• The Journal of the Korea Contents Association
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• v.11 no.5
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• pp.216-223
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• 2011

This study aims to historically and academically shed new light on Jamu(字舞) to which there is little reference now on the basis of reference of neighboring country (China), to discover traditional unique contents by considering constituting principles, and to use these data to inherit and develop Jamu as a stage performance which is suited for the present age. The result of this study shows as follows. The first, Seongsumu was made up of the dances making 16 letters-"Seongchocheongo(聖超千古), Dotaebaekwang(道泰百王), Hwangjemannyoun(皇帝萬年), Bojomichang" - by 140 dancers. Made letters were intended to face audiences and this is similar to group gymnastics of today in the aspect and form stakes. The second, it is thought that Youngseongsomu the dance making Cheonhataepyeong(天下太平) and recorded in "Youngseongsomubo" of China is related to 'Wangmodaegamu(王母隊歌舞)' the dance making Cheonhataepyeong(天下太平) during the Moonjing rule and recorded a little in The History of Goryeo, 25 volumes (高麗史 卷25). With this study as a momentum, continuous study is needed on Korean traditional dance inherited barely today in order to develop new various contents of Korean traditional arts which are being forgotten by studying and researching related references in neighboring countries such as China and Japan.

• (The) Research of the performance art and culture
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• no.19
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• pp.347-378
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• 2009

Those who were from Jaeincheon and Jaein line entertainers played great roles during transition period from traditional society to modern society, and even at present the dances of them are the representative traditional dances of Korea and the matrix of Korean originality. Nevertheless, Korea dance field has given little importance to these dances, but too much importance to Gibang dance in studying traditional dances, which causes the studies on Jaein line danced to be superficial or separate. Therefore, the aims of this article are to analyze the dances of Jaein line by Han Seong-jun, who was representative for the dances, and to appraise the historical value of them. Han Seong-jun(1874-1942) was the most influential dummer and dancer of his day in Japanese colonial times, and has been recognized as one of the masters of traditional dances. He established autonomy of traditional dances by reorganizing, collecting and stage-formalizing the dances, and systemized transmitting ways for various folk dances including a Buddhist dance, which made it possiblefor those dances to be traditional dances of Korea and the bases for creative dances. The values of Jaein line dances, which were transmitted through Han, are the following: First, the dances have been designated as national or regional intangible cultural assets, and, as the representative traditional arts, we proudly show them to the world. Second, the dances, as one of the genres of Korean dances, are the subjects of younger scholars' studies. Third, the dances become one of the representative examples of revivals of traditional dances, which tend to be extinct during modernization times, and contribute to establishing national identity and subjectivity. In addition, they contribute to discovering and transmitting other traditional dances. Fourth, the dances enable many dancers to make association, that is, Association for Preservation of Traditional Dances,for the transmitting the dances, and to distribute the dances and get many dancers to transmit the dances. Furthermore, as new performance repertories, they give another pleasure to the audience. In addition to the above, as a base for expansion of Korean creative dances, Han's dances have other values such as the following: First, in searching for a new methodology for creation, he played an important role in rediscovering the foundation in the tradition, and tried to discover nationalidentity by employing the traditional dances for expression of theme. Second, he contributed to drastically dissolving the genres by expanding the gesture language from motion factors of traditional dances, which can be compared to the modern dance. Third, he tried new challenging approaches to re-create the tradition, and contributed to pursuing the simple elements of our traditional dances as traditional aesthetics. While the dances of Jaein line have such values as the above, there are also some problems around the dances, such as the confusion in the process of transmission resulted from different transmission forms and transmitters, which we must no longer leave as it is. Furthermore, it is urgent that the rest of Jaein line dances be recovered and designated as intangible cultural assets for the sound transmission of the traditional dances.

