• Journal of the Daesoon Academy of Sciences
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• v.44
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• pp.213-261
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• 2023

The purpose of this article was to examine whether the parallel passages from The Canonical Scripture and Jeungsan Cheonsa Gongsagi (甑山天師公事記 Records of the Reordering Works of Celestial Master Jeungsan), the first full-length record related to the life of Kang Jeungsan compiled by Lee Sang-ho, indicate the same chronology. A comparison of the contents between The Canonical Scripture and Jeungsan Cheonsa Gongsagi revealed the following. The contents of The Canonical Scripture are categorized by a table of contents. By way of contrast, the contents of Jeungsan Cheonsa Gongsagi, is organized year by year. When parallel passages appear, the two texts tend to indicate the same year for specific events, but the chronology of some events do not match. A comparison of the contents of The Canonical Scripture and the first edition of Daesoon Jeongyeong (大巡典經 The Canonical Scripture of the Great Itineration) shows the following. Once again, the contents of The Canonical Scripture are organized via a table of contents. The contents of the first edition of the Daesoon Jeongyeong are also indicated through a table of contents. When lined up for comparison, most of the passages show the same content to have occurred in matching years. However, new contents are contained in this record that were absent in Jeungsan Cheonsa Gongsagi. All of these texts contain a summary of the life of Kang Jeung-san; however, they are organized differently. Jeungsan Cheonsa Gongsagi presents that summary chronologically (year by year with some gaps in years). Daesoon Jeongyeong and The Canonical Scripture both feature a table of contents wherein chapters are based around specific themes. One key takeaway is that different passages appear in the contents of each text. Also, The Canonical Scripture and the first edition of the Daesoon Jeongyeong contain some parallel passages wherein the two texts disagree on what year some events took place. Despite the different style of organization, Jeungsan Cheonsa Gongsagi and The Canonical Scripture can still be compared and such comparison shows the same pattern as comparison between The Canonical Scripture and Daesoon Jeongyeong. As a result of organizing and comparing the contents of the table of contents with the chronological record, the parallel passages wherein chronology is disputed can be highlighted and the introduction of new passages can also be shown.

• (The) Research of the performance art and culture
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• no.40
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• pp.269-305
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• 2020

Youngsan is generally known as Pansori Danga(短歌). However, the contents of 'Yeongsan' in 『Songnamjabji』 are different. In 『Songnamjabji』, Cho Jaesam explained the contents related to 'Youngsan' using three kinds of poems: Shin Kwangsoo's poem, Baegho Imje's poem, Kim Myeongwon's poem. First, 'Ujo Youngsan' appears in Shin Kwangsoo's poem. Shin Kwangsoo wrote the (1750) when Yoo Jinhan's 『Manhwajib(晩華集)』(1754) was published. It is difficult to see the 'Ujo Youngsan', which appears in Shin Kwangsoo's poem written in a time when Pansori was not widely known, as the Pansori Danga. Second, Jo Jaesam called the music in Baegho Imje's poem 'Youngsan Dodeueum'. In 'Youngsan Dodeueum', flute and 'Dodeuli rhythm' were used. This fact is connected with , an instrumental music. , also a Buddhist term, continued to be used in the palace as well as among the people. Third, Cho Jaesam introduced Kim Myeongwon's poem in 'Yeongsan' part and called it 'Taryeong.' At that time, the term 'Taryeong' referred to both Pansori and Jeongga(正歌). Later, in the 19th century, 'Youngsan' was recorded as a term for the Danga to loosen the neck before Pansori began in earnest. In other words, the early 'Yeongsan' recorded in 『Songnamjabji』 was a Buddhist term, referring to the music of the upper class Seonbi, such as , Gasa(歌詞) and Sijo(時調). In 1855, when 『Songnamjabji』 was written, 'Youngsan' was used as a term used to refer to both Changbu-Music and Gagaek(歌客)-Music, mixed with the term 'Taryeong'. And as Pansori became popular, the term 'Taryeong' came to be called 'Pansori' and 'Youngsan' was used to refer to Pansori Danga. Therefore, all the records of 'Youngsan' should not be interpreted as Pansori Danga. This situation is closely related to religious and social change. The policy of worshipping Confucianism and suppressing Buddhism rejected the term 'Youngsan' which had a Buddhist meaning. In the middle of Joseon Dynasty, when Buddhism was suppressed, 'Youngsan' and 'Taryeong' were mixed. As Buddhism regrown in the late Joseon Dynasty, with the advent of Pansori, the term 'Youngsan' seems to be newly resettled in the sense of Danga. Pansori appeared in the 19th century and 'Yeongsan' was used as a Danga. And the reason should be regarded as this social and religious change.

