• Journal of Korean Theatre Studies Association
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• no.48
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• pp.421-446
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• 2012

The purpose of this paper is to shed light onto the historical significance and limitations of the Tsukiji Little Theater's modern performances. The Tsukiji Little Theater holds a position of great importance to the history of both Japanese and Korean modern theater. Some, however, are under the completely opposite impression. There are also mixed opinions about whether the Tsukiji Little Theater is a "model example" of the modern theatrical movement or a "bad example". Based on this controversy, we look into the definitive characteristics of the Tsukiji Little Theater based mostly on "the controversy over translated foreign plays", "the controversy of foreign plays versus original plays", "the value of kabuki" and "Shinpa as a rival". This paper looked into the differences in controversy over translated foreign plays in the Tsukiji Little Theater and the controversy in existing translated foreign plays. It mostly looks at the "casuistry of foreign plays" and the "cultural engineering theory of foreign plays"to get a grasp on the controversy surrounding existing translated foreign plays. Meanwhile, the "internally critical meaning" towards the original plays of renowned writers was strong in the controversy of foreign plays in the Tsukiji Little Theater. Kaoru Osanai defined the 1920s as a dark period, and persisted that because of the activity of the Shingeki movement, foreign plays were needed instead of low-level original plays. This study examines the characteristics of original plays and foreign plays publicly performed at the Tsukiji Little Theater to analyze the "controversy of translated foreign plays versus original plays". The Tsukiji Little Theater mostly put on shows with a strong sense of resistance or that defied the old times. This caused there to be a lot of emphasis put on the rebellious mindset towards old conventions and ideologies for most of the plays, both foreign and original, and the problem arises that little mind was paid to the integrity or beauty of the works. In looking at the "value of kabuki", this paper looked into Kaoru Osanai, who was deeply involved in kabuki actors. He evaluated traditional Japanese arts highly not because of the literary value of their scripts, but because he recognized the value of how they were performed. In order to create a new spectacle, music, dance and mime was taken in from countries around the world, and kabuki was regarded highly as a means of expression on stage. Finally, we also examine the recognized reasons for treating Shinpa as a rival. There is a relationship between these reasons and a complex about the audiences they drew. The Shinpa performances always had many spectators and were successful, but those at the Tsukiji Little Theater were so unpopular with the public that it was hard for them to financially run their theater group. The empty seats in their theater constantly made the modern intellectuals in the Shingeki movement feel inferior.

• Cross-Cultural Studies
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• v.44
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• pp.7-28
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• 2016

This study examines the sociocultural background of negritude by delving into Caseríos, Reggaeton, and $Trigue{\tilde{n}}os$, which are interrelated with the racism deeply embedded in Puerto Rican society. These terms have also been discussed in relation to the ideological discourse of racial democracy, which has caused Puerto Rican people to be blind to silenced inequality and hegemonic racial policies. Caseríos, housing projects for the poor urban class, are targeted by the state - sponsored project 'Mano Dura'. Due to the policing, control and surveillance of this anticrime project, Caseríos became perceived even more as residential communities of violence, poverty, and insecurity generally connected to the stigmatization of blackness. Reggaeton emerged as a mega hit genre of transnational Puerto Rican music in the 2000s, which in turn, drew attention to both the afrodiaspora in New York and the urban musical power in the Island. This musical genre serves to highlight the meaningfulness of black heritage in the national cultural identity of Puerto Rico. $Trigue{\tilde{n}}idad$ has recently become a common racial cultural term that embraces a broader racial paradigm of mestizaje. This term can function as an alternative concept of blackness, but it has not yet been transformed into enough cultural politics to resist ongoing racial democracy. The three terms intrinsically address both the uprooted racism and potential methods of challenging it. This paper argues the necessity of stronger and more responsive cultural politics to defy the pervasiveness and invisibility of racial discrimination in Puerto Rico.

