• The Journal of the Korea Contents Association
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• v.20 no.12
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• pp.659-670
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• 2020

This study analyzes the effects of companion animals on humans based on folk tales of righteous dogs in Hongseong. By targeting the theses and Hongseong righteous dog tales for this purpose, analyses of Ethnography and FGI(Focus Group Interview) were used among Qualitative Research Methods. According to research analysis, the impact of companion animals on humans was analyzed as emotional, economic, and cultural and environmental effects. In the case of emotional impact, the effect of companion animals on social sentiment is analyzed to have a positive effect in various classes, ranging from children and adolescents to the elderly and the socially vulnerable. On the economic aspect, SWOT analysis was attempted in connection with the rapid expansion of the companion animals industry, as represented by the Petconomy market, and analysis was attempted by focusing on cultural campaigns and tales that appeared in various cultural and environmental influences. The results of these studies suggest that this study is one that adds depth to the fact that it is the first attempt to analyze the culture and technology of companion animals, that it triggers the contribution of community development by analyzing the symbiotic relationship between companion animals and humans through the specific region, and that pets will have an emotional positive impact on human life in the era of the Fourth Industrial Revolution, when individualism will be maximized.

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.219-225
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• 2022

1950-meter-tall goddess is Seolmundae Grandmother with the head of the 1950m Hallasan Mountain Baengnokdam and the body of the mountain ridgeline. Seolmundae Grandmother in Jeju is a folk belief that has been passed down from generation to generation in Jeju. Unlike inland, Seolmundae Grandmother, which had femininity in the customs of Jeju, which was a matrilineal society, developed into an absolute faith in Jeju, metaphorizing that in some way it was inevitable. Seolmundae Grandmother was the only subject that could mentally solve the biggest problem for Jeju residents, even if they were disconnected from the mainland. In other words, Seolmundae Grandmother was unable to make underwear for Seolmundae Grandmother because it was short of 100 bottles of silk, the god of Hallasan, a huge being and a physical symbol. Therefore, Semyungju Grandmother gave up the bridge connecting the mainland and Jeju. In this paper, focusing on the fact that Mt. Halla, covered with snow in winter, is like a skein of silk thread that we usually use in our daily lives, the etymology of Seolmundae has been changed to Saengmyeongju, - Semyungju, which is a skein of fine silk. As a basis for this, there is a custom of tying a thread of silk in 'Semyungju', a shrine to Semyeongju in Halmangdang, 'Hanmosal' along the coast of Pyoseon-myeon. The silk thread is the core of the Packing DNA gene. The summit of Mt. Halla, Ninety-Nine Valleys, and five hundred generals, found in Seolmundae Grandmother or White Silk, expressed the symbols of Jeju. The Packing DNA gene was found to originate in the Jeongnang

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.261-272
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• 2022

During the China's long history, many ethnic groups have developed their own traditions of local music which is an important part of their precious cultures. Meanwhile, each ethnic group developed its own worldview and music culture according to its unique living environment, special lifestyle and mode of production. The clarinet is a Western instrument, and has been influenced to some extent by Chinese minority culture while being introduced to China. Therefore, musicians tried to find ways of using Western musical instruments to express various elements of Chinese minority music. Focusing on two clarinet works 'The Song of Grazing Horses' by Wang Yan and 'The Sound of Pamir Clarinet Concerto' by Hu Bijing, this paper aims to analyze the musical characteristics of minority groups expressed by the clarinet in two aspects: the formation of the music style, the artistic characteristics conveyed through the works. Specifically, it consists of five parts: ethnic mode and tonality, rhythm, time signature, melody making, and imitation of animals. It also analyzes the cultural characteristics of Tajik and Mongolian music reflected in the two works in combination with living environment, mode of production, life style, and ethnic emotions. This study aims to provide a theoretical basis for composers and performers who want to understand and acquire the musical style of modern Chinese clarinet works. It also helps to find a better way to play traditional Chinese music with Western instruments.

• The Journal of the Convergence on Culture Technology
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• v.8 no.2
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• pp.243-249
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• 2022

Fairy tales are rooted in folk tales and contain human unconsciousness and universal emotions. It also plays a role as original content in various narrative transformation works. Andersen's brings numerous signification through symbolic signs of red shoes, dance, and ankle amputation. Victor W.Turner's theory of social drama broadens the perspective of narrative analysis. In addition, this theory makes us realize the conditions of the social community required by society at the time. As a circular content, Andersen's shows the double entry narrative of growth as a woman and incorporation into the social community. In this process, the social conditions accepted and rejected are symbolically revealed. In Koo Byung-mo's novel , achromatic color and red color are contrasted. The red world is full of vitality and represents the meaning of human existence. Yoon Mi-kyung's fairy tale is divided into different characters from the girl's growth narrative and the outsider's entry into the women's society. This work accuses preconceived notions and prejudices against multicultural families and strangers.

