• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.132-150
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• 2022

Designated as a national intangible cultural asset, the fish weir is a traditional fishing method and was a leading fishing tool in Korean coastal fishery. As the littoral sea area fishing vessel fishery developed since the 1970s, traditional fishing methods including fish weirs began to decline. The fish weir has been passed down in the form of tools such as fish weirs, stone weirs, and bamboo weirs. In Namhae-gun and Sacheon City in Gyeongsangnam-do, anchovies are caught using bamboo weirs. A basic bamboo weir consists of a fish trap(balgong), a space where fish gather together, and a V- or U-shaped wooden fence(halgaji) that helps fish come inside the fish trap. Its fishing method is to catch fish that have come to the coast during high tide alongside those are stuck inside fish traps(balgong) with nets or scoop nets. This paper examined the process of passing down traditional fishing methods through a comparative analysis of the bamboo weir structures and fishing methods in the Namhae and Sacheon regions. First, the historical process of assembling the current bamboo weir structure was analyzed. The bamboo weir, a fishing tool, appears to have combined the features of past weirs and fish weirs based on the Jijok Strait and Samcheonpo Strait. Next, this paper examined the structure and fishing method of the two types of bamboo weirs made with a circular or square fish trap(balgong) where fish gather. Through this analysis, this study examined the lives of fishermen who have adapted to their natural environment and actively utilized obtainable resources(materials), and then changed the traditional fishing method of bamboo weirs and developed them into an appropriate technology. Lastly, a new value attributed to anchovies caught using bamboo weirs was analyzed. This new value extracted from better bamboo weir anchovies works as a mechanism to uphold the tradition of anchovy-catching bamboo-weir fishing, which produces a smaller amount of anchovies compared to other methods of anchovy fishing. In this way, bamboo weir fishing has been passed down as a result of its differentiated aspect of producing better anchovies than those produced with other fishing methods, as well as the historical aspect of it being a traditional fishing method.

• (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.223-268
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• 2020

In contemporary Theatre, the case of inducing direct communication between the audience and the performance is prominent. Especially with the development of digital technology, the audience wants a personalized experience. The emergence of 'immersive Theatre' in this trend has attracted great attention both at home and abroad. In particular, the most important role in the emergence of the concept of 'immersive Theatre' is the British punchdrunk Theatre. Their representative performance began to premiere in London in the UK in 2003 and has expanded to include New York and China in Shanghai and continues to be extremely popular until 2019. In general, a review of existing studies on the role of the audience in shows that the focus is on the participation of the audience. What experience will be given to the audience can not be emphasized in contemporary Theatre. In order to satisfy the diverse needs of the audience, contemporary Theatre are increasingly showing complexity that cannot be explained by any one theory. The same goes for . This is because each audience wants a personalized experience, and there are differences in experience depending on the environment in which the audience also grew up, knowledge, culture, and taste. This study selected Punch Drunk's as a performance that can represent contemporary Theatre, and conducted a study on the role of audience in contemporary Theatre. To this end, we have historically explored past discussions about the role of the audience and discussed the characteristics of the role of the audience in contemporary Theatre. Next, I analyzed in detail the experience of the researcher "He" who watched the performance with the researcher on the role of the audience in . In conclusion, the experience of the audience in is diverse and complex. In other words, the role of the traditional audience in the proscenium play, as well as the audience as a participant in the post-drama play, was also complex in the performance. And this complexity was not a coincidence, but a planning strategy for the Punchdrunk Theatre. Therefore, when discussing the role of the audience in contemporary Theatre, there should be a discussion that clearly sees the complex characteristics of contemporary Theatre through the approach from various perspectives, rather than merely one view of the audience as a participant. something to do.

