• Korean Journal of Child Studies
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• v.25 no.5
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• pp.41-58
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• 2004

This study examined the relations between children's Impulsivity temperament, socio-dramatic play, and self-regulation of 4-year-old children. Subjects were 117 4-year-old children(59 boys and 58 girls) selected from three kindergartens. Each mother completed a questionnaire on her child's temperament. Naturalistic observations of total socio-dramatic play, complex socio-dramatic play, solitary dramatic play and of self-regulation in two classroom contexts - clean-up periods and group circle time - were conducted for obtaining data. Significance was analyzed by Pearson's correlation and multiple regression analysis. Children's Impulsivity was negatively related to self-regulation and to total and complex socio-dramatic play, but impulsivity was positively related to solitary dramatic play. Total and complex socio-dramatic play was positively related to self-regulation while solitary dramatic play was negatively related to self-regulation. Total and complex socio-dramatic play, and solitary dramatic play displayed a mediating role between impulsivity and self-regulation during clean-up periods.

• Journal of English Language & Literature
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• v.56 no.3
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• pp.519-541
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• 2010

A number of recent Victorian studies have participated in a renewed focus on form. E. Warwick Slinn and Monique R. Morgan, for instance, have contributed to enhancing our understanding of the Victorian dramatic monologue. This paper aims to expand what they have addressed by revisiting the mechanics of the dramatic form as a form, in particular addressing two types of dramatic monologue represented with supreme adroitness by Robert Browning and Alfred, Lord Tennyson, both of whom successfully attempted to widen our epistemology through a large act of the poetic imagination and great intellectual power. To this end, this paper lays particular attention to the role of the reader who is regarded as a key element of the dramatic aspect of the genre. In the dramatic monologue proper, real readers are actively brought into dialogic relation with the speaker or the poet, or both, whereby it seeks to represent an act of play among the poet, the speaker, and the reader. What the genre achieves in this fashion is twofold. For one thing, it pushes itself sufficiently to the very centre of the complex of apparently various narrative motives that animate the genre; for another, it honours the world of multiple viewpoints more than any other previous form of literature, all the more so as readers' views vary across their own time, space, and socio-cultural contexts. Incidentally, in one way and another, the dramatic monologue is of kinship with a Jamesian type of fiction, which is noted for its exterior impersonality. So this paper concludes by suggesting some theoretical implications that the dramatic genre assumes for, not only the naturalist novel, but also the (post-)modernist one.

• The Journal of the Korea Contents Association
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• v.13 no.4
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• pp.469-480
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• 2013

The purpose of this study is to investigate young children's user experience on three types of dramatic activity: traditional dramatic activities, dramatic activities relying on robot projector based augmented reality and creative dramatic activities relying on robot projector based augmented reality. Participants were 20 five-year-old children attending D kindergarten, in Seoul, Korea. They read 3 picture books, then did 3 types of dramatic activities in order. Participants were divided into 3 groups in each activity then they took a role as actors and audiences in order. After all dramatic activities had been done, participants had been interviewed regarding to user experience. The findings of this study are as follows; First, the most interesting dramatic activity for young children was creative dramatic activities relying on robot projector based augmented reality. On the other hand, the least interesting activity was traditional dramatic activities. Second, They answered it the easiest one for them the dramatic activities relying on robot projector based augmented reality, whereas the hardest one was the creative dramatic activities relying on robot projector based augmented reality. Thirdly, all the participants answered that it was not hard for them to use the technology embedded in dramatic activities relying on robot projector based augmented reality. They acknowledged the effects of augmented reality technology and the role of robot as well. The result of this study would suggest the feasibility of new technology promoting young children's digital literacy.

• English Language & Literature Teaching
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• no.4
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• pp.229-247
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• 1998

Keats is a poet who was in pursuit of 'the beautiful'. He tried to show various structures in his poetry to search for 'eternal pleasure'. These are explained in terms of 'metamorphosis', 'travel structure' and 'metamorphosis patterns', but put together, these can be expressed as simple terms of a dramatic structure. Especially We can assume this dramatic structure is the key to access his poetry on the basis of the fact that Keats always admired the world of drama and respected Shakespeare most. We can see Keats' dramatic structure in his poetry Ode to a Nightingale, Ode on a Grecian Urn. To Autumn and so on, and in these three poems, he was very successful in achieving unique poetic expression by inducing tension structure' through the dramatic structure of Introduction - development - crisis - climax - ending. In conclusion, his poetry achieved success in that he made clear his central theme, the pursuit of a beautiful and happy life through the application of a dramatic structure.

• Korean Journal of Child Studies
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• v.19 no.2
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• pp.159-171
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• 1998

This study compared Korean and American children on scaffolding by peers during dramatic play. Thirty Korean and twenty American 5-year-old kindergarteners participated. The data were analyzed by Spradly's (1980) Developmental Research Sequence (DRS), using qualitative methods. The results showed that the categories of scaffolding (theme and communication) occurred more frequently among American children than among Korean children. In both cultures, more capable peers scaffolded children during dramatic play and were able to extend the dramatic play.

