• Cross-Cultural Studies
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• v.50
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• pp.77-101
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• 2018

Even in our modern era, the projection of monsters in the recent literature contains the critical imagination of human existence for the posthuman age. The meaning of the monster-abject, especially as from the perspective of feministic criticism, contains criticism of the violent and oppressive patriarch as observed in the modern times. This article focuses on the gendered imagination of the discussions of the "abject" discussed by Julia Kristeva, and the "monstrous femine" discussed by Barbara Creed. Kim Eon-Hee's poems and Han Kang's novels, which have been examined extensively for analysis, show that the practical strategy of abject that goes beyond hate and sublime, wonder and joy through the imagination and concepts of monsters. The monster-abject strategy of Kim Eon-Hee's poem can be summarized by the narrative method of mirroring and the imagination of the truncated body. Mirroring falsification, which mimics the male speaker, is a method that some feminists strategically utilize in relation to the problem of female aversion in recent years as noted in the literature. In Kim Eon-Hee's poem, "becoming a man" and "imitating a man," through the method of mirroring appear as an image of cutting to dismantle the body. In that way, the narrative strategy of the abject that draws out abominations and bizarre effects which contains a strong critique of the patriarchal dominant ideology. The monster-abject strategy of Han-Kang's novel is embodied through the being of plants and the process of vegetarian-anorexia process. The world of the adject which was oppressed in the Han-Kang's novel, returns to the senses of the body through the symbol of the body. It is noted that the fictional characters who realize the repressed desire through the pathological symptom expressed by the female, go on to body perform active transformation. The sense of a body in a novel is not only a rejection of the world of animalman-civilization, but also a radically questioning of the noted and recognized boundaries between human beings and non-human being entities. The two writer's works show that the imagination of the monster-adject is not limited to rejecting the existing gender categories, but also goes in the direction of exploring the possibilities of various associated gender actions.

• (The) Research of the performance art and culture
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• no.37
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• pp.5-31
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• 2018

The mask dance drama Goseong Ogwangdae's first act, Mundung Bukchum. The story is about a man who was born to the upper class but contracted leprosy, an incurable disease, due to his ancestors' accumulated sin. Although he is suffering, he is able to triumph over the disease through sinmyeong (catharsis) that is expressed through the wordless act of Mundung Bukchum. This thesis focuses on Goseong Ogwangdae's Mundung Bukchum, particularly the meaning, costume, accompanying music, and process of pedagogical transmission. The chronological characteristics of Goseong Ogwangdae's Mundung Bukchum are as follows. First, as time goes on, the number of dance motions in Mundung Bukchum has increased and the motions used have become reified. Second, I address the small barrel drum used in Mundung Bukchum and check how, through the drum, the changed expression of Mundung is shown.In a 1965 video introduced Mundung is grasping the drum and stick and the dance appears to be made up only of humorous motions. Also in a 1969 video, "Mundung Gwangdae," from the start Mundung is grasping the drum and stick. In 1988 in a video we can see the same scene as today, with the drum and stick sitting in the center of the stage at the start of the dance. We can also confirm that the same fourteen dance motions used today are present. Third, we can also confirm the changes in Goseong Ogwangdae's signature motion, baegimsae as time goes on. Observing the video from 1965, baegimsae does not appear in Mundung Bukchum. In 2000 we can clearly see the baegimsae performed once to the left and to the right while Mundung is squatting. Comparing 1969 to 1988, there is no symmetry in the motions, baegimsae is not done to both left and right, but only in one direction. Watching the record from 2000, the baegimsae motion is performed just as it is now, with the body thrown forward with a sharp push off the ground. Fourth I confirmed how the music used to accompany Goseong Ogwangdae's Mundung Bukchum has changed over time. In 1965 according to records of Mundung Bukchum's appearance, the dance was accompanied by the taryeong rhythmic pattern played on the usual four percussion instruments (barrel drum, hourglass drum, large gong, small gong). In the 1969 records of Mundung Bukchum the accompanying music is gutgeori rhythmic pattern performed on the usual four percussion instruments-an obvious difference. In 1988 the music with Mundung Bukchum is gutgeori rhythmic pattern transitioning into jajinmori rhythmic pattern. In 2000 the music with Mundung Bukchum includes the percussion instruments as well as taepyeongso (double reed oboe) playing gutgeori and jajinmori rhythmic patterns.

