• Proceedings of the Korean Society For Composite Materials Conference
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• 2005.04a
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• pp.253-256
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• 2005

Nonlinear aeroelastic analyses of composite wing with flap are performed considering free-play and dynamic stiffness of actuator. Doublet-Hybrid method is used for the calculation of subsonic unsteady aerodynamic forces. Free-play is modeled as an asymmetric bilinear spring and is linearized by using the describing function method. The linear and nonlinear flutter analyses show that the flutter characteristics are significantly dependent on the free-play and dynamic stiffness. From the nonlinear flutter analysis, various types of limit cycle oscillations are observed in a range of air speeds below or above the linear divergent flutter boundary.

• Journal of the Korean Home Economics Association
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• v.47 no.4
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• pp.25-35
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• 2009

The purpose of this study is to examine the effect of group game play program on ADHD-liked children’s executive function. The game play program was implemented for children in experiment group to find out the effect of the group game play program on ADHD-liked executive function. The subjects of this study were 12 children (4th year elementary students), showing ADHD characteristics. 6 were put in experiment group and other 6 were put in control group randomly. The effectiveness of group game play on ADHD children’s executive function are as followings: The attention ability, behavior inhibition ability, cognitive flexibility of children in experiment group was improved more than in control group. It is concluded that group game play program is effective for ADHD-liked children’s executive function.

• Korean Journal of Human Ecology
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• v.16 no.4
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• pp.855-875
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• 2007

The purpose of this study is to suggest a guideline for outdoor play settings in child care centers. From March to July, 2005, data were collected from 223 directors at child care centers through a structured questionnaire, field measurement survey and non-participatory observation in seventeen child care centers in Seoul and Daejeon. The statistical methods for analysing data were frequency, percentage, mean, $X^2$ and F-test. The results showed as follows: 1)the existing outdoor playground area in child care centers should be expanded more than $4\;m^2$ per child. 2) Outdoor play facilities should be equipped with two structured play sets, a play facility for unstructured play and an adventure facility to make child's various activities possible and to promote child development. 3)flooring materials for outdoor playground should be required to use more than three kinds such as solid coverings (cf. asphalt, standard concrete), wood, lawn, soil or sands. 4)to let children enjoy various activities, outdoor playground area should be composed of various play facilities like indoor play gyms and should be independent but have good connections between play facilities depending on characteristics of play activities. 5)Play spaces of outdoor playground should be composed of physical play space, unstructured and dramatized play space, rest space, space for nature and adventure space. In addition, appropriate play equipments should be provided in respective play space.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.14-27
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• 2010

The purpose of this study is to analyze how the aesthetic characteristics of Brecht's V-Effekt is visually expressed of the costume in the Traditional Play of Korea, China and Japan. The method and the contents of the study were to refer to the antecedent studies and the related documents to peruse the characteristics of the traditional plays of the East and West, the origin and the concept of Brecht's Verfremdung and considered the relation of Brecht's V-Effekt and the Oriental plays, and then the researcher derived the aesthetic properties of Brecht's V-Effekt. This study analyzed how those qualities of the aesthetic characteristics on the V-Effekt are manifested on the stage costumes of Korean mask, Beijing opera and Kabuki. The aesthetic qualities of Brecht's V-Effekt are classified into symbolism, grotesque disposition, character of sing and dance, comicality. The symbolism in the traditional play costumes of the three nations is shown in the colors of the masks in Korean and the tone of the colors on the costumes and the make-up in Beijing opera and Kabuki. While the properties of bizarrerie and deformation coexist in masque and Beijing opera costumes in terms of grotesque disposition, Kabuki strongly displays bizarre grotesquerie. The character of sing and dance is visually expressed through the transformation of sleeves on the three nation's traditional play costumes; Masque on the Hansam and Chengsam, Beijing opera on the Water sleeves and Kabuki on Hurisode. The comic aspection is expressed in a humorous and comical way through the distortion and transformation of forms in Masque and Beijing opera but it cannot be seen in Kabuki costume. The study as above will form the aesthetic properties of the Oriental traditional play costumes and also it will contribute to establishing the identity of Korean mask costumes.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.137-144
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• 2006

