• (The) Research of the performance art and culture
• /
• no.38
• /
• pp.349-383
• /
• 2019

This discussion is focused on Donghaeanbyulsingut's 'gutchum-pan to pray'. 'Gutchum-pan to pray' is repeated in almost all of the geori in Byulsingut, so it is a crucial chum-pan that can never be disregarded in understanding Byulsingutchum. Meanwhile, it supposes that Donghaeanbyulsingut is grounded on the activity of producing 'praying (words) and dance (motions)' within its relationship with the structure of capitalistic society along with the context of traditional rituals. The motion that is newly generated as a response to the concrete expression of 'praying' conducted by a mudang (a shaman), that is, the expression coming from the inside associated with the praying is seen as gutchum. This dance is bound to be in competition and interest among shaman groups, and they tend to influence one another. If praying leads to dance, a mudang can gain profits from capital as well as the value of labor. When the mudang succeeds in forming a bigger bond of sympathy with her praying, the object of praying gets more eager to select byulbi and dances a heoteunchum (impromptu dance) more vigorously. This means that a mudang's ability to perform a ritual is associated with the object of praying's consumption. With his impromptu motions, the object of praying comes to go into 'the field of consumption' within the structure of capitalistic competition before he is aware of it. Behind the communication that praying leads to dance, a lot of things are associated with one another organically. 'Gutchum-pan to pray' is generated by the continuous movement of diversity and unity that the time has within the ritual of the mudang and the object of praying. It continues to create the future 'self' that is different from the present 'self', and it means that he expects variability from the present 'self' through 'gutchum-pan to pray'. The mudang also prays for him arranging the variability of the other (the object of praying) inside her labor. In a big picture, of course, the mudang expects the variability of herself, too, which is connected to the value of her labor. The variability that they expect forms a crucial axis that determines where the flow of time and space that the 'gutchum-pan to pray' has is directed to. The contents of praying are directly related with the villagers' lives, and what leads to dance is mostly related with their jobs. This implies that what the mudang experiences in her everyday consuming activity is directly associated with the villagers' activity for earning money. In other words, the contents of that praying change constantly according to the flow of capitalistic economy. Also, those striving to respond to it before anyone else also expect better life for them by substituting their self to the 'gutchum-pan to pray' eagerly. If so, who are the ones that generate 'gutchum-pan to pray'? This can be understood through relationship among mudangs, relationship between the mudang and villagers, and also relationship among villagers. Their relationships can never be free from the concepts like labor in capitalistic society, consumption and expenditure, or time; therefore, they come to compete with the other, the present self, or the better self within the diverse relationships. This gets to be expressed in any ways, words or motions. And the range that covers the creation of either group or individual 'gutchum-pan to pray' in the village is the village community. Outside the range, it is upsized to the competition of the village unit, so individual praying may become diminished more easily. Although mudangs pray in each geori, it does not mean all praying leads to dance. Within various relationships between mudangs and villagers, 'gutchum-pan to pray' comes to be generated, repeated, and extinct. As it is mitigated to more positive competition, it does not lead to gutchum any longer. In other words, repeating 'gutchum-pan to pray' previously created has turned the object of praying into the state different from the former. Also, the two groups both have experienced the last step of Byulsingut, and at that point, praying does no longer lead to dance. In other words, from the position of the shaman group, it is the finish of their labor time and ritual performance, and from the perspective of the villagers, it means the finish of consuming activity and participation in a ritual. The characteristics of 'gutchum-pan to pray' can be summarized as follows. First, it goes through the following process: competition in the village group → competition in the group → competition among individuals. Second, repeated praying does not lead to 'gutchum'. Third, in the cases of praying for each of the occupation groups, the mudang can induce a bond of sympathy from the objects of praying directly, and this lead to dance. Fourth, the group that fails in being included in the category of praying gets to be alienated from 'gutchum-pan to pray' repeatedly.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.37 no.2
• /
• pp.14-25
• /
• 2009

We live in an age which is exponentially growing as the knowledge paradigm is changing. New sites are subject to contemporary landscape architecture function as "fields" in which this hybrid aspect is both actively practiced and becoming a catalyst for change in the area of landscape architecture. With this as its background, this study attempts to deal with how the aspect of integration in environmental design is manifested. For this purpose, the tendencies for the discussion of integration in various fields of practice were examined: planning theories, urban theories, architecture, public environment, engineering, and landscape architecture. As yet, the discussions of interdisciplinary integration, which occur in practice in these respective fields, mainly tend to be oriented toward the effective implementation of the merits of other related fields. Seen from these examples of practice, integrated design approaches can be found in the following three aspects: design objects, respective professional areas, and methodologies of approaches and design. In terms of design objects, the positions of individual design subjects present themselves as most obvious, and integration or combination of the physical targets that come to exist through design can be easily seen. Most examples of integration turn out to be this, in almost every case of which the theme and the target of expression are integrated via a small number of certain methods. In terms of professional areas, what can be mainly evidenced is how the individual subject acts when the subject designs. The strong points of professionals from each field seem to create synergy, achieving through integration optimum results. In terms of methodologies of approaches and design, there are attempts to create integrated approaches as ways of effective decision-making, in which case the integration of all of the interest parties is of primary concern. As yet, few instances have been found in which integrated design has had enough strength to be seen as a concrete design methodology based on practical examples. However, it is encouraging that theoretical approaches and the necessity for integrated design have been identified from multiple perspectives, and that a practical movement such as landscape urbanism has come into active being. The authors of this study find this point in time to be ripe for discussions on integrated practices in terms of environmental design, on the basis of the synthetic approaches mentioned above.

