• Journal of Korean Theatre Studies Association
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• no.53
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• pp.167-202
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• 2014

When video composes mise-en-scene during the performance, it reflects the aspect of contemporary image culture, where the individual as creator joins in the image culture through the device of cell phone and computer remediating the former video technology. It also closely related with the contemporary theatre culture in which 1960's and 1970's video art was weaved into the contemporary performance theatre. With these cultural background, theatre practitioners regarded media-friendly mise-en-scene as an alternative facing the cultural landscape the linear representational narrative did not correspond to the present culture. Nonetheless, it can not be ignored that video in the performance theatre is remediating its historical function: to criticize the social reality. to enrich the aesthetic or emotional reality. I focused video in the performance theatre could feature the object with the image by realizing the realtime relay, emphasizing the situation within the frame, and strengthening the reality by alluding the object as a gesutre. So I explored its two historical manuel. First, video recorded the spot, communicated the information, and arose the audience's recognition of the object to its critical function. Second, video in performance theatre could redistribute perceptual way according to the editing method like as close up, slow motion, multiple perspective, montage and collage, and transformation of the image to the aesthetic function. Reminding the historical function of video in contemporary performance theatre, I analyzed two shows, Schaubuhne's Hamlet and Lenea de Sombra's Amarillo which were introduced to Korean audiences during the 2010 Seoul Theatre Olympics. It is known to us that Ostermeir found real social reality as a text and made the play the context. In this, he used video as a vehicle to penetrate the social reality through the hero's perspective. It is also noteworthy that Ostermeir understood Hamlet's dilemma as these days' young generation's propensity. They delayed action while being involved in image culture. Besides his use of video in the piece revitalized the aesthetic function of video by hypermedial perceptual method. Amarillo combined documentary theatre method with installation, physical theatre, and video relay on the spot, and activated aesthetic function with the intermediality, its interacting co-relationship between the media. In this performance theatre, video has recorded and pursued the absent presence of the real people who died or lost in the desert. At the same time it fantasized the emotional aspect of the people at the moment of their death, which would be opaque or non prominent otherwise. As a conclusion, I found the video in contemporary performance theatre visualized the rupture between the media and perform their intermediality. It attempted to disturb the transparent immediacy to invoke the spectator's perception to the theatrical situation, to open its emotional and spiritual aspect, and to remind the realities as with Schaubuhne's Hamlet and Lenea de Sombra's Amarillo.

• Journal of Korean Library and Information Science Society
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• v.50 no.1
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• pp.225-250
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• 2019

The study aims to explore 'reading promotion projects' led by the Korean Education Office and to ponder meaning of the projects, and then to propose the future directions for the projects. To achieve the purpose, the study selected to analyze a reading promotion project called as "Ulsan Students' Reading Day~" by Ulsan MetropolitanCity Office of Education as a case and sample for the study. The study was designed to use two research methods and phases to explore the project in detail: documentary research and survey method. First, the study collected and analyzed the literatures and contents related to the projects but focused on examining progresses of the project such as situations from the introduction stage to the settlement stage. Second, the study conducted survey to collect data from teachers and students who have experienced the project in elementary, middle and high schools. The detailed contents of questionnaires contain current states of the project in each school, assessment of the project, and requirements for the project. The study found that the project resulted in positive influence to students' reading skills and education. In spite of these positive results, it is necessary to develop altenatives to solve some limts in the current states of the project. Reading promotion projects, in long run, need to have profeissional staffs with responsbility for managing the projects, to improve environments for reading promotion, and to encourage students' voluntary participation to the projects.

• 한국노년학
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• v.38 no.4
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• pp.871-889
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• 2018

This study aims to explore social participation needs among the elderly in Korea from the perspective of the elderly participant's. 40 Q-samples are drawn from the Q-population including attitudes and needs toward social participation in later life based on news articles, essays, research, documentary, and television shows. 35 subjects are analysed by the QUANL program and the types of social participation needs are divided into four patterns which accounted for 60.16% of the total variance. The elderly's portrayal of an ideal social participation is about making independent decisions and being able to actively participate in the activities they chose to do. However, their most undesirable scenario would be being confused and uncertain of what they should do the remainder of their lives. The needs of social participation among the elderly varies on four indicators such as ego, social capital, life satisfaction, life vitality and these four indicators have two sub-categories with a total of 8 types of classification. These 8 types differ by priorities, adaptation to life changes, motivation to social participation, and desired activity. Findings suggest that researchers and policy makers need to consider service user perspective on social participation in later life, not service provider perspective.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.102-121
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• 2010

