• (The)Study of the Eastern Classic
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• no.70
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• pp.467-493
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• 2018

This Study looks into increase of Match-ending type of 'Ureonggaksi' folktale and its secularization focusing on Match-ending types of 71 materials from "The Comprehensive Collection of Korean Folklore"(1979-1985) and 'The Revision And Enlargement project' (2008-2018). This study classifies 'Ureonggaksi' folktale into ones of 1910-70s, 80s, and 2000s. Match-ending types increase in "The Comprehensive Collection of Korean Folklore" and 'The Revision And Enlargement project'. Match-ending types constitute 60% of Ureonggaksi' folktale materials from "The Comprehensive Collection of Korean Folklore" and 'The Revision And Enlargement project', which is twice more than 34% of Parting-ending types. Firstly, taboo motif in Match-ending types is inclined to disappear. Even if taboo motif appears, materials with keeping its taboo are more than breaking one. It means that the function of taboo weakens, since the meaning of sacred wedding is emphasized when it is broken. Desacralization of Ureonggaksi figure is inclined to make the match of hero and heroin recognized as a common one. Increase of match type without taboo motif, and a new Ureonggaksi type in 'The Revision And Enlargement project', Underground monster-defeating type, with a character of Romantic matching narrative, mean Discoloration of Ureonggaksi folktale. Interest and recognition on sacred existence disappears, and there is found the conciousness to pursue happiness in real world through connection between man and woman by realistic world-view. This study contains 37 Ureonggaksi folktales recorded in 'The Revision And Enlargement project' (2008-2018) as material. Furthermore, there are found new Ureonggaksi types in 'The Revision And Enlargement project': Underground monster-defeating type, which is transformed from groom with bird-feather clothes type(a kind of matching-ending type of Ureonggaksi folktale), and the subjugated's resistance awareness weakens and shows a character of Romantic matching narrative.

• Korean Journal of Poultry Science
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• v.48 no.1
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• pp.31-39
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• 2021

We aimed to investigate the age-dependent development of digestive organs, intestinal enzymes, and hepatic antioxidant defense system in White Leghorn chicks aged 0, 3, 7, 14, and 21 days. Body weight (BW) did not significantly change between days 0 and 7 but significantly increased (P<0.05) after day 7. The relative liver weight (g/100 g of BW) was significantly lower at day 0 than at the other ages but markedly increased at days 3 and 7 (P<0.05). The relative pancreatic weight changed similar to the change in liver weight, with the maximum development at 7 days (P<0.05). The relative intestinal and mucosal tissue weights increased rapidly after hatching (P<0.05), with the maximum growth at 7 days. Furthermore, maltase and sucrase activities were significantly higher at day 3 than at day 0 (P<0.05). Leucine aminopeptidase activity was high at day 0 and remained constant as age increased. Superoxide dismutase and glutathione S-transferase activities in the liver were the lowest at day 0 but significantly increased after 7 days (P<0.05). Glutathione peroxidase activity increased significantly after day 14 compared with that at days 0 and 7 (P<0.05). Lipid peroxidation was not affected by age. In conclusion, the digestive organ weights and hydrolase activity of chicks increased rapidly during the first 3 or 7 days post-hatching. Hepatic antioxidant enzyme activity increased simultaneously with the increase in digestive organ weights, after 7 days.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.37 no.1
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• pp.104-115
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• 1992