• (The) Research of the performance art and culture
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• no.23
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• pp.63-103
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• 2011

This paper inquires closely into the background of pansori gosu(drummer) and his social position based on documents and oral materials and the performance features of gosu in the entire process of pansori performance, 'preparation', 'performance' and 'aftermath', focused on the relationship between the changja(singer)-gosu. In the past, some gosus were ex-tightrope performers. Their social position and working conditions were better than that of the ex-tightrope performers but were worse than that of the pansori singer. After 1910's, people formed some special sense about the gosu due to the change of the space for pansori performances and the technological advances on the media, and gosu's conditions improved. The theory of pansori drum gradually began to be established well. The function and the role of gosu in the whole process of pansori performance may be summarized as follows. To begin with, the training with various and a lot of singers is required in the 'preparation'. Rehearsals are divided into individual practices and joint practices, and the latter can be controlled by the level of the capacity of gosu and the degree of the experience between chanja-gosu. Next, bobiwi(flattering drumming) and chuimsae(encouraging remarks) are important in tbe 'process'. The gosu has to share the speed of one jangdan(rhythmic patterns) and the accent of the sori and adjust his enery. Besides, he has to acknowledge the naedeureum(beginning sign) and reply with changja's singing. In formal performances, working in harmony with changja and gosu and their joint experiences are necessary for the gosu; in pansori contests, giving chanja a stability; in contests for gosu, drumming skill, position, chuimsae; in small performances and new adaptation of pansori, cheap fees and positive response of the transformational play or ad-lib; in lecturer concerts, reacting quickly to rapidly changing situations. Chuimsae is way which gosus and audiences express their feeling together, however, its context and sound are different. Finally, 'aftermath' is a process the pair of chamgja and gosu mutually evaluates about performance or audiences estimate that.

• Sim-seong Yeon-gu
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• v.32 no.2
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• pp.122-168
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• 2017

I tried to understand a folk tale "The half-boy" in terms of analytical psychology. In the story, a lady without children prayed to the Buddha. The white old man came and gave three fishes, but the cat ate half of it. So, she ate two and a half. She gave birth to two perfect sons. The third son had one arm, one leg, and one eye. They grew well. Brothers went to take the civil service examinations, and the half-boy followed. But two brothers did not like the half-boy coming along. So, brothers tied the half-boy to the rocks and trees, and he picked them up with force and gave them down to the yard of the house. And the half-boy followed his brothers again, and brothers tied him with kudzu and put him in front of the tiger. The half-boy won the tiger by betting with cutting kudzu. The half-boy stripped off the tiger's skin. The host coveted the tiger skin and they played with janggi. The half-boy won the game and was permitted to take host's daughter. The half-boy went with a string, a drum, a flea, and a bedbug. He teased host's people with these. The half-boy brought a virgin and lived well. "The Half-Boy" folktale is an old story spread throughout the country. There are similar stories in India and Africa. Unilateral figures are universally distributed archetypal images. In numerous cultures gods and spirits are being portrayed as unilateral figures. In the creation mythology, half-figure beings have immortality. In Indonesian and African folk tales, the half-born boy goes to heaven and merges with its half and becomes perfect. Some of one-sided spirits are harmful to humans but some of one-sided birds, chickens, and spirits are helpful to people. Sometimes half being is a cultural hero who steals grain from heaven or gets some advice how to use bamboo. There are stories that half body becomes a whole body afterwards. But in this folktale and most of the similar folktales, half-figure does not change and maintains half-figure to the end. And as a half-figure he does various great things and marries a virgin. The half-boy symbolizes a psychic experience born in the unconscious. The unconscious contents may seem strange and weird at first and the collective consciousness does not want to accept them. But the unconscious exerts greater power and brings vitality and creativity to consciousness. This folk tale seems to have compensated for the stubborn collective consciousness of our society, which was a Confucian class society. It also allows people to change their attitude toward disabled people and recognize strengths and creativity of the handicapped.

• Journal of the Korean Society of Food Culture
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• v.1 no.3
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• pp.183-196
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• 1986

