• Korean journal of communication and information
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• v.46
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• pp.280-322
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• 2009

The purpose of this study is put on the evaluation of public support for media with the case of Special Act on Supporting Local Press whose main purpose can be said to help local press in crisis intending the improvement of news quality. However, it was controversial whether public support on specific media under the governmental leadership, which is related to the disputes on its abrogation with the change of the regime. Therefore, this study tries to evaluate its achievement focused on its effect on the diversity of public opinion especially with the eyes of audience. In-depth interviews were executed to find out whether it had helped local press to improve public interest for the last three years of public support. The interviewees, the readers as well as monitors of local press, answered that there had been some improvement in news quality and diversity of local press in general. However, they thought that fund support for news gathering cost was problematic and would be negative in the long-term perspective. In conclusion, the interviewees regarded Special Act on Supporting Local Press as necessary one to help local press in crisis but pointed out also that the act might not enough to change local press because the situation they were facing is so complex. Hence, this study argues that the evaluation of Special Act on supporting Local Press should be approached Abstracts 683 not on the basis of political logics but of the public interest and democracy.

• Phonetics and Speech Sciences
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• v.12 no.2
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• pp.39-49
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• 2020

The prosody of children with autism spectrum disorders (ASD) has several abnormal features, including monotonous speech. The purpose of this study was to compare acoustic features between an ASD group and a typically developing (TD) group and within the ASD group. The study also examined audience perceptions of the lengthening effect of increasing the number of syllables. 50 participants were divided into two groups (20 with ASD and 30 TD), and they were asked to imitate a total of 28 sentences. In the auditory-perceptual evaluation, seven participants chose sentence types in 115 sentences. Pitch, intensity, speech rate, and pitch slope were used to analyze the significant differences. In conclusion, the ASD group showed higher pitch and intensity and a lower overall speaking rate than the TD group. Moreover, there were significant differences in s2 slope of interrogative sentences. Finally, based on the auditory-perceptual evaluation, only 4.3% of interrogative sentences produced by participants with ASD were perceived as declarative sentences. The cause of this abnormal prosody has not been clearly identified; however, pragmatic ability and other characteristics of autism are related to ASD prosody. This study identified prosodic ASD patterns and suggested the need to develop treatments to improve prosody.

• Cartoon and Animation Studies
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• s.25
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• pp.65-85
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• 2011

In this essay, Japanese animator Kihachiro Kawamoto's works will be analyzed. Kawamoto made Breaking of Branches is Forbidden in 1968 and was famous for puppet animation as The Demon(1972), Dojoji Temple(1976) and House of Flame(1979) used Japanese traditional elements in his works. The themes are the agony and despair of a human being, and the narrative is developed dramatically. This is possible through a variety of techniques in animation expression. For example of this are the movement of the puppets and the lighting. In the case of Kawamoto's works, above all, it can be said that the dramatic development depends on editing - the relation of each shot to the next shot. Therefore, this analysis will focus especially on the editing of The Demon, Dojoji Temple and House of Flame. Kawamoto's method of editing will be examed and the analysis will confirm that classical continuity edting by controling space and time has been used. Namely that the effect of editing enhances dramatic development of the narrative on Kawamoto's works. This study will also discuss the benefit of using cinematic methods of in animation. Eventhough it is not essential, Kawamoto chooses cinematic method editing. Through their use, he is able to absorb the audience in the traditional Japanese world which ordinarily could be too difficult to understand through puppet animation.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.29-61
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• 2016

A joke (才談, 재담) is "the most interesting and witty language unit" in our speech. However, the search of a joke is still starting. Although joke are related to the witty and interesting talks, stories, songs and plays, the actual object of a joke is only the witty and interesting talk. A joke is witty talk that is interesting or laughter-inducing. Many Jokes can be found in the traditional Korean funny performing arts (演戱, 연희). This is because these art forms are performed in open yards, which necessitated amusing the audience, amusement, in its turn, required jokes. Jokes in the traditional funny performing arts can generally be classified as follows: 1) Jokes related to a situation: These include right words at a given situation, exaggerating words, diminishing words, deviancy words, and cause-effect words. 2) Jokes related to discourse: These include enumerating words, amplificatory words, contrasting words, fluently lying words, undeniable words, purposely unknowing words, and deliberately incorrect words. 3) Jokes related to vocabulary: These include synonym, similar words, changed word-ordering words, and incorrect words. 4) Jokes related to pronunciation: These include homonyms, and anti-homonyms. Although there may be other jokes, those presented above are typical ones. A joke is "the result that human being can achieve when he/she has overcome natural and social difficulties and is left with only a free and creative spirit." Jokes are necessary in all ages and everywhere. Today, more varied and high-level jokes can be created by developing the diversity of jokes in traditional funny performing arts. Also, I expect new sorts of jokes, because a joke always demands a creative spirit.