The rice culture techniques included 'Jodosukyungbeob'(旱稻水耕法 : culture techniques of early-ripening paddy rice), 'Mandosukyungbeob' (晩稻水耕法) : culture techniques of late-Ripening paddy rice 'Handobeob'(旱稻＆lt;山稻＆gt;法 : culture techniques of upland rice), 'Myojongbeob'(苗種法 : culture techniques of paddy rice by transplanting), 'Kunangbeob'(乾秧法 : culture techniques of rice by transplanting which rears seeding in dry paddy) and 'Sudogunpanongbeob'(水稻乾播農法 : culture techniques of paddy rice seeding in dry field). Especially, 'Kunangbeob' and 'Sudogunpanongbeob' were originally developed in Korea as seen in 1600s(Kyoungje : 經濟) and early 1800s (Yoji : 要旨). In 'Jodosukyungbeob' it took 9 days for seed dipping, water-sprouting and prevent damage by birds, each for 3 days in China, but in Korea seed dipping in water took 3 days and the rest of the procedures were flexibly established. In matured soils, practices were fall plowing right after harvest, recognition of effective tillering and additional fertilization use of human manure, and stimulation of sprouting by lime application. The unique culture techniques adequate for Korean situations were practiced, which included weed control after draining accurately for 3 to 4 times, draining at mid season for improving wind and drought tolerance, rice harvesting at appropriate time for preventing grain shattering, and seeding in rows. 'Mandosukyungbeob' was improved techniques contrast to those of China, and the major contents were selection of proper varieties, good stand establishment by seeding high rates, induction of vigorous tillers, and adoption of 'Jokjongbeob'(足種法 : seeding method by foot). Also, one of the most prominent rice cultures by our ancestors was 'Kunpanongbeob' that was systemized form habitual practice of Pyongan Province. The unique technique actualized was 'Hando [旱稻(山稻)]' culture technique which was the combinations of 'Jokjongbeob', root stimulation method, and disaster-tolerant mixture cropping with adoptation of variety theory, although it was originated from China. The transplanting techniques has come before 'Jikseol'($\ulcorner$直說$\lrcorner$) and its merits were sufficiently realized. However, this method was basically prohibited from the early Chosun dynasty because extremely bad harvest was expected under drought conditions and insufficient conditions of water storage. But, it was permitted in the areas that contained water all the times and in case of large-scale farming especially. Most of rice culture was transplanted in the end of the Chosun dynasty because transplanting was continuously spreaded in the three southern provinces of Korea. Under these circumstances, transplanting technique was improved from the early to the end of the Chosun dynasty by weed control, fertilizing, water management, and quadratic transplanting. Based on these techniques, agricultural productivity was improved 5 times by that time. 'Kunpanongbeob' was created and developed properly for Korean conditions that is dry in early season and flooding in late season. This was successively developed and established into transplanting technique of nursery seedling.

• Korean Journal of Culture and Social Issue
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• v.21 no.3
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• pp.551-573
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• 2015

The rise of single living has been one of the most important demographic shifts of recent decades. The solo household is a little less than 40% in Europe areas and that of Tokyo is over 45%. Being impacted this figure, the formation of single economy is the key word in World Economic Forum(WEF) 2008. Seoul' single household is increasing rapidly. Between 2000 and 2005, the growth of single person is around 34%, the population of single person reached 700,000 people. Now 20% of total household in Seoul is Single household. Living alone or solo living is not exceptional or special in Seoul Metropolitan City. The rise in single living will create pressures towards poverty and inequality and so on. Seoul should develop and prepare the urban policy for single household. We figured out the four key trends which composed of single household in Seoul. Four types of single person are like below : Gold Mr and Miss, Reserved labor forces, depressed single and silver generation. Gold group is amonst people aged 30 and 40 who is working in the area of white collar and professional. They are usually elective single person household who have chosen solo living. Reserved labor forces group is usually among 20s people who have not get the regular hob. For this group, job acquiring is the most important issue. Depressed single person household group is among people aged late 30s and 40s. Its group is the result from the broken family. The silver group is among aged over 65 that is the main issue of the aged society. In this research, we stressed that people living alone can be split into two types - elective single person households who have chosen single living, and forced single person household who have been constrained to this lifestyle by circumstances. Except gold group, the rest of the group is the forced single household who are faced to poverty. The monthly income of single person household is almost under 2 million won. Single person household is usually working in the blue collar job and service area. So, except gold group that is the smallest part of single person household, almost single person is not the target of private market, but the object of public policy.

• Journal of International Area Studies (JIAS)
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• v.14 no.1
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• pp.277-308
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• 2010