• (The) Research of the performance art and culture
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• no.39
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• pp.415-455
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• 2019

This paper aimed to clarify the identity and category of the Jeong Jeongnyeol-je Chunhyangga from the perspective of the pansori transfer, while revealing the trajectory of Jeong Jeong-ryeol-je Chunhyangga, which remains in the modern pansori. Jeong Jeong-ryeol's Chunhyangga pansori part has been handed out to date, and except for the love song section, the pansori section, which corresponds to the love-separate-suffering-reunion paragraph, is almost complete. In the case of "Lee Doryeong enters Dongheon," "Hwangneungmyo song," and "The royal secret inspector visits Chunhyang's house to console her", there is a difference in pansori rhythm compared to Chunhyangga, which is currently held. "Why Yi Doryeong came to Chunhyang's House" is used in the form of an Aniri in the current Chunhyangga and "Chunhyang is treated as a virtuous woman in Namwon" is the only one included in Park Rokju's Changbon. "The royal secret inspector gathers people of Namwon to give a feast" is a new part that is not found in Chunhyangga, which is now being held, and can be seen as the Changgeuk sori of pursuing theatrical fun. On the other hand, this paper confirmed that the period between 1936 and 1937, when the Joseon Traditional Vocal Music Group actively performed Changgeuk and the record companies released a series of Changgeuk records, such as and , was an important time for the re-establishment of the Jeong Jeong-ryeol-je Chunhyangga, and that the Chunhyangga of those who had learned it before 1936-1937 was different from those who had learned it after that period. The preceding group includes Park Rok-ju, Kim Yeo-ran and Kim So-hee, while the latter group includes Kim Yeon-soo, Jung Kwang-soo, Park Dong-jin, Jung Kwang-soo and Kang Do-geun. In addition, except for Kim So-hee, these two groups are divided by the time they have learned Jeong Jeong-ryeol-je, whether they inherit the Jeong Jeong-ryeol-je from beginning to end, and by the gender of male and female singers. In teaching his pupils, Jeong Jeong-ryeol chose to use the "old-fashioned pansori" teaching method with impromptu plate-making in mind and the "modern pansori" teaching method with stereotyped sounds in mind. As a result, there were two aspects of Jeong Jeongryeol-je Chunhyangga's succession: a female singer-centered succession, which was held as learned from beginning to end, and a male singer-centered succession, which was held differently depending on the pansori schools or versions.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.393-425
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• 2019

This paper focuses on Alain Resnais's representative works (1955), (1959), and (1963), and analyzes how he implements a representation of memory though cinematic apparatus. These three films deal with horrific memories that seem impossible to reproduce aesthetically such as the Holocaust, the Hiroshima Atomic Bomb, World War II, and the war in Algeria. The reappearance of events that stripped humans of even their minimum dignity can naturally be associated with ethical issues. These events can never be reproduced because they cannot be explained in the human language. It is also impossible to reproduce in a way that doesn't invade other peoples' sufferings, nor displays the pain of others as spectacles. Alain Resnais was a director who realized that if factual representation was not possible from the beginning, truthfulness would have to be approached through cinematic form. Therefore, he tries to overcome these problems through cinematic forms. First, he shifts to action films to avoid the obscenity of documentary. shows the records of camps captured by German forces in the past, while shows the pain of others in a fictional form of representation. Next, he describes how the trauma affects the identity of the main character through a flashback in , but also shows a main character who is experiencing trauma without a flashback in Flashbacks have the effect of showing the effects of trauma on the main character, but at the same time they involve the obscenity of enjoying the suffering of others. Nonetheless, the absence of flashbacks highlights the impossibility of representation. This is because it is not silent in the impossibility of representation but is constantly approaching. The attitude that repeatedly circles around impossibility is an ethical form that maximizes the impossibility of representation. In conclusion, this is the ethics of representation that Alain Resnais showed in his films.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• (The) Research of the performance art and culture
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• no.19
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• pp.379-418
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• 2009

