• (The) Research of the performance art and culture
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• no.18
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• pp.449-480
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• 2009

In this paper, I tried to study the change of the Chinese performing arts market during the 10th 5year development plan, from year 2001 to year 2005 by both of the quantitative and qualitative analysis, because it's really the time when we need to understand the growing market of chinese culture along with the development of the Chinese cultural industry. During that period, the Chinese government developed the policy to establish a healthy cultural market and strengthen it's cultural power; the parts who product the piece of performing arts including the performing troupes, the theatres and the production companies were consolidated and became familiar to market through the reformation of the organization; and the audience who consume the performing arts and entertainments still shows very Chinese characteristics in the cities and villages. In the village, the audiences invite the troupe to play their local theatre in many occasions of their life according to their traditional beliefs, also somehow to show their wealth. The fact that the local governments and the companies are very important consumer groups in China is also very 'Chinese' characteristics. It means that Chinese performing arts are still more or less under the influence of the political ideas. Nonetheless it is worthy of notice that Chinese performing arts not only develope the new contents in very creative way and also try to learn the knowhow of the excellent items of foreign countries by inviting them to the festivals or organize a co-productions on the basis of the upgraded cultural power through the 10th 5 year development plan.

• Cross-Cultural Studies
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• v.43
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• pp.355-376
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• 2016

This study looks into the relationship between Chinese philosophy, with a focus on Confucianism and Taoism, and music. Kong zi's Confucius supported, 'Enjoyment without being licentious and grief without being hurtfully excessive', and 'hatred of the music of Zheng'. These ideas do not emphasize the function of music as an expression of emotions, feelings, or desires, and are instead conclusions based on Confucian ideals such as harmony between classes and the spread of benevolent government. Music must coincide with Justice. The hatred of the music of Zheng was a conclusion founded on the idea of a place for Justice in music. Zhuangzi is the source of the spirit of Chinese art; specifically, Zhuangzi's idea of music in relation to its influence on East Asian history of art is extremely influential. In fact, the concept of yuelun is considered the most original and important concept in the history of the East Asian philosophy of art. The most distinctive features of Zhuangzi's theory of music can be summarized as follows. He attempts to liberate music from the restrictions of form and to let music express authentic human feelings and emotions. He also argues that music should not be subjected to politics, as he thinks that the creative mind of an artist can exist only when music is freed from political influence. Confucianism takes a humanistic perspective, while Taoism takes a more naturalistic one. In sum, Confucianism gives weight to the logical and ethical aspects of music, while Taoism emphasizes the intuitional and naturalistic ones.

• Journal of the Korea Convergence Society
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• v.10 no.6
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• pp.129-138
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• 2019

The trend of maker education has been mainly focused on program using digital devices, but maker education programs that can make students' creative ideas instantly in various shapes and make them by hand is insufficient. Therefore, in this study, we developed a maker education program using cement and molds and analyzed Effect on the convergence ability for creativity of students. In the preparation stage, educational use cases about cement and molds and the study objects and contents were extracted through the literature review. In the development stage, teaching-learning materials were developed and validity and evaluation tools to measure convergence ability for creativity were selected. In the implementation stage, the expert validity test on the teaching-learning materials and convergence ability test for creativity was evaluated, In the evaluation stage, the effects of the whole area and sub-area of the convergence ability for creativity was analysed. As a result of the t-test for the whole area of convergence ability for creativity, the students who took the maker education program showed a significant change. The test results on the teaching-learning materials showed a positive response to the communication, cooperation ability, knowledge and humanism.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.271-317
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• 2014

