• Proceedings of the Korea Society of Costume Conference
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• 2003.05a
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• pp.22-22
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• 2003

본 논문은 산대놀이가 제의적인 성격과는 달리 숙종 이후부터 흥행을 목적으로 한 순수한 놀이문화로 변모하게 된 과정을 검토하고 광범위한 조선시대 나례와는 달리 17세기 이후 재창출된 문화로서 조선 전·후기의 문화적 특징을 연구하고자 한다. 쇠퇴기인 일제 강점기까지 민간 예능인들이 장시를 중심으로 양반에 대한 풍자 고발 문화를 복식에서 어떻게 형상화하였는지 그 구성상 특징과 상징적 의미를 논하고자 한다. 이 연구를 통해서 과거의 전통극을 현대적 의미로 대중화시킬 수 있다는 가능성을 확인하고 한국복식에서 공연복식의 위치를 규명하고자 한다.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.79-94
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• 2004

The main purpose of this study is to discribe the transfiguration process and the symbols of theatrical costume of Sandai masque(산대놀이) during the Choson Dynasty. Sandai masque as a popular play is a very important form in the history of the Korean theatre. Furthermore in order to analyze the mutual relationship and difference between in the early and later Chosen Dynasty, Narye has is stressed deeply a national amusement event. In the early years of Choson Dynasty, non-official culture such as outside of Seoul and Seoul were subject to the official culture of the Court. In the late years, actors become more and more libral, separating themselves from the systemical restriction. The main reason for this is the growth of capitals in private sectors as well as the growth in demand for entertainment among private citizens. On these backgrounds, the transfiguration process of Sandai masque have changed the treatrical costume. The treatrical costume carries symbolic meaning to the obserber. The value of symbol changes as the time passes, overtime thereby altering its meaning as well. The caracters and plots change inevitably over years but the basic theme remains. The symbols of theatrical costume of Sandai masque are mainly focused on three subjects: first, the entrance of a dragon and tiger originated in the exorcism for good harvest; second, color symbolism expressed in the confrontation between red and black; and third, associate characteristics of dress forms related to regoinal classification of the mask dance.

• (The) Research of the performance art and culture
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• no.36
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• pp.783-837
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• 2018

This study examines the lives and the performances of the people who participated in Songpa Sandae-nori(a korean traditional mask dance drama) before and after the designation as cultural heritage, and reviews the changes and the inheritance patterns of the mask dance which appeared in the lives of the performers. Chapter 2 reviewed previous debates about the derivational theory and the players of Songpa Sandae-nori before the flood in 1925, and discussed on awareness and the characteristics of the performers found through the review. Then the study went on to the inheritance patterns of the drama before the designation, focusing on the figures of Dolmari(a name of village in Songpa, Seoul) players who led the stage after 1925. As a result, the missing part of the activities and the lives of Dolmari performers have been more clearly identified, especially about Lee Beomman, Yeo taesan and Eum Joongeun(the main performers of Songpa Sandae-nori). Chapter 3 is about the inheritance patterns of the cultural heritage after the designation, and Heo Hoyoung was the main focus of the discussion. The researches so far have admitted his great contributions to the designation of cultural asset, although they have not proved how. After investigating various records and combining the testimonies of his students and locals, Heo Ho-young was found that he did not only gave plays of Songpa Sandae-nori but also actively engaged in the field of various traditional arts. Furthermore, jokes, dances, and masks left by him are considered to be evidences to reassess his performances.

• (The) Research of the performance art and culture
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• no.35
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• pp.543-552
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• 2017

• Journal for History of Mathematics
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• v.18 no.1
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• pp.49-66
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• 2005

We briefly survey the history of abacus and counting rods which had been most widespread devices for arithmetical calculations. And we explain and compare the methods and principles of calculation on the abacus and counting rods. Only multiplication and division are presented here with examples. In these course we can see that the principles of calculation on the abacus are inherited from that of calculation on the counting rods. We also discuss the educational value of the abacus.