• (The) Research of the performance art and culture
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• no.37
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• pp.223-247
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• 2018

A reading aloud performance is an activity in which the actors convey the meaning of the play to the audience through reading the play without memorizing the play. Although this term has been used for a long time, it can be said in the early 2000s that Korea began to pay attention to reading aloud performance in the cultural world. As the theater education is strengthened in the 2015 revision curriculum, interest in this "reading aloud performance" is also growing. In this article, we analyzed the reading aloud performance of the 8th contemporary Japanese drama '2018' in order to utilize the reading aloud performance in the educational field and to utilize it in the lecture of the children education. There are two types of rehearsals for the actors on stage: 'Reading by watching drama', 'Playing by memorizing drama', and 'Mixing two types'. In the end, the key is that there is no set rule for the type of reading aloud performance. It's not trouble to see or not to see the play. It is not necessary to have a stereotype that you should do a proper reading aloud performance in consideration of your situation, but that you should do this. If children understand the concept of read aloud performance in a flexible way, the educational effect will be greater. Based on this analysis, we suggested 'not sticking to the form of reading aloud performance' and 'choosing various types of reading aloud performance' as a criterion for applying to the education field for children. In addition, the sub-criteria required for selecting 'various types of lecture performances' include' selecting a specific scene in the content of the play ',' considering the level or situation of the student ',' not hesitating to make a new type of lecture performance '. I hope that this article will be a stepping stone to revitalize the discussion in the educational world where discussion on the performance of reading aloud is requested, and to solve the problem of lack of educational design due to lack of theory.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.3
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• pp.168-175
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• 2019

The purpose of this paper is to examine the characteristics of organic relations according to the characteristics of space and place in which human activities are spreading. The diffusion of various human experiences and the interaction of space and place that form a mutual construction network create momentum for expanding individual or collective experiences. The space and place that lead to the interactions of human activities are expressed in various ways. Through the domestic travel program especially, the ways of expressing space and place are spreading as various "fields of experience." The composition and the expression system of a travel program is transformed into a subject of thought, not a mere experience of space and place through the formation of a "field of experience" that can be thought out and thought of as an existing travel style. Therefore, in this study, we examine the characteristics of the MBC Plus channel from a socio-cultural perspective, expressed through the experience of space and place characteristics expressed through a travel program. The result of an analysis of story development composition for this study shows that the experience of space and place minimizes the boundaries of various cultural discounts according to their relationships to food and communication. In addition, the analysis results of a three-way communication structure show that the emotional code of the audience is maximized through the process of maximizing the effect of reality, and minimizing the gap between the cultural differences and the boundaries through the empathic situation and the empathic subject.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.261-288
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• 2012

