• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.83-97
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• 2021

This study started with curiosity about theatre without its three elements and would reveal its possibility through performance and experiment and promote the expansion of each element and the development of a new form at the same time. After the occurrence of COVID-19, theatre has come up against a big limitation of contact-free, untact communication due to its inherent characteristic of 'presence.' For the survival of theatre in the rapidly changing world, it is desperately necessary to check the existing performance method and to be concerned about its development for the future. Thus, this researcher started from a more fundamental exploration of theatre focused on an "experiment of theatre without its three elements" and would sort out the three elements (actors, audience, and a play) from a macroscopic perspective. Also, the researcher would investigate the impacts of these elements on the performance and the possibility of theatre even after removing the elements through performance and experiment. This study consists of one performance and two experiments and is based on the interviews and progress details conducted by the planner and experimenter and the survey with the experiment participants. The significance of this study is its reflection on the essence of the genre, theatre, and the roles of all elements constituting that, not from a narrow perspective that would simply define the concepts of the elements but through the expansion and change of them. Furthermore, hopefully, it will be connected to the discovery of a new theatrical format that has not been considered through its combination with another genre.

• Journal of Appropriate Technology
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• v.7 no.2
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• pp.248-256
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• 2021

After the COVID-19 pandemic, hand hygiene has become more important to prevent and reduce infection. To manage and provide water to ensure safe handwashing, water governance and the role of public servants are also getting critical. Many organizations have given their priority to capacity building of public servants. In the Strategic Plan for the ninth phase of the Intergovernmental Hydrological Programme (2022-2029), 'Water education in the Fourth Industrial Revolution' is included as a priority. In Korea, ODA in the field of water and sanitation is emphasized in Korea's 3rd Mid-term Strategy for Development Cooperation (2021-2025). Also, KOICA and various water-related organizations have been organizing water education programs for developing countries. This study presents the direction for water education for public servants in developing countries in the post COVID-19 through the education program cases of the International Centre for Water Security and Sustainable Management established by the agreement between the Korean government and UNESCO in 2017. The study suggests that water-related organizations should cooperate with each other to prevent duplication of water education contents. It also suggests that blended learning should be actively utilized for the improvement of education program effectiveness. Lastly, the study emphasizes that education demand for the water technologies related to the fourth industrial revolution and smart water management is increasing, which should be considered when water-related organizations create online content or design education programs.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.103-132
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• 2020

By analyzing the characteristics and meaning of dystopia in Korean juvenile science fiction, this study aims to search for the principles of juvenile literature responding to the contradictions of scientific technologism in collusion with state capitalism, and to consider its limitations and significance. This study focuses on the juvenile science fiction in which children or teenagers fight against system dystopia functioning as a setting of the story. System dystopia consists of 'fake utopia' and 'concentration camps' holding those excluded from this 'fake utopia'. Young people whose right to life are violated under the system dystopia escape from concentration camps and fight against political power. We don't have many novels that have focused on environmental dystopia, but a nomadic subject is found in works set on Earth after environmental pollution or nuclear explosion. In short, juvenile dystopia science fiction deepens the contradictions of the hierarchical society based on scientific technologism, criticizing the repressive, material-oriented and differential educational realities of our society. They hope that children or teenagers will act as a resistance that sees through the deception and hypocrisy of the social system. These works are significant in that they expose the biopolitics strategy of political power in collusion with industrial capitalism and induce us to reflect on it. However, it seems to be the limit of humanism to equate human life with nature and to warn of dangers of technology, machinery, and material civilization as the counterpart. This paper has the significance of taking a general survey of juvenile dystopia science fiction since the 2000s, and revealing the writers' perception of scientific technologism and its limitations.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.157-190
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• 2020

How is the "Yonsei University Incident" of August 1996 remembered from a periphery perspective and a gender perspective? With this question in mind, I reviewed the history of the revolution and the missing memories in the period from 1996 to 2016 in Korean literature. I tried to recover the story of the revolution experienced and remembered by those who were politically invisible or gender-excluded, by centering on novels with strange reminiscences of the student movement in 1996, namely Yoon I-Hyung's "Big Wolf Blue" ("Big Wolf Blue", 2011), Choi Eun-Young's "Responsibility"(2018), Hwang Jung-Eun's Didi's Umbrella (2019) and Park Sang- Young's "A piece of Rockfish Sashimi The Taste of the Universe"(How to Love in Metropolis, 2019). There is a correlation between the perception of the periphery and the name of the "unrememberable" revolution. And this fact tells us that revolution does not mean the same thing to everyone, even when it "passes" through the midst of a revolution that shares the imagination of a better society and the desire to reorganize the system. In other words, it emphasizes that the logic of exclusion and hierarchy was still in operation even at the moment of revolution. It would be said that this review is not only a rethinking of the student movement, but also a reevaluation from the gender perspective of Korean society in the 1990s.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.133-144
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• 2020

