• 대한안전경영과학회지
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• 제15권4호
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• pp.393-399
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• 2013

The purposes of this study were to seek beauty industry parts' current social insurance admission status. To achieve the purposes, questionnaire was distributed to a total of 470 beauty artists and data were analyzed by statistical analysis. The result of study proposed that hairdresser showed the highest awareness and field of nail art showed the lowest awareness in social insurance admission status. Social insurance admission status shows that beauty artists in hair field had the most applicants of national pension, health insurance, workers' compensation insurance and beauty artists of skin field had the highest desire for social insurance application. This study hopes to be used as base line data of social insurance applicants' accurate status and application.

• 교육시설
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• 제3권2호
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• pp.5-13
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• 1996

In the course of modernization and industrialization in Korea, the population in rural area has been substantially decreased, as a greate number of people have moved to urban area. Many elementary schools in rural area were destined to be closed as the number of students for each school have been decreased below proper level. And this tendency seems to be continued for the time being. The purpose of this study is to suggest a policy for the effective utilization of closed elementary schools in rural area. Especially this study is focused on the cases of utilization of closed school as art studio. By analysing the actual cases of utilization of closed school facilities as artists' studios and surveying the responses and opinions of local inhabitants as well as the artists, we hereby suggest and propose a related policy as one of effective means to revitalize distressed rural community.

• 미술이론과 현장
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• 제6호
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• pp.123-145
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• 2008

Artist-in-residence which gets chances to create by artists' moving and encountering new culture is heightening its level in 21th century. Under the circumstance that issue of cultural diversity and the role of artists which is for city revitalization and sustainability are affect residency program in the midst of highly proceeded globalization that international exchange. Therefore, in the aspect of creative city, a new model is creating by reuse of abandoned industrial facilities and Asia or Eastern country become the subject in residency program management, the issue of cultural diversity is getting more important, programs based on project not just residence are managing. Furthermore, it has inter-country cooperating system in the rage of cultural management. It means that artists' space of creating activity has a new, social role in spontaneously we need to approach to following model in Korea, as well.

• 한국주거학회:학술대회논문집
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• 한국주거학회 2008년도 춘계학술발표대회 논문집
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• pp.162-165
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• 2008

This study aimed to provide data for planning of a small-sized complex-cultural facility for not only artists but also the common. The main interest of the study was to make them understand spirit related to the culture to each other. The data was collected from 100 artists in various art fields and 100 the common by a questionnaire and a visiting survey. The result of this study indicated that people had a little of chance to share their cultural opinions with others because there were not enough appropriate places even though they wanted it. Besides, they would like to use the place for their communication which consists of a range of their needs such as watching a play, listening to music, spending tea-time, etc.

• International journal of advanced smart convergence
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• 제10권4호
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• pp.172-182
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• 2021

We look at the business model development of a fan community platform 'Weverse' from two-sided platform (TSP) to multi-sided platform (MSP) and investigate its platform business model. From the Rocket Model's theoretical perspective, the results reveal that Weverse firstly focuses on inviting artists as many as possible starting from BTS, then attracts new artists' fans naturally. For success of this TSP, it forms MSP, 'Weverse Shop' to meet two sides' relevant needs timely and filtered. In third stage of connection, various partnerships are attempted in terms of open platform strategies. For instance, by combining 'VLive' and Weverse, Naver's fan platform business is transferred to Weverse. For core transaction through direct and indirect monetization, several cobranding activities are tried. Lastly, regarding optimization, newly born Weverse being launched in the first half of 2022 is supposed to create further synergies with Naver's R&D capabilities in data, AI, and other technologies like metaverse platform 'ZEPETO' which already sells clothing items of Weverse artists.

• 수완나부미
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• 제12권1호
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• pp.49-88
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• 2020

Two utilitarian and symbolic objects associated with womanhood in Cambodian culture are the stove and the pot. The pot is a symbol of both the womb and female sexuality; the stove is a symbol of gendered feminine labor. This article argues that the sexist representations of the Khmer female body by modern Cambodian male artists demonstrate an inherited legacy of Orientalist stereotypes. These images were formed : under French colonialism and often depict Khmer women as erotic/exotic native Others. Starting in the 1970s, however, if not earlier, Cambodian women began to question the gendering of social roles that confined them to domestic space and labor. This form of social questioning was especially present in pop songs. In recent years, contemporary Cambodian woman artists such as Neak Sophal and Tith Kanitha have made use of rice pots and stoves in their art as freighted symbols of femininity. Neak created an installation of rice pots from different households in their village, while Tith rebelled against this gendered role by destroying cooking stoves as an act of defiance against patriarchy in her performance art.

