• The Journal of Korean Philosophical History
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• no.28
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• pp.35-60
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• 2010

In this paper, the researcher investigated the relationships between nature and humans through I-Ching(『周易』) from the perspective of environmental ethics. I-Ching(『周易』) is a literature which has been quoted so frequently as a desirable alternative for environmental issue. The researcher closely reviewed how the relationships between nature and humans had been defined in I-Ching(『周易』) and developed the discussions focusing on what humans could and should do for nature. Nature makes up for the portion of extinction through endless birth. By giving birth for a new life continuously, and complementing the portion of extinction at the same time, nature is being maintained and preserved. In the side of nature, extinction and birth are equal, meanwhile, the sage who wrote I-Ching(『周易』) had held the concept of anxiety worrying that the whole living beings would be extinct, therefore, the sage wrote I-Ching(『周易』) in the aspects of birth. For nature has always been maintained and preserved in its own cause, there is no chance of nature being destroyed by itself. Human is one living being amongst all things created by nature, and at the same time, humans had been endowed with a position which is one among SanCai(三才). Nature had given humans responsibility and duty according to their position, but humans neglect to perform their responsibility and duty indulging in enjoyment of their position. Because humans have only enjoyed their position which is the critical one amongst SanCai (三才), this failure has resulted in destruction of nature. It shall be necessary for humans to enjoy their position to a certain extent, in the meantime, however, they should discharge those responsibilities and duties in order for forming and nourishing powers of Heaven and Earth. Although it is the humans that have destroyed nature, they can also provide nature with help to give birth to a new life. Reason for humans have destroyed nature is that they forgot their responsibility and duty having been concealed by their selfish desires. If humans get rid of their selfish desires, and fulfill their given duties and responsibilities, nature shall become revitalized again.

• (The) Research of the performance art and culture
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• no.22
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• pp.123-155
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• 2011

This study aims to closely read Kim Jong-il's "About Stage Drama Arts" and disclose the new reality as evaluated by him. The study took the method by which to compare Kim Jong-il's theory on drama and North Korea's drama theory in the 1950s, and the findings of this study revealed that it was irrational to grant the adjective "new" to Kim Jong-il's drama theory. This is because tradition inheritance and newness cross each other. First, his tradition inheritance aspect was found in his playwriting method. In playwriting method, Kim Jong-il's argument about characters and language is an extension of the 1950s drama theory, and his theory on JongZa(seeds) is the transformation of the concept proposed in the 1950s. Also, the expression means of dramas and drama arts is dialogue, and his guideline to focus on the art of conversation rather than on acting is interpreted to be a reduced concept of drama arts, compared with the 1950s drama theory. On the other hand, his newness aspect can be clearly discovered in the materialization of stage. The fixed stage background, without dark change, shifts to another situation as it is, and this stage setting is clearly distinguished from the previous stage setting. The attempt is worth highly evaluating to allow the stage to reflect actors' emotional flows and let them act. Also, the attempt is distinctively distinguished from previous drama theories to allow the chorus' positive involvement in dramas so as to directly deliver characters' emotions to the audience and to trigger the audience' response as intended by creators. From the perspectives of drama evaluation, Kim Jong-il's theory and practice regarding stage and music is understood to maximize the audio-visual effects. Therefore, Kim Jeong-il's drama theory, as he argues, is not a completely new theory, but a transformational inheritance of existing drama theories, and a creation theory with focus on expansion of spectacles.

• (The) Research of the performance art and culture
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• no.23
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• pp.347-368
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• 2011