• Journal of Korean Library and Information Science Society
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• v.14
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• pp.121-148
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• 1987

종래에는 중국이나 일본에 관한 연구에 종속되어 부가적인 것으로 취급되어 오던 한국학이 한국의 선진 공업국화와 경제적인 국제 지위의 향상에 힘입 어 한국 연구가 세계적으로 활발히 진행되고 있다. 이제 본고를 통해 서방국 가 중에서는 한국 연구에 가장 앞서 있다고 할 수 있는 미국에서의 한국학 의 발달 과정을 살펴보고 한국학에 종사하는 학자.전문인들의 단체에는 어떤 것이 존재하며, 또한 이들 전문인들의 공식적 커뮤니케이션 경로로서의 1차 학술잡지, 단행본, 총서, 박사학위 논문 등의 현황을 구체적으로 고찰하였다. 또한 한국학을 연구하는 학자.전문인들의 연구의 결실이라고 할수 있는 1차 자료들이 정보의 재생산과 효과적인 정보 활용을 위해 서지적인 통정이 조 직적으로 이루어지고 있는가를 고찰하기 위하여 현존하는 연구안내서, 서지, 그리고 한국관계 자료를 소장하고 있는 미국의 저명한 도서관과 그 도서관 에서 발행하고 있거나 이미 발행한 장소목록 등을 구체적으로 상술하였다. 본 연구를 통해 첫째, 미국에서의 한국학은 한국의 정치, 경제, 사회, 역사등 사회과학 분야에서는 강세를 보이고 있으나, 회화, 조각, 무용, 민속 그리고 종교와 같은 인문과학 분야에서의 한국학은 매우 미미한 것임을 알수 있었 다. 둘째로, 미국의 한국학 관계자료의 서지적 통정면에서는 현행서지와 초 록 서비스는 거의 부재의 상태임이 드러났다. 따라서 한국학 관계자료의 신 속한 접근을 위한 현행서지나 색인서비스가 이루어져야 한다는 것이 밝혀졌 다고 하겠다.

• Proceedings of the Korea Water Resources Association Conference
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• 2008.05a
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• pp.395-399
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• 2008

하천은 물을 활용하기 위한 이수기능과 홍수방어를 위한 치수기능, 그리고 자연생태계를 유지하기 위한 환경기능 등 크게 3대 기능으로 나뉜다. 그러나 이러한 기능을 수행하기 위해서 물이 흐르지 않는다면 불가능 하다. 따라서 이러한 기능을 충분히 수행하기 위해서는 얼마나 많은 물이 흘러야 하는 가에 대하여 조사 분석을 통하여 하천유지유량이라는 것을 제안하고 이를 법으로 고시하고 있다. 이러한 하천유지유량은 각 나라의 기후나 지형학적 특성 때문에 나라별로 다양한 방법을 적용하고 있으며 또한 지형학적, 생태학적, 신미적인 기능 등 각자의 필요하고 중요하게 생각하는 인자들을 기준으로한 유량 계산의 틀을 제안하고 있다. 우리나라에서도 최근 하천법 개정에 따라서 하천유지유량의 개념을 재 정립하고 그 유량을 산정방안 및 지침 등에 대하여 제안하였다. 그러나 이렇게 방안에 의해 제안되는 유량의 경우 근본적으로 상류로부터 흐러 내려오지 않는다면 아무리 좋은 방법에 의해 산정되고 고시되는 하천유지유량은 무용지물이 된다. 따라서, 본 연구에서는 하천유지유량을 충분히 흘려보내 줄 수 있는지를 분석한 하천유지가능유하량의 개념을 제안하고 산정방법을 제안하고자 한다.

• Proceedings of the Korea Water Resources Association Conference
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• 2019.05a
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• pp.369-369
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• 2019

