• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.134-146
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• 2011

Gyeokgu is a group ball game transmitted into the Joseon Dynasty period as acquiring a great vogue among the royal palace and people in Goryeo Dynasty after being introduced into the country from China. This research aimed through historical investigation to look into the form in which the Goryeo dynasty's kings enjoyed Gyeokgu game, and the historical-spatial signification and the locational characteristics of Gujeong(the ground where play Gyeokgu) which is the courtyard where Gyeokgu game was held centering around the Goryeo dynasty's palace where Gyeokgu was prosperous most. We researched and analyzed the data for research after extracting the records related to Gyeokgu from three historical data of the true records of the Goryeo Dynasty. Upon investigation, twelve among 34 kings of the past generations were concerned with Gyeokgu in Gyeokgu game participation form, and 46 times were recorded in historical records in total. In the participation form, kings participated personally in 9 times among 46 Gyeokgu games, and viewed games in case of 37 times. Among these kings, the 18th generation king Uijong was recorded most as 17 times(36.9%) in Gyeokgu records. Places where Gyeokgu were held were 25 places in total including royal palace, detached palace, Lu-jeong, Buddhist temple, private residences, markets and streets, other outside of the royal court and so on, and 46 time-Gyeokgu games in total were held in these places. 21 time(45.6%)-Gyeokgu games were held in only 5 detached place among these places. So, detached palace were used most for Gyeokgu games. In particular, Gyeokgu games were held most in Suchanggung palace and Jangwonjeong palace among these detached palaces, and all these things were recorded during the reign of King Uijong. Gyeokgu game which was prevalent by the end of the Goryeo Dynasty showed a progression to a national festival which kings, personally coming into streets or Jeoja(an archaic word for "market"), enjoyed with the crowd.

• Journal of Korean Society of Forest Science
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• v.100 no.4
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• pp.591-597
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• 2011

Forest carbon stock changes in a national forest were assessed by CBM-CFS3 model with different management scenarios to support decision making for a long term forest planning. Management scenarios were composed with 4 different levels of timber harvesting - current harvesting level (scenario1), 30% increment in each period (scenario2), 3 times increment (scenario3), and 5 times increment (scenario4). For each scenarios, changes in total carbon stocks, carbon stocks of each carbon pools, carbon stocks of harvested wood products (HWP) and age class structure were estimated over 100-year planning horizon. The estimated total carbon stock including HWP at the end of final period (100 years) was 433.1 tC/ha under scenario 1, but the age class structure has skewed right to the upper classes, which is not desirable for sustainable forest management. Under the scenario 4, however, the total carbon stock decrease to 385.5 tC/ha and the area of old growth forest show a significant decline. The estimated total carbon stock under scenario 2 and 3 were 411.7 tC/ha and 410.5 tC/ha respectively, and it was able to maintain the initial level of the forest carbon stocks during the planning horizon. Also the age class structures under the scenario 2 and 3 were evenly distributed from class 1 to class 8. Overall, scenario 2 and 3 were the most acceptable forest management options, in terms of carbon stock changes and age class structure.

• (The) Research of the performance art and culture
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• no.34
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• pp.315-353
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• 2017

This study examined the music policies of the three kings, Seongjong, Jungjong, and Injo, who were in power for about 200 years from the late 15th century to the early 17th century. These three kings deserve attention in musical history for different reasons. Sungjong published "Gugjooryeui"(1474), "Gyeong-gugdaejeon"(1476), and "Aghaggwebeom"(1493), the typical etiquette books, law books, and musical books that take the most important position in the history of Joseon, so his direction of music policy deserves attention. Jungjong was the king who rose to the throne after there was a revolt against Yeonsangun's tyranny. Injo ascended to the throne by starting a military coup d'etat himself. One may wonder how the aspect of music policies developed by a king, who was crowned by a revolt, is different from other cases. As each of these three kings had different background of enthronement and the contents of music policies in the royal family also developed with different emphasis, this study examined each aspect separately. Sungjong emphasized the importance of music and regarded it important to cultivate officials who know music. To this end, he gave a special order to Yejo(the office of protocol) and this study tried to clarify the contents first. In addition, this study examined the process, contents, and meaning of various modification works related to the revision of the lyrics used in the ceremonies. Jungjong supplemented the institutional aspects of music. This is the result of expressing the will to correct the anomalous and reckless music policies of the period of Yeonsangun. In addition, many words in the lyrics had been about Buddhist doctrines and love songs between male and female, so there were efforts to reform these. As for the period of Injo, this study examined the music policies that were made in the process of resolving the crisis after the war. It was a time when court musicians were scattered after two times of war and it was not possible to hold the national ritual properly, so music policies in this period were different from the ones in stable era. This study covered discussions on the measures to collect lost instruments and scattered musicians. It also looked at how the restoration effort was made in the situation that the music used in ancestral rites was abolished.

