• (The) Research of the performance art and culture
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• no.39
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• pp.457-507
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• 2019

The purpose of this study is to explore the formal and content features of the material for the Changgeuk album , which was produced and released in 1971. Changgeuk album was produced and published as a headword for "Changgeuk". However, it differs from the style of Changgeuk which is treated as a stage drama in that the narrative is developed around the commentary and dialogue in the formal aspect and the Pansori is only partially used. The styles of Changgeuk, implemented through gramophone record, radio broadcasts and television broadcasts, varied widely, unlike those of Changgeuk established in the 1930s. Pansori music wasn't the only center, and traditional performers weren't even the main members of the play. The characteristic form of the Changgeuk album is an experiment of Changgeuk that emerged naturally with radio reading and the advent of radio dramas in the 1950s and 1960s. So it is necessary to pay attention to the Changgeuk album in that it shows diverse forms of experiments conducted by Changgeuk in the newly introduced culture and media in the middle and late 20th century As for the contents of the Changgeuk album , the work embraces Lee Jong ik 's novel (1957), but develops the narrative centering on the life of Saint Sa-myung(四溟大師). And it is faithfully portraying the life of a Buddhist monk and the national salvation hero who pursued the original work. This content composition can be understood in the will of singer Lee Yong bae, the soundman who produced the album, and in the flow of historical dramas that summon the historical hero of the old country of the time to the stage. Singer Lee Yong bae reflects on his life in the past when he was full of greed and conceit through his life as a monk of Saint Sa-myung(四溟大師) and is greatly impressed by the personal aspect of Saint Sa-myung(四溟大師), and these emotions encouraged his creative will. Also, the Changgeuk record is meaningful in that it is one of the specific materials that embodies the national hero as a record and a traditional play under the discourse of the people, the nation in the 1970s.

• (The) Research of the performance art and culture
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• no.23
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• pp.185-212
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• 2011

Buddhist dance (seungmu) is a crux and highlight of Korean traditional dance; its aesthetics and technique are extraordinary, and Korean dance's unique style is well expressed. The Buddhist dance, which has been descended, is divided into Han Yeong Suk style, which is designated as Important Intangible Asset Number 27, and Lee Mae Bang style. While the two dances are same one, area is difference and they have unique style because of genealogical difference. However, studies on Buddhist dance so far have focused on single style's dance, or comparison of regional aspects (Han Yeong Suk dance is from Gyeonggi and Lee Mae Bang dance is from Honam area). But, Lee Byeong Ok suggested traditional artist dance is differed by male dance genealogy and female dance (gibang) genealogy dance, and while folk dance has storng tie with region, but artist dance has weak regional tie. Therefore, the purpose of this thesis is to study genealogical character of Buddhist dance's dancing style, clarifying Han Yeong Suk dance is male dance genealogy and Lee Mae Bang dance is gibang dance genealogy. In other words, among three theses that compared Lee Mae Bang and Han Yeong Suk dances, one analyzing movement, one comparing dance of invocation and one comparing traditional ballad, are re-analyzed from genealogical perspective and characteristics are comparatively analzyed. The overall summary of the genealogical attitude of the Han Yeong Suk and Lee Mae Ban dances is; First, Han's dance has masculinity, upwardness, progressiveness, activeness, outgoing character, boldness and grace, which are character of male dance lineage, while Lee's dance shows feminity, downwardness, backwardness, aesthecity, inwardness, delicacy and coquette. Second, the most expressed parts of the attitude of two dances are genealogical character, and then are original and regional characters. Third, two dances have strong genealogical attitude, but also has anti-genealogical attitude since the gender of descendent was changed, in other words Lee Mae Bang was man, and Han Yeong Suk was woman. Fourth, even though the two Buddhist dances have different genealogy and region, they share similarities as traditional dance descended in the same time period, so there are many common features. In other words, the two dances are Korean nation's dance and from same time period, but they should not be mixed, either. Even though they have small differences, they must keep each genealogy and descend to the next generation.

