• The Journal of the Acoustical Society of Korea
• /
• v.15 no.4
• /
• pp.24-31
• /
• 1996

In this paper, we present a speech translation system for hotel reservation, KT_STS(Korea Telecom Speech Translation System). KT-STS is a speech-to-speech translation system which translates a spoken utterance in Korean into one in Japanese. The system has been designed around the task of hotel reservation(dialogues between a Korean customer and a hotel reservation de나 in Japan). It consists of a Korean speech recognition system, a Korean-to-Japanese machine translation system and a korean speech synthesis system. The Korean speech recognition system is an HMM(Hidden Markov model)-based speaker-independent, continuous speech recognizer which can recognize about 300 word vocabularies. Bigram language model is used as a forward language model and dependency grammar is used for a backward language model. For machine translation, we use dependency grammar and direct transfer method. And Korean speech synthesizer uses the demiphones as a synthesis unit and the method of periodic waveform analysis and reallocation. KT-STS runs in nearly real time on the SPARC20 workstation with one TMS320C30 DSP board. We have achieved the word recognition rate of 94. 68% and the sentence recognition rate of 82.42% after the speech recognition tests. On Korean-to-Japanese translation tests, we achieved translation success rate of 100%. We had an international joint experiment in which our system was connected with another system developed by KDD in Japan using the leased line.

• Research in Community and Public Health Nursing
• /
• v.12 no.1
• /
• pp.226-238
• /
• 2001

This study was attempted to understand experiences of the users of natural family planning(NFP) by applying Q-methodology. 37 statements were used to Q population through literature research and interviews. For the P sample. I interviewed personally 30 people who had taken a lesson in NFP for over 6 months and had been using and experiencing it autonomously for more than 2 years so far, and asked them to Q-classify the statement cards in order of the degree of approval, from the one they most approved to the one they least approved. Data were coded and input into a computer and were analyzed using QUANL PC Program. In this study, I discovered 4 types of experiences by the users of NFP and named them each according to their features: the first, a type of mutual control with morality, the second, a type of the pursuit of mutual -cooperation, the third. a type of the pursuit of conviction. and the fourth, a type of the perception of health management. The first type said that NFP was a good contraceptive way in which no drug or devices are used, that the husband's cooperation was needed, and that they became able to control sexual desire with morality. The second type perceived that continuous efforts were required to put NFP in practice, that the, husband's cooperation was essential, and that dialogues between husband and wife were also necessary to use it, and as such they regarded mutual cooperation between husband and wife as highly important. On the other hand. the third type perceived that one's conviction played a big part, that knowledge of physiological changes was useful and the ability to sense physical changes improved. and that one's willpower was important. and thus they regarded one's own willpower as most important. The fourth type reported that this method was a good way to control pregnancy and should be taught about at the beginning of sex education. and thus they were emphasizing the importance of NFP as a helpful way to manage one's health. 1. therefore, intend to provide the following suggestions based on the result of this study. 1) It is necessary to develop a program that allows NFP to be applied to sex education program. 2) It is necessary to analyze factors that affect the execution of NFP. 3) It is necessary to analyze causes of failure of those who fail to execute NFP.

• Journal of Science and Technology Studies
• /
• v.15 no.2
• /
• pp.263-301
• /
• 2015

Digital inclusion is the ability or opportunities of individuals and groups to access and use information technology (IT). Digital inclusion strategies aims to ensure that all citizens regardless of their gender, race and class benefit from IT. Discourse of digital inclusion is notable in that it proposes a desirable relationship between the state, individuals, and the market within the shifting topology of technoscience. Throughout broad discourse analysis of media coverages, in-depth interviews and reports on Korean IT industry, this research argues that dialogues on digital inclusion have substantially influenced the formation of a specific ethical regime. In this regime, individuals should become subjects embodying IT expertise and acceptable codes of conducts. We further discuss that such government-driven ethical regime conflicts with technological citizenship practiced by IT experts and semi-experts. We make theoretical contribution to STS by expanding the concept of technological citizenship to include the rights and obligations of heterogeneous expert and semi-expert groups to form, propose and socially demand alternative developmental pathways of technoscience. We also note that, amid the conflict between ethical regime and technological citizenship, alternative interpretations of gender gap can be forged, providing competing perspectives on women's under-representation and labor conditions in the IT industry. Further research is required to capture the emergence of multiple identities--differentiated by gender, race, class, and more--within the clashing interface between the ethical regime and technological citizenship.

