• Journal of Korea Entertainment Industry Association
• /
• v.14 no.3
• /
• pp.295-306
• /
• 2020

In 21st century, theater evolves into a complex aspects. Advanced visual media, such as photography and movies has brought crisis to theater's position, and that crisis led contemporary theater seek for distinctive strategy by repeatedly pondering over the format in which it can be more competitive than other arts. And postdramatic theatre is one of distinctive characteristics of this trend in contemporary theater. Among these flows, The aim of thesis is to study the phenomenon of postdramatic theatre and its practical application in the recently performed (2019) by Theater Group "Mul-Kyul". (2019) puts the body at the front, one of the features of the postdramatic theatre. When creating stage, or developing narratives, the process of characterization, or even highlighting dramatic themes, non-verbal focused theatrical expressions hold a dominant position over verbal expressions. Also, by combining various non-verbal elements like object, with body language, it builds a complex Scenography and creates a metaphorical expression. In this regards, I would like to classify the postdramatic theatre phenomenon shown in the (2019) into 'Disorganization of text through Scenography' and 'Collage of Body Language and Object' and consider its characteristics and meanings.

• Korean Journal of Culture and Arts Education Studies
• /
• v.9 no.3
• /
• pp.45-61
• /
• 2014

Recently, there is a discussion about culture theory in the area of traffic safety regulation. It has the view that the subject of criticism, etc. by drivers' regulation interpretation, awareness about the danger of regulation violation and nonacceptance of regulation can be changed according to the way drivers' cultural bias was formed. According to the culture theory, fundamental views of the world in particular social relations surrounding individuals, world view or cosmology, are formed and the world view makes an effect on individual behavior and attitude. In this context, cultural cognition and cultural learning theory which are suggested in Christoph Wulf's study on historical-cultural anthropology provide new approach toward this phenomenon. According to his insistence, core mechanisms which can explain cultural cognition and cultural learning are systematized by five things; physical characteristic, mimesis, performance theory, rite and image. The purpose of this research is to investigate the changes by the way Korean people cognize traffic regulations culturally and experiences of traffic regulation violation through the analytic frame of Christoph Wulf's five core mechanisms. To achieve it, cognition of traffic culture was analyzed by analytical phenomenology for drivers who had been educated due to their violation of traffic regulations. Value, lifestyle and practicing methods which are pursued by people work in sociocultural context rather than are influenced by cognitive structure of individuals.

• Journal of The Korean Association For Science Education
• /
• v.29 no.8
• /
• pp.793-811
• /
• 2009

The purpose of this study is to understand how a teacher's teaching can be changed while he or she teaches the same contents in different classes. The qualitative research method was used in this study. Data were collected from classroom observations, several in-depth interviews, and stimulated-recall interviews after each class. All the data were transcribed and analyzed interpretively, and then, the results of the analysis were checked by each participating teacher. The results are as follows: First, changes appeared in each class in terms of the teaching items, tools, sequence, and time, even though the same teacher taught the same contents. It showed that the teacher's teaching practice changed immediately and intuitively in class. Second, teachers tried to implement "exploratory teaching" or "move-testing teaching" to address the emerging problems during their teaching. They then reflected on and modified their own teaching. This type of change, which happened during the teaching practice, can be an example of "Reflection-in-practice." Thus, the results of this study can provide helpful insights into how teachers might adapt and reflect in their teaching. It suggests that teachers need to recognize their subconscious teaching changes and learn "Reflection-in-practice."

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
• /
• v.23 no.4
• /
• pp.16-28
• /
• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• Trans-
• /
• v.7
• /
• pp.19-48
• /
• 2019

This study was described to examine the meaning of the media exhibition work <70mK>, which aims to capture the topography of the collective consciousness of the Korean people through large-scale interviews. <70mK> edits and organizes interview images of individual beings in mosaic-like layouts and forms, creating video exhibitions and holding exhibitions. The objects in the split frame show the continuity of differences that reveal their own thoughts and personalities. This is a synchronic and conscious collective typology in which the intrinsic nature of the individuals is embodied in a simultaneous and holistic image. Interview images reveal their own form as a actual being and convey the intrinsic nature of one's own as oral information. <70mK> constructs a new individualization by aesthetically structuring the forms and information of life individuals in the extension of a specific group. The beings in the frame are not communicating with each other and are looking straight ahead. it conveys to visitors their relationship and personality as the preindividual reality. It is the repetitive arrangement and composition of heterogeneity and difference that each individual shows, and is a chain operation that includes collective identity behind it. <70mK> constructs the direct images and sounds of individual interviewee, creating a new form of information transfer called Video Art Exhibition. This makes metaphors and perceptions of the meaning and process of transindividual relationships and the meaning of psychic individuation and collective individuation. This is an appropriate case to explain with modern technology and individualization of Gilbert Simondon thought together with the meaning of becoming and relation of individualization. The exhibition space constructed by <70mK> is an aesthetic methodology of the psychic and collective meaning and its relationship to a particular group of individuals through which they are connected. Simondon studied the meaning of the process of individualization and the meaning of becoming, and is a philosopher who positively considered the potential of modern technology. <70mK> is a new individual as structured and generated ethical reality mediated by modern technology mechanisms and network behaviors. It is an case of an aesthetic and practical methodology of how interviews function as 'transduction' in the process of individualization in which technology is cooperated. The direct images and sounds of <70mK> are systems in which the information of life individuals is carried, amplified, accumulated and transmitted. It is also a new individual as a psychic and collective landscape. It is a newly became exhibition art work through the multiple individualization, and is a representation of transindividual meanings and process. The media exhibition art of individualized metastable states leads to new relationships in which viewers perceive the same preindividual reality and feel affectivity. The exhibition space of <70mK> becomes a stage for preparing the actual possibility of the transindividual group beyond the representation of the semantic function.

