• Journal of the Korean Home Economics Association
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• v.47 no.2
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• pp.15-26
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• 2009

The purpose of this study is to research development process of commedia dell'arte and Korean masque that have similar figure, grasp similarity and difference and find the meaning of masque and costume in both theatrical arts. Italian commedia dell'arte and Korean masque are performed by wearing standardized mask and costume depending on the role. As common points, first, the characters have unique names and possess unique features of character, costumes, masks and playing styles. Through the feature, the audiences can understand role of actor and the actors can devote themselves to their role by wearing masks and costumes. Second, although background plays an important role in commedia dell'arte, the role of costume is more important. Because masque speaks for poverties of general people indirectly, the costumes of general people were used as they are. As different point, first, most of Korean masks cover entire face, restricting speech of actor but masks of commedia dell'arte cover only upper part of face and expos mouth and chin of actor, enabling actors to express various emotions depending on the character. Second, priority is given to personality of actor and origin area and current silhouette, material and color that changed by century is reflected in the costume of commedia dell'arte but silhouette, material and color of the Age of Joseon Dynasty were adopted in Korean masque.

• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.1-18
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• 2002

The purpose of this study is to investigate the relationship between costumes of court masque and the fashion trend at that time, by the analysis of the portraits. The period in this thesis is from Elizabeth I (1588-1603), until James I (1603-1625), when Inigo Jones was actively involved in court in masque, and when the traits of court masque began to appear in costume. The research material of this thesis is from the papers, costume design sketches, portraits and miniatures. As a result the costume of court masque which is the mixture of that of ancient Greece, Rome, middle age, and the exotic style of Ireland and Persian, had a great impact on the general fashion, and the unique pattern f costume became prevalent in the end of 16th and the early 17th century. This thesis might help us understand and special costume of that age and study the way how it come to have an influence on the fashion of the costume pertaining mainly to the privileged class.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.79-94
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• 2004

The main purpose of this study is to discribe the transfiguration process and the symbols of theatrical costume of Sandai masque(산대놀이) during the Choson Dynasty. Sandai masque as a popular play is a very important form in the history of the Korean theatre. Furthermore in order to analyze the mutual relationship and difference between in the early and later Chosen Dynasty, Narye has is stressed deeply a national amusement event. In the early years of Choson Dynasty, non-official culture such as outside of Seoul and Seoul were subject to the official culture of the Court. In the late years, actors become more and more libral, separating themselves from the systemical restriction. The main reason for this is the growth of capitals in private sectors as well as the growth in demand for entertainment among private citizens. On these backgrounds, the transfiguration process of Sandai masque have changed the treatrical costume. The treatrical costume carries symbolic meaning to the obserber. The value of symbol changes as the time passes, overtime thereby altering its meaning as well. The caracters and plots change inevitably over years but the basic theme remains. The symbols of theatrical costume of Sandai masque are mainly focused on three subjects: first, the entrance of a dragon and tiger originated in the exorcism for good harvest; second, color symbolism expressed in the confrontation between red and black; and third, associate characteristics of dress forms related to regoinal classification of the mask dance.

• Korean Journal of Human Ecology
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• v.9 no.2
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• pp.43-52
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• 2006

This study has been conducted to find out the characteristics of the form and the color of make-up in Oriental traditional plays by comparing the characteristics of Hahoe masque, which is one of Koran traditional plays with those of Chinese Peking Opera and Japanese Noh plays. The object of the study was confined to the make-up of women players. The distinguished characteristics of women make-up of oriental traditional plays are as followings. First, the make-up of woman players in Korean Hahoe masque adopts mask make-up and expresses the mental state of players very realistically. Second, the women players in Chinese Peking Opera wear face make-up and it is beautifully expressed but not exaggerated. Third, most of Japanese Noh players wear face make-up. However, only women players wear mask make-up so that they might express non-realistic mood. Overall, the women players in Korean Ha-hoe masque adopt mask make-up, Chinese Peking Opera face make-up, and Japanese Noh both mask and face make-up.

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.146-161
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• 2010

The purpose of this study was to analyze the characteristics and images of costume colors in Korean Masque Drama. For this study, 242 color samples were selected by extracting digital color data by using the Eyedropper Tool of Photoshop 7.0. The RGB color data were transformed to HV/C and the attributes of color and tone were analyzed. Color images were analyzed with the IRI color image scale. As a result, neutral, red, purple blue, and yellow were found to be the most frequently used colors in the Korean Masque costumes. In the ton analysis, white tone showed high frequency and next orders were dp, s, v, b, sf. In the hue & tone, the most frequent color was white, followed by R(v), PB(dp), R(dp), YR(s), GY(s) and mGY. Color images were focused on dynamic, gorgeous, and natural images.

