• (The) Research of the performance art and culture
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• no.33
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• pp.129-163
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• 2016

This study examines processes of cultural introductions and transformations among Korea, China and Japan via focuses on the formative characteristics of nasori(納曾利) masks belonging to komagaku (高麗樂), part of bugaku (舞樂), a Japanese court dance and music. Previous studies of traditional masks in East Asia focus on their dramatic characters and entertaining aspects. On the contrary, it approaches to their origins through the formative characteristics of komagaku nasori masks. Prince of Lanling, the representative togaku passed to Japan, and komagaku nasori perform a pair of toubu (答舞). One formative characteristic between Prince of Lanling and nasori masks is a dangling jaw (吊り顎). Masks having 'he' (へ)-shaped eyes like Japan's okina (翁) masks are characterized by a division (切顎) between the face and jaw, which is as same as the Korean masks. Other common grounds between Prince of Lanling and nasori masks are grotesque ghost faces and concentric double-circled eyes with their outlines painted gold. Concentric double-circled eyes prove that they spread to broader areas before the age of togaku and developed into a variety of divine-animal mask patterns. That Korean masks and nasori masks both have concentric double-circled eyes and dangling jaws is a significant starting point in studying the origin of traditional performing art in East Asia. Japan's bugaku has been passed down in shrines as part of folk religion. However, there exist in Korea no records or examples related to komagaku nasori masks introduced to Japan. This study provides some clues to comparison between Korean masks and komagaku nasori masks by focusing on the formative characteristics of the latter. The researcher suggests a new perspective to nasori mask dance by re-examining earlier Korean studies of the introduction of Daemyeonmu of Prince of Lanling to Japan through Shilla and the assumption of Nasori as Shilla music.

• Korean Journal of Hospice Care
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• v.6 no.1
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• pp.1-11
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• 2006

There are various understandings how to define death. In the context of medicine, death is defined as the irreversible change of the tissue according to the cessation of circulation and respiration. According to the psychologists, a person need to accept the finiteness as a human being and remain conscious that the death is not avoidable. And they say if a person doesn't regard death as unavoidable reality of life he or she will not confront the humanistic death and after all will die like animals. In philosophy, death is viewed as an unwelcome reality in the end of the journey of life. Sociologists usually understand that the society is the organization composed with living persons and human beings which construct and transmit the culture from generation to generation between the both ends of life and death. In society, the generation is changed, maintained, and developed through the phenomenon of death. Although death of human being is natural event in society, the death of a specific person brings a sense of loss, crisis, and anxiety to the communities like family, regional society, nation, and the world. In this context, death is not confined to personal dimension and it can be regarded as a social problem. It is valuable to summarize the religious perspectives on the meaning of death for the better hospice care. In shamanism, there are basic idea that although the flesh of human being disappears, soul never die. If human dies, the flesh of human being disappears but soul never disappear and come back to the origin of soul as it is called chaos. So in shamanism, it is said that shaman can solve the mortified feeling, restore the broken harmony, send the soul to comfortable space- the origin, and guarantee the blessing of descendents. Buddhists regard the death as an essential component through the cycles of life. Through this cycle, human being exits as an endlessly transmigrating being and the death is just a restoration to the original status. In Confucianism, the view on the death based on the philosophy of the "Yin and Yang" and "Five elements". In Buddhist tradition, many believers said the philosophy of "Death is the same as life". Unlike usual thoughts that a god governs "life and death" and "fortune and misfortune", Confucianists deny the governance of a god and emphasize the natural orders in which every phenomenon in the world moves according to the principle. Confucianists understand the death as a natural order with this principle. In Confucianists' belief, the essence of human being remains in their own descendent's lives after the death of ancestor, so in Confucianism there is no concept of immortality of the soul. In the history of Christianity, death has been defined generally as the separation of the immortal soul from the mortal body. In the earlier days of Old Testament, the death is regarded as a disappearance of just a flesh and human never disappear and always live in the relationship with God. Later days in Old Testament, we can find the growing concern for the life after the death because of the entrance of the theodicy. In the New Testament, the death is not regarded as the normal process of the human life and regarded as the abnormal status in which death come to human because of sin as a decisive factor and it should be conquered. In fact, the most of us afraid death because not of the fear of death itself but of the sense of the emptiness and regrets. so many people often make the monument hoping to live forever. But Christian usually regard this behavior as a sinful act because human being usually think themselves as a master of their life and attempt to become immortal in this kind of trial mortal. But if we live with God, we cannot confront such a condition because we aware limits as a mortal human being and entrust everything on Him and want to live according to His guidance. Therefore, in the Christian tradition, the death is regarded as accomplishment of life, fruits of life, invitation to the eternal life, and the last stage of human growth. For human being, the death is the great step of maturation as a human in the final stage of life.

