• The Journal of the Korea Contents Association
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• v.15 no.6
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• pp.509-519
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• 2015

This study has suggested the measures to overcome employees' mannerism and to form psychological capital through servant leadership of managers in travel agencies. The results through sample analysis aimed at 163 general employees of travel agencies in Seoul have been drawn as follows. First, in the analysis of relationship between employees' mannerism in travel agencies and psychological capital, only unconscious attitude has proved to have a negative influence on hope and optimism. Second, servant leadership has proved to improve passive attitude of mannerism, which ameliorates self-efficacy, recovery and optimism among psychological capital. Lastly, servant leadership has turned out to produce regulating effect to decrease recovery as for employees in mannerism who have a tendency toward stability orientation. These results originate from the study on the role of servant leadership toward employees' psychological attitudes. A follow-up study should proceed to qualitatively improve a research on employees' mannerism in travel agency and psychological capital.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.2
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• pp.163-172
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• 2002

There have been many unbalanced attempts to break the rules with Renaissance movement which connects with the past in the current art. And From the latter half of Twenty century to the early half of twenty one century, the common sense of fashion is turned over by(unthinkable fashion). To analyze current apparence of fashion, this research make a comparison of fashion condition between the sixteenth century and twenty century fashion, Three analysis methods is introduced. First of all, this paper make research of original language of mannerism and unthinkable apparence. Second, appearances of mannerism fashion and unthinkable fashion which are taken from reference books and pictures. Third, Gathering methods which express own style between two periods in the end part of research. As a result, Although Mannerism isn't practical for the visual and new pleasure, and neglect humanism of Renaissance, It is a tendency which is willing to change the flow of prevailing mode, and to reflect asking of people each periods. Mannerism and unthinkable fashion is apparence of society to refresh own feeling. And then, Mannerism and unthinkable fashion is a new challenge to escape from fixed thought.

• Proceedings of the Korean Institute of Navigation and Port Research Conference
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• 2012.06a
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• pp.597-599
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• 2012

본 연구는 다양화, 정밀화, 현대화되고 있는 해상교통관제 환경에 맞추어 신체적, 제도적, 환경적인 근무요건들을 분석하여 관제사의 집중도 향상을 위한 Workload 경감 방법에 대하여 고찰하였다. IALA Guideline No. 1045 - On Staffing Levels at VTS Centers Edition 1에 언급된 workload에 영향을 끼치는 요소들을 중심으로 현재의 국내 해상교통관제센터의 여건에 대하여 분석하였다. 항공관제센터 등의 순환근무체제를 비교 분석하고, 관제집중도 향상을 위해 보완해야 할 사항에 대하여 검토하였다.

• Journal of the Korean Society of Costume
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• v.42
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• pp.69-90
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• 1999

Mannerism style evolved from the Renaissance style adopting the concept of grace as the ideal beauty, Having its ground on Neoplatonism the main goal of mannerism art was the realization of the invisible beauty over reality. Mannerism style in dress flourished in the sixteenth century court society, when courtly manners and courtly grace became the most important qualities in social relationship. Courtiers thought that courtly grace the ideal of beauty could be realized in the cultured and studied elegance. Mannerism style in dress evolved from the process of transforming and manipulating the Renaissance look for the abstract of beauty. The clothes of Mannerism style were against the natural movement of the human body. There was a tendency of refining and polishing the whole clothing and various technical skills were experim-ented on the mannerism style. The outstanding elements of this tendency can be found in the details like ruffs fathingale padding slashing puffing and etc. Mannerism intended to reconstruct the human body artificially to express courtly grace and novelty. During that process the new pose 'figura serpentinata' which is bizarre convoluted pose with full of flexibility was created. The expression of human body became more slender with elongated legs a torso with a long neck and a tiny head. This tendency of distorting the natural body forms were reflected in the formal characteristics of Mannerism dress style which is geometrical abstr-action unnatural elongation complex disposition and control with perfect ease.

• Journal of the Korean Society of Costume
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• v.33
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• pp.157-173
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• 1997

The Mannerism which was born on Italy in 16th century was the critical trend of art influencing the political economical and psychological trends and was the first mo-dality which respected the individual sense of artist. The cultural situation of that time es-pecially the alienation of men is similar to the pluralism of value the coexistency of conflict the acceptance of heterogeneity and uncer-tainty I modern century. This paper analysed the pattern of change in the trend of Mannerism in modern costume by comparing current trend from the past focus-ing th fact that the over-all situation in this century is similar to that of Mannerism in 16th century. In this paper the author suggests the Defor-mation Ambiguity and Irreglarity as the character of manneristic trend which has re-solved the sense of alienation of men by paradoxic expression. The results of comparing the characteristic of mannerism to the modern costume is followd; 1. The Deformation in modern costume is grossly subdivided to the transfrmation of morphology the transformation of scale and the breakdown of equilibrium 2. The ambiguity in the modern costume can be subdivided to the eclecticistic expression and the ambiguity of spatial concept(between inner and outer garments). 3. The illogiclities in modern costume are the technique of illusion structural illogicality and the collage technique.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.101-110
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• 2019

The actor's art work is to build and create a role on stage based on the writer's drama. The actor's role creation is possible by analyzing the role of the writer in the drama logically and acting it actively. This is how an actor who practices practical acts goes beyond a stereotypical role-building and performs live acting skills. A case study in the field work for the application of Etude is absolutely necessary at present, where Etude of Stanislavsky is operated in Korean university education and field. This study will be a case in which Etude, which is a scientific and systematic acting methodology of Stanislavsky, is recognized and applied in the field as a methodology for more extended actor training methodology rather than making a judgment about the value of Etude as applied to theater education and the field as an acting training method. The researcher will introduce the methodology of using Etude as an acting method of Stanislavsky through the use of Etude in the creative play , and would like to give an example of an acting creation process model about 'how to apply Etude'. Through these studies and applications, actors can avoid falling into stereotypes and mannerism, and prepare the foundations for a living actor's art, the acting guide for creating a practical role.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.172-195
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• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.