• Science of Emotion and Sensibility
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• v.9 no.2
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• pp.111-118
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• 2006

The purpose of the study is to examine the effects of the positive menial stress, eustress, on autonomic nervous system(ANS) and human health. For this, we analyzed heart rate variability(HRV) parameters, the most promising markers of ANS function to assess the changes of emotional and physiological states of human body. We measured HRV Signal of World Cup group(281 male subjects: $29.8{\pm}5.6yr$., 187 female subjects: $29.0{\pm}5.4yr$.) in two stadiums at least an hour before the game during '2002 FIFA World Cup Korea/Japan' event. We also measured control group's(331 male subjects: $30.9{\pm}4.7 yr$., 344 female subjects: $30.2{\pm}5.2 yr$.) in the health promotion centers in two university hospitals at least a month before and after the world cup event period. Considering physiological differences between males and females, the data analysis was applied to 'male group' and 'female group' separately. As a result, some tendency was observed that is different from what we have known as the stress reaction. In general, all parameter values except that of mean heart rate tend to decrease under stressed condition. However, under eustressed condition, both heart rate and standard deviation of the Normal to Normal intervals(SDNN) were higher then those of normal condition(p<0.05). Especially, in case of female group, contrary to distressed condition, every frequency-domain powers showed tile higher value(p<0.05, p<0.001). Considering that decrease of HRV indicates the loss of one's health, the increase of SDNN and frequency parameters means that homeostasis control mechanism of ANS is functioning positively. Accordingly, induction of eustress from international sports event may affect positively to the people's health.

• Archives of design research
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• v.11 no.1
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• pp.185-197
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• 1998

The domestic publishing market has heen ranked at No.7 in the word publishing market(stastics material in Cultu re and Gymnastics m inistrv )Es pe cia Ill'. publishing quantity of children'book is about to reacb No.3. Such a publishing condition i." showing that Korean publishing world has limit,llion of kind and genre despite of its quant.iative improvement On the ot.her hand. t',reign juvenile publi."hing has multi-publishing form, which is a simultaneous publishing with dolls, audio stuff, game programs and CD-ROM t.itles. Even the animation is considered as of the publication at the planning s tsge. However, when we take a look at domestic condition we come to know that Korean juvenile publishing has been occupied mostly by the studying book. Also, the cautious book selection by the well educated parents in l990's has brought up the change of juvenile publishing world. Such a presen t condition bears of juvenlie publi.,;hing world. Such a present condition bears problem, which is the checking 190 translat.ions among the published picture- books of the last ye ar children's book Nevertheless, there was a sucessful domestic planned creative picture book last year. That is "Puppy s shit", which was sold out 15 000 copies and be st se ller of children's book. Whe n we take a look at the commercial success of "Puppy s shit", it is possible that domestic work holds a position in the publishing market. "Puppy s shit" is the story about valuable nature with Korean styled illustration, which tells the prefemece of Korean book in do mestic pu blis hin f.i market. With the motto "Finding prospect of the Korean creative children's book", this paper was went throu gh. By searchinf.i for creative com ponent.s of picture-book planning such as theme, story, illustration, and edit design through the foreign picture-book "What 1 want. to know from the little mole is who made it on top of his head"-and domestic creative picture/book 'Puppy's shit", this study tried to tell a couple of things like followings publication of Korean creative picture book in t.he world. professional and more artistic inner fabric and originality(the relatio nship be tween stort and illu,tration), improvement of illustration through new formative language with well expressed con ten t, planning improvem ent of Korean creative pictive picture book including literary, artistic and educative component and finally examples of planning, artict and educative component and finally example, of planning the good book with a story and illu,;tration which can in the long run improve the value of life for the children.h can in the long run improve the value of life for the children.