• (The) Research of the performance art and culture
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• no.37
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• pp.127-155
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• 2018

This paper considers the structure and meaning of the folktale accompaniment of the sound of UlsanSoeburisoree. The review process examined the meaning of each structure of the UlsanSoeburisoree in the preparation process while preparing the main elements of the structural features along with the historical background of the structure. UlsanSoeburisoree is Poongcheol ritual ceremony which means prayer ceremony for the production of iron. The sound of UlsanSoeburisoree is 1-Gilnori 2-Gosa 3-The sound of blowing smelting process 4-The sound of process of iron smelting 5-The sound of tabooline 6-The sound of blowing smelting process 7-The sound of blowing matches 8-The After-party. This structure is in line with the structure of folk play called Gilnory-Gosa-Performance-After-party. This is similar to the basic structure of folk beliefs Cheongsin(請神)-Osin(娛神)-Songsin(送神). Thus, the sound of UlsanSoeburisoree was formulated in a sequential parallel structure. The sound of UlsanSoeburisoree resemble the sacrifice of heaven ceremony since the time of the SamHan dynasty. The sound of the birth of life by physical sacrifice also plays the role of the song of creation of new life. The sound of UlsanSoeburisoree can be seen not only in Korea 's folk culture but also in folk culture of GyeongnamDo area. There are many festivals to pray for the abundance of life for UlsanSoeburisoree. Soil plays an absolute role in the process of producing iron. For those who soak it, the earth is a religious object. Among the folk tales handed down in the Yeongnam area, there are a lot of performances that are passed down through the blending of the people 's affection to overcome the harshness of life. In the case of the sound of UlsanSoeburisoree, it can be said that it was made and mixed with the wind that wanted to go beyond the harshness of life and the spirit of art.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.447-484
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• 2012

This study aims to analyze the characteristics of post-epic theatre in the Belgian theatre director Jan Lauwers' trilogy titled in "Happy Face/Sad Face": (2004), (2006) and (2008). I regard that it played a very important junction for him to create his own theatrical style compared to earlier years. From this period, Lauwers has tried to create his original plays in order to concentrate the story of our era and has showed to combine a variety of media such as dance, installation, video, singing etc. In this context, I would like to study his own theatricality from the three perspectives of dramaturgy, directing and acting largely based on Hans-Thies Lehmann's theory of post-epic theatre, who pointed out the significance of Lauwer's theatrical leading role very early. First, from the dramaturgical point of view, we need to pay attention to the theme of translunary death; where the living and the dead coexist on the stage. In fact, death is the theme that Lauwers has been struggling to research for quite long time. In his trilogy, the dead never exits the stage. The dead, who is not a representative tragic character, even meddles the things among or with the living and provide comments to people. As a consequence, it happens to reduce a dramaturgical strong tension, leads depreciation of suspense and produces humanism in a way. This approach helps to create his unique comical theatrical atmosphere even though he deals with the contemporary tragic issues such as war, horror and death. Second, from the directing point of view, it is worth to take a look at the polyphonic strategy in terms to applying various media. Among all the things, the arts of dancing and singing in chorus are actively applied in Lauwer's trilogy. The dance is used in individual and microscopic way, on the other hand, singing shows collective and is a macroscopic quality. The dance is the representing media to show Lauwer's simultaneous microscopic mise-en-scene. While main plot takes place around the center-stage, actors perform a dance around the off-centered stage. Instead of exiting from the stage during the performance, the actors would continue dance -sometimes more like movements- around the off-centered stage. This not only describes the narrative, but also shows how each character is engaged to the main plot or incident, and how they look into it as a character. Its simultaneous microscopic mise-en-scene intends to function such as: showing a variety moments of lives, amplifying some moments or incidents, revealing character's emotion, creating illusionary theatrical atmosphere and so on. Meanwhile, singing simple lyrics and tunes are an example of the media to stimulate the audiences' catharsis. As the simple melody lingers in the audiences' mind, it ends up delivering a theatrical message or theme after the performance. This message would be transferred from the singing in chorus functions as a sort of leitmotive in order to make an impression to the audience. This not only richens their emotion but also creates an illusionary effect. Third, from the acting perspective, I'd like to point out the "detachment" aesthetic which Lehmann has pointed out. The actors never go deep into the drama by consistently doing recognize a theatrical illusion. The audience happens to pay attention to their presence through the actor's deliberate gesture, business, movement, rhythm, language, dance etc. The actors are against forming closed action by speaking in various languages or by revealing deliberately stage directions or acts, and by creating expressive mise-en-scene with multiple media. As a consequent, the stage can be transformed to not a metaphoric but a metonymic place. These actions are the ultimate intention for a direct effect to the audience. So to speak, Lauwers uses the anti-illusionary theatrical method: the scenes of fantastic death, interruption of singing and dance, speaking many kinds of languages, acting in detachment-status and so on. These strategies function to make cracks in spectators' desire who has a desire to construct a linear narrative. I'd like to say that it is the numerous potentiality to let the reality penetrate though and collide the reality with a fiction. By doing so, it induces for spectators to see the reality in the fiction. As Lehmann says, "when theatre presents itself as a sketch and not as a finished painting, the spectators are given the chance to feel their own presence, to reflect on it, and to contribute to the unfinished character themselves". In this sense the spectators can perform an objective criticism on our society and world in Lauwer's theatre because there are a number of gaps and cracks in his theatrical illusion where reality can penetrate. This is also the point that we can find out the artists' responsibility in this era of our being.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.

