• Journal of the Daesoon Academy of Sciences
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• v.28
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• pp.37-72
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• 2017

The purpose of this article is to study the prospect of implementing a public common practice of ethics based on the 'Reordering Works of Heaven and Earth.' The 'Reordering Works of Heaven and Earth' demonstrated the prospect of a public common practice of ethics through the shared public action that would connect and mediate both the public domain and the private domain. In addition, the 'Reordering Works of Heaven and Earth' of Gucheon Sangje (九天上帝) provided us with a complete transformation, meaning the opening of a new era, transforming heaven and earth from their state in the Prior World to their optimized state in the Later World. This culminates in a new manifestation of a peaceful world revealed a prosperity and the prospect of common happiness and common order for the public. In addition, the 'Reordering Works of Heaven and Earth' has a public value as a religious culture that responds to social change and social needs. The 'Reordering Works of Heaven and Earth' revealed the prospect of a public common practice of ethics, placed importance on creating a new foundation, and restoring phenomena back to its original order. The 'Reordering Works of Heaven and Earth' presented various multi-faceted, multi-layered outlets of soteriology while exploring solutions to public issues and revealing human dignity. Through the new construction of Heaven and Earth, Gucheon Sangje had intervened in projects for human relief. The public ethical indicators of 'the actor' here are in line with those of the 'Non-action Tao' of Laozi. As the cosmos enters into the new epoch, humans have living together with the previous cosmic principle. Now we can expect the Prior World to open into a different era as humans embrace a cosmic life of 'Non-action Tao.' The active conjunction of the virtues of yin and yang is an idea of horizontal communication related to reordering of the universe. The harmonious union of divine beings and human beings suggests the way of enabling vertical communication. The resolution of grievances for the mutual beneficence of life is an ethics of peace that aims at achieving coexistence and prosperity. The private realization of Tao and the completion of the Tao in the world suggest the prospect of a common practice of ethics as means of implementing human dignity.

• Journal of the Daesoon Academy of Sciences
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• v.29
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• pp.209-239
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• 2017

This study focuses on reviewing the concepts, roles, meanings, and values ascribed to females and femininity as observable in Daesoon thought and in Feminist theory. Especially with regards to the process of achieving gender equality through the resolution of grievance for females in Daesoon thought, the study draws positive and desirable roles within this practice by specifically examining good deeds performed by females and practical roles that females play. By doing so, this study finds a way to go from the world of mutual contention to the world of resolving grievances that have arisen due to the oppression of yin and the encouragement of yang. First wave feminism can be summarized as the inclination for equality. In Daesoon thought concerning this and from standpoint of females, the most ideal image of woman is one of a female Perfected Being who is unified with Dao and has thereby achieved perfection of her humanity apart from gender. In the Later World (Hucheon), people can get results based on their hard work regardless of gender. The enlightenment of Dao is such that it is not important to distinguish between males and females. Both of them can be 'unified with dao'. Therefore, despite the similarity, the concepts of equality in first wave feminism and the resolution of grievance for women have differences in terms of their ideal vision of equality. The representative claim in second wave feminism is 'consideration' and, in this context, 'consideration' has pronounced feminine characteristics. In Daesoon thought, this sense of 'consideration' is related to the concept of 'Jamojijeong', a term that refers to motherly affection. However, it is not simply a virtue of females and mothers, but rather the value of 'Yin (pronounced in Sino-Korean as 'Eum')' called 'Eumdeok (hidden virtue)'. Jamojijeong means that people should behave in a modest way and this helps them achieve their aims. It is also closely related with 'femininity' in the sense of Eum. One of processes spreading it socially is to propagate virtue (Podeok) and if harmony is achieved through it, then 'right yin and right yang' emerge as the precondition by which Pyeong Do (Pacification of Tao) can be realized. Furthermore, because the aspect of Pyeong is a cosmic process, it has distinct differences from the social aims of feminism and the worldly aims of other numerous ideologies. In proceeding from the Former World (Seoncheon), an era of mutual contention, to the Later World, an era of mutual beneficence, it is essential to emphasize the connection between 'harmony (Hwa)' and 'propagating virtue' as the starting point from which the perspective of Daesoon thought aiming at the principle of 'Pyeong' and 'Hwa' emerges. Herein one can discover that the realization of Daesoon thought is based on the vitalization of the feminine value of 'Jamojijeong'.

