Earticle

본 연구는 소도구를 활용한 등장성운동이 통증척도 및 혈중지질에 미치는 영향을 살펴보고자 하였다. 이를 위해 일상 속에서 허리를 중심으로 만성통증을 호소하는 비만고령여성 22명(운동군 11명, 통제군 11명)을 대상으로 소도구를 활용하여 등장성운동을 실시하였다. 8주간의 소도구를 활용한 등장성운동 전과 후에 통증척도 및 혈중지질의 변화를 살펴 본 결과 다음과 같은 결론을 얻었다. 첫째, 소도구를 활용한 등장성운동 전, 후에 통증척도에 유의한 변화를 나타냈다. 둘째 혈중지질 중 총콜레스테롤, 저밀도지단백, 중성지방에 대해 운동군과 통제군에서 유의한 상호작용을 나타냈다. 이는 소도구 를 활용한 등장성 운동이 통증척도 변화 및 혈중지질의 변화에 유의한 영향을 주는 것으로 판단되며, 향후 다양한 소도구의 기능을 활용하여 신체활동개선 및 효과 검증을 위한 연구가 필요하다고 사료된다.

The purpose of this study was to investigate the effect of isotonic exercise using props on pain scale and blood lipids. To this end, an isotonic exercise was conducted using props for obese elderly women who complain of chronic pain around the lower back in daily life. As a result of examining the changes in the pain scale and blood lipids before and after isotonic exercise using props for 8 weeks, the following conclusions were obtained. First, there was a significant change in the pain scale before and after isotonic exercise using props. Second, there was a significant interaction between the exercise group and the control group for TC(total cholesterol), LDL(low-density lipoprotein), and TG(triglyceride) among blood lipids. It is judged that isotonic exercise using props has a significant effect on changes in pain scale and changes in blood lipids, and research is needed to improve physical activity and verify effectiveness by utilizing the functions of various props in the future.

기형도 시의 수사적 특성은 영화 미학의 핵심 개념인 미장센(mise-en-scène), 특히 언어 외적 연출 방식인 셔레이드(charade)에 기반한다. 그는 위반의 상상력을 통해 시어를 낯설게 배열한다. 그리고 이질적 이미지의 충돌을 유도하여 시적 파열을 연출한다. 이는 기형도가 새로운 존재 양식을 구축하는 방식이다. 본고는 이러한 수사적 특성을 신체, 소 도구, 공간 셔레이드의 세 층위로 유형화하여 고찰하였다. 신체 셔레이드는 클로즈업과 스틸 프레임을 통해 손, 입, 혀 등 특정 부위를 왜곡된 사물로 부각시켜, 굴절된 욕망과 존재 불안을 시각화한다. 소도구 셔레이드는 딥 포커스, 오버래핑 등의 기법을 통해 외투와 모자에 방어적 상징을 덧입힌다. 이로써 외투와 모자는 결핍된 존재가 현실의 위협에 맞서기 위해 둘러쓴 시적 갑옷으로 기능한다. 공간 셔레이드 는 플립 프레임, 수직 반전, 몽타주 기법을 통해 ‘땅/공중’의 위계를 전복하고, 고정된 질서 를 해체한다. 이를 통해 폐허의 지상은 허공의 무대로 전환되며, 존재는 현실의 고정된 질서에서 탈주하여 질적 전환이 이루어지는 시공간으로 옮겨간다. 이처럼 기형도 시의 미장센 시학은 셔레이드 기법을 통해 절망을 희망으로 전환하는 시적 계기를 마련한다. 시적 셔레이드는 이질적 이미지가 만들어내는 미학적 긴장 속에서 불안정한 존재 상태를 낯설게 드러낸다. 특히 정지된 순간과 파편화된 장면은 현실의 위계 와 통념을 교란하며, 그 틈에서 존재론적 질문을 제기한다. 셔레이드 기법을 통해 제기된 이러한 질문은, 새로운 존재 방식을 사유하고 형상화해 나가는 수사적 동력이자, 기형도가 독자적인 시적 미학을 구축하는 기반이라 할 수 있다.