• Journal of Korean Classical Literature and Education
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• no.39
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• pp.221-246
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• 2018

In this text, the author examines the aspects and characteristics of the three forms that were created and enjoyed when the upper-class nobles of Japan "combined(混淆)" waka(和歌) and Chinese poetry(漢詩) between the 10th and 17th centuries. The three forms are the "Collection of Japanese and Chinese poems for singing"(和漢朗詠), "A collection of Japanese and Chinese poems" (詩歌合), and the "Renku renga"(聯句連歌). "Collection of Japanese and Chinese poems for singing" appeared in the 10th century, "A collection of Japanese and Chinese poems" appeared in the 12th century, "Renku renga" appeared in the 14th century, and all three continued to influence the history of Japanese literature after that time. As the combination of literary Japanese and Chinese progressed, the gap between waka and Chinese poetry decreased until they finally combined to create a single work. That is, waka and Chinese poetry converged in one place in multiple ways: as a work that was appropriate to be recited("Collection of Japanese and Chinese poems for singing"), facing each other work against work in a competition("A collection of Japanese and Chinese poems"), and, in the end, they reached the point where they were interchangeable as lines making up long poems(長詩)("Renku renga"). The combination of literary Japanese and Chinese can be said to be the Japanese version of the common movement in East Asian literary history during the Middle Ages to make songs from one's own language flawless in Chinese poetry. Meanwhile, by examining the status changes that appeared as Chinese poetry paralleled, fought with, replaced, and combined with waka, we can find clues to explain the attitudes of the Japanese people on Chinese poetry during the period when the three forms existed, as well as the characteristics of Japanese Chinese poetry that appeared in response to that. The preferences not of "myself" but of the "audience," content and expressions that revere the period rather than the inner self of the poet, and the fact that it is a means for enjoyable pleasure rather than having the original characteristics of lyrical poetry for self-expression are all characteristics of Chinese poetry in Japan during the early and late Middle Ages period. These characteristics can be said to be the current that flows in the underbelly of the history of Chinese literature in Japan. This author believes that the key to discussing the history of Chinese literature in Japan during the Middle Ages period from the perspective of East Asian literary history can be found here.

• (The) Research of the performance art and culture
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• no.33
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• pp.329-354
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• 2016

Hyupryulrang was the position that announced the start and end of music in royal ceremonies. It appeared when the royal etiquette was categorized and implemented due to the five etiquette system, which was formed by the influence of Confucianism. Confucianism valued etiquette and music and this aspect was reflected in royal five etiquette, making music involved in royal ceremonies. So there was a need to have a mediator who will announce the insertion of music according to the process of royal ceremonies. For harmonious realization of royal ceremonies and music, hyupryulrang was indispensible. In Korea hyupryulrang appeared in Goryo era and lasted until Joseon era. Hyupryulrang during Joseon was handled by bongsanshi and once was taken by jeonak( 典樂) temporarily but finally was managed by officials in jang-akwon(掌樂院). Among the officials in jang-akwon, jang-akwon jeong(正) mainly served the role but jang-akwon chumjeong(僉正) and jang-akwon juboo(主簿) were sometimes recruited for the role according to circumstances. What was common among jang-akwon jeong, chumjeong, and juboo was that they were all danghakwan(堂下官). Danghakwan was an official who had the fundamental limitation of not being able to participate in policy making so was in a lower position compared to dangsangkwan. Meanwhile, according to circumstances of ceremonial process or the characteristics of ceremonies, gyeraseonjeonkwan(啓螺宣傳官), mushingyungseonjeonkwan(武臣兼宣傳官), and yeojipsa(女執事) were recruited as hyupryulrang instead of officials of jang-akwon, so that there would be no problems in ceremonies and performance of music. The activities of hyupryulrang can be summarized as setting up or laying down hui in most ceremonies that involved band. At night, however, as hui(麾) was invisible, jochok(照燭) or sometimes geumgogi(金鼓旗) was used. As for the term that referred to hyupryulrang, in case of royal banquet, the names of the ceremonial tools were borrowed such as geohuichabi(擧麾差備) and jochokchabi(照燭差備). The location of hyupryulrang was in the west on top of seogye(西階) facing toward the east, which was a position where hyupryulrang could watch the ceremonial process easily and be close to the band. That is, it was a position where one can see the space of ceremony and the space of music at the same time. Also, hyupryulrang was involved in musical parts related to ceremonies such as rehearsals, arrangement of the band, controlling the speed of music, and prevention of missing any musical pieces, and was in charge of such tasks. Hyupryulrang, who had to take charge of music in accordance with ceremonial procedure, was a mediator between royal ceremonies and music.

