• 한국연극학
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• 제49호
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• pp.171-208
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• 2013

Site-specific performance is always the real on-site work taking place at the site. Hence, it deals with the reality, in other words, the time of creation and formation. And it creates value and meaning through the interaction and continuous direct communication process between the performers, audience and the local residents. In this performance, the audience's status as the passive observer changes. They become the co-agent who actively lead and complete the performance through their own experience. We have examined the The Working Methods of Site-specific Performance and Aesthetics of Effect through four Korean performances ; Marie, An aesthetic experiment of site as the storyteller; Heterotopia and Urban Movement Research or Play: We Will Move Your Sofa, as performances which have Revealed history, politics, institution engraved in the site ; A Song of Mandala and Miracle, as a ritualistic site-specific performance at the historic site. Some remarks on Site-specific performance ; First, In Site-specific performance, the habitus peculiar to the stage art and the mode of reception are changed. Second, a new mode of theatrical communication requires creator and audience to have a sharp aesthetic sensibility and to change one's perceptual habit. Third, Site-specific performance can act as a demonstration for the viewpoints of political activism through what could be called a dramatic close-up effect. Fourth, Site-specific performance also has the risk of merely becoming an unfocused and scattered performance or degenerating into a pseudo-sightseeing. To avoid this, an in-depth study of the site and its socio-cultural context, and the clear motivation with which one is trying to reveal and tell from the site must be indispensable. As the co-agent, the audience should also be aware and think about what the given performance signifies today.

• 디지털융복합연구
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• 제20권1호
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• pp.155-163
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• 2022

미디어 기업은 21세기 들어 그 어떤 산업분야보다 급격한 환경 변화를 겪고 있다. 크고 작은 진입장벽으로 신규 진입이 용이하지 않았던 방송 분야에서는 IPTV, OTT 등 플랫폼이 다양해지면서 콘텐츠 수요가 크게 증가하였고, 이는 다양한 플레이어가 제작시장에 진출하는 계기가 되었다. 이에 따라 수직적 통합구조로 자체제작에 집중하던 지상파 방송사도 제작사를 분사하거나 신설하고 있으며, 엔터테인먼트 기업을 대표로 하는 새로운 진입자는 기존의 방송사업자가 추진하지 못했던 다양한 기업전략을 실행하고 있다. 뿐만 아니라, 기존의 독립 제작사도 재무안정성 제고를 위해 유가증권 시장에 진출하거나, 사업다각화로 국내 제작시장의 한 축을 유지하고 있다. 이 연구에서는 미디어산업의 생태계를 구성하고 있는 다양한 기업 중 매출액 기준 50위권의 방송 프로그램 제작사를 대상으로, 기업전략의 특성을 살펴보고자 하였다. 분석 대상은 모기업의 유형을 중심으로 방송사 계열, 엔터테인먼트 계열, 독립 계열로 각각 구분하였고, 각사의 홈페이지 공시 내용과 기업 IR 자료, 증권감독원에 제출된 감사보고서 및 신문 기사 등의 자료를 2차 분석하였다. 분석 결과, 세 유형의 제작사들은 자본 확보방식이나 사업 분야, 다각화 방식 등에서 다양한 특성을 나타내었다.

• 공연문화연구
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• 제32호
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• pp.71-106
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• 2016

