• (The) Research of the performance art and culture
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• no.37
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• pp.249-293
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• 2018

The Musical Theatre was a popular art genre that originated from the western musical tradition represented by the European opera. In the twentieth century, it bloomed around Broadway in the United States. It is also one of the commercial arts which is popularly loved by the public in the field of performing arts all over the world at present. Due to the nature of this genre, the development of dramas and the expression of characters use music, not words or gestures, as the main medium. And the style of music reacts sensitively to the taste of the public, not to a particular class. When Japan colonized Korea, the empire strongly believed modernization equaled westernization and Japan was the one who could awaken Korean. The Japanese colonial music education was intended to bring cooperation and obedience to Japan by forcibly injecting Japanese ideology and culture into Joseon people. The music education of colonialism with the textbook of the "Songs for public education(보통교육 창가집)" compiled by the Japanese government was a sparkstone for the conversion of the Korean musical identity to Japanese and Western music. In addition to the capitalistic economical mechanism for establishing a South Korean government friendly with the United States during the Cold War after liberation, and the rush of American Pop culture represented by 'the show stage in 8th US Arm' and 'movies' which are to be the influence of invisible 'new cultural imperialism', our traditional music was confined to the meaning of 'Korean music', meaning 'past music'. In Korea, after the liberation, the musical was introduced by the influx of American popular culture. In accordance with the cultural policy of Park Jeong-hee regime, which aimed to spread the 'healthy culture' through the modernization of traditional arts, 'The Yegreen(예그린악단)' was founded. However, the plan to create a contemporary performing art based on Korean national arts showed the possibility of success in 1966 with the success of , but soon after, they have been destined to fall into an institution that has lost their ability to operate on their own due to the suspension of the sponsorship of the regime. Due to the cultural imperialist strategy of the influence of Japanese imperialism's colonial music education and influx of American popular culture after liberation, in the early days of Korean musicals, our traditional aesthetic style brought about the situation of the 1960 's, which did not become an independent ethnic art through the exchange and expansion with Western music. This is the background of the western licensed musicals led by the Korean musical market in the 21st century as well as the main cause of musical creation based on western music.

• (The) Research of the performance art and culture
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• no.37
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• pp.5-31
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• 2018

The mask dance drama Goseong Ogwangdae's first act, Mundung Bukchum. The story is about a man who was born to the upper class but contracted leprosy, an incurable disease, due to his ancestors' accumulated sin. Although he is suffering, he is able to triumph over the disease through sinmyeong (catharsis) that is expressed through the wordless act of Mundung Bukchum. This thesis focuses on Goseong Ogwangdae's Mundung Bukchum, particularly the meaning, costume, accompanying music, and process of pedagogical transmission. The chronological characteristics of Goseong Ogwangdae's Mundung Bukchum are as follows. First, as time goes on, the number of dance motions in Mundung Bukchum has increased and the motions used have become reified. Second, I address the small barrel drum used in Mundung Bukchum and check how, through the drum, the changed expression of Mundung is shown.In a 1965 video introduced Mundung is grasping the drum and stick and the dance appears to be made up only of humorous motions. Also in a 1969 video, "Mundung Gwangdae," from the start Mundung is grasping the drum and stick. In 1988 in a video we can see the same scene as today, with the drum and stick sitting in the center of the stage at the start of the dance. We can also confirm that the same fourteen dance motions used today are present. Third, we can also confirm the changes in Goseong Ogwangdae's signature motion, baegimsae as time goes on. Observing the video from 1965, baegimsae does not appear in Mundung Bukchum. In 2000 we can clearly see the baegimsae performed once to the left and to the right while Mundung is squatting. Comparing 1969 to 1988, there is no symmetry in the motions, baegimsae is not done to both left and right, but only in one direction. Watching the record from 2000, the baegimsae motion is performed just as it is now, with the body thrown forward with a sharp push off the ground. Fourth I confirmed how the music used to accompany Goseong Ogwangdae's Mundung Bukchum has changed over time. In 1965 according to records of Mundung Bukchum's appearance, the dance was accompanied by the taryeong rhythmic pattern played on the usual four percussion instruments (barrel drum, hourglass drum, large gong, small gong). In the 1969 records of Mundung Bukchum the accompanying music is gutgeori rhythmic pattern performed on the usual four percussion instruments-an obvious difference. In 1988 the music with Mundung Bukchum is gutgeori rhythmic pattern transitioning into jajinmori rhythmic pattern. In 2000 the music with Mundung Bukchum includes the percussion instruments as well as taepyeongso (double reed oboe) playing gutgeori and jajinmori rhythmic patterns.

