• 한국콘텐츠학회논문지
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• 제10권12호
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• pp.223-235
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• 2010

장례서비스는 인생의 마지막 단계인 죽음을 다루는 의례절차에 관한 것으로, 복지서비스의 마지막 단계라 할 수 있으며, 고인의 마지막 형태를 복원하는 고전적인 회복기술 수준에서 한 걸음 더 나아가, 생시 모습의 재현 내지는 더 나은 외모로 표현하는 메이크업의 단계로 발전하고 있다. 이는 고인의 마지막 모습을 좋은 모습으로 기억코자 하는 유족들의 요구에 의한 것으로, 시대별로 변화되고 있는 방법들을 기록에서 찾아볼 수 있다. 이러한 장례메이크업은 유족의 요구에 부응하여 죽은 이의 마지막 모습을 아름답게 꾸며줄 수 있는 우리의 장례문화의 가장 주요한 한 과정이 될 것이다. 본 연구는 향후 장례식장 내에서 고인을 모시는 입관 단계에서부터 꽃 장식, 관보 등의 인테리어, 음향효과, 조명시설, 특수 재료와 함께 연구되어야 할 장례 메이크업을 체계적인 방법으로 실제 적용해 보고, 그 효용성을 교육현장에서 활용할 수 있는 방안을 모색해 보았다.

• 복식
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• 제5권
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• pp.83-101
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• 1981

This study is to research and analyse the Musicians' Costumes in Yi dynasty. Each costume for the musicians was, at that time, different in its design and style in accordance with what class the musicians were belonging to and what ceremony they were playing for, and the form and substance of them were changed according to the ages. In the early of Yi dynasty, the musicians wore their costumes imitated from the Song dynasty's. Especially in the 13th year of King Sae-Jong(1431), they divided the costumes into A-ag-Seo Jeon-ag Gwan-bog(雅樂署 典樂冠服) and Jeon-ag-Seo Gwan-bog(典樂署冠服). Meanwhile the musicians had to put on their different kinds of costumes according to the sorts of ceremonies they were playing for since January of the 16th year of king Sae-Jong(1434). It is widely known that confucianism was made a national policy in Yi dynasty. Compared the musicians' costumes for sacrificial rituals, however, with those for every kind of ceremony, one was simpler and shabbier without any strictly established forms than the other. At the same time, the musicians' costumes for ceremonies were, instead, designed in more gorgeous forms; it means that the sacrificial ritual was very lightly dealt at that time. It is very difficult to define, by standard pictures the whole style and form of the musicians' costumes in Yi dynasty in this study. Since we haven't shown any examples of the costumes, this attempt will be keepful.

• 영어어문교육
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• 제4호
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• pp.249-267
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• 1998

"The Waste Land" is Eliot's best known poem. It was first published in 1922 and became a famous poem in modem poetry by the 1940's. The poem is a statement of his personal experience with spiritual crisis, this simple outline is complicated and universalized by being set within the structure of 'the Fisher King legend'. The fisher King legend was studied by Miss Weston in From Ritual to Romance and Sir James Frazer in The Goldon Bough which traced the vegetation myths. It explained the cycle of the seasons in relation to the death and rebirth of a god. The god died in the winter with the death of the vegetation and was reborn in the spring with the rebirth of the vegetation. Sir James Frazer reaced these ancient rituals within the Christian world. He indicated that the death and rebirth of Christ falls within the pattern of this ancient ritual. Also Miss Weston transformed that ancient ritual into Christian terms, and connected it with the Quest for the Holy Grail. Eliot used not only the title, but the plan and a good of the important symbolism of the poem from these two books. "The Waste Land" is a difficult one because of the numerous interruptions in the narrative. On the superficial level, the story covers a 12-hour period in a day. It is also in "the stream of consciousness." It might be called the internal monologue; that is, "the free association of ideas in the mind of the narrator," Eliot experiments with both the idea of time and with the stream of consciousness, He employs a number of quotations and allusion from the Classic literature. So, his technique in "The Waste Land" consists of the juxtaposition of the present with mythcism and religious symbolism derived from the past. The structure of the poem is built out of the contrasts in time. The poem illustrates his conception of the past as an active part of the present. "The Waste Land" has "a symphonic structure" composed of five parts, which are linked by the repeated themes. The theme is the death and salvation of the Waste Land. It is drawn from the Fisher King myths. Moreover, he has absorbed into the structure of this poem the language, phrases, and associations of other writers. It gave the poem the universality both of theme and of pattern. Also, his intricate and fine techniques added the universality to the poet's personal material. At last, the verse pattern of the poem follow the same basic structure as the thematic patterns. Again in symphonic style, the verse varies from section to section. The interruption of real time is associated with the flow of consciousness. Though the poem is a complex structure, there are the interweavings of a great deal of ideas into a simple, brief statement. By these poetic techniques the poem manages to have good harmony and unity between the thematic pattern and narrative structure. "The Waste Land" therefore, became the greatest poem in the 20th century modern world.