이 글은 극단 '사니너머'에 의해 공연된 <돌아온 박첨지 시즌2>의 분석을 통해 전통연희의 현재화 방안을 모색하고, 작품이 지니는 공연사적 의의를 정립하는데 그 목적이 있다. <돌아온 박첨지 시즌2>는 남사당패 놀이종목 중의 하나였던 <꼭두각시놀음>의 동시대적 변주를 시도했다. 이를 위해 <꼭두각시놀음>의 주인공이자 서사전달자인 박첨지의 역할을 배제하거나 축소시킴으로써 박첨지 주변 인형들의 부각을 꾀했다. <돌아온 박첨지 시즌2>는 원 텍스트에 우리사회의 민감한 뉴스들과 사건들을 끌어와 접목했으며 '장구잽이' '북잽이' '세월호' '바바리맨 김가' '육방' '매호씨' '초란이' 등의 창작모형과 인형들을 제작해 현대판 <꼭두각시놀음>을 구축하는데 동참시켰다. 창작인형들과 '박첨지' '꼭두각시' '상좌중' '이시미' 등과 같은 전통인형들의 조합은 <꼭두각시놀음>이 성행했던 조선시대를 뛰어넘어 현대사회를 패러디하고 비판하는데 매우 적절히 적용될 수 있었다. <돌아온 박첨지 시즌2>의 등장인형들이 우리시대를 풍자하고 비판하는데 주로 활용되었다면 줄놀음 풍물놀이 버나놀이 사자놀이 등의 놀이장면들은 극적 재미를 창출하고 남사당패의 놀이정신을 환기시켜주는 이중의 효과를 꾀할 수 있었다. 남사당패 레퍼토리 중의 하나인 인형극의 형식을 차용해 줄놀음 풍물놀이 버나놀이와 같은 남사당 놀이종목들을 중첩시킴으로써 극적효과를 극대화하고 이로써 관람객들과 폭넓은 공감대를 형성하는데 실효를 거둘 수 있었다는 점이다. <돌아온 박첨지 시즌2>는 <꼭두각시놀음>의 단선적이고 단조로운 공간적 장애를 극복하기 위해 무대 전면과 후면에 단계적으로 층위를 두고 검은 천을 두름으로써 깊이 감을 자아냈다. 이렇게 앞뒤로 확장된 무대는 인물들의 등 퇴장시 웅장한 장관을 연출했을 뿐만 아니라, 다양한 볼거리와 연극적 재미를 창출하는 매개체로 작용할 수 있었다. 그 결과, <돌아온 박첨지 시즌2>는 현전하는 <꼭두각시놀음>에 존재하는 않는 '동시대 사회상의 비판과 현실참여'라는 원전의 기본정신을 되찾게 되었다. 전통연희를 보존하며 동시에 현대화가 가능할 수 있음을 입증한 것이다. 극단 '사니너머'의 이러한 시도는 전통연희 보존회 혹은 전수회가 추구해야할 궁극적이고 바람직한 모델을 제시해주었다. 연희단체들에게 공연을 올리는 목적과 연습에 임하는 자세에 대해 명쾌한 답을 주었다. 전승연희 본연의 임무에 대해 깊이 생각할 수 있는 기회를 마련해주었다는 사실이다. 나아가 전통연희의 원형적 특성을 살려 현대 관객들과 소통하는 방식은 연출기법의 외연을 확장시키는데 기여할 수 있었다. <돌아온 박첨지 시즌 2>가 전통을 현재화하는 기존의 연출방식을 뛰어넘어 독창적 노선의 새로운 공연양상을 창출하였기 때문이다.

• 한국의류산업학회지
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• 제14권2호
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• pp.193-202
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• 2012

With entering the 21st century, modern people's dark inside and panic are emerging as the talking point on the theater stage. Even in the field of stage costume, the necessity of a research is being demanded through analyzing on psychological anguish and structure of characters. Accordingly, this study aims to allow the stage costume design to be expressed a human being's Doppelg$\ddot{a}$nger Image, which was elicited through analyzing a work of the play titled Le Grand C$\acute{e}$r$\acute{e}$monial by a playwriter Fernando Arrabal, who draws the conflictory and contradictory duplicity, which positions in a human being's deep inside by having chaos as catalyst. A research subject is 'Le Grand C$\acute{e}$r$\acute{e}$monial,' which was staged as the winter performance in commemoration of the 50th anniversary for the foundation of Dept. of Theater, Chung-Ang Univ. in November 2009. Psychology of characters in a play, which varies dimensionally, could be delivered, as nonverbal element called costume, by applying costume design of Cavanoza, Syl, Nice to Doppelg$\ddot{a}$nger Image such as Innocence vs Cruelty, Purity vs Superficiality and Restraint vs Freedom, which were elicited through analyzing characters. Through this study, the costume, which was expressed by visualizing a human being's Doppelg$\ddot{a}$nger Image, could be known to function as important dramatic factor of allowing character's psychology to be understood through costume as well as functioning as visual and sensible language, which is important for communication with the audience. A research on costume design, which reflects a character's complex inside, is expected to be likely continued through in-depth analysis on a playwriter's intention and on the appearing characters at the current point of time when an active research is being performed on stage costume in the wake of this study.

