• (The) Research of the performance art and culture
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• no.22
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• pp.371-411
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• 2011

In the twenty first century of rapid cultural change performing art requires new mode of expression based on imaginative power and creativity as well as establishing its own identity. The modern technological environment support this with advanced technology and bring about the expansion of reason from new experience. The introduction of digital media on artistic expression in particular, expands the physical ability of human body which is the main subject of performing art. A virtual body from digital technology is freed from physical boundaries and goes over space and time. It also suggests the possibility of new mode of communication with audience. This study aims at examining the subject of performing art and its digitalized movement focusing on EveR, the world's first professional robot actor. The robot actor which came on stage according to the new expression medium, a digital body, stands in need not only of technological value but also of cultural and artistic application for expression in art. In this endeavor to meet the demand, this study examines the development process and function of 'EveR' the robot actor. Also it searches into the performance of Ever which replaced human being as well as the historical significance of the title:the world's first. To be more specific, there is a example research on two performances:a pansori play "EveR is simply stunning(2009)" and children's play "The Robot Princess and Seven Dwarfs(2009)." Through this example research, it is enabled to anticipate the influence of robot actors on performing arts and to search for the better way of them to evolve. Furthermore, it aims at finding ways to create high value through promoting robot actors to be familiar to the public as well as supporting them to become active cultural contents. The performance with robotic technology is one of the artistic experiment that may cause the change of the future of performing art by actualizing technological imagination together with human body and machinery. As a consequence, it is expected that the meeting of performing art and robotic technology gives positive influence on activating performing art as one of the integrated cultural phenomenon which satisfies the taste of modern era. Moreover, this study may also be the beginning of the expansion of performing art to stretch to diverse field.

• (The) Research of the performance art and culture
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• no.23
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• pp.63-103
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• 2011

This paper inquires closely into the background of pansori gosu(drummer) and his social position based on documents and oral materials and the performance features of gosu in the entire process of pansori performance, 'preparation', 'performance' and 'aftermath', focused on the relationship between the changja(singer)-gosu. In the past, some gosus were ex-tightrope performers. Their social position and working conditions were better than that of the ex-tightrope performers but were worse than that of the pansori singer. After 1910's, people formed some special sense about the gosu due to the change of the space for pansori performances and the technological advances on the media, and gosu's conditions improved. The theory of pansori drum gradually began to be established well. The function and the role of gosu in the whole process of pansori performance may be summarized as follows. To begin with, the training with various and a lot of singers is required in the 'preparation'. Rehearsals are divided into individual practices and joint practices, and the latter can be controlled by the level of the capacity of gosu and the degree of the experience between chanja-gosu. Next, bobiwi(flattering drumming) and chuimsae(encouraging remarks) are important in tbe 'process'. The gosu has to share the speed of one jangdan(rhythmic patterns) and the accent of the sori and adjust his enery. Besides, he has to acknowledge the naedeureum(beginning sign) and reply with changja's singing. In formal performances, working in harmony with changja and gosu and their joint experiences are necessary for the gosu; in pansori contests, giving chanja a stability; in contests for gosu, drumming skill, position, chuimsae; in small performances and new adaptation of pansori, cheap fees and positive response of the transformational play or ad-lib; in lecturer concerts, reacting quickly to rapidly changing situations. Chuimsae is way which gosus and audiences express their feeling together, however, its context and sound are different. Finally, 'aftermath' is a process the pair of chamgja and gosu mutually evaluates about performance or audiences estimate that.

• (The) Research of the performance art and culture
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• no.38
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• pp.143-191
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• 2019