• Journal of Korean Classical Literature and Education
• /
• no.39
• /
• pp.221-246
• /
• 2018

In this text, the author examines the aspects and characteristics of the three forms that were created and enjoyed when the upper-class nobles of Japan "combined(混淆)" waka(和歌) and Chinese poetry(漢詩) between the 10th and 17th centuries. The three forms are the "Collection of Japanese and Chinese poems for singing"(和漢朗詠), "A collection of Japanese and Chinese poems" (詩歌合), and the "Renku renga"(聯句連歌). "Collection of Japanese and Chinese poems for singing" appeared in the 10th century, "A collection of Japanese and Chinese poems" appeared in the 12th century, "Renku renga" appeared in the 14th century, and all three continued to influence the history of Japanese literature after that time. As the combination of literary Japanese and Chinese progressed, the gap between waka and Chinese poetry decreased until they finally combined to create a single work. That is, waka and Chinese poetry converged in one place in multiple ways: as a work that was appropriate to be recited("Collection of Japanese and Chinese poems for singing"), facing each other work against work in a competition("A collection of Japanese and Chinese poems"), and, in the end, they reached the point where they were interchangeable as lines making up long poems(長詩)("Renku renga"). The combination of literary Japanese and Chinese can be said to be the Japanese version of the common movement in East Asian literary history during the Middle Ages to make songs from one's own language flawless in Chinese poetry. Meanwhile, by examining the status changes that appeared as Chinese poetry paralleled, fought with, replaced, and combined with waka, we can find clues to explain the attitudes of the Japanese people on Chinese poetry during the period when the three forms existed, as well as the characteristics of Japanese Chinese poetry that appeared in response to that. The preferences not of "myself" but of the "audience," content and expressions that revere the period rather than the inner self of the poet, and the fact that it is a means for enjoyable pleasure rather than having the original characteristics of lyrical poetry for self-expression are all characteristics of Chinese poetry in Japan during the early and late Middle Ages period. These characteristics can be said to be the current that flows in the underbelly of the history of Chinese literature in Japan. This author believes that the key to discussing the history of Chinese literature in Japan during the Middle Ages period from the perspective of East Asian literary history can be found here.

• Journal of Korean Theatre Studies Association
• /
• no.53
• /
• pp.31-56
• /
• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.37 no.3
• /
• pp.49-61
• /
• 2019

This study aims to examine the spatial recognition of the characters who visited Anuisamdong(安義三洞) in the past and left it in the literature. Thus, the school's relationship between people identified in the relevant literature was analyzed and the elements of landscape were extracted. The results were as follows; First, The figures who authored the literature on Anuisamdong were related to scholars living in Anuihyun(安義縣), along with the Yeongnam confucian genealogy. Starting with Jung, Yeo-Chang(鄭汝昌) in the 15th century, a relationship centered on Nammyeong School(南溟學派) in the 16th century was formed. At that time, people had toured the Anuisamdong regardless of the academic background. In the 17th century, Nammyeong School were in conflict with Toegye School(退溪學派), so Toegye School's influence had no record. In the 18th century, the proportion of Nammyeong School, Toegye School, and Kiho School(畿湖學派) appeared similar as they evolved into the Yeongnam School(嶺南學派). After the 19th century, the proportion of patriots who participated in the anti-Japanese movement was higher than that of schools. Second, The main places used in the literature related to Anuisamdongwere the order of Wonhakdong(猿鶴洞), Hwrimdong(花林洞) and Simjindong(尋眞洞). There are a total of 21 major elements used for the related literature, of which Suseungdae Rock(搜勝臺), Morijae House(某里齋), Nongwaljeong Pavilion(弄月亭), Sasundae Rock(四仙臺) and Cheoksuam Rock(滌愁巖) were the main subjects. Elements of Wonhakdong have been in the spotlight since the 16th century, focusing on Suseungdae Rock. Although the elements of Hwarimdong have been increasing gradually since the 18th century, the ratio of Simjindong to Wonhakdong and Hwarimdong was relatively small. Third, The relationship between the figures who visited the Anuisamdong and the spatial recognition of the Anuisamdong was divided into landscape awareness, emotional awareness and symbolic recognition. The Anuisamdong's scenic view is mostly identified by its description of the waterscape and topographical landscape, which people may have perceived as a scenic site centered on the valley view at the time. The mutual influence of Nammyeong School and Toegye School in the 16th and 17th centuries led to a scene in which the major figures of each school recognized pleasure as a culture of training, and a feeling of longing for the traces of past ancestors as the 18th century travel culture and the 19th century chaotic situation. In addition, the symbolic expression that usually appears is likely to have been recognized as a unworldly place, as the location of the immortal world is confirmed.

