• (The) Research of the performance art and culture
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• no.32
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• pp.399-426
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• 2016

Sanjo has a quintessential value not only because of its musical depth but also because of its style of music that best expresses Korean sentiment. However, new values are being established from different viewpoints as time passes so Sanjo's values need a modification in order to encompass a contemporary value that is required and accepted by modern society. In this context, while focusing on communication with the public, I contemplated the developmental direction of Sanjo in five perspectives; The Social realization of value, The Experimental and social transformation, The Social diffusion of creation, The Leap of fusion and harmony and finally The Socialization of contents. In the perspective of 'social realization of value', Sanjo refers to creative activity as a new 'duneum' which allows traditional and creative activity to deviate freely while still being under the Sanjo guideline. Either way, it has a periodical value because new forms with new rhythms are the only ways to communicate with the modern public. When these values can be understood by modern society can Sanjo be revived and be acknowledged as an infinite value. Secondly as an experiment and social transformation, there is a transformation of musical instruments in the 21th century. Our musical instruments should be transformed to effectively perform our music rather than to perform Western music. Third, social diffusion of creation should be the 'new Sanjo festival in 21th century' which can facilitate the communication with the public. Fourth, regarding leap of fusion and harmony, I suggest a performing culture consisting of 'Storytelling Sanjo' and 'Media Art' which will ceaselessly evolve Sanjo performance as a medium to communicate with the public. Finally, in regards to the socialization of contents, I emphasize that Sanjo should have contents of mass media as a way of means to help utilize mass media.

• (The) Research of the performance art and culture
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• no.32
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• pp.131-169
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• 2016

We will study cultural sprauchling about Pungmul-Kut to find out the sphere of "Gui-myeong-gui" alongside Jeollanam-do, Jeollabuk-do western coast. In this area, there are some traits and terms about Gui-myeong-gui, a sort of Pungmul-Kut and Goon-go. Several Pungmul-Kuts which border the sphere of Gui-myeong-gui are Goon-gui in a southern direction, Unnyeongnongak of Honamudonongak in a eartern direction, and Yeongmujangnongak. The acculturation occurs in two ways. One is the possible acculturation with Goon-gi or Goon-go in coastal areas. The other is the acculturation with Honamudonongak. Especially, this phenomenan appears in double-way interaction. At first, there is the influence of Gui-myeong-gui in Honamudonongak. Kim Bau's style, which might relate to Gui-myeong-gui in Geommopojin, incorporate one of Panje of Honamudonongak through Park Namsik. This phenomenon is porved by the affinity between Eunjijaetji Galag of Honamudonongak GeollibKut and Eungmagaenggaeng Galag of Goon-go, and by the similarity to Neonari-Galag. In case of Neonari-Galag, the role of Jing in Neonari-Galag is replaced by Janggu in Honamudonongak, because of the geatest popularity of Janggu in those days. Secondly, there is the influence of Honamudonongak in Gui-myeong-gui. Northern sphere of Gui-myeong-gui like Buan-gun, Okgu-gun has been influenced since early $20^{th}$ century. In addition, the phenomenon which the sphere of Gui-myeong-gui accepts actively Honamudonongak could occur. So this thesis fragmentarilly checks the existence and traits of Gui-myeong-gui. Based on it, we would be able to reveal and reconstitute the nature of Gui-myeong-gui by understanding acculturation of Pungmul-Kut and by comparing Goon-go with Honamudonongak and Yeongmujangnongak in several regions. Also this thesis draws attention about meanings and effects of Yeonhuinongak's acceptace of Goon-beop.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.334-365
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• 2010