• (The) Research of the performance art and culture
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• no.23
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• pp.5-36
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• 2011

The purposes of this treatise are to compare theories of theatre in 'Kwandaega' with theories of theatre in 'Poongjahwajun', to recognize differences of theories between the former and the latter, and to find out the comparative characteristics of theories of Korean theatre. There are four differences between the former and the latter. These are as follows; Firstly, in the aspect of contents, the former is consisted of discussions about nature of theatre, discussions about acting, discussions about staging, and the latter is consisted of discussions about nature of theatre, discussions about acting, discussions about staging, discussions about origin, and discussions about dramaturgy. Secondly, in the aspect of nature, the nature of theatre in the former is recognition and practice as 'homo performans', the nature of theatre in the latter is realization of 'flower[花]'. Thirdly, in the aspect of acting, discussions about acting of the former are consisted of 'Sachae' theory'(Inmulchirae, Sasulchirae, Dekm, Nerumsae), discussions about acting of the latter are consisted of method of training per ages, method of training per role playings, trainings in everyday life. Fourthly, in the aspect of staging, the focus of staging in the former is realization of an endless series of changes[千變萬化], the focus of staging in the latter is realization of 'flower[花]'. There are four characteritics in the theories of Kwangdaega. These are as follows; Firstly, the contents of kwangdaega are consisted of discussions about nature of theatre, discussions about acting, discussions about staging. This theory is theory centered on actor/actress. Secondly, the nature of thestre in Kwangdaega is recognition and practice as 'homo performans', supporting of self-generational values, supporting of folk, new interpretation about secularism. Thirdly, the discussions about acting are consist of 'Sachae Theory'. Fourthly, the discussions about staging are consisted of realizations of an endless series of changes[千變萬化]

• (The) Research of the performance art and culture
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• no.39
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• pp.133-165
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• 2019

This paper tried an approach of oral literature as the research subject of Soeburi song in Ulsan. First, UlsanSoeburi song is meaningful as materials collected in Ulsan such as Hansil, Dodoekgol, Dudong and Byeongueong. In addition, it is related to regional identity as song native to Ulsan, which has prototype and archetype. And it shows that Ulsan is the city as well as hometown of Soeburi(meaning ' iron manufacture'). The characteristics of lyrics are different between Hansil Soeburi song and Dodeokgol Soeburi song. Jeiman Choi is considered as a good oral literature poet, because he is a performer who is faithful in official structural principal and in original lyrics(archetype) of Soeburi song. Therefore, SoeburiBulmei song of Jeiman Choi signifies aesthetic meaning, having lyrics which make to feel labor's purity and sacred and melody which overcomes labor's difficulty through united action. On the other hand, SoeburiBulmei song of Dalo Kim in Doseokgol shows that he is a extemporaneous performer even though he performs based on official structural principal. In this paper, transmission and changes of UlsanSoeburi song are divided into basic type, frequent shift type and overall type. 'Basic type' originates from Jeiman Choi's Soeburi song in Hansil. 'Frequent shift type' was created by combining SoeburiBulmei song of Dalo Kim in Doseokgol and SoeburiGeumjul song in Ulsan. 'Overall type' is current Soeburi song, which was created by adding Bulmei song for lulling a baby in Byeongueong near Dalcheon region and Seoknyanggan(smithy) Bulmei song. UlsanSoeburi song is being passed down continuously, strengthening the identity as a representative folk song in Ulsan through endless process of transmission and changes.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.57-65
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• 2023

There are differing opinions among scholars as to whether "chuseo" (ugly writing) should be considered as one of the schools in modern calligraphy. Those who do not recognize "chuseo" argue that it lacks traditional rules for stroke formation and therefore loses its distinctiveness. However, the existence and development of "chuseo" are closely related to the constant exploration and reform of modern calligraphy, as well as the increasing aesthetic awareness and changing aesthetic standards of calligraphers with changing times. As a result, there are now more people who recognize "chuseo" as a legitimate form of calligraphy. Calligraphers who lead the times learn and accumulate experiences by adhering to traditional calligraphic principles. However, there are calligraphers who discard the traditional Confucian concept of "chungyong" (中庸) and display "ugliness" in their works. Ok Heung-hwa and Jeung Sang are two such calligraphers who created their own style by incorporating ancient oracle bone inscriptions as their main focus and folk calligraphy as their bloodline. This paper aims to explore and study the definition and formation process of "chuseo" by analyzing the works of Ok Heung-hwa and Jeung Sang. At the same time, it aims to summarize the characteristics and aesthetic beauty of "chuseo".

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.67-71
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• 2023

The purpose of this study is to investigate the effect of a community-based cognitive stimulation program on cognitive function and subjective memory in the elderly with mild cognitive impairment. This study was applied by selecting 15 users who understood the purpose of this study and agreed to participate in the shelter program for more than 3 months from April 2019 to August 2019 at the D Dementia Center in G located, Gyeonggi-do. The program consisted of a total of 36 cognitive stimulation programs 3 times a week a total of 3 months. Cognitive stimulation program stimulates cognitive function through various activities such as orientation reinforcement, cognitive training, recall, music, art, and physical play, and is used for the purpose of improving social function. It consists of folk songs, percussion instruments, national gymnastics, dance, games, and traditional games. As a result of the cognitive stimulation program, the average cognitive function increased by 2.13 points from 26.33 points before implementation to 28.46 points after implementation, and a statistically significant result was obtained (p=0.000). Subjective memory decreased by 3.53 points from the average of 7.13 points before the cognitive stimulation program was implemented to 3.60 points after the implementation, and a statistically significant result was obtained (p=0.000). It can be confirmed that this works. Dementia is leading to a cost burden, and congnitive function decreases the aqulity of life. It brings various burdens. It is necessary to study cognitive stimulation programs applied to various environments in the future.

