연구논문 : 자연휴양림 방문동기가 관광지 속성에 미치는 영향에 관한 연구 : 부산 / 경남지역을 중심으로

주현식,여호근 대한관광경영학회 2000 觀光硏究 Vol.15 No.2

To identify the type of recreational forests based on the characteristics of the visitors (especially their motivation), questionnaire surveys were carried out in 8 randomly selected areas during the period of May. 8 to May. I S of 2000. These area the provide the basic knowledge for more efficient development and management of recreational forests. The factors involved in the motivation of the recreational forests visits were analysis and 2 factors emerged. One being escape from daily routine to look the change, the second being experience the natural environment. The attributes for tourism sites were measured using 7 selection behaviors. The results showed that the motivation of recreation forest visits was statistically significant affected by the tourism site attributes. LISREL 8.14 was utilized for the above analysis which revealed that a structural relationship exited between the two.

드라마의 텍스트적 육체성 - 최인훈의 <봄이 오면 山에 들에>를 중심으로 -

주현식 한국문학이론과비평학회 2010 한국문학이론과 비평 Vol.48 No.-

This paper's aim is to study analytical model for the textual corporeality of a drama by approaching a body's role on a dramatic text within the framework of characteristic figural techniques and plotting strategies. That is, this thesis pays attention to narrative constituents related issue of a body, for example, a character's body, an interrelation between a body and a plot's temporal structure. As a result, this research's thema is to investigate the most important issue in a dramatic text's corporeal narratology. In other words, this thesis is interested in establishing a justified perspective on the textual corporeality of a literary work focused upon a drama. Therefore, the analysis of a drama's textual corporeality will sharpen the focus of the discussion about an interrelation among a body, language and narrative. At that same time, it is expected to answer the question about an interaction between texts and readers. A textual corporeality in this article is defined to how bodies are employed to construct drama's characters, plots, and time-space structures. In brief, it will approach how bodies contribute to a dramatic narrative. Namely, corporeal narratology's methodology is to clarify what and how bodily factor is constructed in the drama. A corporeal narratology's aim is to answer the question, for instance, how textual effects does a body produce to a dramatic textual structure? and how does the embodiment's experience within a play influence on a reader's cognitive process?An object of study is Choi Inhoon's <When spring comes, to the mountains, to the fields>. This text has many secondary instructions, so, the drama text itself functions as a autonomous entity, and makes a mediative-communication structure that enriches explanatory and descriptive narrations. That is, because this text has not only intense narrative functions but also topics about lepers' disable bodies, this article will analyse it in order to read in detail a drama's textual corporeality.

자연휴양림 방문동기가 관광지 속성에 미치는 영향에 관한 연구

주현식,여호근 대한관광경영학회 2000 觀光硏究 Vol.15 No.2

To identify the type of recreational forests based on the characteristics of the visitors (especially their motivation), questionnaire surveys were carried out in 8 randomly selected areas during the period of May. 8 to May. 15 of 2000. These area the provide the basic knowledge for more efficient development and management of recreational forests. The factors involved in the motivation of the recreational forests visits were analysis and 2 factors emerged One being escape from daily routine to look the change, the second being experience the natural environment. The attributes for tourism sites were measured using 7 selection behaviors. The results showed that the motivation of recreation forest visits was statistically significant affected by the tourism site attributes. LISREL 8.14 was utilized for the above analysis which revealed that a structural relationship exited between the two.

컨벤션참가자 의사결정과정에 관한 연구

주현식 慶州大學校 2005 論文集 Vol.18 No.1

This study examined the Structural Relationship Participation in Convention Decision Making Process, The following is the summary on the result of this study. First, in the relations between the factor of participation in convention and the importance of convention site, The participation facto of professional knowlege, deviation, the research of regional characteristics and amity among a lot on the importance of convention site like we expected. Second, in the influential relations between the importance convention site and the Two factors that is Personal/Business Factors, Association/Conference Factors influence importance of convention site. Third, in the influential relations between intention to visit, the Convention SIte and Accessibility and Accommodation cost of convention site have a good influence like we expected. It is important for the convention site that weaknesses are addressed and strengths are emphasized in promotional efforts. The results of this study could be used to improve the Convention Site competitiveness.

