• Title/Summary/Keyword: 역할 공유

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An Exploration of MIS Quarterly Research Trends: Applying Topic Modeling and Keyword Network Analysis (MIS Quarterly 연구동향 탐색: 토픽모델링 및 키워드 네트워크 분석 활용)

  • Kang, Eunkyung;Jung, Yeonsik;Yang, Seonuk;Kwon, Jiyoon;Yang, Sung-Byung
    • Journal of Intelligence and Information Systems
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    • v.28 no.2
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    • pp.207-235
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    • 2022
  • In a knowledge-based society where knowledge and information industries are the main pillars of the economy, knowledge sharing and diffusion and its systematic management are recognized as essential strategies for improving national competitiveness and sustainable social development. In the field of Information Systems (IS) research, where the convergence of information technology and management takes place in various ways, the evolution of knowledge occurs only when researchers cooperate in turning old knowledge into new knowledge from the perspective of the scientific knowledge network. In particular, it is possible to derive new insights by identifying topics of interest in the relevant research field, applied methodologies, and research trends through network-based interdisciplinary graftings such as citations, co-authorships, and keywords. In previous studies, various attempts have been made to understand the structure of the knowledge system and the research trends of the relevant community by revealing the relationship between research topics, methodologies, and co-authors. However, most studies have compared two or more journals and been limited to a certain period; hence, there is a lack of research that looked at research trends covering the entire history of IS research. Therefore, this study was conducted in the following order for all the papers (from its first issue in 1977 to the first quarter of 2022) published in the MIS Quarterly (MISQ) Journal, which plays a leading role in revealing knowledge in the IS research field: (1) After extracting keywords, (2) classifying the extracted keywords into research topics, methodologies, and theories, and (3) using topic modeling and keyword network analysis in order to identify the changes from the beginning to the present of the IS research in a chronological manner. Through this study, it is expected that by examining the changes in IS research published in MISQ, the developing patterns of IS research can be revealed, and a new research direction can be presented to IS researchers, nurturing the sustainability of future research.

Speaking Student Activism in the 2010s -Experience of Student Activism in the 1990s and 2010s and the Composition of 'We' (2010년대에 '학생운동' 말하기 -1990년대와 2010년대의 학생운동 경험 구술과 '우리'의 구성)

  • Kim, Si-Yeon
    • Journal of Popular Narrative
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    • v.26 no.1
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    • pp.135-174
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    • 2020
  • The article focuses on the student activism experience of the 1990s and 2010s and on the accumulation of everyday experiences created by the conditions of the 2010s against the backdrop of differences in how the composition of 'we' is portrayed in oral narrative. What stands out in the 90s oral narratives on student activism experiences, which were compiled in the 2010s, is the distancing of the culture of student activism at that time. In the words of speakers who experienced university life in the 1990s, the culture of student activism at the university was created through private relationships, and was, needless to say, considered 'natural'. At the same time, however, the 'natural' is said to be 'abnormal' or 'strange' in the context of the 2010s in which it is being talked about, and is meant to be an experience with a certain distance from the present speakers. This aspect is associated with the conditions under which the experience of the 90s is being described in the 2010s. The present, which explains past experiences to speakers, was explained after the 2016 candlelight protest and Gangnam Station femicide protest, and is described as a world that is qualitatively different from before, and is located as an opportunity to create a critical distance from past experiences. This qualitative change, which raises suspicions about the homogenous "we", is based on a newly acquired sense of gender sensitivity, living since the mid-2010s, when gentler issues were the biggest topic in Korean society, among others. In the 2010s, the composition of 'we' is no longer understood as a community of people who share any commonality, but as individuals who unite despite numerous differences. This reveals the experiences of those who have already embodied this in their everyday senses in the 2010s. The 'we' they formed should have nothing to do with private relationships, nor was homogeneity considered the most prominent group, so it was nothing that could explain the 'me' at the time of the demonstration and outside of the venue. It was in that context that the relevant experience was described in a cautious manner throughout. This, in turn, raises the need to ask and understand a new sense of student activism and, moreover, social movements and the sense of unity as 'we'. It should also be asked who is the main body of the movement and what is the use of asking it. Soon, the need and meaning of defining the fixed identity of 'we' in the movement should be questioned. Therefore, it should be asked what fixed positions or coordinates can really represent someone's position.

