• Journal of the Korean Society of Radiology
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• v.15 no.5
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• pp.667-673
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• 2021

As we enter the era of the 4th industrial revolution, it is judged that the scope of work of radiologists will be further expanded according to the innovation and advancement of radiation medical technology development. In this study, the current status of medical equipment and radiology technicians was identified, and basic data were provided for the plan for nurturing talents in the field of radiation medical technology in the era of the 4th industrial revolution, as well as career and employment counseling. Data from the second quarter of 2020 and the second quarter of 2021 were analyzed using health and medical big data. As a result of comparing the status of medical equipment by type in 2021 compared to 2020, C-Arm X-ray examination equipment increased by 5.83% to 6,638 units, followed by MRI examination equipment 1,811 units 5.29%, and angiography equipment 725 units 5.22% , general X-ray examination equipment 21,557 units increased 3.99%, CT examination equipment 2,136 units 3.03%, and breast examination equipment 3,425 units increased 3.00%. As a result of a comparison of the total number of radiologists in 2021 compared to 2020, the number was 29,038, an increase of 2.73%. As a result of comparing the status of radiographers by region, the increase was highest in the Gyeonggi region with 5.96%, followed by the Gangwon region with a 5.66% increase and the Chungnam region with a 3.81% increase. In a situation where the number of medical equipment and radiologist manpower is increasing, universities are developing specialized knowledge and practical competency through subject development related to the understanding and utilization of customized artificial intelligence and big data that can be applied in the medical radiation technology field in the era of the 4th industrial revolution. It is necessary to nurture qualified radiographers, and at the level of the association, it is thought that active policies are needed to create new jobs and improve employment.

• (The) Research of the performance art and culture
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• no.37
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• pp.61-94
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• 2018

This article examined that the historical changes and current significance of the Jaedam(재담) and the Xiangsheng(相聲), one of the traditional Korean and Chinese language games. Both Korean Jaedam and Chinese Xiangsheng are representative language games and traditional performing arts for laughing. The origin of the Jaedam can be traced back to Uheui(우희). Uheui has been called Changyouxi in China, Bae Woo-hee, and Jo Hee in Korea. Uheui is the most traditional language game and a variety of performances were derived from its spreading and inheriting process. Among them, Korean Jaedam and Chinese Xiangsheng can be said to be a piece of art that has successfully inherited Uheui tradition. From the late 18th century, Korean Jaedam were established as independent performance arts, and became highly active in many performance by professional joker Park Chun-jae and other performers. With the development of gramophone record in the early 20th century, the Jaedam was mainly made on the theater stage and radio. At this time, the new performance art of 'Mandam(만담)' was derived from the Jaedam, which focused more on satire current events and criticizing the social situation. Mandam has been popular for a long time and then extinct in the 21st century. The jaedam have been handed down only in the Korean traditional performance so far. Meanwhile, Chinese Xiangsheng, which was built in the mid-19th century, a bit later than Korean Jaedam, was initially considered to be a vulgar art of the lower class, but finally became popular in the early 20th century. In the mid-20th century, Xiangsheng was transformed into a new character, which mainly deals with social praise and edification of the masses. But since 'New Xiangsheng' does not focous on a satire on social conditions, the humor has been reduced. In the early 21st century, Xiangsheng was on the verge of extinction just like Mandam, but through the efforts of young actors to revive tradition, another reformation of this art was made to return to tradition and small theater. Currently, the 'traditional Xiangsheng', which has returned to tradition, is once again receiving the love and support of the Chinese audience. Korean Jaedam and Chinese Xiangsheng have many similarities in terms of history and recruitment, but they are now in different fates. There is also a great deal in common ground in terms of the content and form of the two arts. In the case of Xiangsheng, it is one of the traditional folk art forms which is still loved by the Chinese people and has become one of the most important traditional performances. On the other hand, in Korea, Jaedam as independent performance arts has disappeared and now only can be seen in traditional performances such as 'Korean mask theater'. The fact that Korean Jaedam and Chinese Xiangsheng have undergone similar changes in their spreading and inheriting process, while Korean Jaedam have disappeared and Chinese Xiangsheng is well preserved. The reason can be confirmed through the main idea of this article.

