• The Research Journal of the Costume Culture
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• v.14 no.2
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• pp.260-270
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• 2006

In this research, the curly dock was used in the process of dyeing for fabrics of the inner wear & the patient wear. Since the curly dock has a pharmacological effect on dermatosis, this study focused on the variety of color and functions of the inner wear fabrics & patient wear fabrics to make the best use of the pharmacological effect of curly dock. With regards to giving a variety of colors and functions in the inner wear, patient wear fabrics, the curly dock dye was used in each treatment conditions on the cotton & silk fabrics. After dyeing, the dyeability, color change, light fastness, washing fastness, perspiration fastness, antibiosis, far infrared emissivity and emission power were evaluated. The evaluation results are as follows; The dyeablity increased from repeated dyeing and, by using the mordant, variety of colors such as skin, mustard, greyish-brown and dark earth colors were conformed to the naked eye. Fe mordant was better than Al on the lightfastness and the washing fastness. The repeated dyeing was found out to have less effect on neither lightfastness nor washing fastness. Both silk and cotton fabrics were graded $3{\sim}4$, since their degree of degradation appeared to be the same in alkali perspiration and acidic perspiration. In the case of silk fabrics mordanted by Al, the rate of declining in both Staphylococcus aureus ATCC 6538 and Klebsiella pneumonia ATCC 4352 were 99.9%. In addition, the antibiosis was enhanced when the mordant was used. The far infrared was 86.6% of emissivity, $3.34{\times}10^2\;W/m^2{\cdot}{\mu}m$ emission power.

• Archives of design research
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• v.17 no.3
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• pp.383-392
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• 2004

Oullim is Vital principle Which allows humanity to continue its inherent culture. By proposing the evaluative authority of the creative significance of the invention of Hangul and its formation and superiority from the stand point of Oullim, I would like to focus on Hangul's creative significance on the grounds of 'broadly profound design'. The ideas of Hunminchongum's invention id based on the philosophy of Great Absolute. The philosophy of Great Absolute is natural phenomenon and metaphysical understanding of cosmology. But King Sejong could keep a good balance between identity and practicality. It is a high value of Hangul. The main idea of design is seeking for principle of nature and systematical vitality. King Sejong also put this main idea of design in practice for inventing Hunminchongum. In the process, Oullim appeared as an essential function for the Great Design.

• Cross-Cultural Studies
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• v.39
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• pp.309-328
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• 2015

This study is a consideration of Xu Xiao-Bin(徐小斌)'s Sounds of nature(天?) in the mutual text point of view of Lee Cheong-jun's Sopyonje series. Xu Xiao-Bin's Sounds of nature shows similar motive to Lee Cheong-jun's Sopyonje series that is a story of a mother who damages her daughter's eyes and the daughter. however, it is accepted in totally different ways that the action of father/mother who damage their daughter's eyes. the mother in Sounds of nature is a composer as well as singer and the father in Sopyonje is a singer. The mother's behavior is not able to have duty in Sounds of nature due to it is focused in 'mother's action' rather than a singer but the father's behavior is focused in 'singer's action' in Sopyonje. therefore the action of the father, who is a singer, is considered not merely personal desire of father but also desire to preserve 'singing' as a national culture in public status. the length between two novels are clear in the two daughter's point of views. the daughter in "Sounds of nature" refuses her destiny made from her mother. The daughter's behavior of recovering her own volition, becomes frankly showing the falsehood of 'mother's love. In comparison, the daughter's voice is under the shade in Sopyonje. she surrenders herself to the fate made by her father, and she does not show her desire. This is the point that the difference is created by gender of writers.

• (The) Research of the performance art and culture
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• no.38
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• pp.111-142
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• 2019

Saeteo-gaeulgut-nori(Play) is derived from the fact that the folk song that was played when harvesting in the Shinhori (aka Satter) in Chongdong, Miryang City was associated with the play and played a sacrificial feast at the end of autumn threshing. Saeteo-gaeulgut-nori(Play) consists largely of three chambers. The first one is the entrance gut, 2) the second one is SeonghwangGosa(城隍告祀), 3) the sound of bench threshing(空床 打作), 4) the harvesting chapter 5) the dry grass threshin, 6) the wooden millstone play, and the third one is 7) Pan-gut. Milyang has developed a sense of agriculture to the extent that both the Sangwon play and the Jungwon play are designated as intangible cultural properties. Especially, since the tradition of the House of Representatives is weak nationwide, the status of Milyang Saeteo-gaeulgut-nori(Play) has a very important value. The overall sound of the autumn good play is that the characteristics of Gyeongsang Folk Song are rooted in the structure of the menaritri, It has the characteristics of folk songs well.