The rhetorical characteristics of Gi Hyeong-do’s poetry are grounded in the cinematic concept of mise-en-scène, particularly in the non-verbal staging technique of charade. Through an imagination of violation, he arranges poetic language in a defamiliarized manner and induces collisions between heterogeneous images to produce poetic rupture. This rupture functions as a threshold through which Gi constructs new modes of existence. This study classifies these rhetorical characteristics into three layers of charade— the body, props, and space—and explores each in detail. Bodily charade employs close-up and still-frame techniques to render specific body parts—such as hands, mouths, and tongues— into distorted objects, thereby visualizing displaced desire and existential anxiety. Prop charade utilizes cinematic devices like deep focus and overlapping to inscribe defensive symbolism onto coats and hats, which serve as poetic armor donned by the deprived self in an act of self-defense against the threat of reality. Spatial charade uses flip frames, vertical reversals, and montage to overturn the spatial hierarchy between “ground” and “air,” disrupting the order of fixed coordinates. Through this spatial inversion, the ruined ground is transformed into a stage suspended in the air, and the self is relocated to a space of qualitative transformation beyond the constraints of reality. In this light, Gi Hyeong-do’s poetics of mise-en-scène offers a poetic moment in which despair is transformed into hope through the technique of charade. Poetic charade visually reveals unstable states of existence through the aesthetic tension generated by heterogeneous images. In particular, still moments and fragmented scenes disrupt conventional hierarchies and norms of reality, thereby raising ontological questions. Evoked through the technique of charade, these questions serve as a rhetorical impetus for contemplating and shaping new modes of being, ultimately forming the foundation of Gi Hyeong-do’s distinctive poetic aesthetics.

Dance with musical-instruments shows that dance and music are combined in dance with musical-instruments. We can discuss about the border of dance and music and examine the total performing art work through it. There are about 20 dances with musical-instruments in Korea. These dances can be recognised whether instruments-playing one or not. Most of them play percussion instruments and only 2 pieces – which are not playing the instruments – use wind instruments. It shows that dance and music are combined by rhythm. And the not-playing–instruments dance implying that musical-instruments could be used as symbols in dance. As a result, the dance with musical-instruments clearly shows that dance encompasses body movement, music and narration. Actually, it is the concept of Ak(樂, gaku in Japanese and yue in Chinese).

미장센은 시각적 영상 미학으로 화면과 공간을 구성하는 연출 기법이다. 연극과 영화에서뿐만 아니라 애니메이션에서도 역시 미장센은 중요한 요소이며, 관람자의 몰입을 유도하고 지속할 수 있는 강력한 장치이다. 본 논문은 영화의 미장센 이론을 기반으로 애니메이션의 미장센을 알아보고, 가상공간에서는 어떻게 연출되고 표현되었으며 어떠한 요소와 특징이 관람자의 몰입을 유도하고 지속시키고 있는지 VR 애니메이션 <Pearl>을 구체적인 사례로 삼아 시각적 미장센 요소를 중심으로 분석하였다. 그 결과 시각적 미장센 요소로는 캐릭터와 소품, 배경, 캐릭터의 독창성과 친근함, 자연스러운 동작 및 연기, 소품의 상징성과 활용성 그리고 배경의 다양성과 일관성이 몰입을 유도하고 지속하는 것으로 나타났다. 이를 바탕으로 향후 VR 애니메이션은 시각적 미장센 요소의 특성을 활용한 연출을 통해 관람자의 시선 유도와 몰입을 지속할 수 있는 차별화된 장치와 기법이 필요하다는 연구 결과를 얻은 논문으로 관련 분야에 도움이 될 수 있는 논문으로 사료된다.

Mis-en-Scene is a direction method of image aesthetics for constructing screen and space. Mis-en-Scene is important factor not only in plays and movies, but also in animations, and it is a strong method to induce audience to immerse in the works and to continue the immersion. This study examined animation's Mis-en-Scene based on theories of Mis-en-Scene in movies, how Mis-en-Scene is directed and expressed in virtual spaces, and what factors and characteristics induce audience to immerse in the works and continue the immersion through analysis on visual Mis-en-Scene factors of a specific case, VR animation <Pearl>. It was found that as visual Mis-en-Scene factors, character and props, background, unique quality and friendliness of character, natural movement and acting, symbolism and utilization, and variety and consistency of background induce and sustain immersion. It is thought that this study would helpful for related areas based on the findings which suggest that there is a need for differentiated measure and method to catch audience's eyes and sustain immersion utilizing characteristics of vidual Mis-en-Scene factors in VR animation in the future.

