• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.15-23
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• 2019

This paper aims to identify the characteristics implied in the process of change of Stephen Sondheim's musical style and to derive the structural communication tools that connect the creator and audience and the implications. The strategies that appear in Sondheim's musical works are the following. First, Sondheim's early musical works follow the principles of book musical and emphasize the integration faithful to the basic elements such as the rhythm and meaning of the lyrics. Second, in the era of early postmodernism, Sondheim attempts the principle of extreme deconstruction through the concept musical Company and pursues rational thought through fragmented dramatic flow. Third, while maintaining dramatic linearity to overcome the lack of immersion caused by extreme deconstruction, Sondheim realizes a more elaborate and formalized fusion style of the principles of integration and deconstruction through the choruses and the songs of the characters in Little Night Music and Sweeney Todd. Finally, Sondheim attempts multiple experiments to break down the boundaries of act and scene and to express new subject matters through his works such as Sunday Park with George and Into the Woods. In conclusion, Sondheim's fusion experiments and strategies are the process of finding a framework and a medium of communication to induce dramatic immersion of audience and at the same time create rational thinking about social problems to deliver the message of the creative work with the leading aesthetics of the modern musical's box-office success.

• Journal of Science of Art and Design
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• v.3
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• pp.145-177
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• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.

• The Korean Journal of Archival Studies
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• no.80
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• pp.43-88
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• 2024

The National Archives and Records Administration (NARA) is a relatively quiet latecomer to the traditional archives of the Western world. Although the United States lacks a long history of organized public records·archives management, it has developed a modern system optimized for the American historical context. This system focuses on the systematic management and preservation of the vast amount of modern records produced and collected during the tumultuous 20th century. As a result, NARA has established a modern archival system that is optimized for the American historical context. The U.S. public records·archives management system is based on the principle that records·archives are the property of the American people and belong to the public. This concept originated during the British colonial era when records were used to safeguard the rights of the colonies as self-governing citizens. For Americans, records and archives have long been a symbol of the nation's identity, serving as a means of protecting individual freedoms, rights, and democracy throughout the country's history. It is natural, therefore, that American life and history should be documented, and that the recorded past should be managed and preserved for the nation's present and future. The public records·archives management system in the United States is the result of a convergence of theories, practices, lessons learned, and ideas that have been shaped by the country's history, philosophies, and values about records, and its unique experience with records management. This paper traces the origins of records and archives in the United States in a historical context to understand the organic relationship between American life and records. It examines the process of forming a modern public records management system that is both uniquely American and universal to the American context without falling into the two forms of traditions that reflect the uniqueness of American history.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.1-13
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• 2022

