• Journal of Digital Contents Society
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• v.17 no.6
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• pp.531-536
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• 2016

This study highlights the effectiveness of analyzing the feelings children have when interacting with robots in a dramatic play setting using augmented reality in Human Robot Interaction (HRI). Existing dramatic play activities using robots by QR-markers were edited, and their weaknesses have been corrected so that children could interact more effectively with robots. Additionally, children's levels of interest and engagement in dramatic play activities, the accuracy of robotic props, and the smartness of robots were analyzed throughout children's interactions during such activities using augmented reality. Younger participants were more likely to find robots interesting and intelligent, and participants with no previous experience with robots had relatively higher levels of interest in robots and tended to notice changes in robots' costumes.

• Korean Journal of Childcare and Education
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• v.7 no.3
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• pp.211-238
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• 2011

This study examined the effects of drama play activities on child's initiativeness. The participants were 34 five-year-old children in two classes of a child care center. Before the experiment, the initiativeness test was conducted on the children of the experiment and control groups. initiativeness was categorized into emotional ability, communication skills, and achievement motivation. Drama play activities were directed to the children of the experiment group while the existing program was applied to the control group. After the experiment, both the experiment and control groups took the post-test. Analysis of data was performed by ANCOVA. According to the result of the research, children of the experiment group participated in drama play activities showed more effects in all sub area of initiative including emotional ability, communication skills, and achievement motivation than children of the control group. This result implied that dramatic play activities are effective teaching-learning method for enhancing child's initiativeness.

• Journal of The Korean Association of Information Education
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• v.17 no.4
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• pp.421-432
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• 2013

The purpose of this study is to develop contents and an instructional model that support children's dramatic play by integrating the robot and augmented reality technology. In order to support the dramatic play, the robot shows various facial expressions and actions, serves as a narrator and a sound manager, supports the simultaneous interaction by using the camera and recognizing the markers and children's motions, records children's activities as a photo and a video that can be used for further activities. The robot also uses a projector to allow children to directly interact with the video object. On the other hand, augmented reality offers a variety of character changes and props, and allows various effects of background and foreground. Also it allows natural interaction between the contents and children through the real-type interface, and provides the opportunities for the interaction between actors and audiences. Along with these, augmented reality provides an experience-based learning environment that induces a sensory immersion by allowing children to manipulate or choose the learning situation and experience the results. In addition, the instructional model supporting dramatic play consists of 4 stages(i.e., teachers' preparation, introducing and understanding a story, action plan and play, evaluation and wrapping up). At each stage, detailed activities to decide or proceed are suggested.

• Journal of Families and Better Life
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• v.17 no.1
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• pp.139-154
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• 1999

The purpose of this study was to examine the effects of dramatic play on the hyperactive-children's self concept and their hyperactivities. The subjects for this study were 144 five-year old children of Y kindergarten in Seoul. Through the Teacher-Questionary modified by Koung-ja OH(1986) 26 children were assigned to the experimental group and the control group 13 hyperactivity-children (boy:11 girl:2) in the experimental group had dramatic play of which the main themes were positive self concept formation. but the 13 children(boy:11 girl: 2) in the control group did not any dramatic activities. Experimental procedures for the self concept test and the hyperactivity test were pre-test experimental treatment and 2 times post-test by 2 months. Self concept test used for pre-test and post-test was The data was analysed using t-test and paired t-test. The result are as follows: 1. In the pre-test for self concept the scores of the control group showed higher than that of the expe imental group. But there were significantly increased difference between pre-test and the first post0-test in the experimental group. 2. In the second post-test for self concept of the experimental group after 2 months there were no significant differences between the first post-test and the second post-test. 3. In the hyperactivity test there were no significant differences in the control group,. But the experimental group showed decreased hyperactivities in the first post-test. 4. In the second post-test for the hyperactive-children's hyperactivities in the experimental group after 2 months there were no significant differences between the first post-test and the second post-test The dramatic play influenced on the hyperactive-children's self concept positively and the decrease of hyperactive-children's hyperacivities.

• Child Health Nursing Research
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• v.12 no.4
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• pp.486-494
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• 2006

Purpose: This study was done to analyze children's play during hospitalization. Method: Data were collected from 36 play situations of hospitalized children, ages 2 to 6, hospitalized at 4 general hospitals, one in each city, Seoul, Suwon, Daejeon and Daegu. All observations were made in pediatric units during free-play periods. Each child was observed for 5 minutes at each observation and observed three times at each play session. Results: Of the children, 83.3% played on the bed. Play partners were mainly mothers. While 75.0% of children actively took part in play activity and 70.0% played with joy, 63.9% of play partners were more passive in the play. The most frequent play material was a small toy. The level of play was early stage of social and cognitive play, and dramatic play was observed in a few children over the age of 3 years. The play activities were conversional play, reflections of therapeutic procedures, imagination, and exploratory play. In the conversional play, children converted hospital equipments into play materials. Conclusion: It is recommended that health care team members should pay attention and actively participate in play of hospitalized children in order to help them have some control over the stress of the situation.

