• Journal of Korea Entertainment Industry Association
• /
• v.13 no.7
• /
• pp.15-23
• /
• 2019

This paper aims to identify the characteristics implied in the process of change of Stephen Sondheim's musical style and to derive the structural communication tools that connect the creator and audience and the implications. The strategies that appear in Sondheim's musical works are the following. First, Sondheim's early musical works follow the principles of book musical and emphasize the integration faithful to the basic elements such as the rhythm and meaning of the lyrics. Second, in the era of early postmodernism, Sondheim attempts the principle of extreme deconstruction through the concept musical Company and pursues rational thought through fragmented dramatic flow. Third, while maintaining dramatic linearity to overcome the lack of immersion caused by extreme deconstruction, Sondheim realizes a more elaborate and formalized fusion style of the principles of integration and deconstruction through the choruses and the songs of the characters in Little Night Music and Sweeney Todd. Finally, Sondheim attempts multiple experiments to break down the boundaries of act and scene and to express new subject matters through his works such as Sunday Park with George and Into the Woods. In conclusion, Sondheim's fusion experiments and strategies are the process of finding a framework and a medium of communication to induce dramatic immersion of audience and at the same time create rational thinking about social problems to deliver the message of the creative work with the leading aesthetics of the modern musical's box-office success.

• Broadcasting and Media Magazine
• /
• v.10 no.1
• /
• pp.85-98
• /
• 2005

About the phenomenon of being imaged of everything, the scholars of the humanities who had studied on the simple reason structure in a text have been in a big agony how accept it. Especially, semiologists have studied about this for a long time and the points at issues of Saussure, Peirce as well as Umbeto Eco are more outstanding. Being based upon his philosophic interesting from medieval esthetics to modern semiotics, Eco was very concerned about the field of general esthetics and poputar arts like television and cartoons. He connected the mutual open-relations between 'signifier' and 'signified' debated in Semiotics with the open and vague modern arts and regarding it as a deviation from the custom, intensively studied the film-media. Saussure is a representative figure of semiotics and explained Sign and the character of semiotics as the division into two parts such as signifier/ signified, form/ substance, langue/ parole, synchrony/ diachrony. The triadic semiotics (the theory that Sign is composed of the triadic structure like sign, referent and interpretant) of Peirce put the new item- 'interpretant' in sign and referent to connect them and open the possibility to introduce time in to the Sign. In this paper, I try to analyze a cartoon film in the semiotic structure with the systemic, reasonable and logical approach and analysis as as possible. While the images shown through a film were depended on the romantic and impressional judge in the past, due to semiotics, it' s quite possible to correlate the procedure of symbolization to social coherence so that we analyze the incredible power of images to suck audiences with the systemetic Sign. I accept all ot film-images including a cartoon film as not the simple esthetic arts but a social custom and system, want to serve as a aid to properly understand world and humanbeings and prevent the film-image from being mystic. A cartoon and a cartoon film which were begun with the link of a text and an illustration give shape to all of images such as materials, places and even thoughts with a cartoon icon existed in only a cartoon. A cartoon and a cartoon film simply and exquistely conceptualize the complex and vague attribute of an organic creature and extend them infinetly beyond language. However, it can be exploited as a mysticism to temptate the general public and a faking material. In addition to that, it can distort our world-knowledge engaging a political power and the massive power of mass media. In this paper, being based on semiotics to approach a cartoon film in a scientific and organic system, I conclude that a non-linguistic cartoon expression is entangled with the manifold signs and implies the supplementary meanings just like a regular linguistic expression. It remarks that the iconic images of a cartoon film are composed of the social codes and can be analyzed on grounds of a linguistic system.

