• Journal of Digital Contents Society
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• v.18 no.1
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• pp.63-70
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• 2017

Recently, as user feedback such as social reading become active, demand has been increased on e-book contents making which is based on user feedback. However, to reflect the user feedback onto the e-book, direct coding is required, which was difficult to the author who was not good at programming. To resolve this problem, Block assembly style feedback editor system, using Blockly was developed. This editor enables to reflect the user feedback by area allocation, component allocation, block editing, and code generating insertion, contrary to the existing way of programming realization in which direct coding was required for input, processing and output separately. This system was developed by using HTML. Javascript, PHP, and Codeigniter. Block editing is enabled to do provision and assembly of blocks by Blockly. The function of code generation & insertion allows to insert the Library function code. Through this system, the general users who are not capable of coding also can reflect feedback without doing actual coding.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.447-484
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• 2012

This study aims to analyze the characteristics of post-epic theatre in the Belgian theatre director Jan Lauwers' trilogy titled in "Happy Face/Sad Face": (2004), (2006) and (2008). I regard that it played a very important junction for him to create his own theatrical style compared to earlier years. From this period, Lauwers has tried to create his original plays in order to concentrate the story of our era and has showed to combine a variety of media such as dance, installation, video, singing etc. In this context, I would like to study his own theatricality from the three perspectives of dramaturgy, directing and acting largely based on Hans-Thies Lehmann's theory of post-epic theatre, who pointed out the significance of Lauwer's theatrical leading role very early. First, from the dramaturgical point of view, we need to pay attention to the theme of translunary death; where the living and the dead coexist on the stage. In fact, death is the theme that Lauwers has been struggling to research for quite long time. In his trilogy, the dead never exits the stage. The dead, who is not a representative tragic character, even meddles the things among or with the living and provide comments to people. As a consequence, it happens to reduce a dramaturgical strong tension, leads depreciation of suspense and produces humanism in a way. This approach helps to create his unique comical theatrical atmosphere even though he deals with the contemporary tragic issues such as war, horror and death. Second, from the directing point of view, it is worth to take a look at the polyphonic strategy in terms to applying various media. Among all the things, the arts of dancing and singing in chorus are actively applied in Lauwer's trilogy. The dance is used in individual and microscopic way, on the other hand, singing shows collective and is a macroscopic quality. The dance is the representing media to show Lauwer's simultaneous microscopic mise-en-scene. While main plot takes place around the center-stage, actors perform a dance around the off-centered stage. Instead of exiting from the stage during the performance, the actors would continue dance -sometimes more like movements- around the off-centered stage. This not only describes the narrative, but also shows how each character is engaged to the main plot or incident, and how they look into it as a character. Its simultaneous microscopic mise-en-scene intends to function such as: showing a variety moments of lives, amplifying some moments or incidents, revealing character's emotion, creating illusionary theatrical atmosphere and so on. Meanwhile, singing simple lyrics and tunes are an example of the media to stimulate the audiences' catharsis. As the simple melody lingers in the audiences' mind, it ends up delivering a theatrical message or theme after the performance. This message would be transferred from the singing in chorus functions as a sort of leitmotive in order to make an impression to the audience. This not only richens their emotion but also creates an illusionary effect. Third, from the acting perspective, I'd like to point out the "detachment" aesthetic which Lehmann has pointed out. The actors never go deep into the drama by consistently doing recognize a theatrical illusion. The audience happens to pay attention to their presence through the actor's deliberate gesture, business, movement, rhythm, language, dance etc. The actors are against forming closed action by speaking in various languages or by revealing deliberately stage directions or acts, and by creating expressive mise-en-scene with multiple media. As a consequent, the stage can be transformed to not a metaphoric but a metonymic place. These actions are the ultimate intention for a direct effect to the audience. So to speak, Lauwers uses the anti-illusionary theatrical method: the scenes of fantastic death, interruption of singing and dance, speaking many kinds of languages, acting in detachment-status and so on. These strategies function to make cracks in spectators' desire who has a desire to construct a linear narrative. I'd like to say that it is the numerous potentiality to let the reality penetrate though and collide the reality with a fiction. By doing so, it induces for spectators to see the reality in the fiction. As Lehmann says, "when theatre presents itself as a sketch and not as a finished painting, the spectators are given the chance to feel their own presence, to reflect on it, and to contribute to the unfinished character themselves". In this sense the spectators can perform an objective criticism on our society and world in Lauwer's theatre because there are a number of gaps and cracks in his theatrical illusion where reality can penetrate. This is also the point that we can find out the artists' responsibility in this era of our being.

