• Child Health Nursing Research
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• v.25 no.2
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• pp.154-164
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• 2019

Purpose: The study aimed to develop a play toolkit to facilitate infants' and toddlers' symbolic thought and fine motor development. Methods: This study used a methodological study design including two phases of development and evaluation. After reviewing the play culture and developmental health issues in Kyrgyzstan through a literature review and interviews with local experts and parents, the toolkit was developed and evaluated using content validity and utilization tests. Results: The toolkit was based on Westby's symbolic play and the fine motor milestones in the Bright Futures Guidelines. The Toolkits were composed of an overall suggested play schedule according to the child's age, four kinds of play props, and a utilization guidebook for parents. The play props were a felt book, sorting and assembling blocks, cup blocks, and a tangram. The guidebook contained age-appropriate operating methods and alternative ways to use the materials. Conclusion: A play toolkit was developed to enhance nurturing practices among parents of infants and toddlers. The findings may help facilitate effective interactions between parents and their children. Considering that nurturing care is critical for achieving better child health outcomes, enhancing parenting resources and parent-child relations could function as an effective strategy for promoting child health.

• (The) Research of the performance art and culture
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• no.40
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• pp.137-161
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• 2020

In this article, I examined the conflict of youth reflected in Bae Bong Ki's plays based on theory of 'conflict'. Bae Bong Ki has been questioning the 'youth rights' in determining the content of performances, along with 'the magnetic field of college entrance examination' where most of the youth feel under huge pressure in his play. In the and , I focused on the students with the highest grade and the students with the lowest grade in the context of university entrance examination. Students who are struggling to keep the grades up are captured in this play as the educational reality of adolescents in distress. The situation of the top and bottom students is different, but both top and bottom students were too stressful to go to school. And 'the rights of the youth in deciding the content of the performance' in was a difficult topic because it collides with the right for the teacher to educate. It is expected that many plays will be created reflecting the conflict of youth in the future, and youth theater as well as discussions upon it will be enriched.

• Journal of Convergence for Information Technology
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• v.9 no.2
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• pp.100-107
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• 2019

The purpose of this study is to develop an evaluation model to measure the core competences of actual play workers by exploring what competences are necessary for them to provide quality play. Based on literature review, we selected five core competences : knowledge of play, program development, understanding play culture, creativity, and information sharing & applying. In order to achieve the research purpose end, a two-round Delphi survey was conducted on 10 play and education experts. The findings drew scholarly consensus on the competences of play workers to have and proposed basic data by developing competences evaluation model to measure them. Each of the key competences has three sub-conpetences, each of which included two behavior elements. Furthermore, this study presented future research directions so that play can be voluntarily planned and supported in a social and cultural context.

• CELLMED
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• v.12 no.1
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• pp.1.1-1.2
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• 2022

Mental health is attributed to person's well-being, abilities and productivity. The purpose of this study is to suggest the effects of K-culture to people in adversity. It is PungmulPanGut, represented by traditional Korean play culture. Pungmul is a performance with four percussion instruments, Janggu (Korean hourglass drum), Buk (barrel shaped drum), Jing (large gong), Kkwaenggwari (small gong), and play. In Korean, "pan" means that it's a place to do something. Gut means to make a wish. The ensemble Better Than Medicine (eBTM) is a team that has trained and worked with Gamuak (歌,舞,樂; singing, dancing, playing) for a long time, but is not perfect (we refer this as 2% lacking in music). The characteristic of our team is that we share joy while voluntarily participating and doing what we like. It is a combination of singing, dancing, playing musical instruments, and exciting people. There is wind-like energy and there is mutual cooperation, not competition. As we concentrate, we become immersed in each other's breathing and movement. So it makes us forget the hard situation, the hardships, the pain, and so on. In the meantime, our pleasures peak and share happy energy with each other. Even though we are two percent less skilled, our sense of happiness doubles. Music together is not competition but cooperative work and healing. Therefore, we suggest that PungmulPanGut can be better K-culture than medicine in promoting mental health.

• The Research Journal of the Costume Culture
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• v.14 no.2
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• pp.334-351
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• 2006

The purpose of study is to examine fashion bags reflected women's changing lifestyle, their needs and vogue in modern environment since 20th century. Today fashion bags can be divided into practical bag, evening bag, luxury bag and utility bag. Practical bag is a type of tote which is perfect for working mom or women carrying lots of things on a daily basis. Evening bag is a symbol of femininity in respect for its handmade artistry and impracticality by its small size. Luxury bag embodies human desire for high quality and being part of prestige of luxury brand regardless of its cost. Utilitarian bag was coming from military or sports gear and are popular among young generation armed with mobile computing or crazy about popular music and all kinds of sports. In contemporary fashion culture, fashion bags play an important roles on balancing women's social and domestic life as functional and decorative accessory.

• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.29-43
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• 2006

The purpose of this study is to examine a unique characteristic of the colors of the costumes in Korean basic culture in the aim of seeking the characteristics and the conceptual meanings of colors found in the majority’s culture. The scope of the basic culture was divided into folk belief, folk game and folk play. Within these limits, the colors of the dress, accessories, instruments were extracted by comparing with the naked eye in NCS Color System. For the analysis of hue and tone, the secondary dimensional analysis using NCS color system and the three-dimensional analysis using the software, COLOR 3D Version 2.0, were done. The result of this investigation is that the colors of the costume in the Korean basic culture are white, gray and black of achromatic color and yellow, yellowish red and purplish blue. This confirms that the colors based on Five-elements color are becoming the basis too basic culture. And Arche-pattern, which is a characteristic commonly found in the Korean traditional society, was shown as a characteristic of color. The colors of the costumes in Korean basic culture are uniquely adopted by the Korean civilians according to their religious and philosophical living standard. This study is meaningful in seeking a root for the formation of their unique color culture.

• Korean Journal of Microbiology
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• v.27 no.1
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• pp.43-47
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• 1989

Characteristics and roles of protease released during the germination of Dictyostelium discoideum spores were investigated. When geat activated, the spores germinated, progressively releasing the protease into the extracellular medium. The protease activity exhibited high at pH 2.5. When cyclogeximide was added to culture, complete germination (emergence) and protease release were stopped. Addition of purified nonspecific protease to culture speeded up germination. These results suggest that excreted protease may play a role in removal of the spore wall.

• English Language & Literature Teaching
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• v.11 no.1
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• pp.155-177
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• 2005

In the EFL context, Korean students don't have enough opportunities to directly experience the target culture, prompting the need to offer some well-organized culture education in class. The goals of this study are to analyze how many cultural contents are reflected in High School English textbooks and to suggest an implication for cultural learning. These textbooks were carefully examined, focusing on the cultural contents, by four categories: 'cultural skill section', 'cultural patterns', 'related language skills', and 'target countries'. The results of the analysis were like the following: First, although many of the textbooks are dealing with the culture skill sections, their contents were still wanting consistency and were small in quantity. Second, as for the cultural patterns, the pages dealing with behavioral culture were 43%, spiritual culture, 35.7%, material culture, 21.3%. Third, as for the related language skills, the cultural contents in the textbooks were organized in the order of listening, reading, speaking, writing, and cultural skill sections. Since it is impossible to separate language skills from culture, we suggest that the aspects of target culture should be incorporated in various forms into the learning situations. Fourth, as for the issue of target countries, the contents about the general or whole English culture were insufficient. So we suggest that English textbooks should play an essential role in providing students with various cultural information about various English speaking countries.

• The Journal of the Korea Contents Association
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• v.19 no.9
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• pp.646-657
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• 2019

It has been 20 years since the cultural contents were newly emerged in the late 1990s and grown in our society. However, efforts to establish culture contents concept and to establish cultural contents as a separate discipline are relatively poor. There may be various reasons, but the most important thing is that it failed to cover the broad sense of the word 'cultural contents' and to present a key concept through the core. Therefore, this study examined the possibility of securing the conceptual resources necessary to lay the foundation for cultural contents within play, under the premise that cultural contents should be play studies in the 21st century. In order to do this, this paper examined the meaning of play in each of the three conceptual categories, ie, mimesis, aesthetics, and power, which are deemed to be related to the meaning of cultural contents that we currently use. As a result, it has been confirmed that play is used in various ways in connection with various concepts such as emotion, art, percept, cognition, education, coincidence, power, hegemony, class, religion, ritual. These various uses of play concept can give cultural contents researchers an opportunity to study cultural contents from a play perspective.

• Cross-Cultural Studies
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• v.31
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• pp.35-64
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• 2013

This thesis seeks to compare China's Jing-ju and Japan's Kabuki for their common aspects and differences and examine how they are performed on the stage. Jing-ju is often called as Beijing Opera to refer to a musical play completed during the mid-Ching era and developed around Beijing. Jing-ju is composite arts of music, dance and play which are remarkable in its strict patterns in move along with luxurious costume and heavy make-up. Kabuki which was developed during the Edo-period, is expressional arts also structured with music, dance and play coupled with extravagant costume as well as even more strictly controlled move and emphasis on the beauty of form. The two plays seem very similar to each other in their time setting to gain popularity or features of play. It may look obvious that Jing-ju which had developed earlier than Kabuki, affected the latter's formation. However, general social practices or cultural trends in China and Japan at the time of their development also influenced literature and arts thus affecting play contents and performance expressions. Although the two plays have similar stage structure, they developed in different ways with detailed differences and actors' performance on the stage, way of using a stage and other ways of directing play are largely distinctive from each other. If a play's primary goal is to gain recognition of audience and draw their positive response, the relationship between play and stage becomes essential. With this understanding, this thesis aims to identify where such similarities and differences between the two plays are from by comparing historical background, stage structural development and directing manner development at a basic level.