• Health Communication
• /
• v.12 no.1
• /
• pp.97-110
• /
• 2017

Purpose: This study is an overview of the experiences of nurses who have participated in a communication education program which was designed to develop proper change-of-shift dialogues. The goal of this program was to improve the communication competencies of outgoing and incoming nurses during handover and takeover of their shifts. Methods: The materials used in this study to analyze the experiences qualitatively were transcripts from narrative interviews with seven nurse participants. The education program consisted of two rounds of change-of-shift simulations by pairs of nurses, planning of a forthcoming change-of-shift, three lectures on ideal dialogue patterns, and time for video feedback. Afterwards the participants' experiences of the program were evaluated generally, highlighting the positive and the negative aspects, and how this educational experiences might affect their future change-of-shift activities. Results: High practicability, originality, professionalism, and effectiveness were some of the positive assessments made by the nurse participants. In addition, they pointed out that the sample video in which two professors performed an ideal handover and takeover and the paper kardex were both quite unrealistic. The location of the change-of-shift simulation was also unfamiliar so it needed to be supplemented. However, most of the nurses took for granted that such a communication education program is necessary and that it will provide a substantial help in their future job performance. In this regard they recommended the program to all related hospitals and nursing schools. Conclusion: The results of this study could be applied to other forms of communication education programs regardless of the specific area where communication takes place.

• Journal of Korean Theatre Studies Association
• /
• no.40
• /
• pp.5-27
• /
• 2010

The Korean Mask-Dance Theatre has been developed closely related to Korean Shaman rituals. As many scholars noticed, the performers of the Mask-Dance Theatre were closely related to the Shaman family. In addition, there are mask-dance performances in actual shaman rituals. and are the representative performances among them. This essay intends to compare these two mask-dance performances in the shaman rituals to the similar performance of Old Grandpa and Grandma episode in the regional Mask-Dance Theatre. This study would bring us further in proving the close relation between the shaman ritual and the Mask-Dance Theatre. is one episode, Keori, in the shaman ritual of 'Baeyeonsin-kut' and 'Taedong-kut' in the mid-west seashore area. 'Taedong-kut' is the village shaman ritual for fertility and prosperity, while 'Baeyeonsin-kut' is a private shaman ritual for a large catch of the ship. is held in the later part of the whole shaman ritual since the later part tend to be more for entertainment than actual ritual. The story of is very similar that of in Pongsan Mask-Dance Theatre of the mid-west region. In addition, some of their dialogues are very similar. Only the later part is different. These similarities indicate that the Mask-Dance Theatre, which came into being in later period than the shaman ritual, has likely taken the story motif of the shaman ritual. is also a performance in the shaman ritual of east coasts. is more elaborate and recreational than of the west coasts. is also performed near the end of the ritual, and sometimes it is not performed at all. This indicates that has little ritual meaning left. When we compare it with the regional Mask-Dance Theatres such as Keosung Okwangdae, Tongyong Okwangdae, and Suyong Yaryu, the structure and the story lines are also very similar. It is a question why only the motif of the Grandpa and Grandma isfound both in the shaman ritual and the Mask-Dance Theatre. Many other motifs of other episodes in the Mask-Dance Theatre are not found in the shaman rituals. It seems that the Grandpa and Grandma motif is related to the ur-belief in fertility. In other words, this motif seems to be originated from the old belief in the fertility couple of Chonha Taechanggun and Jiha Yeochanggun. The shaman ritual for fertility first picked up this motif, and then the mask-dance theatre also adapted this motif for its recreational purpose. When we compare with , still has more aspects of fertility ritual, while lost its ritualistic meaning and its main purpose is to develop dramatic needs. and are invaluable existent performances to prove theatre's origin in ritual. The existence of mask-dance performances in the shaman rituals shows us the transit performance between theatre and ritual.

• Cross-Cultural Studies
• /
• v.46
• /
• pp.411-434
• /
• 2017

With emphasis on various local cultures to confront the Western central culture, Ngugi wa Thiong'o proposes them 'to move horizontally' so as not to repeat the oppressive culture of the West. We need not only dialogues between dominant languages and peripheral languages, but also between marginal languages. With respect to this point, Ngugi thinks that translation itself could be very effective. Ngugi wants to stimulate writing and speaking in marginalized languages and promote translation as a means of making these languages visible. He regards translation as a conversational tool among languages and cultures in the multicultural global community. As is already well known, his determination to write his later works only in his native Gikuyu language has a great meaning in his anti-colonial as well as anti-neocolonial movement. Its proof is his recent effort to cooperate with Jalada Africa. Simon Gikandi criticized the English translation of Matigari as a denial of cultural hegemony of Gikuyu language and its subordination to the global cultural market. However, the concept of 'thick translation', helps us move from Gikandi's doubt of the 'epistemology of translation' to a meaningful strategy of postcolonial translation. Facing some of the scholars' doubts related to his over-stressing language problem, Ngugi points out that the world has managed to function well through translation: the possibility of translation between cultures and translation as a mediating tool for communication nationally as well as internationally. Based on this two-sided solution of translation, he believes that we can overcome the opposition between relativity and universality, center and periphery, and the dominant and the subordinate.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.4
• /
• pp.127-139
• /
• 2021

