• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.133-144
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• 2020

This study is a new proposal for the methods of actor training and role creation in the contemporary theater and an approach to the practical utilization of the performer, regarding the actor's 'presence' as the essence of living arts, a peculiarity of theater. As the method for this, this study sorts out Vakhangov and Mikhail Chekhov's elements of acting techniques and at the same time, allows an easier approach to the theoretical concept based on the performance records found in the developmental process. The magic realism and the technique of acting discussed in priority in this study emphasize the importance of the exploration and realization of artistic inspiration in everyday life, the actor's imagination and image, and unconsciousness as a method for creating new actors and diversifying their roles. When their common views are summed up, the goals to achieve include a study of a creative method in which outer form and inner truth are combined and the implementation of a new system for creating the individual actor's originality. This study would classify the similarities and differences found through this, reveal the limit of practical efficacy and propose it as a universal method for creating the roles, asking for the actor's voluntary training and active attitudes.

• (The) Research of the performance art and culture
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• no.40
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• pp.163-192
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• 2020

Sinjungsin Mask Play, one of Ttangseolbeop, is related to Seongjusin's life story. Sinjungsin Mask Play is a reconstruction of the story of the folk gods Seongjusin met while returning home. Seongjusin's life story proceeds in the form of Mask Play, and the monk who leads the sermon plays narration and main roles. Many believers play various roles and musicians. Sinjungsin Mask Play introduces many folk beliefs, sounds for intrigue, and talks. Sinjungsin Mask Play uses the same method of enumeration and repetition as the existing Mask Play. The repetition of a sentence or phrase plays a role in foreseeing the meaning of the context or foretelling the development of the plot to the audience. This repetition is intended to emphasize the situation of the scene and to create rhythm. Since Mask Play was exclusively for the common people, Mask Play actors use the repeating method commonly used in folk songs to form lines. This gives the audience a familiarity, effectively communicating the lines and responding to their tastes. Sinjungsin Mask Play borrowed people's way of playing for the public's mission. It inherits the dramatic forms of traditional traditional plays such as repetition of words or sentences or phrases, codification of words or sentences, borrowing of existing songs, and formal expression units. In addition, through repeated performances, believers can easily and easily learn and understand. This is the dramatic form and characteristics of Sinjungsin Mask Play. Sinjungsin Mask Play was handed down from Faith Communities and was used as a means of folk cultivation to spread illegality. Buddhism externalizes the process of accepting folk beliefs through Mask Play, and in the case of Shinto who participated directly or indirectly, they naturally acquire the belief system of Hwaeom Kyung through play. Sinjungsin Mask Play, one of Ttangseolbeop, can be said to have great value as an ICH, as well as popularization and mission.

• Information Systems Review
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• v.21 no.4
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• pp.125-141
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• 2019

With the advent of deep learning technology, which is represented by AlphaGo, artificial intelligence (A.I.) has quickly emerged as a key theme of digital transformation to secure competitive advantage for businesses. In order to understand the trends of A.I. based digital transformation, a clear comprehension of the A.I. business ecosystem should precede. Therefore, this study analyzed the A.I. business ecosystem from the multi-actor network perspective and identified the A.I. platform strategy type. Within internal three layers of A.I. business ecosystem (infrastructure & hardware, software & application, service & data layers), this study identified four types of A.I. platform strategy (Tech. vertical × Biz. horizontal, Tech. vertical × Biz. vertical, Tech. horizontal × Biz. horizontal, Tech. horizontal × Biz. vertical). Then, outside of A.I. platform, this study presented five actors (users, investors, policy makers, consortiums & innovators, CSOs/NGOs) and their roles to support sustainable A.I. business ecosystem in symbiosis with human. This study identified A.I. business ecosystem framework and platform strategy type. The roles of government and academia to create a sustainable A.I. business ecosystem were also suggested. These results will help to find proper strategy direction of A.I. business ecosystem and digital transformation.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.77-90
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• 2020

Today, the transition to the era of "post-drama" brought a change in the position of text, which was considered the center of the play, and the expansion of the role of actors. After entering the post-drama era, the actor no longer transforms himself into "delivering" the fixed meaning of text, but "producing" the valid meaning of "now, here" meeting the audience. In other words, actors in the post-drama era have expanded their roles as "performers" who can become the subject of narratives themselves and create various theatrical languages. Despite the expansion of the actor's role, verbal-centered actor training through text, which still forms the basis of acting education, does not satisfy the newly changing contemporary theatricality and creates a gap between education and the field. Therefore, the researcher argued that non-verbal-centered acting education needs to be discussed, and highlighted the actors' physical training on the "empty" side. The researchers first compare and analyze the characteristics of modern theater people's training methods from an "empty" perspective. Based on this, researchers about the meaning and direction of the training "empty". Furthermore, the study concludes with an emphasis on the direction of acting education in the post-drama era, which is free from language that can respond to stimuli and interact freely.