• Korean Journal of Child Studies
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• v.34 no.2
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• pp.63-81
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• 2013

The purpose of this study was to investigate and conduct effective schemes to direct drama activities for three-year-old children and to examine its influence on them. This research subjects comprised 23 three-year-old children and 2 teachers attending classes at Gureum at SanDeul kindergarten in Seoul, Korea. The researcher first recognized that problems existed in the ways in which children's leading roles were limited by the actor's roles themselves and they therefore were constrained in their use of dramatic expressions while performing drama activities. The researcher also recognized that children's drama activities integrated with traditional culture were largely deficient. For more effectively direction of children's drama activities, action research method was conducted over two sessions. First, certain factors of plays and traditional culture were incorporated within children's drama activities. Second, certain factors of Madangguk and traditional culture were also incorporated within children's drama activities. Through undertaking this research project, children were given the opportunity to actively participated in drama activities, trained their range of imaginative expressions, improved their cooperation with peers and enhanced their interest in traditional culture. The research suggests that children's drama activities when integrated with plays and Madangguk could effectively enhance children's artistic and educational skill.

• English Language & Literature Teaching
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• v.17 no.2
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• pp.161-180
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• 2011

This study aims to illustrate the value of teaching English drama in the course of teaching primary English and suggests a model for primary English drama in an English camp for Children. Drama is the world of assumption where language is used just like in real life. It has a positive effect on foreign language learning by encouraging the operation of certain psychological factors which facilitate oral communication. Dramatic techniques such as storytelling, role play, chant, song and games can be used in the EFL classroom to help bring about such results. Meanwhile, making a primary English drama in an English camp for Children would be practical mode to attain the essential purpose of EFL teaching particularly to get over the drawbacks of Korean students' communicative competence under the school's inflexible EFL education curriculum. In this paper, I will present the effectiveness of English drama and the skills for using it with ESL students and suggest some notes that can be used to reinforce the goals set out from the position of the teacher, student and teaching material. It is confirmed that the trained leader, students' affirmative attitude and systematic teaching materials are needed to maximize the effects of drama activities. In addition to that, there will be showed a model of instruction targeted to the primary students learning English in an English camp for Children.

• Journal of Christian Education in Korea
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• v.69
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• pp.45-75
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• 2022

The purpose of this study is to explore the implementation of Bibliodrama on the metaverse platforms. In other words, to create interesting and effective Bible education for modern learners, this study took a didactical approach to the implementation of Bibliodrama through the metaverse. The main reason to be enthusiastic about using the metaverse for education is because users, who have been only content consumers, now able to experience and create values. As a Bible didactical approach, Bibliodrama is a an emphatical and communicative learning method in the form of role play. Bibliodrama seeks to interact with the world of the learner and the world of the Bible through improvisational acting, to study the Bible. Through the Bible didactical approach, the meeting of Bibliodrama and the metaverse can have a positive effect on modern learners, in terms of improving learning environment and, above all else, increasing learning interest. In terms of biblical didactics, implementing Bibliodrama in the metaverse has the following advantages. First, it helps to construct a dramatic situation and environment so that the meaning of the biblical text can be proved relevant to today's learners, not something belonging to the past. Second, in the metaverse, the historical space and characters of the Bible can be realized in virtual reality to produce a 'situational play'. Demonstrating freedom, imagination and creativity in the metaverse learners play in Bibliodrama. This way they also become aware of the hidden meaning of the blank pages in the Bible. Third, the metaverse environment is not static but dynamic and interactive; Bibliodrama pursues an interpretation that harmonizes spirit and body. Therefore, through the dynamic activities of discovering the meaning and significance of the Bible, it is possible to form a holistic faith in which spirit and body act as one.

