• Journal of architectural history
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• v.11 no.4 s.32
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• pp.129-142
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• 2002

The Kyeongbok Palace was completely renewed during the reign of King Sejong, the fourth King of the Joseon Dynasty(1392-1910). The repair was done for the two main purpose; one was to obtain the dignity of the main palace of the dynasty, the other was to make the palace suitable for the performing of the various ritual ceremonies. It was under the reign of King Sejong that every detail of the procedure of the royal ritual ceremony. The procedure of ritual ceremony changed the buildings of the palace. The quarter of Sajeong-jeon, King's office, was changed remarkably from the original form as the building became the beginning and ending point of King's moving during the ritual ceremonies. The site of the palace had ill reputation from the point of geomancy since its establishment. King Sejong ignored the rumor and kept the palace as usual. In his later year's, Sejong had tried to build a detached quarter and a Buddhist shrine in the palace. But he had to give up his plan because of the retainer's strong opposition. The original layout of the Kyeongbok Palace could be remained as the King renounced his controversial personal wish. King Sejong deserves a full credit for the establishment of the Kyeongbok Palace as the main palace of the Joseon Dynasty.

• Journal of architectural history
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• v.21 no.6
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• pp.45-52
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• 2012

"Ohju Yeonmun Jangjeon Sango" written by Lee, Gyu-gyeng is one of the most important encyclopedias in the period of Chosun-Dynasty. There are two chapters related to architecture in this book, one is "ancestral rite governance·human"chapter, and the other is "architecture·human" chapter. Both of them are hard to understand because they are written in ancient Chinese and consist of various quotations in ambiguous way. This paper as a partial study is deal with the former. It makes difference between writter's original texts and quotations through textual research, and translates to modern Korean, and analyze information about ancient architecture in texts. The texts can divide to three sections. The first introduces three Chinese architectural theory books as "Gogonggi(考工記)", "Yeongjo Beopsik(營造法式)" and "Mokgyeng(木經)", and mentions about the prototype of the royal ancestral ritual building in "Gogonggi Toju(考工記圖注)". The second quotes "Seoyeong(書影)" to introduce "Yeongjo Beopsik". The third quotes "PaePyeon(稗編)" to introduce "Yeongjo Beopsik" and "Mokgyeng", and mentions about the counting unit of columns of the royal ancestral ritual building. Although the purpose for these quotations is not directly mentioned, but we can find it is intended to explain the architectural prototype and lay-out of the royal ancestral ritual building.

• Journal of the Korean Society of Food Culture
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• v.30 no.5
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• pp.502-544
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• 2015

This study researched a document regarding 'Pyeon (tteok)' on 25 Jong-ga ancestral ritual foods through "Jong-ga Ancestral ritual formalities and food", published during 2003~2008 by the National Research Institute of Cultural Heritage of Cultural Heritage Administration. A after about 10 years, the transmission process of the setting and recipe was compared and analyzed in 2015 by directly visiting 4 Jong-ga. This research classified regions into 7 Gyeonggi, 4 Chungcheong, 2 Honam, and 12 Yeongnam, and classified hakpa, Gyeonggi, Chungcheong, Honam region into 13 Gihohakpa, Yeongnam region into 12 Yeongnamhakpa. The important analysis standard of Jong-ga ancestral ritual food was the region and hakpa, which appeared to considerably influence 'Pyeon' setting style, which represents and symbolizes family and recipe. Gihohakpa Jong-ga, which is an academic tradition that pursues practical interests, seems to highly regard practicality to adapt to changes along with the period. On the contrary, Yeongnamhakpa Jong-ga, which highly regards self-sufficiency living base and moral justification, seems to be highly conservative. Increase in Jong-ga, which utilizes mill, is the result of adaptation to the period environment such as Jongbu aging and lack of labor, etc.

