• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.145-154
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• 2019

The purpose of this study is to investigate the performance, learning motivation and satisfaction of the students who take the university 's Lifelong Education Program. The research method was interviewed. The results are as follows. In terms of operations; First, the awareness of the kindness of employees of the college lifelong education institute needs to be strengthened at the beginning of the school year. Second, in the operation of the College Lifelong Education Center, the support such as the parking fee should be extended to the students. Third, lifelong education facilities should be supplemented. In terms of participation motivation; First, it can be seen that there are the most learners who want to do complementary learning. Most of them are people who look back on their lives and prepare for their future directions. Second, as the life span of human beings became longer, the economic preparation for life became necessary. Thus, all learning tends to be perceived as a preparation for economic income. Third, most people who participate in lifelong education are very interested in health. Therefore, it is necessary to increase the motivation for participation by expanding health related programs. In terms of satisfaction; First, it depends on the purpose of the individual. Satisfaction was high for those who aimed at hobbies and relationships, and satisfaction for those who aimed for economic activities was low. Second, it is also necessary to consider the instructor 's instructional process. In other words, lifelong learners tend to be adults, so little complaints are not revealed. Therefore, I would like to ask the lecturers to advance the education for the class. The implications for the improvement direction of the lifelong education center are as follows; First, we need to drastically reduce the number of programs overlapping with other universities and conduct research to develop new programs. In order to do this, it is necessary to continuously carry out a survey of demanders' needs. Second, it is necessary to find the appropriate place for program operation considering the movement distance of learners. It should be avoided that the program should be operated with the existing university facilities. Third, universities' lifelong education should go to education that includes college students.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.181-192
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• 2019

The purpose of this study is to look at the fun that high school students from blind schools feel in sports programs. A questionnaire was used to collect data from 10 out of 12 blind schools nationwide, including 122 male and 102 female students. Research tools are open questionnaires and questions are as follows. - Questionnaire: "Write down three of the most interesting things about sports programs." The data analysis was done with frequency analysis and the following conclusions were drawn. First, male high school students at blind schools are able to build up their physical strength in the area of competent factors (control-self) (23, 21.5%), in the area of competent factors (7, 77.8%) and in the area of motion-related factors (competition) (24, 15.1%), and in the area of non-execution factors (26, 37.7%), Second, high school girls with visual impairments did not respond in the areas of proficiency (control-self) because of stress release (25, 26.6%), in the areas of control-tain), in the areas of movement (competition) because they were able to do various exercises (22, 15.7%), and in the areas of non-watering (environmental) (18, 37.5%). Third, in the sports program comparative analysis of high school students between genders of blind schools, boys are interested in health and physical fitness in the field of competent factors (control-self) and girls are considered to be a means of relieving stress. In the field of competent factors (control-others), boys and girls can react to a variety of sports opportunities. In the future, by studying the fun of students in the physical education program through research to find out more fun in the school physical education program, we will explore practical ways to maximize student participation and increase motivation level The educational aspect of the process, that is, the educational value provided by the physical education, should be composed of content that can change the thinking and behavior of the teacher and the student so that the program contents and operation method.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.313-323
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• 2019

