• (The) Research of the performance art and culture
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• no.32
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• pp.651-700
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• 2016

The keyword of contemporary art in 21st is audience participation. London has emphasized the importance of audience participation since 2000. The National Theater of London is trying a new method, which is live performance to search new audiences. Also, they are trying to cross the boundaries between 'stage' and 'spectator'. This leads the other theaters to search new audiences and try new genre of performance. Therefore, they establish a new form of performance, which is that audience actively moves and find a new story in a theater. For example, "environmental theater" is the one. This theater escapes from the traditional stage, but it is based on "site-specific performance." Lots of new forms of theater have emerged. In this study, I focused on one of these new forms of theater, which is "Punchdrunk." "Punchdrunk" was founded by few students graduated from London University's Laban Center in 1999. They started at an empty stage in small school with only three audiences. 7 years after, it became one of major theaters in London. 10 years after, it showed their performances in the United state. Since then, their performances in New York have never been stopped. More strikingly, for last decades, this theater has been always full. In this study, I reasoned that the key of "Punchdrunk" success is audience participation. Therefore, I investigated the features of Punchdrunk theater and how they engage their audience in this performance. In this study, I focused on one of their performances, . Also, I categorized the audiences in three different ways: narrative visitor, walking visitor, and engaging visitor with mask. Three-part transition of Disney Theme Park from Louis Marin was applied to study "narrative visitor." For "walking visitor", Normadism from Gilles Deleuze was applied. For "engaging visitor with mask", Voyeurism was applied.

• (The) Research of the performance art and culture
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• no.37
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• pp.157-186
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• 2018

Ulsan Soeburi song was reenacted in the 1980s based on the testimony and songs of late Choi Jae man (1987 death), the last blacksmith of the iron production plant at Dalcheon dong, Ulsan in August 1981. The purpose of this study is to analyze Soeburi song from the musical perspective based on 13 kinds of data including video in 1981, and confirm the changing patterns in the tradition process. The derived results are summarized as follows. In the results of examining Soeburi Song data in 2017, the percussion instruments consist of kkwaenggwari 2 (leading small gong 1, follow small gong 1), jing 2 (large gong 2), buk 4 (drum 4), janggu 4 (double headed drum 4), taepyongso 1 (Korean shawm 1), and Jangdan (rhythm) consists of five such as Jilgut, Jajinmori, Dadeuraegi, Deotbaegi, Jajin Deotbaegi. The vocal songs are sung accompanied by the Deotbaegi Jajin Deotbaegi (beat) of quarter small triplet time, or without accompaniment. The scale is mostly Mi La do's third note or Mi La do re's fourth note, and the range does not exceed one octave. All the cadence tones are the same as La. From the results of observing Soeburi song performance until today after the excavation in 1981, it is found that there are four major changes. First, the composition of the music is differentiated into 'long Jajin (slow fast)', and , , and are added. Second, the singing method is based on 'single cantor + multi post singers' since 1980's reenactment, and a single post singer was also specified from time to time. In addition, , which was performed in 2013, became the foundation of . Third, a melodic change of was observed. All beat structures are quarter small triplet time, but the speed gets slow, Mi La do's three notes are skeletonized to be corrected with high re and low sol, and then the characteristics of Menari tori (the mode appeared in the eastern province of the Korean peninsula) are to be clear. Lastly, the four percussion instruments such as kkwaenggwari, jing, janggu, and buk are frequently used, and depending on the performance, sogo (hand drum), taepyongso, yoryeong (bell) are also added. Jangdan played Jajinmori, Dadeuraegi, Deotbaegi and Jajin Deotbaegi from the beginning, and thereafter, the Jilgut Jangdan was added. Through these results as above, it is confirmed that at the time of the first excavation, a simple form of such as has been changed into a male labor song, the purpose of which has changed, and that the playability has become stronger and changed into a performing arts.

• (The) Research of the performance art and culture
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• no.36
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• pp.327-363
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• 2018

This paper tracks the present state of the Gugak educational programs run by Gugak-specialized museums including Museum of Gugak not only to set a directionality of Museum of Gugak to step forward for their main purposes, but also to find measures to invigorate its Gugak educational programs. There are 826 museums registered in 2016 nationwide, and ten of them are Gugak-specialized museums including Museum of Gugak. An analysis of the educational programs by Museum of Gugak presents high achievements in concentrativeness, participation and satisfaction levels. However, several issues such as difficulty level adjustment, education period arrangement, contents development, setting of a precise aim of education, and overcoming of regional limitations are to be solved in the future. Considering these special circumstances, the study suggests setting a directionality of Gugak education by following four conditions: Firtly, the Gugak education programs by Museum of Gugak should be user-oriented. Secondly, it is necessary to provide customized learning programs to suit users of various ages and generations. Thirdly, a solid education is required to enhance creativity deviating from uniform, unilateral, fragmentary education focused on materials and relics of museums as the users' experiences and learning levels vary. Fourthly, integrated education with relevant study in common use is required as the specialized environments of the museum could cause users psychological resistance and lessen their willingness to approach. Focusing on these four conditions several invigoration measures for the Gugak education programs are discussed: Firstly, a step-by-step approach, not a radical shift, is required in order to turn existing programs into the user-oriented. Secondly, customized learning programs should be planned in consideration of life cycle of the users. Thirdly, it is necessary to establish virtuous circulation reflecting activity-based contents as well as to provide the users experiences through five senses for solid Gugak education, in which various elements such as experiencing, learning, playing, viewing are reflected manifoldly. Fourthly, integrated education can be implemented when the features of Gugak educational programs are internally structured and the external environment matures.