• Journal of architectural history
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• v.2 no.2 s.4
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• pp.50-65
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• 1993

Most of the studies on Yangban Houses dealt with the existing houses which were constructed, in most part, after the 17th century. Therefore it is important to identify the actual process of change from before the 17th century which is critical in understanding the history of residential architecture of the Chosun Dynasty. This study aims to clarify that the architectural condition after the 17th century is the result of the major change in sound the 16th century, and the prime motivation of that change was initiated by the family ritual which become very important social and idealogical base of the change. To be able to practice the family ritual, the spatial arrangement had to be changed, Man's quarter had to be enlarged, which a stone-floored room was added on one side of the centural wooden floor of the lady's quarter. Also, family shrine was erected on eastern side of the site. Thus, unless the major change in the 16th century, which was caused by the practice of family ritual, is understood, the study of historical background of Yangban houses can never be complete.

• English & American cultural studies
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• v.17 no.1
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• pp.163-189
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• 2017

The mourning and grief practice richly registered in Shakespeare's Hamlet is one of the abiding themes that critics have been fascinated with. This paper attempts to take a fresh look at the issue by building its arguments on Benjamin's insight that the modern art (mechanically) reproducing the exhibition value brings about the destruction of the ritual value and favors the conditions of melancholy. Instead of taking for granted that Hamlet's performance of grief is fundamentally different from those of other characters such as Gertrude, Ophelia, and Laertes, this paper argues that Hamlet's performance comes to be recognized masculine and different from others, only because he presents himself to be so through his theatrical performance as well as his princely power that the subjects (others in the story) ought to ascribe to. To prove this point, this paper closely analyzes Hamlet's rhetorics and the ways he constructs his mourning self, which is emblematic of the shift in art history that Benjamin has characterized with the terms of "ritual value" and "exhibition value." In conclusion, this paper suggests that Shakespeare's Hamlet marks the change of the historical horizon, a permanent removal from the past in which the ritual value had been once protected, pushing us to a new age to live with melancholy and the disconnection from things and their muted language.

• Journal of the East Asian Society of Dietary Life
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• v.25 no.4
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• pp.549-564
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• 2015

This study was conducted on the head family house of Panseogong coterie of Andong Kwon clans in Daksil village, Bongwha gun, Kyungbuk: historical sources survey and field visit over four rounds were conducted from March to June 2014. In-depth interview, storytelling, and nutrition facts were used as methods of research using 49 participants, and the potentials of trend goods were the main purpose of this research. The specialties of bongwha prefecture in the Chosun Dynasty were pine nut, manna lichen, ginseng, sweetfish, and wild honey. Ritual food bulcheonwi's offerings a feature in Choongjae Kwonbeol's head family - were sacred wine, me, gang, otang, myun, myunjeok, pyunjeok, pyunchung, pyun, po, chungpomook, dojeok, sookchae, ssam, chimchai, sikhye, chogwa, silgwa, soojunggwa, etc. The ritual foods of bulcheonwi's head family house Choongjae Kwonbeol were commercialized through storytelling. Choongjae Kwonbeol's ritual ceremonies, recognized for their national royalty, were reorganized as the traditional Korean table settings, so that the Korean people could easily access them. The special meal called "Geumgyeporansang" represented the head family house foods' essence to share and serve others through the Dacshil village's natural beauty, Bonghwa's local ingredients, and festivities after the "Chungjae Gwunbal Bulchun" rituals. The ritual foods called "Cheongamjungsang", utilizing "Chungjae Gwunbal Bulchun" rituals, were represented in the form of a lunch box: such foods illustrate the classical scholar's mindset that enjoys the nature and arts through education and virtue.

• Journal of Information Science Theory and Practice
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• v.9 no.4
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• pp.50-62
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• 2021

This study aims to unravel the shift in the customary method of disseminating information about the ritual of Perang Topat (literally translated as "rice-cake war") as carried out by the custom community of Kemaliq Lingsar in the West Lombok Regency of Indonesia during the COVID-19 pandemic. Grounded in the ethnography of communication research methodology, this study examines the process of the cultural ritual during the 2020 period of the pandemic and compares it to the ones held in 2018 and 2019 (before the current pandemic). Drawing on findings from observations, in-depth interviews, and documentation, it was revealed that the traditional or custom-oriented community of Kemaliq Lingsar abandoned all three prominently used methods of disseminating the information of the Perang Topat ritual that had been used prior to the pandemic, and that they were replaced by a strategy with solely face-to-face (FTF) interpersonal communication carried out by visiting the homes of the target participants of the cultural event. This method was relevant to the current viral crisis because it enabled the committee to minimize the number of spectators which might potentially violate COVID-19 health protocols. This finding also reinforces the hypothetical statement that interpersonal communication via FTF is effective in disseminating information in a limited manner and empowering the emotional bond between the individuals who share relationships and similar interests. The findings of the present study can be a reference for any events where physical distancing must be strictly imposed and require a limit to the number of participants during the pandemic.