• Journal of the Korea Institute of Information Security & Cryptology
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• v.16 no.5
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• pp.93-106
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• 2006

With the rapid growth of the wireless Internet communication, a new generation of mobile devices have made possible the broad distribution of mobile digital contents, such as image, music, video, games and applications over the wireless Internet. Mobile devices are rapidly becoming the major means to extend communication channels without copy Protection, usage rule controlling and authentication. As a result, mobile digital contents may be illegally altered, copied and distributed among unauthorized mobile devices. In this paper, we take a look at Open Mobile Alliance (OMA) DRM v2.0 in general, its purpose and function. The OMA is uniquely the focal point for development of an open standard for mobile DRM. Next we introduces features for an active content and illustrates the difference between an active content and an inactive content. Enabling fast rendering of an active content, we propose an OMA-based DRM framework. This framework include the following: 1) Extending DCF Header for supporting an selective encryption, 2) Content encryption key management, 3) Rendering API for an active content. Experimental results show that the proposed framework is able to render an active content fast enough to satisfy Quality of Experience. %is framework has been proposed for a mobile device environment, but it is also applicable to other devices, such as portable media players, set-top boxes, or personal computer.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.97-115
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• 2022

The study aims to explore a new direction for research on buttons by understanding the functions and artistic features of buttons on Western clothing in the 18th and 19th centuries, and to use the findings to develop a textile design. In terms of the research method, the period was set in the 18th and 19th centuries, when decorative features and artistic values of buttons on Western clothing reached theirpeak, while theoretical analysis was made based on literature and previous research papers on Western clothing, websites of the Metropolitan Museum and French Museum of Decorative Arts and other website materials, as well as special exhibition materials of the National Museum of Modern and Contemporary Art. Textile designs were developed using computer programs, including Clip Studio Paint and Adobe Photoshop, by integrating the reinterpreted motif of buttons in the 18th and 19th centuries and the styles that prevailed at that time. The results are as follows. First, buttons on Western clothing had the following three functions: a practical function, a symbolic function representing the wearer's status, and a decorative function expressing individuality and beauty. Second, buttons in the 18th century were works of art made with various handicraft techniques and were an important medium that expressed the wearer's fashion sense. In addition, buttons in the 19th century were mass-produced as a result of industrialization and took a major step forward with the development of materials and dyeing. Buttons reflected themes of poetry, drama, biblical stories, music and art, lifestyle,, along with the political and social atmosphere that rapidly changed after the revolution and fashion trends. Third, the artistic features and shapes of buttons were reinterpreted to create a design motif, and the design was developed reflecting the characteristic elements of the rococo style of the 18th century and the art nouveau style of the 19th century that can conform to modern fashion, thereby rediscovering the artistic meaning and value implied in buttons. In the future, the research on creative buttons of 20th century artists is expected to be conducted from various perspectives.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.391-396
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• 2021

The purpose of this study is to study the possibilities and limitations of arts education by utilizing SKT's ifland metaverse Platform for arts majors. To summarize the performance of the study, it is as follows. The subjects of the study were 50 students(25 experimental group, 25 control group) in Performing Arts, Entertainment and Music department of D University located at Gyeonggi, Korea. As a result of analyzing the difference between the pre-test and the post-test between the experimental group and the control group, it was found that there was a statistically significant effect on the effectiveness of the arts education method using the metaverse of the control group. It is hoped that the results of this study will be a case study that cannot be overlooked in the development of the today's arts educational medium as well as the virtual world in the field of arts and in cultural technology research, arts education is no longer a latecomer, but a leading pioneer and main agent, and I hope that it will become a new perspective for various studies connected with industry like the WAVE.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.171-176
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• 2022