Mother-of-Pearl craftwork sketch involves the whole process of making a piece of work. Therefore, it includes types, forms, sizes, and patterns of the work. Some information about when and by whom those works were manufactured and who ordered them are still found in some sketches. This paper seeks to find out popular types and patterns of the works in each period and its demand and the way of supply by examining the collection of approximately 1700 Mother-of-Pearl craftwork sketches from the period of Japanese colonization up to the present time, which are owned by Mr. Song Bang-wung, Important Intangible Cultural Heritage no.10. Typical patterns of sketches are the hua-jo(花鳥 : Flowers and Birds), the Sakunja(四君子 : Four Gracious Plants), cultural treasures, figures in folk tales, 'Su-bok(壽福)' characters, and landscape. The pattern sketches have changed according to the circumstances of Korean society. During the period of Japanese colonization from the 1920s to the 1940s the manufacture and the supply and demand of Mother-of-Pearl craftworks were controled by the Japanese government. As a result, many of the patterns were adjusted to the Japanese taste. Most of its customers were also Japanese. During the 1950s after Independence the American Military Forces appeared as new customers due to the Korean War. Thus, the traditional Korean patterns to decorate accessories adored by American soldiers gained popularity. Foreign Mother-of-Perls were imported from the late 1960s to the 1970s. They were bigger and more colorful than those of Korean and it enabled the sketches bigger and the patterns more various. The most popular pattern in this period was the pattern of cultural treasures, such as an image of Buddha, metalcraft works, porcelains and pagodas. In terms of a technique, new techniques, such as engraving and rusting were introduced. There was a great demand for Mother-of-Pearl craftworks in the 1970s as people were highly interested in them. They were entirely made to order and there was a large demand from diverse organizations, furniture dealers and individuals. And the Mother-of-Pearl craftwork was in full flourish in the 1970s due to the country's economic development and the growth of national income. Mass production of the works was possible and the professional designers who drew patterns actively worked in this period. The favor of Mother-of-Pearl craftworks declined in the 1980s since the built-in furniture and the Western style of furniture became prevalent due to the change of housing into apartments. But it seemed that the manufacture of Mother-of-Pearl craftworks revived for once the technique of Kunum-jil(끊음질 : cutting and attaching) became popular in Tong-young(統營). After the 1990s, however, the making of Mother-of-Pearl craftworks gradually declined as the need of them decreased. Now it barely maintains its existence by a few artisans.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.175-183
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• 2021

Gongjae Yoon DuSeo(1668~1715), from Haenam in the late Joseon Dynasty, is a scholar-born painter who was active during King Sukjong. He is the person who created the foundation as a pioneer of realist paintings in the late Joseon period during the transition from the middle to the latter period. He was born in Namin's prestigious family, but he ended his career as part of a partisan fight and immersed himself in painting and learning. 18C, the beginning of the late Joseon Dynasty, was a period when Silhak emerged and the Jinkyung era opened with awareness of nationalism. At this time, by incorporating the Silhak thought into the art world, the real reformed aesthetic consciousness was demonstrated to pioneer common people's customs, the application of Western painting methods, the pursuit of realist techniques, and the introduction of Namjongmuninhwa. His view of painting, who thoroughly learned the old things and pursued change, must have both the form and spirit that he can achieve 'HwaDo' only when it has the science of 'learning and knowledge' and the technical elements of 'practice and quality' emphasized. He has worked in a variety of reconciliations. In particular, portrait paintings are characterized by ihyeongsasin's realistic expressions of aesthetics. His masterpiece, 「Self-portrait」, excels in extreme-realistic depiction and innovation in composition, and stands out with an unconventional experimentation spirit that expresses his mind and thoughts in a painting with a sense of resentment. His landscape paintings combine to express the form as it is and mental notions, and beautifully embodied Do as a form, thus achieving ihyeongmido, which reached the level of'joyfulness forgotten even the heart of joy'. On the other hand, the generalization of the common people using various common people's lives as the subject of an open-mindedness aimed at gaining the facts of ihyeongsajin, a passive protest against corrupt power and an expression of a spirit of love. Since then, his painting style has been passed down from generation to generation to his eldest son Yoon Deok-hee and his grandson Yoon Yong, leading the change and revival of calligraphy art in the late Joseon Dynasty.

• The Journal of the Convergence on Culture Technology
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• v.8 no.2
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• pp.227-234
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• 2022

Seok Jeon Hwang Wook (18913~1999), a descendant of a traditional literary writer in the western part of Honam, did not join the flow of modern and contemporary calligraphy and painting. And throughout his life, he enjoyed himself without losing the appearance of a scholar, immersed himself in traditional calligraphy, and gained spotlight at his late age for his original hand grabbing calligraphy. Immediately after the Korean War, all of his property was lost due to his two sons' left-wing activities, causing great pain at home. Even in the most painful and difficult time in human history, he relied on brushes, poetry, and gayageum to keep his upright scholarly spirit and national love. And beyond the pleasures of the worldly senses, he played with self-satisfaction in the 'true pleasure(大樂)' without greed. In the course of his studies, he focused on honing the fonts of Wang Hui-ji, Gu Yang-sun, An Jin-gyeong, Jo Maeng-bu, and Xin-wi and Lee Sam-man without a special teacher. In particular, he faced a crisis of having to give up his brush due to tremor that came after his 60th birthday, but he showed a strong will. He transformed it into a new style of art, such as developing hand grabbing calligraphy(握筆法) with a strong and strong energy that no one could match. From 1965 to 1983, 'right hand grabbing calligraphy' was used, and from 1984 to 1993, 'left hand grabbing calligraphy' was used. She made her name as a calligrapher widely known in 1973 (age 76) with her first solo exhibition, The Calligraphy Exhibition commemorating her 60th wedding anniversary. His writing method is naturally rough and sloppy by breaking away from the previous calligraphy methods and artificial technique, and is unfamiliar yet full of muscle. And the calm, strong and rough chuhoegsa(錐劃沙) and the heavy yet majestic ininni(印印泥) individual handwriting expressed a strange feeling and achieved original Seokjeon calligraphy that went beyond the existing calligraphy writing methods, and his indomitable calligraphy spirit was As a unique existence in the history of calligraphy, he still remains as a model.

