• 공연문화연구
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• 제32호
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• pp.595-628
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• 2016

창작판소리 집단 판소리공장 바닥소리가 2006년 시연한 잔혹소리극 <내다리내놔>는 전설의 고향 '덕대골'을 각색하여 창작판소리로 재탄생시킨 작품이다. 전설의 고향 '덕대골'은 KBS에서 방영된 전설의 고향 중에서도 "내다리 내놔"라는 대사를 통해 무서운 작품의 대명사로 꼽힌다. 북과 대금이 연주하고 소리와 그림자극으로 전개되는 잔혹소리극 '내다리내놔'를 접하면서 관객의 정서는 잔혹함을 중심으로 형성되게 된다. 잔혹함의 정서는 공포를 기반으로 한다. 어릴 적 접했던 전설의 고향의 섬뜩함을 주된 감정의 기반으로 하면서, 이야기 속에 담겨 있는 효에 대한 가치를 짧은 시간 안에 교육 대상에게 제공한다. 판소리라는 장르를 이용하여 우리의 생활 속에서 이루어지는 정서 및 가치에 대한 교육을 효율적으로 학습시킬 수 있음을 알 수 있다. 소리와 이야기, 몸짓 등 다양한 자극이 한데 어우러진 판소리는 훌륭한 교육의 수단이 될 수 있고, 판소리로 공연되는 작품이 어떠한 내용과 가치를 지녔는가에 따라 효율적이고 다양한 가치 교육과 그로 인한 정서 함양을 이루어낼 수 있다. 생활 속에서 쉽게 접할 수 있는 친근하면서도 다양한 소재를 통해 우리 고유의 언어와 풍속에 담긴 가치와 정서, 문화에 대해 각 연령대에 많이 사용하는 어휘나 각 연령대별 선호하는 리듬을 통해 접할 수 있도록 한다면 판소리를 접하는 대상이 호기심과 흥미를 갖고 그것에 대해 지속적인 관심을 가질 수 있다. 그러므로 이러한 장르를 교육에 활용한다면 교육적 효과는 클 것으로 기대된다. 이러한 효과적인 접근성에 기반을 두고 각 연령대에 맞는 어휘를 구사함으로써 그 내용을 쉽게 이해하게 함으로써 교훈적 내용을 원활하게 습득할 수 있는 기회를 제공하므로, 중요한 교육적 가치를 가지고 있다고 할 수 있다.

• 수산경영론집
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• 제44권3호
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• pp.15-28
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• 2013

Abalone aquaculture has developed very rapidly in Korea. Until the mid 1990s it has annually produced about 100 tons. Since then the yield has increased to about 9,000 tons in 2012. The amount accounts for 20% of the global abalone yield. About 86% of produced abalone is consumed domestically and the rest is exported. 100 tons for export seemed as an unattainable goal back in 2003. However, the export rose up to 1,333 tons in 2012. Despite its rapid growth, Korean abalone industry is faced with some problems. The first is the slowdown of yield increase rates. Abalone production increased by 50~60% until the mid 2000. However, the rate continued to drop to below 10%. Reasons behind the slow increase are deteriorating aquaculture grounds and worsening market problems. Constant aquaculture aggravated productivity and overcrowded facilities at a limited space made matters worse. Moreover, abalone export has stalled and so did domestic consumption. In the meantime, rising mortality of young abalone has lowered productivity at abalone breeding places. The mortality rates of abalone remained below 5% in the early 2000s but rose to 30~40% these days. This translates into rising abalone prices. The market problems imply stagnant or shrinking export as well as domestic consumption. The export increase rates took a nosedive from 200 to below 50 between the early 2000s and the late 2000s. Moreover, the increase rates of domestic consumption have become remarkably sluggish. According to, it stood at 50~60% in the mid 2000s but continued to decrease after 2008. These problems, in turn, affected the size of abalone. The usual abalone size for market was 10~12 shells per kg, but recently the size became smaller and smaller to 15~16 shells per kg. The change of size implies shift in consumption patterns: Consumers not only eat live abalone but also they cook soup with it. The size of abalone for uncooked dish is usually very big, like 10~12 shells per kg. In contrast, smaller abalone, such as 20~25 shells per kg, are used for making soup. Increasing use of smaller abalone leads to lower income of abalone aquaculture households. This is partly because that the size determines the price and the price gap between big abalones and smaller ones is extreme in Korea. For the sustainable growth of Korean abalone industry, we need to come up with strategies. First, a reasonable production system needs to be in place, especially for better management of abalone aquaculture grounds. Management of abalone licenses is also necessary because local governments issue relevant licenses as well as supervising abalone grounds. Second, abalone export destination need to be diversified. Japan, the major importer of Korean abalone, takes up a lion's share of export, at 95%. Third, new consumption style of abalone needs to be developed. Abalone used to be consumed as 'raw type' or Sashimi in Korea. This sole type of consumption hampers the growth of abalone market. Moreover, more strategies are needed to encourage and distribute home cooking of abalone rather than eating-out at restaurants. Last but not least, distribution system should be improved for better delivery of live abalone.