• Korean Journal of Social Welfare Studies
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• v.44 no.3
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• pp.371-393
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• 2013

The objective of this article is to compare the characteristics and the origin of Welfare State in Korea and France. This study also finds out the causes of underdevelopment of Welfare State in Korea. In the third Republic of France, the first Industrial Accident Compensation Law was legislated in 1898. The discussion of the project of Law commenced in 1880. The Parliamentary Debate on the legislation of the Law had continued for 18 years. The leaders of the debate was the group of progressive Republicans(Radicals) in the French Parliament. In Korea, it was also in the period of the third Repulic, the President and several members of the Supreme Committee of National Reconstruction (Guk-Ga-Jai-Gun-Choi-Go-Ho-Eui), the authoritative military government who enacted and developed the Social Insurance Law of Industrial Accident Compensation, the first Law of Welfare State in Korea. However, Korea and France show more differences than similarities in the terms of the origin of the Welfare State. The motivations and goals of social policies of the two countries were quite different at the beginning stage. In France, the progressive Republicans of Parliament made welfare state policies in order to maintain the politico-social hegemony and social peace by provision of economic supports to workers. In Korea, the group of military officers had begun the welfare legislation in order to win the general election and obtain political power in 1963. Comparison on the origins of the welfare states in the two countries shows similarities as well as differences in terms of the role of actors. In France, the state and the owners of big enterprises had agreed and played positive roles in the legislation of the welfare state policies. However, the owners of small companies, merchants and farmers had played negative roles. Like the French case, Korean government and owners of big enterprises had played positive roles. The state as a major actor of the legislation of the social insurance programs in the two countries are slightly different. In Korea, the owners of small companies had played negative roles in making of medical insurance programs in 1976. Comparison of the current state of two welfare states shows substantial differences in terms of the development of the welfare state. What is the reason for such differences? Why does Korean Welfare State underdevelop? Historically, the developmentalism as an major ideology of the third Republic of Korea has continually influenced the underdevelopment of the Welfare State. It implies that Koreans have to invent a new ideology of Welfare State which can replace the developmentalism and support the development of Welfare State in the future. Without such a new ideology, it is very difficult to develop an european style welfare state in Korea.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.

• Journal of Korea Technology Innovation Society
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• v.18 no.3
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• pp.516-538
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• 2015

This study applies policy network theory to examine the main policy actors and their relations in the green growth policy making process. Also the development of and changes in South Korean government's green growth strategy are analyzed. The results demonstrate that the president and the presidential council were the key players to introduce and to push green growth policy in a short time. Policy influence and key roles were concentrated on them. The development of green growth policy were initiated from the president's change in perceived problems and preferences. He set green growth policy on the government's top priority. These changes lead to another changes in strategies, rules, norms and resources within the network. As a result, the president-led green growth policy established new laws, environmental regulations and governmental structures to facilitate the policy implementation. Green growth policy, however, was almost stopped after new presidential election in 2013. Because new government has a different national agenda, the previous governmental agenda lost its status as national priority. In addition, this study shows that government-led green growth in Korea has policy consistency problem after administration was changed by presidential election. Former president-led green growth policy making under the situation of the lack of policy participation from the private sector led to discontinuities in policy after a presidential term was over.

• Journal of Science and Technology Studies
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• v.4 no.1 s.7
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• pp.1-30
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• 2004

In this paper, I have attempted to show how the environmental controversy surrounding the Saemangeurn Reclamation Project in Korea has been framed as narrow scientific debates. First of all, science, or specifically the Expert Review Pane, has played dual roles in the controversy. On the one hand, it has contributed to illuminating the future environmental impacts of reclamation, by so doing, to providing a momentum to reconsider the project. This has significant meaning that environmental concerns successfully checked the symbolic national project of developmental era through adopting a joint-investigation scheme that guaranteed participation of environmental groups on an equal footing with the government. On the other hand, by limiting the scope and participants of discussion, it fundamentally blocked the possibilities of public debates and deliberative decision-making with full considerations of the political, social, and cultural aspects of the controversy. I have shown that this is due to the realist belief shared by both the developers and the environmentalists in Korea that 'proper' science would disclose the truth. Environmental groups, in particular, were naive in evaluating the role of scientific expertise in the controversy and neglected the political role of the Expert Review Pane as a ritual. In opposition to the realist argument, I have shown through the analysis of the water quality debates concerning the future fresh water lakes that scientific 'facts' were not discovered but constructed through complex negotiations, conflicts, and compromises among related actors. The framing of the controversy as an experts' debate has resulted in the exclusion of an important actor from the discussion. Little attention has been paid throughout the controversy to the very people who have lived in the Saemangeum area for generations and will lose their livelihood all together soon. About 20,000 fishermen are living on the Saemangeum tidal flats.

