• Journal of the Korea Institute of Information Security & Cryptology
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• v.29 no.1
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• pp.235-255
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• 2019

Recent technological advances and industry changes, the game industry is maximizing fun by supporting cross-play that can be enjoyed by different platform users in PC, Mobile and Console games. If the boundaries are lost through the cross play, unexpected security threats can occur due to new services, even if existing security is maintained above a certain level. The existing online game security researches are mostly fraud detection that can occur in PC and mobile environment, but it is also necessary to study the security of the console game as cross play becomes possible. Therefore, this paper systematically identifies the security threats that can occur when enjoying cross play against console game users using STRIDE and LINDDUN threat modeling, derives security requirements using the international common evaluation standard.

• Cross-Cultural Studies
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• v.23
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• pp.127-165
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• 2011

This paper focuses on the specificities and semantic meaning of Mikhail Bulgakov's metadrama White Guard and The Flight. The standard conception of metadrama is to purposefully break the dramatic illusion and make bare a playwright's self-consciousness of the theatrical art itself. With the use of the metadrama Bulgakov expressed the essentials of ugly reality, which he couldn't accept as a valuable truth. In this respect, Bulgakov's metadrama becomes at once a window, from which he views the external world in the theatrical vision, and a mirror, in which his political and existential stance as a playwright is reflected. In White Guard Bulgakov described the already theatricalized reality through several instances of 'play-within-play'. In The Flight, composed of eight pieces of dream, a life turned out to be a less solid and less firm reality than dream. Continuously demolishing the cognitive wall between reality and illusion, Bulgakov leads spectators to have a reflective view on the reality. Allowing more powerful demonstrativeness for a play-within-play than for a play-within-play, Bulgakov elevates a metadramatic technique to the level of thematic structure.

• Cross-Cultural Studies
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• v.29
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• pp.7-24
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• 2012

"Duck Hunting" is the most psychological play with unique structure written by Aleksandr Vampilov. The play describes protagonist hero's furious behavior with psychological instability, therefore, this play tends to be recognized as serious and complicated one. After the death of Vampilov, "Duck Hunting" was reproduced as a film, titled as "Vacation in September." This study is designed to shed light on the play's psychological-dramatic factors by focusing on the structure of narrative and spatial-temporal objet. Also, this study compared the screenshots of the play with their textual meanings, then concentrated on main character's psychological features. By focusing on protagonist hero's mind, this study tries to look into the features of the play and its meanings for modern period. The film's plot is a kind of story telling structure based on main character's memory. The short stories of main character represents that Jilov(main character's name)'s losing his own life. The audience can acknowledge that Jilov's life as a duck hunter who is cynical, ideological, lazy, and self-interest oriented person. This play provokes the audience to compare their life to Jilov's one because such comparison helps the audience recognize their lives as surplus style of life with nihilism. Jilov as a character represents one of Soviet's generation with the feeling of great loss in 1960s.

• Korean Journal of Child Studies
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• v.19 no.2
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• pp.159-171
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• 1998

This study compared Korean and American children on scaffolding by peers during dramatic play. Thirty Korean and twenty American 5-year-old kindergarteners participated. The data were analyzed by Spradly's (1980) Developmental Research Sequence (DRS), using qualitative methods. The results showed that the categories of scaffolding (theme and communication) occurred more frequently among American children than among Korean children. In both cultures, more capable peers scaffolded children during dramatic play and were able to extend the dramatic play.

• Cross-Cultural Studies
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• v.31
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• pp.35-64
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• 2013

This thesis seeks to compare China's Jing-ju and Japan's Kabuki for their common aspects and differences and examine how they are performed on the stage. Jing-ju is often called as Beijing Opera to refer to a musical play completed during the mid-Ching era and developed around Beijing. Jing-ju is composite arts of music, dance and play which are remarkable in its strict patterns in move along with luxurious costume and heavy make-up. Kabuki which was developed during the Edo-period, is expressional arts also structured with music, dance and play coupled with extravagant costume as well as even more strictly controlled move and emphasis on the beauty of form. The two plays seem very similar to each other in their time setting to gain popularity or features of play. It may look obvious that Jing-ju which had developed earlier than Kabuki, affected the latter's formation. However, general social practices or cultural trends in China and Japan at the time of their development also influenced literature and arts thus affecting play contents and performance expressions. Although the two plays have similar stage structure, they developed in different ways with detailed differences and actors' performance on the stage, way of using a stage and other ways of directing play are largely distinctive from each other. If a play's primary goal is to gain recognition of audience and draw their positive response, the relationship between play and stage becomes essential. With this understanding, this thesis aims to identify where such similarities and differences between the two plays are from by comparing historical background, stage structural development and directing manner development at a basic level.

• Journal of Distribution Science
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• v.3 no.2
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• pp.121-142
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• 2005

We're living in a world of one global village. The globalization of business is acceleration as more companies cross national borders to find customers, materials and money. Many foreign companies and organizations are doing their business aggressively in Korea and many Korean companies and rushing into foreign market. When people communicate for business with someone from another culture, there could be difficult communication barriers to overcome resulting from differences in their values, beliefs, norms for behavior, expectations, attitudes and so on. To do successfully business, we need to understand culture background and communication style that is different from nation, race, language. Communication barriers stemming from cultural differences may vary. Largely, they can be divided into value system, non-verbal communication, and perception process. Value system can be divided into individualism versus group orientation, avoidance of uncertainty degree, power distance, and high- context culture versus low-context culture. Also non-verbal communication method and perception process may play decisive roles in communication effectiveness. Especially nonverbal communication barriers which sometimes play more important roles than the verbal parts are composed of eye contact, gesture, kinesics, proxemics, chronemics, paralanguage and language of color Cross-cultural communication affect business situation. I expect that if we understand cultural background, and then we overcome cross-cultural communication barriers. To overcome and to adapt inter-cultural business, we need to develope curriculum on the cross-cultural education which I will study in the next paper.

