• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.8
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• pp.280-291
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• 2016

The Invention Promotion act is one of the acts that have been frequently revised. Such frequent revisions have been pointed out as a major cause of the recent ongoing discussion on the alignment of the Invention Promotion Act. For proper alignment of the Act, diversified perspectives and issues have been discussed. Of them, the talk considering the effect of the 2011 Framework Act on Intellectual Property establishment on the Invention Promotion Act has received increasing attention. In this situation, this paper examined the relationship between the Framework Act and Invention Act with special focus on the relationship between the framework-formed law and an individual act that has existed prior to such a framework act. Based on this analysis, this study examined the alignment goal of the Invention Act. In addition, by studying the relationship between the recently-established framework act and the individual act along with revision case examples thereof, this paper aimed to produce a standard reflecting the legal reality. This study assumed that, although it is difficult to recognize any formal superiority in the Framework Act on Intellectual Property in the present South Korean legal regime, some practical superiority or practical supremacy is still deemed to be acknowledged. Under this assumption, it was found in this study that the Invention Promotion Act would also need to be managed in an appropriate relationship with the Framework Act within the range of such an attitude. Moreover, the structure would need to be reorganized. As discussed partially at the practical level, however, the Invention Promotion Act is an execution act of the Framework Act on Intellectual Property. Furthermore, it is inappropriate to seek to converge the full structures completely, given the limitations of the South Korean legal regime and the fairness balance with other legal cases. It is deemed that, although the provisions of the Framework Act on Intellectual property should be considered at the practical level, the Invention Promotion Act will need to be respected for its legislative purpose in itself.

• (The) Research of the performance art and culture
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• no.34
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• pp.111-131
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• 2017

Korean Shamanism has long been regarded as the peripheral cult or supersition by the majoriy of the society. This fact is a result by the influence of the mass media, especially the motion pictures, which intentionally reflected the negative images of the Shamanism. The documentary films, which stress the objectivity and the reality, rather disclose the neutral position toward the Shamanism. In fact, the directors of the documentary films who have more or less close relationship with the Shamanism have tried to exhibit the mental world and the traditionality of the Shamanism. In this paper, I will explore the value of Shamanism reflected in the documentary films. I focus of two films; directed by the Korean and directed by a foreigner. In this way, I can compare the attitudes of the two directors toward the Korean Shamanism. The director of confessed that he was attracted by the aspect of a musical underlied in the shaman ritual. However, the film does not show the artistic beauty of the shaman music because the director failed to understand the essential aspect of the shaman ritual, that is, the music. In this way, the director failed to show the distinct characteristics of the shamanism to the audience. The director of , a music herself, was focused on the music of the shamanism. The story flows to the adventure to seek a "master" with a long journey to enjoy diverse genres of Korean performing arts. This story resembles the epic shaman song, the Princess Bari. In this way, the audience can easily grasp the beauty of Korean culture. Music is said to be a universal language and, at the same time, a non-universal language which reflects a special trait of a cultural community. The Korean shaman ritual music is a non-universal language that is an accumulation of the Korean culture for a long time. The Korean director fails to exhibit the essential characteristics of the Shamanism since he does not have enough knowledge toward the shaman ritual music in . However, the foreign director, who is a music herself, successively disclose the underlying beauty of Korean shaman ritual music and Korean traditional culture in .

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.105-120
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• 2020

This study explores the process of the actual content production and distribution, by creating a YouTube channel to promote the popular music contents produced by the researcher, which thus reflects the reality where the production of video contents rapidly increases. A YouTube channel titled "Alida Music", of which the focus was to promote indie musicians, was created on February 2019. The contents of 10 indie musicians were produced in one-take live format. The information of the indie musicians was displayed in the form of a screen business card, with their e-mail address and SNS account at the top. Therefore, this promotional design was named "Card Live". Promotional video contents marked with the QR code in the lower right on the screen were produced, along with the promotional phrase "Communicate directly with the artist through the QR code", which allows viewers to watch other contents of the indie musician when they scan the QR code. This research conducted a study on how to improve and promote "Card Live" contents of "Alida Music", which were produced through this process. A group interview targeting five indie musicians, among whom one participant deemed significant was selected to conduct a one-to-one in-depth interview. As a result of the study, the following three conclusions were drawn. First, YouTube was found to be the medium with the greatest influence and highest efficiency at the lowest cost. Second, the evaluation of the participants on "Card Live" were divided into the three categories: need for one-take live, the design elements of "Card Live", and scanning issues of the QR code. Third, there is a need for promotional methods that can effectively utilize the media aspects of YouTube: the channel management issues such as raising public awareness as well as the number of subscribers of "Alida Music" should be resolved and measures to effectively use various media including other SNS should be developed. In terms of its content, it is imperative to recruit diverse performers to make various contents, as well as to come up with ways to link "Card Live" contents with offline. Based on these results, "Card Live" contents should be further revised and complemented in order to provide interesting contents to consumers, which will further develop "Alida Music" as a platform where various musicians and companies meet, thereby inducing contracts with popular music agencies and generating advertising revenues. However, since this study was carried out only with the limited number of participants, future studies should include more participants to bring forth a variety of promotional plans and improvement measures. Also, in the era of consuming contents through smart devices, the fact that some features of "Card Live" were available only on PC, did not fully reflect the characteristics of the times. In the future research, various contents that smartphone users can access and view freely without PC should be produced.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.237-249
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• 2020