This paper examines three categories of visual information—action, dialogue, and props—through Leaving Las Vegas, which is directed by Mike Figgis and based on the autobiographical story of John O'Brien. Though the two competing story modes of “showing” and “telling” have long discussed in such literary fields as fiction, literary nonfiction, and journalism, with various terms and emphases by critics such as Percy Lubbock, Gerard Genette, Gerard Prince, Shlomith Rimmon-Kenan, and Wayne Booth, the same subject matter on the “showing” mode may find different terms and emphases in a visual story. In film studies, the delivery of story information based on its formal and cognitive texture is rather taken for granted because a movie is literally a “showing” of a story world, whereas a novel is essentially a “telling.” The delivery of visual information in film studies focuses on the categories of action, character, dialogue, props, and setting, which are roughly tantamount to those of narrative, description, and speech in a verbal story. Leaving Las Vegas is a good example of “showing”-type cinema with carefully regulated expository information. Though often disconnected, incomplete, and fragmentary, the series of props, dialogues, and actions form in the mind of the audience a discernable perspective that approximates the truth of the story world.

Background Falls among older adults are not merely minor injuries but can lead to fatal outcomes. This study aimed to examine the effects of a small-equipment-based hip muscle strengthening program on lower extremity alignment and balance in older adults, to propose a more effective exercise intervention for fall prevention in this vulnerable population. Purpose This study aimed to investigate the effects of a small-equipment-based hip muscle strengthening program on lower extremity alignment, static balance, and dynamic balance in older adults. Study design A randomized controlled pretest-posttest design was used Methods Twenty-five older adults (≥ 65 years) were randomly assigned to an experimental group (n = 13) or control group (n = 12). Both groups completed identical 8-week programs (2×/week, 60 min), with the experimental group using props. Back knee angle (alignment) was measured via a smartphone goniometer, dynamic balance via berg balance scale (BBS), and static balance via balancia. Data was analyzed using two-way repeated measures ANOVA, with Bonferroni-corrected t-tests for significant interactions. Results In comparison of back knee angle for lower extremity alignment, both between-group and within-group analyses showed significant improvements. Similarly, dynamic balance, assessed by BBS scores, demonstrated significant improvements both between and within groups. In contrast, static balance showed no significant difference between groups, with a significant improvement observed only in the control group. Conclusions The prop-based hip joint muscle strengthening program demonstrated significant improvements in lower extremity alignment and dynamic balance among older adults. These results indicate that propassisted exercise interventions may offer a feasible and clinically relevant approach for fall prevention in geriatric populations.

PURPOSE: The purpose of this study was to examine the effectiveness of a low-intensity combined exercise program on daily physical fitness parameters such as balance, flexibility, muscle strength, and fear of falling of elderly women in the community. METHODS: This study assigned 30 elderly women randomly into two groups: The control and experimental groups. The control group (n = 15) underwent routine gait. The experimental group (n = 15) underwent the low-intensity combined exercise. The exercise program in this study comprising combined exercise, including balance, flexibility, muscle strength training, and the exercise program using props was conducted twice a week for 8 weeks. RESULTS: The average age of the control and experimental groups was 77.27 years and 78.33 years, respectively. There were significant differences in static balance (t = -4.167, p < .001), dynamic balance (t = 2.463, p < .001), (t = -3.870, p < .001), (t = -2.262, p < .001), (t = -5.732, p < .001), (t = -6.573, p < .001), and fear of falling (t = -5.129, p < .001). CONCLUSION: The results show that low-intensity combined exercise is an effective intervention that improves physical health fear of falling in older women. The combined exercise program was found to be more effective in terms of physical function and fall-related psychological function compared to the control group that only walked.