• Trans-
• /
• v.1
• /
• pp.21-44
• /
• 2016

Advertisement is composed with symbol and sign with messages trying to express. Especially, ad with dancer introduces goods or meaning of contents with the motion of dance. In this, contents of dance or motion of dancer contains symbol and sign, understanding how ad and dance are expressed meanings with which symbol and the symbolic meaning of dance or dancer on ad. To that end, this study is for analyzing expressed symbol with dance corresponds with the aim of ad and finding the way or attitude of how normal people accept dance by reevaluating symbolic meaning of dance itself. In this study, advertisement producer and director's related data is secured for understanding direction and intention of producer, and previous study related with the study purpose, image, and effect are analyzed for understanding image of dance as a physical sign on TV advertisement. With data from www.TVCF.co.kr. TV advertisement analysis is conducted only with four ads in 2008(Nam Kwang Eng. & Const Co., Lotte Dept. Store(premium sale/gift card), Hyundai Motor Company Santa Fe -Pilobolus) and one ad in 2011(PNS The zone Sash Italy Arena di Verona when dance was used for advertisement with the highest frequency per year. Also, based on considered important factors from repeatedly watching each advertisement, scenes where movement or motion of dancer and screen word is greatly changed are analyzed as a priority. Image analysis of dance is conducted with structure studies based on physical image(line, costume, expression) and dan image(type motion, qualitative feature, mood of dance). As a result, the symbolic dance image appeared in TV advertisement can be discussed as follows. First, symbol and sign of dance on advertisement corresponds with material objects of advertisement. For instance, on the TV advertisement where Lee Youngwoo appeared, his motion as a signifer means challenge for the future of Nam Kwang Eng. & Const Co., with fast turn, jump, assemble turning jump, and sliding. Second, physical image of dancer depending on intention of sender corresponds in general, but there are somewhat differences in image of dance. This makes people to unconsciously recognize symbolic image of dance on TV ad while they watch it at the same time. Especially, when it comes to advertisement, it exposes frequently with broadcasting of organized programs from a broadcaster, living long-time memory. It can be differ based on idea and character of each of receiver. Advertisement is a medium making people naturally adopt cultural art for ordinary people in their lives. Broadcasting public art from TV advertisement widely exposes pure art to people, which was only avaliable for minority, sublimating it as an art of public culture.

• Journal of Oral Medicine and Pain
• /
• v.31 no.1
• /
• pp.69-77
• /
• 2006

Botulinum toxin injection has been used in the masticatory muscle area as an effective treatment method of various movement disorders and facial contouring, but its effects on jaw function have not been evaluated. The aims of this study were to evaluate the effects of botulinum toxin type A injection into the masseter muscle on the EMG activities of masseter and anterior temporal muscles, and the limitation of jaw function. Fourteen healthy subjects were recruited. Five subjects were injected with 80 units of botulinum toxin type A(Dysport, Ipsen, Wrexham, UK) into each side of masseter muscle, and nine subjects were injected with saline into the same site as the botulinum toxin group. The surface EMG activities at maximum voluntary contraction of masseter and anterior temporal muscles were recorded before, 1 week, 2 weeks, and 3 weeks after injection. Presence of jaw functional limitations in each subject was investigated using Korean version of Jaw Functional Limitation Scale(JFLS) questionnaire. The masseter muscle EMG was gradually decreased in the botulinum toxin group comparing with that of the control group(p<0.001), but the anterior temporal muscle EMG did not show significant changes. There was significant increases in the mastication (p<0.01), and global jaw limitation(p<0.05) subscales of JFLS at 1 week after injection, but no significant changes in the other subscales including opening, and verbal and emotional expression during the recording periods. Our results suggest that botulinum toxin injection into masseter muscle can affect modest limitation in mastication function at 1 week after injection but recovered to the baseline until 3 weeks after injection. The EMG activity of masseter muscle had been gradually decreased until 3 weeks after botulinum toxin injection but the anterior temporal muscle did not show any significant changes.