• Communications of Mathematical Education
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• v.28 no.3
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• pp.375-394
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• 2014

The purpose of this study is to examine the transition of mathematical representation in Joseon mathematics, which is focused on numbers and operations, letters and expressions. In Joseon mathematics, there had been two numeral systems, one by chinese character and the other by counting rods. These systems were changed into the decimal notation which used Indian-Arabic numerals in the late 19th century passing the stage of positional notation by Chinese character. The transition of the representation of operation and expressions was analogous to that of representation of numbers. In particular, Joseon mathematics represented the polynomials and equations by denoting the coefficients with counting rods. But the representation of European algebra was introduced in late Joseon Dynasty passing the transitional representation which used Chinese character. In conclusion, Joseon mathematics had the indigenous representation of numbers and mathematical symbols on our own. The transitional representation was found before the acceptance of European mathematical representations.

• Journal for History of Mathematics
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• v.25 no.4
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• pp.1-10
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• 2012

In Chinese mathematics, there have been two numeral systems, namely one in spoken language for recording and the other by counting rods for computations. They concerned with problems dealing with practical applications, numbers in them are concrete numbers except in the process of basic operations. Thus they could hardly develop a pure theory of numbers. In Song dynasty, 0 and TianYuanShu were introduced, where the coefficients were denoted by counting rods. We show that in this process, counting rods took over the role of the numeral system in spoken language and hence counting rod numeral system plays the role of that for abstract numbers together with the tool for calculations. Decimal fractions were also understood as denominate numbers but using the notions by counting rods, decimals were also admitted as abstract numbers. Noting that abacus replaced counting rods and TianYuanShu were lost in Ming dynasty, abstract numbers disappeared in Chinese mathematics. Investigating JianJie YiMing SuanFa(簡捷易明算法) written by Shen ShiGui(沈士桂) around 1704, we conclude that Shen noticed repeating decimals and their operations, and also used various rounding methods.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.39-48
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• 2020

This study examined the type, the structural shapes, and the representation of Sandae, which was the stage for traditional performing arts and constructed for the purpose of imperial processions, ritual ceremonies, banquets, etc. from the Goryeo Dynasty to the Late Joseon Dynasty, and the implications of Seokgasan, which was built in the same era. First, through the history and meaning of Sandae, it was confirmed that Sandae has a homogeneity with Seokgasan, which attempted to imitate the shape of "Mountain" in the outer space. The construction of Sandae was deeply related to the tradition of famous mountains. This is consistent with the fact that 'Famous mountains and lakes" in China was symbolically replicated on the Seokgasan in the front yard of the "Cheongyeongak" in the Goryeo Dynasty. Second, Sandae and Seokgasan differed in their structural shapes, materials, and production methods, but they were used as a stage background for national events by constructing in the shape of the mountain, and appeared in various types. It can be seen that the interest in gardens and art of those days has resulted in various formative expressions of nature through the shape and symbolic meaning of the Sandae that mimics the mountain. Third, it is presumed that the square pond with lotus flowers, which is believed to have been located in the center of the garden of Shin Jaehyo's old house, and the Sugak and Seokgasan adjacent to it were not only elements of the garden, but also functioned as a background for the training and performance stage of Shin Jaehyo's students.

• Monthly Korean Chicken
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• v.18 no.8
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• pp.106-109
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• 2012

농촌진흥청은 여름철 보양식으로 알려진 삼계탕의 수출확대 방안으로 미국, 일본, 중국 등 각 나라의 기호도를 고려한 삼계탕의 다양한 요리법을 신안산대 정재홍 교수팀과 공동으로 개발했다. 각 나라에서 선호하는 음식재료와 다양한 조리방법을 이용한 삼계탕 요리법에 대해 알아보자.

• Journal for History of Mathematics
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• v.19 no.4
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• pp.13-30
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• 2006

The purpose of this study is to investigate the meaning and roles of rhymes in oriental mathematics. To do this, we consider the rhymes in traditional chinese, korean, indian, arabian mathematical books and the mathematical knowledge which they implicate. And we discuss the reasons for which they were often used and the roles which they played. In addition, we suggest how to use them in teaching mathematics.