• Cross-Cultural Studies
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• v.38
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• pp.115-144
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• 2015

The purpose of this study is to look into the support activities of the 17th century spanish plays which had been taken in various paths in terms of responses of the then-public who had been enthusiastic about great plays and artworks. Such a phenomenon clearly appeared in the open-air theater 'corral' where 'Teatro nacional' was performed at that time. Therefore, this study tries to investigate the functional relation between the public's responses and the prosperity of then-plays from the concrete standpoint of Lope's public-oriented plays. Although Lope's plays basically include system-protection ideology, they are thoroughly based on the public's support and popularity. In short, at that time, Lope's dramatic reform and entailing remarkable hit and success were made possible through thorough compliance with the public's preference and thereby the public's absolute support and affection. The tendency of his public-oriented plays appears in two aspects. One is the common people persecuted and punishment of a wicked man of power. The typical plays in point are Lope's Perib??ez y el comendador de Oca?a and El mejor alcalde, el rey. Through the plays, the playwright Lope not only implemented praise of absolute monarch very effectively, but soothed the wounded heart of the common people who had suffered pains due to their unfair and lowly social status. In this way, his plays might give senses of reliefs and satisfaction to most viewers who identified with the common people in the plays. The other one is the decisive raise of status of an exemplary commoner, the subject matter which had been used by Lope as one of useful means to show the public-oriented tendency of his plays. The cases in point are Los Tellos de Meneses and its succeeding work Valor, fortuna y lealtad. The two-part work of Lope is about the hard journey, ups and downs, and ascent to the nobility of Tello, an exemplary and rich farmer, and hits young son Tello. Through the two-part play, Lope demonstrated how an exemplary and good-mannered commoner rose to the nobility and thereby gave vicarious satisfaction to the then-public and received a lot of praise from them. As mentioned earlier, through his public-oriented plays, Lope not only satisfied the public's desires and achieved his realistic goal of big success. Not all Lope's plays are public-oriented. Nevertheless, the popular success of 'Teatro nacional' made by Lope and his followers is based on the public's preference and the plays' dramatic responses to their desires, and the strategic elaboration to comfort the public suffering lot of pains in daily life.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.1 s.114
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• pp.92-106
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• 2006

The process of designing Cheonggyecheon Entrance Plaza began with researching four keywords: plaza, restoration. modernity and icon. The outcome of the research was reinterpreted into and informed the design. An urban plaza must not only be a stage for civic life but should also be a portrait of the city to which it belongs. Many Korean plazas, however, are treated as if they are parks. Yeouido Park, which was originally a vast urban void, and Seoul Plaza, recently paved with grass, are good example. The strong 'green myth' can hinder socio-political activities. Cheonggyecheon cannot be said to have been 'restored', since it is still disconnected from its origin and upper streams, and the water is circulated by electricity. So it is better understood as an artificial urban waterfront, rather than an ecologically restored stream. This fact might diminish its ecological value, but not its recreational one. The entrance plaza therefore should reflect that the new stream brings back an 'experience', not only water itself. At the same time, the catch phrase of this restoration project was 'post-modern'. The demolished Cheonggye Expressway represents the 'economy drive' of the 1970s, so the newly opened Cheonggyecheon serves as a perfect counterpart to it. But modernity in Korea is the spirit that made many of the good things, not only its shortcomings, we have now. And from the philosophy of this restoration project, we can see that it is still an ongoing attitude in a way. Remnant of Cheonggye Expressway can evoke our nostalgia for the era. There are plenty of symbols in Seoul, both as architecture and objects. But none of them provide citizens with experience, other than the experience of looking at them. Cheonggyecheon Entrance Plaza is a good place to serve as an icon for a dynamic Seoul. From the research, the designer concluded that this plaza should commemorate the incomparable horizontal experience of Cheonggyecheon and the old expressway, amid the vertical metropolis. The Pedestrian Sculpture, which people can stroll on and look out over Cheonggyecheon, is to be made of steel cladding with a core structure and represents the dynamism of the stream, Seoul and contemporary Korea. The choice of material and the steel structure are also ways of creating the icon. The Water Plaza, the space underneath the ramp, will accommodate people and their urban activities, providing an opportunity to play with water. The Waterblades will be a device for the dramatic beginning of the stream, simultaneously camouflaging ugly openings in the outlets. The Wall of Archaeology is to be made with pre-fab resin blocks, translucent enough so that people can see through any archaeological findings of the site. The strong water-resistant character of resin makes the wall steady throughout the flood season as well. Cheonggyecheon restoration project is an effort to combine contemporary urban demand with the once-existing physicality by evoking our nostalgia for it. The project itself shows many socio-political issues of present-day Korea. The entrance plaza design thus is focused on suggesting an icon for the metropolis, simultaneously celebrating the stream itself. Within this space, people will be exposed to a unique experience that any 'green myth' cannot offer.