• Journal of the Korean Society of Costume
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• v.36
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• pp.183-203
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• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

• (The)Study of the Eastern Classic
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• no.68
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• pp.35-67
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• 2017

This paper examines the petition to the king of Doam(陶菴) Leejae(李縡), one of the key figures of 18th century. He wrote a total of 49 he petition to the king, mostly resignation petition to the king. He emphasized the genuine feelings and emphasized the accurate persuasion logic when he was writing a petition to the king. It is not contradictory to these elements, looking at his actual situation he wrote. He wrote the resignation petition to the king three times to resign Daejehak (大提學), he changed his persuasion logic in each of the resignation petition to the king. We can look at the aspect of transforming persuasion logic on the same topic. His resignation petition to the king, for the first time, was particularly well structured in terms of composition, and used a proper accent method. His resignation petition to the king has the beautiful literary art of gomun(古文), such as the expression of the so-called munjongjasoon(文從字順) and the composition of paragraph organically corresponding. The best work of his resignation petition to the king is Maneonso(萬言疏). The contents criticized Yeongjo(英祖)'s tangpyeongchaek(蕩平策) while evaluating Sinimoksa(辛壬獄事). It consists of a total of 5,300 letters. This work repeatedly used the irony, the method of seolui(設疑), and the incremental method to criticize the tangpyeongchaek(蕩平策), and put Yeongjo(英祖)'s position to the corner. This work is an example of other the resignation petition to the king.

• The KIPS Transactions:PartB
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• v.8B no.6
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• pp.685-692
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• 2001

This paper describes how to disambiguate the aspectual meaning of Japanese expression "-te iru" in Japanese-Korean machine translation Due to grammatical similarities of both languages, almost all Japanese- Korean MT systems have been developed under the direct MT strategy, in which the lexical disambiguation is essential to high-quality translation. Japanese has a progressive aspectual marker “-te iru" which is difficult to translate into Korean equivalents because in Korean there are two different progressive aspectual markers: "-ko issta" for "action progressive" and "-e issta" for "state progressive". Moreover, the aspectual system of both languages does not quite coincide with each other, so the Korean progressive aspect could not be determined by Japanese meaning of " te iru" alone. The progressive aspectural meaning may be parially determined by the meaning of predicates and also the semantic meaning of predicates may be partially reshicted by adverbials, so all Japanese predicates are classified into five classes : the 1nd verb is used only for "action progrssive",2nd verb generally for "action progressive" but occasionally for "state progressive", the 3rd verb only for "state progressive", the 4th verb generally for "state progressive", but occasIonally for "action progressive", and the 5th verb for the others. Some heuristic rules are defined for disambiguation of the 2nd and 4th verbs on the basis of adverbs and abverbial phrases. In an experimental evaluation using more than 15,000 sentances from "Asahi newspapers", the proposed method improved the translation quality by about 5%, which proves that it is effective in disambiguating "-te iru" for Japanese-Korean machine translation.translation quality by about 5%, which proves that it is effective in disambiguating "-te iru" for Japanese-Korean machine translation.anslation.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.333-368
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• 2012

