• 가족자원경영과 정책
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• 제14권3호
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• pp.143-163
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• 2010

The purpose of this study is to analyze the trend of research system and contents of thesis which was published with a theme of child tea ceremony education. Under this purpose we have searched the thesis related to the child tea ceremony education which was in the data base of the National Assembly Library, the National Library of Korea, Korea Education & Research Information Service and we have collected total of 22 analyzing subject data. The major results of this study are as followings: First, after analyzing the research system, the release year of child tea ceremony education study which was published from year 2000 to 2009 are shown as followings, 1 unit in year 2000, 2 units in year 2001, 2002 & 2003, 4 units in year 2004, 5 units in year 2005, 2 units in year 2006, 1 unit in year 2007, 2 units in year 2008, 1 unit in year 2009. The publishing type were 14 units of master's degree thesis, 6 units of academic journal, 2 units of doctor's degree thesis. The academic area of researchers are 8 units of propriety and tea culture, 5 units of early childhood education, 5 units of child welfare, 2 units of family culture and consumer, 1 each unit of counseling psychology and korean culture. As per the research method there were 15 units of experimental study, 6 units of reference research, and 1 unit of thesis which adopts both interview and case study. Second, as a result of analyzing the research contents, the goal of child tea ceremony education was shown to be a holistic child growth and development, a formation of basic living habit, a development of pride on traditional culture and an establishment of national identity. The contents of child tea ceremony education has been classified into 57 items. The activity of child tea ceremony education has been classified into 34 items. The vitalizations of child tea ceremony education is shown to be a education for parents and teachers, a development of systematic educational program, durability of child tea ceremony education, and a verification of effectiveness of child tea ceremony education.

• Human Ecology Research
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• 제55권5호
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• pp.481-490
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• 2017

This study considered the performing arts culture with a focus on Palgwanhoe Ceremony and various stunt-songs and dance (Baekhee-Gamoo) from the Goryeo period as well as examined the characteristics of performing arts' costume for Baekhee-Gamoo shown in Palgwanhoe Ceremony. The Baekhee-Gamoo shown in the Palgwanhoe Ceremony included acrobatics, traditions from comic dramas, puppet shows, mask plays, and four musical troupe flowers of youth in the Silla Dynasty, who excelled in beauty, bravery and the military arts (Sasun-Akboo). These were performed on a wagon ship with dragon, phoenix, and elephant animal masks (Yong-Bong-Sang-Mageosun). The characteristics of performing arts' costume for each performing arts are as follows. First, the general costume of the time was used for performing arts' costume. There were no special costumes for performing arts and it was just transformed or added for the efficiency of acrobatics. Second, the reality was improved by focusing on the historical research on costume suitable for characters and background of events in the performing arts to clearly deliver the purpose of the ceremony and quickly arouse audience's curiosity towards the performing arts' costume for the tradition of comic dramas and puppet shos in the Palgwanhoe Ceremony. Third, magical powers and symbolism were expressed through masks and performing arts' costumes. Palgwanhoe Ceremony aimed for magical powers that could protect weak human beings from threats and repel everything unfair while also symbolically showing the deified being through the performing arts' costume.

• 동아시아식생활학회지
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• 제12권6호
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• pp.447-488
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• 2002

The annals of the Chosun dynasty (朝鮮王朝實錄). on CD-ROM was studied to understand e ceremony and dietary culture of the Chosun dynasty. The Chunshin (薦新) ceremony. the service of offering the first food product of the year to ancestors, was begun in the Song dynasty in China and initiated in the Koryo dynasty in Korea. Chunshin ceremony as the national auspicious ceremony was settled through the 311 the Chosun dynasty. The offerings were graded and the Saongwon (司饔院) was in charge of the transportation of them. A king attended the ceremony in person at Jongmyo (宗廟) once in a while. but the Bongsangsi officials usually took charge of ceremony. Even though the harvest of crops had failed due to the drought. the quantity of the offering was not curtailed. Seven kinds of the new products It ere offered in the Koryo dynasty, twenty-seven kinds of them during the reign of king Sejong, and thirty-one kinds of the them during the reign of King Sungjong according to the Gukjooreeui (國朝五禮儀) (1474). The offerings were served on the utensils called Du (두(豆)), Byun (遼), and Jak (爵). Most of the of the offerings were dedicated by public officials and civilians. The meat products in particular were caught by the king on hunting trips, and offered by the king in Person.

