• Proceedings of the KOR-BRONCHOESO Conference
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• 1982.05a
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• pp.10.1-10
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• 1982

The use of phonosurgery in the recent development of laryngomicrosurgery has enabled the restoration of a normal voice in respect to functional laryngeal surgery which in Korea in the past limited to simple removal of benign laryngeal tumor such as laryngeal polyp or nodules and cordal injection of $Teflon^{{\circledR}}$ for the treatment of recurrent nerve paralysis under the vision of suspension laryngoscopy. Performance of phonosurgery for the treatment of cord paralysis, mutational dysphonia, vocal cord atrophy, hyperkinetic dysphonia and sulcus vocalis is a happy event in the view point of development of phonosurgery in Korea. In this aspect thyroplasty to change the position and physical characteristics of the cord outside the glottis instead of the direct handling of the vocal cord through direct endoscopy is popular. Among the 4 types of thyroplasty, classified by Insshiki(1974), type I thyroplasty(1ateral compression of vocal cord) and type IV thyroplasty(lengthening of vocal cord) were effective in the treatment of unilateral vocal cord paralysis. Advantages of this operation are the fine adjustment of the degree of lateral compression under local anesthesia according to the phonation of the patient during operation and avoidance of dyspnea and intralaryngeal hemorrhage due to the manipulation outside the internal perichondrium of the thyroid cartilage. We did 7 cases of thyroplasty for the treatment of unilateral vocal cord paralysis in the 7 months from September 1981 to March 1982. Before the operation aerodynamic study, psychoacoustical evaluation, stroboscopy and sound spectrographic analysis were done. Two months after the operation the above procedures were performed again. Results of preoperative and postoperative examination were compared and the following results were obtained. 1) In the aerodynamic study, maximum phonation time increased to 158% of the preoperative value and the phonation quotient and the mean flow rate decreased to 58% and 54% of preoperative values. 2) The degree of hoarseness improved in the psychoacoustical evaluation and the glottic chink during phonation was decreased in the stroboscopic examiantion. 3) In the sound spectrographic analysis, periodicity was much restored and noise distribution decreased especially in the high frequency area.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

• The Korean Journal of Air & Space Law and Policy
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• v.26 no.1
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• pp.215-239
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• 2011

We are now entering the era of Commercial Space Transportation with the rapid commercialization of space. Commercial Space Tourism will be realized first of all in the commercial space transportation and the spacecraft is developing for it led by private enterprise such as Virgin Galatic and XCOR Aerospace. The spacecraft for space tourism is developed as Reusable Launch Vehicle(RLV). RLV Spaceship I & II manufactured by the Scaled Composites for Virgin Galatic had completed experimental flight successfully and is going to put to the operation for space travel around the year 2012. In our country, Yecheon Astro-Space Center located in Yecheon, Kyungbuk Province, signed a binding-MOU with XCOR Aerospace and going to start space travel in the year 2013 with the spacecraft LYNX MARK-II. Thus, now space travel has become a reality to us. But it is also reality that there's no study by legal basis preparing for the space tourism domestically and internationally. In this regards, this thesis dealt with legal issues related to space tourism. These are as follows : (1) the applicabe law issue that is which law between air law and space law will apply, (2) the status of space tourist issue that is space tourist can be considered as personnel of a spacecraft and/or space flight participant and has the duty to obey the order of the captain of spacecraft, (3) the responsibility of the government for the non-governmental entities such as private enterprise which involved in space tourism in case space accident occurs during the space travel, (4) license permit and supervision issue by the government (In this point, for activating the market of the space tourism, I think it is essential to guarantee the safety of the spacecraft by the government authority, though U. S. government declared that it has not certified the launch vehicle as safe for carrying crew or space flight participants), (5) registration issue, (6) space insurance issue. For all the issues mentioned above, I have studied the existing international treaties and several country's domestic law to the space by referring U.S's Commercial Space Launch Amendment Act of 2004 and New IGA of 1998 and concluded that uniform legal regime to govern these issues should be established domestically and internationally in the near future.

