• The Journal of the Korea Contents Association
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• v.19 no.7
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• pp.234-245
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• 2019

In this paper, I examined the representation of post-colonialism focusing on the spaces in Modern Boy and Assassination. These movies represented Bon-jung and Jong-no as a mixed-residence quarter, over the dual city theory, the orthodoxy of geography. It can be interpreted as the birth of a hybrid subject in post-colonialism. The representation of Bon-jong in Modern Boy was centered around Mitsukoshi Department Rooftop Garden, Namsan Music Center and Myeongdong Cathedral. The representation of Bon-jung in Assassination was centered around Anemone Cafe and Mitsukoshi Department Store. Set in the history of the new building the Japanese Government General of Korea in Jong-no, Modern Boy used it as a place of struggle. The representation of Jong-no in Assassination was centered around the mansion of Kang In-kuk, a pro-Japanese collaborator. Modern Boy and Assassination showed the post-colonialism that breaks through modern binary oppositions by a 'female' national heroine. describing Bon-jung as both a mixed-residence quarter and the original home of post-colonialism movement, they also showed a different aspect from the existing Kyung-sung representations.

• Journal of the Korean Society for Library and Information Science
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• v.48 no.2
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• pp.25-44
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• 2014

This research evaluates the accessibility of the mobile applications for the South Korean libraries based on the accessibility guideline from the Ministry of Security and Public Administration. In order to enhance the credibility of the evaluation, this current research covers both the accessibility for the visually impaired and the accessibility for the people without disabilities. The research found four main results. First, we found that only 21 libraries (31%) provide alternative texts. Out of the 21 libraries, only one provide alternative texts across all sections of the mobile applications, including the main page, data search, information assistance, etc. Second, most of the mobile applications provide contents in texts, and the subtitles, sign language, blinking and background music provided as required or recommended standard by the guideline lack correlation. Third, alternative texts, focus movement, accessibility of operating system, button motion control, spacing between control and alarm functions must follow the standard guideline for the people with disabilities to use the mobile applications. Fourth, follow-up research on the development of accessibility standard for library mobile application is necessary in order to enable people with disabilities to freely use the library mobile applications.

• Korean Journal of Applied Biomechanics
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• v.21 no.1
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• pp.47-55
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• 2011

The purpose of this study was to perform a kinematic analysis of Harai-goshi(hip throw) in superior female judo players. From our analysis, it appeared desirable for the player to shorten the duration of the technique for maximum results. It was also desirable for the player to draw the opponent backward while simultaneously maneuvering her close to her own body. A turning movement of the body toward the left side was found to be required for the technique, during which the player must lower the position of the center of gravity. During the subsequent angular change of the elbow, the player winds the elbow and, by moving the left shoulder, pulls the opponent toward her. The player lowers the body center by bending the left knee and letting the right knee extend, while turning the upper body and bending the hip joint. The player then draws the opponent in, contacts the opponent closely, turns, and stretches the right knee and hip joint rapidly and concisely, completing the move; it was also found to be desirable for the angular velocity to be increased for maximum efficacy.

• Journal of the Korean housing association
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• v.23 no.1
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• pp.89-96
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• 2012

The purpose of this study is to find out the characteristics of activity areas according to the age difference and provide the alternatives for space planning of activity areas in classroom of childcare centers. This study used the content analysis method for field survey data collected from 36 classrooms of 9 childcare centers in the Daejeon area. Floor plans were converted to Autocad drawings to analyze the characteristics of activity areas. The results of this study were as follows; 1) In case of 0 to 2-year-old classrooms, they had 6 activity areas such as gross-motor area, role play, block building, language, creative expression, exploration/manipulation area. The activity area with the most low frequency was gross-motor area. 2) In case of 0 to 2-year-old classrooms, the size of activity area was in order of gross-motor area > role play > block building > language > creative expression > exploration/manipulation area. In case of 3 to 5-year-old classrooms, the size of activity area was in order of language > art > role play > math > block building > science > tone and rhythmic area. 3) The central areas with easy access in 0 to 2-year-old classrooms were Large-motor and Imaginary Play Areas. Also, more isolated areas were Manupulatives and Block Areas. The central areas with easy access in 3 to 5-year-old classrooms were Arts, Numbers and Manupulatives. While more isolated areas were Music, Movement and Science Areas.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.43-50
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• 2022