A Study on the Principle of Making-Music of the Chaegut ("Stroke Music") in Farmers' Band Music (풍물굿 채굿 가락의 형성원리에 관한 연구)

  • Lee, Yong-Shik
    • (The) Research of the performance art and culture
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    • no.39
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    • pp.669-700
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    • 2019
  • Farmers' band music is a religious ritual in Korea. It is a solemn ritual to exhibit the auspicious holiness of the people to the God. Most of the ritual is accomplished by music. The music of the farmers 'band, in this sense, has its meaning as the expression of holiness by sound. In this paper, I will explore the principle to make various rhythms of farmers' band music, especially focusing on the chaegut (lit. "stroke music"). It is very symbolic because the name of the music shows the strokes of the gong, called jing, in a rhythmic phrase. In this sense, the chaegut is man-made music based on the specific principles in accordance with the strokes of the gong. Among many chaegut rhythms, samchae (lit. "three strokes") to chilchae (lit. "seven strokes") are the main rhythms. They were made after the principle of 'forward with drums, backward with gongs' in Five way procession. It the basic principle of military procession from the early Joseon Dynasty. The procession follows with the sound of the drums and gongs. There was always a principle of "five strokes" to control the procession. The "five strokes" became the basis of the making of chaegut rhythms. The rhythms of the samchae to chilchae are based on the rhythm of samchae. The samchae has three gong strokes in a cycle, which exhibits the chaotic moment with the rhythmic noise. The name of the rhythm exhibits the correspondence of the signifiant, that is the name "three strokes" and the signifié, that is the real three strokes of gongs in music. Other four rhythms has made up from the samchae with half cycles are added in accordance with the strokes of the gongs. In this way, the chaegut shows the principle of "five strokes" in the military procession. The rhythm of ochae jilgut is a mixture of ochae (lit. "five strokes") and jilgut (lit. "road music") which is usually performed on the road to a mountain shrine. The musical structure of ochae jilgut corresponds to the colotomic structure of Southeast Asian music and the 15th-century music of old musical scores. The rhythm of gilgunak chilchae is a mixture of gilgunak (lit. "road military music") and chilchae (lit. "seven strokes"). The rhythmic structure is similar to other regional music, sijo ("short song") of the literati music and norae garak (lit. "some melody") of the shaman music. In sum, the chaegut is very artistic music made from the military procession of the Joseon Dynasty. The name of the rhythm corresponds with the strokes of the gong in a cycle. In this way, the chaegut shows the principle of music-making to exhibit the ritual characteristics of the Korean people.

Reader-Response Criticism about the Functional relation of Romance, Women and Patriarchy -Based on Janice A. Radway's Reading the Romance: Women, Patriarchy and Popular Literature (로맨스, 여성, 가부장제의 함수관계에 대한 독자반응비평 -제니스 A. 래드웨이의 『로맨스 읽기: 여성, 가부장제와 대중문학』을 중심으로)

  • Lee, Jung-Oak
    • Journal of Popular Narrative
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    • v.25 no.3
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    • pp.349-383
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    • 2019
  • This paper examined the meaning and task of romance research with a focus on Reading the Romance(1984) by Janice A. Radway. This book, which analyzes romance texts by examining the situation and meaning of reading romance by women readers integrating between cultural studies and literary studies, is one of the most popular studies on the romance genre. Radway scrutinized the practical significance of reading romance in a community of women readers. Through a study involving questionnaires and in-depth interviews, she found that for women, romance reading is a 'compensatory fiction' that brings happiness and emotional redemption through a sense of liberation achieved by escaping from patriarchal daily life. The romance that women prefer is composed of 4 stages and 13 divisions: 'Encounter → Attest → Recovery → Happy End'. It also maintains a formula that begins with an immature female character's identity crisis and ends with a blissful union that recognizes the intrinsic value of the main character, who has turned into a man who is considerate of the women. Therefore, romance plays the role of pursuit of the 'female utopian fantasy' and at the same time a reconciliation of women to patriarchy. Feminist critics of the day criticized this argument. However, reading romance is a 'feminine reading', and romance is literature about the functional relationship between women's lives and patriarchy. Yet the interpretation could differ depending on the different viewpoints and definitions of the women's utopian fantasy. In recent years, the conditions of female reader's lives, awareness and imagination have been changing rapidly. As a result, the female utopian fantasy has also changed significantly. Nevertheless, women's lives in the real patriarchal system are still contradictory, and their adventurous imagination is spreading in alternative spaces such as the subculture. In this regard, the question is about the definition of romance and the meanings of romance research are still important task.