Three bronze bells excavated from the Hoeamsa temple site were investigated for their microstructures and chemical compositions in an effort to understand the technology applied in fabrication, which may represent the related industry established in the early Joseon period. The result shows that the bells were cast from alloys of approximately 85% copper-8% tin-7% lead. The chemical analysis for ten trace elements shows that they were all kept below 0.3 weight %, suggesting that the alloys were made of relatively well-refined copper, tin and lead. The presence of sulfur and iron indicates that chalcopyrite or chalcocite may have been used in the smelting of copper. Evidence has been found that the bells were cast by pouring the liquid metal from the top of the sand molds that were set up in an upright position. No additional treatments, thermal or mechanical, other than a little grinding were applied upon the completion of casting. After the shaping process, a balancing plate was attached to the top of the bell using a steel connection ring. The connection assembly was then fixed to the main body by using molten bronze as a solder. The surface inscription was found carved using different techniques. The differences in the order of strokes and the calligraphic style indicate that the carving was carried out by more than one master. In the absence of documentary evidence on past bronze technology, the present bronze bells with known chronology, provenance and the main agent of production, prove to be a rare and valuable archaeological material for the understanding of the related technology in use in the early Joseon period.

• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.154-165
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• 2015

Common issues in research and policy on cultural heritage can be extracted among Eurasian countries although countries in the region show different colors of policies and studies. Among them one thing peculiar to Central Asian countries is that in general they do not have well delineated laws and regulations on the protection of cultural heritage. It may be because they had no enough time and experience to legislate and implement relevant laws and regulations ever since they got independence. Research on cultural heritage in Central Asian countries is often made in cooperation with foreign institutions. As shown in archaeological excavation projects in Central Asian countries, cooperative projects exceed noncooperative ones in terms of size and longevity. UNESCO, through its projects on the Serial and Transboundary World Heritage Nomination of the Silk Roads in Central Asia, also supports countries in Central Asia and others along the Silk Road in order to facilitate inclusion of their cultural heritages in the Tentative List of the World Heritage. With regard to activities on the protection of cultural heritage, while respective countries in Central Asia have made good efforts, they could not produce effective outcomes due to short of budget and specialized manpower. They have rich resources of cultural and documentary heritage but their registered heritages on the UNESCO's World Heritage List and Memory of the World are under-represented because of short of technology and experience among other things. A new trend in cultural heritage studies that combined cultural heritage with tourism has merged in recent years. While some critics have raised some negative questions, this new fashion became popular and will continue with the support of governments of Silk Road countries. In conclusion, Korean institutions are further encouraged to organize cooperative networks for research and policy with respective Eurasian countries.

• Journal of Conservation Science
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• v.37 no.2
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• pp.120-134
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• 2021

A Woolen carpet from the late Joseon Dynasty was unearthed in the process of repairing Seongjeonggak in Changdeokgung. Since relics are rarer than documentary records, the woolen carpet is highly valued as a relics. It is presumed to have been woven in the late 19th or early 20th century because there is a record of repairing Seongjeonggak in 1907. In the carpet, a pattern is made by inserting colored yarn dyed yellow and red onto a reddish-purple ground weave. The selvage of the woolen carpet used cotton thread, and jute is used for the warp and weft of the ground weave. The colored patterns is made of wool in the form of loop pile. Cut piles may appear occasionally when the colored yarn changes, but are almost invisible from the surface because they are pressed tightly with a shuttered weft. Making carpets with jute and wool is thought to be influenced by the Brussels carpets of the mid-18th century. Furthermore, the woolen carpet is torn and the pattern is completely unclear; however, it is understandable that the pattern is partially repeated. Microscopic and Fourier transform-Infrared spectrometer(FT-IR) analyses were performed for the above investigation. To identify the dyes used in relics, we compared them with natural dyed fabric samples based on chromaticity measurements and Ultraviolet/Visible spectrophotometer(UV-Vis) analysis. These analyses revealed that the woolen carpet's dyed green yarn did not use indigo, and reddish-purple ground weave is estimated to have used Caesalpinia sappan.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.77-84
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• 2021