• Korean Journal of Psychosomatic Medicine
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• v.30 no.2
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• pp.73-79
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• 2022

Objectives : Suicide is a global social problem. Social burden caused by suicide is gradually increasing. Various efforts have been made to prevent suicide. Lifestyle changes to western style, especially diet changes, have increased the risk for suicide. Therefore, in this study, we discussed diet as an adjuvant treatment for suicide. Methods : In this review, we summarized the biochemical mechanism of suicide, and diet as a risk factor for suicide and diet as a protective factor through a web search. Results : In this study, biochemical mechanisms for suicide were reviewed and diet as a risk factor and diet as a protective factor for suicide were investigated. It was confirmed that neurotoxic effects such as oxidative stress and inflammation in the neural system could increase the risk of suicide. Based on results of previous studies on the relationship between suicide and diet, it was found that heavy use of alcohol, coffee, carbonated soft drink, and fast food were risk factors for suicide. Protective factors for suicide included antioxidants such as vitamin C, carotene, and anti-inflammatory agents such as omega-3 fatty acids found in seafood in large amounts. Conclusions : The only treatment for suicide is prevention. In this context, effectiveness, accessibility, and safety are important for preventing for suicide. Antioxidants and anti-inflammatory agents that are relatively safe and readily available to the public could be effective adjuvant treatments to decrease the risk of suicide. In addition, it is necessary to educate the public on reducing diets that could increase the risk of suicide

• (The) Research of the performance art and culture
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• no.19
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• pp.221-280
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• 2009

This thesis is a study of the rise and the characteristic of 'Hyangto Gakeuk(literally Song drama of the country or local music drama)' in the Early 1940s. During the colonial period, there were attempts to incorporate traditional Korean music elements with Western operatic form. This type of music drama with librettos based on traditional tales came to be known as 'Hyangto Gakeuk'. Mostly 'Hyangto Gakeuk' has led this effort under the director Seo Hang-Suk, the composer Ahn Ki-Young and the lyricist Seol Eui-sik. In the first chapter, the study aims at arranging the performance history of 'Hyangto Gakeuk' composed by Ahn Ki-Young. Also, the study examined representative works after classifying 'Hyangto Gakeuk' performed by Lamila Music Drama Troupe, and Bando Music Drama Troupe. There is significant meaning to evaluate 'Hyangto Gakeuk' in the history of Korean music drama through this analysis of the performance history. In the second chapter, I will analyze with representative works composed by Ahn Ki-Young, a pioneer in the Korean art song. He tried to create the music that held the nationalism and tradition. His works which were called 'Kageuk' laid down the foundation of Korean original operatic style. This study demonstrated characteristics of 'Hyangto Gakeuk' as 'the beginning' in modern musical drama history and its effects on Korean musical drama developments. Namely, 'Hyangto Gakeuk' based on Korean traditions can be seen as examples of original modern musical in Korea. Practically, study on all the aspects of performance not only text generally studied, dramaturgy and criticism, but also performance concept and intention of creators in early period.

• Journal of the Korean earth science society
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• v.44 no.6
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• pp.643-654
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• 2023

The West Philippine Basin, an oceanic basin half the size of the Philippine Sea Plate, lies in the western part of the plate and south of the Korean Peninsula on the Eurasian Plate. It subducts beneath the Eurasian Plate and the Philippine Islands bordering the Ryukyu Trench and the Philippine Trench with 25-50% of this basin already consumed. However, the history of the opening of the basin's southern region has been a topic of debate. The non-transform discontinuity formed during the seafloor spreading is similar to the transform fault boundaries normally perpendicular to mid-ocean ridge axes; however, it was created irregularly due to ridge propagations caused by variations of mantle convection attributable to magma supply changes. By analyzing high-resolution multi-beam echo-sounding data, we confirmed that the non-transform discontinuity due to the propagating rift evolved in the entire basin and that the abyssal hill strike direction changed from E-W to NNW-SSE from the fossil spreading center. In the early stage of basin extension, the Amami-Sankaku Basin was rotated 90 degrees clockwise from its current orientation, and it bordered the Palau Basin along the Mindanao Fracture Zone. The Amami-Sankaku Basin separated from the Palau Basin while the spreading of the West Philippine Basin began with a counter-clockwise rotation. This indicates that the non-transform discontinuities formed by a sudden change in magma supply due to the drift of the Philippine Sea Plate and simultaneously with the rapid changes in the spreading direction from ENE-WSW to N-S. The Palau Basin was considered to be the sub-south of the West Philippine Basin, but recent studies have shown that it extends into an independent system. Evidence from sediment layers and crustal thickness hints at the possibility of its existence before the West Philippine Basin opened, although its evolution continues to be debated. We performed a combined analysis using high-resolution multi-beam bathymetry and satellite gravity data to uncover new insights into the evolution of the West Philippine Basin. This information illuminates the complex plate interactions and provides a crucial contribution toward understanding the opening history of the basin and the Philippine Sea Plate.