• (The) Research of the performance art and culture
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• no.23
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• pp.37-61
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• 2011

The Noh(能) performance is a traditional drama that represents Japan. The Noh performance was approved in the background of religious thought such as Shintoism(神道), Buddhisms(佛敎), and Syugendo(修驗道). Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. The Noh was approved while receiving a large influence from Shugendo. It can know the feature of the Shugen(修驗) culture in the Middle Ages through the consideration of . Moreover, the appearance of the training of 'Yamabusi(山伏)' can be seen. "Yamabusi" has not been paid to attention up to now in the research of . And, the focus was appropriated to Yamabusi and it researched in this text. Moreover, the problem of "Chigo(稚子)" is thought through . "Chigo culture" was general in the Middle Ages. It is thought that "Chigo culture" is reflected in . is an Noh performance for the boy named 'Wakamatsu' to enter the mountain and to train. It is because mother's sickness was cured. However, the boy gets sick while it is training. It was dropped to the valley according to the law of Shugendo, and it died. However, it revives by the Yamabusi's prayers. 'Taniko' is to drop to the valley and to bury it when the Yamabusi gets sick while lived. The title of the Noh originated in here. has elements of history, content of training of Shugendo, "Filial piety", and the Chigo culture, etc. These are features of the culture in the Middle Ages. It is not only a sad content though this is a content of the cruel remainder. It is because of the revival though waited rapidly at the end. As for the difficulty of training is drawn in the round, and the appearance of the training at that time is understood well. The essence of Shugendo is to train in the mountain. Supernatural power can be obtained through training. Moreover, it was thought that it was able to be newly reborn through training. The leading part of Shugendo is an Yamabusi. The Yamabusi took an active part in not only the mountain but also the village. The Yamabusi is ordinary people's lives and because the relation is deep, an important factor it knows the folk customs of Japan. The word 'Chigo' is not written in . However, a spectator at that time is 'Chigo' Wakamatsu and is already sure to have understood 'Chigo'. Because everyone knew the Chigo culture in the Middle Ages. A religion at that time and knowledge of the society are necessary to understand the play of Nho well.

• (The) Research of the performance art and culture
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• no.23
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• pp.245-280
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• 2011

One of the major streams of modern play in Korea is the work of introducing Korea's traditional ritual-'gut' into a play. Such work, together with the stream of diversification of culture, has brought about the tendency to induce 'gut' into a play in a creative way. The research on ritual plays in Korea has been done in the direction of studying the ritual plays in the West centering on the work of theoretically inquiring into histrionic features inhering in 'gut' as a ritual. This research made an analysis of the receptive aspect of rituals and histrionic characteristics presented in Korea plays through "Sanssikgim" and "Ogu" on the basis of the theory of ritual plays established by Artaud. In an effort to understand the receptive aspect of rituals, this research analyzed what forms these Korean works are borrowing from "Ssikgim gut" and "Ogu gut" while analyzing these works differently from the viewpoint of Artaud regarding characteristics of ritual plays. Accordingly, this research made an analysis of the structure and characteristic of "gut" with the aim of understanding in what form "gut" is absorbed into Korean plays by looking at the theatric receptive forms of "gut." The ritual plays in Korea originated in "gut." Likewise, the theater of cruelty by Artaud was greatly influenced by the belly dance stemming from "mudang-gut" in Asia. Accordingly, there is considerably exposed something in common between the ritual play in Korea and Artaud's theater of cruelty. "Gut" in Korea, or ritual plays are a little different from Artaud's work which makes its audience feel unfamiliar in that 'gut' or ritual plays in Korea are pursuing ritualistic quality and playing quality simultaneously, but there exists a similarity between the two in that they both desired to have communication with audiences. This researcher strongly believes that for the time to come, when the receptive aspect of the modern play assuming ritualistic quality is developed using the medium of communication with audiences, purification and play therapy, its direction will be more noticeably exposed.