• Cross-Cultural Studies
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• v.52
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• pp.165-194
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• 2018

Employing Fairclough's critical discourse analysis (CDA), the purpose of this study was to analyze linguistically significant features, intertextuality, and sociocultural practice focusing on selected editorials of The Global Times, $Hu{\acute{a}}nqi{\acute{u}}$ Shíbào on the 2018 United States-China Trade War. The editorial titled "With the strong will of 'the War to Resist America and Aid Chosun,' let us go through the trade war against America" focused on the use of 'war' related vocabulary in the frame of 'war.' First, "Trade War" and "War to Resist America and Aid Chosun" are examples that reveal metaphors and a war frame. Second, "Strategy" is used positively for China but negatively towards America. Third, various war related words are used. Fourth, cases of allusion illustrate war. Intertextuality in terms of discourse practice pertains to two findings. First, The Global Times, $Hu{\acute{a}}nqi{\acute{u}}$ Shíbào repeatedly uses the phrase 'equivalent revenge.' That is because the expression enables China to justify their counterattack and such war that China may wage can be interpreted as just counterattack much like a self-defense mechanism. Second, the expression, 'the counterattack is not intended but it is not fearful' is repeated in several editorials of the newspaper. The reasons are the following: 1) it is used to appeal to the public, 2) by invoking the feeling of fear, the public should be understand why they should unite, and 3) the expression, "it is not fearful" is used to preserve China's global image and "the counterattack is not intended" is used to signal China's will to America. The whole expression is a good example of intertextuality that repetitively illustrates the intended meaning of China in nine editorials in the newspaper within three months, March 23-June 17, 2018. Finally, sociocultural practice is manipulated through the editorial for disseminating the Chinese government's hegemonic ideology. First, it is clear that the core national project, "China Manufacturing 2025" cannot be abandoned. Second, by calling for "War to Resist America and Aid Chosun" the editorial is manipulated to condemn and intimidate America, avoid dissent of the people, appeal to the people, and empower the government. Third, China somehow wants to open up the possibility of negotiation with the United Sates.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.48-63
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• 2013

The results of the study on the space planning and landscape design of Unjoru(雲鳥樓) through the 'Jeolla Gurye Omidong Gado(全羅求禮五美洞家圖)' drawn using GyeHwa(界畵) technique are as follows. First, 'Omidong Gado' is believed to date back to the period when Unjoru(1776~1783) was established for the following reasons: (1) The founder, Yoo-IJu(柳爾?), sent the drawing for the house while he was serving as the governor of YongCheon county(龍川府史). (2) It shows the typical dwelling houses' space division and its location is in a good spot with mountain in the back and water in front(背山臨水) and there is every indication of scheme drawing. (3) Front gate was changed and remodeled to a lofty gate in 1804. Second, Nogodan & Hyeongjebong of Jiri Mountain sit at the back of Unjoru, and faces Obong mountain and Gyejok mountain. In addition, the Dongbang stream flowing to the east well illustrates the Pungsu theory of mountain in the back and water in the front. Third, the house is structured in the shape resembling the character 品, divided into 5 areas by hierarchical order in the cross line from all directions. The site, which includes the outdoor yard and the back garden, consists of 5 blocks, 6 yards and 2 gardens. Fourth, the outdoor yard with aesthetical value and anti-fire function, is an ecological garden influenced by Confucianism and Taoism with a pond (BangJiWonDo Type, 方池圓島形) at the center. Fifth, the Sarang yard(舍廊庭) is decorated with terrace garden and flower garden, and the landscaping components such as oddly shaped stone, crane, plum, pine tree, tamarisk tree and flowering plants were used to depict the ideal fairy land and centrally placed tree for metaphysical symbolism. The upper floor of Sarangchae commands distant and medium range view, as well as upwards and downwards. The natural landscape intrudes inside, and at the same time, connects with the outside. Sixth, pine forest over the northern wall and the intentionally developed low hill are one of the traditional landscaping techniques that promotes pleasant residential environment as well as the aesthetics of balanced fullness.