This essay studied the acting theories of Diderot, Delsarte, Meyerhold, and Artaud to know the historical formation of 'sign acting' and its theoretical and aesthetic appropriateness. The sign acting so far discussed shows the repetitive patterns of idea as follows. The sign acting (1) emphasizes the physical expression such as gesture and movement, (2) assumes that the physical expression functions as a sign evoking special emotion and thought, (3) thus recommends the imitation of the outer sign, (4) uses a tableau for the effective reception of outer sign, (5) aims for the spectator oriented aesthetics as it stresses the result of outer sign rather than the creative process of a role, (6) assumes that the emotional reaction or the intellectual understanding springs from the physical experience, (7) thus emphasizes the physical language rather than speech, (8) can attain the appropriateness of physical language by the recent theories of cognitive science. Besides having such commonness, the sign acting also reveals the individual differences. For instance, the intended sign for Diderot and Delsarte was the sign of emotion, for Meyerhold the stylized sign of circus and acrobatics, and for Artaud the spiritual sign. If Diderot and Meyerhold demands the cool consciousness for the correct sign acting, Artaud's sign acting tends to pursue the state of trance. And if Diderot, Delsarte, and Meyerhold think the sign acting on the level of sensory appeal, Artaud insists that the sign acting should dismantle the spectator's sense. As such the discussion of sign acting shows both recurrent ideas and new visions, forming an unity out of diversity. Perhaps the sign acting is a matter of practice before we consider it as a theory. It is not only supposed to have been existed practically since ancient theatre, but also used by actors consciously and unconsciously in expressing certain emotion and thought. We need to study the sign acting more academically, considering its long history and aesthetic potentials. In fact the sign acting has been an essential element of acting, in spite of bad reputation judging it as a banal and worn-out style. It is true that the sign acting, in the worst case, could produce a stereotypical expression. It was this aspect of sign acting that caused a fierce negative reaction of the realists who sought the natural expression based upon psychological truth. Of course the sign acting has a serious problem when it stays banal and artificial. But we need to see this issue from a different perspective. What is the natural expression of emotion? How is it free from the learned way of expression? In some respect, we use, in reality, a learned expression of emotion that could be accepted socially. For instance, when we attend a funeral, we use the outer sign of mourning gestures learned socially. If a semiotic expression pervades various aspects of our life, the acting, being the representation of life, seems not to be free from codified expression. The sign acting could be used consciously and unconsciously in all kinds of acting.

• Journal of The Korean Association of Information Education
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• v.22 no.6
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• pp.613-628
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• 2018

The purpose of this study is to analyze the teaching and learning process of physical computing using coding block for elementary gifted students in science. In order to obtain implications for teaching physical computing, we set the learning objectives from the Computer and Information Literacy Evaluation Standards developed by the International Association for the Evaluation of Educational Achievement(IEA) and developed a teaching and learning program for physical computing through collaboration between science education and computer education experts according to learning objectives. The developed program was related to the use of the coding block MODI(TM) and 32 classes of physical computing instruction were conducted for 15 students of the 4th to 6th grade who belong to an education institute for the gifted in science affiliated to the University. In the physical computing class, the teaching and learning process was analyzed by collecting data such as classroom videos, class observation logs, teacher and student questionnaires, and interviews. Based on the results of the study, the implications of the teaching and learning process of physical computing using the coded blocks in the school education field were suggested. And we also explored the strategy of expanding the computational thinking through the activities of coding instruction to realize creative ideas.

• Journal of Korean Elementary Science Education
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• v.37 no.4
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• pp.440-454
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• 2018

This study aims to compare student self-, teacher-, and objective assessments of elementary science-gifted students' scientific creativity. A science-gifted program on the topic of Hydraulic Machine was implemented to 40 fifth-graders in the Science-Gifted Education Center of an education office in Seoul, Korea for four weeks. The products of the students' activities were assessed by three types of 'Student Self-Assesment', 'Teacher-Assesment', and 'Objective Assessment using Formula'. Based on two essential components of creativity, the scientific creativity is divided into two parts of originality and usefulness. Ideas that satisfy both components can be counted as scientifically creative. The main results of this study are as follows: First, the scores of each week and the average of the overall four-week scores on scientific creativity were significantly correlated. Student self-assessment (r=.687), teacher-assessment (r=.715), and objective assessment (r=.724) appeared consistently over instructional periods. Second, the average scores of student self-, objective, and teacher-assessments were 73.15, 35.72, and 26.60, respectively. The result of student self-assessment on scientific creativity tended to be higher than those of formula and teacher. Third, among the three types of assessment on scientific creativity, a strong correlation appeared between teacher- and objective assessment (r=.974), but neither between student self- and objective (r=.161) nor between student self- and teacher- (r=.213). Fourth, the scores on originality component had a positive correlation between teacher- and objective assessment (r=.713). The scores of student self- and teacher-assessments had a significant correlation too (r=.315), but not between student self- and objective assessment (r=.279). Fifth, the scores on usefulness component did not have a significant correlation between student self- and teacher-assessment (r=.155). Sixth, there was no significant difference on scientific creativity between student self- and objective assessment [${\chi}^2$(1, n=40)=1.667, p<.197]. Not between student self- and teacher-assessment either [${\chi}^2$(1, n=40)=1.616, p<.204]. On the contrary, there was a significant difference between teacher- and objective assessment [${\chi}^2$(1, n=40)=32.593, p<.000]. Seventh, the students were categorized into four groups according to the levels of their scores by student self- and teacher-assessment. The result showed that factors influencing student self-assessment are inherent in the personality traits of gifted individuals, such as self-esteem and perfectionism. The findings suggested that there are challenges for the educators to make efforts to construct consistent assessment methods for scientific creativity.

