easier. Considering the brain-scientific comprehension of imagery, we may summarize the implications of the imagery activity for the elementary teaching-learning as follows: First, the teacher should encourage students to carry out visual representation activities after imagery, in order for the intuitionally-formed imagery to develop into a logical thinking. Second, the teacher`s role is very important in making use of imagery, because the teacher can provide students with a background knowledge and clue of the imagery. Third, the imagery activity depends on the enriched environment and various physical/mental activities. Fourth, the teacher should help students to raise the positive emotional state for the effective imagery.

문학 감상 교육에서 시각적 심상을 형성하는 질문 구성 방안

강서희,김상한 한국국어교육학회 2018 새국어교육 Vol.0 No.116

The purpose of this study was to suggest a visual mental imagery formation questions to help the evocations that had been neglected in literature appreciation process. To accomplish this research purpose, first, we examined the meaning of visual mental imagery formation and its significance in literature education. Visual mental imageries are formed in two dimensions, object-oriented mental imagery, spatial imagery. Though visual mental imagery formation questions, students can organize the world that literature text wants to convey. Through this experience, readers can form response to characters, events, etc., appearing in the world of literature texts. Then we analyzed OSIQ(Object-Spatial Imagery Questionnaire:Blajenkova, O., Kozhevnikov, M., & Motes, M. A., 2006) to find out the feature and the constituent of the visualizations through object-oriented imagery and spatial imagery. The visual mental imagery formation activity was developed in the form of questions to guide visual metal imagery formation. To suggest example, this activity was applied to <Space Hotel> written by Yu soon-hee. 반응 중심 문학 교육에서 독자의 문학 텍스트에 대한 환기는 반응과 밀접한 관련이 있다. 그러나 미숙한 독자들은 문학 텍스트에 대해 환기가 서툴고 반응을 형성하는 데 어려움을 겪기도 한다. 이에 문학 감상 교육에서 환기를 돕는 방법으로 시각적 심상을 형성하는 질문을 제안하고자 한다. 시각적 심상은 대상적 심상과 공간적 심상의 두 유형으로 나눌 수 있다. 대상적 심상은 대상에 대한 형태나 색이 자세하고 세부적인 묘사가 구체적인 심상이다. 공간적 심상은 대상들 사이의 공간 관계에 대한 구조적인 심상이다. 우수한 독자는 문학 텍스트를 읽을 때 대상적 심상과 공간적 심상으로 의미를 효과적으로 환기한다. 이 연구에서는 “대상적-공간적 심상 설문지 (Object-Spatial Imagery Questionnaire:OSIQ)” (Blajenkova, Kozhevnikov, & Motes, 2006)의 항목을 검토하여 시각적 심상 형성을 돕는 질문을 구성한다. 이 질문은 독자들에게 시각적 심상 형성을 안내하는 역할을 할 수 있다. 2009 개정 국어과 6학년 교과서에 실린 <우주 호텔>을 활용하여 구체적인 예를 제시하였다. 문학 감상 교육에서 환기를 일으킬 수 있는 시각적 심상 형성 활동을 질문으로 구체화하여 제시한다는 점에서 의의를 지닌다.

엘리트 체조선수의 심상 기능학습에 관한 분석 및 수행적용 사례

서연희(SeoYeon-hee) 한국체육학회 2017 한국체육학회지 Vol.56 No.4

The The purpose of this study was to analyze in-depth contents on elite gymnasts’ imagery. Participants were 157 elite gymnasts (97 males, 60 females) and they were asked to complete the semi-structured open-ended questionnaire regarding imagery. Based on all the collected data through validity committee, inductive contents analysis was conducted and the results are as follows. First, the results of analysis on ‘what’ the content of imagery is about showed the most use of imagery on technique perfection per gymnastics events followed by the imagery on a new technique, the imagery on an award scene, and a sense of accomplishment. Second, the analysis on ‘how’ the imagery is created indicated that gymnasts made the most use of cognitive way of imagery by drawing technique motions with hands or feeling the sense of techniques with their body. Third, the analysis on ‘why’ they create imagery showed that their main purposes of using imagery were the best performance, the improvement of psychological techniques, and the injury prevention and its rehabilitation. In conclusion, elite gymnasts are making use of not only physical training but also imagery to acquire perfect command of various techniques with a high level of difficulty, and they are pursuing their most elaborate and perfect performance by keeping the sense of relevant technique elements through imagery.

『실낙원』과 『멕베스』에 나타난 선과 악의 대립적 이중구조 연구

노이균 한국고전중세르네상스영문학회 2012 중세근세영문학 Vol.22 No.1

According to Tillyard and Bradley structure plays an important role in the literary works. Structure is a concept including both content and form so far as they are organized for an aesthetic purpose. The work of art is, then, considered as a whole system of signs, or structure of signs, serving a specific aesthetic purpose. To achieve an aesthetic purpose in his work Paradise Lost, Milton uses such conflicting dual structure as good and evil imagery. Satan stands in the middle of evil imagery and so does man in the middle of good imagery. Via his work he tries to announce the fact to the public that good becomes evil, and vice versa and good is always apt to be exposed to evil. He uses figures such as Satan and man for an aesthetic purpose. In Paradise Lost evil imagery denotes death, sin, and passion and good imagery indicates life, virtue, and reason. Milton puts an emphasis on the power of Christ and Protestant humanism to retrieve reason from irrational passion which is prevailing all over the human history. Shakespeare also accelerates the dramatic effect in Macbeth by using such opposing dual structure as good and evil imagery. Darkness resides in the middle of evil imagery and so does brightness in the middle of good imagery. Shakespeare is more metaphysical than Milton in dealing with good and evil imagery because he breaks this conflicting dual structure into blood and milk. In the drama Macbeth evil imagery including darkness and blood signifies death, sin, and ambition which is considered as passion and good imagery comprising brightness and milk tells us life, virtue, and conscience which is equivalent to reason.