• 한국의류학회지
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• 제32권6호
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• pp.935-946
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• 2008

종교는 인간을 궁극적인 삶의 조건과 관련시키는 일련의 상징적인 형식과 행위이다. 종교사상은 상징을 통해 세상을 이해하고 또 상징을 통해 행위를 유발한다. 본 연구는 종교가 복식에 미치는 영향과 그 메커니즘을 규명하는데 목적을 두고 문헌을 중심으로 연구를 하였다. 세계 고등 종교 중 불교, 힌두교, 이슬람교를 중심으로 연구하였으며, 종교의 여러 구성요소가 의례로 표현되고, 복식으로 표출되는 메커니즘을 연구하며, 그러한 일련의 과정을 도식화하여 제시하는 것에 목표가 있다. 믿음체계, 경험, 공동체, 의례 등 종교의 구성요들은 긴밀한 상호 연관성을 갖는다. 특히 의례는 종교적 의미를 표현하는 상징적 행위이자 실천이며, 구원의 방편이다. 모방의례, 긍정적 혹은 부정적 의례, 희생의례, 통과의례 등의 종교적 의례들은 제사와 같은 종교 예식은 물론, 종교음악이나 복식, 건축, 미술 등의 조형예술로 표현되어 왔다. 종교는 삶의 의미를 밝혀 주고, 불안이나 갈등과 같은 문제의 해결책을 제시해 주는 신앙체제로서 복식을 포함한 문화 전반에 큰 영향력을 끼쳐 오고 있다.

• 한국전통조경학회지
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• 제34권4호
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• pp.89-97
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• 2016

본 연구는 특정한 시대에 장백산 지역에 조성된 제사공간을 문화경관의 관점으로 바라보면서 장백산의 신성성이 역사 속에서의 변화과정과 정권의 교체와 민족의 변화 속에서도 신성성이 유지된 이유에 대하여 해석했다. 본 연구의 결과를 요약하면 다음과 같다. 첫째, 청나라에서 중화민국시기로 과도하면서 겪은 정권의 교체와 민족의 다양성, 그리고 문화의 수용성으로 인하여 장백산의 제사성격과 신적대상이 변화했다. 둘째, 청나라의 황가 제사공간인 망제전(望祭殿)은 권위적인 공간으로 만족만의 유일한 제사공간과 문화를 형성했고 중화민국 시기에는 한족의 이주와 정착과정을 겪으면서 방산인 사이에서 새로운 민간신앙이 탄생했으며 따라서 제사공간인 여래사(如來寺), 산신노파두묘(山神老把頭廟)가 조성되었다. 셋째, 제사공간과 장백산을 공간적으로 보면 망제전은 수직적인 공간으로 권력적인 공간이고 여래사와 팔괘묘는 장백산과 수평적인 공간에 입지되어 순종적인 공간으로 나타났다. 넷째, 제사의례를 보면 청나라의 망제전은 만족만의 유일한 제사의례 이지만 황권의 폐지에 따라 단절되었다. 현재는 민간제사의례가 일상화 되어있고 청나라의 제사의례는 형식적으로만 진행된다. 결론적으로 보면 역사적으로 장백산에 대한 신성성은 변하지 않았다. 하지만 장백산 제사공간은 청나라의 단일한 제사문화에서 정권의 교체와 다민족의 문화에 대한 수용을 거쳐 변화하였다. 현재는 상호수용을 통하여 중첩된 제사공간과 문화를 형성하였다.