This paper examined the history and development of Gyeongbokgung Palace's back garden based on historical materials and drawings such as Joseon Ilgi(Diaries of Joseon Dynasty), Joseon Wangjo Sillok(the Annals of the Joseon Dynasty), Doseongdaejido(the Great Map of Seoul), Bukgwoldohyeong(Drawing Plan of the Northern Palace), the Bukgung Palace Restoration Plan, Restoration Planning of Gyeongbokgung Palace and the following results were derived. First, it was confirmed that the Back Garden of Gyeongbokgung Palace was famous for its great location since the Goryeo Dynasty, and that it was named Namkyeong at that time and was a place where a shrine was built, and that castles and palaces were already built during the Goryeo Dynasty under the influence of Fengshui-Docham(風水圖讖) and Zhouli·Kaogongji(周禮考工記). Although the back garden of Gyeongbokgung Palace in the early Joseon Dynasty stayed out of the limelight as a back garden for the palace, it has a place value as a living space for the head of the state from King Gojong to the present. Second, in order to clearly identify the boundaries of back garden, through literature such as map of Doseongdo (Map of the Capital), La Coree, Gyeongmudae Area, Japanese Geography Custom Compendium, Korean Photo Album, JoseonGeonchukdoJip(The Illustration Book of Joseon Construction), Urban Planning Survey of Gyeongseong, it was confirmed that the current Blue House area outside Sinmumun Gate was built outside the precincts of Gyeongbokgung Palace. It was found that the area devastated through the Japanese Invasion of Korea in 1592, was used as a space where public corporations were combined through the process of reconstruction during the King Gojong period. In Japanese colonial era, the place value as a back garden of the primary palace was damaged, as the palace buildings of the back garden was relocated or destroyed, but after liberation, it was used as the presidential residence and restored the place value of the ruler. Third, in the back garden of Gyeongbokgung Palace, spatial changes proceeded through the Japanese Invasion and Japanese colonial era. The place with the greatest geographical change was Gyeongnongjae area, where the residence of the Japanese Government-General of Korea was built, and there were frequent changes in the use of the land. On the other hand, the current Gyeongmudae area, the forests next to the small garden, and the forests of Baekak were preserved in the form of traditional forests. To clarify this, 1:1200 floor plan of inner Gyeongmudae residence and satellite images were overlapped based on Sinmumun Gate, and as a result, it was confirmed that the water path originating from Baekak still exists today and the forest area did not change. Fourth, in the areas where the traditional forest landscape was inherited, the functional changes in the topography were little, and major old-age colonies are maintained. The old trees identified in this area were indicator tree species with historical value. Representatively, Pinus densiflora for. multicaulis Uyeki, located in Nokjiwon Garden, is presumed to have been preserved as one of Pinus densiflora for. multicaulis Uyeki planted next to Yongmundang, and has a historicality that has been used as a photo zone at dinners for heads of state and important guests. Lastly, in order to continuously preserve and manage the value of Gyeongbokgung Palace in Blue House, it is urgent to clarify the space value through excavation of historical materials in Japanese colonial era and establish a hierarchy of garden archaeology by era. In addition, the basis for preserving the historical landscape from the Joseon Dynasty to the modern era from Gyeongbokgung Palace should not damage the area of the old giant trees, which has been perpetuated since the past, and a follow-up study is needed to investigate all the forests in Blue House.

• Sijohaknonchong
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• v.24
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• pp.5-46
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• 2006

Korean verse has flexibly changed its form and contents according to the historical background of the times. This fact arouses reader sympathy because it has reflected ideas, historical aspects and realities of the times. However, korean verse has kept its own characteristics in some ways, allowing it to exist today. It holds its form as 3 verses of three by three or four meter and three letters of the last of three verses. It makes every different version which has specific aspects of each times in the same 'sijo' area. 'Sijo' in Korean poems, is the first form that has been changed from formal to private functionally. As a result of that common verses in the Goryeo to Joseon eras were going with the stream of the times. Verse was the plate for justice so that there was no double meaning, symbols, or technical sentences. It had to show the idea of Myungchundo Jwonginryun. The theme was commonly fitted within certain areas. such as blessings, fidelity, devotion, etc. Around the end of the Joseon era, there was activation of private verses - a form of sijo with no restrictions on the length of the first two verses. Some ideas had been changed because Sarimpa gained power, domestic conflict, and the introduction of practical science. These things had an effect on the form of Sijo. After all, it shows the ideas of collapsing feudalism, resistance of confucian ideas, equality of the sexes, and opposition to the group who rule the government. Thus Sasul Sijo seems to have the tendency of resistance to reality. It was a specialty of realism poetry It explained our life in detail and reflected real life by being an intermediary of realism. This met and represented the demand of a reader's expectations. After 1905, there was new form of sijo that is very different, in form and content, from the previous versions. It was even different in areas of what people accepted. They started to think sijo was not the form of lyrical verse that is once was. It became a 'record of reading'. The form changed to 'hung or huhung' that satirized the times and the ending of a word in the last verse. Although this form could deliver the tension in statement, it was too iu from the original form. Therefore, it didn't last long, and its position got smaller because of the free verse that had western influence and was emerging in the times. In the middle of 1920, there was a movement of Sijo revival. It was lead by Choinamsun. He wrote poems and Sijo which were effected by western ideas in his early works. Although he worked with that, he took the lead in the movement of Sijo revival. He published the collection of Sijo $\ulcorner$Baekpalbunnwoi$\lrcorner$ that has one major theme-patriotic sentiment. He thought an ancient poem was a part of racial characteristics so that he expressed the main theme which represented the times and situations of his era. Modern Sijo is difficult. Sijo has to have modern and Korean verse characteristics at the same time. If it considers a modern aspect too much, it could not be distinguished from sijo and free verse. If it overly leans toward Sijo. it would seem to be too conservative which it then could be said to have no real charm of a poem. In spite of these problems, it is written constantly, because it has its own specialty. It has been focused on some works because they reflect awareness of modern times, the democratic idea, and realism. Overall, the authors of Modern Sijo express various themes by using different forms. The more what we can guess in this work, Sijo will exist permanently because of its flexibility. Furthermore, one special characteristic-flexibility of the korean verse will make it last forever and it will be a genre in Korean poetry.