This paper examines the historical meaning and value of sound art curating as a key type of interdisciplinary and convergence art practice that has been unfolding since the mid-20th century. Accordingly, this paper summarizes the developmental process from the beginning of 'sound art' to the present, but examines the context of visual art in which the material 'sound' functioned in chronological order, and focuses on curating cases of major sound art exhibitions. The purpose of this study is to analyze the impact and contemporary significance of the provided aesthetic experience. To this end, the text is divided into three sections and developed. The first section recognizes that the late 19th century futurist and Dadaist sound poetry, followed by Marcel Duchamp's 1913 attempt to combine musical score with visual art, had a profound influence on the visual music of avant-garde composer John Cage. This explains why this background caused the emergence of exhibitions dealing with 'sound' as a new medium. The second section explains that in the 1970s, sound as an artistic medium played a role in reflecting the critical relationship with the exhibition space dominated by visuality. In the third section, we analyze the curatorial methodology that allows the audience to experience sound as if it were a visual object within the organization of the exhibition hall from the 1980s to the present. Through this process, this paper critically treats the historical practice of customizing the perceptual structure in the exhibition hall, and considers the meaningful methodology of sound art curating considering the role of sound full of vitality in the contemporary art scene.

• The Journal of the Convergence on Culture Technology
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• v.9 no.1
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• pp.747-754
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• 2023

With the development of information and communication technology, online fractional investment platforms have emerged through the convergence of online platform technology and new investment techniques for asset-backed derivatives. In this study, the concept and previous studies of the online fractional investment platform business, commercialization models and service processes, market status, and pending discussions and alternatives were presented. Recently, the Securities and Futures Commission's decision on securitization of split ownership has become an important guide to the stable business sustainability of platform operators, but academic research is needed according to the current status and case analysis. To identify specific market issues, examples of representative online fractional investment securitization platform businesses such as "MusiCow" for music copyright, "Tessa" based on art, "Kasa" for real estate, "Piece" based on real assets, and "BangCow" for Korean beef shipments were analyzed. Through the case analysis of this study, the characteristics of the business model according to the basic assets of the online fractional investment platform were compared and presented. Since most business models are judged to be securitic, they must comply with the provisions of the Capital Markets Act or be recognized as the target of innovative financial services. From a practical point of view, it is meaningful in that it presented improvement directions that online fractional securitization platform operators should consider and organized institutional considerations for investor protection.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.67-72
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• 2019

Animation is a comprehensive audio-visual art, animation literature, painting, music, architecture, photography and other art forms are integrated. China's animation industry has made some achievements in the new century, but on the whole, with the globalization of China, China's animation industry has been influenced by Japan and the United States. China has a history and culture of five thousand years, with profound social deposits and cultural foundation. Of the four ancient civilizations in the world, the Chinese civilization is the only one that has survived. China has too many stories to tell. From the development history of Chinese and foreign animation, we can see that many Chinese traditional cultural elements are used for reference. Since the 1980s, Chinese animation has been on the road of national revival. Chinese animation has begun to draw close to traditional culture in terms of themes, characters and scenes, and integrate Chinese traditional cultural elements. The theme of big fish and begonia is to repay kindness by sacrificing one's own life for the sake of justice and friendship. This fearless spirit of sacrificing one's life for justice is the concentrated embodiment of the fine qualities of the Chinese nation over the past several thousand years. Kun to save chun and give up his life, chun in order to repay rather give up half of his life, and qiushui in order to help their beloved, also would rather give up all of their own. These three protagonists are very distinctive personality characteristics, are to "righteousness" and give up their most precious things. At the same time, big fish and begonia combines many traditional Chinese cultural elements to form an animated film with Chinese characteristics.

• Information Systems Review
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• v.25 no.2
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• pp.205-227
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• 2023

Recently, Virtual Human(VH) has begun to appear in various media, not only on social media, but also in advertisements, music sources, and dramas. Virtual human has become a primary marketing tool for companies, but there also exist concerns when the companies do not disclose the identities of virtual humans. Accordingly, it is necessary to examine users' responses toward content that features virtual humans. This study aimed to examine how the exposure of virtual humans in the content affects users' perceptions. Therefore, the study defined the concept of 'VH Disclosure(VHD)', referring to the exposure of the virtual human's identity, and explored the impact of VH disclosure on attitude toward the ad (Hedonism, Utilitarianism, and Interestingness) and source credibility (Trustworthiness and Expertise). The study conducted an experimental survey with 302 respondents. Regardless of when the ad featured a VH or a human, the results showed that there was no significant difference between users' attitudes and source credibility. The results revealed that it was more effective to disclose the VH in social media feeds than directly reveal the VH's identity in the content. Therefore, this study utilizes a new concept of 'VH Disclosure(VHD)' to enhance the understanding of VH and contributes to establishing marketing strategies optimized for consumers in the creation of virtual human-related content.

