• 유통과학연구
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• 제14권2호
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• pp.73-82
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• 2016

Purpose - Counterproductive work behavior(CWB) was typically categorized according to the behavior whether it targets other people(i.e., interpersonal CWB: I-CWB). Employing organizations(i.e., organizational CWB: O-CWB) has emerged as major concerns among researchers, managers, and the general public. An abundance of researches has informed us about the understanding for the antecedents of CWB, whereas little is known about the antecedents of CWB directed distribution service in employee's emotional labor. Therefore, the purpose of this research is to propose a research model in which surface acting enhances emotional exhaustion as an emotional labor strategy, which eventually increases counterproductive work behavior(including I-CWM and O-CWB). Research design, data, and methodology - This empirical research data were gathered from the samples of full time frontline hotel employees(including front office, call center, food/beverage, concierge, and room service) in South Korea. Six hotels were selected ranged from four to five stars, including privately owned and joint-venture properties. A convenience sampling method was used to select hotels. Full time frontline hotel employees from the six hotels were surveyed using a self-administered instrument for data collection. With the strong support of hotel managers, a total of 300 questionnaires were distributed, and 252 responses were collected indicating a response rate of 84.0%. In the process of working with the 252 samples, structural equation modeling is employed to test research hypotheses(H1: The relationship between surface acting and Interpersonal counterproductive work behavior(I-CWB) is mediated by emotional exhaustion, H2: The relationship between surface acting and organizational counterproductive work behavior(O-CWB) is mediated by emotional exhaustion). SPSS 18.0 and M-Plus 7.31 software were used for the data analysis. Descriptive statistics were used to assess the distribution of the employee profiles and correlations between factors. M-Plus 7.31 software was used to test the model fit, validity, and reliability of the factors, significance of the relationship between factors, and the effects of factors in the model. Results - To test our mediation hypotheses, we used an analytical strategy suggested by Preacher & Hayes (2008) and Shrout & Bolger (2002). This mediation approach directly tests the indirect effect between the predictor and the criterion variables through the mediator via a bootstrapping procedure. Thus, it addresses some weaknesses associated with the Sobel test. We found that surface acting was positively related to emotional exhaustion. Furthermore, emotional exhaustion was a significant predictor from the two kinds of counterproductive work behavior. In addition, surface acting was not significantly associated with the two kinds of counterproductive work behavior. These results indicated that the surface acting by frontline hotel employees was associated with higher emotional exhaustion, which is related with higher interpersonal counterproductive work behavior(I-CWB) and organizational counterproductive work behavior(O-CWB). In sum, we confirmed that the positive relationship between surface acting and the two kinds of counterproductive work behavior was fully mediated by emotional exhaustion. Conclusions - The current research broadens the conceptual work and empirical studies in counterproductive work behavior literature by representing a fundamental mechanism that how surface acting affects counterproductive work behavior.

• 복식문화연구
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• 제24권3호
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• pp.367-384
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• 2016

The aim of this paper is to examine relationship characteristics and the relevance there of in the context of the Chanel collection, between the contemporary fashion show viewed from the artistic side and intermedia on interaction. This study analyzed the relationship characteristics between intermedia and fashion shows by focusing on Chanel fashion shows from 2010 S/S to 2016 F/W as actual case. The results are as follow: First, participational accessibility indicates the experience of a designer and audience in active participation changing into passive participation. Second, audience immersion is represented by the perception of being involved by the audience in the place and acting. Third, conceptual symbolism is sending of messages through the designer's concept manifesting in the specific features of the design. Finally, expandability of media explains trans-boundaries in experimental attempts. It concludes that fashion show is a space where the audience can have visual as well as new knowledge and experience through multi-sensory channels. The Chanel collection which is considered a huge art project at the fashion show, showed a relationship between philosophy and the direction through season concepts and brands. The Chanel collection has brought a new experience through the convergence of communications and cultural media, such as music and art according to traditional brand image.