• The Korean Journal of Air & Space Law and Policy
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• v.25 no.1
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• pp.159-203
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• 2010

Together with the development of space science outer space law has become one of the most rapidly developing branches of international law. This reflects a general realization that these new activities must be subject to reasonable legal regulation if they are to serve the peaceful purposes of mankind without undue confusion and disorder. The exploration and use of outer space introduces many novel opportunities and dilemmas, and inspired insights are needed in the development of this new resource. In particular, the settlement of space law disputes is a relatively new discussion in international law. However, the significance of the settlement of space law disputes was acknowledged in various colloquia organized by legal academicians and practitioners around the world. Analysis of the dispute settlement provisions in space agreements plainly reveals the degree to which States persist to be mistrustful of any impingement to their sovereignty. They are reluctant to submit disputes to adjudication and binding arbitration, particularly when these provisions are negotiated between States which have dissimilar political, economic and social interests and demography. However, there is a slow but clear shift in this attitude as States realize the contemporary political, economic and technical pressures necessitating the lifting of the veil of State sovereignty. The development of an effective mechanism for the settlement of disputes arising in relation to the development of the exploration and exploitation of outer space has been the subject of global study by highly qualified publicists and international institutions. The 1972 Liability Convention is the space treaty with the most elaborate provisions for dispute settlement. However, it fails to ensure binding decisions. In this point, the 1998 Taipei Final Draft Convention may be a useful instrument for further consideration on whether an independent sectorialized dispute settlement mechanism should be established. Considering these circumstances it seemed essential to take legislative action to implement a system as comprehensive as the relevant legal framework are in the Law of the Sea and International Criminal Law mechanisms for dispute settlement and conflict avoidance from outer space activities.

• Journal of the Korean Geographical Society
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• v.28 no.4
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• pp.379-391
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• 1993

Present-day world economy is characterized by : technology nationalism, economic regionalism, market protectionism, multinational corporations, efc. All nations are striving for intensifying national economic rivalry and seeking after their own interests above everything else. Many regions of the world are also forming trading blocs, which could negatively affect nonmember states. The ultimate way to meet these difficulties is to establish production facilities in the countries imposing trade regulations. However, as the existing models of direct forrign investment (DFI) do not account for the particular nature of Korean firm's DFI activities, a new point of departure is imperative. It is because of this that Korean firms have only limited firm-specific advantages, the basic precondition of extant DFI theories, compared with their developed counterparts.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.1-21
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• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• Korean Journal of Soil Science and Fertilizer
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• v.44 no.6
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• pp.1272-1278
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• 2011

This study was conducted to reclassify Cheongweon series based on the second edition of Soil Taxonomy and to discuss the formation of Cheongweon series distributed on broad continental alluvial plains. Morphological properties of typifying pedon of Cheongweon series were investigated and physico-chemical properties were analyzed according to Soil survey laboratory methods manual. The typifying pedon of Cheongweon series has dark grayish brown (2.5Y 4/2) silt loam Ap horizon (0~18 cm), dark grayish brown (2.5Y 4/2) silt loam BA horizon (18~30 cm), dark yellowish brown (10YR 4/6) silty clay loam Bt1 horizon (30~60 cm), strong brown (7.5YR 4/6) silty clay loam Bt2 horizon (60~91 cm), brown (10YR 4/4) silt loam BC horizon (91~104 cm), and mottled (7.5YR 4/6, and 7.5YR 5/2) silt loam C horizon (104~160 cm). The typifying pedon has an argillic horizon from a depth of 30 to 91 cm and a base saturation (sum of cations) of 35% or more at 125 cm below the upper boundary of the argillic horizon. It can be classified as Alfisol, not as Incceptisol. It has udic soil moisture regime, and can be classified as Udalf. Also that meets the requirements of Hapluadalf. It has anthraquic condition, and keys out as Anthraquic Hapludalf. That has fine silty textural family, and has mesic soil temperature regime. Therefore Cheongweon series can be classified as fine silty, mixed, mesic family of Anthraquic Hapludalfs, not as fine silty, mixed, mesic family of Fluvaquentic Epiaquepts.

• 기호학연구
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• no.57
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• pp.7-26
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• 2018

The purpose of this paper is to interpret the discourse on design thinking through the perspective of Roland Barthes' Mythologies. To this end, this paper will explore the mythologization process of design thinking using the methodological framework of Barthes, which structurally interprets the connotations produced using semiosis. Design thinking originally refers to a method which is used in the process of planning ideas about designs in order to create the final products for professional designs. However, design thinking has recently attracted more interest from the public because it has become known as a tool for solving various problems which exist outside of the field of design, such as social issues, management, and marketing strategies. Barthes points out that myths are used as a tool to deliver ideologies. He also emphasizes the importance of 'structural thinking'. It interprets the inherent connotative meanings more than the denotative meanings, which are explicitly shown. One of the most powerful ideologies which our society embraces today is creativity. Design thinking realizes the manifestation of creativity through a schematized process. This can be explained by considering design thinking as an icon that is specifically turned into a figuration to realize its objectness, in which a discourse for solving issues and social codes meet together and form a mythology. The mythologies that Barthes cites in his book refer to mythical values created by the cultural codes which humans have produced in our modern and contemporary age. The symbolic value of design thinking has become more important than the signifier which design thinking itself presents. This means that design thinking has become a sign that has mythical properties. In other words, the ideology of creativity embodied by design thinking has attained a mythological status, as it produces a new cultural code through innovation. The process of interpreting a phenomenon using the perspective of semiotics is an important tool that allows us to examine the concept of an object and its surroundings thoroughly. This paper attempts to expand the external scope of critical analysis about social phenomena by using the signs which continuously reveal themselves in common ideologies, such as design thinking, which has been gaining more popularity recently.