• (The) Research of the performance art and culture
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• no.41
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• pp.219-255
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• 2020

This article was triggered by Victor H. Mair's book 'Painting and performance'. The book explained that Buddhist paintings are common in the area where Buddhism was spread, and there are also performances using them. And although it has nothing to do with Buddhism, it has been shown that this form of performance can be global. However, the problem was not 'Korea'. It was because there was no record or transmission of the corresponding performance soon. In this situation, the landing method of Samcheok stable temple was announced in 2018. On the one hand, the academic community is very pleased, but on the other hand, it is troubled. The worries are summed up as 'synchronic and diachronic universality'. Is the landing method inherited from the Samcheok stable temple a unique type of temple? Otherwise, it is a question of whether it has been passed down or is it universal at the national level. However, prior to this essential question, we do not yet know the full picture of the stable landing method. So this article was prepared to show the overall outline of the stable landing method. There is a 'picture' in common throughout the landing method, and understanding how to operate it in various ways is the first step in understanding the landing method. There are five repertoires (which are called main halls) that are considered important, and more than that. What these repertoires have in common is the narrative structure of a Buddhist character. In this narrative, the most important thing is the revised figure, and it was the earthly method to inform the contents of the revised figure in various ways. In the case of Byeonsangdo, which serves as a clue to the narrative, there was a problem that could not be seen in the evening without light, which required special design. It is the way of shadow play and Yeongdeung. In other words, there are three types of performances in the landing method. The first is the method of using reparation, and the second is the method of using shadow. The third is the way of eternity. This method is not a selection based on the contents of the repertoire, but a selection based on the performance environment. If there is light and you can see the picture, use reparation. However, in the evening, it was impossible to see it dark (when there was no electricity in the past). The use of the visual method as a tool in this method is to confirm the transition to a visual culture that is a step further from the level of culture. Moreover, unlike the epic narrative, the power of the implied image provided an opportunity for viewers to experience the mystery of Buddhism through emotional stimulation.

• (The) Research of the performance art and culture
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• no.40
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• pp.269-305
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• 2020

Youngsan is generally known as Pansori Danga(短歌). However, the contents of 'Yeongsan' in 『Songnamjabji』 are different. In 『Songnamjabji』, Cho Jaesam explained the contents related to 'Youngsan' using three kinds of poems: Shin Kwangsoo's poem, Baegho Imje's poem, Kim Myeongwon's poem. First, 'Ujo Youngsan' appears in Shin Kwangsoo's poem. Shin Kwangsoo wrote the (1750) when Yoo Jinhan's 『Manhwajib(晩華集)』(1754) was published. It is difficult to see the 'Ujo Youngsan', which appears in Shin Kwangsoo's poem written in a time when Pansori was not widely known, as the Pansori Danga. Second, Jo Jaesam called the music in Baegho Imje's poem 'Youngsan Dodeueum'. In 'Youngsan Dodeueum', flute and 'Dodeuli rhythm' were used. This fact is connected with , an instrumental music. , also a Buddhist term, continued to be used in the palace as well as among the people. Third, Cho Jaesam introduced Kim Myeongwon's poem in 'Yeongsan' part and called it 'Taryeong.' At that time, the term 'Taryeong' referred to both Pansori and Jeongga(正歌). Later, in the 19th century, 'Youngsan' was recorded as a term for the Danga to loosen the neck before Pansori began in earnest. In other words, the early 'Yeongsan' recorded in 『Songnamjabji』 was a Buddhist term, referring to the music of the upper class Seonbi, such as , Gasa(歌詞) and Sijo(時調). In 1855, when 『Songnamjabji』 was written, 'Youngsan' was used as a term used to refer to both Changbu-Music and Gagaek(歌客)-Music, mixed with the term 'Taryeong'. And as Pansori became popular, the term 'Taryeong' came to be called 'Pansori' and 'Youngsan' was used to refer to Pansori Danga. Therefore, all the records of 'Youngsan' should not be interpreted as Pansori Danga. This situation is closely related to religious and social change. The policy of worshipping Confucianism and suppressing Buddhism rejected the term 'Youngsan' which had a Buddhist meaning. In the middle of Joseon Dynasty, when Buddhism was suppressed, 'Youngsan' and 'Taryeong' were mixed. As Buddhism regrown in the late Joseon Dynasty, with the advent of Pansori, the term 'Youngsan' seems to be newly resettled in the sense of Danga. Pansori appeared in the 19th century and 'Yeongsan' was used as a Danga. And the reason should be regarded as this social and religious change.

