• Journal of Korea Entertainment Industry Association
• /
• v.13 no.3
• /
• pp.55-75
• /
• 2019

This study examines popular entertainers' professionalism with division of genres and cast portions. While genres can be divided into TV drama and variety show, cast portion into leading, supporting, and minor role. Entertainers' thought is categorized into their professional consciousness and their program awareness. By this division and categorization, this study grasps concretely how genres and cast portions affect entertainers' ideas. We conducted a survey on one hundred entertainers in TV dramas and variety shows and have analyzed data by using n-way ANOVA. This study also conducted in-depth interview as a research method by which we intended to enhance validity of the result. The results provide that genres and cast portions affected on entertainers' professional consciousness and their program awareness. In terms of professional consciousness, significant result was drawn on thoughts of discrimination, community, vocation, and satisfaction. In terms of their program awareness, affection, accountability, ownership, and anxiety consciousness were significant. With this result, this study provides implications both theoretical aspect and practical aspect. On theoretical aspect, this study broadens celebrity studies beyond star studies, and attempts to categorize entertainers theoretically. On practical aspect, it provides reconsideration on broadcasting condition, and suggests solving the problem of gap among entertainers.

• Journal of the East Asian Society of Dietary Life
• /
• v.12 no.5
• /
• pp.352-363
• /
• 2002

The purpose of this study was to analyze health-related habits, weight control experience and body composition of 344 female students visiting nutrition counselling office. Dietary habits of the subjects were assessed by means of interview with questionnaire and nutrient intakes were evaluated by the simple dietary assessment method. Weight and height were measured to get body mass index(BMI) and waist-hip ratio and their body composition were measured by Inbody 3.0. The obtained results were as follows: 1) Among students, 14.5% were exercising on a regularly basis, of which the exercises were walking and gymnastic exercise(22.1%), jogging(14.1%), and rope-skipping(4.7%), 48.4% of students were little drinking and 30.5% were once a week and smokers were 4.1%. 2) 28.3% of students were little having breakfast and 15.1% were once or twice a week. Two third of total students were not having breakfast regularly. Also only 59.6% of students were having dinner everyday, which means many of them were even skipping dinner. The reasons why they were not having breakfast were because they don't have enough time to eat(66.0%) and for a diet(2.8%) and the reasons for skipping dinner were because they were not hungry(23.0%), for the weight loss(18.2%). It was shown that they would skip dinner rather than breakfast for a weight control. 51.6% of students were taking snack 1~2 times a day and 5.3% were having little snack. 55.4% of students were dining out once a day and 15.4% more am 2 times a day. 3) 46.7% of students were already experiencing weight control before visiting the counselling office. 78.5% of students tried on one kind of weight control method, 11.4% on two kinds, and 10.1 % on more than three kinds. The method they tried for a weight control most was the one food diet using egg, fruits and beans, which is the most popular among them, and the next were an aerobic exercise(23.6%). a diet tried by a famous entertainer (15.5%), and the fasting(14.5%). 4) The average BMI was 21.2 and the body fat rate was 28.1%. As a result of grouping BMI, 12.8% were underweight 67.6% normal weight 11.6% overweight and 8% obesity. Less than standard for the body fat rate were 0.6%, 50.6% standard, 48.5% more than standard. 49.2% of students as normal weight on a BMI were assessed the so-called "skinny obesity. 50% of consulted students situated fat intra-abdominally at the umbilical level(WHR>0.8). 5) The energy intake was 76.6$\pm$17.8% of RDA and constituent ratio of carbohydrate, fat and protein were 64.2$\pm$5.2%, 21.6$\pm$3.7% and 14.3$\pm$2.3%, respectively, which is little over of 20% of recommended ratio of fat. Protein and niacin intake were more than 90% of RDA and riboflavin and vit. C were taken more than 100% of RDA. But Fe intake was 69.4$\pm$19.3%, Ca 76.6$\pm$23.6%, which were the least constituents. There was not remarkable significance between energy intake and nutrient density based on the groups of underweight, normal weight, overweight and obesity of BMI. 6) It was shown that body fat rate had remarkably significant correlation(p<0.000) with BMI(r=0.760) and WHR(r=0.817) respectively, but body fat rate was more correlated with WHR than with BMI. There was not much significant difference between body fat rate and WHR whether they exercised or not. However. BMI was significantly higher in the exercise group because one who showed higher BMI started to exercise since they looked fat in appearance and perceived as they were fat. fat.

