• (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.

• Archives of design research
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• v.19 no.1 s.63
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• pp.119-128
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• 2006

'Play' itself is enough of a motivation for anyone to do it. Still, it will be very difficult to continue to enjoy meaningless and aimless repetition of fights, mimicking, chases, discoveries or changing of sceneries by the mechanism alone. Of course, in rare occasions there are games like Tetris which can be enjoyed on its great gameplay alone for hours. But for most cases, players need goals, initiatives, and dynamism through storytelling for their experiences to be a rich one. Validity and feasibility of storytelling in games has always existed with plenty of skepticism. However, as games evolved from some small play mechanisms for spare times to a major entertainment with recognizable volume and content, a need to keep players interested and participating has made storytelling an essential ingredient. Storytelling within games has to have different meanings and shapes to existing narratives. Hence, new definition and methodology must emerge and studies has been active. If a case can be made so that a tested and tried methodology that has been successful for other media can be substituted for games, then it can bring a new direction to the ongoing studies. This study will borrow some methodology from cinema which can sometimes be seen as opposite to games and sometimes as something games want to be alike.

• Cartoon and Animation Studies
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• s.49
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• pp.325-357
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• 2017

It can be assumed that the reasons why the animation characters, 'Olaf (in Frozen Kingdom)' and 'Minions (in Super Bad)', etc., which were very successful in the merchandising market while having won the popularity better than the main characters are very popular even though such characters appeared only by playing a funny role while assisting the adventures of the main characters are not only because of their cute appearances but also because such characters have their own core features in their inner world as the transitional object-characters. Simply expressing, a 'Transitional Object' as a concept suggested by a child psychologist, 'Donald Winnicott', means a lovey doll or an imaginary friend which temporarily replaces an infant's mother during the procedure when the infant is mentally separated from its mother. However, in case that the theory of transitional objects was applied directly to many narrative content characters for doing a study, there must have been done some studies in advance for establishing some new criteria and indexes related to the transitional object-characters of such narrative contents. Accordingly, while thinking that the 'emotional relationship' between a growth-subject and a growth mediator must be dealt with as the most important content in order to define a transitional object-character in a narration clearly, this researcher established some emotional index for judging the propensities of a transitional object-character on the basis of such way of thinking. The index is composed of 4 kinds of emotional roles (quasi-family member, growth mediator, lovey doll, an imaginary friend), 6 kinds of emotional supports (hugging, protecting, accepting, giving the initiative, improving the relationship and mutual supervising) and 4 kinds of emotional impressions (impression by contacting, impression to protect and impression accepting an attack). In case that some main characters of a family feature animation, 'Inside Out', are analyzed while the index mentioned above is applied, it was found that 'Bing Bong' and 'Sadness' have a high propensity as a transitional object-character. Especially, it could be inversely inferred in which ways some good transitional object-characters can help the narrations on growth of a family feature animation by taking a look at the character, 'Sadness' that has the highest propensity as a transitional object-character. The transitional object-character, 'Sadness' assists the narration on growth internally and externally by helping the internal maturity of a growth-subject in a way of projecting the tasks for the internal maturity of a growth-subject while helping the growth-subject to be successfully externally in a way of providing the growth-subject with some kinds of facilitating emotion. As the results from this Study, since such kinds of emotional experiences provided by such transitional object-characters are displaced to not only the relevant growth-subjects but also the audience who are emphasized with such growth-subjects as they are, such transitional object-characters play a role of hidden benefactors who induce some immersion into the narrations and provide child and adult audience with various layers of emotional satisfaction.

• Iberoamérica
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• v.21 no.2
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• pp.25-52
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• 2019

