• Journal of the Korean BIBLIA Society for library and Information Science
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• v.29 no.2
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• pp.199-224
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• 2018

Intangible cultural heritage is a collection of community wisdom and talents and it has artistic and cultural values of the nation. And because it represents an identity of the country, it is an important records information resources that we must be inherited from generation to generation. Korea's intangible cultural heritage system has developed with the aim of preserving and transmission, but now it is necessary to take an creative approach as a resource as a resource for cultural diversity and utilization in an intangible cultural source. Therefore, it is important to maintain systematic management of intangible cultural heritage records information resources in order to continuously preserve, but it is also important to establish a basis for continuous use. The purpose of this study is to propose improvement plans for the archival information services of domestic intangible cultural heritage. We analyzed the status of the archival reference services of intangible cultural heritage institutions in consideration of the characteristics of intangible cultural assets. In-depth interviews were conducted with the responsible person to collect opinions and requirements during the service. We suggested the improvement plans through drawing out implication on problems and direction of archival information services for intangible cultural heritage.

• Journal of Korean Classical Literature and Education
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• no.38
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• pp.103-138
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• 2018

This study examines the modern succession, transformation and significance of enjoyment methods of classical literature (art) with a focus on the characteristics of those methods that appeared when the performances of the traditional era began to be displayed on the stage of the theaters in modern Seoul. The clues to the reasons for this type of enjoyment can be found in newspapers, magazine articles, and advertisements from the early 20th century. The emergence of stage theaters at the beginning of the modern era caused a sweeping change in the performance environment, including the fact that it was possible for all kinds of people to enjoy art beyond the existing socioeconomic hierarchies or barriers of status, that the performers were given employment through the theater, and that the audience had the tendency of the general public of an unspecified number because the audience was able to see the performances only by paying the viewing fee. The way of enjoying traditional performances also changed based on these new adaptations: the performances were sequential, show-oriented, and re-contextualized as public performances. It is significant that in the traditional era, performers and audiences had been segregated according to their status and a strict hierarchy; now, such cultural norms were breaking down in favor of a kind of equality. In addition, it was possible for the audience to experience sensory enjoyment, and theater brought about a new kind of popular consumer enjoyment of an artistic product. Of course, though, it is possible to look back and find problems related to the contemporary context, but the traditional performances, which were the main performances for the lower class, took the first place on the modern theater stage, and as a result, no one can deny that it became possible to move forward in the first phase of an era of public performance.

• Journal of Service Research and Studies
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• v.11 no.2
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• pp.79-93
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• 2021

The size of the domestic art market has increased 21.9% over the past five years as of 2018 to KRW 448.2 billion and the number of transactions has also increased 31.6% to 39,367 points maintaining growth for the fifth consecutive year. Art distribution platforms are diversifying from galleries and auction-style offline to online auctions. The art market consists of three areas: production (creation), distribution (trade), and consumption (buying) of works and as the perception of artistic value as well as economic value spreads interest is also increasing as a means of investment. Consumers who purchase works and think of them as a means of investment technology have an increased need for objective information about their works, but there is a limit to collecting and analyzing objective and reliable statistics because information provision in the art market distribution area is closed and unbalanced. This paper identifies objective and reliable art distribution status and status through big data collection and structured and unstructured data analysis on art market distribution areas. Through this, we want to implement a system that can objectively provide analysis of authors in the current market. This study collected author information from art distribution sites and calculated the frequency of associated words by writer by collecting and analyzing the author's articles from Maeil Business, a daily newspaper. It aims to provide consumers with objective and reliable information.

• (The) Research of the performance art and culture
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• no.38
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• pp.143-191
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• 2019

This research argues that Pansori had patrons in its development. Patrons are commonly discussed aspect of history of any art form. Pansori is no exception. While Pansori originally began as the art of the common people, Yangban class became the primary audience. This paper examines the role of royal family of Choson dynasty in development of Pansori. Heungseon Daewongun (흥선대원군) in particular was a Pansori aficionado. The record around Daewongun's involvement to Pansori proves that heavy monetary investment was made. He hosted Pansori competitions and sponsored creation of Pansori tradition, Boseong Sori (보성소리) and Gangsanje (강산제). Also the aspect of Pansori patronage lies not just in Yangban class, but also in Jung'in class, which is roughly analoguous to European bourgeois in that they were not of Yangban class, but had gained monetary status, and had aesthetics of both Yangban and commoner class. I argue that Heungseon Daewongun's ties to the Jung'in class is reflected in his actions towards Pansori artists. The traditions he had sponsored have important characteristics, including sophisticated lyrics heavily utilizing Classical Chinese poetry, highly artistic musical composition, and conservative Confucian ethics. Those characteristics indicate that the Pansori traditions sponsored by the royal patrons have changed to cater to their artistic taste and philosophy. This paper conducts a textual comparative analysis between Gangsanje Pansori Jeokbyeokga (강산제 판소리 적벽가), Dongpyeonje's Pansori Jeokbyeokga (동편제 판소리 적벽가), and Seopyeonje Pansori Jeokbyeokga, who share the same plot yet offers a stark differences in tone, philosophy, and sense of humor. Daewongun was a primary sponsor of Pansori, which proves that Yangban class and the royal family have played important role as patrons of Pansori.