This article is a review of the composition pattern of Suryukjae, which is one of the Buddhist ceremonies, and a consideration of the performance process. As one of the ceremonies leading the dead to heaven performed in the Buddhist circle, Suryukjae had been performed in Buddhist temples nationwide, but currently, it remains only in several Buddhist temples. Suryukjae is composed as follows. First, the early part of Suryukjae is a stage of preparing Suryukjae and ensuring legitimacy; thus, it has no detailed Jaecha except for Gwanyok. It is made up of Onghoge and Dage, has no Somun, and is centered on Yojabbara. The middle part of Suryukjae is a part in which Suryukjae is performed on a full-scale, which wishes the achievement of the goal of Suryukjae. It is made up of Geobul, Dage, and Somun, and is centered on Sadaranibara. Furthermore, this part delineates the flow of the Jaecha concerned as it contains detailed Jaecha. Meanwhile, in the middle part of Suryukjae, there is only detailed Jaecha called Sajadanman Bongsong (sending off), and the rest parts including Orodan, upper part, middle part, and lower part, in which there is no detailed Jaecha called Bongsong. The fact that there is no Bongsong in this part means all Bongsong is made in Heuihyang Bongsong, which is the last Jaecha. This implies that Saja, which is enshrined in Sajadan, is the essence of the achievement of the goal of Suryukjae. Only when there is Saja, Muju, Yuju, and Gohon (the meaning of all spirits) can be led to heaven. Also, from a rough perspective, this part is connected to other Chundojae (ceremony for sending off the dead to heaven) in Korea. There is a geori(Jaecha) that calls in Saja also in Jinogigut (exorcism) of Seoul. Then, although various gods from the otherworld are coming in in succession, to which Saja enters clearly shows a process in that Saja returns to the next world with the dead through . Just as demonstrates a process in that Saja returns to the next world with the dead in Jinogigut, also in Suryukjae, Saja needs to return to the next world with Gohon; therefore, at least Sajadan has detailed Jaecha called Bongsong. That is, this means that although Suryukjae of Buddhism is different from other Chundojae in terms of the composition of Jaecha, its notion about Saja is the same.

• (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.

• (The) Research of the performance art and culture
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• no.39
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• pp.609-635
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• 2019

This study analyzed five official entries in the 3rd Cheong Kong Festival contest and analyzed the patterns of teen audience empathy. The tools used for this analysis were 'characters, acting, background and theme'. Firstly, characters were mostly teenagers and out-of-school teenagers, but there were other performances that focused on the relationship between teenagers and adults or focused on the youth, which the teen audience preferred. And they preferred realism acting to emotional acting and preferred musical acting to realism acting. In addition, the background of the events covered in the performance was evaluated to be like this: the closer the audience was to the youth, the higher the audience sympathized with the performance, and the closer the subject matter was to the youth's interest, the more positive it received. In summing up the opinions of the youth evaluation team, the first audience-participating Sinpa Theater, "Mr. X" was evaluated to expand the scope of teenagers to 20s and to show the negative and heavy reality as fun and beneficial one. Secondly, when it comes to non-prejudiced youth theatre "The Turtle", which have a high level of empathy, it was evaluated to shape the prejudice about others through the symbol of 'bag'. Thirdly, regarding the time-traveling retro-style youth theatre of the 'a jam-packed Bus', it was evaluated to be a well-made retro-style youth theatre. Regarding the 'Lunar Eclipse', which showed the aesthetic of the relationship, scenes were evaluated to be built with omission and restraint. Regarding "B Officer on and Love Letter", it was evaluated to be adapted to a musical from Hyun Jingun's novel, which was released 100 years ago. Lastly, the performance desired by the youth evaluation team was a performance with a high level of 'sympathy' and 'education'. In other words, they preferred performances that empathize with the emotions and thoughts of teenagers, and on the other hand, they wanted to see performances that allowed them to see the world broadly outside their own worlds. If youth theater is created by referring to the evaluation of youth as it is in this study, the audience will be more sympathetic to performances.

• (The) Research of the performance art and culture
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• no.38
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• pp.33-69
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• 2019

