• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.311-312
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• 2014

다양한 변화를 겪고 있는 박물관에서는 관람객에게 적극적인 체험의 기회를 주고, 이를 통해 관람객과 전시물간의 상호작용에 초점을 맞추고자 노력하고 있다. 특히 역사박물관에서 디오라마전시방법은 한 가지 유물이나 사건에 관한 스토리텔링을 가장 효율적으로 적용할 수 있는 전시방법이다. 그러나 역사박물관의 디오라마전시는 대부분 축소모형을 통해 이루어지며, 스토리의 기 승 전 결의 구분이 명확하지 않다. 이는 관람객의 적극적인 체험을 이끌어 내는데 한계를 가진다. 이에 본 논문에서는 관람객의 주인공화, 배경의 다양화라는 전시 결과를 확인할 수 있었다.

• (The) Research of the performance art and culture
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• no.18
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• pp.201-221
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• 2009

This paper is a historical study on mime or pantomime in the chinese theater. What is the origin of chinese mime? This is a very difficult question to answer. But I thought its early model can be found in actions of ancient actors who are believed to precede any genre of theater and actually I could found a very significant proof in historical records which have been ignored generally. It is an episode of Youmeng(優孟) in Chu(楚) dynasty. According to this episode, the history of chinese mime has lasted at least over 2600 years. In my opinion, chinese mime had been organized in ritual genre in early theater and its development had been mostly based on the jiaosehangdang-system(脚色行當制). Most chengshi-movements(程式動作) of zuo(做) and da(打) have been organized in recent several centuries. But a further study on them shows us that the real origin of them is the ancient dance wu(舞). Afterwards the wu(舞) separated into two types of dance the so-called wenwu(文舞) and wuwu(武舞). So we can say that wenwu(文舞) and wuwu(武舞) had a direct influence on most chengshi-movements(程式動作) of zuo(做) and da(打).

• KLA journal
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• v.50 no.5
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• pp.59-65
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• 2009

• (The) Research of the performance art and culture
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• no.18
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• pp.5-46
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• 2009

The origin of Korean mime is traceable to sacred actions of prehistoric age. There are materials about mime of this age in the archeological materials of this age, oral literature/myth, and written literature about this age. There were traces of the most original form of mime in primitive ritual of tribal nation age. The mimes of Samkooksidae/Tree Nation Age of Korea were presented to forms of Kamoobekhee(歌舞百戱)/Sanakbekhee(散樂百戱). We can discover traces of mime of this age in Hosunmoo(胡旋舞), Gwangsumoo(廣袖舞), Kweraehee(傀儡戱), Keeak(伎樂), Kummoo(劍舞) Muaemoo(無㝵舞), and so forth. Especially, Keeak in Beckjae was mask mime of Buddhistic contents. We can recognize that secular theatres were more diversified and strengthened than sacred thaetres in Nambukgooksidae/South-north Nation Age. According to these changes, there were many changes in the mime of this age. We can concretely find traditions of mime of this age in Cheryongkamoo(處容歌舞), Hwangchanmoo(黃倡舞), Taemyun(大面), Wuljen(月顚), Sodok(束毒)', Sanyae (狻猊), and so forth. Mimes of Koreasidae/Korea Age take diverse forms of puppet play, mask play, dance play. Established traditional mimes as Cheryongkamoo(處容歌舞) were widely disseminated in society. And dance plays of mime form as Hunsundo(獻仙桃), Pokurak(抛毬樂), Yunhwadae(蓮花臺)' were imported from Song Nation of China. Mime of Chosundidae/Chosun Age were developed with changes of theatre that were divided into Kyusickjeehee[規式之戲] as Kwangdae(廣大), Ser-in(西人), Joojil(注叱), Rongryung(弄鈴), Kendoo(斤頭) and Sohakjihee[笑謔之戱] as Soochuk(水尺) Sengkwangdae(僧廣大). Styles of theatre in this age were specialized into mudangkuk, Pungmoolkut, Inhyunguk/Puppet play, Talnoree/Mask paly, Pansori, Kungjoong Kamuakguk. According to this changes, mime of this age were specialized into diverse aspects. Korean mime were specialized into Kutnorum-formed mime, Inhyungnorum-formed mime, Jabsaeknorum-formed mime, Talnorum-formed mime, Kungjoongmuyong-formed mime, Pansori-formed mime, and so forth.