• 한국주거학회논문집
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• 제16권3호
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• pp.101-107
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• 2005

The reason that compulsory removals of a low-quality housing redevelopment such as involuntary or unintentional migration present a problem for urban communities is that whether involuntary movers adapt themselves to their new home has an influence on the urban communities that surround them. Moreover, involuntary emigrants have higher probability of choosing faulty residential areas than voluntary emigrants do. This gives rise to a problem of another residential migration for involuntary movers. In order to solve these problems, there is a need for a new housing policy that enables original residents to come back to their old community. However studies for resettlement had not conducted subjects about housing redevelopment characteristics which influences the involuntary movers directly. Instead personal microscopic characteristics such as statistics of resettlement, the moving distance, the reason of moving, improvement of living environment, had been main subjects of farmer studies. So the purpose of this study is to analyze an analysis of the relationship between resettlement and housing redevelopment characteristics. The data used in this study was obtained at 47 areas designated by Seoul (metropolis) since 1990 for redevelopment. Cluster Analysis Is used for dividing high rate of resettlement with low rate of resettlement and Regression Analysis is used for the analysis of the relationship between resettlement and housing redevelopment characteristics. The results of examining the effects of a redeveloped housing complex on returning residents at 47 areas designated by Seoul (metropolis) since 1990 fur redevelopment are as follows: First, A housing complex with a high returning rate (remove-in rate?) has no state/public land, unauthorized building owners who are in the low-income brackets, and few interested parties such as union members. This is the characteristic of a redeveloped housing complex with a short-period project span. On the contrary, a housing complex that has a low returning rate is crowded by state/public land, and numerous unauthorized building owners, and interested parties. Second, According to the linear regression analysis, among the factors that affect returning residents, 'physical properties(characteristics) of a region', 'population properties within a region', and 'properties of a project span' indicate a negative(-)influence whereas 'properties of a complex density' shows a positive(+) influence. In a nutshell, the more the physical properties, population properties, projectspan properties, the lower the returning rate and the more the complex density properties, the higher the returning rate. In detail, an area with many small land and new/large buildings, a high population, and a long project duration has a low returning rate of original residents while an area holding large capacity and buildings with many number of floors (multiple-storied building) has a high returning rate.

• 복식
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• 제38권
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• pp.305-321
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• 1998

The costume style of the Chosun dynasty changed greatly after Imjinwaeran (the Japanese Invasion of Chosun Korea, 1592∼1598). Most of the extant costumes come from the late Chosun, but some costumes produced be-fore Imjinwaeran have been excavated, and in addition, information on these older constumes is contained in contemporary literature. Of especial value in the study of pre-Imjinwaeran Chosun constumes is a mid-sixteenth century palace painting depicting the worship of Buddha, a painting in the collection of the Ho-Am Art Museum in Seoul. The present study of costume during the middle Chosun dynasty focuses on this painting, and compares it with other contemporary palace paintings, and with other contemporary palace paintings, and with Nectar Ritual Paintings. The following conclusion were drawn : * Concerning woman's hair styles of the time, married women wore a large wig. Un-married women braided their hair, and then either let it fall down their back or wore it coiled on top of their head. * The major characteristic of woman's costumes was a ample, tube-like silhouette, with the ratio of the Jeogori(Korean woman's jacket) and skirt being one-to-one. * The style of Jeogori in the painting was like that of excavated remains. Some Jeogoris were simple (without decoration), while some Jeogoris were worn with red sashes. Here we can confirm the continuity of ancient Korean costumes with those of the sixteenth century * Although the skirt covered the ankles, it did not touch the ground. Because the breadth of the skirt was not wide, it seems to have been for ordinary use. Colors of skirts were mainly white or light blue. * All men in the painting wore a headdress. Ordinary men, not Buddhist monks, wore Bok-du (headstring), Chorip (straw hat), or Heuk-rip (black hat). In this painting, men wore a Heukrip which had a round Mojeong (crown). * The men wore sashes fastened around their waist to close their coats, which was different from the late Chosun, in which men bound their sashes around their chest. That gave a ration of the bodice of the coat to the length of the skirt of one-to-one, which was consistent with that of woman's clothing. * In this painting, we cannot see the Buddhist monk's headdress that appeared later in the Chosun, such as Gokkal (peaked hat), Songnak (nun's hat), and Gamtu (horsehair cap). These kinds of headdresses, which appeared in paintings from the seventeenth century, were worn widely inside or outside the home. Buddhist monks wore a light blue long coat, called Jangsam (Buddhist monk's robe) and wore Gasa (Buddhist monk's cope), a kind of ceremonial wrap, round their body. We can see that the Gasa was very splendid in the early years of the Chosun dynasty, a continuing tradition of Buddhist monk's costumes from the Koryo dynasty.