• Korean Journal of Child Studies
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• v.23 no.1
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• pp.87-104
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• 2002

This study investigated developmental levels and explored play behaviors in 194 4- and 5-year-old children from low-income families attending 18 daycare centers in Seoul. The Developmental Test for Korean Kindergartners(Korea Institute Curriculum & Evaluation, 1996) was used to assess developmental levels in seven areas. Play behaviors were observed during free-play in their classrooms. Data were analyzed by two-way ANOVA and $x^2$. Results were that the children from low-income families showed highest scores in motor skill development and the lowest scores in mathematical and scientific development. The children engaged most frequently in group-functional play, followed by onlooker behaviors, group-dramatic, and group-constructive play. Onlooker behaviors were the most frequent activity of the 4-year-olds, and the block corner was the most frequently used area during free-play.

• Cross-Cultural Studies
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• v.23
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• pp.127-165
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• 2011

This paper focuses on the specificities and semantic meaning of Mikhail Bulgakov's metadrama White Guard and The Flight. The standard conception of metadrama is to purposefully break the dramatic illusion and make bare a playwright's self-consciousness of the theatrical art itself. With the use of the metadrama Bulgakov expressed the essentials of ugly reality, which he couldn't accept as a valuable truth. In this respect, Bulgakov's metadrama becomes at once a window, from which he views the external world in the theatrical vision, and a mirror, in which his political and existential stance as a playwright is reflected. In White Guard Bulgakov described the already theatricalized reality through several instances of 'play-within-play'. In The Flight, composed of eight pieces of dream, a life turned out to be a less solid and less firm reality than dream. Continuously demolishing the cognitive wall between reality and illusion, Bulgakov leads spectators to have a reflective view on the reality. Allowing more powerful demonstrativeness for a play-within-play than for a play-within-play, Bulgakov elevates a metadramatic technique to the level of thematic structure.

• Korean Journal of Child Studies
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• v.26 no.6
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• pp.1-15
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• 2005

The purposes of this study were to assess children's emotional competence, to examine whether there was a difference in children's emotional competence according to their gender, and to investigate the relationship between children's emotional competence and their play behavior. The subjects of this study were 104 four-year-old children(56 boys, 48 girls). Collected data were analyzed by frequency, percentage, means, standard deviation and Pearson's correlation. The results were as follows : First, there was meaningful correlation among the emotional competence measured by teacher, the understanding and expression of emotion and the emotional regulation measured by mother. Second, there was difference in children's emotional competence according to gender. Specifically, girls showed better competence in the socio-behavioral emotional competence and the understanding and expression of emotion than boys. Third, the dramatic play and the group play had some meaningful correlation with the emotional competence measured by teacher and the understanding and expression of emotion measured by mother.

• (The) Research of the performance art and culture
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• no.40
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• pp.163-192
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• 2020

Sinjungsin Mask Play, one of Ttangseolbeop, is related to Seongjusin's life story. Sinjungsin Mask Play is a reconstruction of the story of the folk gods Seongjusin met while returning home. Seongjusin's life story proceeds in the form of Mask Play, and the monk who leads the sermon plays narration and main roles. Many believers play various roles and musicians. Sinjungsin Mask Play introduces many folk beliefs, sounds for intrigue, and talks. Sinjungsin Mask Play uses the same method of enumeration and repetition as the existing Mask Play. The repetition of a sentence or phrase plays a role in foreseeing the meaning of the context or foretelling the development of the plot to the audience. This repetition is intended to emphasize the situation of the scene and to create rhythm. Since Mask Play was exclusively for the common people, Mask Play actors use the repeating method commonly used in folk songs to form lines. This gives the audience a familiarity, effectively communicating the lines and responding to their tastes. Sinjungsin Mask Play borrowed people's way of playing for the public's mission. It inherits the dramatic forms of traditional traditional plays such as repetition of words or sentences or phrases, codification of words or sentences, borrowing of existing songs, and formal expression units. In addition, through repeated performances, believers can easily and easily learn and understand. This is the dramatic form and characteristics of Sinjungsin Mask Play. Sinjungsin Mask Play was handed down from Faith Communities and was used as a means of folk cultivation to spread illegality. Buddhism externalizes the process of accepting folk beliefs through Mask Play, and in the case of Shinto who participated directly or indirectly, they naturally acquire the belief system of Hwaeom Kyung through play. Sinjungsin Mask Play, one of Ttangseolbeop, can be said to have great value as an ICH, as well as popularization and mission.

• English Language & Literature Teaching
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• no.1
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• pp.189-211
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• 1995

Dream Girl. which was written to entertain. reflects his concern of psychoanalysis. The play does indeed glow with the happiness surrounding its creation and it is a theatrically astute. deftly crafted comedy. If it has a thesis, it is that one should live one's life and not dream away. Some critics say that Dream Girl is the merriest and the other critics bewail the lack of message. But this play does amuse many people and is a nice fusion of realism, expressionism, and entertainment.

