• (The) Research of the performance art and culture
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• no.41
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• pp.219-255
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• 2020

This article was triggered by Victor H. Mair's book 'Painting and performance'. The book explained that Buddhist paintings are common in the area where Buddhism was spread, and there are also performances using them. And although it has nothing to do with Buddhism, it has been shown that this form of performance can be global. However, the problem was not 'Korea'. It was because there was no record or transmission of the corresponding performance soon. In this situation, the landing method of Samcheok stable temple was announced in 2018. On the one hand, the academic community is very pleased, but on the other hand, it is troubled. The worries are summed up as 'synchronic and diachronic universality'. Is the landing method inherited from the Samcheok stable temple a unique type of temple? Otherwise, it is a question of whether it has been passed down or is it universal at the national level. However, prior to this essential question, we do not yet know the full picture of the stable landing method. So this article was prepared to show the overall outline of the stable landing method. There is a 'picture' in common throughout the landing method, and understanding how to operate it in various ways is the first step in understanding the landing method. There are five repertoires (which are called main halls) that are considered important, and more than that. What these repertoires have in common is the narrative structure of a Buddhist character. In this narrative, the most important thing is the revised figure, and it was the earthly method to inform the contents of the revised figure in various ways. In the case of Byeonsangdo, which serves as a clue to the narrative, there was a problem that could not be seen in the evening without light, which required special design. It is the way of shadow play and Yeongdeung. In other words, there are three types of performances in the landing method. The first is the method of using reparation, and the second is the method of using shadow. The third is the way of eternity. This method is not a selection based on the contents of the repertoire, but a selection based on the performance environment. If there is light and you can see the picture, use reparation. However, in the evening, it was impossible to see it dark (when there was no electricity in the past). The use of the visual method as a tool in this method is to confirm the transition to a visual culture that is a step further from the level of culture. Moreover, unlike the epic narrative, the power of the implied image provided an opportunity for viewers to experience the mystery of Buddhism through emotional stimulation.

• (The) Research of the performance art and culture
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• no.41
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• pp.257-284
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• 2020

Goseong Ogwangdae started academic research in the late 1950s and was designated as a national intangible cultural asset in 1964. From the time of the academic survey to the time of designation, it was recorded as using paper masks, but when the recording image was filmed in 1965, it was already changed to wooden masks. In 1960, before being designated as an intangible cultural asset, the number of masks, which was 9 points, gradually increased to 19 points in 1964. It is necessarily included in the leper, Chorani, Malttuki, Cheongbo-Yangyang, Halmi, and Jemilju, but the character of the yangban is not yet clearly differentiated. Hwangbongsa and Sangju appeared as bare faces, and consumption, milling, Cheongbo-Yangyang are used together with Bibi and inspiration. It can be guessed that Bibi was not the appearance of a foreign object with horns as it is now, considering that Bibi and Madangsoi were used together. Since 1965, shortly after the designation, the whole of the Goseong Ogwangdae mask has been changed to a wooden mask. All the characters except for resident, courtyard, and top-of-the-line are wearing masks. Bibi, Hongbaek, and service masks have never appeared until 1964. The Yangban was changed to the closing ceremony with six people in the order of Won-Yangban, Baekje, Heukje, Cheongje, Hongbaek, and Jonggadoryong. Starting in 1969, the mask enters the stable period where the kind is the same as the present. Bibi-Yangban uses both the Won-Yangban and the Jemilju uses the Somu, but all other characters use the individual mask to use a total of 18 masks. The Yangbans are clearly differentiated, and a total of seven Yangban appear. The reason why the change in the type of mask and the expression of material is so large is that the first generation of mask makers died and the tradition of mask production was cut off, but there is also a cause of the extreme change in the environment of the drama that the performers who joined after the designation had to face. Also, it is closely related to the change of the times when the meaning and weight of masking in masking has changed. At that time, the performers were not so tied to the current concept of 'original form' that they preserved the appearance of the designated time. Originally, Goseong Ogwangdae was centered on improvisation dance, not the formalized dance as it is now, and there was a certain fluid aspect in the retelling, so it was flexible in the use of masks even before the designation of cultural assets. Strict rules did not apply in the details, as it was a self-sufficient play by the performers, not an offer event. The form and contents of this fluid play are changed to preparation for the performance while preparing for the folk art contest. As the subject of the contest in self-sufficient play, dance, costumes, and props became more and more colorful as well as dancing, costumes, and props. As a result, participation in the contest brought about changes in the overall performance and changed the mask, which was accepted within the preservation society.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.46-61
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• 2023