Though old generation criticizes on costume play that it is accepted by young generation without any criticism, it is gaining popularity and is settled with unique Korean characteristics. The study is to understand the characteristics of costume play and investigate on the attitude of costume players enjoying it. For this study, a survey was conducted on costume players who order tailor-made costumes or rent them by using references, existing papers and internet sites. The results are as follows. 1.37% of costume players live in Seoul and Gyeonggi area, 37% in Gyeongsang-do and Busan with 21% in other areas. Two areas shows higher rate than any other regions, as Seoul Comic and Busan Comic are held regularly and there are faster exchange with Japanese culture in these areas with enough money 2. Among costume players, female accounts for 73.7% with 26.3% male. It shows that female likes costume play more than male. It is because woman responds actively to what she likes than man does. The number of male is steadily increasing. By age, high school student is 40%, middle school student is 36%, older than 20 is 16% with 3% of elementary school student. 3.61% of them like the reproduction of character costumes, 14.7% like Pancos and another 14.7% likethe reproduction of character costumes and creation. 69.5% participates in costume play both in groups and individuals, 26.3% in groups and 4.2% in individuals. 45.3% participates in comic more than 8 times in a yew, 43.2%, 1-2 times and 11.6%, 3-4 times. Mostly they want $50,000{\sim}80,000$ won costume. 4. on the criticism of old generation that costume play is nothing but the imitation of Japanese culture, 87.4% of the respondents answered 'absolutely not' They think costume play is one of their favorite cultures. 5. on the parents response to costumeplay, 87% of the respondents answered 'Ethey understand', 13% said 'they cannot understand and dissent'. The respondents said costume play didn't affect their school records with 25% respondents who said they got better grades.

• Korean Journal of Child Studies
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• v.36 no.1
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• pp.99-124
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• 2015

This study developed a teacher training program aimed at promoting preschool teachers' competence in relation to pretend play and examined its effects on the teachers' knowledge, efficacy and interaction in pretend play. Regarding the learner's job characteristics and conditions, a small group session of 90 minutes per week was conducted for 8 weeks. To examine the effects of this program, the researcher collected data on the teachers' knowledge and the efficacy by means of questionnaires and the teachers' interaction by observation before and after the program execution. The fourteen child care centers were randomly assigned to both an experimental group or a control group, in which 38 teachers were included. In conclusion, the pretend play competence training program for preschool teacher was observed to be effective in improving their knowledge, efficacy and interactions in pretend play.

• Korean Journal of Child Studies
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• v.38 no.1
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• pp.63-76
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• 2017

Objective: The aim of this study was to examine the meanings of onomatopoeia and mimetic words contextually used contextually when children play together. Methods: The participants included 40 children (ages 3-5 years) attending "M Daycare Center" in Seoul and "S Daycare Center" in Seongnam (a city in Gyeonggi-do). Twenty rounds of play observations were conducted at the centers. Once per week from May to October 2015. Results: The onomatopoeia and mimetic words observed were primarily relate to physical movements, sounds, and shapes. These types relate to Max van Manen's life-world existentials, correlating with spatiality, corporeality, and relationality. The characteristics of onomatopoeic and mimetic words used were additive and were used by the children to refine and diversify their language skills and enrich their linguistic imaginations. Conclusion: Onomatopoeic and mimetic words help children design their own play situations based on their creativity and help them share the play with their peers.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.157-164
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• 2019

If a drama play is interested in recreating the play text on stage, the post-drama play aims at a drama that has been liberated from the play text. In this process, the boundaries created by drama theater are dismantled. Actors and audiences, fiction and reality, theater and non-theater, works and events, language and non-language are the names of typical boundaries. The demolition of these boundaries is an opportunity to restore the festival character of ancient Greek theater, which was forgotten by drama theater. This has led to the dismantling of language-centric and play-centricism, which has dominated the play since Aristotle, and has led to a new play. If language-centered, play-centricism has brought about the crisis of drama, the post-dramatic play dismisses them and finds ways to communicate with the audience as new cultural content. The method is found above all in the restoration of dramaturgy. This is because the post-drama plays are more dependent on theatricality than literature. The demilitarized nature of post-dramatic play with enhanced theatricality will be a stepping stone to popularization, and this shows the possibility of post-dramatic play as cultural contents.

• Journal of The Korea Institute of Healthcare Architecture
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• v.9 no.2
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• pp.51-58
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• 2003

The elements of a medium for gathering the able bodied and the disable bodied children are examined within the scope of this study. Starting from the importance of play for the children, the characteristics and the properties of middle childhood are chosen as domain. This study showed that though most of the playground sites were accessible to Physically disabled Children, and were safety. For Physically disabled Children, the opportunities to play in a play area depend largely on the accessibility of the facilities, this study also explored the play experience of children with disability. The play spaces and the playgrounds including the equipment are examined. The results of study suggest there be creatived planning items in terms of accessibility and domain, which, in detail, are summarized in following six points; Accessibility, Barrier-free, convenience, movement, safety, domain. A guideline on the design of an accessible & safety playground for Physically disabled Children should be made.

• 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.