• (The) Research of the performance art and culture
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• no.39
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• pp.223-277
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• 2019

Based on the text reference from the Variety Theatre compiled and performed by the Jiaofang of the Ming Dynasty Palace, the characteristics of Zhongkui performance in the New Year Ceremony was analyzed focusing on the differentiation and diachronic change in aspect between court dance and civilian. In China's folk beliefs, 'Zhongkui' is regarded as a representative spirit of fighting against evil spirits. Relevant rituals and performing arts have been held mainly on New Year's Eve or the Dragon Boat Festival. Although extensive research has been conducted in various fields, the situation of Zhongkui performance was largely unnoticed, only generally addressed in China, even with the given fact that the Ming Dynasty's text reference of miscellaneous court dance was exclusively retained, Therefore, the analysis intends to propose Zhongkui performances of Calendaric Rituals in the aspect of its elements and differentiate the play handed down among people as a specific example. Through the text analysis of miscellaneous court dance, 'Imperial examination' and religious belief was regulated usuriously by a so-called edification expressed as imperial reign ideology extracted to an implementation situation, revealing that this court dance was characterized by a variety of performances including the 'Zhongkui'. The results of the following study intends to provide a positive foundation for not only the field of Chinese studies but also the field of Korean literature, theatre, dance, folklore, religion, anthropology and art.

• Journal of Korean Society of Forest Science
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• v.98 no.1
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• pp.66-81
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• 2009

From a new perspective of "humans and the culture of forming and conserving the environment", the sustainable forest management can be reformulated under the concept of "cultural sustainability". Cultural sustainability is based on the emphasis of the high contribution to sustainability of the culture of forming and conserving the environment. This study extracts the implications to cultural sustainability for the modern world by investigating a historical case of the culturo-social pine forestry in the Joseon period of Korea. In the legendary and recorded acts by the first king Taejo, Seonggye Yi, Korean red pine (Pinus densiflora) was the "Royal tree" of Joseon and also the "Sajik tree" related intimately with the Great Sajik Ritual valued as the top rank within the national ritual regime that sustained the Royal Virtue Politics in Confucian political ideology. Into the Neo-Confucian faith and royal rituals of Joseon, elements of geomancy (Feng shui), folk religion, and Buddhism had been amalgamated. The deities worshipped or revered at the Sajik shrine were Earth-god (Sa) and crop-god (Jik). And it is the Earth god and the concrete entity, Sajik tree, that contains the legacy of sylvan religion descended from the ancient times and had been incorporated into the Confucian faith and ritual regime. Korean red pine as the Royal-Sajik tree played a critical role of sustaining the religio-political justification for the rule of the Joseon's Royalty. The religio-political symbolism of Korean red pine was represented in diverse ways. The same pine was used as the timber material of shrine buildings established for the national rituals under Neo-Confucian faith by the royal court of Joseon kingdom before the modern Korea. The symbolic role of pine had also been expressed in the forms of royal tomb forests, the Imposition Forest (Bongsan) for royal coffin timber (Whangjangmok), and the creation, protection, conservation and bureaucratic management of the pine forests in the Inner-four and Outer-four mountains for the capital fortress at Seoul, where the king and his family inhabit. The religio-political management system of pine forests parallels well with the kingdom's economic forest management system, called "Pine Policy", with an array of pine cultivation forests and Prohibition Forests (Geumsan) in the earlier period, and that of Imposition Forests in the later period. The royal pine culture with the economic forest management system had influenced on the public consciousness and the common people seem to have coined Malrimgat, a pure Korean word that is interchangeable with the Chinesecharacter words of prohibition-cultivation land or forest (禁養地, 禁養林) practiced in the royal tomb forests, and Prohibition and Imposition Forests, which contained prohibition landmarks (Geumpyo) made of stone and rock on the boundaries. A culturo-social forestry, in which Sajik altar, royal tomb forests, Whangjang pine Prohibition and Imposition forests and the capital Inner-four and Outer-four mountain forests consist, was being put into practice in Joseon. In Joseon dynastry, the Neo-Confucian faith and royal rituals with geomancy, folk religion, and Buddhism incorporated has also played a critical humanistic role for the culturo-social pine forestry, the one higher in values than that of the economic pine forestry. The implications have been extracted from the historical case study on the Royal-Sajik tree and culturo-social forestry of Joseon : Cultural sustainability, in which the interaction between humans and environment maintains a long-term culturo-natural equilibrium or balance for many generations, emphasizes the importance that the modern humans who form and conserve environment need to rediscover and transform their culturo-natural legacy into conservation for many generations and produce knowledge of sustainability science, the transdisciplinary knowledge for the interaction between environment and humans, which fulfills the cultural, social and spiritual needs.