• The Bulletin of The Korean Astronomical Society
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• v.41 no.1
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• pp.34.3-35
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• 2016

A galaxy-cluster phase space diagram is a simple plot of clustocentric velocity versus clustocentric radius for each member of the cluster. Using state-of-the-art, cosmological hydrodynamical simulations, we investigate where simulated galaxies fall in phase space. We find the galaxies with different cluster infall times often separate cleanly in phase space. We also investigate how a galaxy's location in phase space is correlated with its tidal mass loss, and ram pressure stripping. By comparing our simulated cluster galaxies to observed cluster galaxies, we show how phase space diagrams are essential tools for understanding environmental effects acting on cluster galaxies.

• International journal of advanced smart convergence
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• v.11 no.2
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• pp.135-141
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• 2022

This thesis examines a significant way to enhancing and improving the term/phenomenon of performer training system in contemporary Korean theatre. To articulate the matters, this research engages in discussing and criticizing those problematic issues that we, as an instructor/trainer, have faced with through the last decades in the field of performer training and education. Specifically, we concern with the necessity of an applicable and appropriate educational/training system where each student-actor would discover his/her own adaptability by evaluating what a specific method and approach is. This atmosphere accurately provided by an instructor/trainer can also facilitate and enhance the young students' potential possibilities and/or talent, that is, as we argue a way to accomplish each performer's true nature. To achieve the goals, we underlie the necessity of establishing and/or settling performer training program/course by means of an alternative path. The research finding shows that within the atmosphere each student could share then interrogate what a possible or ideal way is according to his/her comprehensive understandings with clearer purpose: what kind of performers would you produce, train, and/or educate.

• (The) Research of the performance art and culture
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• no.22
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• pp.123-155
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• 2011

This study aims to closely read Kim Jong-il's "About Stage Drama Arts" and disclose the new reality as evaluated by him. The study took the method by which to compare Kim Jong-il's theory on drama and North Korea's drama theory in the 1950s, and the findings of this study revealed that it was irrational to grant the adjective "new" to Kim Jong-il's drama theory. This is because tradition inheritance and newness cross each other. First, his tradition inheritance aspect was found in his playwriting method. In playwriting method, Kim Jong-il's argument about characters and language is an extension of the 1950s drama theory, and his theory on JongZa(seeds) is the transformation of the concept proposed in the 1950s. Also, the expression means of dramas and drama arts is dialogue, and his guideline to focus on the art of conversation rather than on acting is interpreted to be a reduced concept of drama arts, compared with the 1950s drama theory. On the other hand, his newness aspect can be clearly discovered in the materialization of stage. The fixed stage background, without dark change, shifts to another situation as it is, and this stage setting is clearly distinguished from the previous stage setting. The attempt is worth highly evaluating to allow the stage to reflect actors' emotional flows and let them act. Also, the attempt is distinctively distinguished from previous drama theories to allow the chorus' positive involvement in dramas so as to directly deliver characters' emotions to the audience and to trigger the audience' response as intended by creators. From the perspectives of drama evaluation, Kim Jong-il's theory and practice regarding stage and music is understood to maximize the audio-visual effects. Therefore, Kim Jeong-il's drama theory, as he argues, is not a completely new theory, but a transformational inheritance of existing drama theories, and a creation theory with focus on expansion of spectacles.

• THE INTERNATIONAL COMMERCE & LAW REVIEW
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• v.51
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• pp.285-313
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• 2011

There can be analyzed severally on the acceptance conditions of freight forwarder's transport document under UCP. First, Bills of Lading issued by forwarding agents will be refused. This can be seen in the article 20 of 1933 Revision UCP(Brochure 82) and the article 20 of 1951 Revision UCP(Brochure 151). Second, Unless specifically authorized in the credit, Bills of Lading issued by forwarding agent will be rejected. It is prescribed in the front part (a) of article 17 of 1962 Revision UCP(Brochure 222) and the article 19 of 1974 Revision UCP(Publication No. 290). Third, Acceptance conditions are different according to the type of transport documents, that is either Bill of Lading or not. It is prescribed in the art 25 and article 26 of 1983 Revision UCP. Unless otherwise stipulated in the credit, transport document issued by a freight forwarder will be rejected unless it is the FIATA Combined Transport Bill of Lading approved by the International Chamber of Commerce or otherwise indicates that it is issued by a freight forwarder acting as a carrier or agent of a named carrier. On the other hand, unless otherwise stipulated in the credit, marine bill of lading issued by a freight forwarder will be rejected, unless it indicates that it is issued by such freight forwarder acting as a carrier, or as the agent of a named carrier. Fourth, transport documents issued by a freight forwarder will be accepted. This can be found in the article 30 of 1993 Revision UCP(ICC Publication No. 500) and the article 14 l of 2007 Revision UCP(ICC Publication No. 600). According to the former unless otherwise authorized in the Credit, transport document issued by a freight forwarder will only be accepted if it is appears on its face to indicate the name of the freight forwarder as a carrier or multimodal transport operator or its agent. The latter prescribed that a transport document will be accepted if it is issued by a freight forwarder by a agent of carrier or freight forwarder itself.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.99-105
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• 2023

This thesis discusses a performer's unpredictability and immediacy as a prerequisite quality and/or ability to facilitate his/her professional identity as a doer on stage. To examine the key principles and approaches, this research focuses on addressing a specific aspect of the performer's transformative experience from those, directors, and practitioners' concepts that inform and enhance the performer's passive readiness on stage. To be precise, this research attempt to interrogate and articulate the place and role of a performer's internal readiness and/or that of inner looking. The performer's inner intensity as seed of action signifies that his/her body is being in a state of listening to every tiny moment with his/her heightened awareness which in turn lead the performer's body to meet the demands of theatre, the whole-body engagement. Here, this thesis argues that the key principles of acting/training underlies the importance of a performer's ethical attitude and at the same time his/her responsibility for what the performer's choices and experiences within the performative involvement, that is, a process of preparation, are not technical matter but rather, the concepts, and/or approaches from those theatre artists' practical assumptions highlight a process of thorough encountering and/or listening to his/her body. Inhabiting and/or obtaining the principles through the performer's body means being free from his/her unnecessary trait(s) which in turn initiate and then move the whole body according to what is happening in the series of moment(s) on stage. What is more, such an appropriate psychophysical order reminds us of the significance of the nature of human/performer's body, namely, to being in a state of one's 'own' body as oneness. From this perspective, this thesis further argues that the performer's body necessarily need to be affected and/or triggered in a sense of responding to the given circumstance where the performer is working on in the here and now.

