• Journal of Science and Technology Studies
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• v.4 no.2 s.8
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• pp.1-32
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• 2004

Korean scientific community has recently argued that, in order to attract talented young people to the science and engineering fields, more ranking positions in the governmental office should be filled in by science and engineering majors. In this context, a special attention has been paid to the Chinese case where science and engineering majors have taken the highest places in Chinese political hierarchy. This paper examines historical and social background of the salience of science and engineering fields in modem China. A closer examination shows that the salience of science and engineering fields was resulted by the distinct historical experiences of China-the socialist reform of higher education system and Cultural Revolution. The former shaped the social conviction that humanities and social sciences are less useful than science and engineering fields. The latter even spread the idea that majoring in humanities or social sciences run the risk of political oppressions. Thus, the salience of science and engineering in China is a social phenomenon reflecting an academic hierarchy forced by the radical politics of modem China. Also, the higher proportion of science and engineering majors in the raking governmental officers has been resulted by a unique Chinese political system, in particular the personnel management system of the Chinese Communist Party that emphasizes practical experiences after college graduation. The comparison of the social position of science and engineering majors in China and Korea without taking account of such historical and social background may therefore mislead our understanding of the cause of and counterplan to the decreasing popularity of science and engineering fields in Korean universities.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.96-111
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• 2009

This essay is a study aimed at rationality and utility of two terms, 'Nongak' and 'Pungmul'. I examined how the terms have been today, by diachrony based on review of historical material. I tried to secure the historical context and basis about my argument, quoting many historical material from Korea Dynasty period, Joseon Dynasty period and the colonial period of the imperial Japan during 1910-45 to today. I examined many objective arguments about the 'Nongak', and pointed out the mistake of the objective argument. And I examined the means and rationality of the terms, 'Nongak', 'Pungmul', 'Pungmulgut', 'Pungmulnory'. The 'Pungmul' has been used as the means of instrument for a long time from Joseon Dynasty period. It is only rational using as the means of instrument but as the means of Performance of Nongak considering the historical legitimacy. The 'Pungmul' is Sino-Korean word, not korean native letter. The Pungmulgut means the 'ritual by Pungmul', so it can be recognized the rationality, but have a weak point that it is a neologism being made by some intellectuals in 1980s. In addition to, it is not used im performing field. 'Pungmulnory' has a limit to call the Nongak as a synthetic art. 'Nongak'means a synthetic art that farmers who were absolute majority in agrarian society of Korea have made and developed. So I conclude that 'Nongak'is the best rational term.

• (The) Research of the performance art and culture
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• no.34
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• pp.241-276
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• 2017

This paper studies the restoration of Jeongeup notated in Daeakhubo to a singable song. Firstly, the melody of Jeongeup was restored by finding the rhythm of Jeongeup. Secondly, Jeongeup lyric written in Akhakgwebeom was added to the restored melody. Lastly, the musical style of restored Jeongeup song was investigated. The rhythm of Jeongeup was found to be the same as Jinjak's rhythm whose measure consists of four ternary subdivided beats. It is because the Jangdan of Jeongeup contains that of Jinjak. The Jangdan of Jeongeup is played one touch in a measure. Such ternary subdivided beat and one Janggo's touch in a measure were transmitted to today's Sujecheon. The lyric of Jeongeup was added to the restored melody of Jeongeup by following the lyric rules of Jinjak1,2 and Hoengsalmun. The lyric rules of Jinjak 1,2 and Hoengsalmun are as follows. One syllable is sung in two measures, Eodanseongjang 語短聲長 appears, long lasting tunes are mostly applied to Jang of Eodanseongjang 語短聲長, and syllables begin at the first beat in a measure. The musical style of Jeongeup is basically similar to that of Jinjak1, but there are some differences. They are similar in the sense that the melody is very long compared to the lyric and Eodanseongjang 語短聲長 appears. They are different in the sense that Jeongeup uses grace notes rather than Sigimsae when one tune lasts long. Jeongeup in Daeakhubo seems to have undergone changes, and its rhythm is likely to have been expanded two to four times in order to match Mugo dance after being used as an accompaniment to Mugo dance.

• (The) Research of the performance art and culture
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• no.40
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• pp.307-341
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• 2020

In the past, each villages of ULSAN had their own SUNGHWANGDANGs. Village folks held an annual ritual for a ghost called GOLMAEGI. That ritual, which was a form of festival supervised by the village community, was the opening of seasonal customs. People called the ritual JISINBOPKI. It was a type of NONGAK in which musicals and dramatic factors made a harmony. Usually its lyrics were called 'SUNGJUPURI'or 'JISINBOPKI' song. At that moment, villagers, thumping on the ground with their feet, danced 'DUTBEKI' to awake the sleeping ghost SUNGJUJISIN. After this ritual, the music band started to visit people's house after house around the town playing PUNGMUL NOLI which consisted of SOGO NORUM, JAPSACK NORUM. The whole proceeding of these performances did not have a definite name. Villagers prayed to SUNGJUJISIN for the prevention of bad luck in their home. This study have arranged the type of MAEGUCHIGI, which is a kind of wishing NONGAK, on the basis of two preceding primary documents. And the other is about JISINBOPKI of ULSAN district that was shown in ULSAN YUSA written by a local historian, KIM SUKBO, of ULSAN. The process of arrangement is as follows. At first, considering the implication of this NONGAK, the definite title of it was designated as ULSAN MAEGUCHIGI. And then, it was given its genre and type within NONGAK.