• Journal of Communication Design
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• v.66
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• pp.90-101
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• 2019

South Korea had a hard time creating its own image of a nation that formed its identity due to 6.25, Japanese-style rule, division of South and North Korea, and military dictatorship. Recently, Korea has been searching and spreading its identity by creating a Korean wave such as various events and K-POPs. However, since there are still no images and cultural products representing Korea's identity, it is necessary to develop design contents related to native culture and professional cultural product design. Design powers such as France and Japan focus on design projects that can add value to their national design policy projects. Traditional Korean contents also need to be specialized and continuous in image design and research. In this study, five lucky-SubokGangnYeon(long life, happiness and peace), a representative of Korean culture, studied with the most interest in the old and the modern, namely, "Living healthy long." Through the development of cultural product design and the use of design content, I would look forward to presenting the diversity and direction in producing Korea's own design products and images that fit the trend of modern 'age of 100.' Based on images based on special exhibitions related to longevity of the National Folk Museum of Korea, the museum discovers key used features and meanings, studies patterns and patterns, and analyzes design cases applied to modern cultural product design. We also want to look at the direction available through design content, which is a symbol of llong life happiness and peace. First, cultural products have limitations that lack the development of design products, lack of public relations and sales outlets, and lack of awareness of traditional culture, which should precede policy support and awareness reform at the national level. Second, we need to streamline prices that meet the needs of the market. Third, cultural product design and contents related to tradition can be settled and disseminated more easily when traditional design is utilized and distributed mainly on practical stationery and household goods. Fourth, it is necessary to develop contents of various Korean images based on research on Korean cultural history and aesthetic consciousness. Research on the Korean culture of designers should be conducted, not just in the form of figurative images. Fifth, traditional manufacturing methods and materials should be respected by modern times, but modern production products should be developed with economy and durability.

• Asia Marketing Journal
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• v.16 no.1
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• pp.71-100
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• 2014

While the role of emotional antecedents of effective selling behavior would be important, the issue has not been fully addressed in the sales literature. To fill this gap, we conceptualize and empirically examine the relationships among salesperson's emotional regulation processes such as emotional intelligence (EI) and emotional labor (EL), effective selling behavior, and sales performance on the basis of educational, occupational, social psychology literature and marketing literature (e.g., Henning-Thurau, Groth, Paul, and Gremler 2006; Kidwell et al. 2011; Liu et al. 2008; Mayer, Salovey, and Caruso 2008). First, salesperson's EI is defined as his or her capability that enables correct perceptions about emotional situations in sales interactions. The EI is expected to work as psychological resources for different types of EL (i.e., deep acting and surface acting) to be performed by salesperson as emotional expression strategies (e.g., Lie et al. 2008). It is, then, expected that the features of EL selected by the salesperson would lead to different levels of adaptive selling behavior (ASB) and thereby sales performance (Monaghan 2006). Further, given that salesperson's customer orientation (CO) is found to be an important correlate of ASB (Franke and Park 2006), it is expected that CO would moderate the relationship between EL and ASB (Rozell, Pettijohn, and Parker 2004). Hence, this research attempts to shed additional light on emotionally-driven (EL) as well as cognitively-driven (CO) antecedents of ASB (Frank and Park 2006). The findings of the survey research, done with 336 salespersons in insurance and financial companies, are summarized as follows. First, salespersons with a high level of EI are found to use both deep acting (regulating the emotions themselves) and surface acting (controlling only emotional expressions) in a versatile way, when implementing EL. Second, the more the salesperson performs deep acting, the more he or she shows ASB. It is, then, important for salespersons to use deep acting more frequently in the EL process in order to enhance the quality of interacting with customers through ASB. On the other hand, the salesperson's surface acting did not have a significant relationship with ASB. Moreover, CO was found to moderate the relationship between the salesperson's deep acting and ASB. That is, the context of high CO culture and individual salesperson's deep acting would synergistically make the selling efforts adaptive to customer preferences. Conceptualizing and empirically verifying the antecedent roles of important emotional constructs such as EI and EL in salesperson's effective selling behavior (ASB) and sales performance is a major theoretical contribution in the sales literature. Managerially, this research provides a deeper understanding on the nature of tasks performed by salespersons in service industries and a few guidelines for managing the sales force. First, sales organizations had better consciously assess EI capacity in the selection and nurturing processes of salespersons, given that EI can efficiently drive EL and the resulting effective selling behavior and performance. Further, the concept of EL could provide a framework to understand the salespersons' emotional experiences in depth. Especially, sales organizations may well think over how to develop deep acting capabilities of their sales representatives. In this direction, the training on deep acting strategies would be an essential task for improving effective selling behavior and performance of salespersons. This kind of training had better incorporate the perspectives of customers such that many customers can actually discern whether salespersons are doing either surface acting or deep acting. Finally, based on the synergistic effects of deep acting and CO culture, how to build and sustain CO is always an ever-important task in sales organizations. While the prior sales literature has emphasized the process and structure of highly customer-oriented sales organization, our research not only corroborates the important aspects of customer-oriented sales organization, but also adds the important dimension of competent sales representatives who can resonate with customers by deep acting for sales excellence.