• The Critical Review of Religion and Culture
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• no.31
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• pp.255-287
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• 2017

This paper analyzes the religious circuit of suicidal concept based on verbal expression and ritual acts, which are found in the suicide discourse of Korean Catholic Church and Protestant Church. In the relationship of suicide and religion, it is easily overlooked the religious circuit and its construction that forms the concept of suicide among the religious laymen. It is assumed that the belief system of traditional religions prohibits suicide and the laymen accordingly construct a perception or concept of suicide along with this belief system. Various studies on this subject have proved it. However, in order to understand the religious way of constructing the concept of suicide on a personal level, it is necessary to pay attention to the religious environment in which the concepts and emotions of suicide circulate. The laymen do not passively and perfectly accept the finely established suicide concept provided by the doctrine or the theology. Rather, the laymen tend to collect the pieces of concept over the suicide that are drifting in the religious environment of his/her daily routine life and to make an concept of suicide in an incomplete form. We can find the unstable and imperfect traits of such a suicide concept through the experience of suicide survivors who have a religious background. For the suicide survivors with religious beliefs, they resist the formal doctrinal and theological provisions to suicide, or try to understand the notion of suicide in their own contexts. In terms of linguistic expressions and ritual acts relating to suicide, the attentions are differently directed in the public and the private domain among the religious groups. Considering on the high rates of suicide in Korean society, the Korean Catholic Churches are increasingly tolerant over the suicide and accept it in the public sphere. It is unlikely when comparing to the negative attitudes of the suicide in the past. However, such tolerance does not go beyond the doctrinal and ethical judgment that defines suicide as a serious sin. The once-committed lay believer's speech and gestures usually contain the various emotions, such as sadness, grief, anxiety, regretfulness, eagerness, and pain in the private spheres. The language and gestures with these emotions have been activated in the religious circuits of suicide, being extended to the religious apparatus for the person who died of suicide. In case of Protestantism, the institutional organizations, such as the particular denominations and the individual-churchism of the Korean Protestant Churches, and their own interpretations of the Bible have in the private sphere strongly effected on the linguistic expressions and the rituals related to the suicide. The religious-ethical judgment of the suicide is varied how the suicide is interpreted by the theologians and the pastors. And the ritual acts for healing the complex feelings and the psychological wounds of the suicide survivors are not actively explored and adopted yet. It makes harder to approach and heal the protestant followers since they emphasize the innermost belief and the salvation assurance faith.