• 비교문화연구
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• 제38권
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• pp.29-63
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• 2015

This paper attempts to re-read Tennessee William's A Streetcar Named Desire from a non-Aristotelian perspective, particularly focusing on the audience performativity. In Chapter 6 of the Poetics, Aristotle says that tragedy has a final purpose or end (telos) and that is to inspire a catharsis (literally "purification") of pity and fear by means of representation and to give pleasure from experiencing their relief. However, a dramatic theoretician Augusto Boal argues that Aristotelian catharsis is not to get rid of pity and fear through their vehement discharge; rather, the basic function of catharsis is the purging of antisocial elements from the social body and the restoration of order because catharsis occurs when the spectator, terrified by the spectacle of the catastrophe, is purified of his "hamartia" which looks similar to the tragic flaw of the hero in the play. Thus, Boal asserts that Aristotle's coercive system of tragedy manipulates the emotions of the passive spectator. By contrast, in non-Aristotelian aesthetics, tragedy functions not as legitimation for a particular political configuration but as the performance of ethical acts-through which all the participants, including not only the actors but also the audience, communicate more actively about practical problems and actively work in order to make sense of themselves, others, and society. Here, the audience is required to restore and reinforce his/her capacity to think and to act; thus, an unquestioning, passive, indifferent attitude is not allowed. In these contexts, this paper explores how Tennessee William's A Streetcar Named Desire involves the audience in the responsibility for what occurs on the stage, in order to urge the audience's ethical judgements and responsible acts. This paper argues that what this play asks of us is not catharsis, the purging of pity and fear, but empathy toward the other's pain, beyond pity and fear, to carry out our responsibility of sharing in and caring for the other's suffering. That is to say that it will be an ethical way to "re-member" Blanche DuBoi-the iconic Williams victim "dis-membered" by traumatic memories and open wounds and is thus unable to complete her grieving and mourning-as one of us, not as the other. It will be the only way to remember right regarding her tragedy.

• 감성과학
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• 제11권4호
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• pp.541-552
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• 2008

감정은 수량, 크기, 종류를 측정하기 어려워 언어로 표현하는데 한계가 있다. 세익스피어의 '햄릿'에서 주인공 햄릿의 경우 여러 가지 극적인 상황으로 인해 말로 표현하기 힘든 감정 상태를 가진다. 따라서 본 논문은 현재의 감정 상태를 말 대신 위치와 색으로 시각화하여 표현하는 인공감정을 제안하고, 이를 이용하여 '햄릿'에 나오는 등장인물들의 감정을 시각화했다. 제안된 인공감정은 네 단계에 걸쳐 구성된다. 첫 번째 단계에선 감정을 인과관계에 따라 분석하여 어떤 종류의 감정자극이 얼마만큼 들어왔는지 분석한다. 두 번째 단계에선, 감정의 생성과 소멸을 표현하는 단위감정그래프를 제안하고, 이를 통해 들어온 감정 자극의 생성, 유지, 소멸을 성격에 따라 표현한다. 세 번째 단계에선 단위감정그래프를 이용하여 같은 종류의 연속된 감정자극을 표현하는 감정그래프를 제안한다. 그리고 감정별로 감정그래프를 하나씩 둬서 각 감정들의 생성과 소멸을 개별적으로 관리한다. 네 번째 단계에선 서로 다른 감정 간의 상호관계에 따라 감정별 감정그래프의 현재 감정을 복합하는 감정장을 제안하고, 감정장상의 위치와 위치에 따른 색으로 현재의 감정 상태를 표현한다. 제안된 인공감정으로 감정상태의 변화를 시각화해보기 위해 '햄릿'에서 등장인물인 햄릿과 거트루드의 감정변화를 인공감정을 통해 시각화하였다.

