• The Korean Publising Journal, Monthly
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• s.139
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• pp.18-19
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• 1993

영화 '서편제'의 흥행에 힘입어 '서편제 신드롬'이라는 문화현사이 거리에서 일어나고 있다. 또한 이 영화는 '판소리'를 중앙으로 불러들이는 역할을 수행했다. 학문적인 이론서뿐만 아니라 소리꾼들의 삶과 예술세계를 밝혀주고 있는 책들이 출간되고 있는 현상도 판소리의 대중화현상을 직접적으로 보여주는 증거물이다.

• (The) Research of the performance art and culture
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• no.32
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• pp.333-370
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• 2016

This study examines self-reflexive scenes of Changgeuk [창극; Korean classical opera] Seopyenje [서편제]. This show deals with Pansori [판소리; a kind of Korean folk play] and its singers. The uniqueness of this show is that although it is a new creative work of Changgeuk, the traditional Pansori music is used intactly. These characteristics are related to some self-reflexive scenes in the show: the narcissistic reference of Pansori makes to seem that this show inherits a artistry of Pansori; a play within a play and a role-play reinforce a reality on the action and characters of outer play; an intertextuality, bringing the narrative and music of Pansori Simcheong-ga [심청가] in this show, it makes audiences spontaneously discover a connection between the cited original text and the hypertext. Namely, the self-reflexivity of Changgeuk Seopyenje doesn't destroy an illusion, but rather it presents a kind of conservative self-reflexivity which uncovers a part of tricks for the illusion in order to create new illusion.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.11 no.3
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• pp.153-159
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• 2011

Pan-So-Ri singing a story as song is one of Korea traditional musics. it divide into two sect(east-sect, west-sect), and it is hard to classify two sect without knowledge about Pan-So-Ri. In this paper, we have propose a Pan-So-Ri classification program using PCD(Pitch Class Distribution) and Naive Bayesian Classifier. Attribute value of classifier is each appearance frequency of pitch. Experiment is conducted two time with different rounding off location of probability value. Better one show correct classification with east-sect 80%, west-sect 97%, and total accuracy of 88%. this result is used our program.

• (The) Research of the performance art and culture
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• no.38
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• pp.143-191
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• 2019

This research argues that Pansori had patrons in its development. Patrons are commonly discussed aspect of history of any art form. Pansori is no exception. While Pansori originally began as the art of the common people, Yangban class became the primary audience. This paper examines the role of royal family of Choson dynasty in development of Pansori. Heungseon Daewongun (흥선대원군) in particular was a Pansori aficionado. The record around Daewongun's involvement to Pansori proves that heavy monetary investment was made. He hosted Pansori competitions and sponsored creation of Pansori tradition, Boseong Sori (보성소리) and Gangsanje (강산제). Also the aspect of Pansori patronage lies not just in Yangban class, but also in Jung'in class, which is roughly analoguous to European bourgeois in that they were not of Yangban class, but had gained monetary status, and had aesthetics of both Yangban and commoner class. I argue that Heungseon Daewongun's ties to the Jung'in class is reflected in his actions towards Pansori artists. The traditions he had sponsored have important characteristics, including sophisticated lyrics heavily utilizing Classical Chinese poetry, highly artistic musical composition, and conservative Confucian ethics. Those characteristics indicate that the Pansori traditions sponsored by the royal patrons have changed to cater to their artistic taste and philosophy. This paper conducts a textual comparative analysis between Gangsanje Pansori Jeokbyeokga (강산제 판소리 적벽가), Dongpyeonje's Pansori Jeokbyeokga (동편제 판소리 적벽가), and Seopyeonje Pansori Jeokbyeokga, who share the same plot yet offers a stark differences in tone, philosophy, and sense of humor. Daewongun was a primary sponsor of Pansori, which proves that Yangban class and the royal family have played important role as patrons of Pansori.

• (The) Research of the performance art and culture
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• no.36
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• pp.185-221
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• 2018