Characters in Samuel Beckett’s works are absorbed in speaking of numerous objects and are always keen to develop their stories into an inventory even in his late works where possessions are reduced to an unnameable voice. Among Beckett’s oeuvre, Happy Days, written in 1961, is the work that epitomizes the passionate obsession of objects and the narrative as an inventory of possessions. In this play, middle-aged Winnie brings out a series of objects from a black bag that she holds dear. She goes on to talk about each object purely to pass the dreadful present time. What is central to the play is the relationship between props and the hysterized female protagonist. The thesis shall approach the issue by reflecting on the simultaneous dialectic of object/thing manifested by the props. This dialectic summons the irreducible excess of the feminine body and discloses the failure of semiotic saturization. The sharp tension between the intelligible and the unknowable reveals the feminine at the limit which is neither here nor elsewhere.

Along with the advent of civilization, the espansion of the railway has greatly altered the way of human daily life. In this thesis, the study attempted to analyze the works about trains that adopted the interior of trains in a way that the space of train has a new meaning in terms of literature. In the case of a works about the interior of trains, the props that are used in a limited space is very useful. In other words, the props are surprisingly helpful in interpreting the works. For example, in “Sanshiro” the hero’s student cap and the woman’s possession have significant implications. Both objects imply that the owner is not very suspicious or dangerous. It is possible that the couple spend the night at the inn together. In the case of “To Abashiri”, the main character is mainly unconscious of the objects possessed by women, which are handkerchiefs and postcards. Of course, before such a fixation, the I am fully aware that the woman is a good mother and liberal woman caring for her children. Moreover, I guess she was a daughter of a respectable family when she was a virgin. I have become obsessed with the props she possesses, and is paying keen attention to her handkerchief and postcards, in particular her body odor. Not all novels matter important to the props. “Sanshiro” and “To Abashiri” are special because they deal with episodes within the limited time zones and spaces.

본 연구는 휴대가 편리하고 장소에 제약을 받지 않는 번머신(Burn machine)과 탄력밴드(Elastic bend)를 사용 하여 농촌 지역 여성 노인의 체력에 미치는 영향을 알아보는데 목적이 있다. 연구대상은 65~75세 여성 노인 운동집단 10명과 통제집단 10명 두 집단으로 구성하였다. 연구목적에 따라 운동집단은 8주간 주1회씩 총 8회 40분씩 번머신과 탄력밴드 운동프로그램을 실시하여 2way RG(2)×RM(2) repeted ANOVA 분석을 통해 노인체력 결과를 비교 분석하 였다. 연구결과, 트레이닝 후 상지근력과 유연성, 민첩성 그리고 심폐지구력은 통제집단에 비해 운동집단이 다소 높은증 가를 나타내었으며 통계적으로 유의한 차이를 나타내었다. 하지만 하지근력과 유연성에서는 두 집단 모두 약간의 증가를 보이긴 했지만 유의한 차이를 보이지는 않았다. 결론적으로 유산소 운동인 번머신 트레이닝과 무산소 운동인 탄력밴드 트레이닝은 농촌 지역 여성 노인체력의 상지근력과 유연성, 민첩성 그리고 심폐지구력이 증가하였으며, 소도구 운동기구 인 번머신과 탄력밴드는 홈트레이닝 현장에서 의미 있고 적용 가능한 운동프로그램 개발에 기초 자료로 도움이 될 것이라 판단한다.

The purpose of this study is to investigate the effect of physical strength using props in rural elderly women. The study subjects was consisted two groups who age was sixty fine-seventy five. Exercise group conducted a total of eight times a week for 40 minutes, eight times a week, to compare and analyze the results of the elderly's physical strength through a two-way RG(2)×RM(2) ANOVA analysis. According to the study, upper extremity muscle, flexibility, agility and cardiopulmonary endurance after training showed significant differences with a significant increase in the motor group compared to the control group. However, both groups showed slight increases in lower limb strength and flexibility, but there was not significant differences. In conclusion, the aerobic exercise Bunk Machine Training and the an-aerobic exercise Elastic Band Training have increased the upper extremity muscle, flexibility, agility, and cardiopulmonary endurance of rural elderly women’s health and the props exercise equipment burn-machine and elastic band will be develop on meaningful and applicable exercise programs at home training.

