• 한국노년학
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• v.39 no.3
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• pp.467-484
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• 2019

The purpose of this study is to explore latent classes of longitudinal medical expenses of older people and to analyze its predictors and its effects on subjective health. Among participants of the Korean Health Panel, the sample of this study includes 1,119 people who is 65-year-old or older and reported their medical expenses for nine consecutive years. The analyses were conducted in three steps. First, Growth Mixture Model (GMM) was applied to find distinct subgroups showing similar patterns in medical expenses. The results showed four groups which were classified as high medical expenditure maintenance group, medical expenditure increase group, low medical expenditure maintenance group, and medical expenditure reduction group. Second, the multinominal logistic regression found that the presence of spouse, economic participation, the number of chronic diseases, and the type of health insurance were significant predictors of latent classes in medical expenses. In particular, the greater the number of chronic diseases, the higher the likelihood of belonging to the high medical expenditure maintenance group. In addition, medical benefit recipients are more likely to belong to the low medical cost maintenance and medical cost reduction groups. Third, multiple regression analysis revealed that the older people in the groups with low or reducing expenses reported better subjective health than people with higher expenses. This study has its meanings in exploring the heterogeneity in longitudinal medical expenses among older people and its predictors and its associations with health outcome. The results of this research provide background information in establishing public health policy for older people.

• Korean Journal of Social Welfare Studies
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• v.41 no.4
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• pp.189-224
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• 2010

Nowadays Korean society has a fast growing population of North Korean immigrant youth. Especially, North Korean immigrant youth, who are discontinuing formal education, experience difficulties in social exclusion and adaptation. Therefore, the purpose of this study was to understand the experiences of adaptation and social support of North Korean immigrant youth discontinuing formal education, and to seek affirmative supporting plans and solutions for their adaptation. The methodology utilized for this study was a case study research. On the basis of the results and categorization, 'a network between overall categories and of early adaptation' was derived. The major findings of this study are summarized as follows. First, the participants of this study experienced major difficulties during 'economical adaptation', and their economical adaptation was strongly interrelated with their 'educational adaptation'. The discontinuing of their education resulting from their fleeing period caused 'academic differential and age disparity.' Thus they could not enroll in the formal education system, and their insufficient educational background resulted in low wages and overwork due to manual labor jobs. Second, participants recognized 'interpersonal relations' as the most essential factor in adaptation, and 'social support' from the interpersonal relations played an important role in adaptation to and comfort in Korean society. 'Interactions with South Koreans' was recognized as a significant resource for gaining informational and appraisal support, but was not activated satisfactorily. On the other hand, interaction with North Korean immigrants was avoided by the reason that 'there's nothing to learn', however emotional support from North Korean immigrants of close relationship played an important role in participants' adaptation, especially in all aspects of psychological adaptation. Third, participants experienced a lot of difficulties and stresses in their 'physical health and psychological adaptation'. Their chronic diseases worsened by remaining untreated, and female perceived symptoms were observed more often than in male. Meanwhile, excessive 'stresses' from the unfamiliar environment of South Korea negatively affected their psychological adaptation. However, they were satisfied with sense of liberty and security from living in a democratic society.

• (The) Research of the performance art and culture
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• no.22
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• pp.371-411
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• 2011