The 50th Anniversary of the UNESCO World Heritage Convention: present status and challenges (유네스코 세계유산 협약 50주년, 현재 및 과제)

  • LEE Hyunkyung ;YOO Heejun ;NAM Sumi
    • Korean Journal of Heritage: History & Science
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    • v.56 no.2
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    • pp.264-279
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    • 2023
  • The 50th anniversary of the UNESCO World Heritage Convention was in 2022. In order to reflect on the present and future of the meaning of World Heritage, this paper examines the development and changes of the UNESCO World Heritage system. After promulgating the convention in 1972, the UNESCO World Heritage system prioritized the protection of heritage sites in the world that were at risk due to armed conflicts and natural disasters to bequeath heritage to the next generation. In addition, the UNESCO World Heritage's emphasis on Outstanding Universal Value represents the particular culture of human beings formed during a certain period of time, and acts as a significant source of soft power in public diplomacy. The UNESCO World Heritage might be perceived as a shared heritage that has not only become a channel to understand various national values, but also an effective medium to convey one of UNESCO's main principles, that is, peacebuilding. However, the UNESCO World Heritage is now at the center of conflicts of heritage interpretation between many stakeholders related to invisible wars, such as cultural wars, memory wars, and history wars as the social, political, and cultural contexts concerning World Heritage have dramatically shifted with the passing of time. Paying attention to such changing contexts, this paper seeks to understand the main developments in UNESCO World Heritage's discourse concerning changes to the World Heritage Operation Guidelines and heritage experts' meetings by dividing its 50-year history into five phases. Next, this paper analyzes the main shifts in keywords related to UNESCO World Heritage through UNESDOC, which is a platform on which all UNESCO publications are available. Finally, this paper discusses three main changes of UNESCO World Heritage: 1) changes in focus in World Heritage inscriptions, 2) changes in perception of World Heritage protection, and 3) changes of view on the role of the stakeholders in World Heritage. It suggests new emerging issues regarding heritage interpretation and ethics, climate change, and human rights.

Introduction of the Best Practices in the Pakistan Gulpur HEPP (파키스탄 Gulpur 수력발전 현장의 Best Practices 소개)