• The Korean Nurse
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• v.20 no.4 s.112
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• pp.39-49
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• 1981

기존 간호 영역 내 간호는 질적으로, 양적으로 급격히 팽창 확대되어 가고 있다. 많은 나라에서 건강관리체계가 부적절하게 분배되어 있으며 따라서 많은 사람들이 적절한 건강관리를 제공받지 못하고 있어 수준 높은 양질의 건강관리를 전체적으로 확대시키는 것이 시급하다. 혹 건강관리의 혜택을 받는다고 해도 이들 역시 보다 더 양질의 인간적인 간호를 요하고 있는 실정이다. 간호는 또한 간호영역 자체 내에서도 급격히 확대되어가고 있다. 예를들면, 미국같은 선진국가의 건강간호사(Nurse practitioner)는 간호전문직의 새로운 직종으로 건강관리체계에서 독자적인 실무자로 그 두각을 나타내고 있다. 의사의 심한 부족난으로 고심하는 발전도상에 있는 나라들에서는 간호원들에게 전통적인 간호기능 뿐 아니라 건강관리체계에서 보다 많은 역할을 수행하도록 기대하며 일선지방의 건강센터(Health center) 직종에 많은 간호원을 투입하고 있다. 가령 우리 한국정부에서 최근에 시도한 무의촌지역에서 졸업간호원들이 건강관리를 제공할 수 있도록 한 법적 조치는 이러한 구체적인 예라고 할 수 있다. 기존 간호영역내외의 이런 급격한 변화는 Melvin Toffler가 말한 대로 ''미래의 충격''을 초래하게 되었다. 따라서 이러한 역동적인 변화는 간호전문직에 대하여 몇가지 질문을 던져준다. 첫째, 미래사회에서 간호영역의 특성은 무엇인가? 둘째, 이러한 새로운 영역에서 요구되는 간호원을 길러내기 위해 간호교육자는 어떤 역할을 수행해야 하는가? 셋째 내일의 간호원을 양성하는 간호교육자를 준비시키기 위한 실질적이면서도 현실적인 전략은 무엇인가 등이다. 1. 미래사회에서 간호영역의 특성은 무엇인가? 미래의 간호원은 다음에 열거하는 여러가지 요인으로 인하여 지금까지의 것과는 판이한 환경에서 일하게 될 것이다. 1) 건강관리를 제공하는 과정에서 컴퓨터화되고 자동화된 기계 및 기구 등 새로운 기술을 많이 사용할 것이다. 2) 1차건강관리가 대부분 간호원에 의해 제공될 것이다. 3) 내일의 건강관리는 소비자 주축의 것이 될 것이다. 4) 간호영역내에 많은 새로운 전문분야들이 생길 것이다. 5) 미래의 건강관리체계는 사회적인 변화와 이의 요구에 더 민감한 반응을 하게 될 것이다. 6) 건강관리체계의 강조점이 의료진료에서 건강관리로 바뀔 것이다. 7) 건강관리체계에서의 간호원의 역할은 의료적인 진단과 치료계획의 기능에서 크게 탈피하여 병원내외에서 보다 더 독특한 실무형태로 발전될 것이다. 이러한 변화와 더불어 미래 간호영역에서 보다 효과적인 간호를 수행하기 위해 미래 간호원들은 지금까지의 간호원보다 더 광범위하고 깊은 교육과 훈련을 받아야 한다. 보다 발전된 기술환경에서 전인적인 접근을 하기위해 신체과학이나 의학뿐 아니라 행동과학 $\cdot$ 경영과학 등에 이르기까지 다양한 훈련을 받아야 할 필요가 있다. 또한 행동양상면에서 전문직인 답게 보다 진취적이고 표현적이며 자동적이고 응용과학적인 역할을 수행하도록 훈련을 받아야 한다. 그리하여 간호원은 효과적인 의사결정자$\cdot$문제해결자$\cdot$능숙한 실무자일 뿐 아니라 소비자의 건강요구를 예리하게 관찰하고 이 요구에 효과적인 존재를 발전시켜 나가는 연구자가 되어야 한다. 2. 미래의 간호교육자는 어떤 역할을 수행해야 하는가? 간호교육은 전문직으로서의 실무를 제공하기 위한 기초석이다. 