Esperpento denotes a literary style in Spanish literature first established by Spanish author Ramón María del Valle Inclán that uses distorted descriptions of reality in order to criticize society. And esperpento's narrative strategy is similar in many ways to Mikhail Bakhtin's carnivalism. Especially Valle Inclán's first esperpentic theatre, Luces de Bohemia contained various carnivalistic elements of Bakhtin. The various techniques of Valle Inclán's esperpento used in Luces de Bohemia can be explained by Bachchin's carnivalist techniques. Therefore, this paper aims to re-examine the esperpentic techniques in Luces de Bohemia of Valle Inclán in terms of Bakhchin's carnivalism. Because the esperpentic tecniques of this play pursue the subversion of power or authority through the carnivalistic aspects such as polyphony, subversion of seriousness, parody, grotesque realism, plaza, ambivalence, anomalous structure of space, time and plot, etc. Esperpento and carnivalism serve as a tool to interpret the social reality, beyond criticism and satire of Spanish society. The characters act passively on all the external factors that determine human destiny, rather than actively carving their own destiny like the classic heroes. Modern man cannot defy or control the external situation of the modern civilization. So they are tragic. In this situation, the protagonist of the tragedy who challenges reality disappears and a puppet figure like Max Estrella, the protagonist of the Luces de Bohemia, takes his place on a satirical level. This is the satire and the true meaning of carnivalistic humor that Valle Inclán tried in his play.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.10 no.1
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• pp.21-33
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• 1999

The clinical assessment for preschool children who are known to have problems in selfreporting tends to be dependent on outsiders' reporting. Thus, the direct assessment of children's inner experience, thoughts and feelings is difficult. MacArthur Story-Stem Battery(MSSB) developed to learn more about preschool children's mental representation in play is used in this study to help assess clinical preschool children through developmental study of normal children's mental representation. Fifty five children(32boys and 23girls) who performed MSSB, IQ Test, Peabody Picture Vocabulary Test-Revised(PPVT) were videotaped and were analyzed. The results of this study were as follows：1) Children frequently displayed negative mental representation such as atypical negative response, reparation/guilt, punishment, personal injury and so on during emotionally laden play situation. 2) Mental representation of parent appeared positive, disciplinary, and negative in respective. 3) As a result of factor analysis of MSSB content themes, aggressive, prosocial, and oppositional content theme composites were generated. Aggressive content included atypical negative response, aggression, personal injury, and exclusion. Prosocial content included affection, affiliation, and reparation/guilt. Oppositional content included punishment and non-compliance. 4) Mental representation of parent and content themes showed significant correlation. Positive, negative, and disciplinary representation were significantly correlated for prosocial(r=0.40), aggressive (r=0.52), and oppositional(r=0.75) content theme respectively. 5) Among the correlations between parental mental representations and emotional responses, positive parental representation and anxiety showed significant negative correlation(r=-0.43). 6) Among the correlations between content themes and emotional responses, there were significant positive correlations between aggressive(r=0.28) and oppositional content themes(r=0.29) and distress, and were significant negative correlations between prosocial content theme and concern(r=-0.29) and anxiety(r=-0.43). According to the above results, preschool children frequently displayed negative mental representation in emotionally conflictual play situation. Children with more prosocial themes in their stories exhibit more positive parental mental representation. Also, children with more aggressive themes tend to display more negative parental representation and negative emotional responses.

• Korean Association of Arts Management
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• no.50
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• pp.101-146
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• 2019

After the enactment of the Local Culture Promotion Act in 2014, the government has been continuously trying to find the direction of the local culture that reflects the local life and conforms to the local people's emotions. In response to these efforts, the Organizing Committee for the C Region Biennale has uniquely formed the Biennale Artistic Director as a local artist who includes the historical, ecological and emotional characteristics of the C region. Therefore, I sought to explore the perception of the identity and role of the local cultural arts director through the narratives of the research participants who were appointed as the local residents of the C region and the director of the Craft Biennale. For the study, six local cultural arts directors were selected as research participants, and their identity as a local cultural arts director and its role were explored, focusing on their narratives. In this process, various types of data such as photographs, documents, in - depth interviews, and conference materials were collected and narrative was analyzed based on deterministic events. The results of the investigation are as follows. The idea of the identity of the local cultural arts directors was found to be in three directions. First, it is the view that the symbolic role of the artistic supervisory system of the 10 persons guarantees the identity. Second, the identity of local cultural arts directors was recognized as a role to find ways to be localized by developing and debating cultural and artistic discourses in various regions. Third, the participants had a concern and affection for local cultural arts, not one-time but continuous, and recognized it as their identity. The directors who participated in the interviews showed that the discourse of cultural arts in various regions were developed and discussed, and they wanted to find ways to be localized. The roles of local cultural arts directors recognized by research participants in connection with their identity are as follows. First, it should be the subject of systematic and long-term planning that can close the year and connect with the art events of the following year. Second, it should play a role of academic / research that can derive the identity of social and cultural ecological analysis connected with the area. Third, local arts professionals are required to act as cultural brokers, ie local culture professionals, who can create a venue for international cultural exchanges. Research on the form of local government supervision as a mediator of local cultural arts is to find out the origin of the identity of local artists and to establish a methodology for the direction of culture and art as a subject of local people. In addition, there is a need for continued interest and research in providing a reflection on the communication and meaning of the desirable local culture, and suggesting the system for cultivating local cultural arts intermediaries.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.9-54
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• 2019