This study is a new proposal for the methods of actor training and role creation in the contemporary theater and an approach to the practical utilization of the performer, regarding the actor's 'presence' as the essence of living arts, a peculiarity of theater. As the method for this, this study sorts out Vakhangov and Mikhail Chekhov's elements of acting techniques and at the same time, allows an easier approach to the theoretical concept based on the performance records found in the developmental process. The magic realism and the technique of acting discussed in priority in this study emphasize the importance of the exploration and realization of artistic inspiration in everyday life, the actor's imagination and image, and unconsciousness as a method for creating new actors and diversifying their roles. When their common views are summed up, the goals to achieve include a study of a creative method in which outer form and inner truth are combined and the implementation of a new system for creating the individual actor's originality. This study would classify the similarities and differences found through this, reveal the limit of practical efficacy and propose it as a universal method for creating the roles, asking for the actor's voluntary training and active attitudes.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.71-86
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• 2021

The purpose of this study is to reveal the significance of musicals and find a way to utilize them in Korean language culture classes for foreigners. Korean language education aims to improve communication skills, and cultural education is necessary to help students understand not only the language but also the social background and context of the language. Accordingly, the author of this study has put together a lesson plan for Korean culture incorporating musicals, a topic that has been heretofore disregarded in Korean language education. Musicals are an appealing art medium for Korean language learners, as they provide striking visuals centered around distinct narrative structures and music. The musical "Swag Age: Shout out Joseon!," which this study focuses on, provides particularly suitable content, as it deals with social issues that are relevant even in contemporary Korean society and includes sijo (poetry), which can be used to teach traditional Korean literature. Based on the above characteristics, the author of this study outlines a Korean culture lesson plan teaching sijo through the musical "Swag Age: Shout out Joseon!" The class will be for learners of intermediate level and above, and consists of 4 sessions: 1) Understanding the overall plot of the musical, 2) Learning about Korean sijo, 3) Writing sijo based on your own life, and 4) Presenting your own sijo. This culture class is significant in that it goes beyond simply learning about sijo and enables students to internalize the meaning of and actively enjoy sijo by writing their own versions. In addition, it is expected to be a compelling class that, on top of its educational value, introduces and allows students to experience a wider range of Korean popular culture by adding the musical genre to the common repertoire of movies, dramas, plays, and pop songs often covered in Korean culture classes.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.151-156
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• 2019

In recent years, the Korean realistic theme of the film momentum gradually rising. Realistic films do not stick to the business and market, and do not simply cater to the audience's needs for watching movies. They reflect social violence and cruel reality, allowing the audience to observe the structural contradictions in reality and think about the direction when watching movies. At the recent cannes film festival, "parasite" won the top prize palm in cannes by an overwhelming margin, with the highest score of 3.3 issues. Although this film is positioned as a thriller with comedy elements, it presents the opposite life images of Korean classes to the audience in a parasitic way, which not only expands the possibility and artistry of realistic film aesthetics, but also enhances the appreciation of the film and gives play to its own aesthetic value. Focusing on the technical and literary nature of the film, and having a high degree of attention to real life, it is an excellent work that tells about class opposition and thinking about reality. This paper considers and analyzes the content, form and creation method of parasite, and discusses the continuous exploration and attempt of realistic film to image language under the demand of market and system, evolving into new aesthetic expression.

• Journal of Korean Library and Information Science Society
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• v.54 no.4
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• pp.281-306
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• 2023

This study analyzed the legal deposit, acquisition, and donation status from 2020 to 2022, along with the deposit status of e-publications with issued ISBNs. Through this analysis, the study derived improvement measures to strengthen compliance with legal deposit obligations for domestic e-publications. The key findings are as follows: The collection methods were acquisition (57.07%), legal deposit (41.74%), and donation (1.19%). The file formats varied, including e-books (pdf, epub), webtoons (jpg), and audiobooks (mp3). Most e-publications collected were published from 2012 to 2022, with some from 1960 to 2011. Webtoons dominated acquired materials, while legal deposits mainly comprised e-books. Analyzing the status of e-publications with issued ISBNs, e-books (96.2%) were most common, with the literature field receiving the highest number of ISBNs. Most ISBNs were issued during 2020 to 2022. Looking at the top 10 publishers, the low legal deposit rate indicates the need for improvement. To address this, proposed improvement measures include enhancing publishers' awareness of legal deposits, strengthening incentives and sanctions, encouraging voluntary participation through transparent disclosure of the legal deposit status, and improving the accuracy of data in the ISBN issuance and deposit system.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.173-180
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• 2024