• Management & Information Systems Review
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• v.33 no.5
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• pp.185-212
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• 2014

This study investigated the base of marine leisure facilities and studied the future vision for development of marine industry by conducting a systematic analysis on the category of marine leisure products for development of design and specialization of southeast area of Korea. If the age of $20,000 of per capita national income is called 'the age of my car', $20,000 of per capita national income is called 'the age of my boat'. According to the report of UK-based Marine South East, the scale of world's small boat and personal waterborne equipment reached 277 trillion won in 2010 and domestic market scale is expected to be 11 trillion won. Marine leisure facilities are the new growth engine industry that the government should promote as a nation's strategic and core industry, and the government is pushing ahead with promotion of marine industry actively by announcing Marine Leisure Equipment Industry Activation Plan(June 2009, Ministry of Knowledge Economy), Marine Leisure Activation Plan(July 2010, Ministry of Land, Infrastructure and Transport), The 1st General Plan for Marina Port(January 2010, Ministry of Land, Infrastructure and Transport) etc. The purpose of marine design lies in seeking the status of the country and qualitative value in human life through functional, artistic, industrial and cultural development of design elements for all marine activities made around the sea. Related to all activities made in the ocean and cost, marine design is a sphere of design that includes special conditions centering around water. Considering the condition that 3 sides of land are facing the sea, this study systematically analyzed present condition of equipment possessed by each area, type of facilities, operational status, current status of sectoral use of marine leisure facilities and future prospect of marine leisure products that become the basis of value to raise the statue as an advanced marine power in 2010s through development of the qualitative level of the people, establishment of the direction of national strategy, convergence of industry and culture and specialization of area focusing on the actual condition survey of marine leisure facilities. Especially, this study will be predicting the basis of strategy for strengthening marketability and competitiveness by suggesting role and process of design in developing a promising marine leisure product through an actual condition survey of marine leisure products of southeast area.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.1
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• pp.360-372
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• 2017

Cultural arts education helps in the holistic development of children and enhances their language skills and creative thinking. This type of education not only fosters emotional intelligence, but has also been proven to play a positive role in helping children understand different cultures. Based on these findings, in recent times, interest in cultural arts education has been focused on the importance of experiencing art in childhood and the development of artistic ability. A high standard of cultural arts education is desirable, in which regular classes are held based on the close cooperation of teachers, with extensive knowledge and sense of the cultural arts, and cultural arts experts. Therefore, it is necessary to include extensive cultural arts education in the training of early childhood educators, considering the importance of early childhood cultural arts education. This study suggested ways to improve the academic curriculum and develop plans to enhance the expertise of early childhood teachers in the field of cultural arts by analyzing the academic curriculum of early childhood education courses in 4-year universities in the metropolitan area.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.2
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• pp.501-510
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• 2016

Because hotels contain the cultural and artistic information of an era and plays a role as an iconic building to experience the unique regional culture, they are more than just a building. In recent years, as Jeju is emerging as a popular tourist city, a multi-functional and systematic plan for hotels is needed. Therefore, this study provides basic design data for hotel construction in the future by analyzing the public space of the luxury tourist hotels on Seogwipo-si. The public space of hotels, divided into service, food and beverage, banquet, leisure and convenience space, are categorized in terms of the cross combination type, entrance space form, plan type, unit space form to understand their relativity in the public space of hotels. This study reviewed the hotel construction based on the reference and literature, and, visited the sites to determine the current general status of hotels and then analyzed the architectural planning factors and spatial composition types.

• Trans-
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• v.2
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• pp.75-94
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• 2017

The film director is the responsible for artistic quality of the film. In Hollywood, the director considered as a technician only visualizes the given scenario. In the 1950s, young critics of the Cahiers du cinéma, who were at the center of Nouvelle Vague, re-qualified some Hollywood directors, for example Alfred Hitchcock, Howard Hawks and John Ford. They are considered "auteurs(authors)" because their films have their own styles. In France, the word "auteur-directoir" is often used in the film production. It refers to the person who writes the original screenplay of a movie. Auteur's legal definition of copyright is set out in Article L.111-1 of the Intellectual Property Code: "the auteur of a work of the mind enjoys the work by reason only of its creation, of an exclusive intangible property right and opposable to all. On the other hand, in the definition of producer, it is the natural or legal person who takes the initiative and responsibility for the realization of the work according to Article L. 132-23 of the same code. We study here the competence and responsibility of the French director as an "auteur" by consulting the two types of contract: director-technician and author-director. We rant to offer a reflection on the position of the film director and the relationship between the director and the producer.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• 재활복지
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• v.17 no.4
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• pp.311-338
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• 2013

The Act of Disability Discrimination and Rights Restriction was enacted in 2008 states that all services including cultural and artistic activities should be fair and easily accessible for disabled. The aim of this study was to determine how to improve the facilities and services for the disabled in exhibition facilities and provide complementary guidelines for amenities designed for people with disabled. The conclusions identified through this study are as follows: 1) It should be installed pedestrian safe passage so that visitors could access from the entrance of the ground to inside of the exhibition facility. 2) The floor of the exhibition hall should be installed not slip, and dangerous obstacles placed in the corridor should be removed. 3) It Should be considered that visually impaired and wheelchair users are use different facilities at toilet and elevator. 4) To guide the visually impaired and hearing impaired it should be prepared palpable map, braille signage, miniature and brochures. 5) Visually impaired and hearing impaired can experience the exhibits by using a variety of senses, therefore it may need to provide assistive devices and human services.