• (The) Research of the performance art and culture
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• no.40
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• pp.111-136
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• 2020

Agricultural high schools are undergoing a change their name from the mid-1950s to the 2000s. Although it varies slightly depending on the case, it has been changed from 'rural forests' to 'agricultural farms' or 'agricultural industries' and 'life sciences high schools' in turn. In several aricultural high schools had managed Nongak Department(class), it's guarantees the continuity of Korea's traditional folk art. Examples include entertainment and farming in Honam region of Jeonju aricultural high School in North Jeolla Province, Geumsan aricultural high School in South Chungcheong Province, Gimcheon aricultural high School in North Gyeongsang Province. Therefore, the interpretation and significance of studies should follow. This method of Nongak education in modern school institutions is a new phenomenon in the history of Nongak after modern time, the emergence of a whole new pattern of professional entertainment Nongak after paving and Female-Nongak, as well as local traditional folk music. Education here was conducted in such a way that the best performers of the time were invited as guidance teachers among traditional folk artists. Thus, various local and professional music and entertainment were able to be promoted Apart from the social relations of delay, social progress, and economy, the education of farming and music, which consists of teachers and students in public schools, has provided an environment where unlimited freedom is allowed for art forms. In other words, the conditions for a new performance style experiment and creative fusion were met, and the foundation for the development of professional musical performers who had acquired individualized talents from previous generations was laid down in the context of the phenomenon of active stage music and theater performance of outstanding in the culture of Nongak. In other words, the Department of Agriculture and aricultural high school was a very free space compared to other communities' and economic community's agricultural music in social relationships bound by traditional cultural customs. This is why they have created a new style of performance through a new experiment and a different traditional performance repertoire, and their activities have led to a more stylistic expansion from traditional farming. More importantly, the figures who came across Agricultural Nongak department became the main experts of traditional Korean folk music nowdays. Thus, Nongak Department, operated by the Agriculture and Forestry High School, was a space where would give a very important meaning in terms of Nongak history.

• Journal of Practical Agriculture & Fisheries Research
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• v.3 no.1
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• pp.116-131
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• 2001

Experiments were conducted to determine effects of whole and processed corns on in situ disappearance rates of nutrients in the rumen and in vitro degradability of dry matter by rumen microorganisms. Whole corn(WC) was processed into four different types; ground corn(GC), cracked corn(CC), flaked corn(FC), and soaked corn(SC). In the in situ experiment, the rate of ruminal DM disappearance after 48 hour incubation was highest in GC(76.1%) and lowest in WC and SC(12% ; P<0.01). The rate of ruminal CP disappearance after 48 hour incubation was highest in GC and CC(48 and 38%, respectively; P<0.01). The rate of ruminal OM disappearance after 48 hour incubation was highest in GC(76.14%) and lowest in WC and SC(11.82 and 12.26%, respectively; P<0.01). In the in vitro experiment, the two-stage incubation technique was used to measure digestibilities of whole and processed corns. The digestibility of DM was higher in GC, CC and FC(86.95, 85.84 and 82.29%, respectively) than in WC(15.36%; P<0.01).

