• 대한유전성대사질환학회지
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• 제17권3호
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• pp.103-108
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• 2017

가부키 증후군(Kabuki syndrome)은 특징적인 얼굴(아치형의 넓은 눈썹, 낮은 코끝, 큰 귓바퀴, 아래 외측 안검 외전), 골격계 이상, 출생 후 성장 지연, 그리고 경도의 정신 지체를 특징으로 나타내는 선천성 이상 질환이다. 또한, 선천성 심장기형, 비뇨생식기 기형, 구개구순열을 포함한 위장관 기형, 안검 하수 등의 증상이 동반되기도 한다. 감염과 면역질환, 경련, 내분비 문제, 청력 손실이 나타날 수 있다. 가부키 증후군의 대부분은 12번 염색체의 장완에 위치한 KMT2D 유전자의 돌연변이에 의해 발병된다. KMT2D 유전자의 돌연변이로 생성된 비정상적인 KMT2D 단백질로 인해 신체의 여러 장기와 조직의 특정 유전자의 활성이 정상적으로 이뤄지지 못하여, 결과적으로 가부키 증후군의 특징적인 외형과 기능장애가 나타난다. 출생시 선천성 심장 기형, 갑상선 기능 저하 및 일과성 저혈당 과거력이 있던 환아가 만 4세경 성장 지연, 아치형 눈썹, 낮은 코끝, 아래 외측 안검 외전, 큰 귓바퀴 등의 얼굴 생김새를 보여 시행한 분자유전학적 검사에서 KMT2D의 exon 15에서 새로운 frameshift mutation이 발견되어 증례를 보고하는 바이다. 가부키 증후군은 성장 지연 뿐 아니라, 발달 장애 및 행동 장애, 사춘기 여아의 경우 조기 가슴 발육을 포함한 내분비적 문제, 사시, 안검하수 등의 안과적 문제, 만성 중이염, 청력 손실, 감염, 경련 등 다양한 증상을 나타낼 수 있기 때문에 조기에 질환을 진단하고, 임상증상에 따라 적절한 중재를 할 수 있도록, 정기적으로 신장, 몸무게, 머리둘레, 발달상태, 청각과 시각상태를 확인하는 것이 중요하다. 따라서 여러 장기의 선천 기형을 보이는 환아의 경우, 임상의는 출생 당시에는 두드러지지 않을 수 있는 특징적인 얼굴 생김새, 성장 지연, 정신 지체 등의 이상에 대해 유의하여야 한다. 분자유전학적 검사는 임상적으로 가부키 증후군이 의심되는 환아를 조기에 진단할 수 유용한 방법이며, 앞으로도 가부키 증후군과 연관된 유전자 변이에 대한 연구가 더욱 필요할 것으로 사료된다.

• 대한장애인치과학회지
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• 제13권2호
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• pp.104-107
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• 2017

본 증례는 가부키 증후군 환아의 상악 좌측 제2유구치의 심한 우식으로 인하여 좌측 협부 종창이 관찰되었고, 물리적 속박 하에 절개 및 배농술을 시행 후 유구치는 발거되었다. 이후 전신마취 하에 남은 우식치아의 치료가 진행되었다. 가부키 증후군은 환자에 따라 다양한 의학적 소견을 보이므로 전신마취 하 치과 치료가 계획 될 경우, 의과와의 협진 및 철저한 치료계획이 필수적이다.

• 비교문화연구
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• 제31권
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• pp.35-64
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• 2013

This thesis seeks to compare China's Jing-ju and Japan's Kabuki for their common aspects and differences and examine how they are performed on the stage. Jing-ju is often called as Beijing Opera to refer to a musical play completed during the mid-Ching era and developed around Beijing. Jing-ju is composite arts of music, dance and play which are remarkable in its strict patterns in move along with luxurious costume and heavy make-up. Kabuki which was developed during the Edo-period, is expressional arts also structured with music, dance and play coupled with extravagant costume as well as even more strictly controlled move and emphasis on the beauty of form. The two plays seem very similar to each other in their time setting to gain popularity or features of play. It may look obvious that Jing-ju which had developed earlier than Kabuki, affected the latter's formation. However, general social practices or cultural trends in China and Japan at the time of their development also influenced literature and arts thus affecting play contents and performance expressions. Although the two plays have similar stage structure, they developed in different ways with detailed differences and actors' performance on the stage, way of using a stage and other ways of directing play are largely distinctive from each other. If a play's primary goal is to gain recognition of audience and draw their positive response, the relationship between play and stage becomes essential. With this understanding, this thesis aims to identify where such similarities and differences between the two plays are from by comparing historical background, stage structural development and directing manner development at a basic level.