• Journal of the Korean Society of Fisheries and Ocean Technology
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• v.59 no.4
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• pp.336-343
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• 2023

The aging fishery training vessels from the past have mostly been decommissioned, and many universities are introducing state-of-the-art large fishery training vessels. The purpose of these training vessels is to train marine professionals and above all, safety to prevent marine accidents should be of utmost priority as many students embark on the vessel. This study estimated the impact of the hydrodynamic interaction forces acting on the model vessel (fishery training vessel) from the bank when the vessel pass near the semi-circle bank wall in various conditions through the numerical calculation, especially concerning maneuvering motions of the vessel. For estimation, variables were mainly set as the size of the semi-circle shape, the lateral distance between the bank and the model vessel, and the depth near the bank. As a result, it was estimated that, in order for the model vessel to safely pass the semi-circle bank wall at a speed of 4 knots, the water depth to the vessel draft ratio should be 1.5 or more (approximately 8 m of water depth), and the lateral distance from the semi-circle bank wall should be 0.4 times the model vessel's length (L_pp) or more (a distance of 34 m or more). Under these conditions, it was expected that the model vessel would pass without significantly being affected by the bank wall.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.2
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• pp.68-74
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• 2024

This thesis explores the embodiment of a performer and a character/role specifically by examining what the term character is associated with and implies in a sense of the performer's bodily training through which what happens to their body. First of all, this research begins to investigate the relationship between a performer and a character centred on the performer's bodily experience through training and/or studio work. From a perspective of a performer, the concept and practical approach of a character itself essentially includes and signifies all the given circumstance of a specific play which has to be acknowledged then inhabited through the performer's body. That is, the internal structure of the text parallels with articulating and developing the spine of a specific character which take place as the substance leads the performer's body to an organic action and/or that of way corresponding to what the character needs and wants to obtain through a series of moment on stage. Here, we argue that the purposeful action as a process and result of applying/inhabiting the substance enhances the performer's body as the whole being participates in the given environment within which his/her body can also work or function by means of the integrated oneness. Second, in a manner of the most fundamental level, both the ethic of acting and the central task of a performer remind us the significance of allowing therefore experiencing subtle bodily movement, namely, responses to stimulus from in/outside of his/her body either visible or invisible on the one hand. At the same time, such a journey of self-discovery empowers the performer to explore new potential possibilities on the other. Finally, as the research finding suggests that these practical insights are necessarily need to be acknowledged as a point of the departure through which the quality of a performer's body is also cultivated by means of the changeable wholeness in order to being on stage.

• Journal of The Korean Association of Information Education
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• v.15 no.3
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• pp.459-467
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• 2011

In these days it can be said that knowledge based society has been passed through and creative society is approaching, and the important keywords to the coming creative society should be the knowledge, the creativity, and the convergence. In order to make preemptive responses to this 21 century's new creative society, cultivation of gifted students with integrated prototype is also an imperative reason to prepare. With this historical background Korean Ministry of Education, Science, and Technology announced "a general plan on invigoration of elementary and middle school level art education for cultivation of creativeness and humanity" containing the acting curriculums of science and art integrated on June 2010, and also announced "the second general plan for support on development of science and technology professionals" including STEAM education for elementary and middle school level at January 2011. In this paper we developed a strategy appliable to establish an education institution for gifted students specialized on promoting the students to the convergence type gifted students. For the purpose, we derived the necessity for convergence education for the gifted and the implication points through analysis on the examples, and developed a strategy to establish an education institution for gifted students.

• The Journal of the Korea Contents Association
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• v.15 no.1
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• pp.86-94
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• 2015

This study is carried out to critically explore the direction of the improvement of the protection clauses of minor artists which is the core of Popular Culture Art Industrial Development Act enforced from July 29, 2014. The analysis shows that the law accepted the social issues such as the prevention of procuring minor prostitution, slave contracts(unfair long-term contracts), and third party's profit-extortion. However, the law missing or not specifically stated about age-based differential enforcement of work hours, dangerous acting scenes shouldn't be forced to minors, right to sleep, health, and study, as well as the penalty regulations in violation of each clause. Consequently, the Act's revision and supplementation is necessary to fully meet above insufficiencies referring to foreign practices.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.760-770
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• 2016

This study aims to investigate and measure the effectiveness between the value of the reward program and loyalty of the reward program as well as its influential transference effect of the loyalty of the entity (theater or exhibition) via investigating both its behavioral loyalty and attitudinal loyalty effectiveness. As a result, higher value of reward program increases the level of loyalty of the reward program. Key results were found that the behavioral loyalty positively influences the loyalty of the theatre/exhibition -the operator the loyalty program since the behavior loyalty requires participatory engagement, the reward program becoming a stimulator acting as a valuable component to drive consumer's revisit. However the attitudinal loyalty effectiveness was not as effectives as the behavioral loyalty since consumers tend to perceive a reward program as an informative beneficial tool rather than an emotionally engaging platform.