This study analyzed the characteristic factors of musical actor that affect the audience's loyalty to the performance by inducing the audience's sensory presence which is the unique characteristic of the performing arts and analyzed the mediating effects of audience's sensory presence between the characteristics of musical actor and audience's loyalty to the performance. Actor's characteristics which are an independent variable were composed with the appearance of actor, acting skills, sing ability and actor's known degree. Audience's sensory presence which is mediating variable was divided into immersion and identification. Audience's loyalty to the performance which is a dependent variable was set as intention of recommendation and intention of revisit the performance. The result of analysis shows that identification have significant mediating effects in all independent variables except between actor's known degree and the audience loyalty to the performance. It shows immersion have also significant mediating effects among all independent variables and the audience loyalty to the performance. The multiple mediating effects of Immersion and Identification between Actor's characteristics and Loyalty to the performance have significant effects all parts. Especially, The result of this study shows that indirect effects that arrive to the loyalty through immersion or identification are larger than the direct effect that actor's characteristics affect to the loyalty to the performance. Actor's characteristics which affect Audience's loyalty to the performance by mediating Audience's sensory presence are shown in order of appearance of actor, acting skills, sing ability and actor's known degree. These results suggest key factors of musical actor's characteristics which lead loyalty to the performance by mediating Audience's sensory presence to musical producers and directors and actors.

• The Journal of Korean Philosophical History
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• no.29
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• pp.153-178
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• 2010

The aim of this research was to examine the traditional Confucian view of self-realization in East Asia and the meaning of life implied therein. The researcher closely reviewed the phase of self-realization of both Confucius and Mencius who are central in Confucianism, especially in the primordial Confucianism, and after investigating maturity of personality as well as educational characteristics thereof, the researcher tried to elicit its modern significance. In Analects, Confucius who is the founder of Confucianism mentioned about 'the pleasure of studying and practicing what he has learned'(學而時習 "Hagisiseup" in Korean), since after, his past was then just the process of self-realization that lasted throughout life. That is, the six phases of self-realization, to wit, 'bending on learning(志學, "Jihak")-'standing firm'(而立, "Irip")-'having no doubts'(不惑, "Bulhok")-'knowing the decrees of Heaven'(知天命, "Jicheonmyeong")-'ear being obedient organ for the reception of truth' (耳順, "Isun")-'able to follow what my heart desires without transgressing what is right'(從心, "Jongsim"), are lying hidden and undeveloped during lifetime, and, at the same time, these phases illustrate the state of enlightenment of life in an in-depth manner. By showing the process of living which is being sublimated in respect of quality, and by going through important process of self-innovation up to six times during lifetime, Confucius edifies us the activity of complete self-realization as well as the importance of education and learning. Meanwhile, these are connected to Mencius in a similar pattern, and strong influence of the characteristics of the learning of the mind and heart( 心學, "Simhak") based on his philosophy permeates the self-actualization phase of Mencius. Mencius' self-actualization phase is expressed in terms of six stages, viz., Person of Goodness(善人, "Seonin")-Trustworthy Person(信人, "Sinin")-Person of Beauty(美人, "Miin")-Great Person(大人, "Daein")-Sage(聖人, "Seongin")-Divine Person(神人, "Sinin"), and these six phases of self-actualization process are educational and learning model for people who dream actualization of perfect personality during their lifetime. Confucian and Mencian view of self-realization congruent with self-discipline internally, and it also reveals a stereotype of human externally. These are a process of performing organic ideals in order for cultivating oneself and regulating others(修己治人, pronounced 'sugichiin' in Korean) which has been pursued by Confucianism. Briefly, these self-realization phases are the arts of living that will lay foundation for "Being Born Human, pronounced Saramim' in Korean" and for becoming "Fully Human, 'Sarmadoem'" and finally for "Human Feelingness, 'Saramdaum'

• (The) Research of the performance art and culture
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• no.39
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• pp.609-635
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• 2019

