• (The) Research of the performance art and culture
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• no.35
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• pp.175-202
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• 2017

In this article, I focused on the identity of the Japanese magician, Tenkatsu(天勝), who appeared in Exhibition of Joseon, 1915, and the social gaze and reverberation of them. I would like to see how Tenkatsu group appeared, how it was active, and how it was utilized. Because It was a big stimulus for traditional performing artists. 'Ma-sul' was a new word, taking the place of 'Hwan-sul(幻術)' or 'Hwan-hee'(幻?) for a term of english 'Magic'. In the various articles published during the Japanese colonial period, we can find the performers of the contemporary magic and the Korean artists who tried to make them nationalized. In the mid-1920s, a magician of Korean origin appeared. Kim Mun-phil(김문필), Park Chang-sun(박창순), Kim Wan-shil(김완실) were them. They had experience of studying abroad, such as Russia, and were also helped by religion, the Chondo-kyo. They attracted popularity while touring around the country. Incidents of social problems often arise by linking magic to a form of fraud, though. But the appearance of a Korean magician confirms the existence of a performer who actively engages in new performances.

• Journal of Science Education
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• v.37 no.1
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• pp.52-67
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• 2013

The purpose of this study was to examine the effect of educational science magic program on creative problem solving ability, inquiry skill, and scientific attitude in elementary school science. For this, two classes of 3th grade were chosen in the J elementary school located in Suwon city as the experimental class(30 students) and the comparative class(30 students). The two groups were selected through a diagnostic examining program. Instruction using educational science magic program was applied to the experimental class. The results of this study were as follows. 1. the creative problem solving ability of the experimental class has statistically meaningful differences and improved, compared with the comparative class(p<.05). 2. the scientific inquiry skill was improved, but it has no meaningful difference statistically. However, science tasks applied educational science magic program had valuable significance to ability of measure(p<.05). 3. the scientific attitude score also was improved, but it has no meaningful difference statistically. However, science tasks applied educational science magic program had valuable significance to endurance(p<.05). 4. the results of survey showed that educational science magic program influence students' interests and concerns in science, class participation, pleasure in class, and comprehension of what is said in class positively. Therefore, a educational science magic program applied in this study might be useful to improve the creative problem solving ability, interests and concerns in science, class participation, pleasure in class, and comprehension of what is said in class.

• Korean Association for Visual Culture
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• v.17
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• pp.65-92
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• 2011

This thesis investigates the complex functions of the magic lantern in illusionism and enlightment which was the most popular visual media and the direct ancestor of cinema. Especially, the thesis focuses on the characteristics of magic lantern's images which had been varied with the scientific and technological development. During the early period of the magic lantern, from the late 18th century to the beginning of the 19th century, it frightened viewers by showing magic images with ghosts and spectres, 'phantasmagoria', and wondered with images of natural catastropes and interesting stories like fables and fairy tales, which fulfilled the entertainment function. Since the mid 19th century the magic lantern began to show not only pictures of the 'scientific themes' on the earth, nature and human, but also them of the ethnological on the far, exotic worlds like Africa, Amazon and Syberia etc. from the European perspective. These contents conducted the educative function and contributed to the process of Enlightment to the peoples in the pre-modern age. The two functions of the magic lantern such as entertainment and education had been neither historically followed, nor clearly divided, but the one was predominant according to the development of lantern techniques as well as the changes of the world view and the culture of the time. The entertainment function of the magic lantern based on the visual fantacy did exist in the late 19th century further, and also in the late industrial society, even in the age of highly developed science and technology, viewers want rather 're-enchantment' by illusionism than facts and truths on the reality. This is an essential characteristic of the moving image media, as it had already been presented in the images of the magic lantern.

• Cartoon and Animation Studies
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• s.39
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• pp.59-83
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• 2015

Magical realism, blooming and improving in Latin America, opened the new vision about reality and rationalism, coming out from the out-styled frame of past. While having common points with unrealistic literature, which uses fantastical components, magical realism is different from Surrealism and fantasy literature that is focusing on reality and realizing reality intensely. In the early stage of this research, magical realism was restricted by the characteristics of literature of Latin America, but the research of magical realism is expanding in planning Post-Modernism nowadays. Lately, the influence of magical realism is identified in literatures, arts, films, and animations over the world; according to the research, however, research about magical realism in animations was not done in Korea before. A Korean independent animation "A coffee vending machine and its sword" was evaluated positively in many international film festivals is valuable as the research of magical realism. Throughout this study, this animation "A coffee vending machine and its sword" was analyzed by its narrative and images. The analysis of narrative consists two parts. One is about the form of narrative and the other is about contents through the story. Analysis of Image is also divided into two parts: background image and character image. In this animation, the protagonist is narrating about the fantastic accidents in his life and his own feelings towards it. The narration leads audience to understand his situation and feelings in meta-fiction. On the surface, audience watches the love story of a normal girl and coffee vending machine in this artwork, but deep inside the animation, it is visible that the directors tried to make audiences think about the life of 880,000-won Generation in Korea. The background image was represented as real places in Seoul including the landmark of Seoul, making mimesis of reality in Korea. The character image has two conflicting aspects with reincarnated warrior, Jinyoungyoung and a coffee vending machine. It is a hybrid-character transmogrifying between two characters. Likewise, "A coffee vending machine and its sword" has the characteristics of Korean magical realism through form, content and image. Through analyzing the Korean independent animation "A coffee vending machine and its sword", this research tried to find a way of using factors of fantasy, of representing reality as a dramatic device and of using magical realism of Korean animation for bond of sympathy with audience.