• Korean Security Journal
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• no.36
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• pp.417-442
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• 2013

This study considers the characteristics of the separation of public and private security service during Koryo dynasty, and compares it with the modern security service. Modern day security service's definition of private and public security service was used to distinguish them. Given the different historical settings, it's difficult to argue that the distinction between public and private service during Koryo dynasty was clear, but it can be said that public security service was centered around palace guard and concerns the activities of protest, and military made for the relationship, and private security service was centered around power of DoBang and includes the activities of malingering, and Byolchogun. During the early days of Koryo, protest, district military and soldiers who stay in the palace were all parts of a palace revolt and this institutional improvement of soldiers who stay in the palace was accomplished during King Seongjong's rule. The tradition of a palace revolt can find its roots in the middle military, and after the unification, a palace revolt was reformed into the king's palace revolt of second and the 6th along the course of establishing the nation's system. All of the changes stem from the reformation for consolidating the royal authority. Gyung Dae Seoung wanted to protect himself and he slept with his army night and days and because of that, group of soldiers was created and it was called DOBANG. Some members were from dobang gyeonryong, The forced were powerful because it was gathered with a warriors with extraordinaire martial arts and competent management. Most of the soldiers followed gyeong dae seung because they believed that he has a strong leadership and loves his people, and had a strong faith in him. However, the general gyeong jang had a belief that politics must be reverted to the previous so the relationships between jungbang wasn't smooth. Because of the economic operational problems, due to fraud committed by the mens under his command failed to maintain integrity and was criticised.The misconception also fed up with the emperor and the deepening relationships between the soldiers, his dobang was dismantled. After he took over the dobang, for his personal safety and to strengthen his position he compensated gyeon dae seong's dobang and developed the organization. In the process of extending the dobang Choi chung heon recruited many talented people to strengthen the military base, and also accepted the advice and expanded the power of Dobang. Choi Chung Heon thus consolidated his political gains by weakening the power of the king's army and adjusting the myth, which could've threatened his regime, and this was called Dobang number 6th. Dobang number six got even more powerful by his son named Choi woo, and after ruling, he expanded into a room, and a substantial reorganization of Dobang was developed. And then the creation of yabyeolcho also showed the effect to prevent the crisis. Although the palace guards who were public security service of Koryo Dynasty was still maintained during the military rule era when the royal authority was incapacitated, it was only maintained to have a symbolic meaning as the actual authority including military power was with Choi, the master of Dobang, private security service group. Likewise, during the rule of Choi, private securty service could reign over public security service, and the noteworthy characteristic of Dobang is that it assisted the private soldier groups to seize the military power by reorganizing and modifying military system. Although both differences and similarities can be found when comparing the guards of Koryo Dynasty with those of contemporary society, they have a similarity in terms of the essence of guards that they guarantee the safety of their clients. As for differences, the royalty of Koryo Dynasty and the pursuit of profit of contemporary society are in contrast, and contemporary guards can be seen as the fulfillment of responsibility and duty by free will, whereas guards of Koryo Dynasty were ruled with military coercion.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.103-117
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• 2013

