• The Journal of Korean Philosophical History
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• no.29
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• pp.89-123
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• 2010

As above, as theoretical basis of critiques against School of Mohism, the researcher summarized the positions of the elder Confucian scholars including Meng Zi. In the body of text, taking it as promises, the researcher examined the critiques against Mo Tzu and School of Mohism as well focusing on the aspects and development of the theory of rejecting heterodoxy which had been introduced and strongly argued from the end of Goryeo kingdom to the late Joseon period. The summary of the body of this text is as follows: In the old literatures prior to Goryeo Kingdom, the researcher couldn't find any cases that either the School of Mohism or Mo Tzu including the Hundred Schools of Thought had been rejected explicitly. Having reached the end of Goryeo and the beginning of Joseon period, Meng Zi's viewpoints on the theory of rejecting heterodoxy had begun to emerge and come into play with the progress of accepting Neo-Confucianism, and, these critiques against Yang Zhu and Mo Tzu being given, the scholar-literati circle had started rejecting Buddhism and Lao Tzu. Basically the contents of the critiques against the School of Mohism in the early period of Joseon were in succession to Meng Zi's theory of rejecting heterodoxy and the views and thoughts of the elder Confucian scholars including Han Yu rather than any specific critiques against Mo Tzu' ideology itself. Until entering the middle of Joseon period, the critiques against the School of Mohism had been used as a tool to promote Confucianism in an affirmative manner, while arguing strongly against the viewpoint of Han Yu in the first place. Particularly, not only the original text of the Mo Tzu's writings were directly quoted, although it was partial, but also the contents of the critiques against the School of Mohism had been developed and stretched to the extent of their entire ideological system. Having approached to the late period of Joseon, the critiques against the School of Mohism had begun to be linked to those critiques against the study of state examination or of sentence patterns including Catholic Church, furthermore the critics raised their harsh tones against the irregularities of the society at large like the issue of corruptions of the government officials of those days instead, although they still had firmly stood on the ground of the theory of rejecting heterodoxy. Those scholars that belonged to the School of Practical Learning, in particular, said in justification of the School of Mohism arguing that the major ideologies of Mo Zi had usefulness in the real world, also they even evaluated that Meng Zi ' critiques against the School of Mohism were immoderate. To sum up, characteristics of scholars in the Joseon period to understand and critique the School of Mohism are that ideologies of Mo Tzu were mostly used as a tool for the sake of critiques against heresies in other sectors of society based mainly on Meng Zi's theory of rejecting heterodoxy, rather than opposing views against the ideologies or philosophies of the School of Mohism itself. Meanwhile, however, on the plus side, the critics praised Mo Tzu's individual efforts in order to put his ideology of peace into practice apart from the ideological system of the School of Mohism. Also, having reached the late period of Joseon, the researcher was able to have discovered the fact that the writings of Mo Tzu had been used as historical materials in order to ascertain historical truths of Confucian Scriptures, rather not having it regarded as an ideology text.

• Journal of the Korean Society of International Agriculture
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• v.23 no.5
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• pp.520-530
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• 2011

This study was carried out to evaluate the possibility of rice double cropping in Korea by assessing the growth and yield performance of rice cultivars transplanted at the extremely-early date. When the transplanted rice seedling was exposed to low temperature below 0℃, the survival rate decreased drastically. However, short exposure to below 0℃ one or two times did not damage transplanted rice seedling so severely. Thus, the earliest transplanting in spring would be possible when minimum temperature rises above 0℃. Compared with the conventional seedling nursery tray (CSNT), seedling rearing with the potted nursery tray was more effective for increasing leaf age and seedling dry weight during nursery period. In the first rice cropping, rice cultivation with seedlings reared in PSNT showed shorter growth duration and cumulative temperature from transplanting to heading than that with seedlings reared in CSNT. The earliest heading date on July 4 in Jinbuolbyeo was earlier by two to three days than that of Dunaebyeo. If rice has not exposed to cold damage, the earliest heading date of Jinbujolbyeo can advance to June 30 or July 1. In this case, rice harvest would be possible on August 5, enabling the rice transplanting of the second rice cropping before August 10. At transplanting time with low temperature damage rice yield were less than 400 kg/10a while rice yield exceeded 400 kg/10a at transplanting time without low temperature damage.