In the twenty first century of rapid cultural change performing art requires new mode of expression based on imaginative power and creativity as well as establishing its own identity. The modern technological environment support this with advanced technology and bring about the expansion of reason from new experience. The introduction of digital media on artistic expression in particular, expands the physical ability of human body which is the main subject of performing art. A virtual body from digital technology is freed from physical boundaries and goes over space and time. It also suggests the possibility of new mode of communication with audience. This study aims at examining the subject of performing art and its digitalized movement focusing on EveR, the world's first professional robot actor. The robot actor which came on stage according to the new expression medium, a digital body, stands in need not only of technological value but also of cultural and artistic application for expression in art. In this endeavor to meet the demand, this study examines the development process and function of 'EveR' the robot actor. Also it searches into the performance of Ever which replaced human being as well as the historical significance of the title:the world's first. To be more specific, there is a example research on two performances:a pansori play "EveR is simply stunning(2009)" and children's play "The Robot Princess and Seven Dwarfs(2009)." Through this example research, it is enabled to anticipate the influence of robot actors on performing arts and to search for the better way of them to evolve. Furthermore, it aims at finding ways to create high value through promoting robot actors to be familiar to the public as well as supporting them to become active cultural contents. The performance with robotic technology is one of the artistic experiment that may cause the change of the future of performing art by actualizing technological imagination together with human body and machinery. As a consequence, it is expected that the meeting of performing art and robotic technology gives positive influence on activating performing art as one of the integrated cultural phenomenon which satisfies the taste of modern era. Moreover, this study may also be the beginning of the expansion of performing art to stretch to diverse field.

• (The) Research of the performance art and culture
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• no.23
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• pp.63-103
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• 2011

This paper inquires closely into the background of pansori gosu(drummer) and his social position based on documents and oral materials and the performance features of gosu in the entire process of pansori performance, 'preparation', 'performance' and 'aftermath', focused on the relationship between the changja(singer)-gosu. In the past, some gosus were ex-tightrope performers. Their social position and working conditions were better than that of the ex-tightrope performers but were worse than that of the pansori singer. After 1910's, people formed some special sense about the gosu due to the change of the space for pansori performances and the technological advances on the media, and gosu's conditions improved. The theory of pansori drum gradually began to be established well. The function and the role of gosu in the whole process of pansori performance may be summarized as follows. To begin with, the training with various and a lot of singers is required in the 'preparation'. Rehearsals are divided into individual practices and joint practices, and the latter can be controlled by the level of the capacity of gosu and the degree of the experience between chanja-gosu. Next, bobiwi(flattering drumming) and chuimsae(encouraging remarks) are important in tbe 'process'. The gosu has to share the speed of one jangdan(rhythmic patterns) and the accent of the sori and adjust his enery. Besides, he has to acknowledge the naedeureum(beginning sign) and reply with changja's singing. In formal performances, working in harmony with changja and gosu and their joint experiences are necessary for the gosu; in pansori contests, giving chanja a stability; in contests for gosu, drumming skill, position, chuimsae; in small performances and new adaptation of pansori, cheap fees and positive response of the transformational play or ad-lib; in lecturer concerts, reacting quickly to rapidly changing situations. Chuimsae is way which gosus and audiences express their feeling together, however, its context and sound are different. Finally, 'aftermath' is a process the pair of chamgja and gosu mutually evaluates about performance or audiences estimate that.

• (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.39
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• pp.69-96
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• 2019

North Korea has conserved operas in a selective manner. The subject matters of operas recorded in the history of North Korea can be divided into classical tales, translated foreign works, Korean War and war against Japan. Operas that adapted folk classics of the 1950s are considered valuable materials to verify the changes of genres posterior to division of regime between North and South Korea. The officially confirmed works include "Kumgangsan Palseonnyeo (Gyeonwoo Jiknyeo)," "Chunhyangjeon." "Kongjwi Patjwi (Kotsin)," "Ondal," and "Geumnaneui Dal." These works had gone through recreation in terms of realistic situation setting, abolition of class difference, adjustment of social rank and punishment of evil while the base lies in the original folk classics. People emphasized in adapted folk operas are described as those who are hard-working souls without giving importance of difference of social rank, content with the currently living space, devoted to their parents and full of patriotic spirit, and members of community who participate in organized fights against unfair exploitation. This was the fruit of encouragement of work creation supporting union between labor and individual life, destruction of old things and fight promoting this destruction. Folk operas of South and North Korea posterior to Korean War have similarities in that both deal with a love story transcending social ranks and the concomitant conflicts and they focus on the audience who enjoy the operas. Nonetheless, they are different in that this love in North Korea became a tool of educating people wished by the regime, while it became an object of securing the audience by adding the tragic element to love in South Korea. North Korean operas of the initial stage are characterized by playwriting method emphasizing difficult life and compensation of common people, realistic stage expression, accentuation of melody and agreement between notes and lyrics. This was efforts designed to continuously lead senses concentrated from the theater to everyday life of people. In effect, this is in line with the playwriting method of revolutionary operas. Adapted folk operas were subject matters ideal for easily approaching the audience and leaving them good memories at the same time. To realize socialist realism, they went through an experiment of reviewing "people" through the classic folk operas. The possibility of continuation of a work was determined by thorough evaluation after carrying out an experiment in terms of subject matters, theme, music and operation plans from the moment of which the work was on the stage. The sign consisted in the possibility of visit of "Kim Il-sung" to appreciate the work and presentation of directionality. By proposing the clear directionality of which hard-working people who deny social status system can be duly compensated, it encouraged the audience who saw the opera to voluntarily put this in practice. Thus, operas established the directionality through selective processes for creating public communion even before revolutionary operas.