최근 전 세계적 기상이변으로 홍수 가뭄 폭설 혹서 혹한 등의 재해 때문에 많은 사람들이 고통에 시달리고 있다. 기상이변으로 인한 재해는 과거에도 존재하였으며 한민족의 역사와 함께하였다. 온고이지신가 이위사의(溫故而知新可以爲師矣)는 논어의 위정편(爲政編)에 나오는 공자의 말씀이다. '옛 것을 익혀 새것을 알면 남의 스승이 될 수 있다'라는 뜻으로 재난을 연구하는 연구자의 입장에서 보면 반드시 새겨둘 구절이다. 역사 속에서 자연재해는 군주(君主)의 부덕(不德)이나 실정(失政)의 소치(所致)로 여겨지고 나아가서는 왕조나 국운의 쇠퇴와도 관련이 이어지기까지 했다. 이미 과거 자연기록에 있었던 일들이며 이러한 사실은 세계문화유산으로 지정된 "조선왕조실록"을 통해 조선시대의 자연재해 기록을 살펴볼 수 있다. "조선왕조실록"을 보면 경술년 현종 11년(1670년 5월 2일) "가없는 우리백성들이 무슨 죄가 있단 말인가. 아, 허물은 나에게 있는데, 어째서 재앙은 백성에게 내린단 말인가." 1671년 말 경신대기근으로 인한 사망자 수가 100만 명에 이른다고 기록도 있다. 기양의례'란 가뭄, 홍수, 전염병 같은 자연재해만이 아니라 개인의 질병과 불행 등 일상적인 삶의 조건을 위협하는 상황이 닥쳤을 때 이를 소멸하고자 거행하는 대표적인 재난문화의 종류이며 비정기적 의례를 의미한다. 조선시대에 기양의례는 재난대응의 상징적인 의미를 갖고 있다. 현재의 우리나라로 보면 재난안전대책 본부와 비견할 수 있다. 조선시대에는 "기양의례"를 통해 임금을 포함한 조정이 적극적 해결의지를 천명하고 각 고을의 관리와 지방군을 동원하여 수습 복구에 최선을 다했다. 부세를 견감하고 구제곡을 지급하는 등의 진휼정책이 뒤따랐다. 백성들도 오가작통제와 향약을 통해 환난상휼을 실천하였다. 이처럼 조선시대에는 비록 기술적인 부분은 미약했지만 재난대응의 체계만큼은 상당히 앞서있었다. 본 연구에서는 조선시대의 강원도 영동지방 자연재난사례를 조선왕조실록을 통해 조사하고 재난에 대응하기 위한 재난문화를 조사하고자 한다.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.27-40
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• 2021

This study aims to propose and apply a song analysis method for musical songs and acting. Prior to rehearsing a musical on stage, students and actors practice diverse exercises ranging from singing, acting and dancing. Among them, singing a musical song requires the actor not only to learn the pitch, beat and melody of the music but also to express the story and scene of the character in combination. Previous studies on analysis focused on research from the perspective of individual elements of singing, acting, and dancing rather than the proposal of comprehensive analysis methods. It is time for comprehensive analysis methods to be developed to practice musical songs and demonstrate them on stage. This study selected "Epiphany" sung by Todd from the musical Sweeney Todd(1979) as the subject of analysis. The song was analyzed in five stages: synopsis, music analysis, lyrics analysis, Uta Hagen's The Six Steps analysis, and Michael Chekhov's Psychological Gesture analysis. Through proposing and applying this step-by-step analysis method, this study verifies the usefulness of musical song analysis for practising both musical theory and practical skills at the same time and provides a base for future studies.

• Korean Journal of Agricultural Science
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• v.39 no.3
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• pp.395-405
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• 2012

Lipozyme TL IM-catalyzed esterification was carried out to produce functional hard fat (structured lipid, SL) using palm stearin (PS) and hydrolysate of pomegranate seed oil (HPSO) of 1:6 molar ratio. HPSO contained conjugated linolenic acid (CLnA, about 80%). The reaction was performed at non-solvent system and solvent (n-hexane) system using Lipozyme TL IM (10% of total substrates, w/w) for 12, 24, and 72 hr in a shaking water bath ($55^{\circ}C$ and 185 rpm), respectively. SL synthesized in non-solvent system (NH-SL) and SL synthesized in n-hexane system (H-SL) were refined after deacidification, respectively. Their physicochemical properties were compared to obtain desirable functional hard fat. The content of CLnA in NH-SL increased from 34.38% to 40.63% with increasing reaction time. Similar results also observed in H-SL resulting in 36.81~45.83% of CLnA. In triacylglycerol (TAG) composition, the main molecules of LnLnLn (Ln=linolenic acid, PN=36) and the LnLnP (P=palmitic acid, PN=40) were newly synthesized in NH-SL and H-SL with increasing reaction time. After 72 hr reaction, iodine values of NH-SL (136.49) and H-SL (140.37) showed high values because of the high content of CLnA. Solid fat index (SFI) in NH-SL was higher than that in H-SL at each measured temperature. The predominant polymorphic forms of NH-SL and H-SL obtained after esterification for 72 hr were the desirable crystalline structure of the ${\beta}$' form.

