• Journal of Bio-Environment Control
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• v.17 no.4
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• pp.306-311
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• 2008

Proper tree vigor and crop load were determined for 'Fuji'/M.9 apple trees in high density planting system from 2001 to 2003. Leaf/fruit ratio was highly correlated to mean fruit weight (y=1.715x+205.02, $R^2=0.66^{**}$) and yield (y=-35.l56x+5963.7, $R^2=0.44^{**}$). In addition, there was a significant correlation between the number of leaves per tree and mean fruit weight. However, crop load did not affect tree growth, soluble solids content of fruit, and Hunter a value. To harvest the fruits heavier than 300 g without biennial bearing, it was appropriate to crop 55 to 64 fruits in a tree with 55 leaves per fruit of adult tree. The good indices for proper tree vigor could be 20 to 25 cm of mean shoot length and above 95% of shoot termination rate. Moreover, no secondary growth and 20 to 30% of spur formation could be the indices for highly productive tree vigor.

• Journal of the Korean Applied Science and Technology
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• v.39 no.5
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• pp.701-709
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• 2022

The purpose of this study was to compare the differences according to the visual selection and rotation order during sequential rotational jump for female dancers of a Korean ballet company by classifying them into take-off and landing sections. 10 subjects (age: 26.0±2.9 yrs, height: 163.4±3.3 cm, weight: 46.8±3.6 kg, ballet career: 12.3±5.9 yrs) participated in the study. Using a 3D motion analyzer and a force platform, the height of the body center and the ground reaction force during take-off and landing were measured. According to the visual condition (using both eyes, using left eye, using right eye) and rotation order (first rotation, second rotation), it was analyzed through repeated measurement two-way analysis. Height of the CM was higher in the first jump. In take-off, Fx was lateral force of left foot and medial force of right foot were strong in second rotation, and Fy was forward force was strong in first rotation of right foot. Fz was no significant. In landing, Fy showed backward force was strong when landing the second time from the left foot, and the backward force was strong when using the left sight from the right foot. Fz was strong on the second landing on the left foot and the first landing on the right foot.

• Journal of the Korean Society of Food Culture
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• v.6 no.3
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• pp.281-291
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• 1991

Kasugadaisha was built in the 9th century at Nara, Japan and it was the powerful Fujiwara's Shrine at that time. And also Wakamiyasai which has transmitted from generation to generation about for 1200 years at Kasugadaisha is typical sacrificial service of Nara Ages and it was built up with the historical background from Korean peninsula, especially Bekje. So it could be presumed to be important data to survey the sacrificial service in order to study on the ancient dietary culture of Korean and Japanese. 1) They used a live flower or paper flower in every sacrificial services. But in Korea, it has been used not only in the sacrificial services but also in happy events. And also it has been changed to use silk or developed rice cake instead of paper. 2) Steamed rice cake in Siru has been taken after boiled rice and unpolished rice. 3) Fried rice cake like doughnut was beginning of fried cake like Yak-kwa. 4) Four colors of red, yellow, green and white are symbolic at the high offering. There are a lot of cake, candy and some kind of biskuit four colors used in every events even now in Korea.

• (The) Research of the performance art and culture
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• no.43
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• pp.121-143
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• 2021

The Aim of the this paper is to figure out impetus of the Naeseo Traditional Folk art Conservation Association. This Preservation Society derived from Hogaeri farmers' band. Through aging and hollowing out Hogaeri farmers' band got into a period of stagnation. In order to overcome slump villager and people of a township organized a conservation society in 1994. Members restored and directed folk song which from age to age for performance. are designated as cultural asset in 2017. Sutguldeong song is only song in inland area. This song are worthy of notice in . which is consist of various agricultural work songs experienced two changes. Rice-planting songs are characteristic. Especially, Executive playing a central role harden foundation of the Preservation Society. The mainspring of activity is the sense of responsibility. Preservation Society laying emphasis on recruiting new members. Preservation Society is planning to develop curriculum for Jurisdiction elementary and middle school students. This Preservation Society is made up of First generation members and Second generation members. First generation members who are born and bred in Hogaeri have been good friends both in joy and in sorrow Early days of Preservation Society. So, They has a strong family bond. In order to induce membership Members are practicing Nongak, popular folk songs, dancing program. Second generation members are not conversant with a folk song. Nonetheless They have a strong mind on a member line.