Since the globalization, many changes are occurring in our society. Multicultural phenonmenon in the society is becoming one of our major concern in the Korean society. Thus, this study is focusing on the multicultural phenomenon that we are facing since the globalization in Korea. No doubt that immigration is a growing force influencing the demographics of Korea. Since the mid-1990s, immigrant children and children from mixed marriage have become the fastest growing and the most extraordinarily diverse segment of Korea's child population. Until the recent past, Korea's major social attention has focused on adult immigrants to the neglect of their offspring, creating a profound gap between the strategic importance of the new second generation and the knowledge about its socioeconomic circumstances. In other words, there is a significant lack of studies on children of migrant, particularly from the Muslim background living in Korea. International marriage has grown rapidly in Korea since the late 1990s, and this phenomenon is especially common in rural farming communities. Most brides come from China, followed by Vietnam and other southeast Asian countries. However, there are certain number of Muslim bride coming to Korea. There are about 100 thousand muslim peoples living in Korean society. Among them 2.92% are Muslim immigrants' intermarriage with the Koreans. As a result, there are growing number of muslim brides and bridegroom settling in Korea, which would eventually create muslim families in growing korean multicultural societies. This study specify its research on the muslim mixed family by focusing on the offsprings of the muslim background. Our research team has created the new term on such research subject by using Koslim. Koslim is a 1.5 and 2^nd generation from the Muslim back ground family living in Korea. Thus, the objective of this study is to examine the awareness and the perception of Koslim by the Korean mainstream people. By doing so, it can analyze the general attitude of Koreans towards the Koslim people. In this sense this study intends to play a groundwork to promote successful coexistence between Korean and Koslim. It is anticipated that this research can lay the basis for Koreans to have more open and tolerant attitude towards our new members of society that is increasing everyday.

• (The) Research of the performance art and culture
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• no.42
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• pp.257-290
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• 2021

The Wonju Nongyo (agricultural work song) is geographically classified as eastern minyo (folk song) which has many distinctive, regional features such as tunes, forms and the use of a melodic line. There has been growing attention to the transmission value of the nongyo including the Wonju Eorirang of the Wonju Origol Nongyo and its region of origin. The Wonju Nongyo is of great value and worthy of preservation in the western part of Gangwon Province. For this reason, it seems fairer to say that a focus should be directed towards establishing the identity of the song and increasing the contextualisation of transmission. At the same time, the preservation association's efforts in passing the traditional song down and education activities fairly deserve equal attention. In addition to the way the folk songs are handed down, a discussion on the facilitation of their use will be required. An in-depth discussion about the restoration and use of the song will be encouraged in a multifaceted manner. Unfortunately, few of the previous literatures on nongyo has gone so far as to investigate Arirang as a separate research topic. In fact, the Wonju Origol Nongyo should be viewed as an intangible cultural asset that paved the way for performance artistry of the Korean agricultural work songs to be seen at a national folk art festival. From the perspective of regional characteristics (traditionally termed "tori"), the Wonju Eorirang represents the cultural value of the manners and customs of our locals which constitute unwritten and neglected literary property and musicality of the song. Particularly, a more attention should be paid to making a record of woodcutters and diversity of farmers' small cooperative groups. The existence of the Wonju Eorirang indicates that the melodies to which the song are sung in Nongyo are of infinite variety. A minyo-singer unfolds various journeys of life through various modes and structure of epic chants, ranging from first encounter, love to marriage, realistic problems to relationship with husband's family and death. The epic chant of the Wonju Origol Nongyo contains a rich variety of regional sentiments about life. In particular, the epic chants of the Galtteukgisor and Ssoeltteukgisori are a genius example of sexual satire and a sense of humor. In the past, the agricultural work songs were rhythmic songs served to synchronize physical movements in groups, coordinating tasks in upland farming and rice paddy with the usage of catchy, repetitive verses easy to pass down. The Wonju Origol Nongyo is a precursor of the work songs which took the farming activities a notch higher to be part of the excitement and festivals. In the context of transmission, a festival serves to demonstrate the value of history and life. The value of the Wonju Eorirang should be appreciated and a concerted effort should be made to find a way to facilitate the transmission of the folk song. A folk-singer is a traditional oral poet and a storyteller of minyo and the forms and species of melody solely depend on the signer. The combination of performance and witticism is shown by the singer freely expressing himself. The Origol Nongyo symbolizes ethnic arts cleverly combining playful effects such as tune, rhythm and old agricultural work of the region. It is to be hoped that much of the efforts is directed to designating such folk songs as the archetype of a cultural heritage. In terms of the foundation on which the folk songs are transmitted, the usage(Performance Content) of a community would be an alternative.