This study examined the process of the formation of Deoneum, Sugungga(水宮歌), and its tendency of the change through the trace of the Pansori masters who worked in 19th century. The time that the main group of the Sugungga masters appeared in the Pansory history is estimated in early 19th century. The Sugungga masters in this time could be divided in two groups, one is the early days masters who worked in early 19th century and the other is the latter days masters who worked in middle and late 19th century. Kwon Sam-deuk(權三得), Song Heung-lok(宋興祿), Yeom Gyeo-dal(廉季達), and Shin Man-yeob(申萬葉) are the Sugungga masters who worked in early 19th century. By the records they left, I could confirm that they used the description about the dramatic characteristics in the work and Soritjo(Pansori master's tonality), like the appearance of 'Bangge(crab)' and 'Tiger', and particularly they developed which has the scene of the Rabbit's deceiving the Dragon King and Rabbit's return, 'Goandaejangja(寬大長者)', 'Gaja-Eoseoga', 'Sojinowha(笑指蘆花)', 'Apnae-Beodeuleun' and the scene of 'Rabbit's curse(the part that Rabbit curses Byeljubu)' etc. I could understand that the interest of the early days Pansori masters about Sugungga is on the characters and the latter part of the work. The separation of Dongpyeonje(東便制) and Seopyeonje(西便制) of Pansori was done in the middle and late 19th century. As the Dongpyeonje master, Song Wu-ryong(宋雨龍), Park Man-sun(朴萬順), Song Man-gab(宋萬甲), Shin Hak-jun(申鶴俊) and Yu Seong-jun(劉成俊) worked. As the Seopyeonje masters, Park Yu-jeon(朴裕全), Kim geo-bok(金巨福), Kim Su-yeong(金壽永) and Baek Gyeong-jun(白慶順) etc. sang Sugungga. The Dongpyeonje masters developed the 'Toggigibyeon(토끼奇變)' related Deoneum paying attention on the latter part of Sugungga same as the early days masters. Meanwhile it looks like that they had interest in developing the parts which belong to the middle and early parts of Sugungga like 'Toggiwhasang(토끼畵像)', 'Gogocheonbyeon(皐皐天邊)' and 'Tobyeolmundab(兎鱉問答)'. The Seopyeonje masters developed the parts belong to the early part of Sugungga, which are related to Dragon King and the courtiers in Sugung palace, like 'YongwangTansik(龍王歎息)'. And I could confirm that they developed the parts influenced by Shin Jaehyo's editorials like 'Tosahobi(兎死狐悲)' and 'Goguksancheon(故國山川)' etc. In short, I could confirm the trend that the Pansori masters in 19th century had interest in from the latter part to the early part of Sugungga. If taking a look focusing on main characters, they moved their interest in from Rabbit to the courtiers including Byeoljubu(鱉主簿) and Dragon King in Sugung palace, and it could say that, in this trend, Sori part and Deoneum were developed.

• Cross-Cultural Studies
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• v.39
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• pp.309-328
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• 2015

This study is a consideration of Xu Xiao-Bin(徐小斌)'s Sounds of nature(天?) in the mutual text point of view of Lee Cheong-jun's Sopyonje series. Xu Xiao-Bin's Sounds of nature shows similar motive to Lee Cheong-jun's Sopyonje series that is a story of a mother who damages her daughter's eyes and the daughter. however, it is accepted in totally different ways that the action of father/mother who damage their daughter's eyes. the mother in Sounds of nature is a composer as well as singer and the father in Sopyonje is a singer. The mother's behavior is not able to have duty in Sounds of nature due to it is focused in 'mother's action' rather than a singer but the father's behavior is focused in 'singer's action' in Sopyonje. therefore the action of the father, who is a singer, is considered not merely personal desire of father but also desire to preserve 'singing' as a national culture in public status. the length between two novels are clear in the two daughter's point of views. the daughter in "Sounds of nature" refuses her destiny made from her mother. The daughter's behavior of recovering her own volition, becomes frankly showing the falsehood of 'mother's love. In comparison, the daughter's voice is under the shade in Sopyonje. she surrenders herself to the fate made by her father, and she does not show her desire. This is the point that the difference is created by gender of writers.

• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

• Proceedings of the KSEG Conference
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• 2002.04a
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• pp.183-191
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• 2002

울산단층대 동변인 경북 경주시 마동 탑골 부근에 발달하는 제4기단층을 기재한다. 이 단층(이후 탑골단층)은 제3기초의 화강암과 제4기의 하성 사력층의 경계부 부근에서 여러 조의 단층들이 단층대를 이루며, 북북서 내지 남-북의 주향에 동측으로 $20^{circ}{\;}~45^{\circ}$ 의 경사를 보인다. 이 단층대는 서측으로부터 제4기 사력층 내의 역단층 3조와 제4기층을 화강암과 이를 부정합으로 덮는 제4기층이 올라탄 역단층 1조로 구별되며, 복합적인 역단층성 단층대의 양상을 보인다. 단층조선은 남동 방향($125^{\circ}$)으로 $20^{\circ}$ 침강한다. 이는 남동-북서 압축에 기인한 역단층성운동에 의해 생성된 것으로 보인다. 이 단층대는 불국사 일원에서 이미 알려진, 보다 서편에 발달하는 북서-남동 방향의 제4기단층선과는 다른 또 하나의 제4기단층선으로 확인된다.

