• 천문학회보
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• 제41권1호
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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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• 제11권2호
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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.

• 공연문화연구
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• 제22호
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• pp.123-155
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• 2011

본 연구는 김정일의 『연극예술에 대하여』를 면밀히 읽어가면서, 김정일 자신이 평가한 '새로움'의 실체를 밝히는 것이 목적이다. 연구과정에서는 김정일 연극론과 북한의 1950년대 연극론과 비교하는 방식을 취했으며, 연구결과 김정일 연극론에 '새로운'이라는 형용사를 부여하는 것은 무리임이 드러났다. 계승과 새로움이 서로 교차되어 있기 때문이다. 먼저 계승의 측면은 극작법에서 발견된다. 극작법에서 등장인물과 언어에 관한 김정일의 주장은 1950년대 연극론의 연장선이며, 종자에 관한 그의 이론은 1950년대에 제기된 개념의 변형이기 때문이다. 또한 희곡/연극예술의 표현수단이 '대사'라는, 연기에 있어서 움직임보다 화술에 치중하라는 그의 지침은 1950년대 연극론과 비교할 때, 연극예술에 대한 개념의 축소로 해석된다. 반면 '새로움'의 측면은 무대형상화에서 확실히 발견된다. 고정되었던 무대배경이 암전 없이 그대로 이동한다는 것은 이전 무대장치와는 분명 구분되는 것이며, 무대가 연기자의 정서적 흐름을 반영하려는 시도는 그 성패를 떠나 시도만으로 높이 평가할 수 있다. 이와 더불어 코러스가 적극적으로 극에 개입하여, 극중 인물의 정서를 직접적으로 관객에게 전달하고, 창작자의 의도대로 관객의 반응을 유도한 점 역시 기존의 연극론과 변별성을 갖는다. 연극적으로 평가할 때, 무대와 음악에 관한 김정일의 이론과 실천은 시청각성의 극대화라는 의미를 부여할 수 있다. 따라서 김정일 연극론은 그의 주장과 같이 온전히 '새로운' 이론이라기보다는 기존 연극론의 축소적 계승이면서, 스펙터클의 확대에 초점을 둔 창작론이라 하겠다.

• 무역상무연구
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• 제51권
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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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• 제11권3호
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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.

• 수산해양기술연구
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• 제59권4호
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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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• 제16권2호
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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.

• 정보교육학회논문지
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• 제15권3호
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• pp.459-467
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• 2011

현재 우리가 살아가고 있는 시대는 지식기반사회를 지나 창조사회로 진입하고 있으며, 창조사회에서 중요시되는 키워드들은 지식, 창의성, 융합 등일 것이다. 21세기 창조사회에 선제적으로 대응하기 위하여 창의적인 융합형 인재를 양성해야 하는 당위성을 찾을 수 있는 이유이기도 하다. 이와 같은 시대적 배경에 따라 교육과학기술부는 2010년 6월 과학과 예술의 통합 교육 실시에 관한 내용을 포함한 "창의성과 인성 함양을 위한 초 중등 예술교육활성화 기본방안"을 발표하였으며, 2011년 1월에는 초 중등 STEAM 교육에 관한 내용을 포함한 "제2차 과학기술인력육성지원 기본계획(안)"을 발표하였다. 본 논문에서는 창의적인 융합형 인재를 육성하기 위한 영재교육기관 설립 시에 적용 가능한 전략을 개발하였다. 이를 위하여 융합형 영재교육의 필요성과 사례 분석을 통한 시사점을 도출하고, 이를 적용하여 융합형 영재교육기관 설립을 위한 전략을 개발하였다.

• 한국콘텐츠학회논문지
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• 제15권1호
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• pp.86-94
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• 2015

본 연구는 2014년 7월29일 시행된 '대중문화예술산업발전법'의 핵심인 청소년 대중문화예술인의 보호 조항의 적절성 여부를 비판적 관점에서 분석하여 미비점 등 법률 개정 방향을 모색하고자 실시되었다. 분석 결과 이 법률은 성매매 알선, 노예계약, 제3자의 수익 편취 금지 등 논란이 되어온 사회적 요구를 포괄적으로 수용하였다. 그러나 연령별로 노동시간을 차등적으로 규정하지 않은 데다 청소년에게 강요해서는 안 되는 위험한 연기장면의 사례, 수면권 건강권 학습권 보장의 절차와 방법, 위반 시 벌칙(처벌) 조항 등을 충분하게 규정하지 않아 구체성과 적용성을 충족하는 방향으로 보완이 필요한 것으로 나타났다.

• 한국콘텐츠학회논문지
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• 제16권7호
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• pp.760-770
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• 2016

본 연구는 보상프로그램에 대한 가치가 보상프로그램에 대한 충성도에 미치는 영향과, 보상프로그램에 대한 충성도가 이를 운영하는 공연예술/전시장에 대한 충성도에 영향을 미치는지에 대한 충성도 전이 효과와 이들 충성도를 태도적 충성도와 행동적 충성도로 구분하여 충성도의 강화효과를 살펴보았다. 그 결과 보상프로그램에 대한 가치는 보상프로그램에 대한 충성도로 전이되는 것을 확인할 수 있었으며, 보상프로그램 내, 공연예술/전시장 내 태도적 충성도가 행동적 충성도에 영향을 미치는 충성도 강화 효과를 밝혔다. 또한 충성도 전이에 있어서 보상프로그램에 대한 행동적 충성도가 공연예술/전시장의 행동적 충성도에 긍정적인 영향을 미치는 반면, 태도적 충성도는 영향을 미치지 않는 것으로 나타나 충성도 전이효과는 부분적으로 살펴볼 수 있었다.