• Title/Summary/Keyword: modern scene

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The narrative and theme of (<연정 구운몽>의 서사 전개 및 주제 구현 양상과 그 의미)

  • Eom, Tae-ung
    • (The)Study of the Eastern Classic
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    • no.68
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    • pp.99-144
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    • 2017
  • This paper focused on the narrative and theme of which is one of the different versions of when published in 1910's as a modern printing. Generally researchers regarded different version as a means of research for finding best version. But this paper aimed at the characteristics of different version . This version kept in mind for play(drama), so we could easily find the purpose of change for scenario. 'Yeon-jeong' in is 연정(演訂) in Korean words in Chinese characters. It is sure that this word means that the text considered play(drama). The narrative of also told us that this old novel aimed at the stage. Tendencies are classified four features, first, abundant situation description, second, frequent direct conversation, third, concrete description about direct conversation, fourth, showing poem and appeal for audience. The theme of has an interesting differences in comparison to the group of best version. When main character awakened, this novel showed the most important message. In the group of best version, he awakened to the cloud that he couldn't distinguish anything. But in this novel, cloud didn't appear, in other words, didn't change the scene. Instead, main character realize himself that he changed from Yang-so-yoo to Seong-jin. It is probable that change of process to conclusion aroused reader and audience's sympathy. To sum up, we could know that this novel kept in mind for play(drama).

Reimagining "A Picturesque Landscape" - The Borrowed Scenery of the Byungsan Neo-Confucian Academy, Korea, and its Heuristic Instrumentality - ("그림 같은 풍경"의 재해석 - 병산서원 차경 설계의 수양론(修養論)적 해석 -)

  • Lee, Kyung-Kuhn
    • Journal of the Korean Institute of Landscape Architecture
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    • v.50 no.6
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    • pp.15-29
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    • 2022
  • The Byungsan Neo-Confucian Academy, a 17th-century World Heritage Site in Korea, is being praised as a manifestation of naturalness or non-artificiality of the traditional Korean borrowed scenery technique (借景, chagyeong). This study, however, aims to reinterpret the chagyeong of the Byungsan Academy (hereafter the Academy) as a device of illusion evoking an idealized vision of nature. In the process of interpretation, 'picture and frame'-a widely accepted expression that represents the chagyeong of the Academy-will be foregrounded as the pivotal concept mediating the change of perspectives from naturalistic to ideological. This study consists of the following three parts. First, it shows that 'picture and frame' represent a modern way of seeing the Academy as an architectural heritage in harmony with nature; it denotes pristine nature and the empty architectural frame that safely circumscribes the innate beauty of the natural landscape. Second, departing from the naturalistic perspective, this study argues that the architectural framework of the Academy composes scenography enticing the viewer to imagine the idealized, Confucian image of nature that compares to the landscape imagery found in the landscape poetry and paintings that were produced and appreciated by the 17th-century Confucian literati. Lastly, based on the above interpretation, this study stresses that the 'picture' one encountered at the Academy in the 17th century was not the framed scene of a natural landscape but the illusion it caused; the architectural 'frame' worked not as a symbol of naturalness but as an institutional apparatus of vision manipulating the way one sees-and therefore imagines-the landscape.

Improvement of funeral home services in preparation for national disasters (국가재난대비 지정 장례식장 서비스의 개선 방안)

  • JeungSun Lee
    • Journal of Service Research and Studies
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    • v.12 no.4
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    • pp.72-81
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    • 2022
  • As new disasters such as COVID-19, MERS, and earthquakes appear in modern society, the nation's ability to manage uncertain risks is becoming more important. The government is promoting a disaster safety management policy closely related to daily life by reinforcing on-site response capabilities. Therefore, in order to respond more effectively to disasters that have recently been enlarged, complicated, and delocalized, there is a limit to only disaster-related organizations in the public sector. It is necessary to check it and find ways to develop it. In the event of an unpredictable national disaster or infection, the government needs disaster safety management measures closely related to daily life. Accordingly, as an efficient response and strategy such as procedures and methods for funeral support at the scene of a national disaster were needed, a designated funeral home was introduced. In the event of a major disaster, a large number of casualties that exceed the daily work level of the relevant department occur and rapid changes in relief, medical care, funeral and administrative procedures occur accordingly. The purpose of this study is to derive basic operating directions and prompt funeral support plans for funeral homes designated for national disaster preparedness.

