• Child Health Nursing Research
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• v.12 no.4
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• pp.486-494
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• 2006

Purpose: This study was done to analyze children's play during hospitalization. Method: Data were collected from 36 play situations of hospitalized children, ages 2 to 6, hospitalized at 4 general hospitals, one in each city, Seoul, Suwon, Daejeon and Daegu. All observations were made in pediatric units during free-play periods. Each child was observed for 5 minutes at each observation and observed three times at each play session. Results: Of the children, 83.3% played on the bed. Play partners were mainly mothers. While 75.0% of children actively took part in play activity and 70.0% played with joy, 63.9% of play partners were more passive in the play. The most frequent play material was a small toy. The level of play was early stage of social and cognitive play, and dramatic play was observed in a few children over the age of 3 years. The play activities were conversional play, reflections of therapeutic procedures, imagination, and exploratory play. In the conversional play, children converted hospital equipments into play materials. Conclusion: It is recommended that health care team members should pay attention and actively participate in play of hospitalized children in order to help them have some control over the stress of the situation.

• Journal of Digital Contents Society
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• v.15 no.1
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• pp.53-60
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• 2014

Even if shots in frames may be variable in both movies and animations, close-up reveals the significance of the subject in the focus. Because directors and animators take the place the actor as character in animation while performance of actor plays an important role in the close-up in the movies, it is significant to understand the close-up in the animation. In the present study we investigate the dramatic effect of close-up in the animation narrative in animations for theaters. Among the various dramatic effects of the close-up, the natural flow of the narrative and the induction of immersing in emotion are focused. Descriptive close-up is analyzed as a dramatic effect of inducing the natural flow of the narrative. Psychological close-up is analyzed as the induction of immersing emotion by effective delivery of internal mental state of a character. By analyzing symbolic close-up as the induction of immersing in the play by producing a dramatic effect, we expect that the close-up contribute to the advance of animation narrative structure.

• Cross-Cultural Studies
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• v.44
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• pp.315-342
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• 2016

There exists a general misunderstanding of the Musical as being both a dramatic genre and a musical genre. This misunderstanding lies in the fact that music fills the role of the drama. In other words, there exist a series of narrative episodes that help the development of the drama and music generates the ambience that corresponds to each episode. In this case, music is subordinated to the drama and thus becomes secondary. However, this paper seeks to show that in the Musical, musical composition is so strongly linked to the development of the drama that it is through the musical development that the drama unfolds. This paper seeks to explore this view through one of the most successful musicals of our time, Les $Mis{\acute{e}}rables$. A musical adapted from a novel is not the retrenchment of a series of episodes from the original novel. The process of dramatizing the novel compels the musical creators to observe what to draw out as a dramatic action. The interesting points of a musical consist of how the musical creator has reflected his understanding of the fiction through the composition of the music. This is why this paper has created a table analyzing the forty musical compositions in Les $Mis{\acute{e}}rables$. This table is meant to visualize the musical motifs employed in this play in order to explain the relationship between the musical composition and the development of the drama. The theme of Les $Mis{\acute{e}}rables$ lies in the transformation of Jean Valjean. His change includes the process of transformation from a thief to finding Jesus and his denial of being a sinner to his confessions of sinning. This paper explores the transformation of the dramatic action of Jean Valjean, which is symbolized by such themes as Misery, Love and Name established in musical form. The dramatic conflict between Jean Valjean and Javert as well as between Jean Valjean and $Th{\acute{e}}nardier$ is also explored through the composition of music. The success of Les $Mis{\acute{e}}rables$ lies in its successful constitution of music that embodies the in depth interpretation of the original play.