For the actors on video, facial expression acting can easily become 'forced facial expression' or 'over-acting'. Also, if self-restraint is emphasized too much, then it becomes 'flat acting' with insufficient emotions. By bringing forth questions in regard to such facial expression acting methods, this study analyzed the facial expression acting of the actors in genre dramas with strong commercial aspects. In conclusion, the facial expression acting methods of the actors in genre dramas were being conducted in a typical way. This means that in visual conventions of video acting, the aesthetic standard has become the important standard in the facial expression acting of the actors. In genre dramas, the emotions of the characters are often revealed in close-up shots. Within the close-up shot, the most important expressive medium in a 'zoomed-in face' is the 'pupil of the eye', and emotions are mostly expressed through the movements of the eye and muscles around it. The second most important expressive medium is the 'mouth'. The differences in the degree of opening and closing the mouth convey diverse emotions along with the expression of the 'eye'. In addition, tensions in the facial muscles greatly hinder the expression of emotions, and the movement of facial muscles must be minimized to prevent excessive wrinkles from forming on the surface of the face. Facial expressions are not completed just with the movement of the muscles. Ultimately, the movement of the muscle is the result of emotions. Facial expression acting takes place after having emotional feelings. For this, the actor needs to go through the process of 'personalization' of a character, such as 'emotional memory', 'concentration' and 'relaxation' which are psychological acting techniques of Stanislavsky. Also, the characteristics of close-up shots that visually reveal the 'inner world' should be recognized. In addition, it was discovered that the facial expression acting is the reaction acting that provides the important point in the unfolding of narratives, and that the method of facial expression and the size of the shots required for the actors are different depending on the roles of main and supporting characters.

• Journal of International Area Studies (JIAS)
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• v.14 no.2
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• pp.287-310
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• 2010

Developed nations are increasingly seeking to secure competitiveness in the international market through the development of human resources of workers in high value-added industries. And what is especially important in this process is the fact that workers, employers, and concerned government agencies are participating together in building and improving workers' skills through partnerships. This is based on the perception that workers training programs conducted according to the interest of one side are difficult to bring desired results. For the past decades, Korea has focused mostly on labor-management-government partnerships and strategies for developing the human resources of workers in developed nations in Europe. Related case studies show labor-management-government partnerships in European countries established through powerful trade unions, and interested parties actively cooperate and participate in employment and training programs that benefit both workers and employers. In contrast, studies on human resource development participated by workers and employers are relatively rare in the US, the reason being the lack of a mechanism for establishing labor-management-government partnership due to the country's strong tradition of decentralization and the emphasis on market principles. However, while it is difficult to find such channels for dialogue between workers, employers, and the government in th US on the federal level, there are many regional-level or industry-level programs that tackle common problems through partnerships between interested parties. This study analyzes how the regional labor-management-government partnerships in the US work and examines the types of programs operated by investigating the One-Stop Center based on the Workforce Investment Act and the Wisconsin Regional Training Partnership. While the One-Stop Center is a regional labor-management-government partnership model that is institutionally executed in each state according to the Workforce Investment Act, the WRTP is a regional labor-management -government partnership model led by the private sector. The two examples are introduced in the OECD as best practice examples of regional partnerships, and are key references to Korea's current human resource development policy.

• Korean Journal of Social Welfare Studies
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• v.41 no.4
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• pp.189-224
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• 2010

Nowadays Korean society has a fast growing population of North Korean immigrant youth. Especially, North Korean immigrant youth, who are discontinuing formal education, experience difficulties in social exclusion and adaptation. Therefore, the purpose of this study was to understand the experiences of adaptation and social support of North Korean immigrant youth discontinuing formal education, and to seek affirmative supporting plans and solutions for their adaptation. The methodology utilized for this study was a case study research. On the basis of the results and categorization, 'a network between overall categories and of early adaptation' was derived. The major findings of this study are summarized as follows. First, the participants of this study experienced major difficulties during 'economical adaptation', and their economical adaptation was strongly interrelated with their 'educational adaptation'. The discontinuing of their education resulting from their fleeing period caused 'academic differential and age disparity.' Thus they could not enroll in the formal education system, and their insufficient educational background resulted in low wages and overwork due to manual labor jobs. Second, participants recognized 'interpersonal relations' as the most essential factor in adaptation, and 'social support' from the interpersonal relations played an important role in adaptation to and comfort in Korean society. 'Interactions with South Koreans' was recognized as a significant resource for gaining informational and appraisal support, but was not activated satisfactorily. On the other hand, interaction with North Korean immigrants was avoided by the reason that 'there's nothing to learn', however emotional support from North Korean immigrants of close relationship played an important role in participants' adaptation, especially in all aspects of psychological adaptation. Third, participants experienced a lot of difficulties and stresses in their 'physical health and psychological adaptation'. Their chronic diseases worsened by remaining untreated, and female perceived symptoms were observed more often than in male. Meanwhile, excessive 'stresses' from the unfamiliar environment of South Korea negatively affected their psychological adaptation. However, they were satisfied with sense of liberty and security from living in a democratic society.