• Journal of Korean Classical Literature and Education
• /
• no.38
• /
• pp.175-200
• /
• 2018

From the point of view of the law and public morals in Yi-dynasty, it is possible to discover new meanings in the love of Chunhyang and Mongryong-Lee, the conflicts between Chunhyang and Hakdo-Byeon, and the rescue of Chunhyang by Mongryong-Lee as a secret royal inspector. First, although the love of Chunhyang and Mongryong-Lee was against the law and public morals of Yi-dynasty, the narrator did not call to account, but he described the love as a romantic and new one conflicting with the ruling system. And it was an unprecedented case that Chunhyang asked a written contract as a legal guarantee for marriage when Mongryong-Lee courted her. Second, Hakdo-Byeon, the Namwon county governor, accused Chunhyang, a female entertainer of the Namwon county, of disobedience to his oder and contempt of him, and interrogated her with torture when she denied his demand for bed service which was prohibited by law. Chunhyang refuted against him and regarded his demand for bed service as the rape of a married woman. In this process, narrator sharply contrasted Chunhyang's claim for human rights with Hakdo-Byeon's legal administration. Characters such as people of Namwon county and king did not call Mongryong-Lee to account for that he, as a secret royal inspector, allegedly used his power privately to rescue his sweetheart Chunhyang from Hakdo-Byeon's illegal oppression. These different judgements on legal administrations of Hakdo-Byeon and Mongryong-Lee came from the legal emotion of characters and reading publics of . Namely, people who sympathized with Chunhyang's claim for love and human rights had the legal emotion that Mongryong-Lee's administrative order suspending Hakdo-Byeon's govenor's status could be approved as an legal and exciting one. Therefore the love of Chunhyang and Mongryong-Lee implied a new legal emotion which based on the sympathy with Chunhyang's human rights consciousness, and regarded the positive law of Yi - dynasty as one behind times.

• (The) Research of the performance art and culture
• /
• no.38
• /
• pp.193-224
• /
• 2019

Shaman's play is significant in that it provided public theater for a long time in the theatrical and dramatic history. Unlike upper class who could call entertainer or Korean geisha in the traditional society, the majority of ordinary people could see professional performances through gut. Therefore, the shaman of the traditional society pulled the play which developed in the gut and the outside play into the gut and prepared the performance street for the ordinary people. shaman's play, apart from the religious context, has also functioned as a theatrical performance. Through shaman's play, you can see the process of ritual development into play. Shaman's play is a ritual ritual of expel calamity in an agriculture based society. In Korean consciousness, evil spirits are thought to bring disease or disaster to humans, so they should be good for evil spirits. This is a ritual that goes hand in hand with the Confucian Yeoje and the Buddhist Suryukjae. Most traditional plays, including masque performance, tend to weaken and become stifling after the designation of intangible cultural properties. However, shaman's play is transformed every time it is executed and is given a new meaning. Depending on the ability of the shaman to respond to and accommodate social change, adaptability is excellent depending on the situation in the field. Shaman's play has richness, prevent calamity and playful elements such as imitation of god and sexual connection based on the element of shamanism. In addition, it is necessary to pay attention to the meaning and the direction of Shaman's play because it is differentiated into play including social subject beyond mere magic imitation.

• (The) Research of the performance art and culture
• /
• no.23
• /
• pp.105-158
• /
• 2011