Stephen Sondheim's Experiments and Strategies for Musical Fusion Style (스티븐 손드하임의 뮤지컬 융합 양식을 향한 실험과 전략)

  • Lee, Eun-Hye
    • Journal of Korea Entertainment Industry Association
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    • v.13 no.7
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    • pp.15-23
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    • 2019
  • This paper aims to identify the characteristics implied in the process of change of Stephen Sondheim's musical style and to derive the structural communication tools that connect the creator and audience and the implications. The strategies that appear in Sondheim's musical works are the following. First, Sondheim's early musical works follow the principles of book musical and emphasize the integration faithful to the basic elements such as the rhythm and meaning of the lyrics. Second, in the era of early postmodernism, Sondheim attempts the principle of extreme deconstruction through the concept musical Company and pursues rational thought through fragmented dramatic flow. Third, while maintaining dramatic linearity to overcome the lack of immersion caused by extreme deconstruction, Sondheim realizes a more elaborate and formalized fusion style of the principles of integration and deconstruction through the choruses and the songs of the characters in Little Night Music and Sweeney Todd. Finally, Sondheim attempts multiple experiments to break down the boundaries of act and scene and to express new subject matters through his works such as Sunday Park with George and Into the Woods. In conclusion, Sondheim's fusion experiments and strategies are the process of finding a framework and a medium of communication to induce dramatic immersion of audience and at the same time create rational thinking about social problems to deliver the message of the creative work with the leading aesthetics of the modern musical's box-office success.

The cinematic interpretation of pansori and its transformation process (판소리의 영화적 해석과 변모의 과정)

  • Song, So-ra
    • (The) Research of the performance art and culture
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    • no.43
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    • pp.47-78
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    • 2021
  • This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

Haptic Perception presented in Picturesque Gardens - With a Focus on Picturesque Garden in Eighteenth-Century England - (픽처레스크 정원에 나타난 촉지적 지각 - 18세기 영국 픽처레스크 정원을 중심으로 -)

  • Kim, Jin-Seob;Kim, Jin-Seon
    • Journal of the Korean Institute of Landscape Architecture
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    • v.44 no.2
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    • pp.37-51
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    • 2016
  • Modern optical mechanisms slanted toward Ocular-centrism have neglected diverse functions of vision, judged objects in abstract and binary perspectives, and organized spaces accordingly, there by neglecting the function of eyes groping objects. Recently, various experiences have been induced through communication with other senses by the complex perception beyond the binary perception system of vision. Haptic perception is dynamic vision that induces accompanying bodily experiences through interaction among the various senses; it recognizes the characteristics of material properties and various sensitive stimulations of human beings. This study elaborates on the major features of haptic perception by examining the theoretical background of this concept, which stimulates the active experience of the subject and determines how characteristics of haptic perception are displayed in picturesque gardens. In order to identify the major features of haptic perception, this study examines how Adolf Hildebrand's theory of vision is developed, expanded, and reinterpreted by Alois Riegl, Wilhelm Worringer, Walter Benjamin, Maurice Merleau Ponty, and Gilles Deleuze in the histories of philosophy and aesthetics. Based thereon, the core differences in haptic perception models and visual perception models are analyzed, and the features of haptic perception are identified. Then, classical gardens are set for visual perception and picturesque gardens are set for haptic perception so that the features from haptic perception identified previously are projected onto the picturesque gardens. The research results drawn from this study regarding features of haptic perception presented in picturesque gardens are as follows. The core differences of haptic perception in contrast to visual perception can be summarized as ambiguity and obscureness of boundaries, generation of dynamic perspectives, induction of motility by indefinite circulation, and strangeness and sublime beauty by the impossibility of perception. In picturesque gardens, the ambiguity and obscureness of boundaries are presented in the irregularity and asymmetric elements of planes and the rejection of a single view, and the generation of dynamic perspectives results from the adoption of narrative structure and overlapping of spaces through the creation of complete views, medium range views, and distant views, which the existing gardens lack. Thus, the scene composition technique is reproduced. The induction of motility by indefinite circulation is created by branching circulation, and strangeness and sublime beauty are presented through the use of various elements and the adoption of 'roughness', 'irregularity', and 'ruins' in the gardens.

