• The Korean Publising Journal, Monthly
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• s.153
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• pp.14-14
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• 1994

오류 하나는 탈춤이 전승되고 연행하는 현장을 보지 않고 채록된 보고서만 텍스트로 삼아서 탈춤의 미학을 밝히겠다는 것이다. 그것은 마치 연극은 보지 않고 희곡만 봐야 연극미학을 제대로 연구할 수 있다는 것이나 다름없다. 오류 둘은 현장론이 무엇인지도 모른 채 다만 현장답사가 곧 현장론이라는 인식의 착각이다.

• (The) Research of the performance art and culture
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• no.20
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• pp.309-338
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• 2010

This article is about seeking for modern festival possibility of Mudang gut with noticing a festival essence of it. Several components and process of performing Maeul gut can be a festival. But the recent condition of gut pan obstructs becoming a festival. Above of all, distorted eyes on Mudang gut deny a festivity. Transition into seeking for private fortune and the duplicity of concealing a Mudang gut have weakened a festivity of Mudang gut. Maeul gut becomes a ceremony with unequal distribution of support fund and the support fund on intangible cultural assets. Therefore, we should consider Mudang gut as a game. People need to change their preception as a performance that people can actively take part in. Mudang gut need a active participants not bystanders. When people consider them selves as actors, Mudang gut will be a festival.

• (The) Research of the performance art and culture
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• no.39
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• pp.835-861
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• 2019

Ulsan was selected as an industrial and industrial city, a leading city of Korean economic development in the 1960s, and it was rapidly changed social environment with the influx of many labor population. This change has had a great impact on the traditional customs of the region, and the traditional intangible culture has disappeared or disappeared, which requires urgent protection of intangible cultures compared to other regions. This study suggests the current situation to restore the agricultural music made up of the three-time customs recorded in the 1930s in Ulsan Dali area. The research method is literature research and field research. First, the literature analyzes the farming music in connection with the farming work performed in the Ulsan Dali area in 1936, and secondly, The field survey was based on the current situation of restoring farm music at the Nam-gu Cultural Center in Ulsan. The results of the research were observed in the Ulsan area, which has disappeared rapidly. In addition, it revealed the status of being handed down from 'Kim Dal-oh', a traditional farmer who worked at Ulsan Cultural Center, to 'Kim Se-ju', who is trying to restore the farm music.

• Proceedings of the Korea Water Resources Association Conference
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• 2020.06a
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• pp.149-149
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• 2020

하천에서 물 흐름이 보와 댐과 같은 수공구조물을 지날 때 일반적으로 흐름상태에 다양하고 급진적인 변화가 발생한다. 특히 흐름이 구조물을 지나면서 사류(supercritical flow)로 변하고 다시 상류(subcritical flow)로 복원되면서 일어나는 도수(hydraulic jump) 현상은 수위의 급변화, 흐름 에너지 소산, 변동성이 강한 압력 분포 등이 특징이다. 이러한 흐름 특성들은 보나 여수로와 같은 수공구조물 자체의 성능뿐만 아니라 이들 수공구조물의 하류에서 발생하는 국부세굴로 인해 구조물의 안정성에 부정적인 영향을 줄 수 있다. 따라서 수공구조물을 설계할 때는 이들 구조물을 통과하는 흐름의 비정상 난류 흐름 특성을 정확하게 해석하여 반영하여야 한다. 이 연구에서는 k-omega SST 난류 모형과 자유수면의 급격한 변동을 해석하기 위한 하이브리드-VOF(hybrid volume of fluid)기법을 이용하여 도수현상을 수치적으로 재현하고자 한다. 기존 CFD(computational fluid Dynamics) 모델링에서는 자유수면 변동의 영향을 고려하기 위해 VOF 기법을 많이 사용하였다. 하지면 전통적인 VOF 기법은 다상흐름(multiphase flow)을 오직 부피분율(volume fraction)의 함수로만 고려하며 모의함으로써 강한 수면변동뿐만 아니라 공기연행(air entrainment)를 동반하는 난류 흐름을 모의하는데는 한계가 있다. 이 연구에서 이용하는 Eulerian 기법인 하이브리드 VOF 기법은 물과 공기의 각 상에 대하여 흐름 특성들을 개별적으로 계산하기 때문에 공기연행을 포함한 급변류 흐름에서 전통적인 VOF 기법보다 적용성이 우수하다. 이와 같은 난류모형과 자유수면 포착기법을 이용하여 3차원 비정상 난류 흐름 수치모형을 구축하여 수공구조물 주변에서 발생하는 강한 공기연행과 난류 특성를 보이는 급변류를 수치적으로 재현한다. 이 연구는 계산된 수치해석 결과를 기존 수리실험 결과와 비교하여 수치모형의 적용성을 평가하고 도수 현상에서 발생하는 독특한 흐름 특성을 제시한다.

