• The Research Journal of the Costume Culture
• /
• v.13 no.6 s.59
• /
• pp.919-933
• /
• 2005

This study goes into the field of CosPlay that takes place in Korea, and directly observes the people who engage in CosPlays. Based on in-depth interviews, this research identified the reasons why the CosPlay aficionados participate in this practice and their cultural preferences. Ethnography methodology was used to understand the behavior of the cultural entities of CosPlays. Moreover, this research attempted to understand their daily formalities through their own perspective and language instead of superficial language. In general, CosPlay form that they manifest is classified into two main categories: those who enjoy posing by becoming their favorite characters and those like to wear the clothes of their favorite characters and go up on the stage to perform an act of animation or game where the applicable character appears. Some of these groups are: 1) 'Bishojo CosPlay' that CosPlays mostly Bishojo cartoon characters and wants to just stand out, 2) 'Aekyo' group that CosPlays merely for the sake of the enjoyment of wearing costumes instead of having the mania-like characteristics, 3) 'CosPlayer Group' who enjoy doing organized team CosPlay in order to present a performance, 4) 'J-Rock CosPlay' group that CosPlay Japanese visual rock groups and prepare to be among a professional CosPlay team, and 5) 'People related to Cospre.com' who try to make CosPlay rooted in as one of new cultures.

• Journal of Korean language education
• /
• v.29 no.2
• /
• pp.73-100
• /
• 2018

The purpose of this study is to investigate learner-learner dialogue during speaking tasks. In the Korean language classroom, conversation between learners is an important activity as speaking practice. However, learner dialogue is also a tool to enable learners to collaboratively conduct various cognitive activities in the classroom. In previous research, it was unfolded that through learner-learner dialogue, learners can solve second-language related problems and set a goal to carry out tasks. Therefore, this study analyzed learner-learner dialogue to investigate what kinds of cognitive activities are activated during the role-play task. As a result, the learners collaboratively generated and monitored language and content for role play. Also, in order to accomplish tasks more successfully, learners shared the same understanding about the goal of the task, and tried to manage the task procedure. Through learner-learner dialogue, learners can participate in cognitive activities such as content, language construction, and task management voluntarily without the help from teachers. This means that learner-learner dialogue can be an activity to support language learning tasks. Also, it can make learners actively involved in learning and by sharing resources with each other. It is also important that learners can experience language use that participates in real-world communication activities, such as learning in the classroom and collaborating with peer learners. This study is an exploratory study for a basic understanding of learner's conversation as a cognitive activity, and the scope of the study is limited to clarifying contents of learner-learner dialogue as a cognitive activity in speaking tasks. Based on the findings of this study, future research should be conducted on the function of learner-learner dialogue as a cognitive activity in Korean language learning and its role in the classroom of Korean language education.

• Journal of English Language & Literature
• /
• v.56 no.2
• /
• pp.237-253
• /
• 2010

In Christopher Marlowe's Cambridge days in the 1580s, the British forward wits were engaged in the curious pursuit of magic and occult philosophy in order to discover the mystery of things. Magic, together with judiciary astronomy, astrology, mathematics, and logic, was one of the most practical disciplines. Marlowe, Shakespeare, and Jonson demonstrate their deep interest in magic and its language of spell and charms in the light of their analogical application to the alchemical theatre. As Shakespeare says that the poet, the lover, and the madman are of the same because they give forms to airy nothing, a magical illusion is, for the three playwrights, similar to the theatrical illusion in that both magic and theatre work in and by a language and both give us sportive pleasures through the deceptio visus. However, while Jonson is rather puritanically antagonistic to the illusive language of alchemy and magic, Marlowe and Shakespeare are attracted to the rapturous nature of the absolute language of magic. Doctor Faustus' indulgence in magic stands for the Marlovian aspiration for the absolute language which allows no discrepancy between thinking and willing, conceiving and actualizing. His uses of spells, charms, anagrams, and magic books are transformed and translated in the play into an alchemical theatre. Faustus is dependant on and bound by his books of magic, as is the actor on the stage. Faustus is the poet condemned from the beginning. Though he is mistakenly thinking that it is he himself that manipulates Mephostophilis the magical agent, it is otherwise. Faustus is a shadow or an actor in the Elizabethan language. He remains a farcical figure during the twenty-four years which are given to him for his sensual dalliance. Marlowe never forgets through his farcical clowning to satirize such Catholic rituals as exorcism and benediction for their illusive theatricalism. The sports of Faustus' playacting and play-directing rise at the last hour to the height of a tragedy. Ironically Marlowe the playwright succeeds as a tragedian at the point where Faustus fails as a magician.