• International Journal of Advanced Culture Technology
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• 제11권3호
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• pp.205-210
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• 2023

Stone cave paintings are continuous interactions as independent mediums in places such as text, images and stone cave architecture. Unlike Buddha statues, the narrative of the text always fascinates and guides the viewer to the timeliness of the image, that is, the narrative. In particular, in Buddhist art, Buddha statues are never simple images, and murals are never simple paintings. Before the Tang Dynasty, most unknown artists were artisans, and many artists still worked on murals in temples and palaces, and independent paintings such as scrolls and sides became an important form of painting after the Tang Dynasty, changing the mechanism of painting creation. In this paper, the graphic creation process prioritizes dedication and service, but we can still feel the creativity of the painters strongly. The historical resources of how to paint these paintings, the clues to the copies, and the precursor to the foreground, encourage the painters to constantly try to resemble each other and discover problems...Therefore, in this paper, it was confirmed that reinvention and creativity are very important, and that Dunhuang Buddhist art is the basis for artists' creation and the source of vitality.

• 미술이론과 현장
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• 제4호
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• pp.123-144
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• 2006

Foreigners who arrived in Korea after the age of enlightenment were Japanese, Chinese and 'Westerners' who were Europeans and Americans. The westerners were diplomats who visited Korea for colonization or for increasing their economical profits by trading after the spread of imperialism, and tourists curious of back countries, artists, explores and missionaries to perform their roles for their religious beliefs. They contacted with Korean cultural and educational people as missionaries and instructors during Japanese colonial period. In 1945, the allied forces occupied Korea under the name of takeover of Japanese colony after Japan's surrender and the relation between foreigners and Korean cultured men enter upon a new phase. For 3 years, American soldiers enforced lots of systems in Korea and many pro-American people were educated. This relationship lasted even after the establishment of the government of Korean Republic and especially, diplomats called as pro-Korean group came again after Korean War. Among them, there were lots of foreigners interested in cultures and arts. In particular, government officials under American Forces who were influential on political circles or diplomats widened their insights toward Korean cultural assets and collected them a lot. Those who were in Korea from the period of independence to 1950s wrote their impressions about Korean cultural assets on newspapers or journals after visiting contemporary Korean exhibitions. Among them, A. J. McTaggart, Richard Hertz and the Hendersons were dominant. They thought the artists had great interests in compromising and uniting the Orient and the West based on their knowledge of Korean cultural assets and they advised. However, it was different from Korean artist's point of view that the foreigners thought Korean art adhered oriental features and contained western contents. From foreigners' point of view, it is hard to understand the attitude Korean artists chose to keep their self-respect through experiencing the Korean war. It is difficult to distinguish their thought about Korean art based on their exotic taste from the Korean artists' local and peninsular features under Japanese imperialism. We can see their thought about Korean art and their viewpoint toward the third world, after staying in Korea for a short period and being a member of the first world. The basic thing was that they could see the potentialities through the worldwide, beautiful Korean cultural assets and they thought it was important to start with traditions. It is an evidence showing Korean artists' pride in regard to the art culture through experiencing the infringement of their country. By writing about illuminating Korean art from the third party's view, foreigners represented their thoughts through it that their economical, military superiority goes with their cultural superiority. The Korean artist's thought of emphasizing Korean history and traditions, reexamining and using it as an original creation may have been inspired by westerners' writings. 'The establishment of national art' that Korean artists gave emphasis then, didn't only affect one of the reactions toward external impact, 'the adhesion of tradition'. In the process of introducing Korean contemporary art and national treasure in America, different view caused by role differences-foreigner as selector and Korean as assistant-showed the fact evidently that the standard of beauty differed between them. By emphasizing that the basis to classify Korean cultural assets is different from the neighborhood China and Japan, they tried to reflect their understanding that the feature of Korean art is on speciality other than universality. And this make us understand that even when Korean artists profess modernism, they stress that the roots are on Korean and oriental tradition. It was obviously a different thought from foreigners' view on Korean art that Korean artists' conception of modernism and traditional roots are inherent in Korean history. In 1950s, after the independence, Korea had different ideas from foreigners that abstract was to be learned from the west. Korea was enduring tough times with their artists' self-respect which made them think that they can learn the method, but the spirit of abstract is in the orient.

