• (The) Research of the performance art and culture
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• no.19
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• pp.161-190
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• 2009

This study presents matters of how to analyse the dance of artistic form on the course of transforming folk art to be separated from leisure to become the art form. In particular, the traditional art of dance in Korea has been of collective act like dureh, rather than of individual art, that it had to choose the repeated style of same form and rhythm. In this respect, before it can be said that the dance in its own form became more sophisticated and adopted the artistic segment in the time of modernisation, it is viewed that in the very heart of folk dance there was sufficient ability of artistic material to seek its own right. In this regard, the artistic transformation of seoljanggo nori into seoljanggo dance is an art form which is found in Korea, and expressing rhythm and playfulness is evident and sought attention. Therefore this study puts its importance in analysing how, in the aspect of the course of life of traditional arts, dance is formed in its own right and developed a form of art from fun entertainment. I have chosen, among them, seoljanggo, which used to be a form of fun entertainment and later transformed into a form of art on stage, in particular LeeGyeongh wa seoljanggo dance which maintains the style of Honam Udo farmers' music, and tried to read the text from it. It has resulted in that, Lee Gyeonghwa seoljanggo dance did a new try on tradition, in its development of expressing art through dance and onto more technical sophistication, found in the style of tune and choreography fused into its distinctive form. The art of traditional dance concerns here that seoljanggo has changed from agrarian entertainment to modern stage art, which shows how tradition can be adopted to the contemporary cultural life or to be reinvented to the needs of the aesthetic style that the current society consumes. Thus, it is necessary to think about its role in education and to represent cultural creativity from local developments.

• Korea Science and Art Forum
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• v.30
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• pp.119-127
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• 2017

Multi-cultural societies in the era of globalization are now common phenomena all over the world. Since our country has already entered into a multi-cultural society, we can no longer stay in the ideology of a single nation. However, current national policies and researches related to multi-cultural society in Korea are limited to institutional aspects and unilateral education of Korean culture. Therefore, this study aims to overcome these practical limitations. The purpose of this study is to acquire design resources in the folk paintings reflecting the culture of each country. And We will develop textile design content that can be applied to most closely related textile products in daily life. Through this, it is aimed to raise awareness of various cultures and to suggest a communication method through cultural exchange. Therefore, this study has developed color and textile pattern design contents through analysis of characteristics of China, Vietnam, and Japan peoples of the three most frequent countries based on the status of domestic marriage immigrants. And tried to apply it immediately to various textile products. The results and contents of the study are as follows. First, the domestic multi-cultural society was formed through international marriage, and the largest number of marriage immigrants came from China, Vietnam, Japan, the Philippines, Cambodia, Thailand, Mongolia and others. Second, folk paintings are suitable for developing textile design contents as an important factor implied by different cultures of different countries. Thirdly, we have developed the pattern and coloring DB and textile pattern design contents by using folk paintings of China, Vietnam and Japan. As a result, we could verify the utilization of contents reflecting the cultural characteristics of each country and the possibility of commercialization. Based on the results of this research, we hope to contribute to the harmonization of the emotional and artistic aspects that naturally share the culture among multi-cultural society members and to develop differentiated related products.

• Reproductive and Developmental Biology
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• v.29 no.3
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• pp.163-168
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• 2005

The aim of this study was to investigate the changes in insulin-like growth factor-I (IGF-I) and growth hormone (GH) in serum, the quantitation of spermato-genesis and the comparable relationships among these measurements during pubertal period in New Zealand White male rabbits. To investigate the age-related testicular changes in DNA contents of spermatogenic cells, the fine-needle testicular biopsies from males aged 10 to 28 wks were evaluated by flow cytometry(FCM). Body weight increased significantly between the ages of 12 and 20 wks (P<0.05) and reached 3.4 kg at 28 wks of age. The highest serum IGF-I level (451.3ng/mL) was observed at 20wks of age (P<0.05) and thereafter remained stable at low levels. Serum GH level at 18 wks of age was 183.3 pg/mL which was significantly higher compared to the other ages (P<0.05), and the rising time in serum GH tend to be somewhat earlier than that of IGF-I. The relative percentage of It-cells in testicular cell compartments was $48.2\%$ at the age of 18 wks which significantly increased than those of 16-wk-old (P<0.05) and thereafter increased with the advance of age to $68\%$. The percentage of 2C-cells in testis was $26.8\%$ at 18 wks of age which was significantly lower than $54.3\%$ at 16 wks old (P<0.05). The percentage of 4C-cells was constantly maintained $2\~6\%$ except the $9.9\%$ at 18 wks of age. In conclusion, the results suggest that the puberty onset occurred at about the 18 wks of age and that the IGF-I and GH in serum during the pubertal period showed the age/growth-specific changes and these changes might be related to the spermatogenesis. The DNA FCM combined with fine-needle testicular biopsy could offer a very sensitive method to monitor the quantitative spermatogenic events related to the puberty onset.