  • JANG, Ock Jae;HONG, Won Pyo;CHAE, Hee Moon
    • Proceedings of the Korea Water Resources Association Conference
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    • 2022.05a
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    • pp.216-217
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    • 2022
  • Gulpur 수력발전 프로젝트는 전력난을 겪고 있는 파키스탄에 102 MW 규모의 수력발전소를 건설하여 30년 동안 운영 관리한 후 파키스탄 정부로 양도하는 IPP(Independent Power Producing) 형식의 투자사업이다. 남동발전과 DL E&C, 롯데건설이 Sponsor로서 출자한 자본금과, ADB, IFC, K-EXIM 등의 대주단로부터의 차입금을 재원으로 하여 소요 사업비를 조달하고 사업을 개발하였다. DL E&C와 롯데건설이 EPC(Engineering, Procurement, Construction)를 수행하였고, 이산이 Design consultant의 역할을 수행하였다. Gulpur 수력발전 프로젝트의 발전형식은 수로식(run-of-river)으로 201 m3/s의 발전유량과 102 MW의 발전 시설용량을 이용하여 연평균예상발전량은 398 GWh이다. 주요 구조물로는 설계 재현빈도 1년의 유수전환시설(가물막이댐 & 가배수터널)과 콘크리트 중력식댐(H 67 m, L 205 m), 도수터널(D 6.7 m, L 215 m, 2기), 옥외형 발전소 (H 51 m, W 60 m, L 38 m, Kaplan 2기)가 있으며, 2015년 10월 착공하여 2020년 3월 상업발전을 시작하였다. 본 프로젝트는 DL E&C의 첫 번째 EPC 해외수력발전 프로젝트이다. 따라서 프로젝트의 성공적 수행을 위한 경제적 설계, 시공의 효율성 및 안정성 확보 등을 위하여 많은 연구를 수행하는 과정에서 다양한 기술 개선을 이룰 수 있었다. 본고에서는 Gulpur 프로젝트를 통하여 도출된 성공 사례들을 소개 및 공유하고자 한다. 첫 번째로 콘크리트 중력식댐 시공을 위한 유수전환시설의 최적 설계빈도를 산정하였다. 일반적으로 유수전환시설의 규모는 설계기준에 제시된 설계 재현빈도를 이용하는데, 해외 설계기준에서는 10년, 국내 설계기준에서는 1~2년으로 다르게 제시되어 있는 문제점이 있다. 유수전환시설의 규모는 프로젝트의 경제성에 큰 영향을 미치기 때문에 최적 설계빈도의 결정이 필요하며, 위험도분석기법(Risk Analysis)과 기대화폐가치법(Expected Monetary Value)을 이용하여 유수전환시설의 최적 설계 재현빈도와 이에 영향을 미치는 인자를 분석하였다. 위험도는 몬테카를로 시뮬레이션으로 산정된 가물막이댐 파괴확률과 재현빈도를 이용하여 산정된 가물막이댐 월류확률을 고려하였으며, 비용 및 피해액으로는 유수전환시설의 공사비, 가물막이댐 파괴시의 재건설비용과 지체보상금, 가물막이댐 월류시의 복구비용을 고려하였다. 이에 대한 연구결과로, 유수전환시설의 사용기간과 월류시의 복구비용이 유수전환시설의 설계 재현기간 결정에 가장 큰 영향을 미치는 것으로 나타났고, 특히 월류시의 복구비용이 작을수록 낮은 설계 재현빈도를 선택하는 것이 타당한 것으로 나타났다. 예를 들어, 유수전환시설의 사용기간이 3 ~ 5년, 복구비용이 0.5 ~ 1.0 mil USD 이하인 조건에서 가물막이시설의 최적 설계빈도는 1년 ~ 2년인 것으로 나타났다. 또한, 유수전환시설의 사용기간은 본댐의 규모와 시공기간 등을 고려하여 결정되는 사항으로 설계자가 임의 조정할 수 없지만, 복구비용은 시공 관리자에 따라 결정되는 부분으로, 적극적 홍수 피해 저감 및 복구방안을 마련하는 것이 프로젝트의 경제성을 향상시킬 수 있다는 것을 알 수 있었다. 두 번째로 프로젝트의 경제성 향상, 홍수기 댐 시공시의 안전성 확보를 위하여 홍수 조기경보시스템(Early Warning System)을 개발 및 활용하였다. 수로식(Run-of-river) 수력발전댐은 대부분 산악지역에 위치하기 때문에 국지성 강우 및 급한 지형 경사로 인하여 돌발홍수(flash flood)의 발생 가능성이 높다. 따라서 시공 중 홍수(월류) 발생을 미리 감지하고 현장에 전파할 수 있는, 수로식(Run-of-river) 수력발전댐 현장을 위한 홍수 조기경보시스템이 필요하며, 이를 리스크 인식, 모니터링 및 경보, 전파 및 연락, 반응 능력 향상의 4가지 부분으로 나누어 구축하였다. 리스크 인식 부분에서는 가물막이댐 월류 발생 상황에 대한 위험도, 취약성, 리스크를 제시하였으며, 모니터링 및 경보 부분에서는 상류 측정수위에서 유도된 현장 예상수위와 실제 현장 측정 수위를 대상으로 경보홍수위와 위험홍수위로 나누어 관리하였다. 전파 및 연락 부분에서는 현장 시공 조직을 활용하여 홍수시를 대비한 비상연락체계도(Emergency communication flow chart)를 운영하였으며, 반응 능력 향상을 위해 비상연락체계도의 팀별 Action plan을 상세화 하였다. 세 번째로 현장의 지질특성과 50여 차례 발파시험으로 현장 고유의 발파진동감쇄곡선을 도출하였으며, 이를 통해 현장의 시공성과 콘크리트 품질 확보를 동시에 달성할 수 있는 방안을 제시하였다. 콘크리트댐 공사에서는 제한된 공기 내에 공사를 완료하기 위해 사면부 굴착과 콘크리트 타설이 동시에 수행될 수밖에 없는 문제점을 가지고 있다. 그러나 신규 콘크리트 타설면 근처에서 발파를 수행하는 경우 발파로 발생되는 탄성파가 일정 수준을 초과하게 되면, 콘크리트 양생에 영향을 주게 된다. 따라서 다수의 현장 발파시험을 통해 발파거리와 최대진동속도의 상관관계 즉, 발파진동감쇄곡선을 도출함으로써 현장의 발파진동특성을 도출할 수 있었다. 또한, 기존 연구 논문들을 통해 콘크리트 재령기간 별 안전진동속도를 선정하고, 해당 안전진동속도를 초과하지 않는 범위에서 콘크리트 타설면과 발파위치의 거리에 따라 1회 발파 가능한 장약량을 산정하여 적용하였다. 이와 같은 체계적인 접근을 통해 콘크리트 타설과 발파 작업 동시 수행에 대한 논란을 해소할 수 있었다.