• Cross-Cultural Studies
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• v.38
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• pp.7-28
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• 2015

This article considers Chunhyanjeon written in Japanese by Jang Hyukju in 1938. His Chunhyangjeon was presented from among the collusion and crack of 'things Japanese' and 'things Chosun' discussed in Japanese literary world in the 1930's. This article analyzed the writing method and the meaning of the text. Jang Hyukju(張赫宙, 1905~1997) became known to Japanese literary world by the second grade nomination of the prize contest of the magazine Kaizo in 1932. Since then, he worked actively in the Japanese literary world by writing novels in Japanese and introducing the literature of Chosun. Thanks to his activity, the literature of Chosun drew attraction from the Japanese, which can be called 'boom'. Jang Hyukju was in the middle of this boom. So, his text presented the collusion and crack of empire and colony. We can make sure this issue from his play Chunhyangjeon. When he presented Chunhyangjeon, Jang Hyukju mentioned his purpose of writing. He intended to write modern play in new literary style. Chunhyangjeon was surely the material of things traditional Chosun, which was corresponded to the demand of Japanese literary world. Through the story of Chunhyangjeon, however, he formed the modern text style. He wrote in standard Japanese language, and described things from the perspective style which is often used in modern novel. And he renewed the character characteristically and arranged the structure of the play. His writing style showed clear distinction in the comparison to Chunhyangjeon written by You Chijin which was presented in Korean language 2 years earlier than Jang Hyukuju's. The text Chunhyangjeon written in Japanese by Jang Hyukju reflected specificity as a district of Japan. But on the other hand, a new literary method of modern realism was tried. Chunhyangjeon written by Jang Hyukju shows the cross penetration of empire and colony. And in his Japanese-language literature, the literature of Chosun is coexisting and playing variation.

• Proceedings of the Korean Society of Computer Information Conference
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• 2023.07a
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• pp.129-132
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• 2023

본 논문은 다양한 플랫폼에서 동일 계정으로 호환이 가능한 게임들이 늘어나고 있는 추세이다. 크로스 플랫폼을 이용하는 다양한 계층의 유저 유입을 만들어 내기 위해서 플랫폼 간의 호환 차이를 줄이는 것은 필수적이다. 플랫폼에 따른 플레이 차이는 크게 UI, 조작 밸런스 시스템 등에서 찾아 볼 수 있으며, 이를 해결하기 위해서 플랫폼에 따라 UI 디자인 재배치, 조작 차이를 줄이기 위한 밸런스 시스템 추가, 다른 플랫폼 사이의 경재 제한 등이 필수적으로 더 나은 방향에 대해서 제시해본다.

• Cross-Cultural Studies
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• v.22
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• pp.7-27
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• 2011

This article is devoted to little-studied play of M.A. Bulgakov "Adam and Eve". By the end of 1920's - the beginning of 1930's soviet society is differentiated again, its construction is rebuilded. In the new condition drama is needed as much as possible. Drama on the stage is ideal model for instruction of "Mass". Thereupon soviet society asked "New Hero", "New play", which can rebuild soviet citizen in the new construction of government. Thereby the play of M.A. Bulgakov "Adam and Eve" is created by order of soviet society. In this play typical soviet people are represented: Adam Krasovsky(engineer), Daragan(pilot-terminator), Ponchik-Nepobeda(writer), Zahar Markizov(proletarian-baker). They are different from each other by their occupation and formation, but they have same consciousness and they think identically. Bulgakov makes stand such problems: impersonality and unfreedom of human being in the government of communism. Bulgakov, using Parody, doubt the possibility of realization of utopia of Soviet government. Bulgakov show to us that Adam Krasocsky is not real Adam-first human being. In the play we can see the real Adam is the scientist-intelligent Efrosimov. Bulgakov change the place of Ponchik with the place of Markizov. The idiot and the fool is recognized not Markisov-drinker, tyrant, but Ponchik-writer. After the disaster Markisov, reading a Bible, is changing and by the end of play he started writing his own novel. Indeed if Ponchik wrote hoked-up novel, Markisov writes a real own history. Request of Leningrad Theater for Bulgakov to write about the future war comes from the spirit of the time. But Bulgakov in this play "Adam and Eve" could insist that the "Life" is a supreme value.

• Journal of Korea Game Society
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• v.15 no.1
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• pp.89-100
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• 2015

This study aims to figure out the impact of cross-promotion strategy on flow experience to overcome the restrictions of social network game. Social network games faces tougher market competition and shorter product life-cycles. The results show that the less users play games, the more they feel flow experience led by interests and self-expression of SNG. On the contrary, the more they play games, self- expression and sense of competition factor are proved to be effective factor for flow. Also Users' cognition for usefulness and annoyingness of cross- promotion are different according to level of game uses and promotion uses. People who play games more and utilize promotion more appreciate the usefulness of promotion and indulge in flow experience of SNG.