Dans l'histoire du $th{\acute{e}}{\hat{a}}tre$ $cor{\acute{e}}en$, la position de Chae yoon-il est $tr{\grave{e}}s$ $particuli{\grave{e}}re$. Il a $consacr{\acute{e}}$, dans ses $carri{\grave{e}}res$ de la mise en $sc{\grave{e}}ne$, toute son ${\acute{e}}nergie$ au $th{\acute{e}}{\hat{a}}tre$ sans jamais $fl{\acute{e}}chir$ contre le pouvoir dictatorial. Un critique a dit que son $th{\acute{e}}{\hat{a}}tre$ est semblable au $th{\acute{e}}{\hat{a}}tre$ de la $cruaut{\acute{e}}$. Pourtant, dans la mesure $o{\grave{u}}$ il respecte le texte dramatique, et que son $th{\acute{e}}{\hat{a}}tre$ a des tendances de la politique et qu'il oriente l'engagement du spectateur, il est certain que son $th{\acute{e}}{\hat{a}}tre$ est loin du $th{\acute{e}}{\hat{a}}tre$ de la $cruaut{\acute{e}}$. Ses $proc{\acute{e}}d{\acute{e}}s$ de la mise en $sc{\grave{e}}ne$ sont $tr{\grave{e}}s$ divers et il n'y a pas de $coh{\acute{e}}rences$ au niveau des styles dramatiques. $Malgr{\acute{e}}$ cela, nous pouvons trouver son $originalit{\acute{e}}$ de la mise en $sc{\grave{e}}ne$ dans la rencontre avec Lee hyun-wha. Le metteur en $sc{\grave{e}}ne$ ${\acute{e}}tablit$ son $esth{\acute{e}}tique$ $th{\acute{e}}{\hat{a}}trale$ en montant sur $sc{\grave{e}}ne$ de cinq $pi{\grave{e}}ces$ de Lee hyun-wha. Alors, en effet qu'est-ce que $l^{\prime}esth{\acute{e}}tique$ de la mise en $sc{\grave{e}}ne$ de Chae yoon-il produite par les ${\oe}uvres$ $th{\acute{e}}{\hat{a}}trales$ de Lee hyun-wha? Dans les $pi{\grave{e}}ces$ de Lee hyun-wha, il y a beaucoup de codes symboliques de la violence sexuelle comme le sadisme et le masochisme. L'implusion sexuelle $cach{\acute{e}}e$ dans le subconscient des personnages s'entrecroise avec le $m{\acute{e}}canisme$ du pouvoir politique. Alors, les abus sexuels et les mauvais traitements sur le corps deviennent une sorte de torture. L'expression cruelle des langages $sc{\acute{e}}niques$ n'est autre que la $r{\acute{e}}volte$ contre la $r{\acute{e}}alit{\acute{e}}$ actuelle de la politique. Son $th{\acute{e}}{\hat{a}}tre$ de torture est donc une sorte de $m{\acute{e}}canisme$ de la catharsis pour dissiper le cauchemar et l'inconscient noir. La fantasie sexuelle construite par le monde inconscient de l'auteur dramatique $s^{\prime}{\acute{e}}panouit$ dans le $th{\acute{e}}{\hat{a}}tre$ de Chae yoon-il qui $r{\hat{e}}ve$ toujours l'esprit de la $libert{\acute{e}}$. Une des convictions dramatiques du metteur en $sc{\grave{e}}ne$, c'est que le $th{\acute{e}}{\hat{a}}tre$ tout d'abord doit ${\hat{e}}tre$ choquant. Il dit : "l'art doit ${\hat{e}}tre$ ${\grave{a}}$ la fois ${\acute{e}}mouvant$ et bouleversant. Cependant, dans la mesure $o{\grave{u}}$ le film ou la $t{\acute{e}}l{\acute{e}}vivion$ fait aujourd'hui une vive impression aux spectateurs, la part $donn{\acute{e}}e$ au $th{\acute{e}}{\hat{a}}tre$ est le choc." Pour donner le choc aux spectateurs, le style de la torture est $tr{\grave{e}}s$ utile. $L^{\prime}esth{\acute{e}}tique$ $th{\acute{e}}{\hat{a}}tral$ du metteur en $sc{\grave{e}}ne$ respecte essentiellement l'intention de l'auteur. $N{\acute{e}}anmois$, le respect sur l'original ne se $d{\acute{e}}range$ pas $l^{\prime}interpr{\acute{e}}tation$ de son propre $id{\acute{e}}e$. Dans l'insistance de la torture, l'analyse rituelle sous la base du choc, il projecte le symbole $arch{\acute{e}}typal$ sur $sc{\grave{e}}ne$. Bien $s{\hat{u}}r$, il renforce le $caract{\grave{e}}re$ de la politique dans le $th{\acute{e}}{\hat{a}}tre$ de torture pour inviter des spectateurs de l'engagement. D'ailleurs, il y a l'aspect d'absurde dans le $th{\acute{e}}{\hat{a}}tre$ de torture qui insiste des violences ${\grave{a}}$ travers les langages $sc{\acute{e}}niques$ comme le $m{\acute{e}}tal$ froid, parce que le metteur en $sc{\grave{e}}ne$ $consid{\grave{e}}re$ que $l^{\prime}{\hat{e}}tre$ humain vit dans l'absurde.

• (The) Research of the performance art and culture
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• no.18
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• pp.413-444
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• 2009