• Survey Research
• /
• v.10 no.1
• /
• pp.1-32
• /
• 2009

This study examines the changes of income, everyday life and living condition of consumer in the aftermath of financial crisis. In this period financial crisis was the crucial factor behind various social problems such as the dissolution of families and individuals. This research explores the range and degree of impact on individuals and social groups after the financial crisis. We explore the social mobility in terns of maintaining middle class and falling into the lower class measured by middle class identification. The 60% of the middle class before the financial crisis maintained the middle class position and the rest of people left out of middle class and fell into lower class. The 60% of those who has been maintained and has just became the members of middle class were college - educated people. The great part of people whose income and assets has increased after financial crisis belongs to college - educated group. Many of those whose income have decreased belong to the high school educated group and blow, the older than 50 years old, self - employed without employee and unpaid family employee. Those whose income and assets decreased and those who experienced downward mobility have undergone changes in everyday life and living conditions as a consumer. Many of them experienced the unemployment, nonpayment or credit - delinquency, dissolution of family, worsening health condition, depression, feeling the impulse to commit suicide simultaneously. The poor consumer disposition, reduction of living expenses, sound consumer culture have expanded to people since economic crisis. The middle class reported that the cost of private education often goes beyond the family ability to pay. The lower class has suffered from the cost of living. In a meanwhile luxury goods preference, consumer consciousness for status symbol have continuously increased among all the classes since 1997. Thus fluctuations of one's income and social mobility during past 10 years were some of the major determinants which brought about the various damaging life events, changes of living conditions and everyday lives as a consumer.

• Journal of Nutrition and Health
• /
• v.43 no.6
• /
• pp.597-606
• /
• 2010

This study investigates the change of level of psychosocial factors of decisional balance, processes of change, and self-efficacy after nutrition education on vegetable and fruit intake of children in pre-action stages. Forty-seven 5th grade elementary school children in Yeongi-Gun, Chungnam-Do were categorized into pre-action stages from a total of 71 children by four-stage questions, and then finally into two stages of precontemplation and contemplation & preparation. After 6 weeks nutrition education, recognition of both of pros and cons of vegetable intake were improved in the two groups of precontemplation and contemplation & preparation. In fruits intake, however, recognition of pros was not changed after nutrition education in either stage, but recognition of cons was improved only in the precontemplation stage. However, no difference in any psychosocial variables was found between precontemplation stage and contemplation & preparation stage. After the nutrition education, the score of consciousness raising of vegetable intake belonging to cognitive process of change increased in the subjects of the precontemplation stage, wheres the scores of dramatic relief, self-reevaluation, environment reevaluation and social liberation increased in the group of contemplation & preparation. In fruit intake, however, no change was found except in the environment reevaluation in the precontemplation group. The behavioral process of change of vegetable and fruit intake did not show any change in either group after nutrition education. Self-efficacy scores of vegetable intake of keeping the foods at hand, eating the recommended number of servings and making time to eat increased in the precontemplation group, while in the contemplation & preparation group, self efficacy scores of shopping for a variety of vegetables, instead of keeping the foods at hands, as well as the scores of the rest two items of eating the recommended number of servings and making time to eat increased after nutrition education. However, in case of fruits intake, no difference was shown in the precontemplation stage except an item of keeping the foods at hand. The results indicated that the stage of change was progressed in the pre-action stage after nutrition education and the scores of many psychosocial factors increased in both pre-action stages. It is suggested that the recognition of cons as well as the cognitive process of change and self-efficacy could be best used as indicators of the assessment of nutrition education program for vegetable intake.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.41 no.6
• /
• pp.72-83
• /
• 2013