• 한국의류학회지
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• 제34권9호
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• pp.1415-1428
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• 2010

Modernity in costumes is analyzed as the preference of change and novelty, the formation of the masses, and the aspect of function, which is transplanted by western modernization. However, it is seem that the factor of modernity in Japanese traditional costume history. This study examines the Proto-modernity in Japanese traditional costume history. First, this study examines the term 'Imamekashiki' which means the present time. Because of the recognition of every present time arises from the recognition and the preference of change and novelty. In the pre-modem Era, this study examines the masses formed by the publication and the play, Kabuki. This study provides an alternative answer to understanding what is to 'wear clothes' for Japanese people.

• 한국연극학
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• 제48호
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• pp.421-446
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• 2012

The purpose of this paper is to shed light onto the historical significance and limitations of the Tsukiji Little Theater's modern performances. The Tsukiji Little Theater holds a position of great importance to the history of both Japanese and Korean modern theater. Some, however, are under the completely opposite impression. There are also mixed opinions about whether the Tsukiji Little Theater is a "model example" of the modern theatrical movement or a "bad example". Based on this controversy, we look into the definitive characteristics of the Tsukiji Little Theater based mostly on "the controversy over translated foreign plays", "the controversy of foreign plays versus original plays", "the value of kabuki" and "Shinpa as a rival". This paper looked into the differences in controversy over translated foreign plays in the Tsukiji Little Theater and the controversy in existing translated foreign plays. It mostly looks at the "casuistry of foreign plays" and the "cultural engineering theory of foreign plays"to get a grasp on the controversy surrounding existing translated foreign plays. Meanwhile, the "internally critical meaning" towards the original plays of renowned writers was strong in the controversy of foreign plays in the Tsukiji Little Theater. Kaoru Osanai defined the 1920s as a dark period, and persisted that because of the activity of the Shingeki movement, foreign plays were needed instead of low-level original plays. This study examines the characteristics of original plays and foreign plays publicly performed at the Tsukiji Little Theater to analyze the "controversy of translated foreign plays versus original plays". The Tsukiji Little Theater mostly put on shows with a strong sense of resistance or that defied the old times. This caused there to be a lot of emphasis put on the rebellious mindset towards old conventions and ideologies for most of the plays, both foreign and original, and the problem arises that little mind was paid to the integrity or beauty of the works. In looking at the "value of kabuki", this paper looked into Kaoru Osanai, who was deeply involved in kabuki actors. He evaluated traditional Japanese arts highly not because of the literary value of their scripts, but because he recognized the value of how they were performed. In order to create a new spectacle, music, dance and mime was taken in from countries around the world, and kabuki was regarded highly as a means of expression on stage. Finally, we also examine the recognized reasons for treating Shinpa as a rival. There is a relationship between these reasons and a complex about the audiences they drew. The Shinpa performances always had many spectators and were successful, but those at the Tsukiji Little Theater were so unpopular with the public that it was hard for them to financially run their theater group. The empty seats in their theater constantly made the modern intellectuals in the Shingeki movement feel inferior.

• 한국의류학회지
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• 제32권10호
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• pp.1629-1639
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• 2008

The purpose of this study is to research the similarity and difference of color application in the culture of Korea and Japan. The subject of this research is the costume color of Changgeuk and Kabuki. This survey analyzes Munsell's 3 attributes(Hue, Value, Chroma), tone, and 3D color analysis by extracted color data. And representative color according to Obangsaek is proposed. The results of this study are as follows: 1. High chroma red in Kabuki costume is more used as symbolic color(passion and luxurious) in order to show character's personality than that in Changguek costume. 2. Low chroma YR color(no-dyeing color) in Changgeuk costume much more used because of Korean white robe preference and eco-friendly thinking. But high chroma yellow is restrictive color for symbolic color of emperor in Korea and Japan. 3. Blue is most frequently used in both costumes because blue is encouraging color by the theory of exponents of the five elements doctrine. 4. White in Korean Changguek costume is more used for white robe preference thinking, but black in Kabuki costume is much more used for symbol of power in Japan. The similarity of Korean and Japanese cultural color is to use much Obangsaek, less Ogansaek by the theory of exponents of the five elements doctrine, but the difference of Korean and Japanese cultural color is to use color differently according to preference thinking system.