Various Buddhist metal artifacts were excavated from the Heungjeon-ri Temple site from 2014 to 2020, such as gilt-bronze openwork decorations, a bronze kundika, a lion incense burner with a handle and lion weight, and so on. The gilt-bronze openwork decoration founded from the main hall of the western area is believed to have been used for the decoration of the Buddhist temple, and it is considered to be the best example of the gilt-bronze openwork decorations of the unified Silla that have been discovered so far. The incense burner with a handle and lion weight excavated from Heungjeon-ri Temple site is the earliest example of the style. The bronze kundikas excavated at the Heungjeon-ri Temple site have a more developed style than those of Ingaksa Temple. The bronze bowl and bronze bowl with a lid are similar to those excavated from the Anapji, Hwangryongsa Temple site, and Inwangdong Temple site. So these bronze vessels seem to have spread from the capital city to the provinces. Bronze seals excavated from the Heungjeon-ri Temple site are similar to those of the Hwangnyongsa Temple site in form and font. So, it was considered that they were produced and sent by the royal palace. In addition, "梵雄官衙之印" on the seal can be said to show that Heungjeonri Temple site was related to the organization of the monks at the time. The Buddhist metal artifacts excavated from Heungjeon-ri Temple site are believed to have been used from the early to mid-9th century at the temple by the Seon Order monk who was the main character of the monument. It can be said to be an important example of how the royal palace of Unified Silla and local crafts had a two-way influence, not a one-way influence, from the first half to the middle of the 9th century.

• Journal of Ethics
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• no.77
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• pp.73-112
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• 2010

This study aims to explore the character and problem of multicultural society in Korea in terms of the concept of moral panics. Its major issues are dealt with as follows: Firstly, this essay will apply two concepts of culture in multiculturalism - the pattern of meaning and a study of perfection- to three degrees of multicultural members: by individual, by groups and by a society as a whole. In this approach, moral panics of multicultural society in Korea have been manipulated by the secondary definitions like Korean government and media. In this study, however, the resource of the panics would be seen as nationalism in Korean history. To remove it in this essay, the conception of the pattern of meaning, which makes members understand others outer their norms, should be harmonized with that of a study of perfection by which they have identities. Secondly, the main subject of multiculturalism in Korea should at least be majority (groups)-Korean, not minority (groups)-foreigners. A stereotype of foreigners by majority is an image distorted by nationalities and races. People, for example, with the white skin from advanced countries are recognized as superior, while those born in the countries of Southeast Asia are, consciously or unconsciously, discriminated and have low positions due to socio-economic stratification in Korea. In this sense, a study of multicultural society in Korea should go forward to the inner direction to majority, because it is one of the real moral panics in Korea. In conclusion, it is important that there must be a study of identity which we can have of others in multicultural studies of Korea. It enables us to meet the conception of diversity. In that Korean government and media have neglected the danger of nationalism, it is also necessary that this study have any foundation of morality in ethics, which can give useful alternatives to the given polices of the secondary definitions.

• The Journal of Korean Philosophical History
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• no.29
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• pp.33-54
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• 2010

Woodam(愚潭) Jeong Si-han(丁時翰, 1625-1707) played an important role in the formation and development of the Toegye School. This writing explores the way Woodam understood the thought of Toegye(退溪, 1501-1570) as presented in The Book of Four-Seve Demonstration(四七辨證) The 17th century that Woodam lived in was the period in which monism and dualism coexisted. Woodam's understanding of Toegye's thought can be summarized as follows: 1) Woodam followed Toegye's li(理)-qi(氣) defense and his view on the origin of nature and emotion, acknowledging Toegye as the orthodox transmitter of Zhu Xi's teachings, 2) Woodam considered that the difference between the past and the contemporary teachings was simply caused by the difficulty of comprehending the character "li (principle) ". Thus he criticized Yulgok(栗谷, 1536-1584)'s claim that "that which rises is qi (material force), and that which gives rise to qi is li," and followed instead Toegye's views of the entivity, dynamism, and ultimacy of li and its substantial function. Yet, Woodam further developed Toegye's thought and asserted that "in the midst of the marvelous unity of li and qi, li is always dominant and qi is always ancillary." 3) Woodam criticized Yulgok's thought and advocated Toegye's doctrine of the mutual motion of li and qi(理氣互發說), thereby following Toegye's insistence that difference can be observed in sameness and sameness can be observed in difference, that integrative thinking is needed to constructively embrace both analytic and synthetic judgments. In conclusion, Woodam understood profoundly and correctly Toegye's views on the relationship between li and qi and between nature and emotion, and explained them more concretely. In so doing, he endeavored to live the life by the teachings of Toegye.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.213-220
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• 2019

