• Sijohaknonchong
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• v.24
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• pp.5-46
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• 2006

Korean verse has flexibly changed its form and contents according to the historical background of the times. This fact arouses reader sympathy because it has reflected ideas, historical aspects and realities of the times. However, korean verse has kept its own characteristics in some ways, allowing it to exist today. It holds its form as 3 verses of three by three or four meter and three letters of the last of three verses. It makes every different version which has specific aspects of each times in the same 'sijo' area. 'Sijo' in Korean poems, is the first form that has been changed from formal to private functionally. As a result of that common verses in the Goryeo to Joseon eras were going with the stream of the times. Verse was the plate for justice so that there was no double meaning, symbols, or technical sentences. It had to show the idea of Myungchundo Jwonginryun. The theme was commonly fitted within certain areas. such as blessings, fidelity, devotion, etc. Around the end of the Joseon era, there was activation of private verses - a form of sijo with no restrictions on the length of the first two verses. Some ideas had been changed because Sarimpa gained power, domestic conflict, and the introduction of practical science. These things had an effect on the form of Sijo. After all, it shows the ideas of collapsing feudalism, resistance of confucian ideas, equality of the sexes, and opposition to the group who rule the government. Thus Sasul Sijo seems to have the tendency of resistance to reality. It was a specialty of realism poetry It explained our life in detail and reflected real life by being an intermediary of realism. This met and represented the demand of a reader's expectations. After 1905, there was new form of sijo that is very different, in form and content, from the previous versions. It was even different in areas of what people accepted. They started to think sijo was not the form of lyrical verse that is once was. It became a 'record of reading'. The form changed to 'hung or huhung' that satirized the times and the ending of a word in the last verse. Although this form could deliver the tension in statement, it was too iu from the original form. Therefore, it didn't last long, and its position got smaller because of the free verse that had western influence and was emerging in the times. In the middle of 1920, there was a movement of Sijo revival. It was lead by Choinamsun. He wrote poems and Sijo which were effected by western ideas in his early works. Although he worked with that, he took the lead in the movement of Sijo revival. He published the collection of Sijo $\ulcorner$Baekpalbunnwoi$\lrcorner$ that has one major theme-patriotic sentiment. He thought an ancient poem was a part of racial characteristics so that he expressed the main theme which represented the times and situations of his era. Modern Sijo is difficult. Sijo has to have modern and Korean verse characteristics at the same time. If it considers a modern aspect too much, it could not be distinguished from sijo and free verse. If it overly leans toward Sijo. it would seem to be too conservative which it then could be said to have no real charm of a poem. In spite of these problems, it is written constantly, because it has its own specialty. It has been focused on some works because they reflect awareness of modern times, the democratic idea, and realism. Overall, the authors of Modern Sijo express various themes by using different forms. The more what we can guess in this work, Sijo will exist permanently because of its flexibility. Furthermore, one special characteristic-flexibility of the korean verse will make it last forever and it will be a genre in Korean poetry.

• Journal of Sericultural and Entomological Science
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• v.8
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• pp.11-25
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• 1968

Various formulae for estimation of leaf production in mulberry trees were investigated and obtained. Four varieties of mulberry trees were used as the materials, and seven characters namely branch length. branch diameter, node number per branch, total branch weight, branch weight except leaves, leaf weight and leaf area, were studied. The formulae to estimate the leaf yield of mulberry trees are as follows: 1. Varietal differences were appeared in means, variances, standard devitations and standard errors of seven characters studied as shown in table 1. 2. Y$_1$=a$_1$X$_1$${\times}$P$_1$......(l) where Y$_1$ means yield per l0a by branch number and leaf weight determination. a$_1$.........leaf weight per branch. X$_1$.......branch number per plant. P$_1$........plant number per l0a. 3. Y$_2$=(a$_2$${\pm}$S. E.${\times}$X$_2$)+P$_1$.......(2) where Y$_2$ means leaf yield per l0a by branch length and leaf weight determination. a$_2$......leaf weight per meter of branch length. S. E. ......standard error. X$_2$....total branch length per plant. P$_1$........plant number per l0a as written above. 4. Y$_3$=(a$_3$${\pm}$S. E${\times}$X$_3$)${\times}$P$_1$.....(3) where Y$_3$ means of yield per l0a by branch diameter measurement. a$_3$.......leaf weight per 1cm of branch diameter. X$_3$......total branch diameter per plant. 5. Y$_4$=(a$_4$${\pm}$S. E.${\times}$X$_4$)P$_1$......(4) where Y$_4$ means leaf yield per 10a by node number determination. a$_4$.......leaf weight per node X$_4$.....total node number per plant. 6. Y$\sub$5/= {(a$\sub$5/${\pm}$S. E.${\times}$X$_2$)Kv}${\times}$P$_1$.......(5) where Y$\sub$5/ means leaf yield per l0a by branch length and leaf area measurement. a$\sub$5/......leaf area per 1 meter of branch length. K$\sub$v/......leaf weight per 100$\textrm{cm}^2$ of leaf area. 7. Y$\sub$6/={(X$_2$$\div$a$\sub$6/${\pm}$S. E.)}${\times}$K$\sub$v/${\times}$P$_1$......(6) where Y$\sub$6/ means leaf yield estimated by leaf area and branch length measurement. a$\sub$6/......branch length per l00$\textrm{cm}^2$ of leaf area. X$_2$, K$\sub$v/ and P$_1$ are written above. 8. Y$\sub$7/= {(a$\sub$7/${\pm}$S. E. ${\times}$X$_3$)}${\times}$K$\sub$v/${\times}$P$_1$.......(7) where Y$\sub$7/ means leaf yield estimates by branch diameter and leaf area measurement. a$\sub$7/......leaf area per lcm of branch diameter. X$_3$, K$\sub$v/ and P$_1$ are written above. 9. Y$\sub$8/= {(X$_3$$\div$a$\sub$8/${\pm}$S. E.)}${\times}$K$\sub$v/${\times}$P$_1$.......(8) where Y$\sub$8/ means leaf yield estimates by leaf area branch diameter. a$\sub$8/......branch diameter per l00$\textrm{cm}^2$ of leaf area. X$_3$, K$\sub$v/, P$_1$ are written above. 10. Y$\sub$9/= {(a$\sub$9/${\pm}$S. E.${\times}$X$_4$)${\times}$K$\sub$v/}${\times}$P$_1$......(9) where Y$\sub$7/ means leaf yield estimates by node number and leaf measurement. a$\sub$9/......leaf area per node of branch. X$_4$, K$\sub$v/, P$_1$ are written above. 11. Y$\sub$10/= {(X$_4$$\div$a$\sub$10/$\div$S. E.)${\times}$K$\sub$v/}${\times}$P$_1$.......(10) where Y$\sub$10/ means leaf yield estimates by leaf area and node number determination. a$\sub$10/.....node number per l00$\textrm{cm}^2$ of leaf area. X$_4$, K$\sub$v/, P$_1$ are written above. Among many estimation methods. estimation method by the branch is the better than the methods by the measurement of node number and branch diameter. Estimation method, by branch length and leaf area determination, by formulae (6), could be the best method to determine the leaf yield of mulberry trees without destroying the leaves and without weighting the leaves of mulberry trees.

• (The) Research of the performance art and culture
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• no.22
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• pp.287-325
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• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.