• (The) Research of the performance art and culture
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• no.18
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• pp.315-346
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• 2009

Korean 'Sin-Pa' play is a way to examine self-reliance of Korean culture and influence of Japanese culture on the Korean one in the early modern times. Although the 'Sin-Pa' play has been estimated negatively in many aspects, such an estimation can be different depending on the methodology. Therefore, I tried to explain a characteristics of the rise of 'Sin-Pa' play. While making these trials, I made efforts to reappreciate the developing process of Korean 'Sin-Pa' play and its theatrical structure and value. Particularly, I focused on structure of 'Sin-Pa' play in the context of an actual cognition of colonized Korea. Based on the 'Sin-Pa' play's repertoires I found out that one of the representative characteristics of Korean 'Sin-Pa' play is a changing process from orality to literacy. And I made attempts to uncover some ideological functions and their effects of 'Sin-Pa' play, focusing on and whose story line is usually consisted of 'provocation-pangs-defeat' while it interacted with 'provocation-pangs-penalty' of the structure of melodrama under the contemporary cultural conditions. 'Sin-Pa'' play can be considered as a performance mode to accept the Japanese value embedded in the colonized Korea since the 1910s on the one hand and to resist the overwhelming power of western culture imported through Japan on the other hand. In other words, it was closely related with the cultural-field of that period. Based on these results of this research, I tried to outline what the mode of 'Sin-Pa' was, what it reflected, and what it desired for under the influence of the contemporary cultural conditions. I analysed double qualities of 'Sin-Pa' play as a dominant narrative and/or a resistant narrative considering its relationship with the people of colonized Korea. And also I examined the place of the 'Sin-Pa' play in the history of theatre and in the history of culture.

• Journal of the Korean Society of Radiology
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• v.13 no.2
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• pp.175-183
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• 2019

Cerebral nervous system intervention has been reported frequently due to radiation exposure such as blistering of the skin, hair loss, and erythema due to prolonged procedures. By applying ergonomically manufactured Bismuth (atomic number 83; Bi) shield to endovascular treatment of cerebral aneurysms, we aimed to minimize radiation exposure of scalp and lens from medical radiation exposure. The measurement site was the posterior part of the head, bilateral temporal part, bilateral quadriceps part, nose part, and the measuring part was attached to the optically stimulated Luminescence dosimeter (OSLD) Before and after the use, the entrance surface dose was compared and analyzed. The average entrance surface dose of group A (unshield) was 92.44 mGy, and group B was measured at 67.55 mGy. The average decrease in Group B was 26.92% compared to Group A. The entrance surface dose mean of the occipital region was measured at 146.08 mGy B group at 103.23 mGy and decreased by an average of 29.32% in group B compared to group A. The average entrance surface dose of the bilateral temporal part was measured in group A at 101.90 mGy group B at 72.69 mGy and decreased by an average of 28.67% in group B compared to group A. The average entrance surface dose for bilateral quadriceps part was measured at 27.51 mGy group B at 21.39 mGy and averaged 22.26% less in group B than group A. It is believed that the use of bismuth shields will be an alternative to reducing radiation disturbance due to temporary hair loss and other stochastic effects that may occur after the endovascular treatment of cerebral aneurysms procedure.

• Journal of Climate Change Research
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• v.9 no.4
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• pp.423-433
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• 2018

Particulate matter air pollution is a serious problem affecting human health and visibility. The variations in $PM_{10}$ concentrations are influenced by not only local emission sources, but also atmospheric circulation conditions. In this study, we investigate the temporal features of $PM_{10}$ concentrations in South Korea and the atmospheric circulation patterns associated with high concentration episodes of $PM_{10}$ during winter (December-January-February) 2001-2016. Based on those analyses, a Korea Particulate matter Index (KPI) is developed to represent the large-scale atmospheric pattern associated with high concentration episodes of $PM_{10}$. The atmospheric patterns are characterized by persistent high-pressure anomalies, weakened lower-level north-westerly anomalies, and northward shift of the upper-level meridional wind anomalies near the Korean Peninsula. To evaluate the change in occurrence of high concentration episodes of $PM_{10}$ under a possible future warmer climate, we apply KPI analysis to CMIP5 climate simulations. Here, historical and two representative concentration pathway (RCP) scenarios (RCP 4.5 and RCP 8.5) are used. It is found that the occurrence of atmospheric conditions favorable for high $PM_{10}$ concentration episodes tends to increase over South Korea in response to climate change. This suggests that large-scale atmospheric circulation changes under future warmer climate can contribute to increasing high $PM_{10}$ concentration episodes in South Korea.