전시회의 참가동기에 대한 중요도 - 성취도분석 : 한국과 중국 전시컨벤션센터를 중심으로

주현식,박송애 동의대학교 경제경영전략연구소 2005 經濟經營硏究 Vol.3 No.1

The purposes of this study were to examine exhibition attendees' motivation of by the provide exhibition attendees' in terms of importance and performance. Data were collected from the self-administered questionnaires of 180 overseas attendees in the four international exhibition held in dalen and simsu, China from 6 Januarly to 28 February 2005 and self-administered questionnaires of 186 domestic attendees in the two domestic exhibition held in Bexco busan, Korea from 1 April to 15 April 2005. The 28 items for measuring exhibitiontion exhibition attendees' motivation. The major findings were that there are significant differences between importance and performance in Korean exhibition attendees' motivation & Chinees exhibition attendees' motivation . The I-P matrix for Korean exhibition attendees' motivation & Chineesas shows major strengths and weaknesses. Among its major strengths are Special information & Ability enhance, New Study learning need, attendees inter-change. usually & Job subsistence rhythm change, usually & Job get rid of stress, exhibition development experience, exhibition interest & sadness, company with joyful time motivatio dimensions are its major weaknesses It is important for the exhibition attendees' motivation that weaknesses are addressed and strengths are emphasized in promotional efforts. The results of this study could be used to improve the Convention center's competitiveness.

「봉산탈춤」의 ‘인용’ 발화 연구

주현식 한국문학이론과비평학회 2012 한국문학이론과 비평 Vol.57 No.-

How to define a performance is various. In spite of the diverse ways of defining a performance, an interactivity or a relationship as characteristics of performance is common to all perspectives. In other words, performance means a series of interactions that is composed of intends, energies, effects in expressions as well as messages. Because the traditional Korean masked dance is a laminating literature,citational utterances as verbalism are very often observed. In addition, citational utterance patterns depend on the relationship between citing and cited condition, so that it very mainly displays an interactivity of the traditional Korean masked dance. That is, citational marks that is composed of mixture of repetitive stability and transformational dynamics provide answers how cultural meaning during performance period is negotiated in existing and new contexts. Therefore, this paper’s aim is concretely analyzing how citational utterances are used in the traditional Korean masked dance, and examining what a cultural meaning implicit in such an interaction is in the traditional Korean masked dance. In sum, this paper will study how social activity and social agent is constructed by citational utterance patterns in the traditional Korean masked dance. To achieve this, firstly, this paper will analyze microscopic types of citational utterances, Secondly, a contextualizational interactivity realized by citational utterances, finally, sociocultural effects of the traditional Korean masked dance as discoursive events mediated by citational utterances. An object of study is especially the traditional Korean Bongsan masked dance. Because citational expressions such as idiom originated in an ancient event, Chinese poetry, classic novels, proverbs, maxims,traditional three-verse Korean poem, are abundant in the traditional Korean Bongsan masked dance, so the traditional Korean Bongsan masked dance is appropriate for this study. In conclusion, this paper will be thought as having noticeable meaning,because a change of social structure in the traditional Korean Bongsan masked dance is examined by microscopic types of citational utterance patterns. 연행(performance)을 정의하는 방식에는 여러 가지 관점이 공존한다. 다종다양한 연행의 정의에도 불구하고 각 관점들은 실행에 옮겨지며 행동되는 것으로서연행되는 사건의 독특성이 ‘상호행위성’, ‘관계되는 방식’에 있다고 공통적으로 보고 있다. 즉 행위에 의해 전달되는 메시지뿐만 아니라, 표현 행위에 포함된 의도,에너지, 효과 등으로 구성된 일련의 상호작용 자체를 그것은 가리킨다. 탈춤은 적층적 연행예술인 까닭에 인용 현상이야말로 탈춤의 발화 행위에서 가장 빈번하게 포착되는 언어적 현상이다. 더구나 인용되고, 인용하는 상황의 관계에따라 변주되는 인용 패턴은 상황 상황마다 가변적인 탈춤 연행의 상호 행위적 특징을 가장 핵심적으로 보여준다. 인용 조사의 실현 양태는 협력적이든, 갈등적이든 상호작용자들의 대화적 상호행위에 따라 이전 컨텍스트와 지금 컨텍스트가 직조되고 의미를 산출하는 방식, 즉 탈춤 연행 상 상호행위에 따라 국지화되는 컨텍스트화의 모델에 대한 통찰력을 부여해주기 때문이다. 해서 이 논문의 목적은 인용구문의 실행 양상을 구체적으로 분석하여, 탈춤의연행 행위 양식에 함의된 상호행위성의 문화적 의미를 규명하는 데 있다. 요컨대이 글에서 드러내고자 하는 것은 탈춤 연행과 관련하여 인용 패턴들에 의해 의미가부여되는 사회적 행위들과 사회적 행위자의 구성과정이다. 이를 위해 본고에서는우선 인용 발화의 미시적 유형화(2장)를 통해 실천되는 컨텍스트화된 상호 행위(3장)를 분석하려 한다. 그런 연후 담론적 사건으로서 그것이 중재하는 탈춤의 역동적 사회문화적 효과(4장)를 검토하려 한다. 본고가 논의 대상으로 삼은 탈춤은 특히 「봉산탈춤」이다. 중국 고사, 한시, 고소설, 속담, 격언, 시조, 가사 등등 다수의발화 장르와 문학 장르가 인용되어 전시되는 「봉산탈춤」은 본고의 고찰 목적에 가장 적합한 텍스트라 판단되었다. 탈춤 연구 초기 역사적, 미학적, 현지 조사적 관점에서 수행된 업적들과 해석적자유로움이 좀 더 적절히 관류하는 최근 탈춤 논의들은 본고의 시각과 세부적 지향점이 다름에도 불구하고 이글이 탈춤을 연구대상으로 선택하는 데, 유용한 밑자리로서 기능하였다. 그럼에도 본고의 논의가 기존 연구들과 차별화되어, 주목할 만한의미를 지닌다면, 미시적 국면의 패턴화된 인용 행위를 확인함으로써 탈춤 연행이생산해내는 사회적 구조의 변형 양상에 대한 문제제기가 가능해진다는 점이라 생각된다.