• 헤리티지:역사와 과학
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• 제35권
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• pp.284-303
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• 2002

The purpose of this research paper is to examine, from an ethnological viewpoint, the traditional practice of using sacrificial game and domestic livestock as is often seen at communal rites in Korea. This paper also examine how the more convenient use of livestock sacrifice developed from that in which wild game were once offered, and how this change in the type of animals used affected the significance of the sacrifice. It also looks at how the use of animal sacrifice for ceremonies eventually influenced the practice of meat consumption on the part of the participants in their daily life, and how it contributed to the eventual establishment and development of livestock breeding for the purpose of meat consumption. The practice of catching wild game in the mountains for sacrificial purposes eventually gave way to the use of pasturage cattle, but it should be understood that these domesticated livestock were raised primarily for ceremonial rather than meat consumption purpose. When used for sacrifice, these cattle were not castrated, as is normally done when they are slaughtered for meat consumption, but it should not be assumed that this was done for purposes of simplification. In addition, not only rice farmers but also when enterpreneurs set up a new enterprise, animal sacrifice was viewed not only as a form of on-site purification of evil, but also served the dual purpose of enhancing their business through the traditional custom of serving meat to those invited guests in attendance. In the large-scale village communal rite of Hwaghae Province located in the northwestern part of Korea, animal sacrifice was carried out in the ritual for the Mountain God in a highly dramatic style, and suggests that it originated with the agrarian rites of the "fire-field" farmers of East Asia, which were utilized to foretell whether the coming year would be one of abundance or famine, and to the royal ceremony held on the 3rd day of the 3rd month of the lunar calendar, as well as that held for the God of the Mountains and Streams. The dramatic-style hunting rite, included in the large-scale communal ritual of Hwanghae Province mentioned previously, as well as in the Ritual of the Cow from Pyungsan, also located in Hwanghae Province, in which wild game were used as sacrifice, is significant in that it points up the changes that have occurred in ceremonial animal sacrifice. However, more research on ritualistic animal sacrifice is still called for in rites for good farming, fishing, and the variety of others that are held throughout Korea.

• 한국산업융합학회 논문집
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• 제12권3호
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• pp.121-128
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• 2009

This study is for getting sacrificial service, discussing process of sacrificial rituals and understanding the composition of space in Dong-gok Jaesa. For these things, we're arranged for exact blueprint through actual survey and analyzed the architectural features. Dong-gok Jaesa has features which show centripetal space organization with strong closing sparsely. This is intended for sincerity during ritual which is processed without obstruction. This is a mixed form which is unified both straight dwelling and Jung Dang Hyeop Sil type. And this is for all functions which is necessary for Jaesa architecture in only one building. And this is used with organizing technique for space utility with connection of compartments and various enlargement and partition. Through these things, even though it is not a big Jaesa, it shows that this is Korea traditional composition of space technique according to several purposes.

• 한국주거학회논문집
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• 제9권1호
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• pp.63-73
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• 1998

This study has a subject for the detached houses and mass housing ( alias dictus, Apartment) on the Dae Gu urban area, and has a process of surveying and analyzing the actual using states of dweller in the residential space and has an object of finding the behavioral pattern of the spatial using corresponded to the living activities. As its result, a cultural searching for urban housing is disciplined with the positive study for surveying the living contents emerged form the residential spaces. Limited into sleeping, eating, hosting, familiarity and family ritual, where and how the living activities is appeared according as the housing types and floor types, and what different and common features of its spatial using is possessed, is focused on this study. As Conclusion, it is found that each living activities are differed in the spatial using behavior according to the housing and floor types, but genetically are inherited by the traditional custom. Thus two behavial directions of dweller in public residential architecture have to be reconsidered in the urban housing culture.