Claude Debussy's is a solo piano piece written in 1894. However, for unknown reasons, the entire piece was not published until 1977, despite clear evidence that Debussy intended to publish it during his lifetime. Interestingly, the second movement of the three pieces comprised in the work was published independently in February 1896 through the Parisian periodical Le Grand Journal. Partly because the work was recently published, it remains relatively more unknown to pianists and music lovers than other piano solo pieces by Debussy. Thus, this article addresses in detail the compositional background of this work, focusing on why the work was not published during Debussy's lifetime. Furthermore, by analyzing this piece in detail, this article intends to discuss the stylistic characteristics of the work regarding its melody, phrase structure, harmony, and form. This survey, which would help understand the musical style embodied in this piece, aims to contribute to improving the awareness of the work.

• The Journal of the Acoustical Society of Korea
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• v.20 no.1
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• pp.3-12
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• 2001

In physical modeling of plucked string instruments, the vibration of a string is typically simulated by the linear system. Currently the Digital Waveguides of J.O.Smith[1] are widely used to get a high quality sound of the plucked string instrument. He used the wave equation to derive the Digital Waveguides and emphasized the time variable. In this thesis, new model of plucked string is proposed to improve the sound quality emphasizing the spatial variable of the wave equation. In our model, we used the fixed sampling interval which is not dependent on the speed of the wave. So we could get more detailed description of wave movement by the time variable. As a result, the new model could produce a higher quality sound of plucked string instrument.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.

• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.387-410
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• 2000

The purpose of this study was to approach to the internal meanings included in the Happening and the culture of hippies, by analysing the basic mental conditions in the process of the Happening. And this study was composed of the concept and the development of Happening, the characteristics of the hippies that related in the midst of the happening's background, and the formativeness between these factors and hippies'fashion. Since the happening a genre of fine arts expression attended the New School for social research in New York in 1954, Allan Kaprow direct-influenced by John Cage used the word 'Hapening'first, practicing '18 Happenings in 6 parts'at the Rueben gallery in 1959. Kaprow's 18 Happenings was one of the earliest opportunities for a wider public to attend the live events that several artists had performed more privately for various friends. Despite the very different sensibilities and structures of artist's works, artists were all thrown together by the press under the general heading of 'Happening', following Kaprow's 18 Happenings. Being considered as the root of the Happening 'Expression of Sound'of John Cage was the discovery of the exisiting thing- the Happening. Most artists were to be deeply influenced by Cage's theories and attitudes-that is, his sympathy for Zen Buddihism and oriental philosophy-and by reports of the Black Mountain events. These events would directly reflect contemporary painting and stemmed from the Futurists, Dadaists and Surrealists. And Happening's development background was based on the culture of hippies. Swinging London had been under the sway of psychedelic drugs and utopian visions of 'hippie'wave sweeping in from Califonia. This wave, which affected solid middle-class youth first and formost, began in Haight Ashbury in San Francisco. Without dwelling on the hippie movement here, it is worth nothing that it resulted from the convergence of several undercurrents : consciousness-expending drugs, the anti-Vietnam war developments, the impact of English pop groups on American music and the rise of protest songs, and finally the beatnik tradition of non-conformism. Hippie culture and its pursuit of love, peace and psychedelia was the antitheses of 1960s main street fashion. The media gave everyone with long hair the label of 'hippie', but it was always a very loose collage of attitudes and styles. The rejection of sexual taboos was conveyed by the hippie's refusal to wear. Although the bold exposure of body raised controversies because it went against the existing moral values, it has a significant implications. Psychedelics brought mind-expansion and the possibillity that modern technology (light show, synthesized electronic sounds), new fabrics or colors, and LSD could be utilized to provide an escape route from the dreariness of modern life. During the 1960s, traditional costumes, many of which had never been seen outside their native regions, became sought after and adopted in the West, initially by the young, who wanted to demonstrate their solidarity with cultures uncontaminated by mass industry. The most ardent proponents of such folk costumes were the hippies. Hippies dress was sometimes decribed as 'anti-fashion', produced by a patchwork of ragged cast-offs and flamboyant accessories, of outmoded Western dress and time-honored ethnic garments all combined, modified and permutated into variety of personal statements. 'Flower Power'became a reality. From the results of this study, we can see the expanding trend of the influence and the concept of the sew art genre 'Happening'in the formativeness as well as the fine arts field.