• (The)Study of the Eastern Classic
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• no.55
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• pp.147-172
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• 2014

Kang Jae Eung translated "Sang-bong-lok" of Kang Ho Boo from Korean into Chinese. There is Yeonhaengnok(燕行錄) written in with Korean and Chinese among 500 Yeonhaengnok(燕行錄). Especially it is very rare that is translated from Korean into Chinese. Because of there aspect, it is valuable and worth studying. "Sang-bong-lok" was 3 series by origin, but now we have only 2 series. That is the original text written in Chinese by Kang Ho Boo, a Korean version by Kang Ho Boo, and Chinese translated of Korean version by his descindants Kang Jae Eung. Original text dosen't exists now undiscovered yet. Chinese version "Sang-bong-lok" is distinguished from the other Yeonhaengnok(燕行錄) and classical novel in form and contents. In formal aspect, Chinese version "Sang-bong-lok" describes an industry remarks in prologue. This industry remark describes standard and form of writing. Looking industry remark, you can find that Kang Jae Eung didn't add or subject the sentence of original text and distinguished between his own sentence and original text. This compiling system distinguishing compiler from original writter is rare enough to so that you cannot find it in other Yeonhaengnok(燕行錄). In contents, Kang Jae Eung almost transcribed Korean Yeonhaengnok(燕行錄) without subtraction and added special information to promote the view of Kang Ho Boo. After discription, Kang Jae Eung covered all information and reviewed it and added opinion to it. Kang Jae Eung's conclusion is sometimes same or different from Kang Ho Boo's. Anyway it is worthy of noticing that Kang Jae Eung wrote his opinion after Kang Ho Boo's sentence.

• (The) Research of the performance art and culture
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• no.18
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• pp.73-100
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• 2009

This article is considered how to utilize mime in the mudang gut. Actually, mime can't be the crux of mudang gut, and the only factors of mime is utilized. Therefore, the purpose of this article is to draw another nets of meanings in Mudang gut, not to study mime. First of all, I surveyed the constituent factors of mudang gut. One gutpan is combined with various factors. As a shamans(mudang), a musician, a jang gu player, a gongyangju(taking charge of food), a sibongja(helper for a shaman), and madangsoe (an under servant), they played their roles. The gut consists of equipment, food, clothes, music and dance. Next, I derived two nets of meaning out of considering a mudang gut performance of mudang (shaman). First, god in a general gutgeori appears expressing their existence by using mime with the music. Second, the following god appears expressing themselves using only mime without music. After showing who he is through action and facial expression, he continues to play a gut. Accordingly, mime of seoul gutpan plays a role to reveal the existence of god. Also, I divided the way of performing mudang gut into language performance and motions and then suggested that mime was mainly used in the motions. I surveyed a gutgeori using mime in the concrete. Through this, I suggested that the shaman used mime, when sending a deadman to the next world in a Jinogi gut. I suggested that mime was utilized repeatedly at the process of repelling the misfortune in a jaesu gut.