• Proceedings of the Korea Database Society Conference
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• 1998.09a
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• pp.525-543
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• 1998

This paper proposes a conceptual taxonomy of architectures far workflow management systems. The systematic classification work is based on a framework for workflow architectures. The framework, consisting of generic-level, conceptual-level and implementation-level architectures, provides common architectural principles for designing a workflow management system. We define the taxonomy by considering the possibilities for centralization or distribution of data, control, and execution. That is, we take into account three criteria. How are the major components of a workflow model and system, like activities, roles, actors, and workcases, concretized in workflow architecture？ Which of the components is represented as software modules of the workflow architecture？ And how are they configured and operating in the architecture？ The workflow components might be embodied, as active (processes or threads) modules or as passive (data) modules, in the software architecture of a workflow management system. One or combinations of the components might become software modules in the software architecture. Finally, they might be centralized or distributed. The distribution of the components should be broken into three: Vertically, Horizontally and Fully distributed. Through the combination of these aspects, we can conceptually generate about 64 software Architectures for a workflow management system. That is, it should be possible to comprehend and characterize all kinds of software architectures for workflow management systems including the current existing systems as well as future systems. We believe that this taxonomy is a significant contribution because it adds clarity, completeness, and "global perspective" to workflow architectural discussions. The vocabulary suggested here includes workflow levels and aspects, allowing very different architectures to be discussed, compared, and contrasted. Added clarity is obtained because similar architectures from different vendors that used different terminology and techniques can now be seen to be identical at the higher level. Much of the complexity can be removed by thinking of workflow systems. Therefore, it is used to categorize existing workflow architectures and suggest a plethora of new workflow architectures. Finally, the taxonomy can be used for sorting out gems and stones amongst the architectures possibly generated. Thus, it might be a guideline not only for characterizing the existing workflow management systems, but also for solving the long-term and short-term architectural research issues, such as dynamic changes in workflow, transactional workflow, dynamically evolving workflow, large-scale workflow, etc., that have been proposed in the literature.

• The Journal of Information Technology and Database
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• v.5 no.1
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• pp.97-108
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• 1998

This paper proposes a conceptual taxonomy of architectures for workflow management systems. The systematic classification work is based on a framework for workflow architectures. The framework, consisting of generic-level, conceptual-level and implementation-level architectures, provides common architectural principles for designing a workflow management system. We define the taxonomy by considering the possibilities for centralization or distribution of data, control, and execution. That is, we take into account three criteria. How are the major components of a workflow model and system, like activities, roles, actors, and workcases, concretized in workflow architecture. Which of the components is represented as software modules of the workflow architecture\ulcorner And how are they configured and operating in the architecture\ulcorner The workflow components might be embodied, as active (processes or threads) modules or as passive (data) modules, in the software architecture of a workflow management system. One or combinations of the components might become software modules in the software architecture. Finally, they might be centralized or distributed. The distribution of the components should be broken into three: Vertically, Horizontally and Fully distributed. Through the combination of these aspects, we can conceptually generate about 64 software Architectures for a workflow management system. That is, it should be possible to comprehend and characterize all kinds of software architectures for workflow management systems including the current existing systems as well as future systems. We believe that this taxonomy is a significant contribution because it adds clarity, completeness, and global perspective to workflow architectural discussions. The vocabulary suggested here includes workflow levels and aspects, allowing very different architectures to be discussed, compared, and contrasted. Added clarity is obtained because similar architectures from different vendors that used different terminology and techniques can now be seen to be identical at the higher level. Much of the complexity can be removed by thinking of workflow systems. Therefore, it is used to categorize existing workflow architectures and suggest a plethora of new workflow architectures. Finally, the taxonomy can be used for sorting out gems and stones amongst the architectures possibly generated. Thus, it might be a guideline not only for characterizing the existing workflow management systems, but also for solving the long-term and short-term architectural research issues, such as dynamic changes in workflow, transactional workflow, dynamically evolving workflow, large-scale workflow, etc., that have been proposed in the literature.