We This study aimed to quantitatively analyze the theme of 'libertinage' and the associated issues of reason and emotion in 『Dangerous Liaisons』, a novel considered a masterpiece of libertine literature and an epistolary novel of the 18th century, using digital analysis tools. First, based on the frequency analysis of word usage using Voyant and LIWC 22, we confirmed that libertinage is manifested with keywords such as 'love' and 'time'. With Voyant's 'Contexts' feature, it was found that the letters sent by Valmont to Madame de Tourvel and those sent by Madame de Merteuil both have 'love' as the central theme. However, emotional vocabulary was higher in the former, whereas strategic vocabulary was more prevalent in the latter. Additionally, it was observed that the most frequently used word in the letters sent by Madame de Merteuil is 'time', with a higher frequency than 'love'. Thirdly, using LIWC 22, we measured the analytical thinking and emotional tone of the letters exchanged by the main characters, and analyzed how these values changed according to the chapters. Through these analyses, we confirmed that this novel, alongside Rousseau's "New Eloise," anticipates romanticism by embracing the theme of 'emotion,' which was rejected by 18th-century Enlightenment ideals.

• 한국프랑스학논집
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• v.107
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• pp.1-25
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• 2019

Cette étude a pour but d'analyser la symétrie des œuvres littéraires de Samuel Beckett autour de son roman Murphy (1938) et de sa pièce de théâtre En attendant Godot (1952). Selon Katharine Wort, « tout est symétrique et tend ô arriver en double » dans la structure d'En attendant Godot. En effet, la symétrie est omniprésente dans l'univers littéraire de Beckett non seulement sur le plan des structures textuelles mais aussi sur le plan du langage et du comportement des personnages. Beckett a dit : « si vous voulez trouver les origines d'En attendant Godot, regardez Murphy. » Murphy est un personnage éponyme qui « se sentait fendu en deux, d'un côté un corps, de l'autre côté un esprit ». Étant donné que Murphy a reçu de l'influence du philosophe « post-cartésien » Arnold Geulincx, on vise d'abord ô trouver des implications de sa théorie occasionnaliste et ensuite ô vérifier la relation entre la structure symétrique du texte et sa philosophie. Enfin autour d'En attendant Godot, on vise ô confirmer des effets engendrés par la symétrie des deux actes et du mime des deux protagonistes Estragon et Vladimir en recourant ô leurs chapeaux. Beckett a mis dans sa tragicomédie des magnifiques scènes symétriques qui créent un effet grotesque. La symétrie du texte beckettien commence par le dédoublement entre le corps et l'esprit (Murphy) ou entre l'ego et l'alter ego (Estragon et Vladimir). Et elle représente d'un côté le cycle, la répétition, l'éternité et de l'autre côté le système fermé, la stagnation de la situation et du temps. Elle reflète donc la conscience du monde de Beckett. Dans le roman Murphy, il y a un jeu d'échec entre Murphy et M. Endon, un « petit gaga » de la Maison Madeleine de Miséricorde Mentale (M.M.M.M). M. Endon qui s'était replié sur lui-même a joué aux échecs pour obtenir sans relâche une position symétrique. Murphy n'a pu être perçu par M. Endon. Et Murphy qui imitait dans un premier temps les symétries successives de M. Endon a fini par abandonner la partie d'échecs, après avoir réalisé l'impossible imitation des coups de son adversaire : il concrétise l'axiome de Geulincx ubi nihil vales ibi nihil velis ("wherein you have no power, therein neither should you will" traduit par Beckett). Beckett était adepte du jeu d'échecs et l'échec est un de ses motifs répétitifs pour représenter l'existence limitée de l'homme. De plus Beckett considérait la scène comme un échiquier. En résultat, la symétrie du texte beckettien montre sa poétique de « form is content, content is form » et puis dans l'univers littéraire de Beckett qui écrivait en français et traduisait en anglais lui-même ou ô l'inverse jusqu'ô la fin de sa vie, incarne le mouvement « keep ! for end » que Beckett a écrit comme une sorte de testament au-dessus de son autographe du poème anglais what is the word (1989).