• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.409-417
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• 2020

Oral-Performance in itself, which successfully narrates one's life, constitutes a kind of decent Verbal arts. The term 'Sijipsali-Narrative' refers to oral narratives portraying a series of events in the course of Women's Life-Story which arise from family life and socio-cultural issues through marriage. As a result, Sijipsali-Narrative belongs to a subcategory of Women's Life-Story. Sijipsali-Narrative can be divided into two categories as follow. One type of Sijipsali-Narrative is the 'Family-Connection sijipsali-narrative,' which results from the relationship between a daughter-in-law and the rest members of the family. Among the 'Family-Connection sijipsali-narratives,' including several forms of Sijipsali such as that of father-in-law and that of husband and that of children, Sijipsali of the mother-in-law is most distinctive. The other type of Sijipsali-Narrative is 'Sociocultural-Connection Sijipsali-narrative', which comes not from human relationship but from general issues a narrator is suffering from as a daughter-in-law in a family. The most universal narrative comes from Sijipsali connected with poverty and historical events, and family history, appearance, attitude of the daughter-in-law and so on can be materials for the narratives. Actually, the two types of Sijipsali narrative is not so much distinguished from each other as intermingled with each other. Sijipsali arising from family relationship can inevitably be related with poverty and some events, which result in conflicts among family members and so harass daughter-in-laws. This thesis has a clear-cut orientation to overview the aspects of the Relationships and Hardships on a 'Sijipsali' Narratives in Korean Women's Married Life.

• Cartoon and Animation Studies
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• s.36
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• pp.167-187
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• 2014

Animation-related films and game industries have been expanding their markets rapidly responding to sharply increasing public demand. The production processes of major studios are getting more and more specialized and detailed. Therefore, they feel burden to manage and maintain as the HR and physical sizes are getting greater. So, independent studios which perform partial processes of the works are increasing over North America and Europe. Specialized studios build previous functions and related business models. They are expanding their areas. Therefore, this study targeted studios specialized in digital concept art in free production step. The characteristics of such studios were analyzed. To this end, first definitions of digital concept art concepts and functional & artistic features of entire production, and their application to business were deliberated through documents and online. Based on the results, the features of 'concept art service', 'self-brand business/ communication', and 'education service' were drawn. Second, based on it, targeting three con cept art studios such as Atomhawk (UK), FengZhu Design (Singapore), and Studio Gage (Korea), case research was done. Comparative analysis for the cases was conducted. It turned out that concept art studio s lead new market demand through active business strategies such as related contents development, marketing, etc. based on specialization. This research is significant to understand global trend of newly establishing specialized studios market and suggest reference data to improve prospective domestic specialized studios competitiveness.

• Review of Culture and Economy
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• v.21 no.2
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• pp.197-229
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• 2018

This study investigates the social discourse for Korean women's leisure culture and analyzes the conflicts between the ideologies which affected to the women's leisure issues with the social and cultural context. For this purpose, this study analyzed a sum of 652,513 words of 4,614 news articles about Korean women's leisure by applying semantic network analysis. In the 1960s, both the enthusiasm for 'modernization' and 'good wife and wise mother' ideologies were simultaneously affected to women's leisure discourse. 'The good wife and wise mother' ideology have a stronger impact on women's leisure culture in the 1970s. In the 1980s, even though the Korean women had higher education background and advanced social status compared to the former periods, both 'good wife and wise mother' ideology and 'modern career women' ideology conflicted each other. The conflicts between the two ideologies were intensified in the 1990s and the women tended to sacrifice their leisure in the course of the ideological conflicts in the 2000s. In the 2010s, women who exhausted due to the intensified conflicts between the two ideologies showed preference for passive forms of leisure.

• Journal of Science Education
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• v.45 no.1
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• pp.105-117
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• 2021

The purpose of this study is to analyze the gender differences of elementary, junior high, and high school students in the artificial intelligence ethics awareness (hereinafter referred to as AIEA). This is a study to investigate whether there is a gender difference in the AIEA, and if so, when the gender difference will occur. This study was conducted with 198 elementary school students (98 female students, 100 male students), 265 middle school students (166 female students, 99 male students), and 114 high school students (58 female students and 56 male students) in I Metropolitan City. The results are as follows: First, a gender difference in the AIEA between all boys and girls was confirmed. Second, the gender difference in the AIEA tended to be solidified as the school age increased from elementary school to middle school and high school. Third, female students at all stages of elementary school, junior high school, and high school are not yet very reliable in artificial intelligence, and there is a greater concern about non-discrimination than boys. It turns out that they have a negative position on permission to enter the territory. Fourth, the interaction effects of school age and gender have been identified in 'stability and reliability,' and in 'permit and limit' categories. Taken together, these results show that an educational strategy that approaches the gender equality perspective of the educational program is necessary so that there will be no gender difference in the AIEA during artificial intelligence education activities.