• (The) Research of the performance art and culture
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• no.19
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• pp.88-123
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• 2009

Gyeongsanjain Dano Festival is a local festival of Yeongnam that was initially designated as Intangible Cultural Heritage No. 44 "Hanjanggun Nori" in 1971 and finally became Gyeongsanjain Dano Festival in 2007. At first, few parts of it were designated for preservation and it was succeeded as a whole without connections between each part. Problems also rise from the fact that it has not been closely studied. Gyeongsanjain Dano Festival is mostly classified into five parts: Keungut, Yeowonmu, Hojanggut, Hanmyoje, and Jainpalgwangdae. This study has closely discussed each part as follows: 1. Keungut 1) Process and Contents of Keungut - Characteristics of Gut in Daegu and Gyeongsan 2) Presence of Performers that can Execute Traditional Gut of Local Area 3) Problems with the Name of Keungut - Ex: 'Hanjanggungut' or 'Keungut' 4) Problems of Dano Festival without Parts to Summon and Send off Spirits before and After Keungut and Restoration Measures 2. Yeowonmu 1) Essence of Yeowonmu and Yeowonhwa 2) Problems with the Mass Game of Hundreds of High School Girls 3) Origin and Succession of Yeowonmu 3. Hojanggut 1) Changes in Characters of Hojanggut 2) Composition and Characteristics of Hojanggut 3) Problems with the Name and Characteristics of Hojanggut 4. Jainpalgwangdae Nori 1) Similarity with Newly Created Shows 2) Problems with the Name of Palgwangdae 3) Difference with the Composition of Other Mask Dances 4) Dances and Movements Distinguished from Other Mask Dances in Yeongnam The following are the solutions suggested for Gyeongsan Jain Dano Festival. First, for the restoration of Gyeongsanjain Dano Festival, Dano festivals and Byeolsinje of nearby areas with clear traditions could be benchmarked. Second, the major content of Gyeongsanjain Dano Festival is 'Hanjanggungut,' and it has to be the leading content of the festival. Third, the structural principle of Korean festival must be adopted and the process and principle must correspond to those of other traditional shows. Fourth, as Gyeongsanjain Dano Festival is the comprehensive form of art, folk, and festival, each part must be closely related in a well-planned scenario. Fifth, Intangible talents and successful training must be widely acknowledged for successful transmission and responsible performances. Sixth, traditional festivals must be restored along with the discovery and development of various festival repertories and spectacles such as tour programs and experiential tours that contribute to local economy.