In this article, I would like to pay attention to the changesofShaman's play as a part of examining the process of changeofDonghaeanbyeolsingut. Currently, Shaman's play can be seeninBaekseok2-ri, Byeonggok-myeon, Yeongdeok-gun, Gugye-ri, Namjeong-myeon and Yeongdeok-gun. Among them, ShamanRitual of Baekseok2-ri is short in cycle and easy to see change. InShaman Ritual of Baekseok2-ri, various Shaman's plays suchasJungdodukjabi(중도둑잡이), Wonnimnori(원님놀이), Talgut(탈굿), Mallori(말놀이), Hotalgut(호탈굿) and Georigut(거리굿) areperformed. Shaman's play carried out in Donghaeanbyeolsingut changesevery time it is carried out. Depending on the degree of change, itcan be classified into passive change and positive change. Whilepassive changes are improvisational, aggressive changes areintentional. Shaman's plays are jungdodukjabi, Mallori, Hotalgut, which are the improvisational changes, and the intentional changesare Wonnimnori, Talgut, Georigut. The biggest change in Shaman's play is the disappearance of the Shaman Ritual. The Shaman Ritual is suspended due to lackofpeople, financial difficulties, religious conflicts or rational accidents. Secondly, the period of separation is shortened or shortened. Thiscauses Shaman's play to be dropped or shrunk to change. InShaman Ritual, changes in Shaman's play are variable andcreative. The change due to the intervention of the spectatorsismainly improvisation. On the other hand, the change bythepreliminary plan of the acquaintance is intentional, and the changeis large. The changing factors of Shaman's play are influenced bythedemands of the times and the recognition of the tradition group. Changes in the traditional environment can be attributed to lackofhuman resources, individualism, changes in the workingenvironment and time constraints. At the same time, givingautonomy to traffickers is a major reason for Shaman's playtochange.

• Journal of Communication Design
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• v.66
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• pp.90-101
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• 2019

South Korea had a hard time creating its own image of a nation that formed its identity due to 6.25, Japanese-style rule, division of South and North Korea, and military dictatorship. Recently, Korea has been searching and spreading its identity by creating a Korean wave such as various events and K-POPs. However, since there are still no images and cultural products representing Korea's identity, it is necessary to develop design contents related to native culture and professional cultural product design. Design powers such as France and Japan focus on design projects that can add value to their national design policy projects. Traditional Korean contents also need to be specialized and continuous in image design and research. In this study, five lucky-SubokGangnYeon(long life, happiness and peace), a representative of Korean culture, studied with the most interest in the old and the modern, namely, "Living healthy long." Through the development of cultural product design and the use of design content, I would look forward to presenting the diversity and direction in producing Korea's own design products and images that fit the trend of modern 'age of 100.' Based on images based on special exhibitions related to longevity of the National Folk Museum of Korea, the museum discovers key used features and meanings, studies patterns and patterns, and analyzes design cases applied to modern cultural product design. We also want to look at the direction available through design content, which is a symbol of llong life happiness and peace. First, cultural products have limitations that lack the development of design products, lack of public relations and sales outlets, and lack of awareness of traditional culture, which should precede policy support and awareness reform at the national level. Second, we need to streamline prices that meet the needs of the market. Third, cultural product design and contents related to tradition can be settled and disseminated more easily when traditional design is utilized and distributed mainly on practical stationery and household goods. Fourth, it is necessary to develop contents of various Korean images based on research on Korean cultural history and aesthetic consciousness. Research on the Korean culture of designers should be conducted, not just in the form of figurative images. Fifth, traditional manufacturing methods and materials should be respected by modern times, but modern production products should be developed with economy and durability.

• Journal of Practical Agriculture & Fisheries Research
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• v.20 no.1
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• pp.35-47
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• 2018

A edible mushroom, Clitocybe maxima (Lentinus giganteusis) commercially cultivated in China and Taiwan. However, the researches of cultivation and cultural characteristics were not reported in Korea. In this study, we conducted on cultural characteristics and artificial cultivation of C. maxima. Six isolates were collected from China(3 isolates, commercial strain), Taiwan(1 isolate, commercial strain) and Korea(2 isolates, wild type). C. maxima and L. giganteus collected in China and Taiwan, respectively, are the same in China and are estimated to be of the same species as cultured characteristics. The mycelial growth of the collected strains was not significantly different in agar medium but it showed the best growth in YPMG in liquid culture. Optimum temperature for mycelial growth and induction of fruit body were 25℃ and 30℃, respectively. In order to artificial cultivation of C. maxima, cultural characteristics and artificial cultivation were carried out using agricultural by-products and forestry by-products materials. Mycelial growth was suitable in rice straw, cottonwood sawdust, corncob and rice seed medium, and it was selected as a cultivation medium. The suitable medium for artificial cultivation of C. maxima was selected to mixed medium 2(compounding ratio(v/v): 55% of hardwood sawdust, 5% of cottonseed pellets, 10% of cottonseed, 15% of beet pulp, 15% of swollen rice husks). It took about 30 days to be able to harvest, it was faster than oyster mushrooms. The cultivation period was about 30days. A isolate, CMA-002 was not initiation to fruit body primordiuma on the used cultivation substrate. Other 5 isolates were initiate and development to fruit body on the substrate used in this study. The strain CMA-003 was initiated to be fruiting body by 8~10 days after induction of fruiting body in all of the substrates. Isolate CMA-003 was generate to a bundle fruit body. Other isolates, however, were form fruit body individually. The CMA-003 strain was likely highly recommendable strains for farming. The optimum conditions for the induction and growth of C. maxima fruit body were 25~30℃, 8 hr illumination per day with white fluorescent lamp, 90~95% relative humidity, and 1,500 ppm of CO₂ concentration in a cultivation room.