• (The) Research of the performance art and culture
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• no.19
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• pp.221-280
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• 2009

This thesis is a study of the rise and the characteristic of 'Hyangto Gakeuk(literally Song drama of the country or local music drama)' in the Early 1940s. During the colonial period, there were attempts to incorporate traditional Korean music elements with Western operatic form. This type of music drama with librettos based on traditional tales came to be known as 'Hyangto Gakeuk'. Mostly 'Hyangto Gakeuk' has led this effort under the director Seo Hang-Suk, the composer Ahn Ki-Young and the lyricist Seol Eui-sik. In the first chapter, the study aims at arranging the performance history of 'Hyangto Gakeuk' composed by Ahn Ki-Young. Also, the study examined representative works after classifying 'Hyangto Gakeuk' performed by Lamila Music Drama Troupe, and Bando Music Drama Troupe. There is significant meaning to evaluate 'Hyangto Gakeuk' in the history of Korean music drama through this analysis of the performance history. In the second chapter, I will analyze with representative works composed by Ahn Ki-Young, a pioneer in the Korean art song. He tried to create the music that held the nationalism and tradition. His works which were called 'Kageuk' laid down the foundation of Korean original operatic style. This study demonstrated characteristics of 'Hyangto Gakeuk' as 'the beginning' in modern musical drama history and its effects on Korean musical drama developments. Namely, 'Hyangto Gakeuk' based on Korean traditions can be seen as examples of original modern musical in Korea. Practically, study on all the aspects of performance not only text generally studied, dramaturgy and criticism, but also performance concept and intention of creators in early period.

• Sim-seong Yeon-gu
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• v.38 no.2
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• pp.269-304
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• 2023

The purpose of this paper is to present the psychological meaning of the creation myths by utilizing related myths, analysand's dreams, active imagination, and artwork to reveal the creative function of the unconscious. The creation myth is the phenomenon of projection when a new order is demanded in the chaotic phase of personal and human history. Depending on the attitude of the ego, it can be a sign of a reconstruction/alteration of consciousness or an invasion. Related literature such as Jung, von Franz, Neumann, Harding, and Edinger, domestic papers, and case reports are introduced to identify the background for this research. The psychological meaning of 'darkness' in creation myths is regarded as unconscious that is too dark to see. The Eskimo creation myth and an analysand's dreams of being blind and wandering in darkness are discussed in relation to nigredo in Alchemy. The psychological meaning of 'massa confusa' regards Uroboros, pleroma, early childhood experience, and a psychological womb in which everything is contained in one. With related myths and unconscious materials, a discussion is followed on how this realm can be a precursor of creation but also be trapped in an abyss. The psychological meaning of 'separation of world parent' is related to splitting one into two when unconscious contexts were touched before it became consciousness. Related myths, 'the world created between heaven and earth,' 'celestial being descending to the earth,' and 'the legend of relocation of a mountain,' as well as clinical material, are examined. Then this paper discusses the clinical implications of the separation of heaven and earth occurring on its own, that the creator's emotional aspects, such as loneliness and anxiety, are involved, and that delayed separation leads to the death of creatura and sudden separation leads to the death of the chaos. Then, the meaning of 'separation of world parent' is discussed in relation with separatio, the alchemical process of acquiring light/consciousness from darkness/unconsciousness. The psychological meaning of the creation of 'land/island' refers to the emergence of consciousness, the contents of the unconscious material into the realm of the ego. Related myths, such as the 'body of the monster/dragon becoming land' and analysand's dreams, are introduced, referring to the embodiment of Mercurius. This is followed by discussing related myths in creating the land to coagulatio in alchemy and utilizing creative work such as active imagination, art, music, and dance that can coagulate or concretize unconscious material in clinical approaches. Finally, myths of resurfaced land after the Flood or the complete destruction of the world in relation to the reconstruction of ego are discussed with related clinical material to show the importance of the analyst/therapist/supervisor's mental stability and capacity.