• (The) Research of the performance art and culture
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• no.19
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• pp.35-60
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• 2009

I insisted that the structure should be set newly, pointing out problems in a structure of the big gut, Jain dano je in this paper. Although, the big gut is playing now in Jain dano je, the features of gut geo-ri are vague ; that's why gut geo-ri and performances are entangled. Therefore, the gut geori showing strange structures not fitted with korean shamanist custom is playing these days like Pawangbyeolhui and Eoudong geori. The detailed procedure is also awkward. It is mixed with aspects of shaman custom in each region, instead showing features of regions. What's more, it became a dance drama, not gut geo-ri with several shamans dancing in a gut. Overcoming these problems, the big gut will be a cultural asset. Therefore, when considering the structure of korean gut, we will fit the order of gut geo-ri into the system of divine spirits keeping a plot-opening, developing and closing. It should be a gut geori-oriented play with only gut geo-ri things. Gut should be gone forward main shaman-oriented gut, setting up a main shaman who takes charge of each gut geo-ri. We should find out a new shaman who knows gut of Gyeong sang province well, if shaman who now takes charge of it has a problem. The big gut of Jain dano je became a part of intangible cultural assets. The performance is not a subject of curiosity and people's interests any more as it was in a past. It should be a traditional performance of representing our traditional culture. We should reorganize an epochal gut geo-ri after reexamining gut geo-ri which has played so far.

• Trans-
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• v.8
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• pp.95-127
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• 2020

This research is based on using Bartenieff Fundamentals to analyze the fundamentals of Tai Chi Chuan's movements in order to develop the methods of relaxation from Tai Chi Chuan's principle movement movements It also shows that the two techniques have commonalities in many ways. First of all, taking a philosophical approach on the body movements of Tai Chi Chuan and Bartenieff, for both methods the ultimate goal is the integration of mind and body. In other words, there is a thread of connection between the East's body and mind monism and the west's Body Awareness. Secondly, looking at it from a Breath Support standpoint as used in the Bartenieff method, the two methods both use the breathing to naturally move the body and relax the body. In Tai Chi Chuan the Breath is the basis of life and the strength of the Body. So the breathing of Tai Chi chuan is what makes body and mind communicate, harmonize and integrate. In other words, Breathing in Tai Chi is realized through mental fusion and affects the movements. This is the same as the Breath Support of Bartenieff. It is said that in every aspect the Breath Support of Bartenieff influences the movement and changes both the inner and outer form of the body. Thirdly, looking at the Core Support used in the Bartenieff method, both methods emphasize core. At the same time of moving and being conscious of one's core, the usage of muscles can be deeper rather than superficial and this enables strong and flexible movement. In Tai Chi Chuan abdominal muscles used when one coughs are consciously engaged through abdominal breathing and so strength is collected in the core. When one exercises like that the core becomes more stable and breathing becomes more smooth. Fourthly, analyzing the Rotary Factor used in the Bartenieff Fundamentals, they both use rotary movement to reach the goal of physical relaxation. The rotation factor of Bartenieff allows movement to be easier and more free because of the characteristic of joint exercise where the center axis moved in three dimensions, this is the same in Tai Chi chuan. According to Tai Chi chuan's circle and Spiral Movements, it can achieve the relaxation through switching into a seamless flow and access space as much as possible. Finally, when looking at Developmental Patterning through Bonnie Bainbridge Cohen's Body-Mind Centering Work theory, presented from Bartenieff developmental model are similar with the developmental process of Tai Chi chuan Breath, Core-Distal Connectivity/Navel Radiation, Head-Tail Connectivity/Spinal Movement, Upper-Lower Connectivity/Homologous, Body-Half Connectivity/Homo-Lateral Connectivity, Cross-Lateral Connectivity/Contra-Lateral Connectivity. They are all similar. In other words, in Tai Chi Chuan energy is gathered in the core through breathing, upper and lower body are connected through the spine, not only homo-laterally but also cross-laterally. Through this study the expression of the dance movements can be more natural. Additionally based on the Body Awareness balance usage of the central axis, joints and body can develop the relax technique.

• (The) Research of the performance art and culture
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• no.35
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• pp.93-123
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• 2017

The Buddhist dance, which is considered to be the essence of Korean folk dance, has changed and developed over many years, having profound influential relations with Buddhism in terms of its origin, source, title, and costumes. Today the Buddhist dance is performed in two fixed types, Jangsam dance and Buk dance, but it is estimated that there must have been various forms of Buddhist dance during the Japanese rule based on the its historicity and various origination theories. It was around 1940 that Jang Yang-seon, the master of Haejugwonbeon, turned 'Seungininsangmu' into a work through Yang So-woon. The present study analyzed the video of 'Seungininsangmu' performed at the 'Performance in the Memory of Yang So-woon' in 2010, and the analysis results were as follows: first, the dance has a clear message to be delivered in its title and connotes an origination theory of Buddhist dance, which argues that the Buddhist dance was created by a Buddhist that underwent agony and corruption during his ascetic practice and later returned to Buddhism. Secondly, the process of Jangsam dance - Buknori - Bara dance - Heoteun dance - Hoisimgok - Guiui shows the thematic consciousness of the dance clearly in a sequential manner. Finally, the dance was in a form of combining various expressive methods according to the story and its development including the Bara dance, a dance performed in a Buddhist ceremony, the Heoteun dance, which is strongly characterized by individuality and spontaneity that are folk features, and Hoisimgok, the Buddhist music. Those findings indicate that the dance reflected well the flow of putting the Buddhist dance on the stage or turning it into a work in the early 20th century. Compared with the types of Buddhist dance in a strong form including the Jangsam dance and Buk dance, 'Seungininsangmu' conveys the meanings that the original Buddhist dance tried to express in terms of content and reflects on the diversity of combined Akgamu and theatrical elements in terms of form. The present study is significant in that it offers many implications for the Buddhist dance capable of future-oriented development.

• (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.

• 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.