The purpose of this study is to compare the characteristics of the dancing props and dancing costumes of Angga, which is a traditional folk dance of Shandong, China, in order to lay the foundation of the basic data for the preservation of the traditional dances in China and comparative studies with the traditional dances in Korea. For this, in this study, the researcher focused on the historical materials on Angga of Shandong for the literature review, along with the related books, academic papers, and the Internet. The Anggas of Shandong are geographically in proximity to one another within Shandong, so that they are deeply influenced by the local culture. As a result, they have a variety of expression types; however, the residents influenced one another not only in terms of their customers through the interactions between them but also their dances. They went through different processes of evolution, leading them to have unique characteristics. While there are differences depending on the structure of the performance (roles), the Anggas of Shandong, China, use highly ornamented accessories, including a cap, silk head ornaments, and silk bands. Also, they share the common items such as a fan, silk, towel, staff, and other tools that they use in their performances. As such, the Anggas of Shandong, China, have been influenced by the customs, religion, legends, faith, lifestyle, and proverbs. And, as they are located close to one another, their modes of expressions are also similar. It would be necessary to study and discuss how to preserve and vitalize this dance in a more systematic and diversified manner, which should be followed by studies on how to discover and proliferate the dances in other regions as well as other follow-up dances.

본 논문은 영화에서 소품 디자인이 계획적으로 사용될 경우 관객과의 다양한 소통효과를 획득할 수 있다는 사 실을 검증하는데 궁극적인 목적이 있다. 연구진은 우선 영화 ‘카모메 식당’을 선정하여 연출 의도 및 제작과정을 조사하였으며, 영화의 국가 이미지 메 이킹 과정을 분석하였다. 또한 영화에 사용된 가구, 의류, 그릇 디자인의 개요를 면밀히 검토하였고, 영화 스토 리 전개과정과의 사용연관성을 평가하였다. 마지막으로 사용된 영화소품이 관객들에게 어떠한 감성적 이미지 를 전달하는지를 관찰, 소품활용에 의한 국가 이미지 메이킹 가능성을 검증하였다. 결과적으로 영화에 사용되는 소품 디자인은 준비단계에서 계획적으로 구성될 경우 영화에 대한 긍정적인 평가 를 이끌어 낼 수 있으며, 특히 소품에 의한 감성적 메시지 전달이 가능하다는 사실을 확인하였다. 향후 한국영 화의 소품 디자인 기획 및 사용에 적절한 이미지 메이킹 방법 연구가 필요할 것이다.

This paper intends to prove that a set design in movies can be purposefully used to communicate various messages to the audience. The research team selected the movie “Kamome Diner” to investigate its directional intentions and the production details and analyzed the national image making process in the movie. Additionally, the furniture, clothing, and the design of the tableware used in the movie were closely examined to study their relevancy to the plot of the movie. Lastly, the kind of emotional messages the props used in the movie delivered to the audience were examined to clarify the possibility of the national image making by the use of props. As a result, it was found that the calculated set design of the movie during a planning stage can earn positive reviews about the movie and deliver emotional messages by the means of props. This requires a future research of image making methods in the planning of set design for Korean movies and their use.