이는 간호교육자야말로 미래사회에서 국민의 건강요구를 충족시키기는 능력있는 간호원을 공급하는 일에 전무해야 함을 시사해준다. 그러면 이러한 일을 달성하기 위해 간호교육자는 무엇을 해야 하는가? 우선 간호교육자는 두가지 측면에서 이 일을 수정해야 된다고 본다. 그 하나는 간호교육기관에서의 측면이고 다른 하나는 간호교육자 개인적인 측면엣서이다. 우선 간호교육기관에서 간호교육자는 1) 미래사회에서 요구되는 간호원을 교육시키기 위한 프로그램을 제공해야 한다. 2) 효과적인 교과과정의 발전과 수정보완을 계속적으로 진행시켜야 한다. 3) 잘된 교과과정에 따라 적절한 훈련을 철저히 시켜야 한다. 4) 간호교육자 자신이 미래의 예측된 현상을 오늘의 교육과정에 포함시킬 수 있는 자신감과 창의력을 가지고 모델이 되어야 한다. 5) 연구 및 학생들의 학습에 영향을 미치는 중요한 의사결정에 학생들을 참여시키도록 해야한다. 간호교육자 개인적인 측면에서는 교육자 자신들이 능력있고 신빙성있으며 간호의 이론$\cdot$실무$\cdot$연구면에 걸친 권위와 자동성$\cdot$독창성, 그리고 인간을 진정으로 이해하려는 자질을 갖추도록 계속 노력해야 한다. 3. 미래의 간호원을 양성하는 능력있는 간호교육자를 준비시키기 위한 실질적이면서도 현실적인 전략은 무엇인가? 내일의 도전을 충족시킬 수 있는 능력있는 간호교육자를 준비시키기 위한 실질적이고 현실적인 전략을 논함에 있어 우리나라의 실정을 참조하겠다. 전문직 간호교육자를 준비하는데 세가지 방법을 통해 할 수 있다고 생각한다. 첫째는 간호원 훈련수준을 전문직 실무를 수행할 수 있는 단계로 면허를 높이는 것이고, 둘째는 훈련수준을 더 향상시키기 위하여 학사 및 석사간호교육과정을 발전시키고 확대하는 것이며, 셋째는 현존하는 간호교육 프로그램의 질을 높이는 것이다. 첫째와 둘째방법은 정부의 관할이 직접 개입되는 방법이기 때문에 여기서는 생략하고 현존하는 교과과정을 발전시키고 그 질을 향상시키는 것에 대해서만 언급하고자 한다. 미래의 여러가지 도전에 부응할 수 있는 교육자를 준비시키는 교육과정의 발전을 두가지 면에서 추진시킬 수 있다고 본다. 첫째는 국제간의 교류를 통하여 idea 및 경험을 나눔으로서 교육과정의 질을 높일 수 있다. 서로 다른 나라의 간호교육자들이 정기적으로 모여 생각과 경험을 교환하고 연구하므로서 보다 체계적이고 효과적인 발전체인(chain)이 형성되는 것이다. ICN같은 국제적인 조직에 의해 이러한 모임을 시도하는 것인 가치있는 기회라고 생각한다. 국가간 또는 국제적인 간호교육자 훈련을 위한 교육과정의 교환은 한 나라안에서 그 idea를 확산시키는데 효과적인 영향을 미칠 수 있다. 충분한 간호교육전문가를 갖춘 간호교육기관이 새로운 교육과정을 개발하여 그렇지 못한 기관과의 연차적인 conference를 가지므로 확산시킬 수도 있으며 이런 방법은 경제적인 면에서도 효과적일 뿐만 아니라 그 나라 그 문화상황에 적합한 교과과정 개발에도 효과적일 수 있다. 간호교육자를 준비시키는 둘째전략은 현존간호교육자들이 간호이론과 실무$\cdot$연구를 통합하고 발전시키는데 있어서 당면하는 여러가지 요인-전인적인 간호에 적절한 과목을 이수하지 못하고 임상실무경험의 부족등-을 보충하는 방법이다. 이런 실제적인 문제를 잠정적으로 해결하기 위하여 1) 몇몇 대학에서 방학중에 계속교육 프로그램을 개발하여 현직 간호교육자들에게 필요하고 적절한 과목을 이수하도록 한다. 따라서 임상실무교육도 이때 실시할 수 있다. 2) 대학원과정 간호교육프로그램의 입학자의 자격에 2$\~$3년의 실무경험을 포함시키도록 한다. 결론적으로 교수와 학생간의 진정한 동반자관계는 자격을 구비한 능력있는 교수의 실천적인 모델을 통하여서 가능하게 이루어 질수 있다고 믿는 바이다.