• (The) Research of the performance art and culture
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• no.39
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• pp.669-700
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• 2019

Farmers' band music is a religious ritual in Korea. It is a solemn ritual to exhibit the auspicious holiness of the people to the God. Most of the ritual is accomplished by music. The music of the farmers 'band, in this sense, has its meaning as the expression of holiness by sound. In this paper, I will explore the principle to make various rhythms of farmers' band music, especially focusing on the chaegut (lit. "stroke music"). It is very symbolic because the name of the music shows the strokes of the gong, called jing, in a rhythmic phrase. In this sense, the chaegut is man-made music based on the specific principles in accordance with the strokes of the gong. Among many chaegut rhythms, samchae (lit. "three strokes") to chilchae (lit. "seven strokes") are the main rhythms. They were made after the principle of 'forward with drums, backward with gongs' in Five way procession. It the basic principle of military procession from the early Joseon Dynasty. The procession follows with the sound of the drums and gongs. There was always a principle of "five strokes" to control the procession. The "five strokes" became the basis of the making of chaegut rhythms. The rhythms of the samchae to chilchae are based on the rhythm of samchae. The samchae has three gong strokes in a cycle, which exhibits the chaotic moment with the rhythmic noise. The name of the rhythm exhibits the correspondence of the signifiant, that is the name "three strokes" and the signifié, that is the real three strokes of gongs in music. Other four rhythms has made up from the samchae with half cycles are added in accordance with the strokes of the gongs. In this way, the chaegut shows the principle of "five strokes" in the military procession. The rhythm of ochae jilgut is a mixture of ochae (lit. "five strokes") and jilgut (lit. "road music") which is usually performed on the road to a mountain shrine. The musical structure of ochae jilgut corresponds to the colotomic structure of Southeast Asian music and the 15th-century music of old musical scores. The rhythm of gilgunak chilchae is a mixture of gilgunak (lit. "road military music") and chilchae (lit. "seven strokes"). The rhythmic structure is similar to other regional music, sijo ("short song") of the literati music and norae garak (lit. "some melody") of the shaman music. In sum, the chaegut is very artistic music made from the military procession of the Joseon Dynasty. The name of the rhythm corresponds with the strokes of the gong in a cycle. In this way, the chaegut shows the principle of music-making to exhibit the ritual characteristics of the Korean people.

• Conservation Science in Museum
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• v.29
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• pp.1-32
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• 2023

The Paintings of a 60^th Wedding Anniversary Ceremony Created by an Unknown Painter (Deoksu 6375), housed by the National Museum of Korea, is a five-panel painting book depicting scenes from a wedding ceremony. Hoehonrye is a type of repeated wedding ceremony to commemorate a couple's 60th wedding anniversary with congratulations from the community. The paintings of the book record five scenes from the wedding: jeoninrye, a ceremony where the groom brings a wooden wild goose to the bride's house; gyoberye, the groom and the bride bowing to each other; heosurye, pouring liquor to toast to the couple's longevity; jeopbin, offering tea to guests; and a banquet to celebrates the couple's 60th wedding anniversary. The book describes figures, buildings and a variety of items in detail with delicate brushstrokes. The techniques were examined using microscopy, infrared, and X-ray irradiation and hyperspectral imaging analysis. The invisible parts were examined to identify the rough sketch and distinguish pigments and dyes used for each color. The components of the pigments were determined by X-ray fluorescence analysis, while the dyes were identified by UV-vis spectrometry. Microscope observation revealed that the fabric used for the paintings was raw silk thread with almost no fiber twist, and plain silk fabric. Hyperspectral imaging analysis, X-ray fluorescence analysis, and UV-vis spectrometry confirmed that the white pigment was white lead and the black was chinese ink. The red pigments were using red clay, cinnabar, and a mixture of cinnabar and minium. Brown was made using red clay and organic dyes, and yellow using gamboge. Green was identified as indigo, malachite, chrome green, barium sulfide, and blue as azurite, smalt, and indigo. The purple dye was estimated as a mixture of indigo and cochineal, and gold parts were used gold powder. Hyperspectral images were distinguished parts damaged and conservation treatment area.