• Korean Journal of Child Studies
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• v.25 no.5
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• pp.95-110
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• 2004

This research employs the grounded theory approach among various qualitative methodologies in order to reach a deep understanding of both the experiential process that children undergo in block play and the essential meaning of it. The objects of this study are 22 children(female 7, male 15) in a 5-year-old class of K kindergarten at Guro district, Seoul. The result of this research shows that first, children take pleasure in block play because of the delight and sense of accomplishment in building, the joy in demolishing, and the happiness of embracing the world through dramatic play with building structures. Second, the characteristics of children's block play are popular subject of the play, decision of the subject, impromptu transformation and elaboration of building structures, and flow of the play according to friend/non-friend relationship. Third, the implicit rules shared by children have more significant influences upon the block play than the agreed rules at the beginning of semester.

• Cross-Cultural Studies
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• v.29
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• pp.7-24
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• 2012

"Duck Hunting" is the most psychological play with unique structure written by Aleksandr Vampilov. The play describes protagonist hero's furious behavior with psychological instability, therefore, this play tends to be recognized as serious and complicated one. After the death of Vampilov, "Duck Hunting" was reproduced as a film, titled as "Vacation in September." This study is designed to shed light on the play's psychological-dramatic factors by focusing on the structure of narrative and spatial-temporal objet. Also, this study compared the screenshots of the play with their textual meanings, then concentrated on main character's psychological features. By focusing on protagonist hero's mind, this study tries to look into the features of the play and its meanings for modern period. The film's plot is a kind of story telling structure based on main character's memory. The short stories of main character represents that Jilov(main character's name)'s losing his own life. The audience can acknowledge that Jilov's life as a duck hunter who is cynical, ideological, lazy, and self-interest oriented person. This play provokes the audience to compare their life to Jilov's one because such comparison helps the audience recognize their lives as surplus style of life with nihilism. Jilov as a character represents one of Soviet's generation with the feeling of great loss in 1960s.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.619-639
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• 2009

In his 1993 stage play, Arcadia, Tom Stoppard appropriates scientific theories to dramatize the difficulty in predicting the future and in describing the past. Arcadia tracks the archaeological efforts of two present-day literary critics, Hannah Jarvis and Bernard Nightingale, as they attempt to piece together the events that occurred at a large country house called Sidley Park, from 1809 to 1812. While employing a variety of historical and cultural references to the changes taking place in British landscape gardening around the early nineteenth century, the play also turns around the intuitive-romantic versus rational-classical dichotomy represented by Hannah, and present in its discussion of science and the recoverable/irrecoverable past. Stoppard's use of chaos theory as a metaphor for the difficulties faced by those involved in biographical/bibliographical literary research suggests that unsubstantiated assumption can result in the construction of its subject, rather than in its recovery. This paper explores the way in which Stoppard uses scientific concepts, particularly the chaos theory, as a metaphor for human life and behaviour, and how he successfully describes the dilemmas and contradictions of life in so doing. Influences from his famous British predecessors, George Bernard Shaw and Oscar Wilde, are evident, but Stoppard transcends both playwrights and crafts a dramatic style distinctively his own. The combination of wit, comedy, intellectual depth, intriguing ideas, literary allusions, scientific concepts, metaphors, and cultural references, all combine to make Arcadia a dramatic edifice that will stand the test of time.

• Journal of English Language & Literature
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• v.57 no.3
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• pp.473-493
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• 2011

This paper aims, first, to trace the trajectory of Sebastian Barry's dramatic works in terms of retrieving the hidden (hi)stories of his family members, and second, to analyze his most successful play to date in both critical and commercial senses, The Steward of Christendom, in terms of the tension or even rupture between Irish national history and the dramatic representation of it. If contemporary Irish drama as a whole can be seen as an act of mirroring up to nation, Barry's is a refracting than reflecting act. Whereas modern Irish drama tends to have helped, however inadvertently, consolidate the nation-state by imagining Ireland through its other (either in the form of the British empire or the Protestant Unionist north), Barry's drama aims at cracking the surface homogeneity of Irish identity by re-imagining "ourselves" (a forgotten part of which is a community of southern Catholic loyalists). Furthermore, the "ourselves" re-imagined in Barry's drama is more fractured than unified, irreducible in its multiplicity than acquiescent in its singularity. The playwright's foremost concern is to retrieve the lives of "history's leftovers, men and women defeated and discarded by their times" and re-member those men and women who have been expunged from the imagined community of the Irish nation. This he does by endowing "every life" with "an after-life" and "every demon" with "a fairy tale." The Steward of Christendom is Barry's dramatic attempt to bestow upon the historically demonized Thomas Dunne, an Irish policeman in the British Empire, his fairy-tale redemption.

• 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.