• 이베로아메리카
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• 제22권1호
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• pp.111-148
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• 2020

One way for phatic communication to be linguistically realized involves ritual activities, such as greetings and leave-takings. These conventionalized acts in medical contexts can significantly influence both transactional and interpersonal goals. The analysis in this paper confirms that exchanging rituals such as greeting and leave-taking between doctors and patients is not a simple exchange of conventionalized linguistic symbols. In addition, the use of discursive strategies means that to determine whether an expression is phatic or not, it is necessary to analyze it from the multidimensional perspective. The phaticity is established based on the negotiation between the participants during the interaction. We have found that the interrogative form of greeting like "¿Qué tal?" (How are you?) becomes a versatile resource in the medical context. Thus, professionals need to be attentive to the discourse progress, because the phaticity of the interrogative greetings (illocutionary force) is linked, in the vast majority, with the reaction of the patients. Also, the data confirms that when participants coordinate closings, the exchange of turns lengthens and the intervention of various discursive strategies for phatic communion becomes more prominent.

• 공연문화연구
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• 제37호
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• pp.391-435
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• 2018

이 글은 아직 음악학계에서 다루어진 바 없는 '강원상강례'를 음악학적 관점에서 논의하였다. 이 연구를 위하여 "석문의범"의 강원상강례와 현행 강원상강례 사이의 유사성과 차별성에 대해 비교 검토하였고, 사료의 지문에서 발견된 소종 연주 방식에 대한 의미를 해석하여 현행 의식과는 어떤 음악적 관련성이 있는지에 대해서도 살펴보았다. 또한 현장 채록의 음원자료를 분석하여 도출된 결과를 바탕으로 현행 강원상강례의 음악적 특징을 살펴보았다. 내용을 간단히 요약하면 다음과 같다. "석문의범"의 강원상강례와 현행 의식을 비교 검토한 결과, 사료와 근접한 유사성을 보이는 강원상강례는 제2유형이며, 사료의 지문에서 발견된 소종 연주 방식은 운문사와 청암사 상강례에 일부 전승되어진 것으로 판단된다. 강원상강례의 음악적 특징은 다음과 같다. 제1유형과 제2유형의 음역은 완전8도를 벗어나지 않았다. 제1유형의 선율구조는 내드름을 들어내고, 종지선율은 do'에서 순차 하행하여 mi에서 la로 종지하였으며, 악조는 대부분 메나리토리였으나 일부 강원에서는 sol에서 la로 상행하는 선율이 종종 발견되어 전형적인 민요의 메나리토리와는 달랐다. 가창방식은 주로 전통예불에서 볼 수 있는 선 후창방식이었고, 대부분 일자일이음형과 일자수음형이며, 음악적 형식은 악곡별로 다양하게 짜여 있다. 다만 해인사 상강례는 의식절차와 가창방식에서 다른 여느 강원과 차이를 보였는데, 가창방식은 다른 사례와 같이 전통적인 선 후창방식이었으나 선창자가 첫 구(句)를 생략하여 부르는 특징이 있었다. 또한 추가된 한글<반야심경>은 내드름을 숙여내고, 독송은 3음 위주의 일자일음형으로 제창했다. 제2유형의 선율구조는 내드름을 들어내고, 종지선율은 제1유형과 다르지 않았다. <심향일주~>의 악조는 전형적인 메나리토리는 아니었으나 정례와 발원은 민요의 메나리토리와 같았다. 가창방식은 독창과 제창으로 이루어졌으며, 게송의 가사붙임새는 일자일이음형이고, 정례와 발원은 일자일이음형+일자수음형이다. 정례의 음악적 형식은 A-B-C와 A-C이고, 발원은 일정한 주기성을 갖추지 않았으나 종지선율을 동일하게 반복함으로서 통일감과 형식감을 느끼게 한다.