• Cartoon and Animation Studies
• /
• s.33
• /
• pp.223-246
• /
• 2013

Even though cartoons and narration comics were born from different origin, they have been called by names such as 'cartoons' or 'comics'. The reason can be found in the similarity of cartoons and narration comics. The similarity of cartoons and narration comics is the genre consisting of writing and drawing. Writing can be the format of expression and it can represent the story. Such story is present as a component of 'narration'. Sub genre of comics includes cartoons and narration comics. It includes animation in a broad range. In cases of narration comics and animation, it is thought that narration is present with continuity of time. However, in case of cartoon, because one or two cuts without continuity of writing are frequently expressed, it is being asked whether narration is present. It is easy to be reminded of epic or chanson de geste whenever you hear 'narration'. Since it deals with a biography of the character, we think the concept of 'narration' with temporality. However, narration provides a certain event in a broad range. Thus, cartoons presenting one event with the image may have the existence of narration, because description of multiple scenes of narrative comics can be implicitly represented in cartoons. As such implications leave a space, the empty space can be filled by active reasoning of recipients. However, nevertheless, it is very difficult to find studies as well as mentions of narration in cartoons. Thus, in this paper, we investigate the concept and structure of narration and demonstrate the presence of narration in cartoons. First of all, we looked at the narration theory in literature before studying narration in cartoons. The reason is that we thought the approach to the literary theory was required in order to investigate the basic elements, since cartoons are a collection of writing and drawing. We were focused on the prerequisites of narration presented in "story and discourse" of s. Chatman. If the prerequisites of narration are present, we can assume that the narration is present. The prerequisites are 'narration reasoning', 'screening', 'consistency', 'process statements' and 'stasis statement'. As s. Chatman described them as prerequisites of narration, he analyzed the narration structures of films and novels. In addition, we revealed that the narrations were present in cartoons as we identified how prerequisites of narration presented by Chatman were presented and expressed through "vocabulary of comics", "Timeframe" and "life in the line" described in "understanding comics" by Scott McCloud.

• Journal of Internet Computing and Services
• /
• v.20 no.4
• /
• pp.63-72
• /
• 2019

As a sub-concept of corporate or organization governance, business governance and IT governance have become major research topics in academia. However, despite the importance of process as a construct for mediating the domain between business and information technology, research on process governance is relatively inadequate. Process Governance focuses on activities that link business strategy with IT system implementation and explains the creation of corporate core values. The researcher studied the basic conceptual governance models of political science, sociology, public administration, and classified governance styles into six categories. The researcher focused on the series of metamodels. For examples, the traditional Strategy Alignment Model(SAM) by Henderson and Venkatraman which is replaced by the neo-SAM model, organizational governance network model, sequential organization governance model, organization governance meta model, process governance CUBE model, COSO and process governance CUBE comparison model, and finally Process Governance Framework and etc. The Major difference between SAM and neo-SAM model is Process Governance domain inserted between Business Governance and IT Governance. Among several metamodels, Process Governance framework, the core conceptual model consists of four activity dimensions: strategic aligning, human empowering, competency enhancing, and autonomous organizing. The researcher designed five variables for each activity dimensions, totally twenty variables. Besides four activity dimensions, there are six driving forces for Process Governance cycle: De-normalizing power, micro-power, vitalizing power, self-organizing power, normalizing power and sense-making. With four activity dimensions and six driving powers, an organization can maintain the flexibility of process governance cycle to cope with internal and external environmental changes. This study aims to propose the Process Governance competency model and Process Governance variables. The situation of the industry is changing from the function-oriented organization management to the process-oriented perspective. Process Governance framework proposed by the researcher will be the contextual reference models for the further diffusion of the research on Process Governance domain and the operational definition for the development of Process Governance measurement tools in detail.

• Journal of the Korean association of regional geographers
• /
• v.4 no.2
• /
• pp.15-30
• /
• 1998

Physical geography is the discipline which deals with the relationship between man and natural environment. Therefore, it should be studied as the organized unity. In this paper I recognize the drainage basin as a framework outlining physical geography, describe the difference of inhabitant's life style due to the difference of natural environment in the drainage basin, and consider the meaning of drainage basin as a unit of life(and unit of regional geography). Munkyung is divided into three regions(intermontane basin region, middle mountainous region, marginal hilly region of the great basin) owing to the topographic characteristics. Subdivision in these regions is related closely to drainage network distribution, specially in intermontane basin region. And small regions have developed with the confluence point of $3{\sim}4$ order streams as the central figure. Intermontane basin region is the valley floor of Sinbuk-Soya-Kauun-Nongam stream located in the limestone region which is exposed according to Munkyung fault at its northern part. Small streams are affected strongly by the influence of the NNE-SSE or WNW-ESE tectolineament. Thus Kaeripryungro(鷄立嶺路), Saejaegil(새재길), Ewharyungro(伊火嶺路) and so on are constructed through the tectolineament. In the valley floors of small streams which flow into the intermontane basin, there are large floodplains. Floodplain in Sinbuk, Joryung, and Yangsan stream is used to paddy field or orchard, and in Nongam stream is used to paddy field or vegetable field. Hills are distributed largely in the periphery of intermontane basin. Limestone hills in Kauun and Masung basin are not continuous to the present low and flat floodplain, and most of those are used to forest land and field. On the other side. granite hills in Koyori are continuous to be used to the present floodplain, and they are used to residential area and field. In the middle mountainous region are there hilly mountains constructed in the geology of Palaeozoic Pyeongan System in northern area and Chosun System's Limestone Series in southern area, and banded gneiss and schist among Sobaeksan Gneiss Complex. In Palaeozoic Pyeongan System region are there relatively rugged mountains and ingrown meanders developed along tectolineaments. Chosun System's Limestone Series region builds up a geomorphic surface, develops various karst landforms. Mountainous area is used to field. On the other hand, especially in case of Hogye, valley bottom is wide, long, and discontinuous to slope, is used to paddy field dominantly. And schist region in Youngnam Block of Pre-Cambrian is rugged mountainous. Marginal hilly region of the great basin is hilly zone located in the margin of erosional basin(Bonghwa-Youngju-Yechon-Hamchang-Sangju). This region is lower geomorphic surface which is consisted of hills of $50{\sim}100$m height. Hills are used to field or orchard, and dissected gentle depression is used to paddy field.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.413-444
• /
• 2009