• (The) Research of the performance art and culture
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• no.18
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• pp.413-444
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• 2009

This paper is an analysis of stage and performance elements for the ceremonial procedures and dance featured in bongsudang-jinchan, a feast celebrating the 60th birthday of Hyegyeong-gung Hongssi (Crown Princess Hong of Hyegyeonggung), the mother of King Jeongjo, which took place in Hwaseong haegung palace in 1795. The primary sources used are data on bongsudangjinchan recorded in Wonhaeng-eulmyojeongriuigwe, Jeongjo-sillok, Hongjae-jeonseo, pictorial sources such as Folding Screens of Hwaseong-neunghaeng and Hwaseong Ilgi, which is a journal in Korean by Yi Hui-pyeong. A court ceremony to offer music, dance, flowers, and food, as well as wine and poetry which express the sentiments of chung (fidelity) and hyo (filial piety) was considered a national ceremony and has constituted a unique musical culture during the 500 years of Joseon dynasty. However, after the fall of Joseon dynasty, ceremonial music and dance, which have been organically linked within the overall symbolic system of ye (courtesy), became scattered to become independent 'pieces.' As a result, all of their philosophy, principles, and the time-space interpretation of court music and dance became greatly reduced, leaving only the artistic expression and formal structure of the music and dance to become emphasized. Since the 1990s, there has been many research and events aiming to re-create the court ceremonial tradition, resulting in the increase of the related performance activities. This is especially true with bongsudang-jinchan, which is now being performed on modern stage in various forms. However there are still many problems to be solved, such as the issue of re-creating and restoring the original, and the question of artistic value found in the traditional pieces. Until now, much focus has been paid to the outer re-construction of uiju document as recorded in Wonhaeng-eulmyo-jeongriuigwe. On the other hand, there lacked an in-depth study which analyzes the stage situation and performance elements. Therefore in this paper, after focusing on the stage structure and performance elements, it is concluded that bongsudang-jinchan, the only court feast to be held in Haeng gung, not only consists of the fundamental aspects of court performance principle as 'governing through ye and ak (music),' but also served as an important occasion to bring together the sovereign and the subject. Bongsudang-jinchan had features of both naeyeon (feast for ladies) and oeyeon (feast for gentlemen). It minimized the use of screens and allowed every guest to enjoy food, music, and dance together, but provided a separate tent for foreign guests, maintaining the ideal balance between equality and distinction among different gender and social status. A screen symbolizing the venue for the feast is placed for all of the government officials. The king then pronounces the beginning of the banquet in which the ideal of gunsin-dongyeon (king and officials dining together) is realized. This indicates that bongsudang-jinchan, compared to other court ceremonies that emphasize the principle of yeak (courtesy and music), focuses more on the spirit of harmony and rapprochement. The king played a more active role in bongsudang-jinchan than in any other royal feasts. Examples as recorded in uiju documents are; Jeongjo's conversation with his retainers after the 7th wine, king's bestowing of food and flowers to the officials, writing his own majesty's poems with regard to the festival, and asking the retainers to write replying poems. All these played an important part in making the occasion more rich, extensive, and meaningful. Moreover, as analysis of the structure of orchestral music and court dance featured in bongsudang-jinchan shows, it was like any other court banquet in that it employed minimal use of extravagance in movements and conversation. However, the colors and tonal texture used in the music and dance were more brilliant in this case. Compared to other banquets that took place before king Jeongjo, the dance style was more diverse, which included some of the latest additions. There were past performances arranged anew. Noteworthy are; the incorporation of "Seonyurak (Boat Dance)" and "Geommu (Sword Dance)," traditionally used for local officials and civilians feast, to suit the court taste; and the use of saenghwang (mouth organ), which was a rising instrument in pungnyubang (literati's private salon), for "Hakmu (Cranes Dance)." This especially indicates the nature of the 'open structure' pursued by the court banquets at the time, which strove to break away from the traditional rules and customs and accept something new.