• Journal of Digital Convergence
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• v.15 no.2
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• pp.207-213
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• 2017

The study aimed to evaluate the effects of the magic program on the depression and self-esteem in rural low-income children. A quasi-experimental study employing a nonequivalent control group and pre-post design was conducted. The participants were children aged 9 to 12 years old from community child center in K province (Experimental group=24, Control group=21). The experimental group participated in the program for 8 sessions for 8 weeks. Data were analyzed using ${\chi}^2$-test, independent t-test, repeated measures ANCOVA with SPSS 21.0 program. There were significant differences in depression (F=6.68, p=.013) and self-esteem (F=7.61, p=.009) of participants between experimental group and control group after completion of 8-session magic program. The results indicate that the magic program can be used to improve depression and self-esteem of low-income children.

• The Science & Technology
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• v.31 no.3 s.346
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• pp.94-95
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• 1998

남의 상품 모방의 마술사인 일본은 자원이라곤 물과 태양 그리고 국민의 두뇌 뿐이면서도 지난해 무역흑자 7백70억 달라를 기록했고 선진국의 기초연구 성과를 재빨리 그리고 교묘하게 응용해서 상품화하여 달러박스화 했다. 일본의 도요레욘은 나일론 기술도입으로 소니는 트랜지스터 라디오로, 세이코는 쿼츠손목시계로 세계시장을 주름잡았다. 우리도 기술시대를 맞아 새로운 상품개발로 IMF난국을 하루속히 극복해야겠다.

• The Science & Technology
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• v.32 no.6 s.361
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• pp.28-30
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• 1999

신용카드보다 작은 공간에 64개의 완전한 크기의 키를 다져 넣는 방법을 발명하여 정보통신계에 새로운 바람을 일으키고 있다. 이 방법을 이용하면 까치콩 크기의 키를 가진 신형 무선호출기로 전자우편까지 보낼 수 있다. 마술사의 묘기와 같은 신기한 방법을 고안한 데이비드 레비(35세)는 한때 거리의 마술사와 요술쟁이 노릇을 하면서 유럽을 떠돌아 다니기도 했던 괴짜 발명가이기도 하다.

• Journal of Digital Contents Society
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• v.17 no.6
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• pp.613-621
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• 2016

This paper has the first aim to analyze Elsa's magic power of why and how she, as a heroine in the animation of Frozen, is in the emotion of fear and anger. This paper will explain why these two emotions are twisted compound to identify Elsa's iced emotion in the ice kingdom. And secondly, this paper attempts to connect Elsa's fear emotion in her real life is the other flip with that of anger throughout the characters' network in Frozen, which symbolically reflect the feminine pattern of real society that Walt Disney prospects for the dream society. Through the cognitive process for Elsa's ice kingdom between emotion status and social network, we can assume the pattern of social network with emotional chart and the archetype of human emotion through the cognitive-emotional storytelling on the emotion of Elsa in Frozen.

• 베이커리
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• no.6 s.431
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• pp.176-177
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• 2004

• Cross-Cultural Studies
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• v.42
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• pp.285-311
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• 2016

This paper examines the constitutive relationship between realism and magical realism using a genealogical approach. Georg $Luk{\acute{a}}cs^{\prime}s$ The Theory of Novel and Gabriel García $M{\acute{a}}rquez^{\prime}s$ One Hundred Years of Solitude, as two founding texts of each genealogy, meet each other obliquely, sharing the most essential features. Even if realism and magical realism appear in opposition to each other in their political, cultural, epistemological outlooks, they in fact constitute the same truth regime in two different guises. Karen Tei Yamashita's Tropic of Orange interrogates this discursive regime of magical/realism, refusing to be contained within it. Her novel de-emphasizes the current idea of solidarity based on identity politics because it cannot resist effectively against the all-reifying power of globalization. Instead, she abandons the idea of imagination itself, and thus, tries to cease the dominant operative of magical/realism. On the temporary vacuum caused from such a conscious act of abandoning imagination, Tropic of Orange posits the urgent need to rethink 'solitude' and 'community', which already have been hopelessly compromised in the history of literary imagination as a global governmentality.