• Korean Journal of Child Studies
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• v.16 no.1
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• pp.167-181
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• 1995

The purpose of this study was to examine how the intervention of a literacy environment influences young children's literacy behavior in dramatic play. Four classrooms at S kindergarten and Y kindergarten in Seoul were randomly selected for this study. Each of the classrooms was designated as an experimental group: that is, experimental group A (38 children), experimental group B (34 children), experimental group C (35 children) and a Control group (40 children), respectively. Group C was provided with literacy materials, theme of dramatic play and teacher's intervention. Group B was provided with literacy materials and theme of dramatic play. Group A was provided with only literacy materials. It was found that the intervention of the literacy environment in dramatic play brought about an increase in children's total literacy behavior, increase in the frequency of children's reading behavior, and increase in the frequency and function of children's writing.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.101-110
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• 2019

Filmic spaces are not only a core expressive factors that can embody both internal and external meanings of films, but also play an important role for initiating dramatic context in terms of narratives. They establish visible environment in which provocative incidents occur and characters' behaviors are induced, include characters' psychology or emotional meanings of narratives and provoke tensions through symbolic meanings and the implicit function of surface background. This paper, therefore, analyzes the film, , by focusing on the dramatic function of narrative space. This film provides insights and thoughts through deep philosophical reflection, by escaping from the convention of such a genre, through deep philosophical reflection, by escaping from the convention of such a genre, though it belongs seemingly to the crime thriller genre using Mexico's drug cartel as it main material. In the film, narrative spaces are responsible for emotions invoking dramatic tensions beyond provocative incidents and the elaborately planned and controlled mise-en-scene absorbed audiences' attention by organizing ultimate suspense. In conclusion, flow and dramatic lingering imagery of this film might be achieved by power of scenes rather than plot factors. This study thus explained the correlation between narrative spaces and dramatic immersion, by analyzing spaces appearing in and visualized construction. It is hoped that this will further extends the pattern of researches on dramatic immersion, which have been primarily focused on plots and characters.

• Journal of Digital Contents Society
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• v.17 no.6
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• pp.531-536
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• 2016

This study highlights the effectiveness of analyzing the feelings children have when interacting with robots in a dramatic play setting using augmented reality in Human Robot Interaction (HRI). Existing dramatic play activities using robots by QR-markers were edited, and their weaknesses have been corrected so that children could interact more effectively with robots. Additionally, children's levels of interest and engagement in dramatic play activities, the accuracy of robotic props, and the smartness of robots were analyzed throughout children's interactions during such activities using augmented reality. Younger participants were more likely to find robots interesting and intelligent, and participants with no previous experience with robots had relatively higher levels of interest in robots and tended to notice changes in robots' costumes.

• Korean Journal of Human Ecology
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• v.19 no.3
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• pp.443-453
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• 2010

This study analyzed the effects of dramatic play using Economic-fairy tales on young children's basic- economic understanding and the consumer behavior. The participants in this study were 42 young children who attended a kindergarten in G city. The mean age of participants was 70 months. The experimental group participated in 'Dramatic play using Economic-fairy tales' while the control group participated in a 'Discussion activity using Economic-fairy tales'. The experiment used 'The Basic-Economic Concept Test' and 'The Consumer Behavior Test' in the collection of data and T-test was used to statistically analyze the data. Significant differences were found between the experimental group and comparison group in both the post-test score of Basic-Economic Understanding and of Consumer Behavior NOTE. In conclusion, the results of this study suggested that the technique of dramatic play using Economic-fairy tales which was developed in this study are probably effective in developing young children's basic-economic understanding and consumer behavior.

• Korean Journal of Human Ecology
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• v.5 no.1
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• pp.1-14
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• 1996

The purpose of this study was to examine children's dramatic play and dramatic play themes in the same-age and mixed-age kindergarten classrooms. The subjects were 45 children in three classrooms of 4-year-olds, 69 children in three classrooms of 5-year-olds, and 60 children in three mixed-age classrooms of 4-and 5-year-olds. Observations were conducted by videotape recordings. Observation periods were of five-minutes duration. There were ten observations of children's indoor free-play periods. Four-and five-year-olds in mixed-age classrooms were more likely to engage in group-dramatic play than 4-and 5-year-olds in same-age classrooms. Four-year-olds in mixed-age classrooms were more likely to engage in domestic and family, war/violence, school, animal, and vehicle play themes than 4-year-olds in same-age classrooms. However, 5-year-olds in mixed-age classrooms were more likely to engage in family and school play themes than 5-year-olds in same-age classrooms. 5-year-olds in same-age classrooms were more likely to engage in vehicle and animal play themes than 5-year-olds in mixed-age classrooms. 5-year-olds in same-age classrooms did not differ from 5-year-olds in mixed-age classrooms on the war/violence themes used during dramatic play. In terms of sex differences, boys were more likely to engage in violence, adventure fantage themes than girls. Conversely girls were more likely to engage in family/marriage static play themes than boys.