• (The) Research of the performance art and culture
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• no.41
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• pp.285-320
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• 2020

This study aims to examine the processes of changes of the two main roles, Sangjwa(the young Buddist monk) chum and Omjung(the monk with a boil on his face) chum, performed in Yangju Byeolsandae Nori, on the basis of Chumsawi (dance-movement). Above all, having studied many artistic remains performed by Jo jong sun, Jung han gyu, Park jun seup, Kim sung tae from 1929 to 1942, two main roles, in which Geodeureum chum is now an essential part in almost all performances, were then played only in Kkaekki chum to Taryong Jangdan without performances of Geodeureum chum. In case of Sangjwa chum, players had performed ad libitum and without restraint only on the basis of five sorts of Kkaekki chum's movements. In Omjung chum, witty remarks along with the drama had become more important factors than dances. Let alone two main roles, other parts then also showed no big changes in dance performance. Performers just tried to maintain its slender existence within stifling atmosphere because of oppressions and restraints during the Japanese imperialism. After the restoration of independence in 1945, Kim sung tae and his disciples made a great effort on the restoration of Talnori. During the Korean war, many players also endeavored to keep a good track of Talnori, teaching and training their young followers. Especially performers such as Park jun seup, Park sang hwan, Kim sung tae, and Lee jang sun put much more efforts on restoring Talnori. From that time, Geodeureum chum began to appear in two main roles' performances. In Sangjwa's performances, Byeogsa ritual dance, which was performed to Taryong Jangdan, changed into performances to Yeombul Jangdan, and Kkaekki chum -originally slow and ritual dance, became very fast and active one. Geodeureum chum, called Yongteulim, was added in Omjung chum, so that dance had more important role in performance. Even at this time, dance movements were not clearly and completely organized and arranged, because Geodeureum chum's performance was not clearly defined as orderly dance movements but was regarded as just a movement. After Geodeureum chum being designated as a cultural treasure, Lee byeong kwon took over the task from Park sang hwan, Sangjwa chum's performer, so Geodeureum chum became much more well organzied, arranged and orderly. Geodeureum chum played by Sangjwa had almost the same order of scenes and movements as Geodeureum chum played by Yeonnip. Based on this performance, the order of dances and movements was consistently arranged and settled. Following Park jun seup's performances, Jangsam was more widely applied and used in Omjung chum than ever before, so Omjung chum became much more organized and arranged. Well-arranged Omjung chum had also almost the same dances and movements as Nojang chum's. Yeonnip and Nojang's performances were not directly and intentionally studied and applied to two main roles in Yangju Byeolsandae Nori. Players seemed to borrow those parts naturally through many times of performances. Through their persistent efforts, Jangdan and dance movements have more clearly and completely been organized, establied, and improved through many years' performances. And dance movement can be performed exactly to Jangdan, so we have more complete and orderly types of dance movements. Thanks to many performers' efforts, Sangjwa chum has been established as one that only top performer can play, and Omjung chum has become an integral part in Yangju Byeolsandae Nori.

• Journal of the Korean Geographical Society
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• v.38 no.2
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• pp.184-205
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• 2003

Sustainable Development(SD) is an important concept for the future of the coastal area, and for development of fishing villages. Since 1992 UN Conference on Environment and Development in Rio de Janeiro many governments and local authorities throughout the world have been engaged in preparing and implementing $\ulcorner$Agenda 21$\lrcorner$. Many projects which previously would have been identified as environmental protection are now presented under the banner of sustainable development. Integrated Coastal Management (ICM) is an extension of sustainable development. ICM was presented as a framework for resolution of coastal use conflicts. The aim of the present paper is to assess sustainable development potential of fishing villages in Cheonsu Bay Region according to implementation of ICM. Cheonsu Bay Region was known as one of the productive fishing grounds and Cheonsu Bay Region preserved unique characteristics of traditional fishing villages. But this region is now experiencing many changes through the massive reclamation projects like Seosan A B Project. After a brief overview of concepts and history of SD and ICM, the reclamation process and its impacts on both fishery and fishing communities in Cheonsu Bay Region are discussed. According to their changing environmental and socio-economic characteristics after the reclamation, ca 35 representative coastal villages in this region can be classified into 5 types. Many coastal villages shows diversity in their economic activities, as tourism and recreation function becomes more and more important in this region. In present-day Cheonsu Bay Region, it is possible to differentiate fishing village cooperatives(FVO) with high potential of sustainable fishery development, FVOs with medium potential, FVOs with low potential on the basis of 14 selected indicators.