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A Case Study of Successful Strategy for Farm's Franchise Commercialization through Local Agricultural Products - Focusing on the case of Jung Donuts Co. Ltd., in Yeongju, Gyeongbuk - (지역농산물을 이용한 농촌프랜차이즈 사업화 성공 사례연구 - 경북 영주시 (주)정도너츠 사례를 중심으로 -)

  • Seo, Min-gyo;Hwang, Bo-Jun;Song, Ji-Hyeon
    • The Korean Journal of Franchise Management
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    • v.4 no.1
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    • pp.1-24
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    • 2013
  • The purpose of this work is to analyze the case that Yeongju Municipality Government of Gyeongbuk and Jung Donuts Co., Ltd., a franchise company, activated local economy through Farm's Franchise Commercialization (FCC) and to establish the concept of FCC. As a food service franchise company, Jung Donuts specializes in making and selling glutinous rice donuts. In cooperation with Commodity Dept. of Yeongju Municipality Government, the company cultivates raw materials under contract. Such farm's franchise business has the following advantages: First, it is meaningful in the point that it contributes to opening a new market of local agricultural products in a stable way. In short, by using most agricultural products of Yeongju as raw materials, the business serves as a stable market for farmers. Secondly, it is possible to set a reasonable price through stable supply of raw materials. It is to advantages of both producers and consumers. Thirdly, the business brings about the effect of employment rise. It can cause increases in employment of franchise head office and its agencies, and of the Commodity Dept.. Lastly, it produces the promotion effect of local special products. By expanding its agencies across the country, a franchise business can promote the items of raw materials in terms of marketing. The successful FCC needs to meet three requirements as follows. The first one is to establish systematic logistic system. Stable logistic system is required in order to directly distribute and deliver products to nationwide agencies by a producing place. The second one is constant R&D activity. Through the activity of R&D of raw materials and equipment, they should be used most effectively. The third one is to build mutual trust relationship. For long-term business achievements, it is required to establish mutual trust relationship in which relevant entities share their visions with each other and cooperate with each other.

Performance Features of Pansori Drummer from a viewpoint of the Relationship with Singer (창자와의 관계에서 본 판소리 고수의 공연학)

  • Song, Mikyoung
    • (The) Research of the performance art and culture
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    • no.23
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    • pp.63-103
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    • 2011
  • This paper inquires closely into the background of pansori gosu(drummer) and his social position based on documents and oral materials and the performance features of gosu in the entire process of pansori performance, 'preparation', 'performance' and 'aftermath', focused on the relationship between the changja(singer)-gosu. In the past, some gosus were ex-tightrope performers. Their social position and working conditions were better than that of the ex-tightrope performers but were worse than that of the pansori singer. After 1910's, people formed some special sense about the gosu due to the change of the space for pansori performances and the technological advances on the media, and gosu's conditions improved. The theory of pansori drum gradually began to be established well. The function and the role of gosu in the whole process of pansori performance may be summarized as follows. To begin with, the training with various and a lot of singers is required in the 'preparation'. Rehearsals are divided into individual practices and joint practices, and the latter can be controlled by the level of the capacity of gosu and the degree of the experience between chanja-gosu. Next, bobiwi(flattering drumming) and chuimsae(encouraging remarks) are important in tbe 'process'. The gosu has to share the speed of one jangdan(rhythmic patterns) and the accent of the sori and adjust his enery. Besides, he has to acknowledge the naedeureum(beginning sign) and reply with changja's singing. In formal performances, working in harmony with changja and gosu and their joint experiences are necessary for the gosu; in pansori contests, giving chanja a stability; in contests for gosu, drumming skill, position, chuimsae; in small performances and new adaptation of pansori, cheap fees and positive response of the transformational play or ad-lib; in lecturer concerts, reacting quickly to rapidly changing situations. Chuimsae is way which gosus and audiences express their feeling together, however, its context and sound are different. Finally, 'aftermath' is a process the pair of chamgja and gosu mutually evaluates about performance or audiences estimate that.

