• Journal of Korean Classical Literature and Education
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• no.37
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• pp.5-45
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• 2018

Today, in the case of literary works such as modern poetry, novels, 'literature production : literature acceptance' are relatively simple as 'writing : reading'. However, in classical literature, there are ways of 'singing, chanting, narrating, performing, public reading, writing : listening, reading.' Modern literary works such as poetry and novels are sole arts made up only of literature, but classical literature have many complex arts accompanied by music, theater, etc. In order to understand the way classical literature, it is necessary to consider music, theater, etc. also. There are a number of subjects to research today in relation to the accepting method of classical literature. There are such things at Hyang-ga (향가), Goryeo Sog-yo (고려속요), Sijo (시조) and Gasa (가사) in of classical poetry. There is a public reading in classical novels. There is securing video materialㄴ for narrators in oral literature. And there are Si-chang (시창. 詩唱) and aloud reading in chinese proses. 'Listening literature', such as the oral literature needs to have the A. Lord's 'formular theory' - 'formular' (general words), 'themes' (general subject), and 'improvisation.' It is the opposite of contemporary poetry and novels that value ' special words', 'special contents', and 'original text.' Classical literature with a great deal of 'listening literature' besides ' reading literature' needs to have this 'formular theory' too basically. In the case of 'excessive pornographic' oriented events in Goryeo Gayo (고려가요) and Pansori (판소리), a vision is required to set up a space for the realization of literature. The haman basic elements like a man and woman's body subject can be evoked as a literature means at open place for anonymous people. Unlike modern poetry and novels, which are 'reading literature', and contain only literature, classical literature have 'listening literature' besides 'reading literature', and have complex arts - classical poetry (literature and music), and oral literature (literature, music, theater etc.) These aspects are available to research modern mass media literature, which are all 'listening literature,' and all complex arts - pop songs (literature and music), movies (literature, drama, image, music etc.) and TV dramas (literature, drama, image, music etc.). Thus, a proper understanding and consideration of the accepting method is very important in understanding, researching and educating classical literature.

• Proceedings of the Plant Resources Society of Korea Conference
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• 2019.10a
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• pp.9-10
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• 2019