• (The) Research of the performance art and culture
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• no.39
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• pp.31-67
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• 2019

This thesis examines the difficulties of utilizing the narrative and music of Pansori: 판소리 in Changguk: 창극. For this examination, I consider that the reason for the difficulty of making Changguk is the difference between Pansori and Changguk as the genres. Most of the Changguk based on the traditional five Pansori works perform the narration and songs of Pansori literally. However, the original narrative of Pansori has a distinctive dual structure since the formation of its first and second half is created separately. As the drama genre visualizes the story and emphasizes the consistency of action, unlike Pansori, the duality of the original narrative can be seen as the inconsistency of the action. In addition, since the sounds of the original Pansori are rather explanatory than dramatic even in the climax scenes of Jeokbyeok battlefields, it is difficult to produce dramatic scenes in Changguk. The voices of the military, not in the original works, play important roles in revealing the hidden theme effectively in Changguk. However It is impossible to relocate the original text of Pansori into Changguk, as even the voices of the military lack verisimilitude in terms of narrative. Changguk can only be developed as its own work by actively researching and dismantling Pansori .

• 프린팅코리아
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• v.8 no.4
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• pp.78-83
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• 2009

"책갈피 사이에 피어난 곰팡이가 풍기는 쾨쾨한 냄새, 벽면을 가득 채운 무협지와 순정만화, 책장을 넘기는 소리, 웃음을 참지 못하고 키득거리는 학생들..." $30{\sim}40$대라면 누구나 기억하고 있을 추억 저편 만화방의 모습이다. 일명 '대본소'라고도 불리는 만화방은 $70{\sim}80$년대 마땅한 놀 거리나 휴식 공간이 없는 학생들에게 유일한 휴식처이자 맘껏 상상력을 펼칠 수 있는 '해방구'였다. 젊은 시절이 지나만 기억 속으로 사라지기 쉬운 만화가 최근 들어 연극이나 영화, 드라마로 만들어지는 사례가 늘면서 다시 생활 속으로 들어오고 있다. 한국만화 100돌을 맞는 올해는 정부 차원의 만화 육성방안이 발표되고 국내외 홍보나 기념사업도 풍성하다. 한국 만화가 전 국민의 사랑을 받고 세계 시장에서도 위상을 높여 부활의 꽃을 피우는 새로운 세기를 열지 주목된다.

• Cartoon and Animation Studies
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• s.36
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• pp.469-491
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• 2014

Webtoon has developed the method that makes it possible to express sound visually. Also we can also hear sound in webtoon through the development of web technology. It is natural that we analyze the sound that we can hear, but we can also analyze the sound that we can not hear. This study is based on 'dual code' in cognitive psychology. Cartoonists can make visual expression on the basis of auditive impression and memory, and readers can recall the sound through the process of memory and memory-retrieval. This study analyzes both audible sound and inaudable sound. Concise analysis owes the method to film sound theory. Three main factor, Volume, pitch, and tone are recognized by frequency in acoustics. On the other hand they are expressed by the thickness and site of line and image of sound source. The visual expression of in screen sound and off screen sound is related to the frame of comics. Generally the outside of frame means off sound, but some off sound is in the frame. In addition, horror comics use much sound for the effect of genre like horror film. When analyzing comics sound using this kinds of the method film sound analysis, we can find that webtoon has developed creative expression method comparing with simple ones of early comics. Especially arranging frames and expressing sound following and vertical moving are new ones in webtoon. Also types and arrangement of frame has been varied. BGM is the first in using audible sound and recently BGM composed mixing sound effect is being used. In addition, the program which makes it possible for readers to hear sound according to scroll moving. Especially horror genre raise the genre effects using this technology. Various methods of visualizing sound are being created, and the change shows that webtoon could be the model of convergence in contents.

• (The) Research of the performance art and culture
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• no.32
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• pp.243-267
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• 2016

Deonum preexisted prior to it being named. Of course, the object designated as deonum at that time is not the same as the object designated as deonum at this time. There have been historical transitions in the definitions of the term deonum. This paper traced the term deonum to its origin from another angle. On closer inspection about the possible use as the everyday language and the technical language in the field of arts except for pansori, the term deonum was essentially a word for a tune. Deonum was in the same category as deureum, a great word in the Korean traditional music. But the definition of deonum as a tune used in the early part of the former period of eight master singers or before that gradually disappeared for a long time. When the term deonum as an everyday language first entered the field of pansori, it meaned characteristic tune singed by master singers. As pansori develop artistically, the term deonum changed into the word refers to the sori part, and this example become common in the former period of eight master singers. Most sori part acknowledged as a deonum in the former period of eight master singers was a deonum as a creative repertories, the master singer's creative work, but a deonum as a popular repertories, the master singer's specialty, began to be acknowledged as a deonum after the latter period of eight master singers. The differentiation between the definitions of deonum as a sori part occured. And most sori part acknowledged as a deonum after the modern era of five master singers have belonged to a deonum as a specialty. In this context, it was confirmed that Cheong Nosik wrote Joseonchanggeuksa, with carefully considering the historical change of definitions of deonum. This book includes three definitions of deonum, a deonum as a tune, a deonum as a creative work, and deonum as a specialty.