• (The) Research of the performance art and culture
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• no.19
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• pp.61-86
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• 2009

Jainpalkwangdae(慈仁八廣大) of Kyungsan area in Kyungbuk province was restored through over 50 years gap. This play basically has the structure of conflict - reconcillation, which is differentiated from a masque and a tightrope walking. The characters of this play are a nobleman, Malttuki (a servant), a legal wife and a second wife. Their personality is deviant from a existing Korean masque. This weird and artificial appearance may be a problem in the process of restoration. Otherwise, it might be a very different transmission type of masque. Therefore, we need to investigate why Jainpalkwangdae is different from a traditional masque.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.14-27
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• 2010

The purpose of this study is to analyze how the aesthetic characteristics of Brecht's V-Effekt is visually expressed of the costume in the Traditional Play of Korea, China and Japan. The method and the contents of the study were to refer to the antecedent studies and the related documents to peruse the characteristics of the traditional plays of the East and West, the origin and the concept of Brecht's Verfremdung and considered the relation of Brecht's V-Effekt and the Oriental plays, and then the researcher derived the aesthetic properties of Brecht's V-Effekt. This study analyzed how those qualities of the aesthetic characteristics on the V-Effekt are manifested on the stage costumes of Korean mask, Beijing opera and Kabuki. The aesthetic qualities of Brecht's V-Effekt are classified into symbolism, grotesque disposition, character of sing and dance, comicality. The symbolism in the traditional play costumes of the three nations is shown in the colors of the masks in Korean and the tone of the colors on the costumes and the make-up in Beijing opera and Kabuki. While the properties of bizarrerie and deformation coexist in masque and Beijing opera costumes in terms of grotesque disposition, Kabuki strongly displays bizarre grotesquerie. The character of sing and dance is visually expressed through the transformation of sleeves on the three nation's traditional play costumes; Masque on the Hansam and Chengsam, Beijing opera on the Water sleeves and Kabuki on Hurisode. The comic aspection is expressed in a humorous and comical way through the distortion and transformation of forms in Masque and Beijing opera but it cannot be seen in Kabuki costume. The study as above will form the aesthetic properties of the Oriental traditional play costumes and also it will contribute to establishing the identity of Korean mask costumes.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.4
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• pp.2310-2319
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• 2014

The study was to investigate the multicultural attitude of nursing students and non-nursing major students. And it was explored influencing factors related with it. This study was used a descriptive comparative designed. Data were collected 3 universities in D city in from Nov. to Dec. in 2012. After receiving the agreement, 309 nursing students and 195 non-nursing major students were recruited. They were asked to fill in a self-reported questionnaire about multicultural attitude. The Korean version Munroe Multicultural Attitude Scale Questionnaire (MASQUE) was used. Cronbach's alpha were .85. Data were analyzed by SPSS 18.0. The mean score of multicultural attitude was 4.44 of 6 points(73%) in all participants. Nursing students' multicultural attitudes scores were equal to other college students'. The factors related to multicultural attitude were the experiences of having foreigner friends, going abroad, attending multicultural events, and contacting multicultural contents. The students who have cared foreign patients were not higher than others in nursing students group(t=.30, p=.76). For nursing students contacting foreigners in clinical practice, it doesn't make a differnce in multicultural attitude. The culturally empowering programs were needed for nursing students to improve multicultural attitudes.

• (The) Research of the performance art and culture
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• no.20
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• pp.213-249
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• 2010

Aside from the Kangryung masked dance, a masque dance in the near of Ongjin county in Hwanghae province has been transmitted. This article was written by two researchers to investigate this fact in a new way. Inwoo Song had conducted a focus interview aimed at persons who came from Ongjin to South Korea and Hyungho Chung had been responsible for summarizing and analyzing the interview. Bonyoung and Suyoung were a place in which a navy admiral stayed and a very rich area. These two places and Kangryung invited and perfomed each other. They kept a competition relationship for the performance. For this reason, the masque dance had advanced in this area. Compared to Kangryung masked dance, this masked dance had a difference in the performance order including a lion dance. Malddukyi dance was expressed in detail in the first part and Hanryang dance was performed independently in the middle of the dance. Sangjwa dance among dances was considered important. Also a lively Malddukyi dance was a scale which measured the skill of the dance. Chwiballyi starred in the dance. The mask was made from a paper and had a grotesque ghost face. This dance was played around Dan-oh. The music accompaniment was conducted by professional musician group, "Kyungjanpae", who lived in the vicinity. They had talents such as masked dance, tightrope dancing, tumbling in addition to music accompaniment. Especially, a local shaman took part in the Bonyoung masked dance and leaded an excorcism after the death of Halmi. Also, in the part of the Kwangdaedaegam gut, the shaman and village people put on the mask and danced together. Therefore, a shaman was closely connected with a local masked dance. After the Korean war, Kangryung masked dance was restored but Bongyoung and Sogang masked dance was not transmitted at all. This article will be helpful for completing the script and restoring the Bongyoung and Sogang masked dance.

• Journal of applied mathematics & informatics
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• v.13 no.1_2
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• pp.413-424
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• 2003

L. H Encinas, A. J. Menezes and J. M. Masque in [3] proposed a classification of isomorphism classes of hyperelliptic curve of genus 2 over finite fields with characteristic different from 2 and 5. Y. Choie and D. Yun in [2] obtained the number of isomorphic classes of hyperelliptic curves of genus 2 over $F_{2-}$ using direct counting method. We have obtained isomorphism classes of hyperelliptic curves of genus 2 over $F_{2n}$ for odd n, represented by an equation of the form $y^2$ + $a_{5}$ y = $x^{5}$ + $a_{8}$ x + $a_{10}$ ( $a_{5}$ $\neq$0) [1]. In this paper we characterize hyperelliptic curves of genus 2 over $F_{2n}$ for even n, represented by an equation of the form $y^2$ + $a_{5}$ y = $x^{5}$ + $a_{5}$ x + $a_{10}$ ( $a_{5}$ $\neq$0).>0).