• Sim-seong Yeon-gu
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• v.27 no.1_2
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• pp.28-70
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• 2012

In Jungian psychology, creation myths regard as the story of unconscious and preconscious processes(projection of archaic identity) which describe not necessary the origin of our cosmos, but the origin of man's conscious awareness of the world. Therefore projections have nothing to do with matter itself but experience of one's own unconscious. Jung emphasizes importance to understand projection in individual's conscious experience rather than in philosophical doctrine. The purpose of this thesis is to explore unconscious process of creation myths with egg symbolism in clinical cases to present universal feature of Cosmic/alchemical egg. Psychologically, creation myths retold when human mind needs new order. Depending on the attitude of ego, it can be sudden expansion of consciousness or contamination of ego by unconscious. In this study, 'chaos(messa confusa)' in creation myths as archaic identity, experience of uroboros or infant, and nigredo state in alchemy. 'Separation of primordial parents' as beginning of consciousness refers to separatio operation in alchemical process. 'Light' as attainment of consciousness. Discussion of psychological meaning of egg starts with amplification which include the concept of cosmic/alchemical/philosophical egg. Egg symbolism in this study refers to emergence of egg, tapas/brooding of egg, and separation of egg. Emergence of egg as a state of preconscious totality, psychic wholeness conceived as the thing which came before the rise of ego consciousness. Discussion of conceptssuch as Shiva bindu, hiranyagharba, germ of gold, Tathāgatagarbha follows. 'Tapas/brooding of egg' as concentration of all psychic energy into one point for self reflection. Discussion includes The I Ching Hexagram 61, image of brooding egg identified with inner truth, Wonhyo's concept of jikwansasang, and Gnostic idea of Ennoia, introverted act of thinking, as well as the concept of 'Night Sea Journey'. 'Separation or hatching of egg' regarded as the idea of sudden illumination, Phanes, the shining God, and "sun-point," in alchemy. Birth of fledgling as birth of new personality. As a conclusion, psychological meaning of cosmic egg/creation myths is the story of separating from 'Not-I'(unconscious, object, undifferentiated) to 'I'(ego, subject, differentiated) which shares the same meaning as individuation process.

• Journal of The Korean Society of Grassland and Forage Science
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• v.29 no.3
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• pp.171-178
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• 2009

The study was conducted to clarify the mixed seeding rate of whole crop barley with hood type and forage pea for using of forage crops and to compare the forage yield and quality. At a mixed seeding rate between the whole crop barley (WCB) and forage pea, The heading date and plant height of WCB were not a difference according to mixed seeding rate of forage pea. The tillers of the WCB were a decrease and plant of the forage pea were a increase according to increased seeding rate of forage pea. The lodging index of the WCB was a appearance with distribution of $0{\sim}3$, The lodging index of WCB with a 20kg/10a seeding rate of a only WCB without seeding of the forage pea was 3. The overwintering rate of forage pea was a appearance more than 90% at all treatment. The plant height of forage pea was a increase according to increased seeding rate of forage pea at 14 kg/10a and 20 kg/10a plots of WCB. At a mixed seeding between the WCB and forage pea, The fresh weight was a increase according to increased seeding rate of forage pea and was a appearance more than 3,000 kg at all treatment plot. But the dry matter weight was decrease according to increased seeding rates of forage pea. The dry matter weight of 20 kg/10a seeding rate of a only WCB without seeding of the forage pea showed the most amount with 1,266 kg. The crude protein (CP) content was a tendency to increase according to increased seeding rates of forage pea. But, the relative feed value (RFV) was a tendency to decrease according to increased seeding rate of forage pea. The highest RFV was 183.8 at 14 kg/10a seeding rate of a only WCB without seeding of the forage pea. The acid detergent fiber (ADF) and neutral detergent fiber (NDF) were a increase according to increased seeding rate of forage pea at 14 kg/10a and 20 kg/10a plots of WCB. The highest content of ADF and NDF were 23.9% and 46.3% at mixed seeding rate of 20 kg/10a of WCB with 10 kg/10a of forage pea, respectively. The highest sum of standardized score by fresh weight, dry matter weight, CP, ADF, NDF and RFV was 2.309 at mixed seeding rate of 20 kg/10a of WCB with 7.5 kg/10a of forage pea. The optimum mixed seeding rate was a considered judgment in the order of mixed seeding rate of 20 kg/10a of WCB with 7.5 kg/10a of forage pea, mixed seeding rate of 20 kg/10a of WCB with 5.0 kg/10a of forage pea.