• (The) Research of the performance art and culture
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• no.36
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• pp.783-837
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• 2018

This study examines the lives and the performances of the people who participated in Songpa Sandae-nori(a korean traditional mask dance drama) before and after the designation as cultural heritage, and reviews the changes and the inheritance patterns of the mask dance which appeared in the lives of the performers. Chapter 2 reviewed previous debates about the derivational theory and the players of Songpa Sandae-nori before the flood in 1925, and discussed on awareness and the characteristics of the performers found through the review. Then the study went on to the inheritance patterns of the drama before the designation, focusing on the figures of Dolmari(a name of village in Songpa, Seoul) players who led the stage after 1925. As a result, the missing part of the activities and the lives of Dolmari performers have been more clearly identified, especially about Lee Beomman, Yeo taesan and Eum Joongeun(the main performers of Songpa Sandae-nori). Chapter 3 is about the inheritance patterns of the cultural heritage after the designation, and Heo Hoyoung was the main focus of the discussion. The researches so far have admitted his great contributions to the designation of cultural asset, although they have not proved how. After investigating various records and combining the testimonies of his students and locals, Heo Ho-young was found that he did not only gave plays of Songpa Sandae-nori but also actively engaged in the field of various traditional arts. Furthermore, jokes, dances, and masks left by him are considered to be evidences to reassess his performances.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.5-27
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• 2010

The Korean Mask-Dance Theatre has been developed closely related to Korean Shaman rituals. As many scholars noticed, the performers of the Mask-Dance Theatre were closely related to the Shaman family. In addition, there are mask-dance performances in actual shaman rituals. and are the representative performances among them. This essay intends to compare these two mask-dance performances in the shaman rituals to the similar performance of Old Grandpa and Grandma episode in the regional Mask-Dance Theatre. This study would bring us further in proving the close relation between the shaman ritual and the Mask-Dance Theatre. is one episode, Keori, in the shaman ritual of 'Baeyeonsin-kut' and 'Taedong-kut' in the mid-west seashore area. 'Taedong-kut' is the village shaman ritual for fertility and prosperity, while 'Baeyeonsin-kut' is a private shaman ritual for a large catch of the ship. is held in the later part of the whole shaman ritual since the later part tend to be more for entertainment than actual ritual. The story of is very similar that of in Pongsan Mask-Dance Theatre of the mid-west region. In addition, some of their dialogues are very similar. Only the later part is different. These similarities indicate that the Mask-Dance Theatre, which came into being in later period than the shaman ritual, has likely taken the story motif of the shaman ritual. is also a performance in the shaman ritual of east coasts. is more elaborate and recreational than of the west coasts. is also performed near the end of the ritual, and sometimes it is not performed at all. This indicates that has little ritual meaning left. When we compare it with the regional Mask-Dance Theatres such as Keosung Okwangdae, Tongyong Okwangdae, and Suyong Yaryu, the structure and the story lines are also very similar. It is a question why only the motif of the Grandpa and Grandma isfound both in the shaman ritual and the Mask-Dance Theatre. Many other motifs of other episodes in the Mask-Dance Theatre are not found in the shaman rituals. It seems that the Grandpa and Grandma motif is related to the ur-belief in fertility. In other words, this motif seems to be originated from the old belief in the fertility couple of Chonha Taechanggun and Jiha Yeochanggun. The shaman ritual for fertility first picked up this motif, and then the mask-dance theatre also adapted this motif for its recreational purpose. When we compare with , still has more aspects of fertility ritual, while lost its ritualistic meaning and its main purpose is to develop dramatic needs. and are invaluable existent performances to prove theatre's origin in ritual. The existence of mask-dance performances in the shaman rituals shows us the transit performance between theatre and ritual.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.75-100
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• 2013

