• Monthly Duck's Village
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• s.53
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• pp.16-17
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• 2007

• Monthly Duck's Village
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• s.91
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• pp.122-131
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• 2011

지난 11월 18일부터 25일까지 6박 8일의 일정으로 떠난 "2010 오리산업 선진국가 연수". 세계 3대 규모를 자랑하는 독일 하노버 축산 박람회 관람부터 명품오리를 생산하는 프랑스 그리므드사 견학까지. 총 24명으로 구성된 연수단은 하나로 똘똘 뭉쳐 빠듯한 일정에도 오리산업 선진국가 교육을 무사히 마쳤다. 직접 보고 들은 연수자들이 생생하게 전하는 해외연수 담(談)에 귀를 기울여보자.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.5
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• pp.29-38
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• 2018

This study aims to analyze the spatial characteristics of a group of samurai residences among other traditional Japanese villages and to accumulate the village-level sample data of a residential group, which can serve as the foundation for a wide range of discussions. Using data that had been gathered since 1989, this study draw up a prototype floor plans to analyze the indoor spatial features of the residences in the modern period, and sampled 35 samurai houses. The following are the results of this study. The general characteristics of traditional Japanese houses were found among many Izumi Fumoto samurai residences up until the early Meiji period. However, after gradually the floor plan became more and more simplified; connections between rooms were reduced, decreasing their flexibility; and there was a rise in the number of houses with a larger area devoted to the Nando, a room for women and family members. The access of a visitor involved changes in one's eye-level view and established physical and psychological boundaries, which this study conjectures was used as a method to ensure that the visitor recognized the authority of the patriarch and to raise the family's reputation. As their floor plan was simplified, Izumi Fumoto samurai houses established one's eye view, boundaries, and procedures as a way to enhance the authority of the man of the family and the family's reputation. In addition, while there was an increasing number of residences that expanded the area of the Nando, in which family members slept and used the space in a stable way, they maintained the exclusivity of private space and did not clearly show who would use it.

• (The)Study of the Eastern Classic
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• no.72
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• pp.9-34
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• 2018

The purpose of this paper is to examine the life and poetry of Hanchung. The reason for studying Hanchong is because there is no research on Hanchong until now. In Chapter 2, I looked at the life and poetry of Hanchung. One thing to pay attention to in the life of Hanchung is that Hanchung has excellent writing ability. When Hanchung went to the envoys in China, Hanchung was recognized for outstanding Chinese writing by Chinese officials. Another thing to pay attention to in the life of Hanchung is the upright character of Hanchung. Hanchung judged Nam-gon as a delicate person and did not live a life to cooperate with him. He vigorously rejected Namgon. Because of that, Hanchung was killed by Namgon. In Chapter 3, I examined the poems of Hanchung. The poem of Hanchung can be divided into three kinds. First, it reveals the love of the people. This comes from the heart of a child who pity the poor. Second, it is the mind to live while keeping the fidelity of life. This is reflected in the images of bamboo, pine and pine trees. Third, poetry criticizes reality. There are poems in Hanchung that reveal criticism of loneliness and reality. This is a political reality that is not right at the base. So, it can be said that it is a city that reveals the reality criticism after all.

• (The) Research of the performance art and culture
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• no.38
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• pp.193-224
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• 2019

Shaman's play is significant in that it provided public theater for a long time in the theatrical and dramatic history. Unlike upper class who could call entertainer or Korean geisha in the traditional society, the majority of ordinary people could see professional performances through gut. Therefore, the shaman of the traditional society pulled the play which developed in the gut and the outside play into the gut and prepared the performance street for the ordinary people. shaman's play, apart from the religious context, has also functioned as a theatrical performance. Through shaman's play, you can see the process of ritual development into play. Shaman's play is a ritual ritual of expel calamity in an agriculture based society. In Korean consciousness, evil spirits are thought to bring disease or disaster to humans, so they should be good for evil spirits. This is a ritual that goes hand in hand with the Confucian Yeoje and the Buddhist Suryukjae. Most traditional plays, including masque performance, tend to weaken and become stifling after the designation of intangible cultural properties. However, shaman's play is transformed every time it is executed and is given a new meaning. Depending on the ability of the shaman to respond to and accommodate social change, adaptability is excellent depending on the situation in the field. Shaman's play has richness, prevent calamity and playful elements such as imitation of god and sexual connection based on the element of shamanism. In addition, it is necessary to pay attention to the meaning and the direction of Shaman's play because it is differentiated into play including social subject beyond mere magic imitation.