• (The) Research of the performance art and culture
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• no.38
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• pp.193-224
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• 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
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• no.22
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• pp.371-411
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• 2011

In the twenty first century of rapid cultural change performing art requires new mode of expression based on imaginative power and creativity as well as establishing its own identity. The modern technological environment support this with advanced technology and bring about the expansion of reason from new experience. The introduction of digital media on artistic expression in particular, expands the physical ability of human body which is the main subject of performing art. A virtual body from digital technology is freed from physical boundaries and goes over space and time. It also suggests the possibility of new mode of communication with audience. This study aims at examining the subject of performing art and its digitalized movement focusing on EveR, the world's first professional robot actor. The robot actor which came on stage according to the new expression medium, a digital body, stands in need not only of technological value but also of cultural and artistic application for expression in art. In this endeavor to meet the demand, this study examines the development process and function of 'EveR' the robot actor. Also it searches into the performance of Ever which replaced human being as well as the historical significance of the title:the world's first. To be more specific, there is a example research on two performances:a pansori play "EveR is simply stunning(2009)" and children's play "The Robot Princess and Seven Dwarfs(2009)." Through this example research, it is enabled to anticipate the influence of robot actors on performing arts and to search for the better way of them to evolve. Furthermore, it aims at finding ways to create high value through promoting robot actors to be familiar to the public as well as supporting them to become active cultural contents. The performance with robotic technology is one of the artistic experiment that may cause the change of the future of performing art by actualizing technological imagination together with human body and machinery. As a consequence, it is expected that the meeting of performing art and robotic technology gives positive influence on activating performing art as one of the integrated cultural phenomenon which satisfies the taste of modern era. Moreover, this study may also be the beginning of the expansion of performing art to stretch to diverse field.

• (The) Research of the performance art and culture
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• no.38
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• pp.249-275
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• 2019

Gangneung farm song is important for the ritualistic labortheatricals. Especially, in the theatrical process program, the songsof weeding, such as Haksan Odokkteggi and Ssadae, were alsoincluded to represent the agricultural ritualistic prayer for goodharvest. The use of Gangneung farm song is attractive in termsofthe circumstances. There is no chance of success as a plan simplyfor local events. As a comprehensive art, Gangneung farmsongshould simultaneously revitalize locality, representability andglobality. In this context, three directions are suggested dependingon the development progress. The second direction to the thirddirection are mainly oriented toward government-local authoritycentered support, but, in particular, the third direction should aimtobe an open archive in which the public and the contents prosumercan participate. In the production of the traditional content, OSMUmust be endlessly recreated and spread through 'diversity' and'interrelationships'. The contents utilization was discussed based on the transmissiondetails and analysis evidence of Gangneung Haksan Odokttegi. Thediversification of the way of performing farm song and the folk songs that can induce interest were proposed. Furthermore, basedon the fact that 12 songs classified into 8 work types, there-creation of the contents that focus on the playful aspect of theperforming arts was also proposed. In addition to suggestingthedesirable discourse of the performance groups, the experienceprogram development, education, public relations andcommunication reinforcement based on the narrating principlesoffarm songs, and the development and execution of farmsongprograms based on the tradition and the event demands wereproposed. While mentioning the necessity of value creation, thevitality of performing arts skills that put emotion, imagination, fun, sympathy, and etc. on the original form and the model of farmsongs should be supplemented to Gangneung Haksan Odokttegi. The independent transmission aspect of Gangneung Arirangisalso positive. There are difficulties of reduction of traditionalitydueto the designation, standardized transmission, lack of developmentof voluntary performances, and demonstration-centeredtransmission. Narrowly, we focused on the education andvitalization directions in terms of the capacity building of theconservation council itself. By embodying the essential value of theagricultural literature that farm songs possess, it can bringimpression of all worlds, all lives, communication and sharing, anddraw inspiration from the humanistic view of the world andemotion. The reconstitution of agricultural heritage, theconstruction of a storytelling linked with the concrete objects suchas Beomil National Preceptor, Gulsansa, FlagpoleSupport(Dangganjiju), Seokcheon, Hakbawi rock, and etc., andtheestablishment of fusion type farm song museum were proposed. In terms of culture industry, we requested active support fromtheinstitutions including local governments and various farmsongstorytelling creation projects.