• Journal of Nutrition and Health
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• v.9 no.4
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• pp.4-8
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• 1976

영양지도원(營養指導員)은 자신(自身)이 알고 있는 기술(技術)을 다른 사람에게 전달(傳達)하여 그 사람으로 하여금 지도원(指導員)이 원하는 방향(方向)으로 행동(行動)을 하도록 해야 한다. 따라서 다른 사람을 지도(指導)하려면은 우선 지도원 자신(指導員自身)의 우수한 자질(資質)"이 필요(必要) 하며 이를 위(爲)하여 기술자(技術者)로서의 연마(硏磨)와 겸(兼)하여 인간(人間)의 지도자(指導者)로서의 수양(修養)을 쌓아야 한다. 그리하여 영양개선(營養改善) 의 선도적(先導的) 점화자(點火者)로 "뒤에서 계속 미는" 지원자(支援者)로서의 역할(役割)을 수행(遂行)하여야 한다. (1) 현직능별(現職能別) 영양지도원(營養指導員)의 범위(範圍)를 보건소(保健所)의 보건지도원(保健指導員), 농촌지도소(農村指導所)의 생활지도요원(生活指導要員), 군면(郡面)의 행정지도요원(行政指導要員), 농협(農協)의 부여지도요원(婦女指導要員), 의료계(醫療界)의 의사(醫師), 간호원(看護員), 조산원(助産員), 학교(學校) 교육기관(敎育機關)의 교사(敎師), 영양사(營養士), 영리회사(營利會社)의 사원(社員) 등을 들 수 있다. (2) 지도대상(指導對象)과 그 장소(場所)는 공장(工場), 학교(學校), 훈련장(訓練場), 병원(病院), 복지시설(福祉施設)과 공동취사(共同炊事) 재해시등(災害時等)의 집단급식장(集團給食場)과 이를 이용(利用)하는 對象者(대상자) 도시(都市) 농촌(農村)의 일반가정(一般家庭)의 주민(住民), 그리고 교실(敎室)에서 학교교과목(學校敎科目)을 통(通)한 학생(學生)의 학습(學習) 새마을운동(運動) 공보시설(公報施設)을 통(通)하여 대중(大衆)에게 "지도(指導)를 지도원(指導員)이" 전개(展開)할 수 있다. (3) 지도방법(指導方法)은 일반적(一般的) 학교교육과정(學校敎育過程)의 교육방법(敎育方法)을 적용(適用)하되 교외교육(校外敎育)이라는 점(點)을 잊어서는 안된다. 현실적(現實的)으로 이론(理論)과 경험(經驗)을 병행활용(倂行活用)하며 영양학(營養學)의 연구결과(硏究結果)가 반드시 또 는 곧 가정생활(家庭生活) 개인생활(個人生活)에 적응(適應)되는 것이 아니며, 행동화(行動化)되지 않는 지식(知識)과 기술(技術)은 무용(無用)하게 되므로 "다고 말 할 수 있다. 따라서 영양개선(營養改善)을 지도(指導)하는 지도원(指導員)은 받아들이는 가정(家庭)이나 개인(個人)의 입장(立場)에서 여러 가지 여건을 파악 최대공약수(最大公約數)의 가능치(可能値)를 알아내서 지도(指導)해야 된다. (4) 영양지도(營養指導)는 기술(技術)이 ,포함(包含)되어 있기 때문에 기술(技術)의 전달과정(傳達過程)을 분석(分析)해야 되고 (5) 지도원(指導員) 자신의 무장(武裝)을 위(爲)하여 자신(自身)의 기술지도(技術指導) 방법(方法), 인간지도자(人間指導者)로서의 능력향상(能力向上)을 독서(讀書), 교육(敎育), 훈련(訓練) 을 통(通)하여 배워 기술자(技術者)로서 인간지도자(人間指導者)로서 전달자(傳達者)로 서의 교양(敎養)을 가져야 한다. (6) 지도원(指導員)의 활동성과(活動成果)는 지도원(指導員) 자신의 열의(熱意)와 받아들이는 사람의 열의(熱意)에 의(依)하여 좌우(左右)된다. 즉(卽) 지도원(指導員)의 열의(熱意)${\times}$피지도자(被指導者)의 열의(熱意)=지도성과(指導成果) $[L{\times}P=f(L{\cdot}P)]$로 나타난다. 결론적(結論的)으로 지도원(指導員)은 영양개선(營養改善)의 전문적(專門的) 각 요소(各要素)를 깊이 알고 이것을 다시 종합(綜合)하고 체계화(體系化)할 줄 알며 직능별(職能別) 각 지도원(各指導員)과의 상호(相互) 협조(協助)로 서로 보완(補完)하고 새마을 운동(運動)과 그 직장(職場) 또는 환경(環境)여건에 결부(結付)되고 현실적(現實的)으로 행동화(行動化)할 수 있는 단계적(的) 장단기계획(長短期計劃)과 평가방법(評價方法)을 숙지(熟知)하여 또 지도방법(指導方法)에 필요(必要)한 교재(敎材)를 충실(充實)히 준비하여 자신(自身)의 실력(實力)을 충분(充分)히 발휘할 수 있도록 하여 자기 열의(熱意)를 다하고" 영양개선(營養改善)의 선도적(先導的) 점화자(點火者)로서 "계속 뒤에서 미는" 지원자(支援者)로서 사명(使命)을 다할 때 그 역할(役割)을 다하는 것이다.