This study is a link in a chain which grope for the description of puppet performance history. This study imply my intention which is not a description of puppet performance 'history' but a description of 'puppet performance' history. Object materials of this study is materials connected with puppet performance from ancient times to Chosun dynasty. Object materials of this study include not only records but also remains and pictures. Discussion start with regulation of puppet performance materials and establishment of a classification criterion. As a result of that discussion, the age of puppet performance is as follows: 'the age of diverse use of puppet', 'the age of ritual puppet performance of worship', 'the age of play puppet performance of handling', 'the age of ritual puppet performance of display', 'the age of ritual puppet performance of expulsion', 'the age of ritual puppet performance of handling', 'the age of play puppet performance of display', 'the age of play puppet performance of handling and voice-acting'. According to the internal division of age, the description of puppet performance history which is spread chronologically is attempted. As a result of the description, I confirm that puppet performance reveal a one's unfolding process. And a distinct aspect from the general cultu! re history is found. The development process which is a changeover that is 'from ritual puppet performance to play puppet performance' is amended by a circulation of ritual puppet performance and play puppet performance'. And the development process which is a changeover 'from static puppet to dynamic puppet' is amended by a circulation of static puppet and dynamic puppet'. Like this the thing which is laid in the inside which is not a one sided changeover but is a circulation is said that from one age of puppet performance to other age of puppet performance is not a close of former puppet performance tradition. Unfolding from one age to other age, on the other hand former puppet performance reveal aspect which is a continuance and change with a one's vitality. And a relation of mutual influence is exist between the ritual puppet performance and the play puppet performance on a large scale, among the puppet performance types on a small scale. this also don't overlook in cas! e of a groping of puppet performance history.

• Journal of Practical Agriculture & Fisheries Research
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• v.20 no.1
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• pp.163-174
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• 2018

Rice cultivation is immensely affected by many climatic factors including temperature, precipitation, etc, and imbalanced climatic conditions negatively affect the growth of rice. In this study, we investigated the effects of different agroclimatic zones of Chungnam Province on rice quality and examined the correlations between climatic characteristics and rice yield components. Average temperatures and rainfall were higher in 'Western Sobaek Inland' than those in the 'South Western coastal zone, and precipitation records showed a wide variation among counties due to typhoons during the examined periods. The average accumulative temperature affecting the magnitude of production during reproductive growth periods was higher in "Cheon-An", "Gong-Ju", "Yeon-Gi (Se-Jong)", "Bo-Ryeong", and "Dang-Jin" counties than those in other counties. The plant height was higher in 'Western Sobaek Inland' counties such as "Yeon-Gi(Se-Jong)" and "Cheon-An", and 'Southern Charyeong Plain' counties such as "Cheong-Yang", "Dang-Jin", and "A-San", than those in other counties. The number of tillers during the 40 days after rice transplantation in "Seo-Cheon" and "Bo-Ryeong" counties increased compared to other counties. This result was relevant to the fact that the date of rice transplantation in those counties was 3 to 4 days later than those in other counties of Chung-Nam Province. The average yield (milled rice basis) was the highest in 'Western Sobaek Inland' zone, showing 3,756 kg ha^-1, followed by 'Southern Charyeong Plain' zone showing 3,621kg ha^-1, and was the lowest in 'South Western coastal zone by 3,315kg ha^-1. "Yeon-Gi(Se-Jong)" and "Dang-Jin" counties showed the highest yields of 4,100kg ha^-1. "Seo-San", "Seo-Cheon", and "Tae-An" counties were relatively lower yields of 3,240~3,280kg ha^-1 in comparison of other counties.

• Journal of the Daesoon Academy of Sciences
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• v.46
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• pp.123-152
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• 2023

This paper will examine how the Avalokitesvara faith of India was restructured into the doctrines and practices related to the Sinicized version of the deity as Guanyin (觀音) Bodhisattva. Particular focus will be given to the Hangzhou area of China, when the Guanyin faith was still in the process of gaining establishment in China. In the Hangzhou area, Buddhist Orders grew significantly due to the wealth accumulated from commerce using canals and maritime trade, and the Chan (禪 typically known as Zen in English) Orders were particularly active during the Song Dynasty. Zhiyi (智顗), a prominent master from the Tiantai Order (天台宗), based his activities out of Hangzhou. He composed the text known as the Commentary on the Guanyin Petitioning Sutra (Qingguanyinjing-shu 請觀音經疏) based on a reinterpretation of a scripture related to Guanyin, and he systematized the Guanyin Repentance Ritual (Guanyin-chanfa 觀音懺法) by combining the Doctrines of Tiantai with the Guanyin faith. In addition, Ciyin Zunshi (慈雲遵式) reformulated that Guanyin Repentance Ritual into the Guanyin Petitioning Repentance Ritual (qing-guanyin-chan 請觀音懺) to make it into a common ritual that was more accessible to everyday people. The book, Records Regarding the Personal Conduct of the Chan Master Zhijue (zhijue-chanshi-zixing-lu 智覺禪師自行錄), which is written by Yongming Yanshou (永明延壽), a figure from the Fayan Order (法眼宗), one of the Chan Buddhist orders in the Hangzhou area during the Northern Song Dynasty, reveals the acceptance of the Guanyin faith as a daily practice within the 108 daily rituals (108事). In Chinese Buddhism, there were historical examples of monks being worshipped as incarnations of Guanyin Bodhisattva. An example of this includes iconography depicting Baozhi (寶誌), a figure from Jiliang (濟涼) who lived during the Southern Dynasties, as Ekādaśamukha (十一面觀音, Eleven-faced Guanyin Bodhisattva) in keeping with the belief that he was an incarnation of that deity. Monks of the Tiantai and Chan orders operating in the Hangzhou area actively utilized the transmission of Buddhist tales about Guanyin Bodhisattva as related to monks that exhibited miraculous powers (神異僧). This can be understood as a phenomenon demonstrating how Song Buddhism tried to attract more believers through the popularity of the Guanyin Faith.