This research argues that Pansori had patrons in its development. Patrons are commonly discussed aspect of history of any art form. Pansori is no exception. While Pansori originally began as the art of the common people, Yangban class became the primary audience. This paper examines the role of royal family of Choson dynasty in development of Pansori. Heungseon Daewongun (흥선대원군) in particular was a Pansori aficionado. The record around Daewongun's involvement to Pansori proves that heavy monetary investment was made. He hosted Pansori competitions and sponsored creation of Pansori tradition, Boseong Sori (보성소리) and Gangsanje (강산제). Also the aspect of Pansori patronage lies not just in Yangban class, but also in Jung'in class, which is roughly analoguous to European bourgeois in that they were not of Yangban class, but had gained monetary status, and had aesthetics of both Yangban and commoner class. I argue that Heungseon Daewongun's ties to the Jung'in class is reflected in his actions towards Pansori artists. The traditions he had sponsored have important characteristics, including sophisticated lyrics heavily utilizing Classical Chinese poetry, highly artistic musical composition, and conservative Confucian ethics. Those characteristics indicate that the Pansori traditions sponsored by the royal patrons have changed to cater to their artistic taste and philosophy. This paper conducts a textual comparative analysis between Gangsanje Pansori Jeokbyeokga (강산제 판소리 적벽가), Dongpyeonje's Pansori Jeokbyeokga (동편제 판소리 적벽가), and Seopyeonje Pansori Jeokbyeokga, who share the same plot yet offers a stark differences in tone, philosophy, and sense of humor. Daewongun was a primary sponsor of Pansori, which proves that Yangban class and the royal family have played important role as patrons of Pansori.

• (The) Research of the performance art and culture
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• no.19
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• pp.221-280
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• 2009

This thesis is a study of the rise and the characteristic of 'Hyangto Gakeuk(literally Song drama of the country or local music drama)' in the Early 1940s. During the colonial period, there were attempts to incorporate traditional Korean music elements with Western operatic form. This type of music drama with librettos based on traditional tales came to be known as 'Hyangto Gakeuk'. Mostly 'Hyangto Gakeuk' has led this effort under the director Seo Hang-Suk, the composer Ahn Ki-Young and the lyricist Seol Eui-sik. In the first chapter, the study aims at arranging the performance history of 'Hyangto Gakeuk' composed by Ahn Ki-Young. Also, the study examined representative works after classifying 'Hyangto Gakeuk' performed by Lamila Music Drama Troupe, and Bando Music Drama Troupe. There is significant meaning to evaluate 'Hyangto Gakeuk' in the history of Korean music drama through this analysis of the performance history. In the second chapter, I will analyze with representative works composed by Ahn Ki-Young, a pioneer in the Korean art song. He tried to create the music that held the nationalism and tradition. His works which were called 'Kageuk' laid down the foundation of Korean original operatic style. This study demonstrated characteristics of 'Hyangto Gakeuk' as 'the beginning' in modern musical drama history and its effects on Korean musical drama developments. Namely, 'Hyangto Gakeuk' based on Korean traditions can be seen as examples of original modern musical in Korea. Practically, study on all the aspects of performance not only text generally studied, dramaturgy and criticism, but also performance concept and intention of creators in early period.

• (The) Research of the performance art and culture
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• no.19
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• pp.88-123
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• 2009

Gyeongsanjain Dano Festival is a local festival of Yeongnam that was initially designated as Intangible Cultural Heritage No. 44 "Hanjanggun Nori" in 1971 and finally became Gyeongsanjain Dano Festival in 2007. At first, few parts of it were designated for preservation and it was succeeded as a whole without connections between each part. Problems also rise from the fact that it has not been closely studied. Gyeongsanjain Dano Festival is mostly classified into five parts: Keungut, Yeowonmu, Hojanggut, Hanmyoje, and Jainpalgwangdae. This study has closely discussed each part as follows: 1. Keungut 1) Process and Contents of Keungut - Characteristics of Gut in Daegu and Gyeongsan 2) Presence of Performers that can Execute Traditional Gut of Local Area 3) Problems with the Name of Keungut - Ex: 'Hanjanggungut' or 'Keungut' 4) Problems of Dano Festival without Parts to Summon and Send off Spirits before and After Keungut and Restoration Measures 2. Yeowonmu 1) Essence of Yeowonmu and Yeowonhwa 2) Problems with the Mass Game of Hundreds of High School Girls 3) Origin and Succession of Yeowonmu 3. Hojanggut 1) Changes in Characters of Hojanggut 2) Composition and Characteristics of Hojanggut 3) Problems with the Name and Characteristics of Hojanggut 4. Jainpalgwangdae Nori 1) Similarity with Newly Created Shows 2) Problems with the Name of Palgwangdae 3) Difference with the Composition of Other Mask Dances 4) Dances and Movements Distinguished from Other Mask Dances in Yeongnam The following are the solutions suggested for Gyeongsan Jain Dano Festival. First, for the restoration of Gyeongsanjain Dano Festival, Dano festivals and Byeolsinje of nearby areas with clear traditions could be benchmarked. Second, the major content of Gyeongsanjain Dano Festival is 'Hanjanggungut,' and it has to be the leading content of the festival. Third, the structural principle of Korean festival must be adopted and the process and principle must correspond to those of other traditional shows. Fourth, as Gyeongsanjain Dano Festival is the comprehensive form of art, folk, and festival, each part must be closely related in a well-planned scenario. Fifth, Intangible talents and successful training must be widely acknowledged for successful transmission and responsible performances. Sixth, traditional festivals must be restored along with the discovery and development of various festival repertories and spectacles such as tour programs and experiential tours that contribute to local economy.