• (The) Research of the performance art and culture
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• no.34
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• pp.133-172
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• 2017

Mansuseongjeol was originally a term that referred to the birthday of Chinese emperors. In October 1897, when Emperor Gojong ascended the throne, his birthday could be called mansuseongjeol. The celebratory events for mansuseongjeol took place throughout various levels of society and regions. Various places and classes including government officials, foreigners, students, religious people, journalists, merchants, civic groups, and nation-wide open ports celebrated the birth of Emperor Gojong, and the classes celebrating the day became stronger and wider. In other words, in the sense that the celebration had the nature of being universal, national, and global in terms of classes, regions, and races, the event was distinguished. Due to such nature, celebrating culture proceeded in various ways and the imperial family provided donation. Celebration on mansuseongjeol extended to respect toward the emperor and patriotism so it contributed to strengthening the emperor's power and solidifying the unity of the people. Also, such an event was reported around the world through diplomats and reporters living in Korea, raising the national status of Korea in the world. However, after the breakout of Russo-Japanese War, Japan controlled the finance of the royal family, reduced the power of the emperor, and the celebration of mansuseongjeol was also reduced. Due to the suspension of royal family's financial support, crackdown from Japan, and the dethronement of Emperor Gojong, events for mansuseongjeol disappeared and only inside the palace, did formal celebrations continue centering on pro-Japan officials and Japanese people. The abdication of Emperor Gojong came with the collapse of Korean Empire and along with that, celebration of mansuseongjeol came to an end. In the circumstances, the culture of court banquet disintegrated, and the best performers of Korean Empire degenerated into mere entertainers. Though mansuseongjeol, the medium of expressing respect toward the emperor and patriotism, lost its status, it is significant that the cultural achievements, which were created during the process established with the support of the financial power of the royal family, serve as internal power that drove Korea's modern and contemporary cultural history.

• 한국노년학
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• v.36 no.4
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• pp.1191-1206
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• 2016

The purpose of this study is to investigate the relationship between perceived health status, future time perspective(FTP), health promoting behaviors, and quality of life in the elderly. To this end, the survey was conducted through distributing questionnaires to the elderly people who lived in areas of Seoul or its adjacent satellite cities in their age of 60 or more in 2013. In total, 497 valid responses were collected. The data was analyzed by using a number of analysis methods including confirmatory factor analysis, reliability analysis, frequency analysis, correlation analysis, simple regression analysis, multiple regression analysis, SEM analysis. The findings are as follows. First, health status of the elderly has a significant influence on FTP. Second, health status the elderly has a significant influence on health promoting behavior. Among sub-factors of health status, subjective health status has a significant influence on spiritual growth, nutrition, physical activity, stress and interpersonal relation. Third, health status of the elderly has a significant influence on quality of life. Among sub-factors of health status, subjective health status has a significant influence on physical, social, emotional and economic quality of life. Fifth, FTP of the elderly has a significant influence on quality of life. FTP has a significant influence on physical, social, emotional economic quality of life among the elderly. Sixth, health promoting behavior among the elderly has a significant influence on quality of life. Among sub-factors of health promoting behavior, spiritual growth has a significant influence on physical, social, emotional and economic quality of life. Nutrition has a significant influence on social factor. Health responsibility has a significant influence on emotional quality of life. Physical activity has a significant influence on physical quality of life. Stress has a significant influence on physical, social and economic quality of life. Finally, interpersonal relation has a significant influence on physical and social quality of life.

• (The) Research of the performance art and culture
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• no.34
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• pp.173-214
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• 2017