PRC Maritime Operational Capability and the Task for the ROK Military (중국군의 해양작전능력과 한국군의 과제)

  • Kim, Min-Seok
    • Strategy21
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    • s.33
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    • pp.65-112
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    • 2014
  • Recent trends show that the PRC has stepped aside its "army-centered approach" and placed greater emphasis on its Navy and Air Force for a wider range of operations, thereby reducing its ground force and harnessing its economic power and military technology into naval development. A quantitative growth of the PLA Navy itself is no surprise as this is not a recent phenomenon. Now is the time to pay closer attention to the level of PRC naval force's performance and the extent of its warfighting capacity in the maritime domain. It is also worth asking what China can do with its widening naval power foundation. In short, it is time to delve into several possible scenarios I which the PRC poses a real threat. With this in mind, in Section Two the paper seeks to observe the construction progress of PRC's naval power and its future prospects up to the year 2020, and categorize time frame according to its major force improvement trends. By analyzing qualitative improvements made over time, such as the scale of investment and the number of ships compared to increase in displacement (tonnage), this paper attempts to identify salient features in the construction of naval power. Chapter Three sets out performance evaluation on each type of PRC naval ships as well as capabilities of the Navy, Air Force, the Second Artillery (i.e., strategic missile forces) and satellites that could support maritime warfare. Finall, the concluding chapter estimates the PRC's maritime warfighting capability as anticipated in respective conflict scenarios, and considers its impact on the Korean Peninsula and proposes the directions ROK should steer in response. First of all, since the 1980s the PRC navy has undergone transitions as the focus of its military strategic outlook shifted from ground warfare to maritime warfare, and within 30 years of its effort to construct naval power while greatly reducing the size of its ground forces, the PRC has succeeded in building its naval power next to the U.S.'s in the world in terms of number, with acquisition of an aircraft carrier, Chinese-version of the Aegis, submarines and so on. The PRC also enjoys great potentials to qualitatively develop its forces such as indigenous aircraft carriers, next-generation strategic submarines, next-generation destroyers and so forth, which is possible because the PRC has accumulated its independent production capabilities in the process of its 30-year-long efforts. Secondly, one could argue that ROK still has its chances of coping with the PRC in naval power since, despite its continuous efforts, many estimate that the PRC naval force is roughly ten or more years behind that of superpowers such as the U.S., on areas including radar detection capability, EW capability, C4I and data-link systems, doctrines on force employment as well as tactics, and such gap cannot be easily overcome. The most probable scenarios involving the PRC in sea areas surrounding the Korean Peninsula are: first, upon the outbreak of war in the peninsula, the PRC may pursue military intervention through sea, thereby undermining efforts of the ROK-U.S. combined operations; second, ROK-PRC or PRC-Japan conflicts over maritime jurisdiction or ownership over the Senkaku/Diaoyu islands could inflict damage to ROK territorial sovereignty or economic gains. The PRC would likely attempt to resolve the conflict employing blitzkrieg tactics before U.S. forces arrive on the scene, while at the same time delaying and denying access of the incoming U.S. forces. If this proves unattainable, the PRC could take a course of action adopting "long-term attrition warfare," thus weakening its enemy's sustainability. All in all, thiss paper makes three proposals on how the ROK should respond. First, modern warfare as well as the emergent future warfare demonstrates that the center stage of battle is no longer the domestic territory, but rather further away into the sea and space. In this respect, the ROKN should take advantage of the distinct feature of battle space on the peninsula, which is surrounded by the seas, and obtain capabilities to intercept more than 50 percent of the enemy's ballistic missiles, including those of North Korea. In tandem with this capacity, employment of a large scale of UAV/F Carrier for Kill Chain operations should enhance effectiveness. This is because conditions are more favorable to defend from sea, on matters concerning accuracy rates against enemy targets, minimized threat of friendly damage, and cost effectiveness. Second, to maintain readiness for a North Korean crisis where timely deployment of US forces is not possible, the ROKN ought to obtain capabilities to hold the enemy attack at bay while deterring PRC naval intervention. It is also argued that ROKN should strengthen its power so as to protect national interests in the seas surrounding the peninsula without support from the USN, should ROK-PRC or ROK-Japan conflict arise concerning maritime jurisprudence. Third, the ROK should fortify infrastructures for independent construction of naval power and expand its R&D efforts, and for this purpose, the ROK should make the most of the advantages stemming from the ROK-U.S. alliance inducing active support from the United States. The rationale behind this argument is that while it is strategically effective to rely on alliance or jump on the bandwagon, the ultimate goal is always to acquire an independent response capability as much as possible.