• Asia Marketing Journal
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• v.15 no.4
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• pp.103-129
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• 2014

Differentiated positioning becomes increasingly difficult when brand salience weakens. Also, the daily increase in new media use and information load has led to a social climate that regards advertising stimuli as spamming. For these reasons, the focus of advertisement-related communication is shifting from persuading consumers through the direct delivery of information to an emphasis on appealing to their emotions using matching stimuli to enhance persuasion effects. Recently, both academia and industry have increasingly shown an interest in storytelling methods that can generate positive emotional responses and attitude changes by arousing consumers' narrative processing. The purpose of storytelling is to elicit consumers' emotional experience to meet the objectives of advertisement producers. Therefore, the most important requirement for storytelling in advertising is that it evokes consumers' sympathy for the main character in the advertisement. This does not involve advertisements directly persuading consumers, but rather, consumers themselves finding an answer through the advertisement's story. Thus, consumers have an indirect experience regarding the product features and usage through empathy with the advertisement's main character. In this study, we took the results of a precedent study as the starting point, according to which consumers' emotional response can be altered depending on the storytelling methods adopted for storytelling ads. Previous studies have reported that drama-type and vignette-type storytelling methods have a considerably different impact on the emotional responses of advertising audiences, due to their different structural characteristics. Thus, this study aims to verify that emotional response aroused by different types of advertisement storytelling (drama ads vs. vignette ads) can be controlled by the socio-psychological gender difference of advertising audiences and that the interaction effects between the socio-psychological gender differences of the audience and the gender stereotype of emotions to which advertisements appeal can exert an influence on emotional responses to types of storytelling in advertising. To achieve this, an experiment was conducted employing a between-group design consisting of 2 (storytelling type: drama ads vs. vignette ads) × 2 (socio-psychological gender of the audience: masculinity vs. femininity) × 2 (advertising appeal emotion type: male stereotype emotion vs. female stereotype emotion). The experiment revealed that the femininity group displayed a strong and consistent empathy for drama ads regardless of whether the ads appealed to masculine or feminine emotions, whereas the masculinity group displayed a stronger empathy for drama ads appealing to the emotional types matching its own gender as well as for vignette ads. The theoretical contribution of this study is significant in that it sheds light on the controllability of the audiences' emotional responses to advertisement storytelling depending on their socio-psychological gender and gender stereotype of emotions appealed to through advertising. Specifically, its considerable practical contribution consists in easing unnecessary creative constraints by comprehensively analyzing essential advertising strategic factors such as the target consumers' gender and the objective of the advertisement, in contrast to the oversimplified view of previous studies that considered emotional responses to storytelling ads were determined by the different types of production techniques used. This study revealed that emotional response to advertisement storytelling varies depending on the target gender of and emotion type appealed to by the advertisement. This suggests that an understanding of the targeted gender is necessary prior to producing an advertisement and that in deciding on an advertisement storytelling type, strategic attention should be directed to the advertisement's appeal concept or emotion type. Thus, it is safe to use drama-type storytelling that expresses masculine emotions (ex. fun, happy, encouraged) when the advertisement target, like Bacchus, includes both men and women. For brands and advertisements targeting only women (ex. female clothes), it is more effective to use a drama-type storytelling method that expresses feminine emotions (lovely, romantic, sad). The drama method can be still more effective than the vignette when women are the main target and a masculine concept-based creative is to be produced. However, when male consumers are targeted and the brand concept or advertisement concept is focused on feminine emotions (ex. romantic), vignette ads can more effectively induce empathy than drama ads.