• (The) Research of the performance art and culture
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• no.42
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• pp.233-256
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• 2021

The purpose of this article is to understand the characteristics and meanings of the Hwanghae-do Gutchum, or shamanic ritual dance. First, the characteristics of the Hwanghae-do Gutchum are summarized as follows. The regular dances that appear in all pieces of Gutgeori or the tune of Gut of the Hwanghae-do Gutchum feature Geosangchum, followed by domu and heojeonmu in the sequential order. The accompaniment rhythms are Geosang rhythm, Chum rhythm, and Yeonpung rhythm. The dance featuring mugu, or shaman implements held on shaman's hand as part of the Hwanghae-do Gutchum, which symbolizes the characteristics of deities, is the same as domu aligned with the dance rhythm and the whirling dance aligned with the Yeonpung rhythm. The name of mugu, mubok (shaman clothing) and/or deities may be used as the name of Gutchum but there is no originality of Gutchum. The Beokgu Chum and Samhyeon Chum as part of the Hwanghae-do Gutchum use Beockgu Jangdan and Samhyeon Jangdan, which deserves to have their originality acknowledged. Hwanghae-do Gutchum is closely related to the rhythm. The harmony of janggu player and a female shaman is essential in practicing the Hwanghae-do Gut. If a janggu player fails to perform to properly support the gut practice of a female shaman, the shaman is not able to proceed with a smooth practice and causes confusion. On the other hand, if the gut performance of a female shaman fails to catch up with the performance of janggu, the gut becomes plain and simple at best. Janggu is the single most important element that determines the success or failure of the Hwanghae-do Gutchum. A female shaman takes the harmony and collaboration with a janggu player so seriously that she is willing to reschedule the practice of gut if its schedule does not match that of the janggu player. The Hwanghae-do Gutchum is largely dependent on gyeolrye. However, the difference between the chum and the rhythm caused by gyeolrye has disappeared due to the intangible cultural assets. That is, designating an intangible cultural asset has resulted in eliminating all distinctive characteristics of Hwanghae-do Gutchum. With the distinction of gyeolrye becoming vague, they have lost interest in the genealogy of gut they have learned. It is no longer gyeolrye but the intangible cultural property system that serves as an important factor to distinguish chums.

• Journal of Practical Agriculture & Fisheries Research
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• v.9 no.1
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• pp.47-58
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• 2007

New Wild Grape berry weighs approximately 3.7g, which is one fourth of the weight of the general grape wine (12.2g). The pH of New Wild Grape wine is around 3.34, which is lower by 0.3 than that (3.62) of general grape wine. It contains higher organic acids, so it has stronger sour taste. The sugar content of New Wild Grape is 17° Brix, which is higher than that (15° Brix) of general grape wine. The color of New Wild Grape is blackish, owing to the lower lightness, redness, and yellowness compared with those of general grape wine. Depending on the mixing with or without oak tree, there is little difference in the pH, organic acid, reducing sugar, and amount of alcohol after ripening for 1 year. In taste, New Wild Grape wine mixing with oak tree is evaluated better than that of the wine without oak tree. Especially, in the case of the wine mixing with oak tree's sawdust, the quality in color, taste, and smell became improved. After fermentation, the pH of New Wild Grape Wine ripened with oak tree charcoal increased from 3.82 to 3.86, as it gets more oak tree charcoal, and the organic acid decreased from 0.91㎖ to 0.86㎖. However, there is no difference in alcohol amount. Lightness in color tended to be reduced, whereas redness tended to be increased. Adding 3% of oak tree charcoal made the taste and smell improved. When fermenting New Wild Grape Wine with mixing 1% of oak tree's sawdust or 3% of oak tree charcoal, there is little difference in the pH and the organic acid, whereas there is a little difference in those of New Wild Grape Wine without addition of oak tree charcoal. As the addition of oak tree charcoal increased, the lightness and redness became higher. When fermenting New Wild Grape Wine with mixing 1% of oak tree's sawdust or 3% of oak tree charcoal in oak tree barre, the taste became improved.