• Korean Journal of Breeding Science
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• v.51 no.4
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• pp.395-403
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• 2019

Rice blast caused by the fungus Magnaporthe grisea (anamorphic: Pyricularia oryzae) is an important disease in rice and development of resistant varieties to blast is one of the most important goals in rice breeding programs. A japonica rice variety, Palgong, has shown resistance to the Korean blast pathogen since it was developed in 1996. Nine blast resistance quantitative trait loci (QTLs) in Palgong alleles were identified on chromosomes 2, 4, 7, and 11. Four QTLs of qBn2.3, qBn4.2, qBn11.1, and qBn11.2 explained 28-56.7% of total phenotypic variation, while five QTLs of qBn2.2, qBn2.4, qBn4.1, qBn7.1, and qBn7.2 explained 9.7-18.8%. In a previous study, one to four resistance genes were located on the loci qBn2.2, qBn2.3, qBn4.2, qBn11.1, and qBn11.2, however, resistance genes were not located on the loci qBn2.4, qBn4.1, and qBn7.1. A major QTL, qBn11.2, explaining 56.7% of total phenotypic variation was related to the durable resistance of Palgong. Additionally, rice stripe virus resistance of Palgong was assumed to be based on the Stvb-i gene, which is located on a major QTL qBn11.2.

• Asia Marketing Journal
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• v.13 no.4
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• pp.227-251
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• 2012

This study analyzed Woori Investment and Securities' industry-leading marketing from both a brand management and a marketing decision-making perspective. By executing a different marketing strategy from its competitors, Woori Investment and Securities recognized recent changes in the asset management and investment markets as an open opportunity, and quickly responded to the market changes. First, the company launched the octo brand as a multi-account product, two years before its competitors offered their own products. In particular, it created a differentiated brand image, using the blue octopus character, which became familiar to the general financial community, and was consistently employed as part of an integrated marketing communications strategy. Second, it executed a brand expansion strategy by sub-branding octo in a variety of new financial products, responding to rapid changes in the domestic financial and asset management markets. Through this strategic evolution, the octo brand became a successful wealth management brand and representative of Woori Investment & Securities. Third, it has converged market research, demand and trend analysis, and customer needs acquired through various customer contact channels into a marketing perspective. Thus, marketing has participated in the product development stage, a rarity in the finance industry. Woori Investment and Securities has a leading marketing system. The heart of the successful product creation lies in a collaboration of their customer bases among the finance companies in the Woori Financial Group. The present study suggested a corresponding strategy for octo brand, which is expected to enter into the maturity stage of its product life cycle. In addition, this study found a need to modify the current positioning strategy in order to position and preserve sustainability in the increasingly competitive asset management market. It also suggested the need for an offensive strategy to counter the number one M/S company, and address the issue of cannibalism in the Woori Financial Group.

• Korean Journal of Culture and Social Issue
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• v.18 no.1
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• pp.127-152
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• 2012

The research investigates the attitudes toward children among mothers young children and maternal grandmothers, focusing specifically on the ideal number of children, gender preference, old age security and positive and negative values of children. A total of 442 respondents, consisting of 221 young mothers (average age of 35) and 221 maternal grandmothers (average age of 63) completed a questionnaire developed by Kim, Park and Kwon (2005). The reliability of the scales ranged from Cronbach α of .78 to .91. The results are as follows. First, as for the ideal number of children, young mothers reported that they would prefer two children, while grandmothers reported that they would prefer four children. As for the ideal number of male child, young mothers reported that they would prefer that they would prefer one son, while grandmothers reported two sons. Second, as for the gender of the child, young mothers did not show a gender preference, while grandmothers stated that at least one child should be a son, especially if it is the only child. Third, grandmothers had higher expectation of old age security in their male child than young mothers but two groups did not show any difference for the female child. Fourth, as for positive values of children, young mothers were more likely to emphasize personal aspects (i.e., psychological pleasure and happiness) and family cohesiveness, while grandmothers were more likely to emphasize social aspects (i.e., continuing the family line and old age security. As for negative values of children, young mothers were more likely to emphasize personal aspects (i.e., parental role and responsibility), while grandmothers were more likely to emphasize social aspects (i.e., family conflict and relationship). Fifth, as for factors that influenced the number of children that they decided to have, young mothers were more likely to report negative values of children (i.e., financial constraints), while grandmothers were more likely to emphasize positive values of children (i.e., continuing the family line).