• Information Systems Review
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• v.19 no.2
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• pp.1-19
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• 2017

Original scripts of e-learning lectures for the CEOs of corporation S were analyzed using topic analysis, which is a text mining method. Twenty-two topics were extracted based on the keywords chosen from five-year records that ranged from 2011 to 2015. Research analysis was then conducted on various issues. Promising topics were selected through evaluation and element analysis of the members of each topic. In management and economics, members demonstrated high satisfaction and interest toward topics in marketing strategy, human resource management, and communication. Philosophy, history of war, and history demonstrated high interest and satisfaction in the field of humanities, whereas mind health showed high interest and satisfaction in the field of in lifestyle. Studies were also conducted to identify topics on the proportion of content, but these studies failed to increase member satisfaction. In the field of IT, educational content responds sensitively to change of the times, but it may not increase the interest and satisfaction of members. The present study found that content production for CEOs should draw out deep implications for value innovation through technology application instead of simply ending the technical aspect of information delivery. Previous studies classified contents superficially based on the name of content program when analyzing the status of content operation. However, text mining can derive deep content and subject classification based on the contents of unstructured data script. This approach can examine current shortages and necessary fields if the service contents of the themes are displayed by year. This study was based on data obtained from influential e-learning companies in Korea. Obtaining practical results was difficult because data were not acquired from portal sites or social networking service. The content of e-learning trends of CEOs were analyzed. Data analysis was also conducted on the intellectual interests of CEOs in each field.

• Tuberculosis and Respiratory Diseases
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• v.47 no.3
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• pp.356-364
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• 1999

Backgrounds: Previous reports have revealed a high morbidity and mortality in fatal asthma patients, especially those treated in the medical intensive care unit(MICU). But it has not been well known about the predictable factors for the mortality of fatal asthma(F A) with acute respiratory failure. In order to define the predictable factors for the mortality of FA at the admission to MICU, we analyzed the relationship between the clinical parameters and the prognosis of FA patients. Methods: A retrospective analysis of all medical records of 59 patients who had admitted for FA to MICU at a tertiary care MICU from January 1992 to March 1997 was performed. Results: Over all mortality rate was 32.2% and 43 patients were mechanically ventilated. In uni-variate analysis, the death group had significantly older age ($66.2{\pm}10.5$ vs. $51.0{\pm}18.8$ year), lower FVC($59.2{\pm}21.1$ vs. $77.6{\pm}23.3%$) and lower $FEV_1$($41.4{\pm}18.8$ vs. $61.l{\pm}23.30%$), and longer total ventilation time ($255.0{\pm}236.3$ vs. $98.1{\pm}120.4$ hour) (p<0.05) compared with the survival group (PFT: best value of recent 1 year). At MICU admission, there were no significant differences in vital signs, $PaCO_2$, $PaO_2/FiO_2$, and $AaDO_2$, in both groups. However, on the second day of MICU, the death group had significantly more rapid pulse rate ($121.6{\pm}22.3$ vs. $105.2{\pm}19.4$ rate/min), elevated $PaCO_2$ ($50.1{\pm}16.5$ vs. $41.8{\pm}12.2 mm Hg$), lower $PaO_2/FiO_2$, ($160.8{\pm}59.8$ vs. $256.6{\pm}78.3 mm Hg$), higher $AaDO_2$ ($181.5{\pm}79.7$ vs. $98.6{\pm}47.9 mm Hg$), and higher APACHE III score ($57.6{\pm}21.1$ vs. $20.3{\pm}13.2$) than survival group (p<0.05). The death group had more frequently associated with pneumonia and anoxic brain damage at admission, and had more frequently developed sepsis during disease progression than the survival group (p<0.05). Multi-variate analysis using APACHE III score and $PaO_2/FiO_2$, ratio on first and second day, age, sex, and pneumonia combined at admission revealed that APACHE III score (40) and $PaO_2/FiO_2$ ratio (<200) on second day were regarded as predictive factors for the mortality of fatal asthma (p<0.05). Conclusions: APACHE III score ($\geq$40) and $PaO_2/FiO_2$ ratio (<200) on the second day of MICU, which might reflect the response of treatment, rather than initially presented clinical parameters would be more important predictable factors of mortality in patients with FA.