잡지광고 디자인은 지금까지 여러 분야에서 연구되어지고 또한 발전되어 왔다. 그러나, 본 연구는 광고에서 여태까지 별로 관심거리가 되지 못한 소품(小品)이 현 광고에서 어떻게 적용되고 있는지의 경향을 파악해 보고자 하는 것으로 국내 여성지를 조사하여 제품의 속성과 소품의 상관관계, 비주얼(Visual)과 소품의 상관 관계, 카피(copy)와 소품의 상관 관계로 분석하였으며 그 결과는 다음과 같다. 첫째, 소품을 선택하는데 있어서 자회사의 제품이 경쟁사제품과 차별화 될 수 있는 것을 선택하되 제품의 특성을 충분히 고려하여 광고하고자 하는 목적과 소구대상을 면밀히 검토, 아이디어 전개과정에서부터 소품의 적절한 선택을 생각하여 광고 효과를 최대한 발휘할 수 있는 광고물을 제작하여야 할 것이다. 둘째, 아이디어가 끝나고 시안이 확정되면 다음 단계로 촬영이라는 중차대한 작업을 진행하여야 한다. 보통 디자이너는 사진작가의 예술성에 억눌려 시안의 방향이 아닌 사진자가의 예술성으로 빠져드는 경우를 종종 경험한다. 사진작가의 말에 제동을 걸 수 있는 방법은 오로지 사전에 준비를 철저히 하여 광고의 방향을 충분히 사진작가에게 전달하는 것만이 최선일 것이다. 광고의 방향에 꼭 맞는 사진작업이야 말로 초를 다투는 광고 시장에서 시간을 벌 수 있는 유일한 길일 것이다. 셋째, 환영이 끝나면 다시 한번 시안을 카피라이터와 기획자, 그리고 디자이너의 충분한 재검토로 제품과 카피, 비주얼과의 상관관계에 무리가 없는지를 검토하여야 할 것이다. 그냥 지나쳐 버리기 쉬운 광고에 생명력을 불어넣고 신선한 시각언어로서 기억되기 위한 소품의 표현 전략으로서는 ·광고 메시지의 주제를 확인한다. ·소구대상과 소품의 연관성을 고려하여 소품을 선정한다. ·카피가 제시하고 있는 주장과 소품이 제시하는 주장이 일치하도록 하여 독자로 하여금 진실성을 느끼게 한다. 제품의 특징과 기능을 보조할 수 있는 역할을 한다. 소풍의 적절한 활용은 시각적 요소 및 비언어적 전달요소에 의한 정보전달을 중심으로 주목률을 높일 뿐만 아니라 그에 뒤따르는 소구과정의 단계를 증폭시키고 가속화시킨다. 또한 소품의 사용은 광고물의 분위기나 가치, 신념 등도 전달할 수 있다. 따라서 좀더 많은 새로운 모험과 실험이 많아질수록 광고의 미래전망이 밝아질 것으로 예측된다.

The design on magazine advertisement has been developed and investigated in various fields, but the matter of properties has been inattentive in advertisement. Therefore, this study is to clarify the role of advertisement properties and the application tendency of it through the case study of the magazines for woman in Korea, and to analyze the relationship among the characteristic of manufactured goods for advertising, visual effects, copy-writing and the advertisement properties. The results of the study are as follows ; 1 . It is important to choose the discriminative property compared to the competitive company and to consider the purpose of advertisement from the beginning of idea developing. 2. Leading the photo artist to the photo working corresponding to the purpose of advertisement is critical point in advertisement design process. 3. After the photographing, it should be investigated from the designer's point of view. The presentation strategies on the application of advertisement properties are as follows, ·Conform the subject of advertisement massage. ·Choose the advertisement properties considered the relationship between manufactured goods for advertising and properties. ·Consider the properties as the supporting tool in bringing manufactured goods for advertising into relief. The pertinent application of advertisement properties is able to attract public attention and to increase the worthy of advertisement. Therefore, the prudent trial and experiment on it is needed.

본 연구는 영화 소품과 공포감 형성의 연관성에 대 한 분석에서 시작되었다. 개봉 당시 비인기 공포 장르 임에도 흥행수익 1위를 차지한 <곤지암>의 소품이 창출하는 공포감 형성 분석을 통해 이를 활용한 다양 한 스토리텔링 기법을 제시하는 데 그 목적을 둔다. 고어 영화에서 발견되는 피, 고름, 등의 소품들에 비 해 <곤지암>은 탁구공, 인형, 실험도구, 가발, 손전등 과 같은 일상생활에서 발견되는 친숙한 사물을 활용 해 낯선 두려움, 아쿠스마틱 음향, ‘비체화’, Z축 형성 에 이바지하며 공포감을 창출한다. 소품의 특성상 미 술을 구성하는 가구, 벽, 과는 다르게 특정 대상의 소 유물인 경우가 많은데 사람의 소유물인 경우 캐릭터 의 본질과 공간의 의미를 설명하는 도구로 적극 활용 되며 스토리텔링에 기여하고 있지만 공포영화 소품에 관련된 연구는 활발하지 못하다. 더불어 소품인 인형 을 스토리텔링 한 <애나벨: 인형의 주인>은 전편과 속편으로 지평을 확산하며 3억 달러 이상의 수입을 거두고 있지만 이에 비해 인형을 스토리텔링에 활용 한 국내 영상 콘텐츠 제작의 활성화는 요원하다. 소품 의 활용을 통한 스토리텔링 기법을 분석하는 본 논문 이 공포영화 스토리텔링 기법과 다양한 공포 장르 콘 텐츠 양산에 기여하기를 희망한다.