• (The) Research of the performance art and culture
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• no.38
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• pp.33-69
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• 2019

In this article, I would like to pay attention to the changesofShaman's play as a part of examining the process of changeofDonghaeanbyeolsingut. Currently, Shaman's play can be seeninBaekseok2-ri, Byeonggok-myeon, Yeongdeok-gun, Gugye-ri, Namjeong-myeon and Yeongdeok-gun. Among them, ShamanRitual of Baekseok2-ri is short in cycle and easy to see change. InShaman Ritual of Baekseok2-ri, various Shaman's plays suchasJungdodukjabi(중도둑잡이), Wonnimnori(원님놀이), Talgut(탈굿), Mallori(말놀이), Hotalgut(호탈굿) and Georigut(거리굿) areperformed. Shaman's play carried out in Donghaeanbyeolsingut changesevery time it is carried out. Depending on the degree of change, itcan be classified into passive change and positive change. Whilepassive changes are improvisational, aggressive changes areintentional. Shaman's plays are jungdodukjabi, Mallori, Hotalgut, which are the improvisational changes, and the intentional changesare Wonnimnori, Talgut, Georigut. The biggest change in Shaman's play is the disappearance of the Shaman Ritual. The Shaman Ritual is suspended due to lackofpeople, financial difficulties, religious conflicts or rational accidents. Secondly, the period of separation is shortened or shortened. Thiscauses Shaman's play to be dropped or shrunk to change. InShaman Ritual, changes in Shaman's play are variable andcreative. The change due to the intervention of the spectatorsismainly improvisation. On the other hand, the change bythepreliminary plan of the acquaintance is intentional, and the changeis large. The changing factors of Shaman's play are influenced bythedemands of the times and the recognition of the tradition group. Changes in the traditional environment can be attributed to lackofhuman resources, individualism, changes in the workingenvironment and time constraints. At the same time, givingautonomy to traffickers is a major reason for Shaman's playtochange.

• Food Engineering Progress
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• v.23 no.1
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• pp.7-15
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• 2019

The impregnation of solid foods into the surrounding hypotonic or hypertonic solution was explored as a method to infuse NaCl in pork loin cube without altering its matrix. Mass transfer kinetics using a diffusive model as the mathematical model for moisture gain/loss and salt gain and the resulting textural properties were studied for the surrounding solutions of NaCl 2.5, 5.0, 10.0 and 15% (w/w). It was possible to access the effects of brine concentration on the direction of the resulting water flow, quantify water and salt transfer, and confirm tenderization effect by salt infusion. For brine concentrations up to 10% it was verified that meat samples gained water, while for processes with 15% concentration, pork loin cubes lost water. The effective diffusion coefficients of salt ranged from 2.43×10^-9 to 3.53×10^-9 m²/s, while for the values of water ranged from 1.22×10^-9 to 1.88×10^-9 m²/s. The diffusive model was able to represent well salt gain rates using a single parameter, i.e. an effective diffusion coefficient of salt through the meat. However, it was not possible to find a characteristic effective diffusion coefficient for water transfer. Within the range of experimental conditions studied, salt-impregnated samples by 5% (w/w) brine were shown with minimum hardness, chewiness and shear force.