• Journal of Korean Philosophical Society
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• no.123
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• pp.137-185
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• 2018

This article aims to deconstruct the mechanism of male domination that constantly reproduces the hegemonic class of men. In order to overcome misogyny, we should no longer deny the ontological dimension of the reality of women's oppressions and the pre-eminence of the material condition of women's existence. In addition, the possibility of the category of women as a modality of resistance should be taken into consideration. First, I will highlight the correlation between penis and phallus according to which the phallus refers to the penis which is malleable and fragile and which disappears without being castrated by the external factor. From here we could deduce the fragility and imperfection, the non-absoluteness of the phallic order. Secondly, I will analyze the mechanism of penis-narcissism, which is the modality of the constitution of the individual identity of man. The penis is not only a physiological organ, but a site of self-estimation and the validity of the succession of power and authority of the father's law. With this penis-narcissism, man is constituted as a hegemonic body that can let itself go without worrying about the reactions of others. Thirdly, I will focus on the mechanism of the penis-cartel which is the modality of the formation of the collective identity. The penis-cartel is reinforced by the mutual affirmation of the superiority of men among themselves, but also by the permission and the tacit agreement of their absurdity and lack of rationality and corruption. Because the privilege of men is not monopolized by a small part of the elite, but is consciously and unconsciously shared by all men who are part of the hegemonic and collective category. In order to deconstruct the penis-narcissism and the penis-cartel, it is necessary to demonstrate that the penis is not a self-sufficient body, nor a closed and impermeable body, but that it is a porous body where the organ serves both ejaculation and urinary ejection. The penis is a porous body that is at once the site of sublimity and degradation, purity and impurity. In addition, the penis is no longer an all-powerful and aggressive organ, but it is a malleable and fluid flesh that constantly changes its shape. Linked to a phallus-organ that is the notion of Jacques-Alain Miller, it is a site of deficiency and vulnerability that is not the axis of the penis-cartel. It is through the notion of the double porosity of the penis and the phenomenology of the flesh of the penis, I try to provide the modality of undoing the reproductive mechanism of predatory masculinity. Because this would be an effective strategy to overcome misogyny.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.5-47
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• 2013

Among the styles of performing arts, perhaps the genre that has attracted the largest audience would be musical. Popularity of musical has brought diverse changes in our performing arts market, and, upon emerging another musical genre, called 'Korean Traditional Musical Comedy,' it has been well-received by the audiences. 'Korean Traditional Musical Comedy' is a word that are formed by merging two other terms such as 'Korean Traditional Music' and 'Musical (Comedy).' In the meantime, however, it has yet some problems in order to be defined as the genre that has concrete concepts. It is because the term such as Korean Traditional Musical Comedy was created being closely associated with a marketing purpose rather than a term that defines the characteristics of a genre of performing arts. Although this new musical genre has drawn attentions of many audiences by adding 'Musical Comedy' to 'Korean Traditional Music' that was not quite popular to the public, it still does not have any established forms so that there is a fine line between "Korean Traditional Musical Comedy" and another genre like traditional style folk opera ("Changgeuk"). Looking at the characteristics of the musical work called 'Korean Traditional Musical Comedy, in general, first of all, it is a performance where music and drama are played. Here, the distinctive characteristic of this musical is that 'Korean Traditional Music' is sung. And the kinds of Korean traditional musics being sung are mainly Pansori (dramatic story-singing) and folk-songs, and, in most cases, Korean traditional musical instruments are being used as accompanying music. In this paper, the researcher investigated the aspects of experiment centering around Korean Musical Group, Taroo. These days, various experiments has been repeated not only for the works of Taroo but other musical work presently called 'Korean Traditional Musical Comedy' also. Having encompassed overall performance factors including use of musical instruments, dance, acting, materials for drama as well as music in drama, the researcher has gone through experiments repeatedly. Meanwhile, however, the subject matters that make 'Korean Traditional Musical Comedy' mostly attractive to the audiences are music and songs or sounds. ["Sori" also called "Chang" (唱)] Particularly, under the current situation of our musicals, the role of "Sori" is extremely important. The factor that plays absolutely most important role in acceptance and transformation of "Sori" is the created Pansori. Since the created Pansori is composed with new rhythmic patterns and new narrative poems, it tells the present story. Also it draws good responses from the audiences owing to easy conveyance of dialogues. And, its new style brings diversification to organization of musical instruments, so then this leads to the arrangements of music for Korean traditional music instruments, as well as instrumental music ensemble, orchestra, and jazz band, etc. Likewise, upon appearing creative musics in 'Korean Traditional Musical Comedy,' professional music and vocal compositions have begun to emerge naturally. And, the song specialist and writer, of course, staffs including direction, lighting, and sounds, etc are required. That is, professional composition method are forced to be introduced to all areas. Other than this, there are many music pieces which are based on our unique songs and sounds ("Sori") and such traditional factors as use of lead singer for ceremony or chorus, and the method that puts weight on Pansori. Accordingly many things accomplished. However, it is required that 'Korean Traditional Musical Comedy' go through numerous discussions and more experiments. Above all, the most important things are the role of actor and actress, and their changes, and training of actor and actress further. Good news is there are good audience responses. 'Korean Traditional Musical Comedy' is an open genre. As musicals are divided into several domains according to the characteristics thereof, 'Korean Traditional Musical Comedy' will be able to show its distinctive features in various styles according to embodiment.