This study began with an analysis of the connection between the film props and fear formation. The purpose of this study is to present various storytelling techniques and that utilize this analysis through the formation of fear using the props. Horror film <Gonjiam> was occupied the first place at the time of opening. even though it was unpopular genre in the box office. Compared to the blood, pus, and other items found in Gore Film, <Gonjiam> uses familiar objects found in everyday life such as table tennis balls, dolls, experimental tools, wigs, and lanterns. Futhermore these props creat fear through the formation of Acousmatic, Abjection, Unheimlich, Z-axis. Unlike furniture, wall, that make up art, props are possession of certain objects. In the case of possession of a person, props actively utilize it as a tool to explain the nature of the character and the meaning of space. Despite this importance, research on horror movie props is not active yet. <Annabel: Creation>, spreading its horizons with sequel and prequel, has been earning more than $ 300 million in worldwide. Despite the importance of storytelling using props, the production of domestic contents using dolls is not active. I hope that this study that analyse storytelling techniques using props will contribute to horror movie storytelling techniques and produce various horror genre contents.

본 연구자는‘중국 대학의 소품을 활용한 효율적인 연기교육 학습방법’을 향상시키기 위한 연구결과는 다음과 같다. 첫째, 문예의 소품은 공연 교육에 따른 소품과 파티의 소품이 다르다는 점을 제시했다. 둘째, 소품 훈련 방법에서의 소품 연기훈련의 위치와 목표는 중국대학의 3단식 공연 교육모델에서 1단식 연기 기초훈련·2단식 인물 만들기 기초·3단식 인물 캐릭터 총체창작을 하는 것으로 분석되었다. 이에 따라서 소품 연기훈련의 목표는 학생들의 창의력을 출발점으로 진행하고 있다. 셋째, 소품 연기교육의 목표는 학생들이 생활 속의 체험을 통해 스스로 소품을 제작할 수 있도록 지도하는 것이다. 그러므로 소품공연의 성과를 통해 학생 자신의 교육 목표에 대한 학습의 효과를 검증한다는 점이다. 넷째, 소품공연 교육의 교수학습에 있어서는 교사는 학생들이 소품 창작을 생활 속의 경험을 통해 자기 주도적으로 구상할수 있도록 지도해야 한다. 이를 통해 학생들이 소품공연에 대한 연기 행동을 조직하고 완성할 수 있도록 도와야 한다는 점을 제시했다. 그리고 본 연구는 2019 쓰촨성 교육 및 과학 연구 주제 예술 대학 연극 및 영화 공연 학부 생 창의력 양성 모델 구축의 단계적 연구 결과 (촨교환, 2019, 514호)를 근거로 논증을 뒷받침했다.

As a result of the analysis of this study, it was suggested that the problems of acting education for the purpose of research are first different in literary props from those of party props according to performance education. Second, the location and goal of prop acting training in the prop training method were analyzed as first-stage 'acting basic training', second-stage 'character creation basis', and third-stage 'character character total creation' in the Chinese 'three-stage performance' educational model. Therefore, the goal of prop acting training is to proceed with students' creativity as a starting point. Third, the goal of prop acting education is to guide students to produce props on their own through experiences in their lives. In addition, the effect of learning about students' own educational goals is verified through the performance of prop performances. Fourth, in relation to teaching and learning in prop performance education, teachers should guide students to self-directedly conceive props through their daily experiences in creating props. Through this, it was suggested that students should help organize and complete acting actions for prop performances. As a result, the key to the method of teaching prop acting is to improve students' ability to create prop performances.