• BMB Reports
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• 제51권11호
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• pp.572-577
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• 2018

Recent studies showed that the PD-1/PD-L1 checkpoint blockade is a dramatic therapy for melanoma by enhancing antitumor immune activity. Currently, major strategies for the PD-1/PD-L1 blockade have mainly focused on the use of antibodies and compounds. Seeking an alternative approach, others employ endogenous proteins as blocking agents. The extracellular domain of PD-1 (ePD1) includes the binding site with PD-L1. Accordingly, we constructed a PD-1-based recombinantly tailored fusion protein (dFv-ePD1) that consists of bivalent variable fragments (dFv) of an MMP-2/9-targeted antibody and ePD1. The melanoma-binding intensity and antitumor activity were also investigated. We found the intense and selective binding capability of the protein dFv-ePD1 to human melanoma specimens was confirmed by a tissue microarray. In addition, dFv-ePD1 significantly suppressed the migration and invasion of mouse melanoma B16-F1 cells, and displayed cytotoxicity to cancer cells in vitro. Notably, dFv-ePD1 significantly inhibited the growth of mouse melanoma B16-F1 tumor cells in mice and in vivo fluorescence imaging showed that dFv-ePD was gradually accumulated into the B16-F1 tumor. Also the B16-F1 tumor fluorescence intensity at the tumor site was stronger than that of dFv. This study indicates that the recombinant protein dFv-ePD1 has an intensive melanoma-binding capability and exerts potent therapeutic efficacy against melanoma. The novel format of the PD-L1-blocked agent may play an active role in antitumor immunotherapy.

• Nutrition Research and Practice
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• 제5권5호
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• pp.396-403
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• 2011

Ceramides (Cer) comprise the major constituent of sphingolipids in the epidermis and are known to play diverse roles in the outermost layers of the skin including water retention and provision of a physical barrier. In addition, they can be hydrolyzed into free sphingoid bases such as $C_{18}$ sphingosine (SO) and $C_{18}$ sphinganine (SA) or can be further metabolized to $C_{18}$ So-1-phosphate (S1P) and $C_{18}$ Sa-1-phosphate (Sa1P) in keratinocytes. The significance of ceramide metabolites emerged from studies reporting altered levels of SO and SA in skin disorders and the role of S1P and Sa1P as signaling lipids. However, the overall metabolism of sphingoid bases and their phosphates during keratinocyte differentiation remains not fully understood. Therefore, in this study, we analyzed these Cer metabolites in the process of keratinocyte differentiation. Three distinct keratinocyte differentiation stages were prepared using 0.07 mM calcium (Ca$^{2+}$) (proliferation stage), 1.2 mM Ca$^{2+}$ (early differentiation stage) in serum-free medium, or serum-containing medium with vitamin C (50 ${\mu}L$/mL) (late differentiation stage). Serum-containing medium was also used to determine whether vitamin C increases the concentrations of sphingoid bases and their phosphates. The production of sphingoid bases and their phosphates after hydrolysis by alkaline phosphatase was determined using high-performance liquid chromatography. Compared to cells treated with 0.07 mM Ca$^{2+}$, levels of SO, SA, S1P, and SA1P were not altered after treatment with 1.2 mM Ca$^{2+}$. However, in keratinocytes cultured in serum-containing medium with vitamin C, levels of SO, SA, S1P, and SA1P were dramatically higher than those in 0.07- and l.2-mM Ca$^{2+}$-treated cells; however, compared to serum-containing medium alone, vitamin C did not significantly enhance their production. Taken together, we demonstrate that late differentiation induced by vitamin C and serum was accompanied by dramatic increases in the concentration of sphingoid bases and their phosphates, although vitamin C alone had no effect on their production.