This paper attempts to research on the new language in the directing of Ara Kim. She was cranky on working on the stage to experiment with her own style since the 1980s and so opened a new dawn in modern Korean theatre. She leaded the Korean experimental theatre. The background of this experiment is her idea on theatre. And here, we have to look the subject that she setted for the work in Chuksan: Ritual Past, Ritual Present. To her, the theatre has the function of ritual and fest. The theatre suggests universal tragedy given to human as natural life force and has its own agenda to drive people to healing. For it, Ara Kim explores archetypal forms and languages before the fragmentation of genres of art. Her theatre shows the results of experiments in which such languages are recreated with modernized sensibilities. We here, for example by outdoor performance in Chuksan Human Lear, try to interpret the aesthetic principles that body out her ritual theatre. And what we looked at though, is the base of the 'complex-genre-music-theatre', the methode to 'compose' the stage elements and put it all together. The directing of Ara Kim has, in terms of the composition of the stage elements, much of the indisputable artistic value. Her theatre is, so to speak, theatre of image, and it is theatre of imagination that completed by the audience's imagination. Human Lear which has its own characteristic in image fragments, convert the original Lear into a simple tale. It serves as background of the modern ritual that shows the most basic human instincts. We meet in Human Lear a ritual tale with some list of image for the human instincts. The arrangement of image, the montage of scene shows the performance as a kind of artistic space. In Human Lear the space is the natural one. It centers around the arena stage. The objects installed in the space changes it into the laboratory for 'seeing' the happening. The spectators see the performance and at the same time see themselves in the nature laboratory. They see, and equally, they are visible objects. They see the performance and us in the space in which the performance takes place. That is what Ara Kim with her modern ritual really aims. That aim is to this days still in effect. It is a major driver of her experiments to extend the boundary of the theatre. The ritualistic site-specific performance in Akor Wat, Cambodia, A Song of Mandala is the latest great product from her experiments. On the other hand, she continues on her way to experiment with pure stage elements. The 'Station' series(Station of Water, The Station of Sand, The Station of Wind) she recently showed are the non-verbal performance with all the stage elements: movement, sound, body, light, colour, objects and so on.

• Phonetics and Speech Sciences
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• v.11 no.2
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• pp.33-44
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• 2019

This paper dealt with how realization of pauses in utterance is affected by speech style, gender, and generation. For this purpose, we analyzed the frequency and duration of pauses. Pauses were categorized into four types: pause with breath, pause with no breath, utterance medial pause, and utterance final pause. Forty-eight subjects living in Seoul were chosen from the Korean Standard Speech Database. All subjects engaged in reading and spontaneous speech, through which we could also compare the realization between the two speech styles. The results showed that utterance final pauses had longer durations than utterance medial pauses. It means that utterance final pause has a function that signals the end of an utterance to the audience. For difference between tasks, spontaneous speech had longer and more frequent pauses because of cognitive reasons. With regard to gender variables, women produced shorter and less frequent pauses. For male speakers, the duration of pauses with breath was significantly longer. Finally, for generation variable, older speakers produced more frequent pauses. In addition, the results showed several interaction effects. Male speakers produced longer pauses, but this gender effect was more prominent at the utterance final position.

• Journal of The Korean Association For Science Education
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• v.39 no.1
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• pp.59-72
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• 2019

The purpose of this study is to show that epistemic considerations can be used meaningfully in the argumentation of elementary students, and to provide data on students' epistemic considerations that will be the basis for designing and evaluating scientific argumentation. The epistemic considerations in students' small group argumentations were explored based on Epistemic Considerations in Students' Epistemologies in Practice: EIP' suggested by Berland et al. (2016). The major results of this study are as follows: First, epistemic considerations in elementary school students' small group argumentation appeared in all four aspects: Nature, generality, justification and audience. The epistemic considerations varied according to context in each discussion situation. Second, epistemic considerations did not exist independently. They influenced each other and helped to reveal new types of considerations. The results of this study confirmed that argumentation can be used in elementary school science class. Understanding how students are involved in argumentation and how these epistemic considerations can affect students' argumentation can be helpful to teachers who design and evaluate small group argumentation. Students' achievement level affected epistemic considerations but learning approach types did not affect on. In addition, epistemic considerations may have a positive or negative effect on each other depending on the discussion situation in the process of interaction. So consideration of normative argumentation rules and teaching strategies should be considered in order for epistemic considerations to positively affect each other.

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.156-168
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• 2022

This study was conducted to investigate the staging principle, the staging work and the trial performance of Shingeuk troupe Geukyesulyeonguhoe during the period of coterie system, focusing on Gogol work·Ham Daehoon translation·Hong Haeseong directing's (5Act). As a result, the first trial performance was based on a faithful full-scale description rather than an interpretive directing of play. It was a performance that focused on copying and implanting the external form of the performance stage of Shingeki troupe Tsukiji Little Theater. The general review of the time was summarized to the point that it was a relatively successful performance that exceeded expectations as a trial demonstration of amateur actors. However, in terms of the content of play and the form of performance, reservations and lack of contemporary(modern) interpretation caused the problem that the general audience was alienated. Therefore, it was difficult to achieve the effect of reflecting the reality of Chosun through , as Geukyesulyeonguhoe intended.