• 트랜스-
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• 제12권
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• pp.223-244
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• 2022

급속한 문화예술환경의 변화는 종전의 닫힌 공간의 문화예술교육에서 벗어나 새로운 문화예술교육과 문화예술 교육 시설의 변화로 나타나고 있다. 극장을 벗어난 연극, 미술관을 벗어난 전시, 산책하는 그림 등의 현상들은 문화예술 교육 시설이 더는 기존의 패러다임에 머무를 수 없으며 문화예술계의 변화와 함께 변모해가고 있음을 나타낸다. 이에 본 연구자는 문화예술 교육 시설의 변화라는 시대적 현상에 맞추어서 극장이나 스튜디오 중심이 아닌 특정한 장소를 중심으로 한 장소 특정적 연극 교육프로그램 개발을 위해 브레히트의 라디오 연극 실험과 동시대의 수행성 공연 실험 사례를 살핀다. 나아가 사례에서 확인된 문화예술교육의 지역과 공동체적 가치를 장소 특정적 연극 프로그램의 연구 동기로 삼으며 극장과 스튜디오를 벗어난 연극 프로그램을 실험하여 실행과 적용의 과정을 연구한다. 선행연구로서는 장소 특정적 공연에 대한 연구는 비교적 활발하게 이뤄지고 있으나 리그나그룹의 (Ligna group)공연 사례만을 다룬 선행연구는 부족한 실정이다. 다만 장소 특정적 공연 사례에 대한 제반 선행연구를 인식론적 배경으로 삼아 연구를 진행하고자 한다. 연구결과로서 총 10명의 학습자를 통한 장소 특정적 연극 프로그램은 전통적인 문학 텍스트에 의존하지 않은 특정한 장소를 기반으로 한 텍스트가 창작되었고 이를 통해 장소 특정적 연극 교육 프로그램의 가능성을 확인할 수 있었다.

• 산업진흥연구
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• 제5권2호
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• pp.33-40
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• 2020

중년기 여성 대부분이 자신의 삶에 책임을 지고 살아가야 하는 시기에 자신의 감정을 제대로 표현하지 못한 채 살아온 경험이 중년기 여성의 자신의 존재와 상실로 결국엔 홀로 남게 된 것을 깨닫고 외로움을 느낀다. 중년기 여성을 분석심리학 방법으로 무의식을 의식화하는 첫 단계로서 내면 속의 나와 만나는 이름 만다라와 난화 만다라를 수행하였다. 중간 단계는 과도기 단계와 작업 단계로 나눌 수 있다. 과도기 단계로 참여자의 내적 감정을 그림으로 표현하는 자궁으로 돌아가 어머니와의 깊은 애착 관계를 인식하고 자신의 감정과 만나는 단계로서 둥지 만다라와 연상 만다라를 행하였다. 작업 단계인 가치관을 증진하고 행동하는 내면과 만나는 자신을 수용하는 단계로서 씨앗 만다라, 연상 만다라. 강점 만다라, 자유 만다라, 문양 만다라를 수행하였다. 연구를 통해 만다라 미술치료가 중년기 여성에게 나타나는 결과는 다음과 같다. 첫째, 만다라 미술치료 경험은 중년기 여성의 신체적, 심리적, 인간 관계적인 측면에 영향을 준다. 둘째, 만다라 미술치료를 통한 중년기 여성의 개성화 경험은 심리적 역동을 보이며 긍정적인 사고와 자아 효능감에 영향을 준다. 본 연구는 연구참여자의 실제적 이해와 직접 탐구를 통해 본질에 다가가는 질적 연구가 적합하였으며 중년기 여성에 관한 미술치료 연구의 부족과 내담자가 겪고 있는 문제를 고려하여 다양한 매체를 통한 미술치료 프로그램 개발에 필요함을 제시하는데 의미가 있다.

• 공연문화연구
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• 제39호
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• pp.609-635
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• 2019