This study was designed to be link in the chain of the investigation on daily life and consciousness of longevous people in Korea, and to investigate the social life and daily life habit in the past of longevous people. The social life and daily life habit were surveyed on 379 subjects (male 121, female 258) of the aged who were above 80 years of age, from June to November in 1985. 1. 'Generally regular' in the rising time and bedtime between 40 and 60 years of longevous people had the highest figures of 81.8% and 63.1%, respectively. The longevous peoples of 59.4% got up by before 6 a.m., and 61.3% of these aged went to bed from 9 to 11 p.m. But there was no significant difference between male and female. 2. Of the occupation engaged in the longest term of longevous people, the self-management (86.3%) included farming, fishing and household affairs was the highest, whereas administrative position, small-scale management and white-collar worker were only 0.8%, 0.8% and 1.8%, respectively. Therefore, their work involved mainly physical labor (heavy 48.5%, light 47.2%), and mental work was only 2.8% of longevous people. It is believed that this fact was deeply related to the educational degree of them. 3. The longevous people of 58.3% retired from the occupation and household affairs abover 70 years of age, and especially 24.3% of them is including the aged above 80 years of age. 4. The longevous people of 57.2% were shared the role in the home after retirement from the occupation and household affairs, whereas 35.9% of them didn't share. Of the way in killing time in case having no role in the home, 'at home'(50.0%) was the highest, and decreased in the order of 'old people's home' (30.9%), 'ill in bed' (10.3%) and 'asylum for the aged' (8.8%). 5. The acquaintance frequency before retirement from the occupation and household affairs of longevous people showed in the order of 'wide' (38.5%), 'common' (38.0%) and 'narrow' (19.0%), and 56.5% of them had the acquaintance after retirement. 6. Only the longevous people of 38.5% had the hobby and recreation activities of 'more than once' after retirement from the occupation and household affairs, but 53.0% of them was none. Of the kinds of hobby and/or recreation, 'TV-watching' (79.2%) was the highest, and decreased in the order of 'talking with grandchild' (54.2 %), 'working at home' (35.4%), 'religion' (25.0%) and 'chess etc.' (18.1%).

• Tuberculosis and Respiratory Diseases
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• v.62 no.5
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• pp.365-373
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• 2007

Background: Smoking is one of the most important leading causes of morbidity and mortality. Smoking habit is recognized as nicotine dependence, which consists of physical and psychosocial dependence. To evaluate social nicotine dependence, the Kano Test for Social Nicotine Dependence (KTSND) working group developed a new questionnaire, which consists of 10 questions with a total score of 30 in Japan. We examined the social nicotine dependence among healthy adults using the new KTSND questionnaire and evaluated validity of the KTSND questionnaire in Korea. Method: We applied Korean KTSND questionnaire version 2 to employees of hospital, university students and people for medical examination and promotion test. Complete data obtained from the 741 responders were analyzed. Result: The mean age of responders was 31.8 years. Among them, males were 57.8%. Current smokers, ex-smokers, and non-smokers were 13.8%, 12.8%, and 73.4% respectively. According to smoking status, the total KTSND scores of current smokers were significantly higher than those of ex-smokers, and of non-smokers ($17.1{\pm}5.4$ versus $14.3{\pm}5.5$, and $12.3{\pm}5.5$, $p{\leq}0.001$). The total KTSND scores of males were higher than those of females, suggesting that males have a propensity for depending nicotine socially much more than females ($14.3{\pm}5.7$ and $11.7{\pm}5.4$ respectively, p<0.001). Eight of ten questions produced significantly different scores among three different smoking groups. When current smokers were sub-classified by heavy smoking index (HSI) that represented physical nicotine dependence, we did not find a significant difference of KTSND score between low HSI group (<4) and high HSI group (${\geq}4$), This finding suggested that the psychosocial dependence might play a different role from physical nicotine dependence in smoking. Most of the non-smokers (62.5%) had an experience of harmful passive smoking especially in public place. Conclusion: Our study suggested that the KTSND questionnaire could be a useful method to evaluate psychosocial aspects of smoking.

• Korean Journal of Psychosomatic Medicine
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• v.5 no.2
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• pp.176-184
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• 1997