• Journal of International Area Studies (JIAS)
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• v.13 no.4
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• pp.251-284
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• 2010

Through specific cases, this article examines the causes and measures to overcome cultural divergences most frequently encountered by Koreans living in Vietnam and Korean-contacting Vietnamese in terms of mode of communication, mode of living and mode of doing business. Historical reality proves that Vietnam and Korea have a lot in common in history, culture and society, due to the influence from the Chinese culture on both countries. However, each country has its own acculturation, hence, there exist, apart from the normal dissimilarities, differences between the two countries especially in natural environment andpolitical systems. As a result, in Vietnam, Koreans and Vietnamese have met with quite a lot of divergences in communication, business and living activities. In order to overcome these cultural divergences, in addition to the ceaseless efforts made by Koreans in Vietnam and Korean-contacting Vietnamese, there should be concern, assistance as well as cooperation between the people and the authorities of the two countries. We should draw lessons from the groundless or trivial affairs which, springing from the Chinese people's dislike for Koreans, have been blown up and disseminated on the internet; where by we are to reconsider the relationship between Koreans and Vietnamese. What is more, Korea still feels historically ashamed to have sent nearly 350,000 soldiers to the wa rin Vietnam for economic purposes in the past. As our predecessors brought about that historic shame to get bread for our fatherland in exchange, our generation today should approach Vietnam out of a sense of responsibility towards history. Having experienced a period of economic difficulties, Vietnam innovated and started its open-door policy in 1987. However, this event should not be regarded as the reason for us to approach Vietnam with only one rigid economic principle.

• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.60-79
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• 2015

The study examined reconstruction and building plan of Buyeo Muryangsa Temple in the 17th century and reviewed its construction process and supporting power since the Imjin War of 1592. In addition, The architectural features and design plan of Geukrakjeon that is the most important position in the reconstruction were examined. The reconstruction process of Muryangsa Temple is as follows. Firstly, the study reviewed the reconstruction order of Muryangsa Temple that was progressed in a short period of time from 1624 to 1636. In doing so, the reconstruction period was adjusted from 1633 to 1624 so that the construction order of Muryangsa Temple might be the reconstruction of Geukrakjeon in 1624, Gwaebul in 1627, Sojosamjonbul in 1636 and Beomjong in 1636. Secondly, as the reconstruction of Muryangsa Temple was progressed in a short period of time of 13 years, it was assumed there was great supporting power. In particular, it was found that Jinmukdaesa who lead the construction of Wanju Songgwangsa Temple had an impact on the construction of Muryangsa Temple.It was conjectured that Shin family of the royal family as the supporting power of Songgwangsa through the support of Jinmukdaesa had an impact on Muryangsa Temple. Thirdly, the study reviewed architectural features of Geukrakjeon which has the most important meaning of the reconstruction of Muryangsa Temple. By comparing other reconstructed temples, the architectural style of Muryangsa Temple was examined. In particular, features of Gongpo and furniture were reviewed. In doing so, Muryangsa Temple, the study proposed a possibility that Geukrakjeon would be constructed by an artisan in the same genealogy of Wanju Hwasamsa Temple Geukrakjeon. Finally, the design plan of the building was reviewed with Yongcheok of 309mm used for the construction of Geukrakjeon. Geukrakjeon had perfect proportion compared with other reconstructed temple in the late Joseon period, and golden ratio of 1:1.41 was applied in many areas of building. the study also proposed that the stable design of Geukrakjeon was carried out by the building plan of overall Garam at the time of reconstruction of Muryangsa Temple in the late Joseon period.