• Journal of the Mineralogical Society of Korea
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• v.26 no.4
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• pp.331-342
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• 2013

동아프리카 열곡대는 아라비아반도와 아프리카 북동부의 경계에서 부채꼴 형태로 남쪽으로 뻗은 대단층 함몰지구대이다. 아프리카 판 내부에 발달한 열곡대의 폭은 35~60 km이며 연장은 약 4,000km로 알려져 있다. 열곡대는 에티오피아에서 남서방향으로 발달하다 에티오피아 남부에서 동, 서 및 남서 열곡대로 나누어진다. 이 열곡대는 제3기초 올리고세(30~35 Ma)부터 에티오피아 북부 아파르 침강대를 중심으로 주 에티오피아 열곡대가 형성되고, 남쪽으로 확장되면서 마이오세에 활성화된다. 서부 열곡대는 동아프리카대지의 가장자리와 빅토리아 호의 서편을 따라 발달하며, 고각의 정단층에 의해 특징되는 전형적인 반지구대이다. 동부 열곡대(주 에티오피아 열곡대와 케냐 열곡대)는 30 Ma 전 화산활동과 지구조활동이 시작되었으나, 서부 열곡대는 Albert 호 북부에서 12 Ma 전에, Tanganyika 열곡에서는 7 Ma 전부터 시작되었다. 서부 열곡대의 남서 방향으로 분기된 남서 열곡대는 DR-콩고 남부와 잠비아의 Tanganyika 호에서부터 남서 방향으로 확장되어 보츠와나 Okavango 열곡대와 연결된다. 주 에티오피아 열곡대(MER)의 화산암류와 관련 퇴적암류는 지열, 소다회, 포타쉬(K), 천열수 금, 벤토나이트, 유황 및 부석자원으로 중요한 관련암으로 역할을 한다. 열곡관련 대표적인 광상으로는 Afar 열곡대에 분포하는 Danakhil K-광상과 Megenta 및 Blackrock 천열수 금광상이다. Danakhil K-광상은 제4기 화산활동과 높은 지열류에 의해 열곡대 내 분포하던 소금 선상지(salt fan)에서 증발작용에 의해 형성된 증발형 K-광상으로서 총 자원량은 약 12.6억톤으로 평가되었다. 이 광상에서는 4종의 K-광물인 실바이트, 카날라이트, 포리하라이트, 카이나이트가 산출한다. 아파르 침강대 내 분포하는 대표적인 천열수 금광상은 텐다호 지구대에 위치하는 Megenta 및 Blackrock 광상이다. 제4기에 EMR에서 산성의 과알칼리 화산활동에 의해 열수활동이 초래되어 현재까지도 활동하여 지열대가 형성되고, 저유황형금 광상들이 형성되었다. Megenta 저유황형 금 광상은 2009년 발견되었으며, 현재 영국의 Startex International사에 의해 탐사가 진행 중이다. 지금까지의 탐사 결과 옥수질 규화 변질암 분포지에서 5개의 광체가 분포하며, 그중 Hyena 광체에서는 규화 변질된 열수각력암에서 최고 16.75 g/t의 금 품위가 보고되었다. 동아프리카 열곡대의 서편인 부룬디에 분포하는 Gakara REE 광상은 카보너타이트 유형의 REE 광상이다. 이 광상은 $400km^2$ 면적 내 수 cm부터 수 m까지의 폭을 가지는 맥상 또는 망상세맥상의 광체를 형성한다. 주로 조립의 바스트너사이트와 모나자이트로 구성된다. 바스트너사이트의 형성시기는 $587{\pm}4Ma$인 신원생대로 알려져 있으며, 이 지역에 분포하는 카보너타이트와 알칼리암들이 신원생대에서 신생대까지의 광범위한 연대를 보이는 것은 동일한 구조선을 따라서 일어나는 반복되는 열곡활동으로 해석된다. 또한 REE, U, 인회석 자원의 관련암체로 생각되는 알카리 조면암(네펠린-조면암 포함)과 카보너타이트는 동아프리카 열곡대의 남동부 끝자락인 말라위와 모잠비크에 우세하게 분포한다.

• The Journal of the Petrological Society of Korea
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• v.1 no.1
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• pp.25-33
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• 1992

The southwestern part of Gyeonggi Massif consists mainly of Archean Seosan and Daesan Groups, and Paleoproterozic Bucheon Group with Bucheon and Seosan gneiss complexes which are members of Gyeonggi gneiss complex. In the eastern part of Dangjin fault, Mesoproterozoic Anyang Group and Anyang granite gneiss occur, and in the western part of the fault Taean Group uncomformably overlies Archean and Paleoproterozoic Groups. Metamorphic facies of Archean Groups is mainly upper amphibolite facies which was overprinted by the second amphibolite facies metamorphism and the third greenschist facies metamorphism. Bucheon and Anyang Groups belong to amphibolite and greenschist facies and are partly overprinted by greenschist facies metamorphism which is characteristic for Taean and Daedong Groups.