제 2 학술분과 : 복합재료 하니컴 개발

한광석,김도현,박승규 한국복합재료학회 1989 한국복합재료학회 학술발표회 논문초록집 Vol.- No.2

아나몰픽(Anamorphic)을 이용한 디지털 사이니지 광고의 프레즌스(Presence)와 미디어 인게이지먼트 수준이 기억 접근성과 태도에 미치는 효과

한광석 한국OOH광고학회 2024 OOH광고학연구 Vol.21 No.1

The purpose of this study is to empirically investigate how users' attitudes are formed through memory acces-sibility according to the type of presence (cognition, emotion, media) and media engagement level of digital sig-nage using anamorphic technology through experiments. Therefore, 3 (Presence: Intellectual vs. Emotional vs. Media) x 2 (Media engagement level: Low vs. Go) factor design was conducted between subjects, and ex-perimental results were derived through Two-Way MANOVA analysis. As a result of this experimental study, first, it was found that emotional presence had a positive advertising attitude compared to cognitive presence and media presence. Second, it was found that there was no difference in effect according to the type of memory information according to the level of engagement in media presence. In other words, both ARM and GRM showed low memory accessibility regardless of the high or low level of engagement. Third, in cognitive presence, when the engagement level is low, GRM increases a lot compared to ARM. Finally, when the engagement level is high, it was found that GRM effectively increases memory accessi-bility compared to ARM for emotional presence. This study is significant in that the research results of the ex-periment were derived from the actual environment by manipulating the anamorphic image on the actual digital signage media. 본 연구는 아나몰픽 기술을 이용한 디지털 사이니지의 프레즌스의 유형(인지, 감정, 미디어)과 미디어 인게이지먼트 수준에 따라 사용자들이 어떻게 기억 접근성을 통해 태도가 형성되는지를 실험을 통해 실증적으로 규명하고자 하는 데 있다. 이에 3(프레즌스: 지적 vs. 감성적 vs. 미디어) x 2(미디어 인게이지먼트 수준: 저 vs. 고) 피험자 간 요인설계를 진행했으며 Two-Way MANOVA 분석을 통해 실험 결과를 도출했다. 기억 접근성은 광고와 제품에 대한 개별적인 속성 정보인 ‘개별적인 속성 기억정보(ARM: Attribute-Related Memory)’와 광고에 나타난 속성 정보들을 개인의 인지적 평가과정을 거쳐 태도 형태로 기억하는 ‘종합적인 기억 정보(GRM: Global-Related Memory)’로 구분하였다. 본 실험 연구 결과 첫째, 감성적 프레즌스는 인지적 프레즌스와 미디어 프레즌스에 비해 광고 태도가 긍정적인 것으로 나타났다. 둘째, 미디어 프레즌스는 인게이지먼트 수준에 따른 기억정보 유형에 따른 효과 차이가 없는 것으로 나타났다. 즉, 인게이지먼트 수준의 고, 저에 관계없이 ARM과 GRM 모두 낮은 기억 접근성을 보였다. 셋째, 인지적 프레즌스는 인게이지먼트 수준이 낮으면 GRM이 ARM에 비해 많이 증가하는 것으로 나타났다. 마지막으로 인게이지먼트 수준이 높으면 감성적 프레즌스는 GRM이 ARM에 비해 기억 접근성이 효과적으로 증가하는 것으로 나타났다. 본 연구는 실제 디지털 사이니지 미디어에 아나몰픽 영상을 조작하여 실험물을 실제 환경에서 연구 결과를 도출했다는 점에서 연구의 일반화 가능성이 크다는 의의가 있다.

공정하고 자유로운 경쟁 환경 조성을 위한 방송 광고 규제 개선 방안 - 지상파 중간광고 재개 및 규제 체계 단순화를 중심으로

한광석 한국방송협회 2018 방송문화 Vol.- No.412

방송광고와 콘텐츠 경쟁력 확보를 위한 리포지셔닝 전략 방안 모색

한광석 한국방송협회 2019 방송문화 Vol.- No.419

금융 구조조정을 위한 정책과제-부실채권 및 기업 부동산 정리를 중심으로-(정책보고서98-07) 1~46

한광석 한국경제연구원 1998 한국경제연구원 정책연구 Vol.1998 No.7

영어수업에 있어서 수업도구로서의 창의적인 드라마

한광석 한국중앙영어영문학회 2001 영어영문학연구 Vol.43 No.4

Creative drama, an improvisational, nonexhibitional, process-centered form of drama, is way of learning, a means of self-expression, a therapeutic technique, a social activity, or an art form. It helps students to assume responsibility, accept group decision, work together cooperatively, develop new interests, and seek new information. For those reasons creative drama shares many objectives with modern education. Among them are 1) creativity and aesthetic development, 2) the ability to think critically, 3) social growth and the ability to work cooperatively with others, 4) improved communication skills, 5) the development of moral and spiritual values, and 6) knowledge of self. Recently, many teachers of elementary schools have made use of drama in English classroom, and it has been reported that the drama method has improved student`s communicative competence and made a remarkable influence on their achievement in English. Yet the drama method has not continued to develop into the `creative drama` and to function as a teaching tool in high schools. The term `creative drama` is used to describe the improvised drama of elementary students, but it belongs to no particular age level and can be used to describe the improvisation of high school students. This paper is designed to introduce `creative drama` as a new effective teaching instrument in the English classroom of high schools. It also deals with creative drama as a socializing activity, as a powerful way of learning, and as a form of artistic recreation.

