• (The) Research of the performance art and culture
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• no.18
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• pp.481-512
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• 2009

This thesis is to investigate the effectiveness of Cinema Therapy through the aspect of vicarious learning, that is, Nayeoug's modelling after Yeonsun, and Yeonsun's modelling after The Little Mermaid, by making My Mother, the Mermaid directed by Park Heungsik. After immature Nayeoung returns from the travel into past time, she is reborn as an mature woman, and finally she can manage a happy marriage life. In Nayeoung's initiation, there is Yeonsun's initiation, in that again, there is a initiation of The Little Mermaid by Hans Christian Andersen. This work is a proper text in explaining the effectiveness of Cinema Therapy which aims at self-awareness and self-improvement because it contains some aspects of the vicarious learning through the movie. Nayeon's mother(Yeonsun), Nayeoung's father(Jinguk) have trouble, and sometimes have friendly relations. The major characters' wish and need are examined out through the analysis of the five basic needs based on reality therapy. As a result, it is found out that when their needs are fulfilled, friendly relation is formed, and when their needs are not fulfilled, unfriendly relation is formed. If their own basic desires are examined, their desires can be fulfilled through the inner control by themselves.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.216-239
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• 2021

Inlay (入絲), a poetic technique of digging grooves in the surface of crafts and decorating them with metal materials, was used throughout the royal daily routines, ceremonies and government officials of the Joseon Dynasty. The government-owned handicraft industry in the Joseon Dynasty was composed of craftsmen belonging to central and local government offices and was operated mainly by government-owned craftsmen. The inlay craftsman was transferred to the central government office and was in charge of inlay poetry for crafts. The current records of Korean inlay craftsmen are concentrated in the state-owned handicraft industry. In the state-owned handicraft industry, the government offices of inlay craftsmen can be divided into Kongjo (工造), Sangeuiwon (尙衣院), and the military. Here the election of a temporary government office for airspace is added. The government offices and military inlay craftsmen who use inlay crafts are assigned, and the inlay craftsmen are placed separately in the temporary office where the fine division of labor is developed. It can be made by utilizing craftsmen. The operation of these production systems was indispensable in pre-modern Korean society, where crafts had to be produced by hand. In this paper, we investigated the roles and job types of craftsmen in the state-owned handicraft industry during the Joseon Dynasty, focusing on inlay craftsmen. Although the details applied to the characteristics and materials of the field, labor supply and demand, etc. are different, Korea pursued crafts for various purposes through craftsmanship within the framework of the basic state-owned handicraft policy . The institutional equipment for implementation was almost common. We believe that adding and analyzing some literature records and relics will help us to study the crafts of the Joseon era in more detail.