• 한국전자거래학회지
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• 제12권1호
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• pp.73-87
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• 2007

세계 주요 기업들을 중심으로 비즈니스 프로세스를 보다 표준화하고, 명확화하려는 움직임이 어느 때보다 두드러지고 있다. BPM은 이러한 시도를 구현할 수 있는 적합한 도구로서 주목받고 있다. 최근 BPM으로 구현된 프로세스를 보다 효율적으로 실행하는 것이 이슈로 대두되고 있다. 본 논문에서는 프로세스 효율성을 크게 프로세스 엔진과 업무담당자 관점에서 이를 해결하고자 한다. 프로세스 엔진 관점에서는, 엔진이 사용자에게 업무를 얼마나 효율적으로 전달하는지 바라본다. 업무담당자 관점에서는, 전달된 업무를 각 업무담당자가 어떻게 처리하는지에 주목한다. 본 연구는 각 단계에서만 효율성을 고려해왔던 과거 연구와는 달리, 두 단계에서 모두 효율적일 수 있는 방법론을 제안하며, 이를 실험을 통해 유효성을 검증한다.

• International Journal of Internet, Broadcasting and Communication
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• 제16권2호
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• pp.68-74
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• 2024

This thesis explores the embodiment of a performer and a character/role specifically by examining what the term character is associated with and implies in a sense of the performer's bodily training through which what happens to their body. First of all, this research begins to investigate the relationship between a performer and a character centred on the performer's bodily experience through training and/or studio work. From a perspective of a performer, the concept and practical approach of a character itself essentially includes and signifies all the given circumstance of a specific play which has to be acknowledged then inhabited through the performer's body. That is, the internal structure of the text parallels with articulating and developing the spine of a specific character which take place as the substance leads the performer's body to an organic action and/or that of way corresponding to what the character needs and wants to obtain through a series of moment on stage. Here, we argue that the purposeful action as a process and result of applying/inhabiting the substance enhances the performer's body as the whole being participates in the given environment within which his/her body can also work or function by means of the integrated oneness. Second, in a manner of the most fundamental level, both the ethic of acting and the central task of a performer remind us the significance of allowing therefore experiencing subtle bodily movement, namely, responses to stimulus from in/outside of his/her body either visible or invisible on the one hand. At the same time, such a journey of self-discovery empowers the performer to explore new potential possibilities on the other. Finally, as the research finding suggests that these practical insights are necessarily need to be acknowledged as a point of the departure through which the quality of a performer's body is also cultivated by means of the changeable wholeness in order to being on stage.