• (The) Research of the performance art and culture
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• no.32
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• pp.107-129
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• 2016

This article is about the tradition and history of Baekjesooryukjae(Sooryukjae, one of the Buddhist ritual is called Baekjesooryukjae in Buyeo), which is conducted in Baekje Cultural Festival, the annual festival that is held in Buyeo. Buyeo was a place where various ritual books on Sooryukjae were published, and where Bumpae(Buddhist chants) were taught centering on Mooryang Temple. Based on this tradition, to comfort the lonely spirit of Baekje and pacify the three thousand court ladies, Sooryukjae started to be held 60 years ago. Baekjesooryukjae, unlike Sooryukjae of other regions, have the feature that it is held on the river. In Buyeo, where ritual books were published many times and where there was its own Buyeo education, Sooryukjae is assumed to have been handed down for a long time. Thanks to such historical tradition, Sooryukjae was held as a ritual of pacification in Baekje Cultural Festival. Baekjesooryukjae has unique characteristics. Baekjesooryukjae, which started with the proposal of the residents, shows off its status as the one and only water Sooryukjae that is currently existent, and it shows there are significant meanings depending on the changing venues of 재차 as well as the composition of 재차. It is a Sooryukjae with 60 year-long tradition and locality, history.

• (The) Research of the performance art and culture
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• no.23
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• pp.245-280
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• 2011

One of the major streams of modern play in Korea is the work of introducing Korea's traditional ritual-'gut' into a play. Such work, together with the stream of diversification of culture, has brought about the tendency to induce 'gut' into a play in a creative way. The research on ritual plays in Korea has been done in the direction of studying the ritual plays in the West centering on the work of theoretically inquiring into histrionic features inhering in 'gut' as a ritual. This research made an analysis of the receptive aspect of rituals and histrionic characteristics presented in Korea plays through "Sanssikgim" and "Ogu" on the basis of the theory of ritual plays established by Artaud. In an effort to understand the receptive aspect of rituals, this research analyzed what forms these Korean works are borrowing from "Ssikgim gut" and "Ogu gut" while analyzing these works differently from the viewpoint of Artaud regarding characteristics of ritual plays. Accordingly, this research made an analysis of the structure and characteristic of "gut" with the aim of understanding in what form "gut" is absorbed into Korean plays by looking at the theatric receptive forms of "gut." The ritual plays in Korea originated in "gut." Likewise, the theater of cruelty by Artaud was greatly influenced by the belly dance stemming from "mudang-gut" in Asia. Accordingly, there is considerably exposed something in common between the ritual play in Korea and Artaud's theater of cruelty. "Gut" in Korea, or ritual plays are a little different from Artaud's work which makes its audience feel unfamiliar in that 'gut' or ritual plays in Korea are pursuing ritualistic quality and playing quality simultaneously, but there exists a similarity between the two in that they both desired to have communication with audiences. This researcher strongly believes that for the time to come, when the receptive aspect of the modern play assuming ritualistic quality is developed using the medium of communication with audiences, purification and play therapy, its direction will be more noticeably exposed.

• Journal of Families and Better Life
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• v.19 no.3
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• pp.135-155
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• 2001

The purpose of this study was to investigate the general tendency of family/kin ritual transition and to find out related variables. For this purpose, 593 subjects of rural family were interviewed with questionnaires. The major results of the study were summarized as follows: 1. It was discovered that the characteristics of the ritual transition among the rural families is same as the urban families, i.e. westernization, commercialization, and socialization. But the speed of rural area was relatively slow. 2. In contemporary family/kin rites, traditional structure coexisted with external westernized aspects by the group who were elderly, lowly educated, lowly earned and Buddhist. 3. The family/kin rites were more significantly different depending on the age than gender, and the religion was the significant variable to the family/kin rites. So the family/kin ritual management education programs were needed.