Shakespearean “Airy Nothing” (Ch’i)

한광석 한국동서비교문학학회 2004 동서 비교문학저널 Vol.0 No.10

With the radical re-examination of Platonic logo-centrism built upon Being and its subsequent epistemological revolution, the East Asian concept of nothing has become a focal point for contemporary discussion in both philosophy and literary criticism. Shakespearean criticism has not ignored the concept. Yet Western literary scholars, whose language is a substance-oriented one, do not seem to have critical discourse which reflects an understanding of “airy nothing” as an organic, creative life-producing principle. Shakespeare develops his “special nothing” through certain plays from A Midsummer Night’s Dream’s “airy nothing” to The Tempest’s “thin air.” This development demonstrates that Shakespeare’s “thin air” is neither mere “air” nor pure nothing; it has connotations of “the empty, vast and wand’ring air,” cosmic vital “airy nothing” which incorporates existence and non-existence, appearance and reality, immanence and transcendence. Shakespeare’s concept of the ontological “airy nothing” is closely correlated with the Taoist concept of “Ch’i” as the fundamental substance by which all processes of the universe can be explained. To borrow the Taoism’s “Ch’i” provides a meaningful concept to explain more fully many aspects of Shakespeare’s poetic “airy nothing” and his “airy” vision of man and the universe. The “Ch’i” approach to Shakespeare’s “airy nothing” also illuminates in a broader cultural-philosophical context his tragicomic vision, his vision of comprehensive harmony, his tragic heroes’ behavioral mode of “let be,” and an aesthetic order that can serve to establish a new epistemological foundation of a “brave new world.”

『리어왕』에 나타난 탈 성서적 요소

한광석 한국중앙영어영문학회 2014 영어영문학연구 Vol.56 No.3

The Bible was appreciated as a great work of literature and an artistic inspiration for Renaissance writers. Yet a controversy concerning the question of how Shakespeare himself regarded the Scriptures has not come to an agreement among scholars. Quite a few scholars read Shakespeare’s biblical references as didactic reinforcement of Christian doctrine. Shakespeare employs various biblical elements in his plays, yet he often deconsecrates them in terms of Renaissance humanism, turning upside-down Christian theology or the patriarchal pattern of the Bible in his tragedies. This paper explores how Shakespeare deconsecrates some biblical elements in King Lear, with focus on Act 4 scene 7. The so-called reconciliation scene demonstrates the subversion of the biblical story of ‘prodigal son’ into the story of prodigal father in which father asks for his daughter’s forgiveness. The play also deconstructs the biblical account of creation and order through differentiation and division in Genesis, and suggests Cordelia, a symbol of all-producing and all embracing “nothing,” as our new Savior whose commandment is “Love, and be silent.”

인문고전에서 배우는 융합 리더십

한광석 한국카운슬러협회 2016 相談과 指導 Vol.51 No.-

햄릿의 절대 주체로서의 “나”

한광석 한국중앙영어영문학회 2019 영어영문학연구 Vol.61 No.2

In the graveyard scene (5.1) of Hamlet, Hamlet, to our surprise, proclaims that he is the king of Denmark: “This is I, Hamlet the Dane!” Hamlet’s dangerous proclamation can be issued only when his individual self is enlarged to the cosmic self. His “the Dane” is a kerygma of his absolute subjectivity as the king of the universe, not just as the king of Denmark. Hamlet’s spiritual odyssey goes through enormous pains and sufferings to the full realization of nothing in the graveyard scene. He perceives the transitoriness and nothingness of conditioned things, including himself, coming to a great enlightenment. It is a heightened moment at which he attains unity between the individual self and the cosmic self, between his microcosmic nothing and the macrocosmic nothing. In perceiving the cosmic nothing, Hamlet’s individual self is forgotten and, because forgotten, emerges in its most powerful form: “This is I, Hamlet the Dane.” His ultimate enlightenment gives Hamlet his new behavioral mode of calm “readiness” and “let be.” Hamlet’s death does not mean that his personal disaster is the real meaning of the tragedy. Instead, his death is the externalized, culminating passing of his individual self into the cosmic self, a kingly serene moment of attaining “one” with cosmic nothing signified by the “silence” of death.