• Korean Journal of Culture and Arts Education Studies
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• v.5 no.1
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• pp.97-147
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• 2010

Under the recent trend of globalization, a new proposal on education has not been able to avoid the request for multi-cultural trend. Furthermore, education has been exposed to circumstances which are far different from the previous situations in which global cooperation and intercultural understanding have been more emphasized. 'Educational Nomadism'is a metaphor of creating new value and significance of education. In fact, transnational education which could be a crisis and opportunity at the same time has recently been the mainstream throughout the world. In terms of education, Korea has encountered base hollowing-out in which excessive dependence on the US education and autonomous education coexist. In fact, the world has spent a lot of time and money to have better educational background on a resume through redundant expense by the government and parents. Under this critical situation, it's urgent to change Korea's modern education into a creative educational system in connection with an advanced foreign educational system and further develop the advantage of Korea's education. A parent's investment in his/her child is a support to create new culture as well as an assistance for hope and better future of Korean education. A new direction of parents' education fever that has opened a door to global communitas can stir up infinite potential through which the flow of education fever can be changed to the resources of new civilization. The global cooperation and efforts for communitas means the communication with this world. Through this communication, the culture in which people are forced to zero-sum competition can leap into the education for change of civilization which creates pleasure of self sufficiency and donation.

• (The) Research of the performance art and culture
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• no.39
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• pp.457-507
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• 2019

The purpose of this study is to explore the formal and content features of the material for the Changgeuk album , which was produced and released in 1971. Changgeuk album was produced and published as a headword for "Changgeuk". However, it differs from the style of Changgeuk which is treated as a stage drama in that the narrative is developed around the commentary and dialogue in the formal aspect and the Pansori is only partially used. The styles of Changgeuk, implemented through gramophone record, radio broadcasts and television broadcasts, varied widely, unlike those of Changgeuk established in the 1930s. Pansori music wasn't the only center, and traditional performers weren't even the main members of the play. The characteristic form of the Changgeuk album is an experiment of Changgeuk that emerged naturally with radio reading and the advent of radio dramas in the 1950s and 1960s. So it is necessary to pay attention to the Changgeuk album in that it shows diverse forms of experiments conducted by Changgeuk in the newly introduced culture and media in the middle and late 20th century As for the contents of the Changgeuk album , the work embraces Lee Jong ik 's novel (1957), but develops the narrative centering on the life of Saint Sa-myung(四溟大師). And it is faithfully portraying the life of a Buddhist monk and the national salvation hero who pursued the original work. This content composition can be understood in the will of singer Lee Yong bae, the soundman who produced the album, and in the flow of historical dramas that summon the historical hero of the old country of the time to the stage. Singer Lee Yong bae reflects on his life in the past when he was full of greed and conceit through his life as a monk of Saint Sa-myung(四溟大師) and is greatly impressed by the personal aspect of Saint Sa-myung(四溟大師), and these emotions encouraged his creative will. Also, the Changgeuk record is meaningful in that it is one of the specific materials that embodies the national hero as a record and a traditional play under the discourse of the people, the nation in the 1970s.

• (The) Research of the performance art and culture
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• no.39
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• pp.509-547
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• 2019