This paper attempted to examine the value of private house garden as a historical garden among local cultural heritages remaining in Chungcheong-do Province. To this end, the following conclusions were drawn through the framework of value analysis in which the contents of Ji Cheng's Yuanye of China, Tachibana Toshitsuna's Sakuteiki in Japan, and HISTORIC GARDENS THE FLORENCE CHARTER 1981 were applied to target sites. First, local cultural heritage belong to unregistered cultural heritage, and a total of 616 local cultural heritages in Chungcheong-do Province were identified, and Cheongju City possesses the largest number of local cultural heritages. Most of the local cultural heritages are distributed in ancient capital or adjacent to it, and five of the local heritages are related to historical garden. Second, the target sites were old houses constructed during the Joseon Dynasty with a long history, and although there were few changes in spatial division, the scale of some gardens and outer yard spaces was reduced due to urban planning, etc. Third, the target site is Sangjihapui(相地合宜) and Inchacheui(因借體宜) in location and space division, so the space is divided according to the surrounding terrain and the landscape is naturally drawn to construct a garden. Fourth, the garden of the target site has a structural value of a garden that is Jeongihapui(精而合宜) and Gyoideukche(巧而得體) as it is subtle and naturally constructed with the garden by grasping the surrounding terrain. Fifth, for the continuous preservation of historical garden, it is necessary to strengthen the already enacted local cultural heritage ordinance, and to establish a documentary project for each spatial component and a plan for climate change.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.187-206
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• 2021

The purpose of this study is to analyze the compositions and characteristics in cultural programs of the 1988 Seoul Olympics and the 2018 PyeongChang Winter Olympic Games. A research method was considered the developmental aspects of Cultural Olympics in all-time Olympic Games and the cases of Cultural Olympics in a host country through a documentary research method. The compositions and characteristics in cultural programs of the 1988 Seoul Olympics and the 2018 PyeongChang Winter Olympic Games were diversely analyzed. The results are as follows. First, a concept of a cultural program was deepened and developed at the 1992 Barcelona Olympics. In the wake of the 2010 Vancouver Olympics, IOC published the Cultural Olympic Guide. Through the 2012 London Olympics, the Cultural Olympic Guide was revised. Second, the cultural programs of the 1988 Seoul Olympics and the 2018 PyeongChang Winter Olympic Games showed the characteristics of image change & status and of the international exchange strengthening in a host country and a holding city. Third, in terms of cultural programs, the 1988 Seoul Olympics comprised the celebrations, performances & exhibitions amid the Culture and Arts Festival, and the International Academic Conference. The 2018 PyeongChang Winter Olympic Games were composed of performances, exhibitions, festivals, humanities & experience, and educational events. Fourth, the 1988 Seoul Olympics included the key element of forming a program that equally has the characteristics with the harmony between tradition and modernity, with the promotion of the excellence in Korean traditional culture & the spread in a bond of sympathy, and with various cultures and arts in each region. Also, the 2018 PyeongChang Winter Olympic Games pushed ahead with the strategy dubbed 'The Olympics in which there is culture day after day, in which provincial residents participate, and in which the cultural heritage is left' in order to systematically expedite the cultural Olympics.

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.11-20
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• 2021

The purpose of this study is to propose a documentary plan for the 7th Gyeongbuk Intangible Cultural Property, Andong-Notdaribapgi. Most of the records of Andong-Notdaribapgi. are produced centering on play. Thus this study aims to the method of recording it so that it can be accessed and utilized in the long term. This is a study at the beginning stage for documenting the Andong-Notdaribapgi. First of all, at the stage of the basic framework, the concept and characteristics of the recording of the Andong-Notdaribapgi were derived, and the meaning and necessity of recording was raised. In addition, the entire category of records was set through the analysis of the behavior process of Andong-Notdaribapgi, and the occurrence records and the contents of the records were organized focusing on the behavior processes occurring in various forms through the analysis of the recording target. In addition, materials that can be used are organized by focusing on the details and contents, including related records, and records that can be produced in the course of action are organized by type characteristics. Lastly, record analysis was based on performance behavior, and management functions were organized based on producers. The management of the records is to make it easier for users with various purposes to access the Intangible Cultural Property, the Andong-Notdaribapgi, and it is expected that it will provide directions and guidelines that can be applied to the recording plan in fields with similar characteristics.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.107-116
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• 2021

In recent years, the research on audience satisfaction after watching programs has been carried out in various fields. However, there is no precedent for the study of simply analyzing the influencing factors of audience satisfaction with the newly established CCTV-9 channel. For CCTV-9, how to explore the strategy of industrial development based on the needs of the audience in the era of big data is a very important part. This article exploratively focuses on the influencing factors related to CCTV-9 audience satisfaction. Using questionnaires, 101 samples of the satisfaction with the channel of men and women of different ages, education backgrounds, majors, and incomes were collected to test, and 9 hypotheses were tentatively proposed as relevant influencing factors of channel satisfaction. Through empirical analysis, this research searches for the determinants. The reliability and validity of the measurement were properly analyzed, and all hypotheses were statistically tested. The empirical results show that: subject matter, program format, program scheduling, program broadcast time, channel advertising, simulcast series of documentaries, diversified communication platforms, brand image packaging and audience satisfaction are significantly positively correlated.