• Journal of the Korean Geographical Society
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• v.30 no.1
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• pp.57-67
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• 1995

The study on the factorial ecology of the residential patterns is to provide one of the yardsticks for description and comparison of urban structures. Many Korean geographers have adopted this method to analyse the urban structure of Korean cities. According to these studies, one of the main factors in Korean cities in large and middle sizes is family status. The spatial pattern of family status is zonal, similar to the cases of Japanese and Western cities. The age is one of the principal indices of familyf status, hence the author chose the age composition to analyse the residential patten. This Paper is to describe the residential segreagation pattern due to age composition and recent pattern changes in the Cheongju city, and than to explain the reason for these changes. All data are derived from the Population Censuses of Korea for 1970, 1980 and 1990. Eighteen groups of age with five-year interval (0-4, 5-9, 10-14, 15-19, 20-24, 25-29, 30-34, 35-39, 40-44, 45-49, 50-54, 55-59, 60-64, 65-69, 70-74, 75-79, 80-84, 85- and- over) are adopted here. Unit area for this analysis is administrative district(Dong) within Cheonaju city. District are classified into smaller groups based on the similarity of age composition, using the method of cluster analysis. The main findings are summarized as follows: 1. Population have increased remarkably in the eastern reaion neighboring CBD of Cheongju city in 1970's. And in western region from CBD new residential area have developed in 1980's. 2. Spatial pattarns showed a concentric circle type in central district and its neighbor regions and a sector type in periphery regions in 1970; a cirele type in central district and a sector typesin neighbor regions and periphery regions in 1980 and 1990. Thess residential pattern play an important role in the population composition ratio of younger aged group (l5-34) and older aged group (65-and-over). 3. Spatial change of types by age composition showed the higher ratio of groups of 0-9 and 35-49, and lower ratio of group 20-24 in 1970's. Dominent groups are ratio of 0-14, 40-49, 55-64, 7O-79, and 85- and- over in 1980's. These changes mainly appeared in central district and periphery regions. 4. The reasons for the change of age composition was the development of msnufacturing industries with the increase of population and new construction of residential areas both in the neighbor regions of cnetral district and periphery regions. These phenomena were caused by immigration of younger aged groups and increasing of residents of aged groups in these regions.

• (The) Research of the performance art and culture
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• no.32
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• pp.209-241
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• 2016

"Women's Nong-ak (農樂, Traditional Korean music performed by farmers)" was born together with "Maiden group." This study focuses on the reason why women appeared as principal agents of Nong-ak which was almost exclusive to men previously and especially, on the appearance of women Nong-ak Artists who was previously worked in Traditional Drama Troupe. This study empirically deals with details of activities of Maiden's (娘子) Nong-ak troupes and Girls' (少女) Nong-ak troupes through newspaper articles. Women Nong-ak Artists enjoyed popularity with their peculiar attractions. Participating in Nong-ak contests and collecting money for their performances, women Nong-ak Artists learned their skills form masters of Woodo Nong-ak and attracted attention with their colorful costumes. Women of Nong-ak circle especially saw through the trend of the time, expanded their arena of activities and exercised flexibility and ability to react quickly to changing situations while mixing with various genres. In particular, young girls were mobilized to show value and marketability of Korean culture as cultural medium who decorated "Pure Nong-ak art stage." They were no different from "Pretty dolls dancing like angels" who could not purse their interest and economic benefit or incite political cause and their patrons were domestic and overseas political figures. Women artists, who put Nong-ak on the stage in the name of Maiden's (娘子) Nong-ak troupes and Girls' (少女) Nong-ak after the liberation from Japanese colonial rule, contributed to expansion of market base. Women Nong-ak artists, who dominated a century in such troupes as Sadangpae, Hyuprulsa, Maiden's (娘子) Nong-ak troupes, Girls' (少女) Nong-ak troupes and Women Nong-ak troupes, were the very heroines who overturned the conventions of "male predominance (男尊女卑)" which filled Nong-ak arena and cultivated a new tradition of Nong-ak culture.