This study suggests the necessity of landscaping alternatives for the succession of Takjok(濯足) culture by considering the background and meaning of Takjok's cultural phenomenon shown in old literatures and paintings and its result is as follows. An old idiom, 'Takyoung Takjok(濯纓濯足)' implying a disinterested living attitude from the mundane world and an attitude complying with nature, has been sublimated to 'Takjokjiyu(濯足之遊)' which means living in comfortable retirement through life in seclusion(隱逸). Classical scholars immerse their feet in soft-flowing(柔軟) water for 'Mulailche(物我一體; synchronized with nature)' which is a unified condition with 'Do(道; truth)' and connected to the stage of 'Yu(遊)', a free mental state, and its nature. The cultural phenomenon of Takjok appeared in the inherited landscape paintings in the Joseon dynasty period after the late stage of Koryo. Takjok shown in 'Pal Kyung Shi'(八景詩; poetry singing for the eight scenary) was described as not a transcendent scene, but as a scenery of daily life. Dense forest and water, such as a stream with clean water, rocks, and pine trees shown in Takjok paintings have been symbolized as a seclusion space for classical scholars with higher thinking and their mental states have been more emerged. Mental pleasures called as seclusion and Takjokjiyu have been relatively emphasized in the Takjok paintings of the Joseon Dynasty period contrary to the Chinese Takjok paintings emphasizing Chung Gye(淸溪; clean stream) and Chang Rang(滄浪; high and clean wave) and strongly representing the image of 'Chung Ryu'(淸流; clean flowing water) and the veneration for antiquity. The view of nature described in the Takjok paintings represents the provision of nature as a situation and attitudes of classical scholars and implies a Taoism perspective which describes the 'do' of nature. This view of nature itself remained intact(無爲自然) with the love of mountains and water, showing a side of the zeitgeist and aesthetic consciousness of China and Joseon. The 'Takjokjiyu' of both countries has be interpreted as a symbol of personality development, behavior, life in seclusion, or transcending the mundane world and has also been accepted as a method of summer vacation in the real world. It should be considered that Takjok includes ordinary people's wisdom to resist the hot weather, as well as the classical scholar's ideal and the veneration of antiquity. From this perspective, water space, Takjok rocks, and the use of water based on the environmental supportability should be newly focused as a recreational space and it reminds us that the spirit of Takjok is a classical mental healing method.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.2
• /
• pp.42-59
• /
• 2020

The purpose of this study is to examine the actual cases of crane breeding at private homes in the Joseon Dynasty period, thereby identifying the universal meaning and characteristics of this act reflected in these cases. This study is likely to help understand the true nature of garden culture during the period. The study' temporal and spatial scope was limited to the Joseon Dynasty and private homes. As references for the study, translated versions of classical literature were selected from the Database of Korean Classics(http://db.itkc.or.kr). To complement for the data, related researchers' translated materials were also used in part. The study's results are summed up as follows: First, Individuals from various social classes including royal families, noblemen, noble families in countryside, and commoners kept cranes at their homes. These crane breeders included those who left a significant mark in the Joseon Dynasty politically and academically as well as 'cheosa(處士)' that refers to scholars living in seclusion without entering the government throughout their lifetime. Second, Crane breeders were spread all over the country. Notably, various cases of crane breeding were found within the Hanyang Wall and its vicinity. Third, The act of crane breeding was highly associated with blood ties and academic lineages such as friendships and teacher-student relations. In this regard, crane breeding was not just a simple taste or appreciation for the arts, but rather reflective of a person's life attitude and orientation. Forth, The consciousness of Confucian origins based on an ancient story of Limpo (林逋) appears to have a large impact on the act of crane breeding. In addition, some cases exhibited the reflection of Taoistic tastes. Fifth, Some individuals tamed cranes for a living. This proves the presence of steady demand for cranes in this period. The present study's limitation is its reliance on translated materials, which hindered research into various cases. Therefore, the future discovery of additional data and the accumulation of their translations will enable the investigation of a wealth of cases.

• 기호학연구
• /
• no.57
• /
• pp.91-120
• /
• 2018

This study was contemplated about an aspects of modernity that was discovered of ImcheonByeolgok(林川別曲) written by Okgukjae Lee, Un-young in 18th Century. It was composed time that unprecedented state in the 18th century. So, I considered that Modernity was the most appeared at 18th Century. During this period, Changes has happened in ideology and system in terms of politics, economy, society and culture. This change is the beginning of a new modern consciousness. There is also a tendency to think of Imcheonbyeolgok as the autobiographical story of Lee, Yun-young. It seems that Lee, Yun-young has a progressive scholarly thought, but he did not reveal his own situation by insulting him. Therefore, I am not realistically valid for being able to see it as an autobiographical story that he actually experienced. Also, although ImcheonByeolgok is known as a love song, it is hard to see it as a love song because its satirical features are strong. and It is characterized by the peculiar form of narrative being described as a dialogue. I picked two aspects of modernity in ImcheonByeolgok. One is resistance to love and desire, and the other is disintegration of the order of identity. The two aspects of this paper were presented as Greimas's Actant Model. ImcheonByeolgok is the result of efforts to show the changing modern Joseon Dynasty's elements in the form of resistance and resistance to Joseon's feudal society, such as Confucian ideology and identity systems. Thus, I suggested the corrupt ruling class of Joseon's feudal society and the exploited working class life as an old living and a grandmother instead of 'resistance' and 'disposal' in the 18th century. The criticism of traditional feudal societies that emerged in the 18th century turned out to be a hegemony that distinguishes the Middle Ages from the Modern Age, which resulted in differences between the ages before and after the 18th century. Although these hegemony were not clearly distinguished in household literature in the 18th century, it was established and developed in the 19th century. I suggested that Lim's Star Song was an important work that played an important role in bringing about this change.