이 글은 제3회 청공축제 경연에 참여한 공식참가작 5편을 분석하여 청소년 관객의 공감 양상을 분석하였다. 이런 분석에 사용한 준거는 공식참가작의 '등장인물과 연기' 그리고 '배경과 주제'였다. 첫째 등장인물은 대체로 청소년인 학생과 학교 밖 청소년이 주인공이었지만, 이와 달리 청소년과 성인의 관계에 초점을 두거나 청년에 주목한 공연도 있었는데, 청소년 관객들은 청소년이 주인공인 공연을 더 좋아했다. 그리고 연기는 신파극보다는 정극을, 정극보다는 뮤지컬을 더 선호했다. 또한 공연에서 다룬 사건의 배경은 청소년 관객과 가까우면 가까울수록 청소년 관객이 공연에 공감하는 정도가 높았고, 주제 또한 청소년들의 관심사와 가까우면 가까울수록 긍정적인 평가를 받았다. 합평회에서 발표된 청소년 평가단의 의견을 종합해 보면, 첫째 관객 참여형 신파극장, '미스터리 엑스'에 관해서는 청소년의 범위를 20대 청년으로 확장하고, 부정적이며 무거운 현실을 재미있고 유익하게 보여준 공연으로 평가했다. 둘째 공감도 높은 반편견 청소년극, '거북이'에 관해서는 나와 다른 청소년의 모습에 대한 편견을 '가방'이라는 상징을 통해 설득력 있게 형상화하였다고 평가했다. 셋째 70년대 시간여행 복고풍의 청소년극, '콩나물 버스'에 관해서는 잘 만들어진 복고주의 청소년극이라고 평가했다. 넷째 관계의 미학을 절제와 상징으로 보여준, '개기월식'에 관해서는 천체들의 관계처럼 인간관계도 서로 비춰주고, 바라보는 것이란 메시지를 잔잔하게 보여 준 화면 구성이 뛰어난 청소년극이라고 평가했다. 다섯째 뮤지컬로 재탄생한, 'B사감과 러브레터'에 관해서는 100년 전 발표된 현진건의 소설을 뮤지컬로 적절하게 각색하였다고 평가했다. 마지막으로 합평회에서 나온 청소년 평가단이 바라는 공연의 특징은 크게 '공감성'과 '교육성'이 높은 공연이었다. 즉, 단순한 볼거리보다는 청소년의 정서와 생각에 공감할 수 있는 공연을 선호했고, 다른 한편 공감을 넘어서서 자기 세계를 벗어나 세상을 넓게 바라볼 수 있는 공연, 편견을 깨는 청소년극을 보고 싶어 했다. 이 연구에서 분석한 청소년극에 관한 청소년 관객의 평가를 참고하여 청소년극을 만든다면 관객들이 더 많이 공감하는 공연을 만들 수 있을 것으로 보인다.

• 한국연극학
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• 제48호
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• pp.385-419
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• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• 소성∙가공
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• 제20권3호
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• pp.222-228
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• 2011

This paper is a review of biaxial tensile test equipments and specimens. The stresses acting on a component in service are multiaxial in nature. Therefore, it is necessary to consider the mechanical properties of sheet materials not only under uniaxial but also under these multiaxial stress states. Biaxial testing of metal in industry becomes an important investigation tool for the evaluation of mechanical properties of sheet metals. In this paper, several types of biaxial tensile tests were reviewed, and their advantages and limitations were discussed.

• 한국해양공학회지
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• 제34권1호
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• pp.13-18
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• 2020

An azimuth propeller can generate thrust in all directions by rotating its housing with an electric motor. An azimuth propeller can be operated using several methods to stop a ship. This study aims to derive an efficient method to stop a ship safely using an azimuth propeller through full-scale maneuvering trials with the research vessel "NARA" of Pukyong National University in 4.63 m/s (9 kts). Five methods with different azimuth propeller operations were tested to stop the ship. The test results confirmed that the simultaneous use of the thrust and the hydrodynamic force acting on the strut is the most effective method to stop the ship.

• E2M - 전기 전자와 첨단 소재
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• 제8권1호
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• pp.64-70
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• 1995

We discussed the thermal analysis for a recording media with the variation of the laser pulse duration, the laser power and the temperature distribution in order to optimize the Te-based antireflection structure from the computer calculations. In the case that the radial heat diffusion is negligible, we can calculate the maximum temperature of the recording layer at the center of the spot by the Simple Model. The temperature profile of the recording layer is obtained from the Numerical Model by considering the total specific heat and the latent heat. As a result, the effect of the heat sinking acting as a thermal loss for the hole formation could be minimized by introducing the pulse with the hole formation duration(.tau.) below the thermal time constant(.tau.$_{D}$) of a dielectric layer. These requirments can be satisfied by using the dielectric thickness of the 2nd ART(Anti-Reflection Trilayer) condition or the dielectric materials with a low thermal diffusivity.y.

• International journal of advanced smart convergence
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• 제9권1호
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• pp.163-171
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• 2020

There are many differences in narrative delivery between common movies and Virtual Reality(VR) films due to their differences in the appreciation structure. In VR films, scene changes by cuts have hindered the immersion of the audience instead of promoting narrative delivery. There are a range of experiments on narratives and immersion to solve this issue in VR films. Floating Tent applies hand gestures and immersive effects found in game elements and does not disturb narrative delivery by setting proper spaces and employing a direction technique to enable the melting of narratives into the characteristics of the spaces. There are time limits to offsound and mission performance, and devices fit for apocalyptic spatial expressions are made through a program. One of measures for the increasingly growing interactive storytelling in VR films is effective immersion. In narrative delivery, it is important to consider spatial setting and immersion to enable active intervention into events for immersion rather than passive audience only supposed to watch characters' acting.