• Journal of Korean Home Economics Education Association
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• v.35 no.3
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• pp.47-66
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• 2023

The purpose of this study was to develop an educational smart app for classes by reconstructing some of the teaching-learning contents of the clothing preparation planning within the 'clothing preparation planning and selection' curriculum unit. To this end, a teaching-learning process plan was planned for the classes, a smart app was developed for classes, and feedback from home economics teachers and app development experts was received for the developed app. The main composition of the developed app consists of five steps. The first step is to set up a profile using a real photo, ZEPETO or Galaxy emoji, or iPhone Memoji. In the second step, students make a list of clothes by figuring out the types, quantities and conditions of their exisitng wardrobe items. Each piece of clothing is assigned an individual registration number, and stduents can take pictures of the front and back, along with describing key attributes such as type, color, season-appropriateness, purchase date, and current status. Step three guides students in deciding which garments to retain and which to discard. Building on the clothing inventory from the previous step, students classify items to keep and items to dispose of. In Step 4, Deciding How to Arrange Clothing, students decide how to arrange clothing by filling out an alternative scorecard. Through this process, students can learn in advance the subsection of resource management and self-reliance, laying the foundationa for future learning in 'Practice of Rational Consumption Life'. Lastly, in the fifth stage of determining the disposal method, this stage is to develop practical problem-oriented classes on how to dispose of the clothes to be discarded in the thirrd stage by exploring various disposal methods, engaging in group discussions, and sharing opinions. This study is meaningful as a case study as an attempt to develop a smart app for education by an instructor to align teaching plans and educational content with achievement standards for the class. In the future, upgrades will have to be made through user application.

• Trans-
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• v.2
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• pp.1-38
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• 2017

Dance, as an art which expresses thoughts and emotions by movement human, is included in work that its copyright has to be protected, choreographers who are creators and dancers who are performing can exercise their rights included in copyright laws. However, artists who work in the dancing scene have lack of awareness about copyrights and the application level is low. The purpose of this thesis is to look into the current status and issues about dance copyright and to discuss activation plans and effectiveness plans for dance copyrights. The main point is to check into the level of awareness for dance copyrights with choreographers, dancers and students majoring in dance who are in charge of the art of dancing, to present issues about the necessity of the dance copyrights protection plans by analyzing interviews-in-depth and to prepare the dance copyrights protection plans which are concretely realistic. For the research methods, first, I looked into ideas and contents about copyrights through a document research and then, wanted to prepare theoretical background by reviewing actual cases of performing art copyrights related to dance. Next, I carried out surveys about awareness of copyrights with students majoring in dance, choreographers and dancers then carried out analysis of actual proof. Also, I chose three famous dancers who are actively performing in the current dancing scene and did interviews-in-depth about dance copyrights then carried out a recording analysis. I tried to complement the analysis by discussing deeper which I couldn't deal with in the previous surveys and to contemplate awareness activation of dance copyrights and plans. As a result of the research, the level of the awareness about dance copyrights through age, major, education and career was very low. The level of awareness was almost same compared to the previous research 10 years ago. 'Music', which can be an element of copyright issue in dance, was the highest in rate, and dance was recognized as an art which is combined with various elements as a combination work. The way of protection for works of choreography and performance only used data preservation and contracts and didn't register copyrights or record in dace notation. Majority of responders answered that they couldn't have any education about copyrights while they were recognizing the necessity of education and management for copyrights. The analysis of interviews-in-depth was also matched to the result of the previous surveys and a deeper discussion about the status of dance copyrights and issues was carried out. The plans of effectiveness for dance copyrights through the result of previous research are as followings. First, an advanced education is necessary above all to increase the awareness and application of copyrights in dancing scene. Long-term education like study curriculums and short-term education like special courses and seminars should be combined, and education about copyrights for dance groups, choreographers, dancers and students majoring in dance should keep on going. Second, revision of performing art works is necessary for the activation of dance copyrights, and establishing a dance copyright association to manage copyrights systematically and training dance copyright experts are necessary as well. Third, as the way of copyright protection for choreographers and dancers, an establishment for relation gain and loss about copyrights is necessary when creating dance works and performing, and registration of dance works should be activated. Also, the dancing scene should sign contracts for choreography and performance and this contract culture should be activated, and it should systematically preserve and manage choreography and performance records through basic ways. Hereby, it is considered to prepare a foundation to foster the awareness of dance copyrights and activate dance copyrights.