• Cross-Cultural Studies
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• v.42
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• pp.393-418
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• 2016

Raquel, the representative work of Vicente García de la Huerta, an 18th century Spanish playwright achieved theater box-office success and popularity during staging. It has been evaluated by many scholars and critics as the ideal drama that faithfully followed the norms of neoclassicism, which pervaded the aesthetic mainstream at the time. However, the factor that enabled the popular success of this theater production was its ability to harmonize the themes or contents with a traditional play to meet the unique trends and tastes of Spanish viewers who were still appreciated earlier Baroque theater, rather than complying with external norms of neoclassicism such as principle of three unities or exclusion of comic figures etc. That is, Spanish viewers of the time thoroughly rejected theater of neoclassicists who attempted to unilaterally enlighten them while regarding the Baroque theater of earlier times as full of superstition and irrationality, illogic and disorder, regardless of their own dramatic taste. In this situation, Huerta's tragedy Raquel, achieved the harmony of neoclassical tragedy and Spanish theatrical tradition. It thus emphasizes the importance of public support and sponsorship in dramatic success. Traditional dramatic elements shown in Raquel can be summarized as honor, poetic justice and love and these elements are major dramatic codes penetrating the entire Baroque theater of Spain.

• English & American cultural studies
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• v.9 no.1
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• pp.273-295
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• 2009

As Oedipa Mass, the heroine of Thomas Pynchon's The Crying of Lot 49, is apparently associated with Oedipus, the hero in Sophocles' tragedy, this paper aims to show some of their similarities in quest theme and plot development as well as in the use of dramatic irony. Oedipus the King opens with a priest's pleas to relieve the Theban people from a plague and the king's promise to rid its cause by avenging the murder of the former king, as told by the oracle. Lot 49 begins as a Los Angeles law firm informs Oedipa that she is named as the executrix in her former lover Inverarity's will to sort out the mogul's estate. Ironically, however, Oedipus' investigation reveals himself to be the very cause of the national disaster, the murderer for whom he searched. Likewise, Oedipa starts her inquiry dedicating herself to make sense out of what Inverarity had left behind, only to find that the legacy was America. Sophocles and Pynchon both employ dramatic irony to provide a controlling principle for plot development in their works. In Oedipus the King, Sophocles creates mounting tension as well as distance between the reader's knowledge and the protagonist's ignorance, compressing the play's action into the moment that Oedipus discovers his real identity. For dramatic irony, however, Pynchon tends to work through authorial comments and utilize allegorical meanings of the characters' names, directing his novel at illuminating Oedipa's discovery of Inverarity's legacy as well as the meaning of Tristero, an underground postal service system. Unlike Oedipus the King that proceeds on a single line of action, Lot 49 develops in esoteric, multi-layered allusions and intricately-interrelated double strains involving Oedipa's roles as executrix and quester. At the end of Sophocles' tragedy, Oedipus stabs his eyes and decides to live in exile, realizing that, blinded, he begot his children through his mother; Oedipa comes to a painful realization that she allowed her former lover to create death-orienting America without her diversity and moral system in old times. As Oedipa now discovers herself through her search for Tristero, her tragic spirit lies in her determination to confront her binary choices between two Americas: transcendence or entropy, the Tristero possibility or Inverarity's America. Ultimately, Oedipa tries to find who will be the bidder for the Tristero forged stamps designated as lot 49, awaiting the auctioneer's cry and the "crying" of a new-born America.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.12
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• pp.1761-1771
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• 2007

The artificial exaggeration of stage costumes is thought to be one of the major techniques of enhancing dramatic expression on stage, whichever for visual impact or symbolic effect of dramatization. In the history of stage dressing, a variety of styles has been tried using different materials and production techniques. This may be reviewed as an effort to express dramatic effects more effectively. As this trend became obvious in Europe after the Second World War, this study analyzes the stage costume to deepen our understandings of the role of costumes in expressing dramatic effects. To accomplish this, we first summarized the history of stage costume materials and technical advance and chose five major cases representing the history of stage costume since the Second World War in Europe based on aesthetic and creative aspects: 1) Simplified stage of Jacques Copeau, 2) Stylized stage of Bertolt Brecht, 3) Essential stage of Grotowski, 4) Measured stage of Robert Wilson the Master, and 5) Post-dramatic stage of Philippe $Decoufl\'{e}$. In each of particular case, the historical, material and dramatic contexts were examined as well as different material-effects. The results are as followings: 1) Costume for Copeau's simplified stage: its simplicity plays a supporting role to the gesture of actors(intensifying effect). 2) Costume for Brecht's stylized stage: the artificial stylization integrates into the play with the importance approximately equal to the actors's acting. 3) Costumes for Grotowski's essential stage: costumes disappeared to emphasize only actor's presence on stage. 4) Costumes for Robert Wilson's measured stage: costumes made concrete impression to the extent of obtaining the same importance of actor's body among other stage art elements(lighting, sound, props, actor, text, etc). 5) Costumes for Decoufle's post-dramatic stage: costumes in the era of multi technology possess multi functional aspects that surrogate actors' body. This study suggests that stage costumes take an important part in dramaturgy to the extent that the intent of dramaturgy can be induced enough from stage costume. Thus, costume makers are expected to incorporate the appropriate dramatic factor more than before.