• Korean Journal of Child Studies
• /
• v.29 no.6
• /
• pp.121-133
• /
• 2008

This study explored relationships among temperament, multiple intelligences and play characteristics of preschool children. Participants were 150 mothers of preschool children and 10 preschool teachers in Seoul. They responded to questionnaires; data were analyzed by correlation and multiple-regression major results showed there were positive correlations between emotionality sub-areas of children's temperament and play and between multiple intelligences and play as follows : (1) Cognitive play was predicted by linguistic intelligence and response of temperament, (2) Language play was predicted by interpersonal intelligence and physiology-regulation of temperament, (3) Social play was predicted by interpersonal intelligence and response of temperament, (4) Emotional play was predicted by logical-mathematical intelligence and emotions of temperament, and (5) Movement play was predicted by logical-mathematical intelligence.

• The Korean Journal of Food & Health Convergence
• /
• v.7 no.3
• /
• pp.1-11
• /
• 2021

Purpose of the research: This study aims to explain the state of marketing using fun among recent popular marketing strategies. Although companies are using various differentiated marketing strategies to gain a competitive edge, among them, fun marketing has constituted the most effective area of interest recently. Research design and methodology: To extract the customer selection attributes of fun marketing, after reviewing the literature, six optional attributes were selected from the factors of fun marketing towards consumers such as funny design, language play, celebrity use, funny taste, how to eat, and newtro (new + retro). Out of 300 questionnaires, 276 were used for analysis, excluding unscrupulous or incomplete questionnaires. The results were reviewed for validity and reliability using SPSS andAMOS, and the hypothesis was verified using structural equation modelling (SEM). Principal results: The results showed that funny design, language play, and newtro statistically significantly affected customer satisfaction, but celebrity use, funny taste, and eating methods had no significant effect. It was also confirmed that satisfaction had a statistically significant effect on repurchase intention. Major conclusions: This study can serve as basic data to enhance the marketing strategy of the food service industry, and it provides theoretical and practical implications.

• 한국HCI학회:학술대회논문집
• /
• 2008.02b
• /
• pp.405-410
• /
• 2008

There is always a rhythm in our language and speech. As soon as we speech out, even just simple words and voice we make are edited as various emotions and information. Through this process we succeed or fail in our communication, and it becomes a fun communication or a monotonous delivery. Even with the same music, impression of the play can be different according to each musician' s emotion and their understanding. We 'play' our language in the same way as that. However, I think, people are used to the variety, which is, in fact, the variation of a set format covered with hollow variety. People might have been living loosing or limiting their own creative way to express themselves by that hollow variety. SPACIAL POEM started from this point. This is a new type of 'real-time visual interaction' expressing our own creative narrative as real-time visual by playing a musical instrument which is an emotional human behavior. Producing many kinds of sound by playing musical instruments is the same behavior with which we express our emotions through. There are sensors on each hole on the surface of the musical instrument. When you play it, sensors recognize that you have covered the holes. All sensors are connected to a keyboard, which means your playing behavior becomes a typing action on the keyboard. And I programmed the visual of your words to spread out in a virtual 3D space when you play the musical instrument. The behavior when you blow the instrument, to make sounds, changes into the energy that makes you walk ahead continuously in a virtual space. I used a microphone sensor for this. After all by playing musical instrument, we get back the emotion we forgot so far, and my voice is expressed with my own visual language in virtual space.

• Journal of Families and Better Life
• /
• v.27 no.1
• /
• pp.181-196
• /
• 2009

This study compared mother-toddler verbal interaction by play type (traditional play, free play, block play), and child's sex and age. Subjects were 10 boys and 10 girls ranging in age from 25- to 36-months and their mothers. An observer videotaped the children and their mothers at play in their homes. Results showed that (1) Mothers attempted more positive verbal interaction in traditional than in block play. (2) Mothers expressed more positive emotion in free than in traditional and block play. (3) Mothers more answer 'reflection' in traditional than in free play (4) Toddlers attempted more positive verbal interaction in block than in traditional and free play. (5) Toddler's positive emotion express was not distinguished by play type or by child's sex or age. (6) From 31- to 36-months's boys expressed more play situation than from 25- to 30-months' girls. This study provides groundwork for mother-toddler traditional play programs with potential for improving positive expression of emotion and language development.