• Pediatric Gastroenterology, Hepatology & Nutrition
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• 제11권1호
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• pp.60-64
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• 2008

저자들은 어린 영아기에 선천성 간섬유증으로 진단받은 후 특징적인 얼굴 모습과 함께 발달 및 지능 저하를 보이는 10세 남아에서 가부키 증후군으로 진단된 1예를 경험하였기에 문헌고찰과 보고하는 바이다.

• Archives of Plastic Surgery
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• 제38권2호
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• pp.203-206
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• 2011

Purpose: Kabuki syndrome is a multiple malformation syndrome that was first reported in Japan. It is characterized by distinctive Kabuki-like facial features, skeletal anomalies, dermatoglyphic abnormalities, short stature, and mental retardation. We report two cases of Kabuki syndrome with the surgical intervention and speech evaluation. Methods: Both patients had velopharyngeal insufficiency and had a superior based pharyngeal flap operation. The preoperative and postoperative speech evaluations were performed by a speech language pathologist. Results: In case 1, hypernasality was reduced in spontaneous speech, and the nasalance scores in syllable repetitions were reduced to be within normal ranges. In case 2, hypernasality in spontaneous speech was reduced from severe level to moderate level and the nasalance scores in syllable repetitions were also reduced to be within normal ranges. Conclusion: The goal of this article is to raise awareness among plastic surgeons who may encounter such patients with unique facial features. This study shows that pharyngeal flap operation can successfully correct the velopharyngeal insufficiency in Kabuki syndrome and post operative speech therapy plays a role in reinforcing surgical result.

• 복식
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• 제60권1호
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• pp.14-27
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• 2010

The purpose of this study is to analyze how the aesthetic characteristics of Brecht's V-Effekt is visually expressed of the costume in the Traditional Play of Korea, China and Japan. The method and the contents of the study were to refer to the antecedent studies and the related documents to peruse the characteristics of the traditional plays of the East and West, the origin and the concept of Brecht's Verfremdung and considered the relation of Brecht's V-Effekt and the Oriental plays, and then the researcher derived the aesthetic properties of Brecht's V-Effekt. This study analyzed how those qualities of the aesthetic characteristics on the V-Effekt are manifested on the stage costumes of Korean mask, Beijing opera and Kabuki. The aesthetic qualities of Brecht's V-Effekt are classified into symbolism, grotesque disposition, character of sing and dance, comicality. The symbolism in the traditional play costumes of the three nations is shown in the colors of the masks in Korean and the tone of the colors on the costumes and the make-up in Beijing opera and Kabuki. While the properties of bizarrerie and deformation coexist in masque and Beijing opera costumes in terms of grotesque disposition, Kabuki strongly displays bizarre grotesquerie. The character of sing and dance is visually expressed through the transformation of sleeves on the three nation's traditional play costumes; Masque on the Hansam and Chengsam, Beijing opera on the Water sleeves and Kabuki on Hurisode. The comic aspection is expressed in a humorous and comical way through the distortion and transformation of forms in Masque and Beijing opera but it cannot be seen in Kabuki costume. The study as above will form the aesthetic properties of the Oriental traditional play costumes and also it will contribute to establishing the identity of Korean mask costumes.

• 비교문화연구
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• 제25권
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• pp.291-312
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• 2011

The academic world in Korea demands internationally competitive researches at the moment. However, there is a lack of understanding on research trends of Western countries. This research aims to understand how discussions on early modern Japanese plays are developed in Western countries such as America. Also, it aims to consider and compare the present situation of researches on early modern Japanese plays in Western countries, Japan and Korea. In Western countries, modern Japanese plays such as Kabuki and Joruri is accepted and enjoyed as universal plays of the world. It is not only because there is a background of enjoying plays such as Shakespeare's but also researches and translations are accumulated continuously from the early 20th century. In the early 20th century, the main theme of researches was about Kabuki actors in Ukiyoe which was collected because of an interest in orientalism. After 1930s, Japanese arts and handcrafts were sent to art museums in America in order to promote Japanese culture. Also, many Japanese books were donated to university libraries in order to form institutes of Japanology. The war was started when the foundation of Japanology was about to be laid. Students who were interested in Japan were mobilized to the war as agents to understand Japan. After the war, those students started to do researches on Japan on a full scale. There were researchers such as Donald Keen who did researches on Kabuki and Joruri. In western countries, there are researches on patterns of behavior and thoughts of Japanese people, comparison with Shakespeare's plays, dramaturgie, theatricalism as well as censorship of Kabuki during the war and mobilization of Kabuki to the war. It is necessary to understand where my researches are positioned in those research trends. It is also necessary to break away from overlapped and repeated researches of the same point of view and find out new research paradigms.