Since the birth of melodrama in the early Enlightenment era, it has flowed through various cultures and media. In order to grasp the principle of differentiation of melodrama and the direction of its change, a developmental approach to the formation process of melodrama is necessary. In this regard, this paper examines the formation process of modern melodrama and its aesthetic features around the time of the French Revolution. The modern melodrama was formed in the period between the end of the 18th century and the start of the 19th century. It was born at the intersectional point of the contradictions of the modern imagination and the political paradox of the French Revolution, which demanded an autonomous citizenship but did not recognize a woman as a citizen. The aesthetic of women's sacrifice and tears reproduced in the modern melodrama is a political aspiration to restore a corrupt society by glamorizing a woman as a moral icon. This was an icon to save a society under divide and crisis and a coordination of emotions to conceal sexist violence in the politics of the exclusion of women. The aesthetic of women's sacrifice and tears reproduced in modern melodrama has consistently been considered under negative evaluation such as a play of moral hypocrisy and vulgar drama. However, the academic interest in melodrama in the 1970s has been amplified due to the "Sirk-melo" which is a transition to the new aesthetic of women's sacrifice and tears, encompassing not only women, but also races and classes. In modern society, entering the era of uncertainty, where various social problems, national disasters, and global disasters have become commonplace, 'the aesthetic of women's sacrifice and tears' are shifting from gender differences to various victim narratives. Reviewing new theoretical trends and changes of recent melodrama as well as analyzing specific works are left as follow-up tasks.Since the birth of the melodrama in the early Enlightenment era, it has flowed through various cultures and media. In order to grasp the principle of differentiation of melodrama and the direction of its change, a developmental approach to the formation process of melodrama is basically necessary. In this regard, this paper examines the formation process of modern melodrama and its aesthetic features around the time of the French Revolution.

• Sijohaknonchong
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• v.24
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• pp.223-258
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• 2006

This Research is about the classification of 'Sijochang', or the Korean ode narrative song, in terms of music. Contrary to the literature classification by the number of letters, sijochang varies with the melody. Literally, the classification is generally made as Dansijo(or short ode) Jungsijo(or medium ode) and Jangsijo(or lengthy ode) but the sijochang is normally divided into 'Pyongsijo' (or plain ode), 'Jirumsijo and Saseolsijo'. As while the same Sijochang is called under the different names, the different type of sijochang is also called as the same name, it needs the discussion about its name. Some Korean classical musicians have attempted to define it but they are trying to do it without the specific reasoning about its concept. As a result, the systematic research is required. This study designs to streamline the currently confusing and complex names and set up the sijo's classification system. After reviewing the ancient music note, current sijo score and the traditional theory, I largely classified it into 3 types: Pyongsijo, Jirumsijo and Saseolsijo. And then, 1 analyzed on to which type the sijochang which is presently called belongs, based on several principles. The 67 names of the sijo which I have investigated about are classified with them sharpy reduced into 16. Among the current sijo names. there are some which are of same type yet of different phonetics and there are others which are of different phonetics yet of same type. To avoid such complex and troublesome names, I have orchestrated them as follows, taking the literary and music concept into account. 1) Pyongsijo type : Pyongsijo, Joongherisijo, Wujosijo and Payeonkok 2) Jirumsijo type: Jirumsiro, Namchangjirumsijo(it refers to Jirumsijo sung by male ), Yeochangjirumsijo (it refers to Jirumsijo sung by female), Banjirumsijo(it refers to half the Jiumsiro), Onjirumsijo (it refers to the whole Jirumsijo), Wujojr\irumsijo, Saseoljirumsijo and Whimorisijo) 3) Saseolsijo type : Saseolsijo, Bansaseolsijo(it refers to half the Saseolsijo, Gaksijo or Pyongsiro There are still lots of things to musically streamline, in the fields of disposition of Sijo letters, its form, musical scale and influences on other genre. etc. and as such. the accumulation of theory on them is urgently required. Those musical elements need an in-depth review and study by the experts and the Korean traditional musicians. Later research is expected to play a role of exploring it.