노인의 여가활동유형이 관광목적지 선택행동에 미치는 영향에 관한 연구

주현식 관동대학교 부설 관광개발연구소 2001 觀光開發硏究 Vol.16 No.-

다큐멘터리극에 대한 인지과학적 접근-"전윤환의 전윤환, 자의식 과잉"을 중심으로

주현식 한국연극학회 2020 한국연극학 Vol.1 No.73

This paper begins the discussion on the premise that scientific explanations of cognitive mechanisms can be mobilized effectively as an analytical tool for aesthetic practice and theoretical criticism of documentary dramas. The work to be analyzed is Jeon Yun-hwan’s Jeon Yun-hwan, Excessive Self-consciousness, which was performed for the sixth members’ Fall Festival at Hyehwa-dong 1st Street in 2018. As the title suggests, it is judged that the cognitive approach to documentary dramas could be well applied, as the work can be called as a documentary about his self-consciousness and spirit of its director Jun Yoon-hwan. This paper analyzes how actors and real people, the stage and the media in the drama are cognitively conceptual blending, and what emotional experiences the audience has in particular while watching the drama. Various combinations of facts and fiction, media and bodies take place in the documentary drama, so this paper examines the conceptual blending theory of cognitive science for its explanation. In the work, the mixed-level that the audience can perceive spans two floors. First, when the actors of the troupe And Theater play Jeon Yun-hwan on stage, there is a conceptual blending between the real actor and the fictional character Jeon Yun-hwan. Second, in the midst of the unfolding story in the play, when the interview scenes of members of the troupe, including Jeon Yoon-hwan, are projected onto the stage on screen, a conceptual blending between the screen and the stage area occurs. In the main narrative space, actors do not just play the role of Jeon Yun-hwan. The audience can watch the mixed actors/characters as certain actors are combined in the special role of Jeon Yun-hwan. However, if the mixture is broken and the transition between fictional frames in the play and the real world is made, the audience will have fun. Thanks to this process of mixing/dissolution, audiences’ cognitive processes are circulating in a variety of voices that intersect the fictional and the real areas. The screen is responsible for the effects of the intrusion of the real world, mixing patterns, and fluctuating perception. Through the screen, the audience's cognitive function is floated in a variety of voices intersecting fictional and the real areas. Surrounding the mix and dissolution of actor/character or scree/stage, the polymorphism in this major narrative space designs the intentional points of friction, contradiction, and stop. In this interpretative sense, the audience become suspicious of the indicative status of the real world in which the director and the actors belong, and testify their existing cognitive schematics. Meanwhile, through each episodes, Jeon Yun-hwan’s, self-pity, anger, anxiety and self-loathing are perceived by the audience as his key self. In the final scene, however, the feeling of Jeon Yun-hwan as a autobiographical self who deepened his inner circle and cemented his solidarity with the members is shaping up on the stage. The autobiographical meaning formed here reflects the self-portrait of all young artists who go beyond personal speciality and do plays of this period. As the narrative, emotion and feeling of this autobiographical self forms on stage, the performance of the documentary play becomes more realistic than it really is. The distance between performance and reality collapses and the life on stage of Jun Yun-hwan and And Theater’s actors becomes real life. In other words, the main action of the documentary drama Jeon Yun-hwan’s Jeon Yun-hwan’s, excessiveself-consciousness is the work of young directors and actors themselves as a difference that sometimes resists all kinds of structural contradictions in this era or sometimes tolerates them and tries to approach us from the edges, extreme limits, and distance.