Desire for a happy life becomes the will that man instinctively desires. In that the conditions of happiness are subjective and varied, the will of subjective desires has been studied with the attention of objective tendencies. The positive and meaningful will of life in the desire for happiness leads us to be the functionaries who act. These wills can be the driving force of a happy life, which allows one to have a hopeful reflective will in one's inner life, connecting oneself with others, and working in relationships with others. In addition, those who become lazy or lose their orientation in life can instill a will to be the main character of life, and furthermore, to give the ultimate meaning and goals of life. To understand and analyze these wills for happy lives more specifically, structural model compatibility and confirmatory factors were conducted. relatively reliable α=.855 value, the coefficient of correlation between recognition and will **p<.01, *p<.05 statistically significant measuring tool of not less than 05 was used. The study results of the structural model suitability of the factors of will and the confirmatory factor analysis showed that the model set by the researcher could reflect the characteristics of the data collected, and that the χ²(Chi-square) value was .126, which was consistent with the model by satisfying the acceptance criteria, and that the comparison of the reference values of the study model showed a relatively high level of suitability. To identify the relationship between cognitive and defined and behavioral factors of subjective will and existent will variables, the results of a verification factor analysis show that the χ²(Chi-square) value is 2.36 and the model and data are consistent with the acceptance criteria, and that the test data is consistent with the model and data set by the researcher are consistent with the model5.0 Through structural model analysis of human will, it was confirmed that the variables of subjective and existential, sensible and reflective will directly and indirectly influence and form a complex relationship. Our will is recognized as the subjective will, and the structure of the subjective will consists of the sensible and reflective will, and the relationship between the cognitive and just action elements and the subjective will of the human life and the will to exist is shown to be very meaningful, so we should conduct the education of the happy will of the emotional and just areas of life as well as the reestablishment of the cognitive educational direction that can lead to action.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.313-323
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• 2019

For the actors on video, facial expression acting can easily become 'forced facial expression' or 'over-acting'. Also, if self-restraint is emphasized too much, then it becomes 'flat acting' with insufficient emotions. By bringing forth questions in regard to such facial expression acting methods, this study analyzed the facial expression acting of the actors in genre dramas with strong commercial aspects. In conclusion, the facial expression acting methods of the actors in genre dramas were being conducted in a typical way. This means that in visual conventions of video acting, the aesthetic standard has become the important standard in the facial expression acting of the actors. In genre dramas, the emotions of the characters are often revealed in close-up shots. Within the close-up shot, the most important expressive medium in a 'zoomed-in face' is the 'pupil of the eye', and emotions are mostly expressed through the movements of the eye and muscles around it. The second most important expressive medium is the 'mouth'. The differences in the degree of opening and closing the mouth convey diverse emotions along with the expression of the 'eye'. In addition, tensions in the facial muscles greatly hinder the expression of emotions, and the movement of facial muscles must be minimized to prevent excessive wrinkles from forming on the surface of the face. Facial expressions are not completed just with the movement of the muscles. Ultimately, the movement of the muscle is the result of emotions. Facial expression acting takes place after having emotional feelings. For this, the actor needs to go through the process of 'personalization' of a character, such as 'emotional memory', 'concentration' and 'relaxation' which are psychological acting techniques of Stanislavsky. Also, the characteristics of close-up shots that visually reveal the 'inner world' should be recognized. In addition, it was discovered that the facial expression acting is the reaction acting that provides the important point in the unfolding of narratives, and that the method of facial expression and the size of the shots required for the actors are different depending on the roles of main and supporting characters.

• Asia Marketing Journal
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• v.13 no.4
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• pp.227-251
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• 2012

This study analyzed Woori Investment and Securities' industry-leading marketing from both a brand management and a marketing decision-making perspective. By executing a different marketing strategy from its competitors, Woori Investment and Securities recognized recent changes in the asset management and investment markets as an open opportunity, and quickly responded to the market changes. First, the company launched the octo brand as a multi-account product, two years before its competitors offered their own products. In particular, it created a differentiated brand image, using the blue octopus character, which became familiar to the general financial community, and was consistently employed as part of an integrated marketing communications strategy. Second, it executed a brand expansion strategy by sub-branding octo in a variety of new financial products, responding to rapid changes in the domestic financial and asset management markets. Through this strategic evolution, the octo brand became a successful wealth management brand and representative of Woori Investment & Securities. Third, it has converged market research, demand and trend analysis, and customer needs acquired through various customer contact channels into a marketing perspective. Thus, marketing has participated in the product development stage, a rarity in the finance industry. Woori Investment and Securities has a leading marketing system. The heart of the successful product creation lies in a collaboration of their customer bases among the finance companies in the Woori Financial Group. The present study suggested a corresponding strategy for octo brand, which is expected to enter into the maturity stage of its product life cycle. In addition, this study found a need to modify the current positioning strategy in order to position and preserve sustainability in the increasingly competitive asset management market. It also suggested the need for an offensive strategy to counter the number one M/S company, and address the issue of cannibalism in the Woori Financial Group.