This study compares several editions of Chunxiangzhuan with Chaoju Chunxiangzhuan, by focusing on the chair, which is a directing prop. The purpose of this comparative study is to find out how the existence of props affects the shape of the protagonist. Yueju Chunxiangzhuan gained the effect of raising Li Menglong's social status by arranging chair props, and Chaoju Chunxiangzhuan changed Li Menglong's character friendly by removing chair props. As the chairs disappeared from the stage, the actors' eye level became equal, and the barriers of the status class were demolished between the characters. Comparing various editions of Chunxiangzhuan, we can find numerous variations and evolution between the works. Just as life evolves, Chunxiangzhuan has also evolved constantly according to the times and regions. All of the various editions have their own perfect narrative. The reason why all editions have their own meaning and value is that the characters of Chunxiang and Li Menglong reflect various aspects of our lives.

본 연구의 목적은 유아들의 놀이에 있어 주제별로 제시되는 쌓기 놀이 실물소품이 어떤 역할을 하는지 알아보는데 있다. 본 연구의 현상학적 의미를 찾고자 질적연구방법으로 진행하였다. 연구 참여자는 H어린이집의 만 4, 5세 유아 30명과 담임교사 1인으로 2주간의 예비 관찰, 12주 동안의 관찰과 면접이 이루어졌다. 연구 결과로 실물소품의 역할은 ‘새로움’, ‘불안에서 안정으로’, ‘의미 있는 사물’, ‘정보에서 지식으로’, ‘갈등에서 극복으로’로 나타났다. 연구 결과에서 나타난 연구의 의의로는, 첫째, 블록의 일부로 사용되던 실물소품 자체만으로도 교육적인 역할과 의미가 매우 크다, 둘째, 실물소품이 실제성이 강해서 특정 용도로만 사용되고 창의력을 저해할 수 있다는 우려와는 달리 놀이를 촉진하고, 상상을 촉진해 주는 도구로서 극복될 수 있다, 셋째, 교사와의 상호작용을 배제한 상태의 유아 대 실물소품과의 상호작용도 교육적으로 높은 의미를 지닌다는 것을 밝힌 것이다.

The purpose of this study was to delve into the significance of block play props for different themes among various figures of play. A qualitative research was conducted to shed light on the phenomenological meaning of the block play props. The subjects in this study were 30 children and a teacher in H daycare center. The children were at the age of 4-5. After a preliminary observation was carried out for two weeks, the children were observed and interviewed during 12-week. As a result, the props performed five different roles: experience of new things, shift from insecurity to security, meaningful objects and the conversion of information into knowledge, shift from conflict to restoration. The significance of this study could be described as below: First, the great educational roles and meaning of the props were explained, though the props had merely been regarded as part of block play. Second, it was widely feared that the props marked by high practicality could just be used for a particular purpose and might deteriorate creativity. Contrary the expectations, however, this study found that the props could serve as a catalyst in developing the play and imagination of children. Third, interaction between preschooler and teaching aids only without the intervention of teachers could be very meaningful from an educational perspective.

A group of 48 farmers in 4 branches of Gyeonggi-do was chosen based on fruit farming (apple, grape, pear). The subjects (female = 31, male = 17) aged 43 to 68 years old voluntarily participated for 8 weeks in this study. PPSE regimen was undertaken 3 times a week for 8 weeks (1 for instructor? lecture, 2 for video lectures). The subjects were tested in body stability and sesorimotor control ability before and after PPSE. Two-tailed matched-pair t-tests were used for statistical analysis. All statistical test in this study were conducted at the .05 level of significance. The results obtained were summarized as follows; 1. Body stability in mediolateral (ML) and anteroposterior (AP) direction showed a significant differences in farmer groups (p<.05). 2. Sensorimotor control abilities in mediolateral (ML) and anteroposterior (AP) directionshowed a significant differences in farmer groups (p<.05). 3. There is no significant differences between male and female groups. The present results suggest that props pilates stability exercise (PPSE) can be safely performed to farmers and lead to improve in body stability and sensorimotor control ability. The further support will be necessary to maintain farmers?health education programs and to keep farmers healthy in future.