• Cartoon and Animation Studies
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• s.40
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• pp.33-53
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• 2015

The movement of characters is one of the crucial elements to deliver their emotion flowing inside. Though it is the same movement, it may appear or be expressed differently according to the character's personality or emotion or the particular situation. The purpose of this study is to analyze not only the movement found superficially in an animation but also a character's internal emotion and attitude with Laban's movement analysis system, particularly effort, one of its analysis categories, and examine how effectively Laban's movement analysis often employed at the circles of dance can analyze movement in an animation. is about a monster that constantly makes efforts to realize its dream to be a scarer. Functional movement forms the most part, but expressive movement to show how a character thinks or feels also appears harmoniously. Characters' externally shown movement can express their internal emotion properly sometimes, but they also often move expressing their feelings in moderation. Therefore, this study analyzes the movement of characters found in the four scenes of with LMA's effort. According to the findings, at the scene where Michael enters the door leading to the human world following the scarer, the emotional state of Michael envious of the scarer is expressed with the Vision Drive giving the strong feel of dreaming. At the scene of the second game to choose the best scare team, it shows us the Spell Drive with its careful and light movement having clear intention to survive at the game. At the scene where there is a party held for the teams that have survived, it shows the Passion Drive of being eagerly expressing happy and delightful feelings without considering what is around. At the scene where Michael and Sullivan are pursued by people, the Action Drive was used to express movement that was heavy and strong and was getting faster gradually by focusing the feelings of the characters in haste into one place.

• (The) Research of the performance art and culture
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• no.32
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• pp.651-700
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• 2016

The keyword of contemporary art in 21st is audience participation. London has emphasized the importance of audience participation since 2000. The National Theater of London is trying a new method, which is live performance to search new audiences. Also, they are trying to cross the boundaries between 'stage' and 'spectator'. This leads the other theaters to search new audiences and try new genre of performance. Therefore, they establish a new form of performance, which is that audience actively moves and find a new story in a theater. For example, "environmental theater" is the one. This theater escapes from the traditional stage, but it is based on "site-specific performance." Lots of new forms of theater have emerged. In this study, I focused on one of these new forms of theater, which is "Punchdrunk." "Punchdrunk" was founded by few students graduated from London University's Laban Center in 1999. They started at an empty stage in small school with only three audiences. 7 years after, it became one of major theaters in London. 10 years after, it showed their performances in the United state. Since then, their performances in New York have never been stopped. More strikingly, for last decades, this theater has been always full. In this study, I reasoned that the key of "Punchdrunk" success is audience participation. Therefore, I investigated the features of Punchdrunk theater and how they engage their audience in this performance. In this study, I focused on one of their performances, . Also, I categorized the audiences in three different ways: narrative visitor, walking visitor, and engaging visitor with mask. Three-part transition of Disney Theme Park from Louis Marin was applied to study "narrative visitor." For "walking visitor", Normadism from Gilles Deleuze was applied. For "engaging visitor with mask", Voyeurism was applied.

• Journal of Korea Entertainment Industry Association
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• v.14 no.5
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• pp.87-102
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• 2020

The purpose of this study was to develop regional dance contents in order to receive attention from the region and re-illuminate the peacock fan, the intangible cultural property of Seocheon, Chungnam, which has been preserved in history and has been preserved in the face of rapid urbanization and modernization. The representative four series are composed of one-person dance, two-person dance, military dance, and creative dance. The titles of each piece are basic dance , male and female love dance , military dance , and finally Korean creative dance . The commonality of the four series is the traditional dance using peacock fan, and each dance showed unique emotion and atmosphere through different themes and music, costumes, and stages. It was found that the development of regional dance contents re-created reflecting the characteristics of regional cultural heritage should create an environment that can be steadily revitalized through modernization. Through this study, it was found that the intangible cultural properties, which are our traditional cultural resources, have unlimited potential to contribute to enhancing regional and national competitiveness along with the growth potential of regional differentiation. Through such research, if existing cultural resources are preserved for globalization and produced as contents that can be easily accessed by the public, various contents besides regional dance using regional unique culture can be developed and utilized.