This study is intended to review the poetic directing created by the aesthetics of silence of Claude Régy, a French director who carries out playwriting in silence, departing from conventions through the concept of "potentiality" proposed by Giorgio Agamben, an italian philosopher. Claude Régy stated, "What's fundamentally important is not to say what you want to say." Thus he tries to create the stage of "silence" rendered in overly slow, excessively segmented dialogues while selecting restrained minimal means. Agamben makes Bartleby who "prefers not to" as a cardinal model of his perfect potentiality, asserting that the nature of potentiality is revealed in the pause of actuality. As in Agamben's philosophy, Claude Régy's directing is also the "pause" of words and actions. This silence is not a return to actuality but a creation of the moment at which "the invisible" become visible. The silence of words or the silence of an empty stage with dim lighting is viewed by Agamben as potentiality that has "underlying passivity" and is "hospitable to non-existnece". In this light, this study is to create another direction for the theater arts of our time and the 21^st century and to extend the horizon of new directional modes. It aldo reviews the concept of Agamben's "potentiality" that provides critical viewpoints to "the artist without content", works directed by Claude Régy who has created his own distinctive styles of direction with the aesthetics of "slowness" and "silence", L'intérieur by Maurice Maeterlinck and Quel'un va venir By Jon Fosse.

• Korean Association of Arts Management
• /
• no.55
• /
• pp.75-113
• /
• 2020

This research aims to identify current issues of arts education programs which have designed for North Korean Refugee Youth in South Korea and then navigates further steps to better serve the group. The purpose of study also pertains to the '2010 Seoul Agenda: Goals for the Development of Arts Education' announced at the Second World Conference on Arts Education, particularly, to the third Goal indicating how arts education practices can contribute to resolving social and cultural issues and promoting social cohesion and intercultural dialogues (UNESCO, 2010). This research engages with critical theory approach and adopts qualitative content analysis for collected documents and interview data. Based on the findings of this research, interview participants found its need of current arts education program for North Korean refugee youth become more value-driven and participant-centered. Currently, those programs available seem to incline to helping their adjustment to the South Korean society through arts-related activities, such as enhancing Korean language skills and learning Korean culture. Rather, it has been addressed that providing emotional and psychological supports and opportunities to search their own 'voice(s)' should be core objectives of the arts education programs. Moreover, when it is offered, arts educators and administrators need to make sure that participants can feel safe and secure as being present at the space for programs in order to express and encounter their true inner voice(s).

• International Journal of Computer Science & Network Security
• /
• v.23 no.8
• /
• pp.101-106
• /
• 2023

In this busy world actually stress is continuously grow up in research and monitoring social websites. The social interaction is a process by which people act and react in relation with each other like play, fight, dance we can find social interactions. In this we find social structure means maintain the relationships among peoples and group of peoples. Its a limit and depends on its behavior. Because relationships established on expectations of every one involve depending on social network. There is lot of difference between emotional pain and physical pain. When you feel stress on physical body we all feel with tensions, stress on physical consequences, physical effects on our health. When we work on social network websites, developments or any research related information retrieving etc. our brain is going into stress. Actually by social network interactions like watching movies, online shopping, online marketing, online business here we observe sentiment analysis of movie reviews and feedback of customers either positive/negative. In movies there we can observe peoples reaction with each other it depends on actions in film like fights, dances, dialogues, content. Here we can analysis of stress on brain different actions of movie reviews. All these movie review analysis and stress on brain can calculated by machine learning techniques. Actually in target oriented business, the persons who are working in marketing always their brain in stress condition their emotional conditions are different at different times. In this paper how does brain deal with stress management. In software industries when developers are work at home, connected with clients in online work they gone under stress. And their emotional levels and stress levels always changes regarding work communication. In this paper we represent emotional intelligence with stress based analysis using machine learning techniques in social networks. It is ability of the person to be aware on your own emotions or feeling as well as feelings or emotions of the others use this awareness to manage self and your relationships. social interactions is not only about you its about every one can interacting and their expectations too. It about maintaining performance. Performance is sociological understanding how people can interact and a key to know analysis of social interactions. It is always to maintain successful interactions and inline expectations. That is to satisfy the audience. So people careful to control all of these and maintain impression management.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.2
• /
• pp.133-143
• /
• 2019

When writing historical dramas, there was an argument that restoring the language of the times was the responsibility of the playwright, but no full-scale research was done. There was no collaborative study between playwrights and Korean Language scholars. So far, many playwrights have considered it the responsibility of Korean Language scholars to discover and restore language. However, it is a medium that can easily meet the public like a play or movie, and it should have a great responsibility for creation. Language changes with time, so restoring the language of the time in plays and scenarios can lead to difficulties in communicating with modern audiences. However, the change of language according to the times means that it captures the social image and fashion of the time Therefore, language restoration in historical dream means that scenes and backgrounds can be described more realistically. Restore of language is not just necessary to improve the creative environment; it should be understood as the responsibility of the artist to meet the ability of the audience to understand the language of the times already learned. The playwright who writes the historical drama should not only learn the grammar of the background era, but also find out the lost pronunciation and the changed vocabulary so that he can use various dialogues.