• 보건교육건강증진학회지
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• 제22권4호
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• pp.245-256
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• 2005

The purpose of this study is to research the situation and related knowledge and behavior of Korean beauty artists on their musculoskeletal disorders and the factors on them. It was researched by questionnaire from March 1 to May 31, 2003, and the subjects were 984 of beauty artists who were working as hair designers, skin care specialists, and make-up artists over 1 year in big cities including Seoul, Daegu, Busan and Gwangju. The analyzation was done by frequency, percentage, $x^2-test$, t-test. The results can be summarized as follows; 1. As for their degree of pain according to part of their body, the highest was shoulder as 88.3%, and next were neck(cervical region) as 83.2%, waist as 77.6%, and wrist(hand) as 71.8%, in order. 2. The level of knowledge on the muscloskeletal disorder was 65.6 points on the basis 100points. As for their level of protective behavior and knowledge on the disorders of musculoskeletal system according to their educational experience, the higher educational level they had the higher knowledge level they showed, as 42.6% of 'high', 30.4% of 'medium', and 27.0% of low; and as for degree of performing the protective behavior, they showed the higher protective behavior level when they had the higher educational level. 3. As for their level of knowledge on disorders of musculoskeletal system according to their general uniqueness as beauty artists, they showed statistical significance on the field of their marriage status, educational degree, specialized field, and numbers of customers they manage; and as for the degree of their protective behavior, they showed statistical significance in the field of age, marriage status, specialized field, and rank in their jobs. 4. The level of protecting behavior on the muscloskeletal disorder was 57.4 points on the basis 100points. As for their degree of pain on each part of their body according to their protective behavior and knowledge on musculoskeletal system, it had statistical significance on their elbows and hips, and the less pain they showed when the higher knowledge they had; it had statistical significance on their neck(cervical region), shoulders, backs, waists, knees and ankles(feet) according their protective behavior, and the less pain they showed when the higher level of protective behavior they did.

• 만화애니메이션 연구
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• 통권45호
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• pp.235-258
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• 2016

2018년 1급 문화예술교육사 시행을 앞두고 있는 시점에서 문화예술교육사에게 요구되는 자격 요건은 교육 콘텐츠 기획 및 교육 프로그램 개발과 운영 등 박물관의 에듀케이터 수준의 역량이다. 이는 기존의 문화예술교육에서 야기된 교육수요자의 학령에 따른 난이도 조절의 문제점과 중복된 교육 프로그램, 몇 몇 주제의 선호도에 따른 제작위주의 교과 과정 등의 문제점 해소 뿐 만 아니라, 최근 과학기술의 발달에 따른 새로운 융복합적 문화예술교육과정을 위한 역량의 문제이기도 하다. 이 논문에서는 단순히 어린이와 청소년들이 문화예술향유자로 성장하도록 지원하는 예술강사지원사업이라는 목표를 넘어서서 좀 더 전문적인 역량을 갖춘 에듀케이터로서 문화예술교육사의 의미와 역할을 정립하고자 한다. 1급 문화예술교육사 자격의 핵심요건인 문화예술교육 프로그램 기획의 경우 애니메이션 관련 콘텐츠에 대한 기초조사에서 큐레이팅, 교육 콘텐츠의 가능성 여부, 교육대상과 교육내용의 구성, 내용의 심미적 특성과 교육적 기능, 문화향유를 위한 감상과 체험 등 종합적인 전문성과 자질을 요구하고 있다. 따라서 문화예술교육사는 단순히 교육 프로그램을 개발하고 운영하는 기획자의 역할 뿐 만 아니라, 문화예술기관 이용자의 조력자이자 옹호자의 역할과 사회의 다양한 계층과의 소통과 협력, 상호간의 문화교류 등에 가치를 두는 창의적 프로그램의 설계와 운용 역량을 습득해야 한다.