• The Journal of the Korea Contents Association
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• v.17 no.6
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• pp.650-660
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• 2017

This study aims to research the indication way and contents description of grammar presented in Korean textbooks. Therefore we examine the common elements of grammar in four Korean textbooks and the transcription, notation methods and meaning descriptions the books use to present grammar items. After analyzing Korean textbooks for the beginner level, we found just 20 similar items among a total of 100-150 grammar items. Advanced researches required to examine the selection and classification of grammatical items in Korean education. The results show that it used as the same name "grammar" expressed in Korean textbooks compared to using different names in the past. We consider that just 20 grammar items are the same because the range of grammar items in every textbook is different including vocabulary, sentences etc. The study found that grammar items are expressed differently in the type of indication way, order of arrangement, and marks. We suggest that it is better to indicate the style of representation used in grammar items because an additional problem such as type of indication way, order of arrangement is removed by doing so. The study also found grammar items are expressed differently in the meaning description and grammar range of explanation of Korean textbooks. This study suggests that morphological information, restriction information and meaning should be described at a basic level. This study allows us to consider the indication way and contents description of grammar are presented in Korean textbooks.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.125-137
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• 2012

This study examines the stage costumes of the creative musical 'Hyecho', which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University's performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical 'Hyecho' presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea's creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience's eyes, but also not to interrupt actors' vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India's traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.

• The Research Journal of the Costume Culture
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• v.8 no.2
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• pp.237-260
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• 2000

According to the study of Jik-Ryoung(直領) consulting chronicles of the Chosun Era, Jik-Ryoung had been worn for various uses as official outfit, ordinary attire or clothes for the celebration of their coming of age, wedding ceremonies, funeral rites, and religious ceremonies, etc. from the beginning to the end of the Chosun Era. The conclusions are shown briefly as follows. 1. There are several terms of Po(袍) related to Jik-Ryoung in the chronicles under the name of Jik-Ryoung Ui(直領衣), Ui-Sal Jik-Ryoung(衣撒直領), and Jik-shin(直身). Jik-Ryoung Ui is the other name of Jik-Ryoung that they called it when it was used for funeral rites and religious ceremonies. The chinese Ye-Sal(曳撒) was called the Ui-Sal Jik-Ryoung in Korea, but this is different with Jik-Ryoung regarding its divided up and bottom style. Jik-Shin is almost same as Jik-Ryoung. 2. During the latter period of the Chosun Era, we can find diferent frequency in use of the Jik-Ryoung. Jik-Ryoung was shown constantly in the cases of that ding, Chinese Prince and lower-level constantly in the cases of that king, Crown Prince and lower-level officials wore it for funeral rites and lower-level officials, artisans, merchants, humbles and slaves wore it for official outfit. Uses of the Jik-Ryoung increased for military officers'outfits, in contrast to decreasing of uses for ordinary attires of king, Crown Prince, and the commons, and official outfits of civil officials. 3. These different aspects mean the change of estate and role. For the basic four ceremonial occasions the ceremonies of coming of age, marriage, funeral, and ancestor memorial-, it appeared constantly. Therefore the social role had been maintained also by then. As an official garb, the role for official uniform of petty official maintained by the end of the Dynasty. But from the latter 1600's to the former 1700's, the roles for official garbs of civil officials and military officers decreased and increased respectively. Before the Hideyoshi's Invasion of Korea in 1592, ordinary social clothes had orders by people's social status who wore them ; those were Dan Ryoung(團領), Hong Jik Ryoung(紅直領), Jik Ryoung(直領), Cho'l Rick(철릭) in the order named. After the war, various Po(袍), Shim Ui(深衣), Jung Chi Mak(中致莫), Chang Ui(　衣), Jang Ui(長衣), Ju Ui(周衣) and so on had been worn until the King Young Jo(英祖)·Jung Jo(正祖) period. In result, the social role of Jik-Ryoung was reduced as the uses decreased more and more. For a mourning dress, it had a same aspect as the case of ordinary social wear. 4. Considering the color, they used blue for the clothes for doing-up-the-hair ceremony, white for mourning clothes, and white, black for ancestor memorial ceremony clothes. On the official outfits of officials, dark blue and black were used mostly. And lower-level officials'clothes had white, red, and green on them. They used red and green for the plain dresses. 5. Examining the materials, clothes for the celebration of one's coming of age were made of high quality silks, Kwang Hwa Dan(廣禾緞). Also, they made clothes for funeral rites of rough and thick linen, and made clothes for religious ceremonies of linen and hemp. The official outfits were made of practical materials like cotton, hemp and ramie. Cotton, pongee and satin were used to make ordinary attire.