This study examines and compares music-related records in the mubo (舞譜; choreography notes) written by Sung Gyeonglin (成慶麟, 1911 - 2008), based on the records of 11 kinds of jeongjae (the music and dance performances at the royal court) found in Lee Byungseong's (李丙星, 1909 - 1960) Changsa and Jungjaecheol (呈才及唱詞綴). Even though these records are personal, they provide valuable information about the mubo of the Iwangjikaakbu (the Royal Music Institute) during the period of Japanese colonization. The eleven kinds types of jeongjae-'Cheoyongmu (處容舞)', 'Hyangryungmu (響鈴舞)', 'Mugo (舞鼓)', 'Bosangmu (寶相舞)', 'Chunangjeon (春鶯?)', 'Gainjeonmokdan (佳人剪牧丹)', 'Suyeonjang (壽延長)', 'Mansumu (萬壽舞)', 'Bongraeeui (鳳來儀)', 'Jangsaengboyeonjimu (長生寶宴之舞)', and 'Musanhyang (舞山香)'-can be largely divided into two types: Dangak (Tang dynasty music) and 'Hyangak (traditional Korean music).' The former is distinguished musically by whether or not the jukganja appears. For the appearance of the jukganja in 'Sujeyongjang', 'Bongraeeui' and 'Jangsaengboyeongjimu', the 'boheojaryung (步虛子令)' was used and given the impressive name of jangchunbullojigok (長春不老之曲).' The term punggyungjigok (豊慶之曲)' was used for music that guides a group dance and dancers. For the latter, hamnyungjigok (咸寧之曲) was performed during the development of the dance, and the pungungyeonghoijigok (風雲慶會之曲) was played at the end of the piece. As for the accompaniment for the jeongjae performed by the Iwangjikaakbu, it is significant that various elaborate names were attached to Sangryungsan, Jungryungsan, Seryungsanm, Garakdeoli, Samhyunhwanip, Yeombulhwanip, and taryung (the traditional Korean ballad), which were all parts of 'Samhyunyoungsanhoesang (靈山會上).' Specifically, the 'Hyangdanggyoju (鄕唐交奏)' in 'Jeongjaemudoholgi' was accompanied by various melodies of the 'Samhyunyoungsanhoesang', which were given extravagant names. These are the personal records of the Iwangjikaakbu mubo that were retained by Lee Honggu (李興九, b. 1940), who owns the 'Hakyeonhwadaehapseolmu.' Among them, the ten kinds of jeongjae found in the notes of Sung Gyeonglin are often referred to as 'mueui (舞儀)' and widely used for research on individual jeongjae performances and the history of their development. The notes of Lee Byungseong have not been investigated thoroughly until now and this is the first study that provides a comparative analysis of the notes of Lee Byungseong and Sung Gyeonglin. This investigation is expected to contribute to the further research and knowledge of the jeongjae performance during the period of Japanese colonization.

• The Journal of the Korean Institute of Forest Recreation
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• v.22 no.4
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• pp.59-69
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• 2018

This is a cross-sectional study that suggests ways to activate forest welfare services (FWS) by investigating the infrastructure, service status, and perception on FWS in Korea. In August 2016, a structured email survey was conducted in nation widely. The respondents were mostly directors and general secretary (75.0%). The considerable number (16.3%) of nursing homes (NH) use some floors of the complex buildings that would be difficult to have FWS infrastructure and about 30% of those without forests near the facilities. The directors of NH recognize that FWS has positive effects on the elderly. However, FWS is not an requisite of the longterm care insurance benefit, and so costly and effort-intensive that FWS has not been activated so far. In order to activate FWS in NHs, it is necessary to develop and disseminate the guidelines on FWS that anyone can easily followed. In addition, when the National Health Insurance Corporation evaluates NHs, they should evaluate not only whether there is a wandering or walking space, but also whether it has forest healing factors such as forests. It is also necessary to create a barrier-free environment both inside and outside of NHs, increasing accessibility to the toilet in gardens, paving a passage for wheelchairs and lifts in forests near NHs. Through these efforts, it is expected that FWS will be activated to provide physical, mental rest and comfort, appropriate cognitive stimulation to the NH residents at the end of life.

• The Journal of Korean Philosophical History
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• no.53
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• pp.215-254
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• 2017

In the study of divining art, Hoche(互體) plays vital roles in the composition of Goaes(卦) and interpretation of Sutras, but the reality is that the research effort for Hoche has been poor along with the perception of its utilization. This study set out to investigate connections among Bongoae(本卦), Hoche, and Hoche of Hoche(Hohoche互互體) and thus shed new light on the importance of Hoche in the composition and interpretation of Yi. 64 Goaes belong to 16 Hoches, which should belong to 4 Hoches. 4 Hoches Jungcheongeon(重天乾), Jungjigon(重地坤), Suhwagije(水火旣濟), and Hwasumije (火水未濟). That is, one can make 6 Hoikgoaes(劃卦) by extracting Hoche from the 6 Hoikgoaes comprised of Hoche of Bongoae, and they converge on 4 Goaes of Geon (乾), Gon(坤), Gije(旣濟), and Mije(未濟). The present study named Hoche of Hoche Hohoche and argued that there should be some consistent connections in the interpretation of meanings of these 4 Hohoche Goaes and their respective Hoches and Bongoaes. Focusing on the discovery of common meanings among the Hoches and Bongoaes of "Danjeon(彖傳)" and" Daesangjeon(大象傳)" of Hohoche. Book of Changes begin with Jungcheongeon and Jungjigon and end with Suhwagije and Hwasumije. The Hohoche of 64 Goaes(卦) are concluded into these 4 Goaes, which indicates that the 4 Goaes have supervision over beginning and ending and that all the Goaes between them operate within the categories of 4 Goaes. The content of "Danjeon" and "Daesangjeon" in Hohoche holds certain semantic connections in the interpretation of Hoche and Bongoae restored to Hohoche and points to the directionality of the interpretation. Those findings open a window for investigating Hoche with the core principle of Goae formation in Book of Changes and imply that Hoche holds important significance in the interpretation of the Book.