This research analyzed the spatial components and establishment of the Tap-gol Park according to the plans between 1897 to 1916 when the discussions on the construction of the park began and it was accomplished as an urban park. The results are as follows. The establishment of Tap-gol Park can be divided by three period. Firstly, Tap-gol Park was owned by the royal family from 1987 to 1904. The discussions on construction of Tap-gol Park as a first urban park of Gyeongseong(京城) in 1897, and the private houses were tear down in order to secure land for the park in 1899. Gates and fences surrounding of Tap-gol Park were organized and it was opened in 1902 based on park plane of turtle - shaped. The octagonal pavilion for 'Lee-Wang-Jik musical band(李王職音樂隊)' was relocated in the southwestern part of the park in 1903. Secondly, Tap-gol Park was used actively by the public between 1910 to 1913, because it was opened for individuals. Also The boundary of Park were changed by surrounding facilities and recreational facilities and benefits was complemented for users. Tap-gol park was opened at nighttime in August 1913. Tap-gol Park was used as a place of amusement park. Thirdly, commercial facilities were made as the park facility between 1914 to 1916. The purpose of 'Kkikdajeom(喫茶店)' was similar to the one of modern cafes. It was built as a typical Japanese tea-house with a small pond having an island and a bridge constructed inside. With the increase of usage of Tap-gol Park as a recreational area by the citizens in 1916, the pavilion as a rest area and toilet as amenities were supplemented. Superintendent's office was equipped too. Simple chairs made from the wooden logs were installed around greenhouse, concert hall, the Wongaksa Buddhist temple(圓覺寺址十層石塔), and the flower garden was fenced round. After the relocation of Yongsan music band to Tap-gol Park, the existing concert hall was demolished. The shape of the park which was seen from the pictures of the magazines of 1920s were achieved as early as 1916. The importance of this research includes the basis to revise the errors of the preexistence researches and value of historical material of the design plan reference of the park which was accomplished during the Japanese colonial era. Also this research is to study on the spatial components of the modern landscape architecture and parks.

• Trans-
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• v.5
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• pp.83-111
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• 2018

This study aims to analyze early works of contemporary Europe female choreographer Anne Teresa de Keersmaeker, which are Rosas danst Rosas, Elena's Aria in terms of feminism. Started from 18C, feminism movements have changed the perception and conception of women. Since then, women in the work of art have been portrayed to be more powerful and independent than weakened images. The influence of feminism in this era made transition to let female artists act more outstandingly nowadays. Therefore, the study began with the need to reflect the image and role of female dancers in the artistic work with the viewpoints of feminism in the flows of social and cultural background. Works of Rosas danst Rosas represents the aspects of radical feminism. Physical suppression of female dancer reflects liberation of free will. Post-modern feminism is displayed at Rosas danst Rosas which escaped from original portrait of women and exposed new active contemporary image of woman. The Elena's Aria, Radial feminism is represented physical suppression of female dancer reflects liberation of free will. Through analysis of Anne Teresa's works with feminine sight, her works were mainly influenced by feminism occurred after 1980's. Having found other possibilities to explore her choreographic philosophy, insufficiency of domestic data about Anne Teresa was once again reckoned. The researcher hopes that by studying Anne Teresa from the feminist point of view, the various images produced by dancers will not disappear right away, rather creating a sense of unity and development without losing the meaning.

• Korean journal of communication and information
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• v.62
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• pp.264-285
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• 2013

The goal of the study is to analyze some structural issues of e-sport industry which has rapidly developed since 2000. Most of the previous studies regarding e-sport dealt with e-sport in terms of industrial prospect and economic values. In this study, we attempted to focus on employees of the field using in-depth interview method. Research findings show that there were several reasons for younger workers to early enter into the industry such as individualized labor market of post-modern era, growth of IT industry, and diversion of related occupational categories. The development of e-sport industry was possible with the youth' passion for the industry. However, their labor so called "professional" is vulnerable without systematic structure for them. This indicates that industrial prospect of e-sport industry and business models are not healthy. In addition, some implications of the findings were discussed.

• Archives of design research
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• v.13 no.4
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• pp.163-174
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• 2000

issued in the U.S is a magazine specialized in graphic design, which has a totally different style from commercial magazines such as show case. The main motive why Rudy VanderLans, the publisher, first issued this magazine in the early 1980s is his assertion that there is no design paradigm of universial concept in the aspect of viaual communication design. Also, it started from his recognition that a medium for letting a new generation's show their liberal thinking and experimental expressions. This study looks at theologies and assertions on new graphic concept, which is called the New Wave of graphic design by classifying the plans of into form and contents, and analyzes its specialty in design. Also, this study examines the overall trends of non-Grid editorial design since the modern style. By doing so, I could have a general look at the progressive traits and their futuristic directions that become to have a shorter life cycle with the advent of the 21st century's information era, high-tech media and the change of production environment by digital technology.