• Korean Journal of Culture and Social Issue
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• v.17 no.1
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• pp.81-113
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• 2011

This study investigates leisure activity, involvement and self-concept in cyberspace of various age groups of adolescents. A total of 1,388 students (elementary school=337, middle school=326, high school=361, university=364, consisting of 696 male and 692 female) participated in the study. The results are as follows. First, although the vast majority of adolescents (96.9%) had a computer at home, majority of adolescents visited Internet cafe. Second, 70.3% of adolescents visited Internet cafe to play Internet games, followed by engaging in information search, chatting, and participated in cyber community. Third, on average adolescents spent 5.43 hours per week playing Internet games, with more males playing Internet games than female adolescents. As for information search, the weekly average was 2.60 hours, with university students spending more time than the other groups. As for chatting, the weekly average was 1.69 hours, with no significant differences among the groups. The weekly average of Internet use was 9.65 hours, with older groups spending more time. The weekly average use of computer was 10.91 hours, with older groups spending more time and more males using more computer than females. Fourth, as for self-concept in cyberspace, elementary and middle school students reported that they had fun, while high school and university students reported that they were the same as in the regular daily life. In addition, adolescents reported that they spent leisure activity in cyberspace and they become a fictional character in cyberspace. Fifth, when they played Internet games, regardless of age and gender, adolescents reported that they had fun, followed by that they were absorbed, that they became aggressive, and that they were the same as in the regular daily life. Sixth, when they chatted on Internet, regardless of age and gender, adolescents reported that they had fun, followed by that they were not interested, that they were the same as in the regular daily life, and that they do not chat on Internet. Seventh, when they interacted with their friends on Internet, regardless of age and gender, majority of adolescents reported that they had fun, followed by that they conversed, that they were the same as in the regular daily life, and that they felt closer. These results indicate that Korean adolescents view Internet as a place to spend their leisure time and that they enjoyed spending time on Internet.

• Journal of Practical Agriculture & Fisheries Research
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• v.20 no.2
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• pp.57-72
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• 2018

In order to extract meaningful information from the excellent farming settlement cases of young farmers published by KNCAF, we studied the key words with text mining and created a word cloud for visualization. First, in the text mining results for the entire sample, the words 'CEO', 'corporate executive', 'think', 'self', 'start', 'mind', and 'effort' are the words with high frequency among the top 50 core words. Their ability to think, judge and push ahead with themselves is a result of showing that they have ability of to be managers or managers. And it is a expression of how they manages to achieve their dream without giving up their dream. The high frequency of words such as "father" and "parent" is due to the high ratio of parents' cooperation and succession. Also 'KNCAF', 'university', 'graduation' and 'study' are the results of their high educational awareness, and 'organic farming' and 'eco-friendly' are the result of the interest in eco-friendly agriculture. In addition, words related to the 6th industry such as 'sales' and 'experience' represent their efforts to revitalize farming and fishing villages. Meanwhile, 'internet', 'blog', 'online', 'SNS', 'ICT', 'composite' and 'smart' were not included in the top 50. However, the fact that these words were extracted without omission shows that young farmers are increasingly interested in the scientificization and high-tech of agriculture and fisheries Next, as a result of grouping the top 50 key words by crop, the words 'facilities' in livestock, vegetables and aquatic crops, the words 'equipment' and 'machine' in food crops were extracted as main words. 'Eco-friendly' and 'organic' appeared in vegetable crops and food crops, and 'organic' appeared in fruit crops. The 'worm' of eco-friendly farming method appeared in the food crops, and the 'certification', which means excellent agricultural and marine products, appeared only in the fishery crops. 'Production', which is related to '6th industry', appeared in all crops, 'processing' and 'distribution' appeared in the fruit crops, and 'experience' appeared in the vegetable crops, food crops and fruit crops. To visualize the extracted words by text mining, we created a word cloud with the entire samples and each crop sample. As a result, we were able to judge the meaning of excellent practices, which are unstructured text, by character size.