• The Journal of the Korea Contents Association
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• v.21 no.2
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• pp.362-373
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• 2021

This study sought to explore the enhancement of the introduction of teaching and learning methods for Problem Based Learning (PBL) and the evaluation factors to evaluate them effectively through an understanding lecture in Cultural Content Planning. It was intended to incorporate a practical zero-volume education methodology of problem-oriented learning and sufficient leading learning to reflect storytelling in the entire process of completing a cultural content with culture, cultural content, and content planning. To this end, the role of teaching methods should be faithful to ensure that teamwork and cooperation can be done organically according to the educational field, practice and situation. Students who take classes were asked to meet demand, reflect it through surveys, apply real-world problems, and acquire the entire course. Learners had to cooperate with each other until planning cultural content and completing the results through classes, and they evaluated themselves and colleagues in teamwork until the last result was completed from creative ideas. The results were shared together and the students were able to investigate the necessary PBL evaluation factors for themselves, and the prior research and survey on the method of PBL evaluation was conducted to derive the factors of understanding of cultural content planning. The derived assessment elements were able to identify priorities between the assessment elements using basic statistics, word cloud analysis, and AHP analysis. The components of the assessment derived were communication skills, basic knowledge, reasoning process, expertise, and evaluation techniques. Through this article, I was able to lead the understanding of cultural content planning to problem-oriented learning classes and encourage students to be familiar and smooth.

• (The)Study of the Eastern Classic
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• no.37
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• pp.411-439
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• 2009

Fu-Shan(傅山, 1607~1684) was a progressive actualist between the late Ming(明) dynasty and the early Qing(淸) dynasty. He regards the intellectuals at that time as scarecrows leaned on the empty and exaggerative moral philosophy which the neo-confucian of Song(宋) dynasty established. He thinks that the neo-confucian discussion cause harmful side effects, disregarding the utility side and the variety of the actual world. His thought becomes known all in political thought and literature. He asserts that the neo-confucian ideas provides the logical frame which regulates the actual world and creates a kind of absolute moral ideology. Therefore he insists that the Saint in the true sense of the word consequently is the social reformer and revolutionist who exposes the irrational elements of society. He insists that literature also must be able to express vividness of the actual world. He thinks that genuine literature must have creative contents and find one's own free wild way. He asserts that old literary style from the mimicry is the act which goes against human natural. He thinks that the writing must be able to express the actual world.

• Trans-
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• v.13
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• pp.35-58
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• 2022

This study predicts the paradigm shift that the development of artificial intelligence technology will bring to the production of music content, and suggests that works created through collaboration between artificial intelligence and humans can have artistic value as finished products. Anyone can easily produce music content using artificial intelligence composition programs, and it has become an opportunity to inspire artists with various attempts and creative ideas. Although artificial intelligence technology provides convenience in human life and benefits a lot in the efficient aspect of work, it is difficult to escape the perception of data-based pattern music in the art field so far. Pattern music with many quantitative elements is not recognized as a complete creation due to the absence of abstract symbolism or meaning pursued by art. However, it predicts that if qualitative elements such as emotions and creativity are given to artificial intelligence music through human collaboration, it can be recognized as a complete work of art. The development of artificial intelligence technology increases access to culture and art from the public, and it can be expected that anyone can enjoy it as well as aesthetic experiences. In addition, various contents can be produced by improving individual digital literacy, and it is an opportunity to share and communicate with others. As such, artificial intelligence technology serves as a medium connecting the public with culture and art, and is narrowing the gap between humans and technology through art activities. Along with this cultural phenomenon, we predict the possibility of research on the production of artificial intelligence music contents with artistic value and the development of various convergence and complex art contents using artificial intelligence technology in the future.

• Industry Promotion Research
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• v.7 no.4
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• pp.45-52
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• 2022

Based on the Kohut's theory, this study carries out an investigation into the counselor's self object role in pathological narcissism. The theological understandings deal with narcissism, pathology, and self object. Narcissism and pathology can be seen as the failure of the formation of cohesive self. Early infant self, by feeling proper sympathy and love, usually forms integrated cohesive self. In other words, narcissistic personalities, when failing to receive sympathy and accommodation, can result in forming helpless and vulnerable self, which is filled with resentment. In addition, narcissistic characters are afraid of the world and maintain the grandiose image of self to protect themselves from feeling helplessness and emptiness. On the other hand, when they experience accommodation and admiration provided by self object, they can strengthen the image of grandiose self and demonstrate creative abilities as well. An infant remains as a fragmented self, when his or her relationship experience with self object is to be damaged. This study suggests the following conclusions: The counselor's self object role for pathological narcissism should be sympathetic self object so that the counselee will be able to form his or her own healthy cohesive self. Additionally, self object should play a kind role to guide infant desires for ideal models, which eventually help infants to pursue healthy ideas and maintain early states of narcissistic balances.