• (The) Research of the performance art and culture
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• no.23
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• pp.347-368
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• 2011

This article is a review of the composition pattern of Suryukjae, which is one of the Buddhist ceremonies, and a consideration of the performance process. As one of the ceremonies leading the dead to heaven performed in the Buddhist circle, Suryukjae had been performed in Buddhist temples nationwide, but currently, it remains only in several Buddhist temples. Suryukjae is composed as follows. First, the early part of Suryukjae is a stage of preparing Suryukjae and ensuring legitimacy; thus, it has no detailed Jaecha except for Gwanyok. It is made up of Onghoge and Dage, has no Somun, and is centered on Yojabbara. The middle part of Suryukjae is a part in which Suryukjae is performed on a full-scale, which wishes the achievement of the goal of Suryukjae. It is made up of Geobul, Dage, and Somun, and is centered on Sadaranibara. Furthermore, this part delineates the flow of the Jaecha concerned as it contains detailed Jaecha. Meanwhile, in the middle part of Suryukjae, there is only detailed Jaecha called Sajadanman Bongsong (sending off), and the rest parts including Orodan, upper part, middle part, and lower part, in which there is no detailed Jaecha called Bongsong. The fact that there is no Bongsong in this part means all Bongsong is made in Heuihyang Bongsong, which is the last Jaecha. This implies that Saja, which is enshrined in Sajadan, is the essence of the achievement of the goal of Suryukjae. Only when there is Saja, Muju, Yuju, and Gohon (the meaning of all spirits) can be led to heaven. Also, from a rough perspective, this part is connected to other Chundojae (ceremony for sending off the dead to heaven) in Korea. There is a geori(Jaecha) that calls in Saja also in Jinogigut (exorcism) of Seoul. Then, although various gods from the otherworld are coming in in succession, to which Saja enters clearly shows a process in that Saja returns to the next world with the dead through . Just as demonstrates a process in that Saja returns to the next world with the dead in Jinogigut, also in Suryukjae, Saja needs to return to the next world with Gohon; therefore, at least Sajadan has detailed Jaecha called Bongsong. That is, this means that although Suryukjae of Buddhism is different from other Chundojae in terms of the composition of Jaecha, its notion about Saja is the same.

• Korean Journal of Clinical Laboratory Science
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• v.54 no.3
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• pp.224-238
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• 2022

The environment and scope of work of optometric personnel in ophthalmology are unknown. We aimed to investigate these topics using an online survey. Based on the results obtained, we also make policy proposals from the perspective of clinical laboratory technologists to the University-Association-Academy. The age distribution of the study subjects was as follows; 20s (40.7%), 30s (28.4%), 40s (23.5%), and 50s (7.4%). Women constituted 56.0% of the cohort, and careers were evenly distributed from <1 to ≥15 years. We found optometric personnel had high levels of work-related stress, frequent occupational diseases, and that their duties were wide in scope. More manpower is needed to reduce work stress and improve work satisfaction. Clinical laboratory technologists held more senior positions at 48% compared to others and the occupational distribution was closely related to the senior occupation (P<0.001). Clinical laboratory technologists were responsible for about 30 types of eye examinations, and the most frequently performed examination was the refraction test; anomaloscopic examinations took the most time (27 minutes). Taken together, clinical laboratory technologists perform various eye exams. Given the importance of clinical laboratory technologists in optometry, a multifaceted effort is required at the University-Association-Academy.

• Korean Journal of Clinical Laboratory Science
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• v.55 no.1
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• pp.52-64
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• 2023

This study aimed to examine the types and characteristics of otorhinolaryngology examinations performed by clinical laboratory technologists and to investigate the working environment and scope of work of otorhinolaryngology laboratory personnel using online questionnaires. Based on the research results, constructive policy measures for the University-Association-Society were also presented. Most of the survey respondents were in their 40s (34.1%). Females accounted for 80.2% of respondents and 30.8% of them had a career spanning 15 years or more. We found that laboratory personnel had a wide scope of work, high work stress and frequently suffered occupational diseases. We observed that, to reduce stress and increase satisfaction, an expansion of the workforce was necessary. Compared to other occupations, 72% of clinical laboratory technologists occupied more senior positions, occupational distribution depended on senior positions (P<0.001). Clinical laboratory technologists performed about 26 types of otorhinolaryngology examinations. The most frequent test performed daily was pure tone audiometry, and polysomnography took the longest test time, with an average of 8 hours. In conclusion, clinical laboratory technologists were in charge of various specialized otorhinolaryngology examinations. Considering the importance of clinical laboratory technologists in otorhinolaryngology, the University-Association-Society should put in additional effort into nurturing otorhinolaryngology examination experts.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.139-147
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• 2019

This study conducted bibliometric analysis on studies of Korean intangible cultural heritage dance in the Seoul area and it aimed to figure out the tendencies of that research. For this, a list of Korean intangible cultural heritage dance studies of 24 events was collected and analysis was conducted through the big data analysis solution of TEXTOM. Text mining was used as the method for analysis. Research results showed that first, most of the studies were conducted on the Bongsan Talchum and studies on teaching and learning methods were especially actively conducted. On the other hand, there were not many studies on Gut and the need for research vitalization in that area was confirmed. Second, in studies on Cheoyongmu events, the term'contemporary Cheoyongmu' was used frequently. This can be considered the use of meaningful terms with regard to intangible cultural heritage dance that has changed throughout history. At this, the vitalization of research that can reveal the typicality of dance is demanded from research of other events as well. Third, there was a notable amount of research that compared and analyzed dance styles with regard to the Munmyoilmu. This was seen as the result of discussions in the Korean dancing world regarding archetypal dance styles expanding into academic discussions. Therefore, it was revealed that academic discussions can connect to academic outcomes apart from whether the matter is right or wrong.

• (The) Research of the performance art and culture
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• no.33
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• pp.97-128
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• 2016

According to the findings of the study, the music composition of the mask play is deeply related to the main characteristics of the scene. The first scene of the play starts with the Byeoksa dance. This particular dance part represents the evil spirit expel ritual. The instrumental accompaniment like and are played for the dance. The last part of the play starts with the Halmi and Yeonggam scene. This scene is played in both the instrumental and vocal music. For the instrumental part , for the vocal part and songs are played. and songs are played on the part of the Halmi's funeral ceremony scene. The instrumental and are played in various scenes for the accompaniment of the dance part. The musical structure of the mask play is flexible. This kind of flexibility of scene structure mainly concerned with the way of musical composition. The main structure of the mask play can be classified into two main styles according to the allocation of the vocal music. In first style, the vocal music is evenly dispersed. In second style, the vocal parts are concentrated in the rear section. As I mentioned earlier, no logical association is found in the matter of the scene arrangement. A scene arrangement has a deep connection with the arrangement of the music in each scene. In conclusion, the mixed arrangement of the scene in mask play is mainly concerned with the matter of the music arrangement in order to maintain the tension of the drama.