• 정보보호학회논문지
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• 제29권1호
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• pp.235-255
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• 2019

최근 기술의 발달과 산업의 변화를 통해 게임업계는 PC와 Mobile 그리고 Console game에서 서로 다른 플랫폼 유저가 함께 즐길 수 있는 크로스플레이를 지원하여 재미를 극대화 하고 있다. 크로스플레이를 통해 플랫폼의 경계가 없어지면 기존의 보안이 일정수준 이상 유지되었더라도 새로운 서비스로 인해 예상치 못한 보안위협이 발생 할 수 있다. 기존에 진행된 온라인 게임보안 연구는 PC와 Mobile환경에서 발생 가능한 부정행위 탐지가 대부분이지만 크로스플레이가 가능해짐에 따라 Console game에 대한 보안연구 역시 필요하다. 따라서 본 논문은 Console game 유저를 대상으로 크로스플레이를 즐길 때 발생 가능한 보안위협을 STRIDE와 LINDDUN 위협모델링을 활용하여 체계적으로 식별하고 국제공통평가기준을 활용해 보안요구사항 도출하여 크로스플레이에 대한 평가 기준을 제시한다.

• 비교문화연구
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• 제23권
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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.

• 비교문화연구
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• 제29권
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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.

• 아동학회지
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• 제19권2호
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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.

• 비교문화연구
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• 제31권
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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.

• 유통과학연구
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• 제3권2호
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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.

• 비교문화연구
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• 제38권
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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.

• 한국컴퓨터정보학회:학술대회논문집
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• 한국컴퓨터정보학회 2023년도 제68차 하계학술대회논문집 31권2호
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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.

• 비교문화연구
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• 제22권
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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.

• 한국게임학회 논문지
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• 제15권1호
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• pp.89-100
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• 2015

본 연구는 경쟁이 치열해지고 상품 주기가 짧아지는 소셜 네트워크 게임의 한계를 극복하고자 게임 개발사가 채택한 크로스 프로모션 전략에 주목하여, 게임 몰입에 미치는 영향에 대해 알아보았다. 연구결과, 게임을 적게 할수록 오락성, 자기표현 요인이 게임 몰입에 영향을 주는 반면, 게임을 많이 할수록 자기표현과 경쟁심리가 게임 몰입에 영향을 주는 것으로 나타났다. 또한, 게임 이용수준과 프로모션 이용 수준에 따라 프로모션에 대한 유용성과 성가심에 대한 인식이 차이가 있는데, 게임을 많이 하고 프로모션을 많이 이용할수록 프로모션의 유용성을 더 많이 인식하고 몰입도가 커지는 것으로 나타났다.