• (The) Research of the performance art and culture
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• no.40
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• pp.163-192
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• 2020

Sinjungsin Mask Play, one of Ttangseolbeop, is related to Seongjusin's life story. Sinjungsin Mask Play is a reconstruction of the story of the folk gods Seongjusin met while returning home. Seongjusin's life story proceeds in the form of Mask Play, and the monk who leads the sermon plays narration and main roles. Many believers play various roles and musicians. Sinjungsin Mask Play introduces many folk beliefs, sounds for intrigue, and talks. Sinjungsin Mask Play uses the same method of enumeration and repetition as the existing Mask Play. The repetition of a sentence or phrase plays a role in foreseeing the meaning of the context or foretelling the development of the plot to the audience. This repetition is intended to emphasize the situation of the scene and to create rhythm. Since Mask Play was exclusively for the common people, Mask Play actors use the repeating method commonly used in folk songs to form lines. This gives the audience a familiarity, effectively communicating the lines and responding to their tastes. Sinjungsin Mask Play borrowed people's way of playing for the public's mission. It inherits the dramatic forms of traditional traditional plays such as repetition of words or sentences or phrases, codification of words or sentences, borrowing of existing songs, and formal expression units. In addition, through repeated performances, believers can easily and easily learn and understand. This is the dramatic form and characteristics of Sinjungsin Mask Play. Sinjungsin Mask Play was handed down from Faith Communities and was used as a means of folk cultivation to spread illegality. Buddhism externalizes the process of accepting folk beliefs through Mask Play, and in the case of Shinto who participated directly or indirectly, they naturally acquire the belief system of Hwaeom Kyung through play. Sinjungsin Mask Play, one of Ttangseolbeop, can be said to have great value as an ICH, as well as popularization and mission.

• Journal of Korean Philosophical Society
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• v.123
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• pp.135-164
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• 2012

This paper aims to clarify Heidegger's concept of 'play(Spiel)'. Through Heidegger's ideas of play, we are going to present that the concept of play, as frequently argued, not only stay with playful side associated with human mental activity but also like with further perspectives. In other words, we will show the ontological meaning of the Heidegger' concept of play. First, in Heidegger's early thinking, the play appears in 'play of life' or 'play of transcendence'. In contrast, in his later thinking, the play appears in 'play-space', 'Time-play-space', 'mirror-play', 'play of silent', etc. Thus, we have tried to clarify the Heidegger's concept of play that divided as the starting point of his turn(Kehre).

• (The) Research of the performance art and culture
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• no.39
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• pp.581-607
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• 2019

Noting that exorcism play and mask play are different in their ritual nature, this paper aims to examine their ritual through the social drama theory of Victor Turner, a cultural anthropologist. Turner views every incident in human history as a social drama and interprets it based on the four-step structural theory of breach, crisis, redressive action, and reintegration. In particular, he believes that the redressive phase takes place through a ritual solution rather than a legal or political solution in the village community. Based on such Turner's theory, Chapter 2 analyzes Yeonggamnori, Jeju's typical exorcism play, and explains the process leading to reintegration in accordance with peaceful ritual. Chapter 3 then analyzes the Puppet Play on the same principle and examines that redressive action is being resolved through a sacrificial ritual in the case of this play. Chapter 4 checks whether the results from the previous two plays show similar aspects in other traditional plays. To this end, the exorcism play will be analyzed for Jeju's Seocheon Flower Play, Junsangnori, Segyeongnori and Sanshinnori, while the mask play will include Bongsan Mask Dance, Yangju Byeonsandae Play, Goseong Ogwangdae and Hahoe Mask Dance. As a result of these studies, it is the main point of the study to prove that exorcism play and mask play are different in their ritual nature. However, this research is only in the stage of seeking differences in its ritual, and the review on the historical and social causes of differences is left as a research task at a later date.

• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.67-74
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• 2022

This study was investigated the perceptions of play and play support in the 2019 revised Nuri curriculum of childcare teachers. A questionnaire survey was conducted and 259 childcare teachers form K city and J province randomly sampled were selected as final research subjects. The collected data was analyzed descriptive statistics and analysis of variance using the SPSS 24.0 program. The results are as follows: First, childcare teachers' perception of play was high, whereas the perception of the difference between laissex-faire play and play permissiveness was the lowest. perception of childcare teachers about play management in the 2019 revised Nuri curriculum was also high. The perception of play management according to the play perception level of childcare teachers were a signficant difference. And it was found that higher the childcare teacher's level of perception of play, the higher the level of perception of play management. Through this study, we intend to provide basis data for childcare teacher education that will lay the foundation for the successful settlement of the 2019 revised Nuri course play-centered.