• The Critical Review of Religion and Culture
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• no.32
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• pp.13-54
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• 2017

The Ise Grand Shrine(伊勢神宮) dedicated to the sun goddess Amaterasu (天照大神), located in the city of Ise(伊勢市), Mie Prefecture of Japan, is a center of Japanese Shinto Shrines and composed of a large number of Shinto shrines centered on two main shrines, Naiku(內宮=皇大神宮) and Geku(外宮= 豊受大神宮). Historically it has kept very close relationship with Emperor, because its enshrined deity Amaterasu is generally said to be the ancestor of Imperial Family. The food and alcohol offering to the gods in Japanese Shinto rites are called Shinsen(神饌, ambrosia). Main subjects of this essay dealing with Shinsen are the various matsuri (rites) of Ise Grand Shrine and Emperor, such as Higoto-asayu-omike-sai(日別朝夕大御饌祭, offering repasts to the gods in the moring and evening everyday), Kan-name-sai(神嘗祭, offering of the year's new rice harvest), Shikinen-sengu-sai(式年遷宮祭, year of the ceremony), Nii-name-sai(新嘗祭, Ceremonial offering by the Emperor of newly-harvested rice to the gods), and Daijo-sai(大嘗祭, first ceremonial offering of rice by newly-enthroned Emperor). Then, the purpose of this essay is to examine not only the social, religious, and political but also cultural meaning of Shinsen especially in relation to Korea, basically introducing some types and characteristics of Shinsen with its mythological background and historical development. In so doing, I will show the concrete list of items and processes of Shinsen in those rites. For example, the social meaning of Shinsen might be examined in association with agricultural features, ancient dietary life, Japanese food, and its contemporary context etc. Besides, its religious meaning can be mentioned especially from the perspective of divine nature, life and rebirth etc. On the other hand, the politics was in ancient Japan originally called Matsurigoto which means the ancestral rites for gods. This suggests the political meaning of Shinsen that the politics in Japan has originated from Shinsen.

• Journal of International Area Studies (JIAS)
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• v.14 no.4
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• pp.79-106
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• 2011

The cultural contents industries have moved closer to the centre of the economic action in many countries and across much of the world. For this reason, the concern with the development of glocal cultural contents has also been growing. According to Goldman Sock's BRICs report, Indian economy will be the engine of global economy with China. In addition, India will be a new blue chip country for large consumer market of cultual contents. The most important point for the development of glocal cultural contents is a systematic and in-depth analysis of other culture. India is a complex and multicultural country compared with Korea which is a nation-state. Therefore, this paper is intended as an understanding about India appropriately and suggestion for a strategy to enter cultural industry in India. As the purpose of this paper is concerned, we will take a close look at 9 Indian culture codes which can be classified into three main groups: 1) political, social and cultural codes 2) economic codes 3) cultural contents codes. Firstly, political, social and cultural codes are i) consistent democracy and saving common people, ii) authoritarianism which appears an innate respect for authority of India, iii) Collective-individualism which represents collectivist and individualistic tendency, iv) life-religion, v) carpe diem. Secondly, economic culture codes are vi) 1.2billion Indian people's God which represents money and vii) practical purchase which stands for a reasonable choice of buying products. Lastly, viii) Masala movie and ix) happy ending that is the most popular theme of Masala movies are explained in the context of cultural content codes. In conclusion, 3 interesting cases , , will be examined in detail. From what has been discussed above, we suggest oversea expansion strategy based on these case studies. Eventually, what is important is to understand what Indian society is, how Indian society works and what contents Indian prefers.

• 한국노년학
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• v.32 no.2
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• pp.431-446
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• 2012

The objective of this study is to introduce the theory of Gerotranscendence and the ninth stage of Erikson & Erikson(1997)'s psycho-social development theory in order to enable the academic Korean field to have a more positive and fresher point of view on aging. In order to meet this objective, this study will first take a look at Erikson's 9th stage expansion theory on human development. Then we will study Gerotranscendence as the most representing phenomena among the 9 stage theory so that the Korean Gerontology field can utilize it for future plans. The definition of Gerotranscendence was first introduced by Tornstam(1994) and has been applied as Erikson & Erikson's 9 stage theory ever since. Gerotranscendence can be described as an individual that has entered his golden years after middle age, which transforms one's point of view on life from a materialistic and logical one to a more universal and transcending one. Gerotranscendence is a voluntary and overcoming process of oneself that is displayed in many seniors which leads to a lesser focus on oneself in the eyes of the society, but increases the inter-relational bonding between past and future generations. The following is a summary of the theorhetical evaluation on Gerotranscendence which was analyzed in this study. First, this study introduces the Gerotranscendence theory, which is recognized as the most representative phenomena among Erikson's 9th stage theory that has hence expanded the application of Gerontology theories in the academic field of Gerontology. Second, this study has provided a new point of view towards the elderly in the practical field of senior citizen social welfare. With this understanding, practical levels of services from various points of view can be provided to acknowledge the needs of the elderly. Third, a much wider field of research can be exchanged and provided along with other fields of studies by applying and extending this Gerotranscendence theory in Korea. It would also be especially beneficial to exchange researches within related fields of study such as psychology, sociology, nursing science, family science and the study of religion. Not to mention also lending support to hospitals for the elderly(nursing homes) and institutions related to senior welfare, or practical fields where there is an active exchange of research using Gerotranscendence theory.

• (The) Research of the performance art and culture
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• no.18
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• pp.513-557
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• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.