• Journal of Nutrition and Health
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• v.42 no.1
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• pp.78-96
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• 2009

The purpose of this study was to analyze and evaluate the menu served in government offices foodservice by using Kasavana & Smith's Menu-Engineering. Sales and food costs were collected from the daily sales reports for a year from Jan 2 to Dec 31 in 2007. Calculation for menu analysis and customer's data were done by computer using the MS 2003 Excel spreadsheet program and SPSS 12.0 package program. Menu mix% (MM%) and unit contribution margin were used as variables by Kasavana & Smith. Four possible classifications by Menu-Engineering technique were turned out as 'STAR', 'PLOWHORSE', 'PUZZLE', 'DOG'. The main menus served during a year were 128 dishes and about 141 peoples visited this restaurant daily. The mean age of the men was $44.1\;{\pm}\;6.3$, women were $32.7\;{\pm}\;6.4$ and showed that was statistically higher than that of women (p < .0001). The rates of STAR menus were 'Western style (75.0%)', 'guk/tang-ryu (48.1%)', 'jjigae/ jeongol-ryu (23.1%)', 'bap-ryu (17.2%)' in sequence. There were no STAR menus in gui/jorim/jjim-ryu. PLOWHORSE menus were 'gui-ryu (75.0%)', 'guk/tang-ryu (29.6%)', 'bap-ryu (27.6%)' in sequence. There were no PUZZLE or DOG menus in 'jjigae/jeongol-ryu'. PUZZLE menus were 'jorim/jjim-ryu and Myeonryu (each 33.3%)', 'bap-ryu (31.0%)' in sequence. PUZZLE menus were a lots of 'Chinese food (75.0%)' and 'myeonryu (55.6%)'. This study provides the basic data based on regularly menu analysis method applied the scientific menu analysis techniques in government offices food services, I'd like to suggest that the menu management must be done based on the necessity and result of menu analysis according to the seasonal and middle, long-term plans.

• The Journal of Korean Medicine
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• v.18 no.1
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• pp.40-57
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• 1997

The Background and Purpose It is done the study on the public health care of oriental medicine and improvement of its system recently, I think that these effect a good health care for a people through the public health care of oriental medicine. Since Woosuk university and Chonju-Wansan health center had taken upon the oriental medicine service in the health center in 1995, we have public favor from the local population. So in other to a study on the clinical statistics of oriental medicine service in the health center, I investigated general character, style of diseases, effect of treatments and the like for a paitents received oriental medicine treatments in there. Objective and Methods This study researched into clinical statistics for paitents received oriental medicine treatments in the Chonju-Wansan health center during one year period from January 4 1996 to December 26 1996. The number of object was 238 case of 234 persons. Results and Conclusions Analyzing these 234 persons, the proportion of males to females was 1 to 6.8. As for the distribution of age, the ages of 61 to 70 occupied 34.62 per cent in the ages of 51 to 90 occupied 88.89 per cent in the whole paitons. Therefor female was very highly more than male and paitents were for the most part, old ages(51years old and over). Musculoskeletal system and connective tissue disease of 238 case occupied 82.77 per cent. were the greatest proportion. At the duration of disease, 1 year to 5 years occupied 32.35 per cent, was the highest The grade Ⅲ was the most of the sign of paitents at first visit, it occupied 55.88 per cent. The good(++) and over effect of treatments occupied 62.18 per cent, the fair(+) and over effect of treatments occupied 78.99 per cent. As for the duration of treatment, the case of 2 times to 5 times visit occupied 34.03 per cent, was the highest. And the case of 2 times to 10 times visit was 4 times as good effect as the case of only one visit. By medication of treatment, O-Juk-San(五積散) occupied 32.21 per cent, was the greatest proportion, and Pal-Mj-Hoan(八味丸) occupied the second greatest proportion. Therefor the most of paitents had the chronic diseases and was diagnosed Sin-Yang-He(腎陽虛). The average 22.58 persons received acupuctural treatment a day, the average 0.58 persons received the moxibustion a day, the average 2.28 persons received venesection (bloodletting) a day. And others treatment performed physical therapy and the like. The case received treatment of the oriental and western medicine at the same time. marked 21 persons among 30 persons and had a good effect by 70 per cent. The average 26.95 persons received treatment of oriental medicine a day, the average 3.9 persons received the first medical examination a day.