• The Science & Technology
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• v.27 no.1 s.296
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• pp.82-83
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• 1994

• Journal of architectural history
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• v.21 no.5
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• pp.47-56
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• 2012

This research focuses on the role of Giovanni Marinioni during the formation of the modern cartography and cadastre during the 18th century. Initial study began with Giambattista Nolli's Roman map noticing not much information was available to acknowledge his activities during his Milan period before the departure to Rome. It became evident that Marinoni was a key person to understand the complex circumstances in which the professional training and formation of Giambattista Nolli took place as later worked as an anonymous intern during the elaboration of Theresian Cadastre of Milan. The other important figures are Leandro Anguissola and Giovanni Filippini. Anguissola's position and precedent work facilitated Marinoni's multidisciplinary activities that he had performed in Vienna and Milano in the field of making urban maps of those two cities. On the other hand, Filippini not only collaborated with Marinoni but also introduced Nolli in the field of cartography. These activities show transitional and dual aspects that characterized the period in which important irreversible changes that occur during the reign of Habsburg empire and in the rest of the Europe toward the formation of modern society and state. Marinoni's theories and praxis greatly influenced Nolli's later commitment under the Savoia and later on the elaboration of the 'Pianta Grande di Roma' in 1748.

• (The) Research of the performance art and culture
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• no.18
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• pp.137-169
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• 2009

This paper pay attention to silent puppets which appear in the traditional puppet performance. Not only movement of silent puppets which are involved with expression of body of the mime, but also various methods overcome limits of the silent are studied in this paper. Through the study of performance method and historic unfolding aspects, I confirm two main points. First point is that overcome limits of the silent, through the diversity of performance aspects. Second point is that silent puppets have been existed since the early stage of history, and show typical unfolding aspects on their way. Combining two main points, We can say that silent puppets go through continuous unfolding aspects on their way and have meaning of existence. The meaning of existence are that silent puppets seek deviant desire which deviate from everyday life and transcendental desire which seek a freedom through an imagination or an idea. It is interesting that the reasons of existence are associated with the emphasis of necessity which is encouragement of audience's desire and imagination that are necessary of accomplish of mime. After all, silent puppets say that diverse attempts which overcome limits of the silent are accomplished with the performance aspects and historic unfolding aspects, and through that sought unusual communication. Through the performance methods and signification aspects, silent puppets say that diverse groping for which maximize of audience's imagination, stimulation of imagination for audience's spontaneousness, and diverse groping for audience mind performance have been performanced as well. I think that those are the voice of silent puppets for activity of mime in the korea.

• Journal of Korea Game Society
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• v.21 no.4
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• pp.85-94
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• 2021

The purpose of this study is to analyze the educational effect of non-face-to-face classes in elementary school social studies using Minecraft. the fourth grade of elementary school is divided into experimental and control groups, and social studies using Minecraft are conducted for one semester. As a result of the study, the experimental group students who experienced elementary social studies classes using Minecraft showed a significant increase in achievement, learning attitude, and sense of place compared to the control group, focusing on questions, explanations, and opinions in the Minecraft virtual space It was confirmed that they were cooperating with each other.

• Journal of the Korean Geographical Society
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• v.47 no.4
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• pp.568-591
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• 2012

Korean historical geography as a distinct subset of modern geography began with the path-breaking efforts of Do-Yang Roh in the second half of the 1940s. He was joined in 1960 by founding father Dr. Chan Lee who carried with himself the Berkeley geography he learned from Fred Kniffen, his advisor, and Robert West at Louisiana State University. Dr. Lee, the single-most important figure in the development of Korean historical geography, founded in 1988 the Association of Korean Cultural and Historical Geographers in order to pull together those interested in past geographies and geographical change. Korean historical geography took off in the 1980s when large numbers of doctoral theses were produced domestically and abroad and British cross-sectional methodology added. Diversity in research theme and methodology characterizes present-day Korean historical geography.

• Journal of architectural history
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• v.31 no.6
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• pp.81-90
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• 2022

It is difficult to conduct an on-site investigation of Kaesung since it's located in North Korea. After the devastating Korean civil war we have lost a lot of authentic structures. At present, the statement of those who have seen the Kaesung during the time would be of great help in bringing out the significance of this study. According to Ma Hae-song, who was a local in Kaesung. He vividly remembered how his neighborhood looks like and he even mentioned the every single detail of his house in his essay. Moreover he also compared the traditional Han-ok in the former time from the household of other countries. There was an extraordinary interest and insight in Han-ok. This study estimated Ma hae-song's Gaesuong house based on Ma hae-song's personal and supplementary records. the contents by exchanging e-mails with his eldest son, poet Ma Jong-ki. Through the above process, it was confirmed that the writer Mahae Song's Gaeseong House was a typical wealthy merchant's house located in Donghaerang, a luxury residential area, and was engaged in commerce.