• 영미문화
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• 제14권2호
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• pp.97-125
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• 2014

This paper delves into the question of universality in Native American Literature focusing on Leslie Marmon Silko's Ceremony, exploring some different definitions of universality and looking at the work in the light of these definitions. In this paper I proposed four possible definitions or faces of universality applicable to the narrative of the oppressed people. Firstly, the colonizers indoctrinate their colonized persons with the colonialists' beliefs through the process of assimilation purposefully imposed in the name of universality. In Ceremony Rocky and Emo are the victims of assimilation including militarization. Secondly, the colonized people hold on to their traditional values in face of colonizers' universalism. In Ceremony Tayo shows an attachment to tribal stories in opposition to whites' lies. Thirdly, the colonized can get together by sharing experiences of violence, occupation, and loss of their land and language, forming a bond of "commonality" among them. In Ceremony the story of a medicine man, Betonie, suggests oneness of victims against the evil power of destroyers represented by nuclear bombs. Fourthly and lastly, the universal consists in the subject's trial and practice attempting to achieve universalism against the existing order, not in the stipulation defining what is universal. In the story Tayo endeavors to retrieve his cattle by transgressing whites' property and makes a hole in the established dichotomy of whites and Indians. In sum, Ceremony as a minor literature shows the developmental aspects of universality, culminating in Tayo's refusal to assimilate himself to whites' lies.

• 한국언론정보학보
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• 제28권
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• pp.43-76
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• 2005

이 연구는 하나의 관습화된 제도로서 당연시되는 결혼식 의례를, 젠더를 둘러싸고 있는 우리 사회의 문화적 코드들을 담고 있는 중요한 사회적 텍스트로 간주하고, 한국의 결혼식 의례와 그 절차에 대한 신화 분석을 수행했다. 서구의 근대적 이데올로기의 신물인 낭만적 사랑의 신화와 함께 유교적 전통하에서의 한국적 가부장제 이데올로기는 현재 한국의 결혼 문화를 중층적으로 결정짓는 중요한 틀이다. 이 연구에서는 우리 사회의 결혼식을 전시 영역과 비전시 영역으로 구분하고, 전시 영역의 서구적 사랑의 각본과 비전시 영역의 전통적 유교 이데올로기 각본을 분석하여 각 영역들이 젠더 관계를 어떻게 신화적으로 재구성하는가를 살펴보았다. 또한 1980년대 들어 나타난 결혼식의 변형들이 한국 사회에서의 신분 상승 욕구와 관련된 키치적 성격을 띠는 동시에 젠더 불평등 관계를 은폐하는 신화의 기능을 하고 있음을 밝혔다.

• 공연문화연구
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• 제39호
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• pp.509-547
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• 2019

조선 초기부터 행해진 양잠 관련 국가의례는 의식주의 '의(衣)문화'로서 '입을 거리'를 중요시 여기던 국가의 의지를 드러내는 의례로 자리매김 되었다. 성종 대에는 '왕비가 직접 뽕잎을 따는 절차'를 추가하여 그 중요도를 높였다. 영조 대에는 의례의 의미가 더 확대되어 왕비가 양잠신에 직접 제사하는 '작헌례' 절차를 더하여 '여성'이 '여성신격(神格)'에 직접 제사를 올리는 최초의 의례로 자리하게 되어 조선시대 국가제사의 새로운 형태가 출현하였다. 이는 영조가 선농제를 행한 후 직접 밭을 가는 친경의례와 위상을 맞춘 것으로서 농사와 양잠행위의 중요성을 아울러 부각시킨 것이기도 하다. 그 결과 영조 대에 정비된 친잠 관련 의례는 그 내용이 확대되어 11가지 의례로 정착된다. 이는 의례를 행하러 가기 위한 출궁 절차부터 왕세손, 혜빈궁이 왕비를 수행하는 절차, 왕비가 작헌례를 올린 후 친잠하는 의례, 왕이 교서를 반포하는 의례, 친잠을 마친 후 행하는 조현의(朝見儀), 왕비가 누에고치를 담은 상자를 받는 의례까지이다. 이러한 의례는 그 이전에 행해지던 것과 비교하면 매우 큰 규모로 확대된 것으로서 이는 영조 대 의례 정비 양상의 한 특징을 이룬다. 이들 의례의 주요 절차에는 음악이 수반되며 그 음악은 속악, 그리고 고취(鼓吹) 등을 포함한다. 영조 대의 친잠 관련 의례는 선잠제의 신격인 여성을 여성이 직접 제사하는 의례로 정착시키는 방향으로 제정됨으로서 그 명분과 실제가 비로소 일치하게 되었다.