• Journal of Korean Society of Coastal and Ocean Engineers
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• v.35 no.6
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• pp.109-120
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• 2023

The High-Frequency Radar (HFR) is an equipment designed to measure real-time surface ocean currents in broad maritime areas.It emits radio waves at a specific frequency (HF) towards the sea surface and analyzes the backscattered waves to measure surface current vectors (Crombie, 1955; Barrick, 1972).The Seasonde HF Radar from Codar, utilized in this study, determines the speed and location of radial currents by analyzing the Bragg peak intensity of transmitted and received waves from an omnidirectional antenna and employing the Multiple Signal Classification (MUSIC) algorithm. The generated currents are initially considered ideal patterns without taking into account the characteristics of the observed electromagnetic wave propagation environment. To correct this, Antenna Pattern Measurement (APM) is performed, measuring the strength of signals at various positions received by the antenna and calculating the corrected measured vector to radial currents.The APM principle involves modifying the position and phase information of the currents based on the measured signal strength at each location. Typically, experiments are conducted by installing an antenna on a ship (Kim et al., 2022). However, using a ship introduces various environmental constraints, such as weather conditions and maritime situations. To reduce dependence on maritime conditions and enhance economic efficiency, this study explores the possibility of using unmanned aerial vehicles (drones) for APM. The research conducted APM experiments using a high-frequency radar installed at Dangsa Lighthouse in Dangsa-ri, Wando County, Jeollanam-do. The study compared and analyzed the results of APM experiments using ships and drones, utilizing the calculated radial currents and surface current fields obtained from each experiment.

• Journal of Environmental Impact Assessment
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• v.32 no.6
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• pp.450-462
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• 2023

This study suggested methodology of Citizen Science as a tool of ecosystem conservation and management to achieve Wetland Protected Area (WPA) Conservation Plan and examined whose applicability in 3 WPAs (Jangrok of Gwangju metropolitan city, Madongho of Goseong in South Gyeongsang Province, and Incheongang estuary of Gochang in North Jeolla Province). It consists of a) figuring out main interests and stakeholder or beneficiaries of WPA and their information demand based on conservation, utilization, and management target in the WPA Conservation Plan, b) conducting research activities to gain outcome to address stakeholder's demand, and c) returning the research outcome to citizen scientists and making diffusion to the society. Based on the suggested method and process, citizen scientists conducted ecosystem monitoring (plants including Invasive Alien Plants, terrestrial insects, traces of mammals, discovering unknown wetland). As a result, citizen scientists contributed to collecting species information of 16 plans, 43 species of terrestrial insects, 5 mammals including Lutra lutra (Endangered Species I) and Prionailurus bengalensis (Endangered Species II). The authors constructed and provided distribution map of Invasive Alien Plants, which included information of location and density which citizen scientists registered, for Environment Agencies and local governments who manage 3 WPAs to aid data-based ecosystem policy, In further studies, not only accumulating research data and outcomes acquired from citizen science to suffice the policy demands but also deliberate reviewing policy applicability and social·economic ripple effect should be processed for the suggested Citizen Science in WPA to be settled down as a tool of ecosystem conservation and management.