• (The) Research of the performance art and culture
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• no.18
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• pp.5-46
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• 2009

The origin of Korean mime is traceable to sacred actions of prehistoric age. There are materials about mime of this age in the archeological materials of this age, oral literature/myth, and written literature about this age. There were traces of the most original form of mime in primitive ritual of tribal nation age. The mimes of Samkooksidae/Tree Nation Age of Korea were presented to forms of Kamoobekhee(歌舞百戱)/Sanakbekhee(散樂百戱). We can discover traces of mime of this age in Hosunmoo(胡旋舞), Gwangsumoo(廣袖舞), Kweraehee(傀儡戱), Keeak(伎樂), Kummoo(劍舞) Muaemoo(無㝵舞), and so forth. Especially, Keeak in Beckjae was mask mime of Buddhistic contents. We can recognize that secular theatres were more diversified and strengthened than sacred thaetres in Nambukgooksidae/South-north Nation Age. According to these changes, there were many changes in the mime of this age. We can concretely find traditions of mime of this age in Cheryongkamoo(處容歌舞), Hwangchanmoo(黃倡舞), Taemyun(大面), Wuljen(月顚), Sodok(束毒)', Sanyae (狻猊), and so forth. Mimes of Koreasidae/Korea Age take diverse forms of puppet play, mask play, dance play. Established traditional mimes as Cheryongkamoo(處容歌舞) were widely disseminated in society. And dance plays of mime form as Hunsundo(獻仙桃), Pokurak(抛毬樂), Yunhwadae(蓮花臺)' were imported from Song Nation of China. Mime of Chosundidae/Chosun Age were developed with changes of theatre that were divided into Kyusickjeehee[規式之戲] as Kwangdae(廣大), Ser-in(西人), Joojil(注叱), Rongryung(弄鈴), Kendoo(斤頭) and Sohakjihee[笑謔之戱] as Soochuk(水尺) Sengkwangdae(僧廣大). Styles of theatre in this age were specialized into mudangkuk, Pungmoolkut, Inhyunguk/Puppet play, Talnoree/Mask paly, Pansori, Kungjoong Kamuakguk. According to this changes, mime of this age were specialized into diverse aspects. Korean mime were specialized into Kutnorum-formed mime, Inhyungnorum-formed mime, Jabsaeknorum-formed mime, Talnorum-formed mime, Kungjoongmuyong-formed mime, Pansori-formed mime, and so forth.

• Journal of the Korean Applied Science and Technology
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• v.31 no.2
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• pp.238-243
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• 2014

The mechanical properties of NATM resin were measured by SEM, FT-IR spectra, tensile properties, mole ％ of [NCO/OH], and particle size analyzer on stainless steel. Growing concerns in the environment-friendly NATM resin, we have synthesized the solvent-free NATM resin to be coating on metals such as stainless. The properties of the synthesized NATM resin to be contained polyols, MDI, silicone surfactant, fillers and crosslink agents(diethyltoluene diamine, anhydrosorbitol), that they have highly stronger in intensity and longer durability than general NATM resin to be contained polyols, IPDI, silicone surfactant, fillers in general packing materials and coatings. The rigid segments of polyurethane in mechanical properties of coatings were due to cross linkage and the increase mole % of [NCO/OH]. In conclusion, the NATM microstructure with cross linkage can be good material for coating of anticorrosion of metal substrates such as stainless steel.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.8 no.2
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• pp.59-66
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• 1988

At the present time, annually about 2 million tons of coal ashes are generated from thermal power plants in Korea, however, they are dumped into ash ponds mixed with sea water very expensively. In this thesis, engineering characteristics of bituminous and anthracite ashes are studied to utilize them as construction materials. The coal ash is non-plactic material and its grain size falls in the range of silt, but it has better soil engineering characteristics than general soils of same grain size. For example, the permeability, shearing strength, CBR, and consolidation properties match to that of sandy soils, moreover, strengthening by hydration can be expected with the lapse of year because of CaO presence in the components. So, utilizing those coal ashes in a productive way as reclamation or banking materials is expected.