• Journal of People, Plants, and Environment
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• v.23 no.2
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• pp.211-220
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• 2020

The purpose of this study was to analyze the frequency and contents of horticultural activities in 696 individual activities listed in 11 teacher's guidebooks of Nuri Curriculum for 5-year-olds, and to find out the perceptions of horticultural activities in the formal curriculum. The target horticultural activities that were selected were those using natural objects like potted plants, water, wind, soil, stones, etc. as the topic or subject of activities, and those with different topics but are mentioning plants or natural objects as an example at least twice. The 150 selected horticultural activities were classified by life-based theme, activity type, activity domain, and medium. As a result of examining horticultural activities by life-based theme, there were 150 horticultural activities (21.55%): 40 in Spring, Summer, Autumn and Winter (5.75%), 34 in Animals, Plants, and Nature (4.89%), 22 in Environment and Life (3.16%), 19 in Our Country (2.73%), and nine in Our Neighborhood (1.29%), nine in Various Countries of the World (1.29%), four in Health and Safety (0.57%), four in Living tools (0.57%), four in Transportation (0.57%), three in Kindergarten and Friends (0.43%), two in Me and My Family (0.29%; χ²=130.427, p < .001). As a result of examining horticultural activities by activity type, there were 61 free choice activities (40.67%), 80 large and small group activities (53.33%), and nine outdoor play activities (6.00%), indicating that outdoor play was the fewest activity type (χ²=54.040, p < .001). The results of analyzing horticultural activities by activity domain showed that there were 25 in conversation (16.67%), 19 in science (12.50%), 14 in art (9.33%), 14 in cooking (9.33%), 10 in fairy tales (6.00%), nine in music (6.00%), eight in language (5.33%), eight in number operation (5.33%), eight in others (5.33%), six in children's plays (4.0%), six in games (4.0%), four in body and movement (2.67%), three in stacking (2.00%), three in roles (2.00%), three in rhythm (2.00%), two in children's poems (1.33%), two in field experience (1.33%) and one in outside play (0.67%; χ²=87.600, p < .001). As a result of examining the mediums used in the horticultural activities, 46 activities (30.67%) directly used plants as the mediums, 11 activities (7.33%) used soil such as stones, gravel, and earth as the mediums instead of plants, four activities (2.67%) used dry plants such as branches and dry leaves as the mediums, and 89 activities (59.33%) used videos, photos of plants, and pictures of plants as the mediums (χ²=121.307, p < .001).

• (The) Research of the performance art and culture
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• no.20
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• pp.63-94
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• 2010

Research on Gong Ok-jin's choreography and its artistic value is still insufficient in the academia of Korea. Her life cannot be said even or smooth - she was born into an artist family with abundant innate talent and sensitivity, feeling joy and sorrow as a gypsy artist begging for food, facing and overcoming the crisis of her trademark deformed dance during the period when she played the solo performance of Changmugeuk, making a transition to the animal dance and finally to the sick dance getting her health back from the long struggle against disease. Her life, however, has always been an artistic expression and we can know that art has been the consolation and driving force of her life. In the Korean artistic tradition that integrates music, singing and dancing, it is beyond doubt that the third has been rather secondary compared with the first two. In the Changmugeuk, however, Gong Ok-jin focuses on each movement of hers, commensurate with the humorous witticism and the traditional opera of pansori. What is her message in such painstaking movements? She puts gestures ahead of words and continues them, reminding her audience of the meaning of dance and driving it into them. Especially, her deformed dance, unprecedented in choreographic history, is hard to understand if you do not sympathize with Koreans' innermost emotions. If you are to understand it, you should first feel what emotions are in Koreans' mentality to be expressed in the form of choreographic elements and what artistic values they carry. This study, in this context, is to reflect upon the original choreographic form of her Changmugeuk solo and to overview Korean dance's unique emotional values with regard to the way Korean choreographic subject matters and traditions are passed down.