• (The) Research of the performance art and culture
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• no.19
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• pp.379-418
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• 2009

This study is a link in a chain which grope for the description of puppet performance history. This study imply my intention which is not a description of puppet performance 'history' but a description of 'puppet performance' history. Object materials of this study is materials connected with puppet performance from ancient times to Chosun dynasty. Object materials of this study include not only records but also remains and pictures. Discussion start with regulation of puppet performance materials and establishment of a classification criterion. As a result of that discussion, the age of puppet performance is as follows: 'the age of diverse use of puppet', 'the age of ritual puppet performance of worship', 'the age of play puppet performance of handling', 'the age of ritual puppet performance of display', 'the age of ritual puppet performance of expulsion', 'the age of ritual puppet performance of handling', 'the age of play puppet performance of display', 'the age of play puppet performance of handling and voice-acting'. According to the internal division of age, the description of puppet performance history which is spread chronologically is attempted. As a result of the description, I confirm that puppet performance reveal a one's unfolding process. And a distinct aspect from the general cultu! re history is found. The development process which is a changeover that is 'from ritual puppet performance to play puppet performance' is amended by a circulation of ritual puppet performance and play puppet performance'. And the development process which is a changeover 'from static puppet to dynamic puppet' is amended by a circulation of static puppet and dynamic puppet'. Like this the thing which is laid in the inside which is not a one sided changeover but is a circulation is said that from one age of puppet performance to other age of puppet performance is not a close of former puppet performance tradition. Unfolding from one age to other age, on the other hand former puppet performance reveal aspect which is a continuance and change with a one's vitality. And a relation of mutual influence is exist between the ritual puppet performance and the play puppet performance on a large scale, among the puppet performance types on a small scale. this also don't overlook in cas! e of a groping of puppet performance history.

• Korean Journal of Ichthyology
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• v.34 no.3
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• pp.179-185
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• 2022

The feeding habits of Largehead hairtail Trichiurus japonicus was studied using 377 specimens collected in the Yellow Sea of Korea. The specimens ranged from 4.5 to 33.7 cm in Anal length (AL). T. japonicus consumed mainly a piscivore, such as Engraulis japonicus [percent index of relative importance (%IRI) =74.1%]. We calculated the trophic level as 3.84 for T. japonicus. Fishes were the main prey items for all seasons. The main fish prey during autumn and winter was E. japonicus, whereas those during spring and summer was Larimichthys polyactis. Fishes were the main prey items for all size groups (<15 cm, 15~20 cm, 20~25 cm, ≥25 cm). T. japonicus also showed size-related dietary shift from Spratelloides gracilis and E. japonicus to L. polyactis and T. japonicus. As the anal length of T. japonicus increased, the mean number of preys per stomach (mN/ST) and the mean weight of preys per stomach (mW/ST) tended to increased (One-way ANOVA, P<0.05). Seasonal and size-related shifts in dietary composition were investigated by PERMANOVA analysis, which showed significant variations among size classes and seasons.

• Korean Journal of Breeding Science
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• v.51 no.4
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• pp.448-453
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• 2019

'Haedamssal' is an early maturing and rice stripe virus disease-resistant cultivar adaptable for early-transplanting cultivation that was developed by the rice breeding team of the Department of Southern Crop, NICS, RDA, in 2014. This cultivar was derived from the cross YR25869 (YR21247-B-B-B-49-1/Sasanishiki BL4//Koshihikari) and YR25868 (Unkwang//YR21247-B-B-B-49-1/Sasanishiki BL4) made in the 2005/2006 winter season and was advanced to the F₅ generation by a bulk breeding method using rapid generation advance. To incorporate rice stripe virus resistance, marker-assisted selection on the RSV gene was conducted in 3-way and 6-way cross F₁ generation using the tightly linked marker RM6897. From testing in the replicated yield trial in 2011, a promising line YR26258-B-B-B-33-3 was selected and it was designated as 'Milyang276'. A local adaptability test of 'Milyang276' was performed at three locations from 2012 to 2014 and it was named as 'Haedamssal', which was a good eating quality variety. The culm length was 67 cm in yield trials, which was 4 cm shorter than 'Jopyeong'. The number of spikelets per panicle was lower than 'Jopyeong', whereas the number of tillers per hill was higher. This variety was resistant to RSV disease, bacterial blight, and leaf blast disease. The milled rice yield of 'Haedamssal' was 5.48 MT per ha at the early transplanting in the local adaptability test. 'Haedamssal' is well adapted to early transplanting cultivation in the southern plain area (Registration No. 6811).