• Cartoon and Animation Studies
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• s.39
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• pp.261-295
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• 2015

Cyber singer appeared in the late 1990s has disappeared briefly appeared. although a few attempts in the 2000s, it did not show significant successes. cyber singer was born thanks to the technical development of the IT industry and the emergence of an idol training system in the music industry. It was developed by Vocaloid 'Seeyou' starting from 'Adam'. cyber singer that differenatiated typical digital characters in a cartoon or game may be subject to idolize to the music as a medium. They also feature forming a plurality of fandom. therefore, such attempts and repeated failures, this could be considered a fashion, but it flew content creation and ongoing attempts to take advantage of the new media, such as Vocaloid can see that there are expectations for a true Cyber-born singer. Early-Cyber singer is made only resemble human appearance, but 'Sciart' and 'Seeyou' has been evolving to becoming more like the human capabilities. in this paper, stylized cyber singer had disappeared in the past in the process of developing the technology to evolve into own artificial life does not end in failure cases, gradually led to a change in public perceptions of the image look looking machine was an attempt in that sense. With the direction of the evolution of the mechanical function to obtain a human, fun and human exchanges and mutual feelings. And it is equipped with an artificial life form that evolved with it only in appearance and function. in order to support this logic, I refer to the study of the coevolution of man and machine at every Bruce Mazlish. And, I have analyzed the evolution of cyber singer Bruce research from the perspective of the development process since the late 1990s, the planning of the eight singers who have appeared and design of the cyber character and important voices to be evaluated as a singer (vocal). The machine has been evolving coevolution with humans. cyber singer ambivalent development targets are recognized, but strive to become the new artificial creatures of horror idea of human desire and death continues. therefore, the new Cyber-organisms are likely to be the same style as 'Seeyou'. because, cartoon forms and whirring voice may not be in the form of a signifier is the real human desires, but this is because the contemporary public's desire to be desired and the technical development of this type can be created at the point where the cross-signifier.

• (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.

• (The) Research of the performance art and culture
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• no.39
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• pp.393-413
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• 2019

As one of a shaman song to reveal features of the byeolsin rite, East Sea coast, Gyeongbuk, Korea is matgut have been discussed for a long time. The rite is held to greet other shamans who were invited by a village resident and the highest shaman to perform the rite. When there is no highest shaman in the village, or when the highest shaman lacks the ability to perform the exorcism, other shamans are invited if a person is required to meet the scale of the rite, which is a rite of passage to verify their abilities and to become a community, even while the byeolsingut is held. The best shaman team, or village Pungmul team, and shaman team, When the strings are between them, they play music and struggle with each other, and the strings are lifted, they greet the god of the game at the altar, and the shaman turns around and plays with the field. However, the process of greeting the shaman at the exorcism rite after 2000 and the procedure of "Paggi-bogi" in which shamans take turns singing songs are disappearing. In addition, although the village Pungmul team has participated in the rite as a welcoming party for the shaman team, the purpose of the rite, which is to greet the shaman, is also being tarnished by leaving the role of the village Pungmul team to the outside team. This is due to changes in the villagers' perception of gut and shaman. As in the old days, it was necessary to greet a shaman as a rite of worship, although it was not necessary to confirm its ability to perform the rite of the village, due to the disparity of status. However, after the shaman has been transformed from a 'mysterious' existence into an intangible cultural asset functional owner, the perception of shaman changes and the village confirms the shaman's ability through an intangible cultural asset certificate. In addition, the number of villagers who know the details of the rite is decreasing, and most of the tasks such as preparation and proceedings of the rite are delegated to the shaman to hold the byeolsingut, and the nature of the exorcism of the exorcism is changing.

• (The) Research of the performance art and culture
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• no.19
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• pp.88-123
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• 2009