• (The) Research of the performance art and culture
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• no.32
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• pp.71-106
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• 2016

This study analyzes the current work of the traditional theater around 'Back Parkcheomji(season2)' of theatre troupe 'Saninomou'. 'Back Parkcheomji(season2)' has proved that it is possible modernization while at the same time preserving the traditional theater. As a result, 'Back Parkcheomji(season2)' regained the spirit of contemporary social criticism and reality inherent in Kokdugaksinorum. The performance are beyond the traditional production method, which has created a new performance aspects. 'Back Parkcheomji(season2)' has created the puppets like this 'Kimga' 'Seweolho' 'Ryukbang' 'Chourani'. Traditional and creative dolls has criticized our modern society at the same stage. On the other hand, plays such as tightrope, Pungmul, Burna confirmed the spirit of Namsadangpae, and gave a dramatic fun. 'Back Parkcheomji(season2)' has dual stage. The dual stage will produce a magnificent spectacle, and has provided a variety of attractions. 'Back Parkcheomji(season2)' re-created the traditional theater of Namsadangpae in vivid contemporary version. The performance has made the opportunity to think again about the value of classical and allowed to recognize the new phase of classical theater.

• Journal of Climate Change Research
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• v.1 no.1
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• pp.31-50
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• 2010

The Arctic climate change for the Last Glacial Maximum(LGM) occurred at 21,000 years ago (21ka) was investigated using simulation results of atmosphere-ocean coupled models from the second phase of the Paleoclimate Modelling Intercomparison Program(PMIP2). In the analysis, we used seven models, the NCAR CCSM of USA, ECHAM3-MPIOM of German Max-Planxk Institute, HadCM3M2 of UK Met Office, IPSL-CM4 of France Laplace Institute, CNRM-CM3 of France Meteorological Institute, MIROC3.2 of Japan CCSR at University of Tokyo, and FGOALS of China Institute of Atmospheric Physics. All the seven models reproduces the Arctic climate features found in the present climate at 0ka(pre-industrial time) in a reasonable degree in comparison to observations. During the LGM, the atmospheric $CO_2$ concentration and other greenhouse gases were reduced, the ice sheets were expanded over North America and northern Europe, the sea level was lowered by about 120m, and orbital parameters were slightly different. These boundary conditions were implemented to simulated LGM climate. With the implemented LGM conditions, the biggest temperature reduction by more than $24^{\circ}C$ is found over North America and northern Europe owing to ice albedo feedback and the change in lapse rate by high elevation. Besides, the expansion of ice sheets leads to the marked temperature reduction by more then $10^{\circ}C$ over the Arctic Ocean. The temperature reduction in northern winter is larger than in summer around the Arctic and the annual mean temperature is reduced by about $14^{\circ}C$. Compared to low mid-latitudes, the temperature reduction is much larger in high northern altitudes in the LGM. This results mirror the larger warming around the Artic in recent century. We could draw some information for the future under global warming from the knowledge of the LGM.

• Economic and Environmental Geology
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• v.52 no.1
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• pp.107-118
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• 2019

Two assertions about the process the formation of the high-purity limestone in the Taebaeksan Basin, categorized into syngenetic and epigenetic origin, are verified on the basis of its oxygen-carbon stable isotopic characteristics. The carbonate rocks sampled from the selective six high-purity limestone mines and several outcrops in the Daegi formation are featured by various colors such as the gray, light gray and dark gray. They show a wide range of oxygen stable isotope ratios (4.5 ~ 21.6 ‰), but a narrow range of carbon stable isotope ratios (-1.1 ~ 0.8 ‰, except for vein calcite), which means that they had not experienced strong hydrothermal alteration. In addition, there is no difference in the range of the oxygen stable isotope ratios by mine and color, and it is similar to the range from surrounding outcrop samples. These results indicate that the effect of the hydrothermal alteration were negligible in the generation of high-purity limestone in deposit scale. Whereas, the carbonate rocks can be divided texturally into two groups on the basis of an oxygen isotope ratio; the massive-textured or well-layered samples (>15 ‰), and the layer-disturbed (or layer-destructed) and showing over two colors in one sample (<15 ‰). In the multi-colored samples, the bright parts are characterized by the very low oxygen stable isotope ratios, compared to the dark parts, implying the increase in brightness of the carbonate rocks could be induced by the interaction between hydrothermal fluid and rock. However, these can be applied in a small scale such as one sample and are not suitable for interpretation of the generation of high-purity limestone as a deposit scale. In particular, the high oxygen isotope ratios from the recrystallized white limestone suggest that hydrothermal fluids are also rarely involved during recrystallization process. In addition, the occurrences of the high-purity limestone orebody strongly support the high-purity limestone in the area are syngenetic rather than epigenetic; the high-purity limestone layers in the area show continuous and almost horizontal shapes, and is intercalated between dolomite layers. Consequently, the overall reinterpretation based on the sequential stratigraphy over the Taebaeksan basin would play an important role to find additional reserves of the high-purity limestone.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.189-228
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• 2014