순천만은 순천시의 남쪽에 위치하여 여수반도와 고흥반도의 사이에 있는 만 지형 형태로 만 전체를 순천만이라고도 하나, 보통 고흥군반도와 여수반도 사이의 만을 여자만이라 하고 만내부에 위치한 여자도라는 섬의 위쪽으로 순천시의 해안하구에 형성된 지역을 순천만이라 일컫는다. 순천만은 순천시에서 유입되는 동천과 이사천 및 해룡천의 하류에 형성되어 있어서 육지부에서 유입되는 퇴적물과 유기물로 인하여 갯벌과 갈대등이 잘 형성된 습지로서 2003년 12월 31일 해양수산부 갯벌 습지보존지역으로 지정되어 관리되고 있으며, 2004년에는 동북아 두루미 보호 국제네트워크에 가입하였고, 2006년 1월 국내 연안습지로는 최초로 람사르협약에 "Suncheon Bay"로 등록되었으며, 2016년 6월에는 람사르습지로 지정된 국내외적으로 중요한 습지이다. 순천만습지에 형성되어 있는 갯벌($28.0km^2$)은 세계 5대 연안습지 중 하나로서, 넓은 사니질 갯벌과 갈대군락이 잘 발달되어 있는 생태계의 보고(寶庫)이자 소중한 생태자원으로서, 순천시에서는 순천만을 자연생태공원으로 지정하여 보호 관리하고 있으며, 각종 자연학습자료들과 영상물들을 갖춘 생태전시관과 갈대숲 탐방로, 용산전망대, 야생화 정원, 담수습지, 갈대정자, 갯벌관찰대 등 사계절 생태체험을 위한 각종 시설들을 잘 갖춰놓고 많은 관광객의 이용할 수 있도록 하고 있다. 갯벌은 바닷가의 넓은 벌판이란 뜻으로서 삼면이 바다인 우리나라는 갯벌의 전체 면적이 약 $2,500km^2$에 달하는데 여기에는 많은 종류의 다양한 생물들이 살아가고 있으며 어민들의 생계에 지대한 영향을 주고있다. 이러한 갯벌은 퇴적된 입자의 구성에 따라 펄갯벌, 모래갯벌, 혼합갯벌 등으로 구별되는데 이에 따라 갯벌 생태계를 구성하고 있는 생물들의 종류도 바뀌게 된다. 순천만갯벌과 여기에 조성되어 있는 습지환경에 따라 확인되고 있는 수산자원으로는 새꼬막, 꼬막, 눈알고둥, 갯고둥, 비툴이고둥, 돌조개, 접시조개, 새알조개, 가무락조개, 바지락, 우럭, 가재붙이, 방게, 칠게, 농게 등의 저서 생물들과 짱뚱어, 문절망둑 등의 어류가 있으며, 해조류로 우뭇가사리 등이 있고, 인근의 어민들의 어업형태는 꼬막 등 패류의 채취나 종패를 뿌려 일정기간 양성하여 수확하는 양식업, 육상부에서 폐염전 등을 활용한 전어나 새우 등을 양식하는 양식업, 수산물을 직접 손이나 간단한 도구를 이용하여 잡는 맨손 어업 형태가 주를 이루고 있는 것으로 나타나고 있다. 이와 같이 국내외적으로 중요할 뿐만 아니라 인근의 어민들의 생계에도 지대한 영향을 미치고 있는 순천만의 습지는 뻘층이 깊고, 분해성 미생물이 다양하게 서식하여 유기물 분해능력이 뛰어나며, 유기영양분이 풍부하여 우리나라에서 가장 질이 좋은 습지로 평가되고 있으나, 순천시 등 순천만 인근에 거주하고 있는 인간의 활동에 따른 간섭에 많은 영향을 받고 있으며, 이에 따라 끊임없는 생태환경이 변화하고 있어서 순천만의 효율적인 보전 및 지속가능한 이용을 위해서는 생태계에서 가장 기본적인 요소인 수 저질 환경의 지속적이고 체계적인 조사 및 관리가 필요하다. 한편, 오염물질의 70% 이상은 하천이나 강을 통해서 해역으로 유입된다고 알려져 있기 때문에 생태계의 보고(寶庫)라고 알려진 순천만의 지속적인 보존 및 관리를 위해서는 유입수계 하천의 수질현황 및 오염물질의 주요 배출원을 파악하고, 이에 대한 저감대책을 수립할 필요가 있다. 따라서 본 연구는 순천만의 수저질 특성과 여기에 유입되는 하천의 수질환경 현황 및 오염원을 파악함으로써 순천만의 보전을 위한 효율적 관리방안을 제시하는 것을 목적으로 수행되었다. 연구의 결과에 따르면, 순천만의 수질평가지수에 의한 등급(WQI)은 III등급으로 나타나고 있으며, 득량만, 광양만 등에 비해 비교적 높은 유기물 및 T-N, T-P의 농도 분포를 보이고 있는 것으로 조사되었다. 이는 순천만에 유입되는 하수종말처리장의 방류수와 도시하수가 유입되어 그대로 방류되고 있는 해룡천 및 연안에 위치한 어촌으로부터 직접 방류되고 있는 일부 정화조 유출수 등, 다양한 원인에 의한 것으로 판단되며 이들의 관리가 부실할 경우 순천만의 갯벌과 습지의 지속가능한 생태환경유지는 쉽지 않다. 따라서 이를 효율적으로 관리하기 위해서는 순천만 연안의 오염물질 방류를 총량관리로 전환하여 철저히 관리하는 것이 필요할 것으로 판단된다.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.105-120
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• 2020