• (The) Research of the performance art and culture
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• no.42
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• pp.147-181
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• 2021

Dalgubal drum dance is inherited in a recreated form by incorporating regional symbolism and the dance philosophy and artisticity of Young Hwangbo, the creator, based on the traditional drum dance of the Yeongnam region. This dance having popularity with the transformation of traditional Korean culture has been invited not only to Yeongnam region including Daegu but also to international various venues. This study explores what the movement characteristics of this Dalgubal drum dance are and the unique charm and symbolic meaning of this dance. Specific analysis was conducted through analyzing Dalgubal drum dance video film of the 89th Korean Myeongmujeon's by using Laban Movement Analysis as a research method. The special features of this dance resulted from the LMA analysis in terms of the four categories-Body, Effort, Shape, and Space-reveal simple yet cheerful personalities and strong yet patient characteristics of the people in Daegu. The harmony of drum sounds(music) and movements(dance) creates various characteristics of dances and reveals the beauty and excitement of unique Korean dance. In particular, drum play and its related dance movements create curved linear spatial pattern of arm movements, Spiral Shape in body posture, and diverse floor patterns occupying whole stage space. These movements show the three-dimensional spatial beauty and the artistic ideas for recreation of traditional drum dance, which considered with the spatial structure of the proscenium stage. In addition, the well-organized structure and harmonious movements of this dance show the traditional Korean philosophy, implying heaven, earth, and human being and the wholeness, and the harmony of yin and yang. The dance aims at communication between the audiences and dancers through sharing excitement and the aesthetic beauty of dance. This can be interpreted as a meaningful expression of traditional Korean philosophy developed with the unique value and characteristics of Korean dance.

• Journal of Practical Agriculture & Fisheries Research
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• v.6 no.1
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• pp.116-135
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• 2004

This study was conducted to investigate effects of spent composts of Se-enriched mushrooms as the dietary Se source on muscular Se deposition and plasma glutathione peroxidase (GSH-Px) activity in the finishing Hanwoo steer. Twenty Hanwoo steers were used in the experiment and they were divided into four groups in a randomized complete block design with five replicates. Treatments were four levels (0.1, 0.3, 0.6 and 0.9ppm as fed basis) of dietary Se from the combination with spent composts of Se-enriched mushrooms and/or Se non-enriched mushrooms, in which each treatment was formulated with corn and corn gluten meal and so forth. Treatment diets were fed to Hanwoo steers for 90 days until the slaughter. Dry matter intakes had no significant differences among treatments and there were no significant differences for performances such as total BW gain and ADG among treatments. The Se concentration in blood was linearly increased with increasing dietary selenium levels and reached a plateau level after 8 weeks (p<0.001). Plasma GSH-Px activities had the similar trends to blood Se concentrations by showing that the increased dietary Se level significantly increased plasma GSH-Px activities of both total and Se-dependent (p<0.001). Muscle Se contents of Se-supplemented groups were linearly increased by 1.35 ~ 1.68 folds compared with the control group (0.1ppm; 0.273㎍/dry g) and especially those of the hind legs for 0.9ppm treatment showed the highest Se content as shown 0.457㎍ per dry gram (p<0.01) corresponding to approximately 70% increase of the control group. Se retention rate in the muscle of dietary Se originated from spent composts of Se-enriched mushrooms was estimated of maximum approximately 30% and dietary Se content showed the significant correlation with plasma GSH-Px activities and muscle Se contents (p<0.01). Accordingly, Se present in spent composts of Se-enriched mushroom as the dietary Se source not only had great bioavailabilities showing higher blood Se concentration and plasma GSH-Px activities, but also increased Se deposition in the muscle for Hanwoo beef cattle.