This paper is an analysis of stage and performance elements for the ceremonial procedures and dance featured in bongsudang-jinchan, a feast celebrating the 60th birthday of Hyegyeong-gung Hongssi (Crown Princess Hong of Hyegyeonggung), the mother of King Jeongjo, which took place in Hwaseong haegung palace in 1795. The primary sources used are data on bongsudangjinchan recorded in Wonhaeng-eulmyojeongriuigwe, Jeongjo-sillok, Hongjae-jeonseo, pictorial sources such as Folding Screens of Hwaseong-neunghaeng and Hwaseong Ilgi, which is a journal in Korean by Yi Hui-pyeong. A court ceremony to offer music, dance, flowers, and food, as well as wine and poetry which express the sentiments of chung (fidelity) and hyo (filial piety) was considered a national ceremony and has constituted a unique musical culture during the 500 years of Joseon dynasty. However, after the fall of Joseon dynasty, ceremonial music and dance, which have been organically linked within the overall symbolic system of ye (courtesy), became scattered to become independent 'pieces.' As a result, all of their philosophy, principles, and the time-space interpretation of court music and dance became greatly reduced, leaving only the artistic expression and formal structure of the music and dance to become emphasized. Since the 1990s, there has been many research and events aiming to re-create the court ceremonial tradition, resulting in the increase of the related performance activities. This is especially true with bongsudang-jinchan, which is now being performed on modern stage in various forms. However there are still many problems to be solved, such as the issue of re-creating and restoring the original, and the question of artistic value found in the traditional pieces. Until now, much focus has been paid to the outer re-construction of uiju document as recorded in Wonhaeng-eulmyo-jeongriuigwe. On the other hand, there lacked an in-depth study which analyzes the stage situation and performance elements. Therefore in this paper, after focusing on the stage structure and performance elements, it is concluded that bongsudang-jinchan, the only court feast to be held in Haeng gung, not only consists of the fundamental aspects of court performance principle as 'governing through ye and ak (music),' but also served as an important occasion to bring together the sovereign and the subject. Bongsudang-jinchan had features of both naeyeon (feast for ladies) and oeyeon (feast for gentlemen). It minimized the use of screens and allowed every guest to enjoy food, music, and dance together, but provided a separate tent for foreign guests, maintaining the ideal balance between equality and distinction among different gender and social status. A screen symbolizing the venue for the feast is placed for all of the government officials. The king then pronounces the beginning of the banquet in which the ideal of gunsin-dongyeon (king and officials dining together) is realized. This indicates that bongsudang-jinchan, compared to other court ceremonies that emphasize the principle of yeak (courtesy and music), focuses more on the spirit of harmony and rapprochement. The king played a more active role in bongsudang-jinchan than in any other royal feasts. Examples as recorded in uiju documents are; Jeongjo's conversation with his retainers after the 7th wine, king's bestowing of food and flowers to the officials, writing his own majesty's poems with regard to the festival, and asking the retainers to write replying poems. All these played an important part in making the occasion more rich, extensive, and meaningful. Moreover, as analysis of the structure of orchestral music and court dance featured in bongsudang-jinchan shows, it was like any other court banquet in that it employed minimal use of extravagance in movements and conversation. However, the colors and tonal texture used in the music and dance were more brilliant in this case. Compared to other banquets that took place before king Jeongjo, the dance style was more diverse, which included some of the latest additions. There were past performances arranged anew. Noteworthy are; the incorporation of "Seonyurak (Boat Dance)" and "Geommu (Sword Dance)," traditionally used for local officials and civilians feast, to suit the court taste; and the use of saenghwang (mouth organ), which was a rising instrument in pungnyubang (literati's private salon), for "Hakmu (Cranes Dance)." This especially indicates the nature of the 'open structure' pursued by the court banquets at the time, which strove to break away from the traditional rules and customs and accept something new.

• Journal of Intelligence and Information Systems
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• v.19 no.1
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• pp.79-94
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• 2013

Recently, the high value added business is steadily growing in the culture and art area. To generated high value from a performance, the satisfaction of audience is necessary. The flow in a critical factor for satisfaction, and it should be induced from audience and measures. To evaluate interest and emotion of audience on contents, producers or investors need a kind of index for the measurement of the flow. But it is neither easy to define the flow quantitatively, nor to collect audience's reaction immediately. The previous studies of the group flow were evaluated by the sum of the average value of each person's reaction. The flow or "good feeling" from each audience was extracted from his face, especially, the change of his (or her) expression and body movement. But it was not easy to handle the large amount of real-time data from each sensor signals. And also it was difficult to set experimental devices, in terms of economic and environmental problems. Because, all participants should have their own personal sensor to check their physical signal. Also each camera should be located in front of their head to catch their looks. Therefore we need more simple system to analyze group flow. This study provides the method for measurement of audiences flow with group synchronization at same time and place. To measure the synchronization, we made real-time processing system using the Differential Image and Group Emotion Analysis (GEA) system. Differential Image was obtained from camera and by the previous frame was subtracted from present frame. So the movement variation on audience's reaction was obtained. And then we developed a program, GEX(Group Emotion Analysis), for flow judgment model. After the measurement of the audience's reaction, the synchronization is divided as Dynamic State Synchronization and Static State Synchronization. The Dynamic State Synchronization accompanies audience's active reaction, while the Static State Synchronization means to movement of audience. The Dynamic State Synchronization can be caused by the audience's surprise action such as scary, creepy or reversal scene. And the Static State Synchronization was triggered by impressed or sad scene. Therefore we showed them several short movies containing various scenes mentioned previously. And these kind of scenes made them sad, clap, and creepy, etc. To check the movement of audience, we defined the critical point, ${\alpha}$and ${\beta}$. Dynamic State Synchronization was meaningful when the movement value was over critical point ${\beta}$, while Static State Synchronization was effective under critical point ${\alpha}$. ${\beta}$ is made by audience' clapping movement of 10 teams in stead of using average number of movement. After checking the reactive movement of audience, the percentage(%) ratio was calculated from the division of "people having reaction" by "total people". Total 37 teams were made in "2012 Seoul DMC Culture Open" and they involved the experiments. First, they followed induction to clap by staff. Second, basic scene for neutralize emotion of audience. Third, flow scene was displayed to audience. Forth, the reversal scene was introduced. And then 24 teams of them were provided with amuse and creepy scenes. And the other 10 teams were exposed with the sad scene. There were clapping and laughing action of audience on the amuse scene with shaking their head or hid with closing eyes. And also the sad or touching scene made them silent. If the results were over about 80%, the group could be judged as the synchronization and the flow were achieved. As a result, the audience showed similar reactions about similar stimulation at same time and place. Once we get an additional normalization and experiment, we can obtain find the flow factor through the synchronization on a much bigger group and this should be useful for planning contents.