• Korean Journal of Culture and Social Issue
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• v.18 no.4
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• pp.435-462
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• 2012

The predominant concern of the study centers on: (1) the direct effects of the job satisfaction, social support and hope on the individual's quality of life; (2) the direct effect of hope alone on the individual's quality life; (3) the mediating effect of the hope between the job satisfaction/social support and life quality; (4) the moderating effect of the worker's legal status(legal labors Vs. illegal labors) on each causal relationship. Research is based on a survey conducted with 453 Mongolian immigrant workers(333 legal workers, 120 illegal workers) from 10 cities including Seoul. In order for respondents to address research questions, structural equation models are explored. A variety of tests are conducted(metric invariance test, critical ratio for difference test, multi-group analysis, bias-corrected boot-strapping, latent mean analysis including Cohen's effect test). The noticeable findings are as follow: First, both job satisfaction and social support have a positive influence respectively on the individual's hope and the individual's quality of life. Second, we found a partial mediating effect of hope between both job satisfaction/social support and the individual's life quality. Third, we failed to find a moderating effect of the workers' legal status on each causal relationship. Finally, there is no significant difference of the latent means of each latent variable -job satisfaction, social support, hope, and life quality - between the legal group and the illegal group, except the latent mean of workers' quality of life. A range of practical and political implications are discussed based on the study's findings.

• Asia Marketing Journal
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• v.12 no.3
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• pp.1-24
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• 2010

Typically, marketing literature on innovation diffusion has focused on the pre-adoption process and only a few studies explicitly examined consumers' post-adoption behavior of innovative mobile services. Besides, prior use diffusion research has considered the variables that determine the consumers' initial adoption in explaining the post adoption usage behavior. However, behavioral sciences and individual psychology suggest that social influences are a potentially important determinant of usage behavior as well. The purpose of this study is to investigate into the effects of network factor and brand identification as social influences on the consumers' use diffusion or continued usage intention of a mobile service. Network factor designates consumer perception of the usefulness of a network, which embraces the concept of network externality and that of critical mass. Brand identification captures distinct aspects of social influence on technology acceptance that is not captured by subjective norm in situations where the technology use is voluntary. Additionally, this study explores the effect of the use diffusion on the brand switching intention, a generally unexplored form of post-adoption behavior. There are only a few empirical studies in the literature addressing the issue of IT user switching. In this study, the use diffusion comprises of rate of use and variety of use. The research hypotheses are as follows; H1. Network factor will have a positive influence on the rate of use of mobile services. H2. Network factor will have a positive influence on variety of use of mobile services. H3. Network factor will have a positive influence on continued usage intention. H4. Brand identification will have a positive influence on the rate of use. H5. Brand identification will have a positive influence on variety of use. H6. Brand identification will have a positive influence on continued usage intention. H7. Rate of use of mobile services are positively related to continued usage intention. H8. Variety of Use of mobile services are positively related to continued usage intention. H9. Rate of use of mobile services are negatively related to brand switching intention. H10. Variety of Use of mobile services are negatively related to brand switching intention. With the assistance of a marketing service company, a total of 1023 questionnaires from an online survey were collected. The survey was conducted only on those who have received or given a mobile service called "Gifticon". Those who answered insincerely were excluded from the analysis, so we had 936 observations available for a further stage of data analysis. We used structural equation modeling and overall fit was good enough (CFI=0.933, TLI=0.903, RMSEA=0.081). The results show that network factor and brand identification significantly increase the rate of use. But only brand identification increases variety of use. Also, network factor, brand identification and the use diffusion are positively related to continued usage intention. But the hypotheses that the use diffusion are positively related to brand switching intention were rejected. This result implies that continued usage intention cannot guarantee reducing brand switching intention.