This paper is an analysis of stage and performance elements for the ceremonial procedures and dance featured in bongsudang-jinchan, a feast celebrating the 60th birthday of Hyegyeong-gung Hongssi (Crown Princess Hong of Hyegyeonggung), the mother of King Jeongjo, which took place in Hwaseong haegung palace in 1795. The primary sources used are data on bongsudangjinchan recorded in Wonhaeng-eulmyojeongriuigwe, Jeongjo-sillok, Hongjae-jeonseo, pictorial sources such as Folding Screens of Hwaseong-neunghaeng and Hwaseong Ilgi, which is a journal in Korean by Yi Hui-pyeong. A court ceremony to offer music, dance, flowers, and food, as well as wine and poetry which express the sentiments of chung (fidelity) and hyo (filial piety) was considered a national ceremony and has constituted a unique musical culture during the 500 years of Joseon dynasty. However, after the fall of Joseon dynasty, ceremonial music and dance, which have been organically linked within the overall symbolic system of ye (courtesy), became scattered to become independent 'pieces.' As a result, all of their philosophy, principles, and the time-space interpretation of court music and dance became greatly reduced, leaving only the artistic expression and formal structure of the music and dance to become emphasized. Since the 1990s, there has been many research and events aiming to re-create the court ceremonial tradition, resulting in the increase of the related performance activities. This is especially true with bongsudang-jinchan, which is now being performed on modern stage in various forms. However there are still many problems to be solved, such as the issue of re-creating and restoring the original, and the question of artistic value found in the traditional pieces. Until now, much focus has been paid to the outer re-construction of uiju document as recorded in Wonhaeng-eulmyo-jeongriuigwe. On the other hand, there lacked an in-depth study which analyzes the stage situation and performance elements. Therefore in this paper, after focusing on the stage structure and performance elements, it is concluded that bongsudang-jinchan, the only court feast to be held in Haeng gung, not only consists of the fundamental aspects of court performance principle as 'governing through ye and ak (music),' but also served as an important occasion to bring together the sovereign and the subject. Bongsudang-jinchan had features of both naeyeon (feast for ladies) and oeyeon (feast for gentlemen). It minimized the use of screens and allowed every guest to enjoy food, music, and dance together, but provided a separate tent for foreign guests, maintaining the ideal balance between equality and distinction among different gender and social status. A screen symbolizing the venue for the feast is placed for all of the government officials. The king then pronounces the beginning of the banquet in which the ideal of gunsin-dongyeon (king and officials dining together) is realized. This indicates that bongsudang-jinchan, compared to other court ceremonies that emphasize the principle of yeak (courtesy and music), focuses more on the spirit of harmony and rapprochement. The king played a more active role in bongsudang-jinchan than in any other royal feasts. Examples as recorded in uiju documents are; Jeongjo's conversation with his retainers after the 7th wine, king's bestowing of food and flowers to the officials, writing his own majesty's poems with regard to the festival, and asking the retainers to write replying poems. All these played an important part in making the occasion more rich, extensive, and meaningful. Moreover, as analysis of the structure of orchestral music and court dance featured in bongsudang-jinchan shows, it was like any other court banquet in that it employed minimal use of extravagance in movements and conversation. However, the colors and tonal texture used in the music and dance were more brilliant in this case. Compared to other banquets that took place before king Jeongjo, the dance style was more diverse, which included some of the latest additions. There were past performances arranged anew. Noteworthy are; the incorporation of "Seonyurak (Boat Dance)" and "Geommu (Sword Dance)," traditionally used for local officials and civilians feast, to suit the court taste; and the use of saenghwang (mouth organ), which was a rising instrument in pungnyubang (literati's private salon), for "Hakmu (Cranes Dance)." This especially indicates the nature of the 'open structure' pursued by the court banquets at the time, which strove to break away from the traditional rules and customs and accept something new.