• The Korean Journal of Franchise Management
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• v.2 no.1
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• pp.1-45
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• 2011

Franchising is one of the most effective strategies in promoting business establishment, creating jobs and accelerating economic growth. Thus, many countries in the world foster franchise business and support the franchise industry by enacting relevant regulations and making development policies. Vietnam deregulated franchise market through making franchise-related laws on June, 2005 and after joining WTO in 2009, Vietnamese government opened up the franchise market by letting foreign investors acquire 100% share on their investment in Vietnam. In addition, Vietnamese consumer's rapidly growing income and increasing liking for western life style make Vietnamese franchise market attractive and profitable. For this reason, many global franchise firms are competing to get the best seats. However, there has been no Korean attempt to profoundly study over Vietnamese franchise market. The purpose of this study would focus on analyzing and evaluating cases of Korean and international firms which successfully entered Vietnamese market and on proposing effective strategies and key success factors. The result of this study indicates that the companies successfully settled down to the Vietnamese market have developed marketing strategies which fit their strengths, and their common key success factors are 1) making the best of first mover advantage, 2) adapting themselves to local tastes and behaviors via systematic and scientific market research, 3) making thorough supervision on safety and hygiene, 4) doing strategy of firstly directly being operated and settled down by franchisor, later being managed by franchisees, 5) benchmarking both successful and failed cases in other countries.

• Journal of Korean Philosophical Society
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• v.137
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• pp.277-321
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• 2016

Friedrich Nietzsche's philosophy embraces characteristics of existential philosophy and philosophical anthropology. In his book "Thus Spoke Zarathustra", Nietzsche defined human beings as an existence with innate possibility for change, beings that stand at the borderline between "the last man" and "the ${\ddot{u}}bermensch$", raising a question over the meaning of human being's existential healthiness. The anthropological symptoms that Nietzsche's philosophy deals with trigger existential problems, and healing these anthropological symptoms is a precedent to healing an existence. In Nietzsche's philosophy, the ${\ddot{u}}bermensch$ is presented as a prototype of practical man with a healthy existence, born from endeavors to heal the last man prototype of a decadence that was prevalent throughout Europe at the time. Nietzsche found the root cause of nihilism found in Europe in philosophy, religion, metaphysics, and Christianity, and attempted a genealogical investigation on this aspect. In so doing, a philosophical problem surfaced whereby only one truth was used to force diverse existential styles into a uniform style. Nietzsche intensively criticized philosophy and philosophers that only studied truths from metaphysical-Christian-moral perspectives, as they overlooked the foundation of true existence and presented human beings of a feeble mind and will as a result. Nietzsche emphasized the practical role of philosophy that can contribute to the human being's ascent and growth based on realistic conditions of human existence described as the earth, that philosophy that can serve as a basis for existential transformation of human beings and their lives. The task of philosophers is to lay the groundwork for the possibility of changes for all human beings and their realization. This existential practical foundation of philosophy can be called the ${\ddot{u}}bermensch$, as it is healthy man, the "greatest reality" as Nietzsche desired.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.45-57
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• 2021

The purpose of this study is to identify what factors have impacts on the amount of YouTube viewing. In doing so, usage type, children's levels of self-control on viewing, parent's perception of media contents, and parental mediation style were investigated by age. The result of the study showed no significant differences of the amount of use by the different age groups. There were, however, significant differences in terms of subscription status(non subscription based vs. subscription-based viewing), level of self-control, perception of content, and parent's mediations (technology, supervision, and guidance). Given the amount of YouTube use, the subscription status and parent's supervision were significantly influential factors for the age group of 3-4 years old. For the age group of 5-6, subscription status, levels of self-control, and mediation of parent's supervision and guidance were influential factors. For the age of 7-9, subscription status, the level of self control, and premium service were significantly influential. Finding similarities and differences in meaningful variables by age group suggests that different strategies should be used to reduce the amount of children's YouTube use. In addition, it raises the need for a more detailed classification of children's YouTube usage methods, which have not been addressed so far, and the need for research on the influence of these methods.