Due to the system of sending selected hyanggi(local entertaining woman) to the government office in Seoul after the abolition of the system of gyeonggi(entertaining woman in capital area) during the reign of King Injo(1595~1649), the kyobang-jeongjae(local dance performed for the provincial government office) had gotten into the court to be performed at the royal banquet as gungjung-jeongjae(court dance), one of which was seonyurak(dance of boating). It used to be performed for finale of the royal banquet in the late Joseon Dynasty and appeared in several uigwes(record for royal banquet) since its first appearance in the wonhaeng-eulmyo-jeongri-uigwe, documented in 1795, the 19th year of the reign of King Jeongjo. Considering that the yeoggi(female entertainer) responsible for the court dance, seonyurrak was the seonsanggi(selected entertaining woman from provinces) from the northwestern provincial villages such as Euiju, Ahnju, and Seongcheon etc., we can assume that the baettaragi, one of kyobang-jeongjaes whould have been getting into the court to become the seonyurrak as court dance. The baettaragi, kyobang-jeongjae of northwestern province that affected the development of the court dance, seonyurak was created as performance executed by entertaining women of kyobang(local supervisory office for entertaining women) on the basis of the fact that the envoy of Joseon dynasty to the Ming dynasty could not help but taking a sea route when Amaga Aisin Gurun had a grip on the northeastern area of China during the shift of power from Ming to Qing. There had been a lot of banquets for envoys in the northwestern province because of its geographical feature as gateway to trip to China and the baettaragi used to be performed by entertaining women belonged to local provincial office to consolate the sadness of separation with those who destined to depart to China and to hope for their safe return. The kyobang-jeongjae, baettaragi of northwestern province is recorded as performance with sorrowful song to put the pain of parting into work, according to many related documents. It puts together painted boats as props, the march of a couple of dancer dressed up as soldier with marching music called gochiak, the song and musical accompaniment before getting on boat, the dramatic expression of sailing, and the farewell song praying for safe return etc. It turns the situation of dispatching envoys for China by sea into performance with combination of music, song and dance. Created in this way, the kyobang-jeongjae, baettaragi had been performed at the various banquets for envoys departing for China and it affected the formation of court dance or gungjung-jeongjae called seonyurak through the activities of selected local entertaining women. It also exerted influence on other similar performance in provincial area because of the returning home of the selected local entertainers who finished their performance in Seoul and it had been performed with different variation at local banquet including locality in it.

• Sim-seong Yeon-gu
• /
• v.26 no.2
• /
• pp.149-188
• /
• 2011

This thesis presents the research of analytical psycholoy in respect of Jindo Dasiraegi. In a funeral of Jindo, situated in the southern island of Korea, there is a theatrical performance which is called Dasiraegi(rebirth). This research manifested a basic, universal meaning of psychological approach related the implicit of death in performing theatre from a analytic psychological point of view. The characteristics of this theatrical feast are like these ; 1) funeral festival 2) entrance of clown(the existence of antipole and conflict) 3) eroticism 4) active participation of female character 5) difficulty in her delivery 6) the moment of joy thanks to childbirth. The prerequisite of this feast should be a propitious mourning of person dying old and rich. That is, after having a complete life, it could be an entire death. Three main roles in Dasiraegi ; a bat-blind buddhist devotee, a strolling actor teasing men, an apostate monk, theses characters lock horns in a form of triangle conflict relations, then they keep a balance with a fake mourner as a protagonist , modulator and narrator. These characters are indeed clowns who manifested a metaphor as a decent, sacred and reasonable part of shadow regards group consciousness. The alive and the deceased, mourner and fake mourner, piety and confusion, wail and laugh, silence and grumble, death and birth, diverse antipole all coexist then theses are in harmony. The blind devotee and the monk are in antipole, the entertainer(anima) provokes a conflict between them. The infant is a solution as same as a result of conflict. This conflict seems to be eased by birth of a baby which is a symbol of wholeness(ganzheits) but the conflict of antipole is reenacted as insisting his parental right so this solution is leaving the baby to the chief mourner who is fourth character and the first beginning. Unconsciousness, hereby, is negotiating with appeared reality. The Images in unconsciousness are conscious and this new energy in unconsciousness is proceeding towards consciousness, then it became a therapeutic power for the loss of consciousness. Dasiraegi is the play of consolation much more for the alive than the deceased. The death signified not a loss but a resurrection and this intends a transition of new leading independent role for the alive. These make us have more prudent consideration concern the double sense of renewal for the dead and the alive. It is preserved as only a form of drama on stage after disappearance of Dasiraegi in a funeral recently. Dasiraegi was a manifestation of unconsciousness for compensation about the unilateral attitude of group consciousness to the strict death excessively. Therefore, this will enable reflect the relativeness and the attitude which regards the death as the end today.