This study analyzed five official entries in the 3rd Cheong Kong Festival contest and analyzed the patterns of teen audience empathy. The tools used for this analysis were 'characters, acting, background and theme'. Firstly, characters were mostly teenagers and out-of-school teenagers, but there were other performances that focused on the relationship between teenagers and adults or focused on the youth, which the teen audience preferred. And they preferred realism acting to emotional acting and preferred musical acting to realism acting. In addition, the background of the events covered in the performance was evaluated to be like this: the closer the audience was to the youth, the higher the audience sympathized with the performance, and the closer the subject matter was to the youth's interest, the more positive it received. In summing up the opinions of the youth evaluation team, the first audience-participating Sinpa Theater, "Mr. X" was evaluated to expand the scope of teenagers to 20s and to show the negative and heavy reality as fun and beneficial one. Secondly, when it comes to non-prejudiced youth theatre "The Turtle", which have a high level of empathy, it was evaluated to shape the prejudice about others through the symbol of 'bag'. Thirdly, regarding the time-traveling retro-style youth theatre of the 'a jam-packed Bus', it was evaluated to be a well-made retro-style youth theatre. Regarding the 'Lunar Eclipse', which showed the aesthetic of the relationship, scenes were evaluated to be built with omission and restraint. Regarding "B Officer on and Love Letter", it was evaluated to be adapted to a musical from Hyun Jingun's novel, which was released 100 years ago. Lastly, the performance desired by the youth evaluation team was a performance with a high level of 'sympathy' and 'education'. In other words, they preferred performances that empathize with the emotions and thoughts of teenagers, and on the other hand, they wanted to see performances that allowed them to see the world broadly outside their own worlds. If youth theater is created by referring to the evaluation of youth as it is in this study, the audience will be more sympathetic to performances.

• (The) Research of the performance art and culture
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• no.36
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• pp.441-471
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• 2018

East Coast Gut, Korean shamanism ritual on its east coastal area, is a Gut held in fishing villages alongside Korean east coastal area from Goseong area in Gangwon-Do to Busan area. East Coast Gut is performed in a series mainly by a successor shaman, Korean shaman, who hasn't received any spiritual power from a God, and the implications of this thesis lie in that we look over the learning aspects of Seokchool Kim shaman group among other East Coast Gut successor shaman groups after dividing it into 2 categories, successor shaman and learner shaman and based upon this, we reveal the meaning of the learning aspects of East Coast Gut. For successor shamans, home means the field of education. Since they are little, they chased Gut events performing dance in a series to accumulate onsite experiences. However, in the families of successor shamans that have passed their shaman work down from generation to generation, their descendents didn't inherit shaman work any longer, which changed the way of succession and learning of shaman work. Since 1980's, Gut has been officially acknowledged as a kind of general art embracing songs, dance and music and designated as a cultural asset of the state and each city and province, and at art universities, it was adopted as a required course for its related major, which caused new learner shamans who majored in shamanism to emerge. These learner shamans are taking systematical succession lessons on the performance skills of East Coast Byeolshin Gut at universities, East Coast Byeolshin Gut preservation community, any places where Guts are held and etc.. As changes along time, the successor shamans accepted the learner shamans to pass shaman work down and changes appeared in the notion of towners who accept the performer groups of Gut and Gut itself. Unlike the past, as Gut has been acknowledged as the origin of Korean traditional arts and as the product of compresensive learning on songs, dance and music and it was designated as a national intangible cultural asset, shaman's social status and personal pride and dignity has become very high. As shaman has become positioned as the traditional artist getting both national and international recognition unlike its past image of getting despised, at the site of Gut event or even in the relation with towners, their status and the treatment they get became far different. Even towners, along with shift in shaman groups' generation, take position to acknowledge and accept the addition of new learning elements unlike the past. Even in every town, rather than just insisting on the type or the event purpose of traditional Gut, they think over on the type of festival and the main direction of a variety of Guts with which all of towners can mingle with each other. They are trying to find new meanings in the trend of changing Gut and the adaptation of new generation to this. In our reality of Gut events getting minimalized along with rapid change of times, East Coast Gut is still very actively performed in a series until now compared to Guts in other regions. This is because following the successor shamans who have struggled to preserve the East Coast Gut, the learner shamans are actively inflowing and the series performance groups preserve the origin of Gut and try hard to use Gut as art contents. Besides, the learner shamans systematically organize what they learned on shamanism from the successor shamans and get prepared and try to hand it down to descendents in the closest possible way to preserve its origin. In the future, East Coast Gut will be succeeded by the learner shamans from the last successor shamans to inherit its tradition and develop it to adapt to the times.

• (The) Research of the performance art and culture
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• no.22
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• pp.287-325
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• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.