• Korean Journal of Culture and Social Issue
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• v.23 no.2
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• pp.131-157
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• 2017

Loving-kindness & compassion meditation (LCM) is one of the popular intervention on clinical setting to cultivate loving-kindness & compassion for self and other. Shame is known for unconscious and implicit emotion including negative self-concept. Some researchers suggest that people with high shame have difficulty in cultivating loving-kindness & compassion toward oneself because of shame including the negative self-critic. In this research, it is explored the influence of shame for the object of LCM. There are 2 experiments to find out the answer to this question. In experiment 1, participants (N = 108) are randomly assigned to two conditions. The one condition is loving-kindness meditation for self, and the other is loving-kindness meditation for positive others. Dislike and engagement from participants about loving-kindness meditation instruction are measured after meditation for 8 minutes. From the experiment 2, loving-kindness meditation is replaced with compassion meditation from the design of experiment 1. This experiment is conducted because of psychological differences between loving-kindness and compassion. Participants (N = 116) are randomly assigned to two conditions, compassion meditation for self and positive others, respectively. The results of experiment 1 show that dislike of loving-kindness meditation for self seems to high when people have high shame, but shame does not have an influence on engagement. For loving-kindness meditation for positive others, shame seems to not affect on dislike and engagement about loving-kindness meditation instruction. The results of experiment 2 show that dislike is higher for self than for positive others about compassion meditation for people with high shame, but shame does not affect on engagement. For discussion, it is suggested that shame has special features of emotion. For the future, we discuss the therapeutic strategy for people with negative self-concept.

• Korean Journal of Agricultural and Forest Meteorology
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• v.25 no.4
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• pp.337-345
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• 2023

Estimating the rice heading date is one of the most crucial agricultural tasks related to productivity. However, due to abnormal climates around the world, it is becoming increasingly challenging to estimate the rice heading date. Therefore, a more objective classification method for estimating the rice heading date is needed than the existing methods. This study, we aimed to classify the rice heading stage from various images using a CNN classification model. We collected top-view images taken from a drone and a phenotyping tower, as well as slanted-view images captured with a RGB camera. The collected images underwent preprocessing to prepare them as input data for the CNN model. The CNN architectures employed were ResNet50, InceptionV3, and VGG19, which are commonly used in image classification models. The accuracy of the models all showed an accuracy of 0.98 or higher regardless of each architecture and type of image. We also used Grad-CAM to visually check which features of the image the model looked at and classified. Then verified our model accurately measure the rice heading date in paddy fields. The rice heading date was estimated to be approximately one day apart on average in the four paddy fields. This method suggests that the water head can be estimated automatically and quantitatively when estimating the rice heading date from various paddy field monitoring images.

• Journal of the Korean earth science society
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• v.44 no.6
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• pp.655-674
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• 2023

This study examined whether the "self-guided interpretation" media in the Yeoncheon area of the Hantangang River UNESCO Geopark are intelligible for visitors. Accordingly, two on-site investigations were conducted in the Hantangang River Global Geopark in September and November 2022. The Yeoncheon area, known for its diverse geological features and the era of geological attraction formation, was selected for analysis. We analyzed the readability levels, graphic characteristics, and alignment with science curriculum of the interpretive media specific to geological sites among a total of 36 self-guided interpretive media in the Yeoncheon area. Results indicated that information boards, primarily offering guidance on geological attractions, were the most prevalent type of interpretive media in the Yeoncheon area. The quantity of text in explanatory media surpassed that of a 12^th-grade science textbook. The average vocabulary grade was similar to that of 11^th- and 12^th-grade science textbooks, with somewhat reduced readability due to a high occurrence of complex sentences. Predominant graphic types included illustrative photographs, aiding comprehension of the geological formation process through multi-structure graphics. Regarding scientific terms used in the interpretive media, 86.3% of the terms were within the "Solid Earth" section of the 2015 revised curriculum, with the majority being at the 4^th-grade level. The 11^th-grade optional curriculum terms comprised the second largest portion, and 13.7% of all science terms were from outside the curriculum. Notably, variations in the scientific terminology's complexity was based on geological attractions. Specifically, the terminology level on the homepage tended to be generally higher than that on information boards. Through these findings, specific factors impeding visitor comprehension of geological attractions in the Yeoncheon area, based on the interpretation medium, were identified. We suggest further research to effect improvements in self-guided interpretation media, fostering geological resource education for general visitors and anticipating advancements in geology education.