Fernand Khnopff's Belgian Symbolism and Nationalism in I Lock My Door upon Myself (페르낭 크노프(Fernand Khnopff)의 작품에 나타난 벨기에 상징주의와 내셔널리즘)

  • Chung, Y.-Shim
    • The Journal of Art Theory & Practice
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    • no.9
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    • pp.171-193
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    • 2010
  • This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

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A Study on the Traditional Aesthetic Characteristics Appearing in the Chinese Animation -Focusing on Three Elements of Zong Baihua's Artistic Conceptions- (중국 애니메이션<대어해당 (大魚海棠)>중에 나타난 전통 미학 특징 연구 -쭝바이화(宗白華)의 의경(意境) 3가지 구성 요소 중심으로)

  • Yang, Kun;Lee, Seel- ku
    • Cartoon and Animation Studies
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    • s.47
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    • pp.53-79
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    • 2017
  • This study explored Chinese traditional art aesthetics in the , focusing on three elements 'principle', 'dance', 'blank' which consist of the artistic conception of Zong Baihua. In addition, this paper is aimed to prove that Chinese traditional aesthetics is still available as a creative element that can provides future direction and implication for modern animation movies by analyzing how the components of these three elements were used in the and how the artistic beauty of the animation was presented. In the critiques of Chinese art, the scope of 'conception' is the 'qualified' standard about art. This 'qualified' standard includes not only external similarity in forms but also internal similarity in spirits. The authors of the early Chinese animations integrated the artistic conceptions with the animations and expressed the national cultural contents of the Chinese animations, so that the audience could deeply understand the characteristics of Chinese animation with cultural and spiritual contents. Based on the artistic conceptions that Zong Baihua proposed, this study analyzed the character setting, the ideas that connotes and the scene composition. succeeded to the innovative spirits about Chinese early animation conceptions. The animation presented the view of life that includes the absolute freedom from Zhuangzi's "A Happy Excursion" and the oblivion of external objects. The heroine Spring's change from human to dolphin was presented by dancing. Besides, in the animation, the sea of clouds, the sky full of stars, sea, the sea melting into the sky were also presented in quantity. The large area of colors fantastically presenting in 'blank' scenes fully expressed the stories and sentiments of this animation. According to the analysis in this study, by identifying the traditional atmosphere that included heavy Chinese characteristics and harmonious conceptions in through the wisdom of Chinese classics and artistic conceptions, it can be confirmed that nowadays the artistic tradition of the classics still works as an extending innovative element in the future animations.

Study for making movie poster applied Augmented Reality (증강현실 영화포스터 제작연구)

  • Lee, Ki Ho
    • Cartoon and Animation Studies
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    • s.48
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    • pp.359-383
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    • 2017
  • 3,000 years ago, since the first poster of humanity appeared in Egypt, the invention of printing technique and the development of civilization have accelerated the poster production technology. In keeping with this, the expression of poster has also been developed as an attempt to express artistic sensibility in a simple arrangement of characters, and now it has become an art form that has become a domain of professional designers. However, the technological development in the expression of poster is keep staying in two-dimensional, and is dependent on printing only that it is irrelevant to the change of ICT environment based on modern multimedia. Especially, among the many kinds of posters, the style of movie posters, which are the only objects for video, are still printed on paper, and many attempts have been made so far, but the movie industry still does not consider ICT integration at all. This study started with the feature that the object of the movie poster dealt with the video and attempted to introduce the augmented reality to apply the dynamic image of the movie to the static poster. In the graduation work of the media design major of a university in Korea, the poster of each works for promoting the visual work of the students was designed and printed in the form of a commercial film poster. Among them, 6 artworks that are considered to be suitable for augmented reality were selected and augmented reality was introduced and exhibited. Content that appears matched to the poster through the mobile device is reproduced on a poster of a scene of the video, but the text informations of the original poster are kept as they are, so that is able to build a moving poster looked like a wanted from the movie "Harry Potter". In order to produce this augmented reality poster, we applied augmented reality to posters of existing commercial films produced in two different formats, and found a way to increase the characteristics of AR contents. Through this, we were able to understand poster design suitable for AR representation, and technical expression for stable operation of augmented reality can be summarized in the matching process of augmented reality contents production.


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