Abnormal illness behavior in patients with somatoform disorders were known formed by their traditional disease concepts and somatization-prone socio-cultural factors. The authors evaluated the characteristics of abnormal illness behavior in patients with somatoform disorders(who had somatization) by using abnormal illness behavior questionnaire. Methods : 29 somatoform disorders(SD) and 57 disease controls were compared by clinical characteristics, severity of pain, state anxiety(by Spielberger's State & Trait Anxiety Inventory), depression(by Beck's Depression Inventory) and level of psychosocial stess(by DSM-III-R). The illness behavior was measured by illness Behavior Questionnaire(IBQ). Results SD group had longer period of somatic symptoms with less severity in pain. The degree of anxiety and depression were higher in SB compared with controls. However, the degree of psychosocial stress was almost same between both groups. In IBQ, SD showed higher scores in general hypochondriasis, disease conviction, and affective disturbance subscales compared to control group. Conclusion: High disease conviction and hypochondriacal nature revealed by IBQ seemed to be a role in making somatization by way of somatic focusing and hypervigilance. And those tended to lead patients visit hospital frequently and report various somatic complaints. Evaluating abnormal illness behavior in somatoform disorders would be not only helpful in understanding the natures of somatoform disorders but also useful differentiating SD with other psychiatric conditions.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.14 no.2
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• pp.139-149
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• 2003

Objectives：To review the history of the development and current status of Korean Child and Adolescent Psychiatry and to propose the future tasks at this 20th anniversary of Korean Academy of Child and Adolescent Psychiatry. Methods：Records and publications of Korean Academy, personal communications with senior members of the Academy, the author's recollections and memoirs. Results：Korean Child Psychiatry started with opening Child Psychiatry Clinic at Seoul National University Hospital in 1979 and establishing Division of Child and Adolescent Psychiatry at the same hospital in 1980. A Child Psychiatry Study Group was formed in 1983 and it transformed into Korean Academy of Child and Adolescent Psychiatry in 1986. In the past 20 years, Korean child and adolescent psychiatry made an impressive progress and contributed significantly to the development of Korean medicine as well as to the establishment of child mental health service. There are 77 board-certified and 48 board-eligible child psychiatrists, and 18 child psychiatry fellows are in training as of 2003. Main forces of this successful introduction of child psychiatry are 1) 7 child psychiatry training centers at major university hospitals, 2) publication of Korean Journal of Child and Adolescent Psychiatry in 1990, 3) the establishment child psychiatry board certification system in 1996. Korean child psychiatry has extended its role in the international child psychiatry and took leadership in establishing Asian Society of Child and Adolescent Psychiatry and Allied Professions(ASCAPAP). Conclusion：Korean child psychiatry has achieved a remarkable progress for the past 20 years and is currently producing 15 or more child psychiatry each year. However, there are needs of more active involvements in adolescent problems, more active consultation-liaison services at general hospitals as well as community mental health institutions. More school consultation and preventive educational services are desired. There is a urgent need of carrying out more empirical studies with strong scientific rigor. Korean Academy should pay attention and provide assistance to the development of child psychiatry service in other countries in Asia.

• Journal of Korean Ophthalmic Optics Society
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• v.7 no.1
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• pp.45-50
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• 2002

The 'hands-on' craftsmanship of the 20th century has came and gone. Today, we are dealing with whole new, 'cerebral approach,' to concept and design with this new approach, design and function are very much dependant upon planning, sales, promotion, and the formative technique of the design industry. The innovative process of design constantly change as it reflects the needs and wants of society. It is and industry that constantly change as it reflects the needs and wants of society. It is and industry that constantly remakes and reshapes itself to suit current trend and outlook. The current idea being that consumers are looking for quality over quantity. Due to the 20th centuries dominant philosophy of functionalism, production intended to standardize the individual's purchasing choice. Aesthetic, or philosophic qualities played a second fiddle to the functional bias of a product, With production, Marketing, and research and development are integrated into the management process. This translates as good which include efficiency, quality, durability, and credibility an trademark and style. There is a definite 'post-modernist' movement and style in 21st century. Every possibility is available as the old boundaries of the 20th century are laid aside. There is a new, transformative quality to the current paradigm of design. The old "should" and "should not" of design no longerapplies. The integrated rative of design solves the usual disparity between aesthetic qualities and production. Design and profirability need not be stranger to one another. It can differentiate the image perceived of both enterprises and consumers by making use of integrated goods services. With an integrated system. both producers and designers win. While design gets full access to design in turn. All consumers make decisions based upon the evaluation of quality, service, and image ; even though it may not be a conscious decision to do so. Consumers are fully integrated human beings ; therefore producers who apply the new, integrated paradigmatic approach to concept, design, and production will reap the harvest of making a true relationship with individual buyer.