An on-going creative process was the major principle of Kantor's artistic endeavors. Kantor's emphasis on process grew out of his frustration with the experience of creation being isolated from the audience in the present time, during the moments of encounter. At the same time, however, Kantor was always aware of the fact that the first night of each and every performance that he made was the last point of his creative intervention. Despite being performed live in the present time, Kantor saw theatre essentially as an end product. This does not mean that Kantor abandoned the concept of on-going process, for process was for the artist a means to reject the idea of a finished work of art and to denounce the feeling of satisfaction derived from the traditional denouement in representational theatre. For him, theatre that dominated his time isolated the audience from the art work and the artist, and from this perspective his continual emphasis on process should be understood as an aesthetic principle in order to open up and expand the dimension of art into the realm of the spectator so that the experiences of both the artist and spectator may coexist. The heaviest barrier that separated the artist and his work from its audience was the creative structure that governed Western art. In theatre it was the dramatic structure that was the main object of his series of severe challenges. Not only did it fail to represent reality but it distorted reality, creating nothing but artificial illusion. Under this condition, all that was permitted to the audience was mirages. However, Kantor never completely discarded illusion from his theatre. The point for him was always to created a circumstance where the illusory reality of drama comes to exist within the dimensions of our reality. It was Kantor's belief that instead of a total denial of illusion, his theatre should strategically accommodate illusion which comes from reality. And, the aim of Kantor's theatrical experiments was to invite the audience into this ambience and transform the experience of his audience into a much more participatory one. This paper traces the ways in which Kantor transgressed the dominating conventions of representational, literary theatre, and how such attempts induced an alternative mode of spectatorship. The study will begin from an investigation into Kantor's attitude towards illusion and reality, and then move onto a closer inspection of how he spatially and dramaturgically materialized his concepts on stage, giving special focus on Wielopole, Wielopole.

• Journal of Science Education
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• v.43 no.1
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• pp.94-118
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• 2019

The purpose of this study is to explore the multi-faceted understanding and issues of science subject matter competencies from the trends of competency-based curriculum discourse, and to examine the relationship between general core competencies and science subject matter competencies. First, we examined the theoretical background of competency-based curriculum focusing on behaviorism, humanism, and its comprehensive synthesis. After that, we reviewed OECD's competency-related projects (DeSeCo; OECD Education 2030), US Next-Generation Science Standards (NGSS) and Korea's 2015 Revised National Curriculum from the viewpoint of competency-based curriculum. After that, we summarized and systematically analyzed a list of competencies, 105 general core competencies and 45 science subject matter competencies proposed by 15 important documents from home and abroad. The results of this study are as follows: First, the issues of the proper number, appropriate dimension, and how individual competencies should be unique and independent were pointed, in terms of defining and categorizing competencies. Second, it was suggested that the competency items are presented in various dimensions such as personal-micro dimension, community meso-dimension, and social-macro dimension. Meso-dimension was placed on both general core competencies and subject matter competencies. Third, in the relationship between general core competencies and subject matter competencies, the former emphasizes macro-dimension, and the latter emphasizes micro-dimension, revealing an existing gap, and where the two can meet each other is the meso-dimension. These discussions are thought to provide insight into the understanding of competencies in the national curriculum, including the 2015 Revised National Curriculum.

• Journal of Digital Convergence
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• v.19 no.1
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• pp.401-410
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• 2021

Since the outbreak of Corona 19, Universities and Lifelong Education Center's arts and sports classes are mainly conducted online. Unfortunately, even in dance where practical practice through face-to-face classes is important, the satisfaction of students is falling because of the limitations of online education. Therefore, it is necessary to measure the quality of education service they feel. In addition, since their academic departure is increasing, we intend to comprehensively study user satisfaction, continuous use intention, and academic continuity intention related to online education. This study confirmed the causal relationship between these 4 variables through exploratory factor analysis, reliability analysis, model fit and validity verification, and path analysis. As a result of the study, 3 out of 6 hypotheses were adopted, and the of education service quality had a positive effect on satisfaction and use in online dance education. But there was also a limit that did not affect the intention to continue the study. In order to solve fundamental problems such as academic departure, follow-up studies taking into account more diverse social variables are needed.

• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.499-505
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• 2022

Recently, the metaverse has been receiving a lot of attention. Metaverse means a virtual space, and various events can be held in this space. In particular, 360-degree video, a format optimized for the metaverse space, is attracting attention. A 360-degree video image is created by stitching images taken with multiple cameras or lenses in all 360-degree directions. When shooting a 360-degree video, a variety of shooting equipment, including a shooting staff to take a picture of a subject in front of the camera, is displayed on the video. Therefore, when shooting a 360-degree video, you have to hide everything except the subject around the camera. There are several problems with this shooting method. Among them, lighting is the biggest problem. This is because it is very difficult to install a fixture that focuses on the subject from behind the camera as in conventional image shooting. This study is an experimental study to find the optimal angle for 360-degree images by adjusting the angle of indoor lighting. We propose a method to record 360-degree video without installing additional lighting. Based on the results of this study, it is expected that experiments will be conducted through more various shooting angles in the future, and furthermore, it is expected that it will be helpful when using 360-degree images in the metaverse space.