• The Korean Journal of Food And Nutrition
• /
• v.15 no.2
• /
• pp.112-118
• /
• 2002

Sporulation in the fission yeast Schizosaccharomyces pombe has been regarded as an important model of cellular development and differentiation. S. pombe cells proliferate by mitosis and binary fission on growth medium. Deprivation of nutrients especially nitrogen sources, causes the cessation of mitosis and initiates sexual reproduction by matting between two sexually compatible cell types. Meiosis is then followed in a diploid cell in the absence of nitrogen source. DNA fragment complemented with the mutations of sporulation gene was isolated from the S. pombe gene library constructed in the vector, pDB 248' and designated as pDB(spo5)1. We futher analyzed six recombinant plasmids, pDB(spo5)2, pDB(spo5)3, pDB(spo5)4, pDB(spo5)5, pDB (spo5)6, pDB(spo5)7 and found each of these plasmids is able to rescue the spo5-2, spo5-3, spo5-4, spo5-5, spo5-6, spo5-7 mutations, respectively. Mapping of the integrated plasmid into the homologous site of the S. pombe chromosomes demonstrated that pDB(spo5)1, and pDB(spu5)Rl contained the spo5 gene. Transcripts of spo5 gene were analyzed by Northern hybridization. Two transcripts of 3.2 kb and 2.5kb were detected with 5kb Hind Ⅲ fragment containing a part of the spo5 gene as a probe. The small mRNA(2.5kb) appeared only when a wild-type strain was cultured in the absence of nitrogen source in which condition the large mRNA (3.2kb) was produced constitutively. Appearance of a 2.5kb spo5-mRNA depends upon the function of the meil, mei2 and mei3 genes.

• The Korean Journal of Petroleum Geology
• /
• v.2 no.2 s.3
• /
• pp.51-57
• /
• 1994

Analysis of the aeromagnetic data aquired by US Navy in the year 1969 permits us to predict a new sedimentary basin, Heugsan Basin, south of the known Gunsan Basin in Block Ⅱ. The basin appears to consist of three sub-basins trending NNW-SSE. The results of our analysis provide not only an independent assessment of the Gunsan Basin, but also new important information on the tectonic origin and mechanism for the two basins as well as for the entire region. The basin forming tectonic style is interpreted as rhombochasm associated with double overstepped left-lateral wrench faults. From the magnetic evidence, a few NE-SW trending major onshore faults are extended to the study area. We also interpreted the nature of the faults to be left-lateral wrenches. This new gross structural style is consistent with the results of recent Yeongdong Basin analysis by Lee. The senses of fault movement are also supported by the paleomagnetic evidence that the Philippine Sea had experienced an 80-degree clockwise rotation since the Eocene. Based on a 2 $\frac{1}{2}$ model study the probable maximum thickness of the sediments in the Gunsan Basin is approximately 7500 meters. We believe that the new Heugsan Basin was left unidentified because a high velocity layer may be overlying the basin. Because the overall structural configuration of the Heugsan Basin appears to be favorable for hydrocarbon accumulation, a detailed airborne magnetic survey is recommended in the area in order to verify the magnetic expression of this thick basin. A detailed subsequent marine gravity survey is also recommended in order to delineate the sedimentary section and to acquire supplemental data to the magnetic method only if an overlying high velocity layer is confirmed. Otherwise a high energy source seismic survey may be more effective.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
• /
• v.6 no.4
• /
• pp.265-273
• /
• 2001

The sea urchin has been used as sea food in many countries. This species has also been an important organism of embryological studies for more than a century. In recent years, sea urchin embryos are being used as testing materials for toxicity of pollutants and toxins. Usefulness of sea urchin embryos as experimental models comes from the easiness in obtaining sea urchin samples and a lot of gametes, in rearing embryos in the laboratory, in observing the cellular movement and organ formation during the embryogenesis and in manipulating blastomeres and genetic maferials. The sea urchin in itself is a key organism for the understanding of deuterostome evolution from the protostomes and of indirect development of marine invertebrates which undergo the planktotrophic larval stage. A fertilized sea urchin egg goes through rapid cleavage and becomes a 60 cell embryo 7hr after fertilization. It then develops into a morula, a blastula, a gastrula and finally a pluteus larva approximately 70 hr after fertilization. At the 60 cell stage, the embryo comprises of five territories that express territory-speciflc genes and later form different organs. Micromeres at the vegetal pole ingress into the blastoceol and become the primary mesenchyme cells(PMCs). PMCs express genes involved in skeletogenesis such as SM30, SM37, SM50, PM27, msp130. Among the genes, SM37 and SM50 are considered to be members of a gene family which is characterized by early blastula expression, Glycine-Proline-Glutamine rich repeat structures and spicule matrix forming basic proteins. Genetic studies on the sea urchin embryos help understand the molecular basis of indirect development of marine invertebrates and also of the biomineralization common to the animal kingdom.