• Cross-Cultural Studies
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• v.48
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• pp.31-66
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• 2017

This study examines ways of recognizing and aspects of describing Korean modern literature revealed by each literary history from the viewpoint of 'transculturation', focusing on Lim Jeon-Hye's "History of Korean Literature in Japan until 1945", Shirakawa Yutaka's "Footsteps of Korean Modern Literature", and Saegusa Toshikatsu's "Taste of Korean Literature" from the history of Korean literature written in Japan. First, Lim Jeon-Hye periodically examines Korean literature written in Japan, focusing on literary activities of Korean students in Japan and the proletarian literature movement, and addresses points of active cultural negotiation, mutual understanding and political solidarity between Korea and Japan. Shirakawa Yutaka focuses on the concurrency and connection of Korea, China, and Japan in the process of modern literary formation, covering Japanese language literature and pro-Japanese literature with great care, and describes the middle-layer position as a mediating researcher in the conflicting boundaries between Korea and Japan. Saegusa Toshikatsu provides interesting transcultural momentum in exploring internal logic and denotation of Korean literature via comparative literature review encompassing East Asia, implementation of literary forms and themes connecting tradition and modernity, and an out-of-boundary point of view to overlook 'pro-Japanese literature', etc. Transcultural aspects in this literary history to examine are as follow. First, the history of Korean modern literature based on 'national literature history' is catabolized in the magnetic field of the 'colonial experience' and 'national nationalism' and considered in multifaceted context. Second, they provide the possibility of three-dimensional and micro-narrative description of literature that complement the narrative aspect of existing Korean literature history. Third, they provide an opportunity to expand and open the description of literature history through acceptance of comparative literary perspectives encompassing East Asia. Fourth, through discovery of Korean-Japanese literature and Japanese language literature, they contribute to broadening the history of Korean modern literature and enriching foundations.

• (The) Research of the performance art and culture
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• no.37
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• pp.5-31
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• 2018

The mask dance drama Goseong Ogwangdae's first act, Mundung Bukchum. The story is about a man who was born to the upper class but contracted leprosy, an incurable disease, due to his ancestors' accumulated sin. Although he is suffering, he is able to triumph over the disease through sinmyeong (catharsis) that is expressed through the wordless act of Mundung Bukchum. This thesis focuses on Goseong Ogwangdae's Mundung Bukchum, particularly the meaning, costume, accompanying music, and process of pedagogical transmission. The chronological characteristics of Goseong Ogwangdae's Mundung Bukchum are as follows. First, as time goes on, the number of dance motions in Mundung Bukchum has increased and the motions used have become reified. Second, I address the small barrel drum used in Mundung Bukchum and check how, through the drum, the changed expression of Mundung is shown.In a 1965 video introduced Mundung is grasping the drum and stick and the dance appears to be made up only of humorous motions. Also in a 1969 video, "Mundung Gwangdae," from the start Mundung is grasping the drum and stick. In 1988 in a video we can see the same scene as today, with the drum and stick sitting in the center of the stage at the start of the dance. We can also confirm that the same fourteen dance motions used today are present. Third, we can also confirm the changes in Goseong Ogwangdae's signature motion, baegimsae as time goes on. Observing the video from 1965, baegimsae does not appear in Mundung Bukchum. In 2000 we can clearly see the baegimsae performed once to the left and to the right while Mundung is squatting. Comparing 1969 to 1988, there is no symmetry in the motions, baegimsae is not done to both left and right, but only in one direction. Watching the record from 2000, the baegimsae motion is performed just as it is now, with the body thrown forward with a sharp push off the ground. Fourth I confirmed how the music used to accompany Goseong Ogwangdae's Mundung Bukchum has changed over time. In 1965 according to records of Mundung Bukchum's appearance, the dance was accompanied by the taryeong rhythmic pattern played on the usual four percussion instruments (barrel drum, hourglass drum, large gong, small gong). In the 1969 records of Mundung Bukchum the accompanying music is gutgeori rhythmic pattern performed on the usual four percussion instruments-an obvious difference. In 1988 the music with Mundung Bukchum is gutgeori rhythmic pattern transitioning into jajinmori rhythmic pattern. In 2000 the music with Mundung Bukchum includes the percussion instruments as well as taepyeongso (double reed oboe) playing gutgeori and jajinmori rhythmic patterns.