• Korean Journal of Hospice Care
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• v.1 no.1
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• pp.46-69
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• 2001

Hospice Care is the best way to care for terminally ill patients and their family members. However most of them can not receive the appropriate hospice service because the Korean health delivery system is mainly be focussed on acutly ill patients. This study was carried out to clarify the situation of hospice in Korea and to develop a hospice care delivery system model which is appropriate in the Korean context. The theoretical framework of this study that hospice care delivery system is composed of hospice resources with personnel, facilities, etc., government and non-government hospice organization, hospice finances, hospice management and hospice delivery, was taken from the Health Delivery System of WHO(1984). Data was obtained through data analysis of litreature, interview, questionairs, visiting and Delphi Technique, from October 1998 to April 1999 involving 56 hospices, 1 hospice research center, 3 non-government hospice organizations, 20 experts who have had hospice experience for more than 3 years(mean is 9 years and 5 months) and officials or members of 3 non-government hospice organizations. There are 61 hospices in Korea. Even though hospice personnel have tried to study and to provide qualified hospice serices, there is nor any formal hospice linkage or network in Korea. This is the result of this survey made to clarify the situation of Korean hospice. Results of the study by Delphi Technique were as follows: 1.Hospice Resources: Key hospice personnel were found to be hospice coordinator, doctor, nurse, clergy, social worker, volunteers. Necessary qualifications for all personnel was that they conditions were resulted as have good health, receive hospice education and have communication skills. Education for hospice personnel is divided into (i)basic training and (ii)special education, e.g. palliative medicine course for hospice specialist or palliative care course in master degree for hospice nurse specialist. Hospice facilities could be developed by adding a living room, a space for family members, a prayer room, a church, an interview room, a kitchen, a dining room, a bath facility, a hall for music, art or work therapy, volunteers' room, garden, etc. to hospital facilities. 2.Hospice Organization: Whilst there are three non-government hospice organizations active at present, in the near future an hospice officer in the Health&Welfare Ministry plus a government Hospice body are necessary. However a non-government council to further integrate hospice development is also strongly recommended. 3.Hospice Finances: A New insurance standards, I.e. the charge for hospice care services, public information and tax reduction for donations were found suggested as methods to rise the hospice budget. 4.Hospice Management: Two divisions of hospice management/care were considered to be necessary in future. The role of the hospice officer in the Health & Welfare Ministry would be quality control of hospice teams and facilities involved/associated with hospice insurance standards. New non-government integrating councils role supporting the development of hospice care, not insurance covered. 5.Hospice delivery: Linkage&networking between hospice facilities and first, second, third level medical institutions are needed in order to provide varied and continous hospice care. Hospice Acts need to be established within the limits of medical law with regards to standards for professional staff members, educational programs, etc. The results of this study could be utilizes towards the development to two hospice care delivery system models, A and B. Model A is based on the hospital, especially the hospice unit, because in this setting is more easily available the new medical insurance for hospice care. Therefore a hospice team is organized in the hospital and may operate in the hospice unit and in the home hospice care service. After Model A is set up and operating, Model B will be the next stage, in which medical insurance cover will be extended to home hospice care service. This model(B) is also based on the hospital, but the focus of the hospital hospice unit will be moved to home hospice care which is connected by local physicians, national public health centers, community parties as like churches or volunteer groups. Model B will contribute to the care of terminally ill patients and their family members and also assist hospital administrators in cost-effectiveness.