호텔레스토랑의 LOHAS 소비자특성에 대한 차이분석

주현식,오길창 한국호텔관광학회 2008 호텔관광연구 Vol.10 No.1

This study is purposed to find out whether the evaluations of LOHAS consumer characteristics would vary between genders, ages, education levels and income levels. For the purpose, this study implemented both Literature Studies and Empirical Studies and executed empirical surveys using the LOHAS evaluation items extracted through theoretical studies. The empirical surveys are summarized as follows. First, based on the result of technical analyses of the respondents, it was confirmed that except some items including sustainable facilities, quality levels of environments, sustainable customer orientation considering entire society, the places well equipped with the systems to prevent various environment pollutions and the places where there are many products made considering health, most of the items received normal scores. Second, based on the analysis of differences between gender groups, it was confirmed that there were differences in averages between the groups in the item of the use of the supplies made using recycled materials. Third, as for the differences between education level groups, it was confirmed that there were differences in averages between the groups in four items including the use of environment-friendly components, the intention to pay 20% more for the products made considering health, the use of environment-friendly materials and the use of sustainable farming methods. Fifth, as for the differences between income level groups, it was confirmed that there were differences in averages between the groups in 9 items including the use of environment-friendly materials, the business active in protecting environments, the use of the supplies made using recycled materials, the intention to pay 20% more for the products made considering health, the use of environment-friendly materials, the places equipped with sustainable facilities, the businesses with high quality levels of environments, the use of the materials produced by sustainable farming methods and the share of values by LOHAS consumers.