• English Language & Literature Teaching
• /
• no.5
• /
• pp.123-147
• /
• 1999

English textbooks play essential roles in the whole English education context, the analytic study on English textbooks is very important in English education tasks. The purpose of this study is to analyze the expressive functions in the middle school English textbooks on the basis of the 6th national curriculum characteristics and the textbook analysis theories. The results of the expressive language function analysis are as follow: the teaching contents designed for the expressive language functions are not varied, but concentrated on the specific teaching types, and the teaching contents for the expressive language functions are not graded according to the students' development principles stated clearly in the 6th curriculum. The results of the English textbook analysis on the basis of the expressive language function analysis show that the 6th curriculum has some problems in itself and the middle school textbooks do not conform to the 6th curriculum principles. Therefore we need to improve the teaching contents for language functions by means of developing various types of teaching language functions.

• Proceedings of the KSPS conference
• /
• 2007.05a
• /
• pp.78-83
• /
• 2007

The purpose of present study was to investigate the characteristics of disfluency between the Korean-English bilingual and Korean monolingual children, matched by their chronological age with the bilingual children. Twenty-eight children, 14 bilingual children and 14 monolingual children participated in this study. The experimental tasks consisted of the play situation and the task situation. The conclusion is (a) The score of total disfluency of the bilingual was significantly higher than that of the monolingual. The score of normal disfluency of the bilingual was significantly higher than that of the monolingual. The most frequent type is Interjection in both groups. All shows higher score in the task situation than the play situation. The bilingual children have quantitative and qualitative differences in disfluency score and types from the monolingual. (b) The bilingual were divided into two groups such as 6 Korean-dominant bilingual and 8 English-dominant bilingual. All shows more disfluency in their non-dominant language. The most frequent type is Interjection in both groups. (c) The higher the chronological age and the expressive language test score is, the lower the disfluency score is. The earlier the exposure age to the 2nd language is, the higher the disfluency score is. There is no correlation between resident month at foreign country and the disfluency.

• Journal of English Language & Literature
• /
• v.55 no.3
• /
• pp.383-398
• /
• 2009

Based on the Greek myth of Pygmalion and the fairy tale of Cinderella, Shaw's Pygmalion demonstrates a masterful coalescence of these two narrative motifs into a coherent plot scheme. Even more significant is his keen insight into the conflicts created at the tripartite intersection of human activity concerning language/class/culture, which, as the leitmotif, revolves around lessons in language learning. This play basically deals with human transformation and by its very nature, Higgins's experimentation with transforming Eliza cannot stop at language alone. Her cultural transformation ripples over into the realms of gesture and even a unique way of living (modus vivendi) intimately associated with taste and manners, which Bourdieu terms as habitus. By acquiring a new fashion and language, Eliza is reborn as a new lady aspiring to be filled with a newly acquired habitus. While separating her from her old Cockney style, Higgins inculcates Queen's English in Eliza, in which process her changed speech styles gradually transforms and restructures her deportment and manners, finally generating new practices, perceptions and attitudes. The gist of Pygmalion is however less Eliza's ascent into the middle class than her battle for symbolic capital waged at the level of language. By problematizing his contemporary practice of habitus conventionalized and warped by class distinctions based on economic, social and cultural capitals, Shaw creates a new humanist model of man founded on spiritual and rational virtues. In conclusion, Eliza is not a frigid Galatea but a dynamic character that goes through a brilliant transformation of three stages: 1) linguistic; 2) cultural, and 3) humanist. Finally she is built into a "consort battleship" on an equal standing with her sculptor. The process of her character-building cannot be illuminated without resorting to the dynamic notion of habitus, which highlights the process of inculcation, structuring, generation and transposing. Given the overwhelming weight of the heroine's role and the dynamic process of her transformation as the major plot scheme, this play should be christened Galatea in lieu of Pygmalion.