Gyeongsanjain Dano Festival is a local festival of Yeongnam that was initially designated as Intangible Cultural Heritage No. 44 "Hanjanggun Nori" in 1971 and finally became Gyeongsanjain Dano Festival in 2007. At first, few parts of it were designated for preservation and it was succeeded as a whole without connections between each part. Problems also rise from the fact that it has not been closely studied. Gyeongsanjain Dano Festival is mostly classified into five parts: Keungut, Yeowonmu, Hojanggut, Hanmyoje, and Jainpalgwangdae. This study has closely discussed each part as follows: 1. Keungut 1) Process and Contents of Keungut - Characteristics of Gut in Daegu and Gyeongsan 2) Presence of Performers that can Execute Traditional Gut of Local Area 3) Problems with the Name of Keungut - Ex: 'Hanjanggungut' or 'Keungut' 4) Problems of Dano Festival without Parts to Summon and Send off Spirits before and After Keungut and Restoration Measures 2. Yeowonmu 1) Essence of Yeowonmu and Yeowonhwa 2) Problems with the Mass Game of Hundreds of High School Girls 3) Origin and Succession of Yeowonmu 3. Hojanggut 1) Changes in Characters of Hojanggut 2) Composition and Characteristics of Hojanggut 3) Problems with the Name and Characteristics of Hojanggut 4. Jainpalgwangdae Nori 1) Similarity with Newly Created Shows 2) Problems with the Name of Palgwangdae 3) Difference with the Composition of Other Mask Dances 4) Dances and Movements Distinguished from Other Mask Dances in Yeongnam The following are the solutions suggested for Gyeongsan Jain Dano Festival. First, for the restoration of Gyeongsanjain Dano Festival, Dano festivals and Byeolsinje of nearby areas with clear traditions could be benchmarked. Second, the major content of Gyeongsanjain Dano Festival is 'Hanjanggungut,' and it has to be the leading content of the festival. Third, the structural principle of Korean festival must be adopted and the process and principle must correspond to those of other traditional shows. Fourth, as Gyeongsanjain Dano Festival is the comprehensive form of art, folk, and festival, each part must be closely related in a well-planned scenario. Fifth, Intangible talents and successful training must be widely acknowledged for successful transmission and responsible performances. Sixth, traditional festivals must be restored along with the discovery and development of various festival repertories and spectacles such as tour programs and experiential tours that contribute to local economy.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.172-205
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• 2011