• Cross-Cultural Studies
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• v.41
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• pp.33-56
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• 2015

Trauma studies have provided useful models for dealing with the catastrophic and disastrous events that an individual and collective group experience. Most important of all, the perspective of post-structuralist trauma study, including Cathy Caruth, became a paradigmatic model and it has been applied to almost all contexts of life. The perspective of this study model, which is called an "event-based model of trauma," focuses on the literal registration of the traumatic event and the accurate and immediate recall of the past. The person directly involved in the event becomes the passive bearer transmitting the truth of a traumatic event. From this perspective, the traumatic subject only undergoes and endures the event and cannot play an active role in constructing trauma and dealing with it. Eventually, the truth of trauma has to be obtained at the cost of the traumatic subject's autonomy and the possibility of his/her agency. The problem here is that the truth, which is reencountered through the literal return of the past, obtained at the cost of the subject's autonomy, strikes a rather fatal blow to the person, than gives help for resolving many of matters surrounding traumatic experience and curing trauma. This suggests that the active way of dealing with trauma on the part of the traumatic subject, rather than the traumatic event itself, is demanded. Furthermore, because more recently, images of disastrous events were viewed "live" by audiences and an immediacy to the event is replicated in public discourse about them, the event becomes more immediately traumatic and there is a more strong presumption that people regard themselves as traumatic victims than before. This is the reason that we must explore an active way dealing with trauma on more human position at this time. This essay aims to examine the limits of the paradigmatic model of trauma study, an "event-based model of trauma," critically through a literary, theoretical text in which it reveals how the literal return of the traumatic past have a fatal effect on the victim; and hopes to suggest "the narrative memory" as a way to deal with trauma from a more humanistic perspective.

• Journal of Information Technology Applications and Management
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• v.28 no.6
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• pp.69-85
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• 2021

In the era of the 4th Industrial Revolution, not only artificial intelligence, big data, robots, and biotechnology, but also cultural industries that require human creativity will lead. Among the cultural industries, the animation industry has high industrial utilization value due to its high connection with other industries. Among them, animation characters play the most important role as the subject leading the story of animation. In particular, the villain character not only serves as a medium for the main character to lead the story, but also captivates the audience with a different presence from the main character, adding to the fun and completeness of the animation. These characters consist of visual elements such as form and color, of which color is a tool that effectively conveys the character's personality and role to the audience, and is the first visual element to be considered in delicately describing the character's emotions and the relationship between characters. Therefore, this study attempts to analyze the color of the villain character. To this end, we will select eight Disney animations to derive the characteristics of the villain character's color by analyzing the color, value, chroma, and color association of the colors used in the Disney villain character. As a result of the analysis, the colors mainly used by Disney to convey the villain's image were red (R) and Orange (YR), and there was no difference depending on the times or animation production methods. Second, the brightness of Disney villain characters appeared to be the same medium/famous regardless of the times and production methods, and the frequency of use of high brightness was very low. In terms of saturation, the frequency of use of high and low saturation was high. Third, blackish (Bk), Strong (S), dull (Dl), and deep (Dp) tones were mainly used for tones. In particular, in recent 3D animations than previously produced 2D animations, the use of low chroma and the high black mixing rate increased. Fourth, it can be seen that Disney uses color as a visual method to more clearly express the psychology of the villain character using color association. In conclusion, the color selection of animation characters should be carefully considered as a tool to convey the character's personality, role, and emotion beyond simply using color, and the color selection of characters using color associations and symbols strengthens the narrative structure. It is hoped that this study will help analyze and select the character color of animation.