• 유통과학연구
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• 제11권2호
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• pp.45-55
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• 2013

Purpose - The development and implementation of OSS (Open Source Software) led to a dramatic change in corporate IT infrastructure, from system server to smart phone, because the performance, reliability, and security functions of OSS are comparable to those of commercial software. Today, OSS has become an indispensable tool to cope with the competitive business environment and the constantly-evolving IT environment. However, the use of OSS is insufficient in small and medium-sized companies and software houses. This study examines the need for OSS Intermediaries in the Software Distribution Channel. It is expected that the role of the OSS Intermediary will be reduced with the improvement of the distribution process. The purpose of this research is to prove that OSS Intermediaries increase the efficiency of the software distribution market. Research design, Data, and Methodology - This study presents the analysis of data gathered online to determine the extent of the impact of the intermediaries on the OSS market. Data was collected using an online survey, conducted by building a personal search robot (web crawler). The survey period lasted 9 days during which a total of 233,021 data points were gathered from sourceforge.net and Apple's App store, the two most popular software intermediaries in the world. The data collected was analyzed using Google's Motion Chart. Results - The study found that, beginning 2006, the production of OSS in the Sourceforge.net increased rapidly across the board, but in the second half of 2009, it dropped sharply. There are many events that can explain this causality; however, we found an appropriate event to explain the effect. It was seen that during the same period of time, the monthly production of OSS in the App store was increasing quickly. The App store showed a contrasting trend to software production. Our follow-up analysis suggests that appropriate intermediaries like App store can enlarge the OSS market. The increase was caused by the appearance of B2C software intermediaries like App store. The results imply that OSS intermediaries can accelerate OSS software distribution, while development of a better online market is critical for corporate users. Conclusion - In this study, we analyzed 233,021 data points on the online software marketplace at Sourceforge.net. It indicates that OSS Intermediaries are needed in the software distribution market for its vitality. It is also critical that OSS intermediaries should satisfy certain qualifications to play a key role as market makers. This study has several interesting implications. One implication of this research is that the OSS intermediary should make an effort to create a complementary relationship between OSS and Proprietary Software. The second implication is that the OSS intermediary must possess a business model that shares the benefits with all the participants (developer, intermediary, and users).The third implication is that the intermediary provides an OSS of high quality like proprietary software with a high level of complexity. Thus, it is worthwhile to examine this study, which proves that the open source software intermediaries are essential in the software distribution channel.

• 한국항만경제학회지
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• 제29권2호
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• pp.81-111
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• 2013

전 세계적으로 사람들의 삶의 수준이 높아지고 관광 형태도 다양화됨에 따라 새로운 관광대상으로 크루즈 관광산업이 빠른 속도로 성장하고 있다. 크루즈 여행은 특히 동북아 지역을 포함하여 지난 20년간 가장 역동적이고 극적으로 성장한 관광분야의 하나이고, 21세기에도 가장 유망한 성장산업으로 주목되고 있다. 승객 수의 증가에 따라, 크루즈 선박의 수와 정박지 수용력은 1970년대 말 이후 현저하게 증가하였다. 한국 또한 반도 국가이기 때문에 크루즈 승객 수의 급속한 성장을 이루었다. 국가 경제는 크루즈 산업이 새로운 직업과 잠재적인 투자 및 지역 관광 개발을 창출해 소득의 원동력 역할을 함으로써 큰 이익을 얻었다. 항만은 단지 선박의 정박지가 아니라 보급과 벙커링 설비, 현지 관광 기회를 제공해주며, 국가의 크루즈 산업의 발전에 중요한 역할을 한다. 최적의 크루즈 항만 선택은 의사결정자들이 경제, 환경, 인간의 삶과 사회에 큰 영향을 미칠 많은 것들을 고려해야 되기 때문에 중요하고 복잡한 문제이다. 따라서 본 논문은 학계나 항만공사 관계자 등의 대상자보다 향후 크루즈 산업에 직접적으로 투자할 해운선사의 인식에 초점을 맞추어 설문을 실시하였고, 국내 해운선사들의 투자 및 진출을 이끌어내기 위해 갖춰야 할 크루즈 항만의 여건이 무엇인지를 알아봄으로써, 실질적인 크루즈 항만의 성공요인을 도출하고자 하였다. 또한 도출된 요인의 상대적 중요도를 바탕으로 국토해양부의 제3차 전국항만기본계획(2011-2020)에서 제시한 부산항, 인천항, 제주항 등의 항만들에 대한 비교 분석을 통해 발전적 시사점을 제시하고자 하였다.