• (The) Research of the performance art and culture
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• no.36
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• pp.783-837
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• 2018

This study examines the lives and the performances of the people who participated in Songpa Sandae-nori(a korean traditional mask dance drama) before and after the designation as cultural heritage, and reviews the changes and the inheritance patterns of the mask dance which appeared in the lives of the performers. Chapter 2 reviewed previous debates about the derivational theory and the players of Songpa Sandae-nori before the flood in 1925, and discussed on awareness and the characteristics of the performers found through the review. Then the study went on to the inheritance patterns of the drama before the designation, focusing on the figures of Dolmari(a name of village in Songpa, Seoul) players who led the stage after 1925. As a result, the missing part of the activities and the lives of Dolmari performers have been more clearly identified, especially about Lee Beomman, Yeo taesan and Eum Joongeun(the main performers of Songpa Sandae-nori). Chapter 3 is about the inheritance patterns of the cultural heritage after the designation, and Heo Hoyoung was the main focus of the discussion. The researches so far have admitted his great contributions to the designation of cultural asset, although they have not proved how. After investigating various records and combining the testimonies of his students and locals, Heo Ho-young was found that he did not only gave plays of Songpa Sandae-nori but also actively engaged in the field of various traditional arts. Furthermore, jokes, dances, and masks left by him are considered to be evidences to reassess his performances.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.243-249
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• 2021

In the postmodern world, it is widely believed that being a fool or looking foolish can be more profound and unique than being smart and serious. Comic characters, or fool characters in comedy, have been used as basic tools to make people laugh in various cultures around the world. As such, this study will summarize the types of fool characters that have been depicted in plays and organize how they can be categorized in a culture of laughter as well as revealing their characteristics in performing arts. The ridiculous actions and words of fool characters fall outside the common dichotomy of wisdom and foolishness. This is significant and it is because the ways in which they act overturn the values that we consider to be truthful in the world of experience and contain wit and ridicule beyond the general knowledge. Also, it's worth pointing out that many comic characters that appear on TV shows are not all the same. To put it simply, each and every funny character has unique traits and these characters predictably change according to the times. In performing arts, a fool character's personality is displayed through his or her interactions with the audience. That is, on one hand, the character may or may not recognize himself as a fool, while on the other hand, the audience may regard the character as a fool or otherwise. Based on this background, the comic characters that appear in performing arts are categorized into four types and their features are discussed.

• 중국학논총
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• no.56
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• pp.201-217
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• 2017

目前, 在学术界燕行錄还未受到应有的瞩目.本文将对其中由木山所著的《飮氷行程曆》为对象进行研究.首先, 为了考察《飮氷行程曆》与之前的一些出使记錄间的联系, 我们要先找到《飮氷行程曆》中引用《老稼齋燕行日記》的部分.还要找到其他以'饮冰'为题目的鄭太和《飮氷錄》相关研究, 以及与《飮氷行程曆》之间的相关性.其次, 通过考察《18世紀燕行錄与中國社會》, 《燕行史与北京天主堂》, 《燕行錄硏究層位》, 《燕行錄硏究叢書》等书籍中的目录, 便可得出《飮氷行程曆》中所记錄内容的综合性这一特征, 并举出实例.同时, 从木山《飮氷行程曆》详尽记载的出使路程记錄来看, 亦可观察到他记錄的综合性.最后, 通过这次研究, 我们可以进一步完善有关燕行錄的研究, 同時也对前人研究中存在的不足进行修正.

• Korean Journal of Child Studies
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• v.32 no.3
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• pp.185-202
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• 2011

The purpose of this study was to understand the archetypical symbols present when conducting sandplay therapy with water from a hermeneutic point of view. The research participants were 6 children aged 8~9 who experienced problems in parent-children relationships. The result were as follows : The nature of archetypical symbols of present when working with water can be structured along two themes, vertical movements and horizontal movements. In vertical movements with three sub-themes, the meaning of 'to put in and boil out' is interpreted as 'mother's feeding baby', the meaning of 'to sink and bring out of water' is interpreted as 'resource acquisition', 'to swamp and float on the water' represents 'death and rebirth'. In horizontal movements consisted of two sub- themes, the meaning of 'to be swept away' is interpreted as 'initiation and conversion', the meaning of 'to wave and fix' is interpreted as 'to overcome the difficulties and create stability'.