디지털 연행의 가상성 - <신타지아>와 <무아>를 중심으로

주현식 한국극예술학회 2014 한국극예술연구 Vol.0 No.43

This paper is to examine a digital performance aesthetics and style, working with digital performance Syntasia and Ecstatic Self. Digital performance is defined by computer digital technologies playing a prominent part in theatrical contents and forms beyond fulfilling a minor function of stage expression. It is the concept of 'virtuality' that this article puts an emphasis on to discuss a digital performance aesthetics. The origin of an English word 'virtuality' derives from Latin word 'virtus' that means 'powers' or 'being in powers'. Therefore, the term 'virtual' refers to an aspect of fictive, non-being but potential reality which will develop into existence. As a result, this paper will study how virtuality is constructed in terms of bodies, spaces, times, and thematics when performing Syntasia and Ecstatic Self. I think these analytic study about virtuality will provide useful grounds for examining a digital performance aesthetics and style of Syntasia and Ecstatic Self. To conclude, in spite of aesthetic limits, the fruition of Syntasia and Ecstatic Self' theatrical innovation needs to be approved. Desire to virtualize realistic things in Syntasia and Ecstatic Self accomplishes the change of theatrical perspectives, from organizing, privileging, foundational, rule-based, clear, proscenium arch's, modern stage to double, interactive, exchangeable, cycling, network's, different, other, unstable, postmodern stage. The sameness of being on stage always entirely disintegrates through sacrifice ritual like Korean Kut, Greek Dionysia. The origin of mask that is oneness and manyness at the same time comes from these sacrificial body parts which is decomposing, uncertain, transformational. So, we can speak highly of 'the events of becoming otherness' in virtual theater aesthetics of Syntasia and Ecstatic Self. 이 글은 디지털 연행으로 분류될 수 있는 <신타지아>, <무아>의 공연에 초점을 맞춰 디지털 연행의 미학과 스타일을 고찰할 것이다. 디지털 연행이란 무대적 표현의 부차적 수단으로서보다 연극 내용과 형식 상 컴퓨터 디지털 기술이 주요한 역할을 하는 연극이라 규정할 수 있겠다. 본고에서 디지털 연행 미학을 논의할 때 중요시하게 생각한 것은 ‘가상성(Virtuality)’의 개념이다. 가상성의 영어 단어 ‘Virtuality’는 ‘힘, 힘 안에 있는 것’을 뜻하는 라틴어 ‘Virtus’에서 유래하였다. 가상적인 것은 허구적이며 존재하지 않는 것이지만, 실존으로 발전할 수 있는 힘을 가진 것, 잠재력을 가진 것이라는 의미를 이 어원은 보여준다. 결과적으로 <신타지아>, <무아> 공연에서 몸, 공간, 시간(서사)의 통사적 측면과 주제의 의미론 측면에서 가상성이 어떻게 나타나는지 검토하는 작업은 이들 작품의 디지털 연행 미학을 밝히는 데 유용한 근거가 되리라 생각된다. 우선 몸과 공간의 가상성 측면에서 보자면, <신타지아>, <무아>에서 디지털 기술은 작품의 의미 구현을 위한 종속적 수단이 아니라 그 자체가 목적으로서 무대에 결합된다. 이는 등장인물의 행동에 부차적으로 여겨졌던 무대 기술, 무대 배경이 디지털적 분신, 액체무대의 형태를 통해 공연의 의미 생성에 적극적으로 기여하게 되었음을 뜻한다. 행동과 환경이 분리된 것이 아니라 환경이 곧 행동이 될 수 있음을 무대는 증거하고 있다. 더 나아가 기술적 미디어들은 상호행위의 상대방을 배우에만 한정하지 않는다. <신타지아> 등의 무대에서는 미디어 간 상호행위도 발생하기 때문이다. 그로써 <신타지아>, <무아>의 무대는 등장인물의 행동만이 구현되었던 전통적인 극작술에서 탈피하는 단초를 제시한다. 그동안 무대에서 표현할 수 없었던 동기나 의도, 목적 같은 내적 정신세계도 디지털적 분신, 액체무대의 모습으로 가상적이지만 실체처럼 재현될 수 있는 가능성을 이 무대들은 열어놓고 있다. 한편 <신타지아>와 <무아> 등의 서사 내 고전적 선조성의 극작술이 재매개화되고 있더라도 관객이 극적 서사의 중요한 요소일 수 있는 가능성을 그것은 암시하고 있다. <신타지아>와 <무아>에서 구성된 초시간성은 선조적 전개에 기반한 플롯의 파열을 추구한다. 그래서 관객이 잠재적 동작주로서 극적 서사를 공간적으로 경험할 수 있는 단초를 마련하게 된다. 따라서 두 공연의 극적 서사가 노정하고 있는 디지털적 자질은 서사가 관객이 체험할 수 있는 환경, 분위기, 장소 그 자체가 될 수 있다는 사실에서 비롯한다. 상호행위적 서사를 통해 극 서사 자체가 관객이 체현하는 인터페이스, 무대와 만나는 무한한 가능성의 지점이 될 수 있다는 방향성을 이 공연들은 시사하고 있다. 주제론적 측면에서 보자면 <신타지아>에서는 디지털 기술의 가상성이 갖는 통합의 힘이 무대화된다. 인간과 기계, 미디어와 미디어, 과학과 예술, 배우와 관객 등의 합성이라는 주제를 통해 <신타지아>는 디지털 기술이 연극적 의사소통과 무대미학에 미친 영향력에 대해 증시하고 있다. 반면 <무아>는 디지털 기술의 가상성이 갖는 제의적 특성에 보다 주목한다. 디지털 기술의 가상공간이 형태화하는 초월, 희열, 몰입감 등의 새로운 정신세계가 <무아>의 주제다. 사이버 영혼성에 의하여 무대가 어느 정도까지 마술적 리얼리티의 세계로 변화될 수 있는지가 <무아>에서는 실 ...