• (The) Research of the performance art and culture
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• no.37
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• pp.61-94
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• 2018

This article examined that the historical changes and current significance of the Jaedam(재담) and the Xiangsheng(相聲), one of the traditional Korean and Chinese language games. Both Korean Jaedam and Chinese Xiangsheng are representative language games and traditional performing arts for laughing. The origin of the Jaedam can be traced back to Uheui(우희). Uheui has been called Changyouxi in China, Bae Woo-hee, and Jo Hee in Korea. Uheui is the most traditional language game and a variety of performances were derived from its spreading and inheriting process. Among them, Korean Jaedam and Chinese Xiangsheng can be said to be a piece of art that has successfully inherited Uheui tradition. From the late 18th century, Korean Jaedam were established as independent performance arts, and became highly active in many performance by professional joker Park Chun-jae and other performers. With the development of gramophone record in the early 20th century, the Jaedam was mainly made on the theater stage and radio. At this time, the new performance art of 'Mandam(만담)' was derived from the Jaedam, which focused more on satire current events and criticizing the social situation. Mandam has been popular for a long time and then extinct in the 21st century. The jaedam have been handed down only in the Korean traditional performance so far. Meanwhile, Chinese Xiangsheng, which was built in the mid-19th century, a bit later than Korean Jaedam, was initially considered to be a vulgar art of the lower class, but finally became popular in the early 20th century. In the mid-20th century, Xiangsheng was transformed into a new character, which mainly deals with social praise and edification of the masses. But since 'New Xiangsheng' does not focous on a satire on social conditions, the humor has been reduced. In the early 21st century, Xiangsheng was on the verge of extinction just like Mandam, but through the efforts of young actors to revive tradition, another reformation of this art was made to return to tradition and small theater. Currently, the 'traditional Xiangsheng', which has returned to tradition, is once again receiving the love and support of the Chinese audience. Korean Jaedam and Chinese Xiangsheng have many similarities in terms of history and recruitment, but they are now in different fates. There is also a great deal in common ground in terms of the content and form of the two arts. In the case of Xiangsheng, it is one of the traditional folk art forms which is still loved by the Chinese people and has become one of the most important traditional performances. On the other hand, in Korea, Jaedam as independent performance arts has disappeared and now only can be seen in traditional performances such as 'Korean mask theater'. The fact that Korean Jaedam and Chinese Xiangsheng have undergone similar changes in their spreading and inheriting process, while Korean Jaedam have disappeared and Chinese Xiangsheng is well preserved. The reason can be confirmed through the main idea of this article.

• Journal of Korean Medical classics
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• v.37 no.1
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• pp.41-56
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• 2024

Objectives : The purpose of this paper is to model each Xíng(行) of the Yīnyáng Wǔxíng(陰陽五行) theory as a vector, to interpret the Xiāngshēng Xiāngkè(相生相剋) theory as a vector sum, and argue the objectivity and universal applicability of the Xiāngshēng Xiāngkè(相生相剋) theory. Methods : The five xíngs of the Wǔxíng were modeled and expressed as vectors, and the Xiāngshēng Xiāngkè theories were quantitatively explained by vector summation. Results : We calculated the Wǔxíng vectors using the vector sum formula, and found that the Xíng vectors that received mutual support increased in size by about 62%, and the Xíng vectors that received opposition decreased in size by about 38%. Conclusions : This result could be considered as quantitative interpretation of the contents of the Xiāngshēng Xiāngkè(相生相剋) theory which has mostly been explained qualitatively. The results of this study could hopefully provide ideas to quantify various theories based on the Yinyangwuxing theory such as Korean Medicine and other traditional fields in East Asian culture.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.1 no.1
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• pp.103-125
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• 2021

This paper deals with figurative meanings of Haewon-sangsaeng. It is an investigation which is both semantic and diachronic. In the first part, important implications of sangsaeng (or xiangsheng in Chinese) in the context of correlative cosmology are extensively explored. Among others, saeng (in Chinese sheng) as a powerful metaphor and its related Chinese compounds are broadly discussed. In the second part, the evolution of ideas of yuan (or won in Korean) in Chinese history is explicated. Above all, in the traditional Chinese cultural milieu, wrongful treatments which make victims feel themselves aggrieved are socio-politically orientated. The Scripture on Great Peace (Taiping Jing) is used as reference point to elucidate the essential points of yuan and its knots. However, the advent of Buddhism in East Asia adds a new dimension to the understanding of yuan (won). Accumulated yuan as karmic bond thus gives a new identity of yuan as predetermined animosity. Widely recognized idioms like "adverse relatives and karmic debtors" and indigenous Chinese Buddhist rituals like Repentance Ritual of the Emperor Liang bear witness to this transformation of the meaning of yuan in East Asia. The fruitful yet correlated meanings of yuan also make the endeavor of untying yuan deeply significant and important to human society. Haewon-sangsaeng, as a religio-ethical ideal, brings out an amicable and harmonious relationship among myriad beings in the cosmos.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.11 no.7
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• pp.3465-3479
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• 2017

Information-Centric Vehicular Ad Hoc Network (IC-VANET) is a promising network architecture for the future intelligent transport system. Video streaming applications over IC-VANET not only enrich infotainment services, but also provide the drivers and pedestrians real-time visual information to make proper decisions. However, due to the characteristics of wireless link and frequent change of the network topology, the packet loss seriously affects the quality of video streaming applications. In this paper, we propose a REceiver-Driven loss reCOvery Mechanism (REDCOM) to enhance video dissemination over IC-VANET. A Markov chain based estimation model is introduced to capture the real-time network condition. Based on the estimation result, the proposed REDCOM recovers the lost packets by requesting additional forward error correction packets. The REDCOM follows the receiver-driven model of IC-VANET and does not require the infrastructure support to efficiently overcome packet losses. Experimental results demonstrate that the proposed REDCOM improves video quality under various network conditions.

• Journal of Acupuncture Research
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• v.18 no.6
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• pp.250-263
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• 2001

Objective : I refered to oriental medical records to study on the use Ohaeng-acupuncture through compared ${\ll}$Classic on Difficulty${\gg}$ with . Methods : The original text about ${\ll}$Classic on Difficulty${\gg}$ was used ${\ll}$Nan Jing Ben YI${\gg}$, annotations were excerpted and record that were necessary for this study. The structural formula was composed together to compare ${\ll}$Classic on Difficulty${\gg}$ with . Results : ${\ll}$Classic on Difficulty${\gg}$ deals with fundamental medical theories and gives differentiation of syndromes of some diseases in the form of questions and answers. ${\ll}$The Sixty nineth Difficulty, Classic on Difficulty${\gg}$ 'Xu Ze Bu Qi Mu(虛者補其母), Shi Ze Xie Qi Zi (實者瀉其子)' that united ${\ll}$Ling Shu(靈樞) - Jing Mai(經脈篇)${\gg}$ 'Sheng Ze Xie Zhi(盛則瀉之) Xu Ze Bu Zhi(虛則補之)' with Ohaeng-xiangsheng theory is the base of the 'Bu Xie (補瀉)'. ${\ll}$The seventy fifth Difficulty, Classic on Difficulty${\gg}$ 'Xie Nan Huo (瀉南方火) Bu Bei Shui (補北方火)' that based Ohaeng-xiangke theory and the 'Qu Xue(取穴)' takes the form of the 'Bu Mu Xie Zi (補母瀉子)' in standard of internal organs which are etiologic al cause named 'Shi(實)'.