The purpose of this research was to summarize Korea and China's researches on Noh and to examine main domain in this field, by investigating the academic books and articles published in two countries. In 1960s, since Nohgaku has been introduced to China, academic articles on Zeami's theories and aesthetics have emphasized on aesthetic characteristics of Chinese plays and Japanese Nohgaku through the similarities of oriental plays. The number of researches on Kabuki is almost twice as that of researches on Noh in China. While most researches on Kabuki were compared with the styles and music of Pecking Opera and the theatrical theories of liyu[李漁], those on Noh has been highlighted the comparative studies on $Y{\bar{o}}kyoku$[謠曲], Chinese Noh plays. The main difference among the researches on $Y{\bar{o}}kyoku$ in Korea and China was the material regarding characters of Noh. Because song yuanzaju[宋 元雜劇]and Nohgaku in Chinese-Japanese plays were the mature form of the classic plays and those were representative of traditional nation plays, this researches tried to ascertain the cultural origins of two countries regarding the aesthetic characteristics by referencing lyrical and narrative features[曲詞] of yuanzaju[元雜劇]and the classic waka of Nohgaku. While the comparative studies on Noh and song yuanzaju and kunqu[昆劇] in China were prevalent, national researches have emphasized on the inner world of the main character and dramaturgy through the verbal description of Noh. Especially, this research tried to investigate the inner world of the main character and the intention of the writers through the verbal description of Noh authorized in the history of the works. Also, the researches on Buddhism in the Middle Ages and religious background were examined significantly. In addition, the $Y{\bar{o}}kyoku$ has influenced on European modern playwrights and the comparative studies between the materials of $Y{\bar{o}}kyoku$ and Western modern plays were concerned. In Korea, the comparative studies on Noh between Korea abd Japan has been most focused on the origin theory of Noh. The fact that appearance theory of Noh had originated from Sangaku was common opinion among Korean, Chinese, and Japanese scholars. However, they are agree with the opinion that according to the formation of the different genres, Noh's mainstream was different among three countries despite of the same origin. Yuan drama and Noh play have the same origin, but different branch. In relation to the Noh's origin theory, there are literature comparative studies in religious background, the studies presumed the origin of instrumental music related to those in mask plays, and the comparative studies between Korean mask plays and $ky{\bar{o}}gen$ of Nohgaku. Kyogen is the Comedy inserted among the stories in Nohgaku performed in just one day. Therefore, $ky{\bar{o}}gen$ must be discussed separately from the relations of 'shite[任手]'s inner action veiled with masks. This research figured out that the lacking points of the two countries' researches were the acting methods of Noh. Academic articles written by foreign scholars studying Korean and Chinese theatres should be included when this issue will be dealt with. In Korea and China, translation studies and writings regarding Nohgaku have studied by those who are major in Japanese literature or oriental literature. This case is the same in Korea in that scholars whose speciality is not theatre, but Japanese literature has studied. Therefore, this present study can give a good grasp of whole tendency on Nohgaku's research in theatre fields.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.5
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• pp.1-13
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• 2019

This study is to derive a design alternative to the FECC (Forest Experience Center for Children) that meets the preschooler's preferences. For this purpose, preschooler participation is included in each phase of the FECC, the site perception phase, the deriving design elements phase, and the deriving design alternative phase. In this study, the process of the deriving design alternative phase was carried out with kindergarteners and preschoolers (6, 7 years olds; all 41 students) at Songsan-mulbit FECC in Gwangsan-gu, Gwangju. In order to derive the design alternatives, three detailed design processes (preschooler participation 2 times, researcher analysis 1 time), tool construction, and a preschooler participation workshop were conducted. The results of this study are as follows. First, as a result of the preschooler's design process, 41 designs were drawn, and an average of 7.66 spaces were drawn by each preschooler. The 6-year-old males designed the least (average 6.80 spaces) and the 7-year-old females designed the most (9.0 spaces). The physical and adventure play spaces were most common (38.9% to 48.7%) regardless of gender or age. To analyze the feasibility of the preschooler's design using a base map, the appearance of the physical environmental characteristics (7 items) in the site were analyzed in each of the 41 designs. As a result, the environmental characteristics were apparent a total 72 times overall. Similar environmental characteristics appearing more than once were apparent in 87.8% (26 designs) of designs. Second, three design alternatives were derived: APS- types (intensive planning of active play facility spaces) was presented in 15 designs, NS-types (planning focused on nature spaces) was presented in 14 designs, and SPS-types (planning focused on static play facility spaces) were presented 12 designs. Third, NS-type, which were finally selected through a preference assessment (5-point scale) and a comparative assessment of the three alternatives, has mainly natural spaces (forest space, forest path, shelter, natural exploration space, and ecological pond) and active play facility spaces, water play space and soil (sand) play spaces was appropriately designed. Therefore, the NS-type was analyzed as the design alternative that can fully accomplish all types of cognitive development through developed through play (functional play, constructive play, dramatic(symbolic) play).