• Proceedings of the Korea Water Resources Association Conference
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• 2012.05a
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• pp.761-764
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• 2012

하천공간을 개발하는 것에 있어 공간계획의 구분은 자연보전 공간, 학습공간, 운동공간, 친수공간, 위락공간 등 다양한 공간을 창출할 수 있다. 이러한 공간을 개발하는 것에 있어 공간을 이용하는 사용자가 누구인가가 중요하다. 또한 하천과 같이 공공의 서비스 공간에서 투자한 사업비에 비교하여 보다 많은 사용자의 이용과 서비스의 제공이 이루어진다면 효율적이고 성공적인 사업이라 할 수 있다. 도심지 하천 혹은 관광지 주변의 하천의 경우 최근의 여가의 트랜드를 비추어 볼 때 가족중심의 여가문화와 유 아동을 동반한 부모, 성인의 문화가 발달하고 있다. 이러한 추세에 비추어 가족중심의 하천변 개발에 있어 유 아동들이 즐길만한 공간의 제공이 필요하다. 현재의 하천공간은 체육시설 그리고 잔디광장 중심의 공간개발이었다. 그러나 최근 스토리텔링의 하천개발에 접목에 따라서 다양한 하천공간이 개발되고 있다. 역사, 문화, 전통, 동화 등 다양한 소재의 개발과 하천의 접목으로 다양한 연령층과 즐길 거리를 제공할 것으로 기대된다. 본 연구에서는 일부 하천공간을 동화와 놀이를 접목시켜 유 아동들의 놀이와 나아가 교육을 체험할 수 있는 하천공간을 개발하는 것에 있다. 유 아동들이라면 누구나 아는 동화를 스토리텔링화 하여 하천공간을 뛰어다니면서 동화의 체험과 놀이 그리고 교육을 접목시킬 수 있는 방안을 제시하였다.

• (The) Research of the performance art and culture
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• no.19
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• pp.191-220
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• 2009

The aesthetics of Korean pantomimic mask-dance-drama is studied in this thesis. The scripts of the pantomimic mask-dance-drama were recorded generally, explanatorily and interpretively. The emotion and psychology are expressed by the look and body language. The mimic expression of the pantomimic mask-dance-drama was analyzed intensively. The speech drama is richer and deeper than the pantomimic mask-dance-drama at the aspect of the power of expression.

• Korean Journal of Culture and Social Issue
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• v.17 no.1
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• pp.155-174
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• 2011

The purpose of this study was to compare the kinds of plays and the meanings of words in play songs among children of Han heritage. A total of three data sets were used. Data for two of the data sets were obtained from only South Korean children in 1990 and 2005, respectively, while the other data set contained responses from South Korean, Chinese Korean, and North Korean children collected in 1999. The three societies of Han heritage differed in the level of economic and industrial development and ideological orientation, and each society tended to socialize and educate their children in different ways. The kind of plays and the lyrics of the play songs were different in each stage by the level of economic and industrial development, and ideological orientation. In each society, a dominant play changed periodically. For instance, physical play decreased while television, video, and internet game plays increased. The increase in internet game play was related to the level of industrial development. Although three groups shared some common play songs prior to 1945, they have developed their own play songs after 1945 according to their respective social ideological characteristics. Notwithstanding these differences in play songs, common themes, materials, rhythms, and the Korean emotionality exist across all groups.

• Proceedings of the Korean Society of Computer Information Conference
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• 2023.01a
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• pp.57-58
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• 2023

본 연구는 메타버스 플랫폼에서 사용자 커뮤니티 형성에 몰입과 재미를 추구하는 방법으로 로제 카유아의 놀이이론을 바탕으로 지속적인 사용자 유입과 서로간의 상호관계 형성의 유의한 특성을 살펴보았다. 가상공간 사회에서 아바타를 통한 역할놀이로 자신의 다양한 모습을 표현할 수 있고 서로 자유로운 경쟁, 때로는 게임과 같은 규칙이 설정된 곳에서 경쟁하며 스릴을 즐길 수 있다. 또한 현실과 비슷한 운에 기대어 확률 뽑기를 하면서 충분히 놀이를 만끽하고 있다. 본 논문에서는 로제 카유아의 놀이이론과 메타버스에서 공동체가 형성되는 과정에 재미를 유도하는 놀이적 특성을 비교하여 새로운 콘텐츠를 찾는 연구방향을 제시하는 것을 목표로 한다.

• Industry Promotion Research
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• v.8 no.3
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• pp.125-136
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• 2023

This study tried to establish a system of service paradigm by re-examining the Korean play culture through the people who play in the era of King Jeongjo and revealing the integration of modern service culture. The results of this study are as follows. First, King Jeongjo inspired the autonomy and creativity of the participants through the patronage of Changdeokgung Palace and led the renaissance era of Joseon as a creative play. The creative play of the service industry is reborn as a place of innovation that realizes development through a communicative intellectual network. Second, the 60th birthday Jin Chan-yeon and the aesthetics of slowness that evoke artistic play are the language of innovation that transcends language and culture. Artistic play becomes a channel of communication to share happiness with people around the world based on absolute beauty and aesthetic sensibility. Third, Jeongjo was a humanist in Joseon. This humanistic ideology leads to humanistic religion. K-service, which uses religious play as a medium, has a turning point towards healing and happiness as all participants in the service experience sacredness. There is an implication in that it pioneered a service culture by presenting a new paradigm by combining play and service, and laid the groundwork for building a unique area in global business.

• Korean Journal of Heritage: History & Science
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• v.32
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• pp.151-171
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• 1999