Go bears significant meanings in terms of cultural and entertaining functions in Asia Eastern such as China and Japan. Beyond the mere entertaining level, it produces philosophical and mythic discourse as well. As a part of effort to seek an identity of Korean traditional garden culture, this study traced back to find meanings of rock-go-board and taste for the arts which ancestors pursued in playing Go game, through analysis and interpretation of correlation among origin of place name, nearby scenery, carved letters and vicinal handed-down place name. At the same time, their position, shape and location types were interpreted through comprehensive research and analysis of stone-go-boards including rock-go-board. Particularly, it focused on the rock names related to Sundoism(仙道) Ideal world, fixed due to a connection between traces of Sundoism and places in a folk etymology. Series of this work is to highlight features of the immortal sceneries, one of traditional landscaping ideals, by understanding place identity and scenic features of where the rock-go-boards are carved. These works are expected to become foundation for promotion and preservation of the traditional landscaping remains. The contents of this study could be summarized as follows; First, round stone and square board for round sky and angled land, black and white color for harmony of yin and yang and 361paths for rotating sky are symbols projecting order of universe. Sayings of Gyuljungjirak(橘中之樂), Sangsansaho(商山四皓), Nangagosa(爛柯故事) formed based on the idea of eternity stand for union of sky and sun. It indicates Go game which matches life and nature spatiotemporally and elegant taste for arts pursuing beauty and leisure. Second, the stone-go-boards found through this research, are 18 in total. 3 of those(16.1%), Gangjin Weolnamsaji, Yangsan Sohanjeong and Banryongdae ones were classified into movable Seokguk and 15(83.9%) including Banghakdong were turned out to be non-movable rock-go-boards carved on natural rocks. Third, upon the result of materializing location types of rock-go-boards, 15 are mountain stream type(83.9%) and 3 are rock peak type(16.1%). Among those, the one at Sobaeksam Sinseonbong is located at the highest place(1,389m). Considering the fact that all of 15 rock-go-boards were found at mountainous areas lower than 500m, it is recognizable that where the Go-boards are the parts of the living space, not far from secular world. Fourth, there are 7 Sunjang(巡將) Go with 17 Hwajeoms(花點), which is a traditional Go board type, but their existences, numbers and shapes of Hwajeom appear variously. Based on the fact, it is recognizable that culture of making go-board had been handed down for an extended period of time. Among the studied rock-goboards, the biggest one was Muju Sasunam[$80(82)cm{\times}80(82)cm$] while the smallest one was Yangsan Sohandjeong Seokguk ($40cm{\times}40cm$). The dimension of length and breadth are both $49cm{\times}48cm$ on average, which is realistic size for actual Go play. Fifth, the biggest bed rock, an under-masonry with carved Go-board on it, was one in Muju Sasunam[$8.7m{\times}7.5m(65.25m^2)$], followed by ones in Hoengseong Chuiseok[$7.8m{\times}6.3m(49.14m^2$] and Goisan Sungukam[$6.7m{\times}5.7m(37.14m^2)$]. Meanwhile, the smallest rock-go-board was turned out to be one in Seoul Banghak-dong. There was no consistency in directions of the Go-boards, which gives a hint that geographical features and sceneries of locations were considered first and then these were carved toward an optimal direction corresponding to the conditions. Sixth, rock-go-boards were all located in valleys and peaks of mountains with breathtaking scenery. It seems closely related to ancestors' taste for arts. Particularly, rock-go-boards are apprehended as facilities related to taste for arts for having leisure in many mountains and big streams under the idea of union of sky and human as a primitive communal line. Go became a medium of hermits, which is a traditional image of Go-game, and symbol of amusement and entertainment with the idea that Go is an essence of scholar culture enabling to reach the Tao of turning back to nature. Seventh, the further ancient time going back to, the more dreamlike the Go-boards are. It is an evident for that Sundoism, which used to be unacceptable once, became more visible and realistic. Considering the high relation between rock-go-boards and Sundoism relevant names such as Sundoism peak in Danyang Sobaeksan, 4 hermits rock in Muju and Sundoism hermit rock in Jangsu, Sundoism hermit rocks and rock-go-boards are sceneries and observation spots to express a communication of worship and longing for Sundoism. Eighth, 3 elements-physical environment such as location type of the rock-go-boards, human activities concentrated on 8 sceneries and Dongcheongugok(洞天九曲) setup and relevancy to Confucian scholars, as well as 'Sangsansaho' motif and 'Nangagosa' symbolic meaning were used as interpretation tools in order to judge the place identity. Upon the result, spatial investigation is required with respect to Sunyoodongcheon(仙遊洞天) concept based on enjoyment to unify with the nature rather than Dongcheongugok concept of neo-Confucian, for Dongcheon and Dongmoon(洞門) motives carved around the rock-go-boards. Generally, places where mountain stream type rock-go-boards were formed were hermit spaces of Confucianism or Sundoism. They are considered to have compromised one other with the change of times. Particularly, in the rock-go-board at the mountain peak, sublimity-oriented advent of Sundoism is considered as a significant factor to control place identity. Ninth, including where the rock-go-boards were established, the vicinal areas are well-known as parts of Dongcheongugok and Palkyung(八景) mostly. In addition, many of Sundoism relevant expressions were discovered even in the neighboring carvings written by scholars and nobility, which means sophisticated taste based on longing for Sundoism world played a significant role in making go-board. The rock-go-board is an integration of cultural phenomena naturally managed by seclusion of scholars in the Joseon Dynasty as well as remains and essence of Korean traditional landscaping. Some rock-go-boards out of 17 discovered in South Korea, including ones in Sobaeksan Sinsunbong, Banghak-dong, Chungju Gongili, Muju Sasunam, Yangsan Eogokdong Banryongdae Seokguk, are damaged such as cracks in rocks or fainted lines by hardships of time and hand stains. Worse yet, in case of Eunyang Bangudae Jipcheongjeong board, it is very difficult to identify the shape due to being buried. Rock-go-boards are valuable sculptures in terms of cultural asset and artwork since they reflect ancestors' love for nature and longing for Sundoism world. Therefore, they should be maintained properly with right preservation method. Not only rock-boards itself but also peripheral places are excellent cultural heritages and crucial cultural assets. In addition, vicinal sceneries of where rock-goboards and pavilion spots are the representative remains of embracing prototype of Korean traditional landscaping and major parts of cultural properties.