• Journal of Internet Computing and Services
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• v.20 no.4
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• pp.63-72
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• 2019

As a sub-concept of corporate or organization governance, business governance and IT governance have become major research topics in academia. However, despite the importance of process as a construct for mediating the domain between business and information technology, research on process governance is relatively inadequate. Process Governance focuses on activities that link business strategy with IT system implementation and explains the creation of corporate core values. The researcher studied the basic conceptual governance models of political science, sociology, public administration, and classified governance styles into six categories. The researcher focused on the series of metamodels. For examples, the traditional Strategy Alignment Model(SAM) by Henderson and Venkatraman which is replaced by the neo-SAM model, organizational governance network model, sequential organization governance model, organization governance meta model, process governance CUBE model, COSO and process governance CUBE comparison model, and finally Process Governance Framework and etc. The Major difference between SAM and neo-SAM model is Process Governance domain inserted between Business Governance and IT Governance. Among several metamodels, Process Governance framework, the core conceptual model consists of four activity dimensions: strategic aligning, human empowering, competency enhancing, and autonomous organizing. The researcher designed five variables for each activity dimensions, totally twenty variables. Besides four activity dimensions, there are six driving forces for Process Governance cycle: De-normalizing power, micro-power, vitalizing power, self-organizing power, normalizing power and sense-making. With four activity dimensions and six driving powers, an organization can maintain the flexibility of process governance cycle to cope with internal and external environmental changes. This study aims to propose the Process Governance competency model and Process Governance variables. The situation of the industry is changing from the function-oriented organization management to the process-oriented perspective. Process Governance framework proposed by the researcher will be the contextual reference models for the further diffusion of the research on Process Governance domain and the operational definition for the development of Process Governance measurement tools in detail.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.154-169
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• 2021

The establishment of the Bronze Age is one of the most important achievements suggested by Korean archaeology shortly after liberation. There is no doubt that Moo-Byung Yoon is the representative figure, who refuted the ambiguous Eneolithic age (金石倂用期) created by Japanese scholars and settled the concept of the Bronze Age. In this article, the author takes a new look at Yoon's institutional role in studying the Bronze Age in Korea. Until now, Yoon's representative achievement has been his typology of the Slender dagger of the Korean Peninsula. However, it is not less important that Yoon also established the Bronze Age concept with the excavation of a dolmen and a Bronze Age subterranean dwelling in Oksok-ni, Paju during the 1960s. Of course, it was not a personal assignment for Yoon. He was aided by Prof. Kim Won-Yong's work, who had introduced newly excavated materials from North Korea and China; these materials gave some insight for establishing the Bronze Age concepts in the 1960 and 1970s. Kim's suggestion about the possibility of a Korean Bronze Age led to Yoon's refined typological study on Korea's bronze wares. However, Yoon's excessive schematic classification of artifacts and reliance on the Japanese chronology became an obstacle for making the Korean Bronze Age isolated from East Asia. As a result, it is regrettable that his research led to the "cultural lag" phenomenon of Bronze Age research. Meanwhile, Japanese archaeology, which had influenced Yoon, also faced a major change. In 2003, the Japanese archaeological community revised the Yayoi culture's beginning around the 1,000 BC. This means a shift in the perception that we should understand Japan's Bronze Age in the context of the East Asian continent. Of course, it is not appropriate to reevaluate or denigrate Yoon's research from the current view. Rather, it is necessary to recognize the limitations of Yoon's time and present a new path to research by combining the archaeological tradition of refining research on the relics he maintained with a new chronological view and a macro view of East Asian archaeology. This is why we should take a new glimpse into Yoon's research.