This study explores the process of the actual content production and distribution, by creating a YouTube channel to promote the popular music contents produced by the researcher, which thus reflects the reality where the production of video contents rapidly increases. A YouTube channel titled "Alida Music", of which the focus was to promote indie musicians, was created on February 2019. The contents of 10 indie musicians were produced in one-take live format. The information of the indie musicians was displayed in the form of a screen business card, with their e-mail address and SNS account at the top. Therefore, this promotional design was named "Card Live". Promotional video contents marked with the QR code in the lower right on the screen were produced, along with the promotional phrase "Communicate directly with the artist through the QR code", which allows viewers to watch other contents of the indie musician when they scan the QR code. This research conducted a study on how to improve and promote "Card Live" contents of "Alida Music", which were produced through this process. A group interview targeting five indie musicians, among whom one participant deemed significant was selected to conduct a one-to-one in-depth interview. As a result of the study, the following three conclusions were drawn. First, YouTube was found to be the medium with the greatest influence and highest efficiency at the lowest cost. Second, the evaluation of the participants on "Card Live" were divided into the three categories: need for one-take live, the design elements of "Card Live", and scanning issues of the QR code. Third, there is a need for promotional methods that can effectively utilize the media aspects of YouTube: the channel management issues such as raising public awareness as well as the number of subscribers of "Alida Music" should be resolved and measures to effectively use various media including other SNS should be developed. In terms of its content, it is imperative to recruit diverse performers to make various contents, as well as to come up with ways to link "Card Live" contents with offline. Based on these results, "Card Live" contents should be further revised and complemented in order to provide interesting contents to consumers, which will further develop "Alida Music" as a platform where various musicians and companies meet, thereby inducing contracts with popular music agencies and generating advertising revenues. However, since this study was carried out only with the limited number of participants, future studies should include more participants to bring forth a variety of promotional plans and improvement measures. Also, in the era of consuming contents through smart devices, the fact that some features of "Card Live" were available only on PC, did not fully reflect the characteristics of the times. In the future research, various contents that smartphone users can access and view freely without PC should be produced.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.263-288
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• 2019

Barrier-free films enhance accessibility to audiovisual image contents by providing specific information on screen and through sound so that people with vision or hearing loss can receive the same amount of information as those without disabilities and immerse themselves in the audiovisual images. This study pays attention to barrier-free audiovisual contents in relation to the cultural civil rights of people with vision or hearing loss in South Korea. While institutional efforts have been made in the 2010s to improve the access to audiovisual media of people with vision or hearing loss, the goal of enabling people with vision or hearing loss to fully enjoy all audiovisual contents at a level equal to the non-disabled has not yet been realized. Amid the lingering conflict between disabled groups and multiplexes that has lasted years, the global video streaming service Netflix has aggressively threatened the dominance of local multiplexes with the launch of its Korean service. As Netflix, which is subject to U.S. regulations guaranteeing the rights of people with vision or hearing loss, has produced original dramas and movies involving Korean production teams, the cultural civil rights discourse of the disabled has transitioned to the issue of the rights of cultural consumers crossing national borders in the era of globalization. Changes in the media environment raise the issue of civil rights guarantees in which disabled people enjoy the right to simultaneously watch movies and comment on movies by participating in a common discourse, equally with non-disabled people. The "right to be part of the audience for Korean cinema" for Korean deaf people, which has long been neglected, should also be considered as a cultural civil right that crosses the boundaries of language, nation and disabilities. This essay examines the current issues surrounding the right to cultural entertainment of people with vision or hearing loss in South Korea in conjunction with the contemporary trend of rapid changes in the media environment and the global spread of the movement for cultural civil rights of people with disabilities, and suggests the need for visual culture studies to take a serious step toward disability studies.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.247-256
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• 2019

The importance of the convergence education is getting more and more emphasized. But the university convergence education has not yet met today's needs. So this study is focused on showing effective practice methods and finding development directions of the university convergence criticism education. One of a significant trend of the contemporary academic education of liberal arts is the tendency of the convergent and integrative studies. What is essential in the convergent and integrative studies creativity. The zeitgeist of knowledge-based society is change and innovation. In response to its request, college education is being asked to do convergence education, And general education as the basis of convergence education is strengthened.