The cocoon breeding related national ritual ceremony exercised from the beginning time of Joseon is the 'clothing culture' that has taken its role in the ritual ceremony where it demonstrates the resolution of a state that placed importance in 'things to wear'. During the reign of King Seongjong, it enhanced the level of importance by adding the 'procedure to pick up the mulberry leaved by the queen personally'. During the reign of King Youngjo, the implication of the ritual ceremony was even more expanded that there was an new emergence of new type of national ceremony for the Joseon Era with its first ritual ceremony for woman to personally administer the memorial ceremony to the 'woman divinity' in addition to the 'Jakheonrye' procedure to personally present by the queen for the cocoon breeding. This is intended to meet the status of chingyeonguirye (farming-friendly ceremony) with King Youngjo to personally cultivate the dry field after administering Seonnongje (good harvest paying ceremony) that it is conspicuously demonstrating the importance of farming and cocoon breeding activities. As a result, the Chinjam (a type of ceremony that queen personally breeds cocoon for fabrics) related ceremonial rite that was rearranged during the reign of King Youngjo was settled into 11 ceremonial rites with the expansion of its contents. It ranges from the procedure to leave the palace for carrying out the ritual ceremony to the procedure for the crown princess and Hyebin-gung to accompany the queen, ritual for the queen to devote the Jakheonrye to exercise Chinjam, the ritual for the king to announce his royal message, johyeonui (morning assembly) exercised after completing Chinjam, it is the ritual for the queen to receive the box that contained the cocoon. This type of ritual ceremony is a significant expansion when compared with the exercise carried out earlier and it is part of characteristics displayed for ritual overhaul trend in the reign of King Youngjo. In the main procedures of these ceremonial rites, the music is accompanied and the music includes folk music, inspiration and so forth. The Chinjam related ritual ceremony in the reign of King Youngjo was established in the direction to establish it as the ritual ceremony for a woman who had the divine role of the seonjamje ritual to administer the ritual in a way of having the justification and reality to be consistent.

• (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.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.38
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• pp.143-191
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• 2019

This research argues that Pansori had patrons in its development. Patrons are commonly discussed aspect of history of any art form. Pansori is no exception. While Pansori originally began as the art of the common people, Yangban class became the primary audience. This paper examines the role of royal family of Choson dynasty in development of Pansori. Heungseon Daewongun (흥선대원군) in particular was a Pansori aficionado. The record around Daewongun's involvement to Pansori proves that heavy monetary investment was made. He hosted Pansori competitions and sponsored creation of Pansori tradition, Boseong Sori (보성소리) and Gangsanje (강산제). Also the aspect of Pansori patronage lies not just in Yangban class, but also in Jung'in class, which is roughly analoguous to European bourgeois in that they were not of Yangban class, but had gained monetary status, and had aesthetics of both Yangban and commoner class. I argue that Heungseon Daewongun's ties to the Jung'in class is reflected in his actions towards Pansori artists. The traditions he had sponsored have important characteristics, including sophisticated lyrics heavily utilizing Classical Chinese poetry, highly artistic musical composition, and conservative Confucian ethics. Those characteristics indicate that the Pansori traditions sponsored by the royal patrons have changed to cater to their artistic taste and philosophy. This paper conducts a textual comparative analysis between Gangsanje Pansori Jeokbyeokga (강산제 판소리 적벽가), Dongpyeonje's Pansori Jeokbyeokga (동편제 판소리 적벽가), and Seopyeonje Pansori Jeokbyeokga, who share the same plot yet offers a stark differences in tone, philosophy, and sense of humor. Daewongun was a primary sponsor of Pansori, which proves that Yangban class and the royal family have played important role as patrons of Pansori.

• (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.

• Asia Marketing Journal
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• v.10 no.2
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• pp.1-29
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• 2008

The objective of our study is to provide an exploratory model for forecasting sales take-off timing of a product in the context of multi-national markets. We evaluated the usefulness of key predictors such as multiple market information, product attributes, price, and sales for the forecasting of sales take-off timing by applying the suggested model to monthly sales data for PDP and LCD TV provided by a Korean electronics manufacturer. We have found some important results for global companies from the empirical analysis. Firstly, innovation coefficients obtained from sales data of a particular product in other markets can provide the most useful information on sales take-off timing of the product in a target market. However, imitation coefficients obtained from the sales data of a particular product in the target market and other markets are not useful for sales take-off timing of the product in the target market. Secondly, price and product attributes significantly influence on take-off timing. It is noteworthy that the ratio of the price of the target product to the average price of the market is more important than the price ofthe target product itself. Lastly, the cumulative sales of the product are still useful for the prediction of sales take-off timing. Our model outperformed the average model in terms of hit-rate.