• Journal of the Speleological Society of Korea
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• no.95
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• pp.35-49
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• 2009

Ever since the beginning of time, caves not only have offered a place to live for humans but they have also been used as cultural spaces. That is, in the event of making some sounds in a location within the cave, the sound that is created is greatly magnified and sounds out as if it is being amplified from a giant megaphone. This, as we well know it, is known as the resonance effect. Here, the cave itself appears to function as a massive wind instrument. Especially in cases like the Altamira Cave (Spain) where cave paintings were found, the point where the cave drawings were found has commonalities in that it is a wide space and that it is usually discovered together with flutes and drums that are made with mammoth bones. We need to focus on this point. We can infer from these facts that the prehistoric people have carried out cultural activities along with their incantation rituals within those caves. In the meantime, amongst the Korean traditional arts, in the case of pansori which is a representative vocal genre, there have been examples where caves were used as practicing locations for those people who are training to perfect their singing. This is known as toguldoggong(土窟獨功) which literally means 'obtaining one's own art by oneself in the earth cave by practicing incessantly'. This process along with pokpodoggong (瀑布獨功) (same as above except that the location is by the waterfall) is the final training stage in order to become a recognized virtuoso on the part of the apprentice. This could be compared to the final annealing and finishing process of producing a metalwork. This has been a long tradition followed by most Korean traditional artists in order to perfect their sound which is harmonious with nature within natural surroundings. By honing in on this point, I have come to think about this matter repeatedly while coaching the university students in vocal singing. In short, I came to the conclusion that "the making of natural sounds will be obtained naturally within natural surroundings like caves!" Consequently, The Society for Studying Cave Sounds was inaugurated on January 1992 along with some of my students. We made use of times like vacations to go around exploring caves all over Jeju and carried out investigations of sounds along with cave exploration on an experimental basis. After 5 years, in September of 1997, we were able to host the first ever cave concert domestically at the Whale Nostril Cave(東岸鯨窟) on Wu-do. After that, we have been hosting the cave concert once every year. We have achieved a record of a total of 14 cave concerts until 2009 of this year. Out of these, 2 were held in Seokhwaeam Cave in Kangwon Province, another two were held in Manjang Cave which is a lava cave, and the remaining 10 were held in the Whale Nostril Cave of Wu-do. Along with that, I have carried out a special recording for the production of a cave music CD in May of 1999. This paper was written and organized by using the main materials that were derived from the experiences of using caves as concert halls in the past. It is hoped that this cave concert will offer a very unique experience to tourists who come to Jeju every year and give them the best possible superior natural sound effect that only Jeju caves can offer.

• (The) Research of the performance art and culture
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• no.39
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• pp.415-455
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• 2019

This paper aimed to clarify the identity and category of the Jeong Jeongnyeol-je Chunhyangga from the perspective of the pansori transfer, while revealing the trajectory of Jeong Jeong-ryeol-je Chunhyangga, which remains in the modern pansori. Jeong Jeong-ryeol's Chunhyangga pansori part has been handed out to date, and except for the love song section, the pansori section, which corresponds to the love-separate-suffering-reunion paragraph, is almost complete. In the case of "Lee Doryeong enters Dongheon," "Hwangneungmyo song," and "The royal secret inspector visits Chunhyang's house to console her", there is a difference in pansori rhythm compared to Chunhyangga, which is currently held. "Why Yi Doryeong came to Chunhyang's House" is used in the form of an Aniri in the current Chunhyangga and "Chunhyang is treated as a virtuous woman in Namwon" is the only one included in Park Rokju's Changbon. "The royal secret inspector gathers people of Namwon to give a feast" is a new part that is not found in Chunhyangga, which is now being held, and can be seen as the Changgeuk sori of pursuing theatrical fun. On the other hand, this paper confirmed that the period between 1936 and 1937, when the Joseon Traditional Vocal Music Group actively performed Changgeuk and the record companies released a series of Changgeuk records, such as and , was an important time for the re-establishment of the Jeong Jeong-ryeol-je Chunhyangga, and that the Chunhyangga of those who had learned it before 1936-1937 was different from those who had learned it after that period. The preceding group includes Park Rok-ju, Kim Yeo-ran and Kim So-hee, while the latter group includes Kim Yeon-soo, Jung Kwang-soo, Park Dong-jin, Jung Kwang-soo and Kang Do-geun. In addition, except for Kim So-hee, these two groups are divided by the time they have learned Jeong Jeong-ryeol-je, whether they inherit the Jeong Jeong-ryeol-je from beginning to end, and by the gender of male and female singers. In teaching his pupils, Jeong Jeong-ryeol chose to use the "old-fashioned pansori" teaching method with impromptu plate-making in mind and the "modern pansori" teaching method with stereotyped sounds in mind. As a result, there were two aspects of Jeong Jeongryeol-je Chunhyangga's succession: a female singer-centered succession, which was held as learned from beginning to end, and a male singer-centered succession, which was held differently depending on the pansori schools or versions.