• 한국융합학회논문지
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• 제8권12호
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• pp.445-450
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• 2017

최근 들어 대학에는 중국 유학생들이 증가하고 있으며, 유학생들의 문화적응 스트레스를 감소하여 대학생활 적응을 향상하고자 본 연구에서는 중국유학생들에게 차문화를 통해서 자신을 존중하고 사랑하는 참나를 만나는 참나다례의 직접적 체험과 참나다례 앱에 중국어를 첨가한 참나다례 앱의 융합 프로그램을 적용하였다. P시에 소재한 T대학교 중국 유학생 10명을 대상으로 하여 직접적 참나다례 체험 프로그램 주1회 4회기, 참나다례 앱 보기는 매일 2번 이상 보기로 30일간 진행하였다. 그 결과 프로그램 참여 전 중국 유학생들의 문화적응 스트레스 점수 평균은 98.5(SD 9.63)였고, 프로그램 참여 후 문화적응 스트레스 점수 평균은 93.9(SD 9.67)로 나타나 프로그램 참여 전과 참여 후의 문화적응 스트레스 점수 수준은 유의한 차이가 나는 것으로 확인되었다(Z=6.702***, P=.000). 따라서 본 프로그램은 중국 유학생들에게 문화적응 스트레스를 유의미하게 감소하여 대학생활 적응 향상에 효과적이라고 할 수 있다.

• 복식
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• 제62권8호
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• pp.71-80
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• 2012

The Kut is the core of the traditional folk religion. The afterlife wedding Kut actually performs a traditional wedding ceremony by personifying the deceased in the process of performing the composition of Kut geori that cannot be observed from other Kuts, which is an important means to convey the situation of Kut more clearly. A traditional wedding ceremony performed in the Kut enables the audience to understand the meaning behind the Kut. The costume worn in the traditional wedding ceremony of the afterlife wedding Kut makes the audience understand the existence of the deceased by the use of a scarecrow dialect and makes them feel a vivid sense of the scene emitting from the Kut, which performs a traditional wedding ceremony in the composition of Kut geori. The results of this study showed that a shaman who led the afterlife wedding Kut had a scarecrow that symbolized the bride and a bridegroom wear the traditional wedding costume in order to visualize the deceased and express the symbol of a wedding which could not be made in this world. It can be interpreted that the traditional costume derived from the afterlife wedding Kut plays a symbolic role, which converts the deceased into a living person through the formal aspect of ceremonial costume and the cultural aspect of wedding ceremony.

• 한국의상디자인학회지
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• 제16권1호
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• pp.139-151
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• 2014

Storytelling contributes to easy flowing of cultural contents, and cultural original materials offer the creative subjects of cultural content. Now, in Korea, thanks to the Korean wave and etc, new kinds of cultural contents are requested and the demand for the original materials of storytelling has been increasing.A 5,000-year-old history, Korean traditional culture is the storage of the original materials of storytelling that can offer the creativity and the competitiveness, which are able to secure the national competitiveness. Particularly, there are different kinds of cultural archetype materials in the wedding ceremony and wedding costumes. This research, thus, is aimed at providing the subject materials for the cultural content development which are various and interesting by developing the original materials of storytelling on the wedding ceremony and wedding costumes during the Joseon dynasty. In the study for the wedding procedures in the late of Joseon Dynasty, the original sources within wedding ceremony created in the process where wedding customs in Joseon Dynasty and China were compromised are suggested. Further, in the research for the original sources on the wedding costumes associated the wedding ceremony, the original source of storytelling which are showed in a nation and an individual in the process where the wedding ceremony symbolizes the most important marriage one of the fomalities performed in one's life is suggested.

• 복식
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• 제57권2호
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• pp.100-114
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• 2007

This study reports the dress style of Daesarye ceremony participants in the Yeong-Jo Era. The King Yeong-jo attending the archery practice ceremony wears Ikseonkwan(翼善冠), Golryongpo(袞龍袍), Okdae(玉帶), and Heukpihwa(黑皮靴) while royal family members and officers in the ceremony wear Heukdalryeong(黑團領). Each officer in Sangbok(常服) who shoots arrows wears a ring and a wristlet with an archery case on his waist. King's bodyguards wear Yungbok(戎服) or Sangbok(常服). Especially, Muyaebyeolgam(武藝別監) wears Hong-geon(紅巾) and a green Jikryeong(直領). Yujiang-gun(儀位軍) wear Pirip(皮笠) and Hongjuryi(紅紬衣) while Hyeopryeongun(狹輦軍) and Hyeopryeogun(狹輦軍) wear Hong-geon(紅巾), Hongyui((紅衣), Cheonghaengjeon(靑行纏), Hakchang(鶴雲), Hongmokdae(紅木帶), and Unhye(雲鞋). Gyeonmabae(牽馬陪) wear Hwangchorip(黃草笠) and Hwangyui(黃衣). Seupjeongun(拾箭軍) and Hwaekja(獲子) wear Jageon(紫巾), Jayui(紫衣), and Unhye(雲鞋). Jeonak(典樂) wears Mora- bokdu and Noksayui(綠抄衣), while Ak-kong(樂工) wear Hwahwabokdu, Hongjuyui(紅紬衣), Ojeongdae, and Heukpihwa(黑皮靴). Lastly, Hyeopryulrang(協律郎) wears Heukdalryeong(黑團領).