Study of the rise and the characteristic of 'Hyangto Gakeuk' - focusing on the Composer Ahn Ki-Young's works (근대 '향토가극'의 형성과 특질 연구 - 안기영 작곡 가극 작품을 중심으로 -)

  • Yoo, In Gyeong
    • (The) Research of the performance art and culture
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    • no.19
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    • pp.221-280
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    • 2009
  • This thesis is a study of the rise and the characteristic of 'Hyangto Gakeuk(literally Song drama of the country or local music drama)' in the Early 1940s. During the colonial period, there were attempts to incorporate traditional Korean music elements with Western operatic form. This type of music drama with librettos based on traditional tales came to be known as 'Hyangto Gakeuk'. Mostly 'Hyangto Gakeuk' has led this effort under the director Seo Hang-Suk, the composer Ahn Ki-Young and the lyricist Seol Eui-sik. In the first chapter, the study aims at arranging the performance history of 'Hyangto Gakeuk' composed by Ahn Ki-Young. Also, the study examined representative works after classifying 'Hyangto Gakeuk' performed by Lamila Music Drama Troupe, and Bando Music Drama Troupe. There is significant meaning to evaluate 'Hyangto Gakeuk' in the history of Korean music drama through this analysis of the performance history. In the second chapter, I will analyze with representative works composed by Ahn Ki-Young, a pioneer in the Korean art song. He tried to create the music that held the nationalism and tradition. His works which were called 'Kageuk' laid down the foundation of Korean original operatic style. This study demonstrated characteristics of 'Hyangto Gakeuk' as 'the beginning' in modern musical drama history and its effects on Korean musical drama developments. Namely, 'Hyangto Gakeuk' based on Korean traditions can be seen as examples of original modern musical in Korea. Practically, study on all the aspects of performance not only text generally studied, dramaturgy and criticism, but also performance concept and intention of creators in early period.

Symbolism of the Ginseng Culture in Korean Lifestyle (한국인 생활 속 인삼 문화의 상징성)

  • Soonjong Ock
    • Journal of Ginseng Culture
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    • v.6
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    • pp.35-50
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    • 2024
  • "Culture refers to the behavioral and lifestyle patterns that a society has shared and transmitted within the community over a long period. Ginseng, frequently encountered in the daily life of Koreans through tools, crafts, folklore, and poetry, holds a deep place in the behavioral and lifestyle patterns of the Korean people. Ginseng, engraved in everyday objects, crafts, and poems, is symbolic in our culture as a representation of longevity and well-being. Ginseng elegantly depicted on ceramics serves as a symbol of longevity along with aesthetic beauty. The common inclusion of ginseng in ritual items in mountain deity beliefs, particularly represented by the 'Bullocho' (不老草) ginseng, reflects a strong belief in the mystical qualities of ginseng associated with longevity and prosperity. The incorporation of ginseng into commonly used everyday tools such as rice cakes, dining tables, decorations, matches, and fans suggests that ginseng was considered a talisman symbolizing health and longevity, kept close as a wish for good fortune. Rice cakes, often presented at ceremonies like ancestral rites, 60th-anniversary celebrations, weddings, and birthdays, had ginseng patterns carved into them as a way for our ancestors to inscribe the spirit and health-symbolizing ginseng onto the food. In family communities, ginseng patterns are frequently found on utensils related to eating, such as chopsticks, spoons, tea cups, and trays. Among the various folklore related to ginseng being passed down, the most prevalent are anecdotes illustrating its efficacy. Ginseng, gifted and exchanged as a symbol of gratitude in letters and poems, goes beyond being a mere medicinal herb to embody friendship and blessings. The symbolism of ginseng, as revealed in everyday objects, artworks, poems, and letters, can be summarized as follows: 1. In folklore and legends, ginseng symbolized filial piety offered to parents. 2. It represented gratitude sent to respected teachers and close friends. 3. Ginseng depicted on daily objects and artworks not only showcased aesthetics but also played a magical role in symbolizing longevity and well-being. Ginseng patterns on items like rice cake molds and dining tables embody the spirit of a caring community, wishing for longevity and prosperity."