• English Language & Literature Teaching
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• v.11 no.4
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• pp.79-96
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• 2005

Eugene O'Neill portrays Puritan values of the Mannon family inherited from their family past. Since Puritan values of the Mannons suppress the normal way of life and love, they retain only rigidity, without the charity which is the core element of the teaching of Christianity. With Puritan repression and its dissociation from the vital spring of life, the Puritan Mannons live in a world drained of life and in a world of hypocrisy between outer beauty and inner ugliness. Ironically, they think more of death itself, neglecting to feel the vitality of life. Working as a fate, Puritan values of the Mannon as 'Force Behind' in O'Neill's own term are the cause of suffering and destruction of the Mannons throughout the whole play. The mask-like house and faces are effectively used as a dramatic technique to express the distorted Puritan values.

• Journal of The Korean Association For Science Education
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• v.32 no.3
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• pp.502-523
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• 2012

The purpose of this study is to explore the relationship between selected components of conceptual ecology that are reflected in high school science students' statements, when answering questions. This study follows from a position that there is reason to believe that, in the process of answering questions, many aspects of conceptual ecology are likely to play a role. Data were gathered through six audio-taped interviews, the science teacher's profiles of each student, the students' personal journals, their assignments, and their examinations and participation in class. Kay and KY were selected as the focus of this study because theirs were both dramatic as well as representative cases. As the findings suggest, learning styles differ according to distinctions within individuals' conceptual ecologies. Thus the way in which a person learns science varies according to the construction of her/his conceptual ecology. This suggests that different forms of pedagogy may be effective with different types of learners. This also suggests that science educators may have a role in assisting students to develop into constructed, rather than received, learners.

• Korean Journal of Biological Psychiatry
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• v.8 no.2
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• pp.233-238
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• 2001

The routine interictal electroencephalogram(EEG) continues to play an important role in the diagnosis and treatment of epilepsy. The clinical investigation of brain disease in the last decade has been marked by dramatic advances in functional imaging, magnetic resonance scanning and digitized EEG. Epilepsy is a disorder of electrical hyperirritability of cerebral cortex and the interictal EEG remains the most convenient means available to demonstrate cortical hyperirritability. The sensitivity and specificity of the EEG in the diagnosis of epilepsy have been disputed. In this review, the type of EEG findings in epilepsy are reviewed and the sensitivity and specificity of interictal epileptiform discharge are discussed. And also the role of EEG in various clinical situations are summarized.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.17-18
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• 2013

UCR 로봇의 유아교육 현장 적용의 효과적인 접근 방법을 모색하고 유아발달에 적절한 콘텐츠를 제공하기 위해 UCR을 활용한 유아 동극 콘텐츠를 개발하여 적용해보았다. 만5세 유아 5명과 보육교사 1명에게 콘텐츠를 적용한 결과, 본 콘텐츠는 유아에게 흥미를 제공하고 유아의 지속적인 참여와 활동에 대한 집중도를 높이는 활동으로 평가되었다. 개발한 UCR 활용 동극 콘텐츠는 유아교육현장에서 로봇활용 교육의 새로운 모델을 제시할 수 있을 것으로 기대된다.