• Journal of Nutrition and Health
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• v.52 no.1
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• pp.36-46
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• 2019

Purpose: This study evaluated amounts of physical activity and sedentary behavior patterns in older adults using an accelerometer and physical activity diary. Methods: Forty-nine older adults (male 26, female 23) participated in this study. They wore a triaxial accelerometer (ActiGraph wGT3X-BT) for one week and wrote a physical activity diary concurrently for three days. Amounts of physical activity, sedentary behavior patterns, and percentage of meeting the World health organization (WHO) physical activity guidelines were analyzed using an accelerometer. In addition, the contents recorded in the physical activity diary were reclassified to 18 levels and the average daily times spent on each level and physical activity level (PAL) were calculated. Results: The subjects were sitting more than half of the day except for bedtime and shower time (59.2%). The numbers of prolonged ${\geq}30$, 40 minutes sedentary bouts were significantly higher in males ($3.10{\pm}1.34$, $1.78{\pm}1.09$, respectively) than in females ($2.34{\pm}1.22$, $1.32{\pm}1.07$, respectively) and the number of breaks per sedentary hour was significantly less in males ($5.74{\pm}0.89$) than in females ($6.44{\pm}0.71$). Among the activities corresponding to sedentary behavior surveyed by the physical activity diary, only the amount of time spent 'resting, speaking and watching TV' showed a significant correlation with the sedentary behavior pattern measured by the accelerometer. The persistence of sedentary behavior was interrupted primarily when low intensity activity was performed. Only 22.4% of the subjects met WHO physical activity guidelines. Conclusion: Based on these results, the physical activity guidelines for older adults should be developed that reflects the appropriate strength, including low activity level and maintenance time of moderate to vigorous physical activity.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.64 no.1
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• pp.25-32
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• 2019

This study was carried out to investigate the changes in fatty acid composition and phytosterol content of the autumn sowing waxy corn during its ripening period for the production of high quality and value-added fresh ears. The content of crude oil in the waxy corn kernels steadily increased with days after pollination(DAP); the crude oil content in Heukjinjuchal (HC) was higher than that in Ilmichal (IC). The composition of fatty acids according to DAP showed a statistically significant change; palmitic and linoleic acid composition gradually decreased, but oleic acid increased, and the composition of unsaturated fatty acids in HC was higher than that in IC. The phytosterol content was increased until 33 DAP, and was 937.7 mg/100g and 867.9 mg/100g in IC and HC, respectively, but there was no statistically significant difference between the varieties. The phytosterol contents in IC varied in the following order: ${\beta}-sitosterol$ > stigmasterol > campesterol, but that in HC varied in the order ${\beta}-sitosterol$ > campesterol > stigmasterol. The campesterol content did not show significant differences between the varieties, but the stigmasterol and ${\beta}-sitosterol$ content was significantly higher in HC than in IC. Palmitic, linolieic, and linolenic acid were significantly correlated with campesterol and ${\beta}-sitosterol$, and stearic acid was positively correlated with stigmasterol. Oleic acid was positively correlated with campesterol and ${\beta}-sitosterol$ but negatively correlated with stigmasterol. As a result, it was suggested that fatty acids may affect the variation in phytosterol contents during the ripening period in waxy corn.