• Korean Journal of Culture and Social Issue
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• v.29 no.2
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• pp.171-197
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• 2023

The traditional Korean society has been classified as an Eastern collectivist culture, but in the flow of globalization and digitalization along with the post-Cold War era of the 1970s, Western individualistic culture and values quickly permeated the Korean younger generation. Since rapid changes occurred within a short period of time, there may be differences in cultural self-construal between generations living in the same era. Due to this, psychological problems related to emotional expression and suppression may appear differently depending on generations. Therefore, in the current study, 1,000 Korean adult men and women from their 20s to 60s were investigated for their level of independent and interdependent self-construal, alexithymia, ambivalence over emotional expression(AEE) and emotional suppression(ES). Then the relationship between the variables(self-construal and alexithymia,) and the mediating process of AEE and ES were examined. The generation of participants were divided into the industrialization cohort (birth year < 1970) and the digitalization cohort (birth year starting from 1970). Using the PROCESS macro(Hayes, 2022), we tested a serial mediation model of AEE and ES between the relative independent self-construal(RIS) and alexithymia. The results indicate that the level of alexithymia increases by the serial increase of AEE and ES when RIS decreases. Next, we examined a moderation effect of generatione on the mediation process of AEE and ES, and found that generation moderates the relationship between ES and alexithymia. That is, the effect of ES on alexithymia is significant for the digitalization cohort, while it is not significant for the industrialization cohort. The current results imply that emotion regulation strategies of Koreans have been differently developed according to prevailing cultural values in each generation, and that the negative influence of emotion suppression could be different according to the cultural background of each generation.

• Economic and Environmental Geology
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• v.40 no.5
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• pp.605-622
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• 2007

Elemental, Rock-Eval pyrolysis and isotopic analysis of the core sediments from the northwestern and eastern Ulleung Basin of the East were carried out to identify their geochemical characteristics, spatial and vertical variation and origin of organic matter in Upper Quaternary sediments from the northwestern and eastern Ulleung Basin of the East Sea. TOC, m and TS did not show spatial variation between the sampling locations whereas they showed systematic vertical variation associated with MIS stages related to the sea-level change of the East Sea. It is suggested that these past changes of sea-level influenced the sedimentary depositional environments and/or diagenesis which resulted the patterns observed in this study. Based on the results of TOC/N, TS/TOC, ${\delta}^{13}C_{org}\;and\;{\delta}^{15}N_{org}$ analysis, organic matters in the study area appears to be predominantly originated from the marine algae rather than land plant and deposited under normal marine oxic condition during MIS I and MIS III period, and under euxinic/anoxic condition during MIS II period. TOC/N, ${\delta}^{13}C_{org}\;and\;{\delta}^{15}N_{org}$ have a relatively constant value irrespective of MIS stages, implying that the organic matter source does not change by the sea-level fluctuations. However, the results of Rock-Eval pyrolysis indicates that the organic matter is in immature stage and originated from land-plant (Type III), locating in the immature stage land plant (Type III). Similar differences were reported from other areas such as the Atlantic Ocean, Iberia Abyssal Plain, Mediterranean Sea, suggesting that Rock-Eval method does not exactly reflect the characteristic of immature organic matters. Accordingly, the application of Rock-Eval pyrolysis for delineating the source of immature organic matters should be approached with caution and all other geochemical proxies should be considered altogether at the same time.