• Journal of Korean Society of Forest Science
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• v.108 no.2
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• pp.177-188
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• 2019

The aim of our study was to identify the changing trends in the composition, structure, and spatial distribution of forest vegetation in Apsan Park, a representative urban forest in Daegu, South Korea. A vegetation survey was conducted in 1997 and 2016 using phytosociological methods, and a detailed vegetation map was created using the physiognomic dominant species. There were 22 vegetation types in both 1997 and 2016, but two of those types increased and two decreased. The total coverage per unit area ($100m^2$) of the component vegetation species increased from 163% in 1997 to 182% in 2016, and natural vegetation tended to be more than twice that of artificial vegetation. The average number of species decreased by seven from 25 in 1997 to 18 in 2016. Species diversity (H') increased only slightly from 1,654 in 1997 to 1,680 in 2016, while species dominance (D) decreased by 9% from 0.304 in 1997 to 0.276 in 2016. The similarity in the composition of the forest vegetation was about 78%, which was nearly the same. The life form spectrums of vascular plants changed from '$G-R_5-D_4-e$' in 1997 to '$MM-R_5-D_4-e$' in 2016 and the central dormancy type changed from geophytes (G) to megaphanerophytes (MM). The spatial distribution of the forest vegetation was reduced by approximately four times that of artificial vegetation. The number of forest landscape elements (patches) increased from 269 in 1997 to 294 in 2016, while the average area decreased by 12% from 5.8 ha in 1997 to 5.1 ha in 2016.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.100-119
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• 2016

The concept of "original form" and the principle of "maintaining the original form" take center stage in conservation, management, and promotion of the domestic heritage. Introduced in the 20th century, there were little discussion or deliberation about the concept of "original form" therefore it remains a vague and somewhat abstract notion subject to individual interpretation. Without a specified practical meaning, "maintaining the original form" became the fundamental principle for heritage conservation and management in the 1999 version of the Cultural Heritage Protection Act, engendering difficulties in applying the principle in practice. Conceived as an important first step toward resolving the issues stemming from the indistinct concept of "original form," this paper explores the process through which the concept was introduced to Korea and then established and developed as a legal principle for heritage conservation, management, and promotion. While the examination of the related documents and various cases shows that the development of the concept of "original form" has centered on specific periods and architectural styles, this essay explicates that the notion "original form" is commonly used as a term referring to the form at the earliest possible temporality. It also explains that this view emanates from perceiving heritages not as multivalent objects, but as a material object that exclusively carries aesthetic and, more importantly, historical value, and that comes from the history awareness of the times. This essay suggests that the concept "original form" should be reestablished with full consideration of the diverse values of heritage and diverse forms through which heritage can be expressed. After reviewing the feasibility and practicality of the concept a set of concrete guidelines should be presented for application in practice.

• Korean Journal of Heritage: History & Science
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• v.36
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• pp.347-377
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• 2003

China is a country with large agricultural areas and subject to frequent calamities. Drought is the top of them. It has been a key problem for development of agriculture in the country. In the long struggle against drought, Chinese have accumulated many rational and irrational experiences. The Dragon Kings Belief, which is popular in North China and discussed in a thesis, is one of their irrational experiences. The belief was passed together with Buddhism from India to China in the Tang Dynasty. After it settled down, it was incorporated with the local five dragons belief and a set of beliefs in dragon kings came into existence. The emergence of the dragon kings belief ended the history that the title of rain got was not clear in China and Dragon kings finally got the status. Irrigation is the lifeblood of agriculture in China. In a Chinese mind, Dragon kings are the most important gods who take charge of rain and thus offer the lifeblood. In understanding the nature and characteristics of Chinese traditional culture, it is important for us to make clear the origin and evolution of the belief, find out its nature, function and operation. In the every year beginning of February of the Fanzhuang calendar in the people of Hebeisheng Zhaoxian, would all hold a festival to offer sacrifices to the $^{{\circ}TM}^{\prime}longpai$. Longpai was regarded as the core of the temple fair, thus the native sons came to call this festival; "longpaihui". In this region the'Fanzhuang longpaihui'developed into a well knownand grand temple fair. It was able to attract numerous pilgrims with its special magic power, occupying a place in $China^{{\circ}TM}$ 'eryueer'festival with festive dragon activities. The dragon is a common totem among Chinese nationals. The belief worship of the dragon dates from the start time of primitive societies. Dragon oneself the ancients worship's thunder lightning. In the worship of the great universe, at first afterwards this belief with the tribe's totem worships to combine to become the animal spirit. In ancient myths legends, along with folk religion and beliefs all hold a very important position. The longpaihui is a temple fair without a temple; this characteristic is a distinction between longpaihui and other temple fairs. As for longpaihui must of the early historical records are unclear. The originator of a huitou system has a kind of organized form of the special features rather, originator of a huitou not fix constant, everything follows voluntarily principle, can become member with the freedom, also can back at any time the meeting. There is a longpaihui for 'dangjiaren', is total representative director in the originator of a huitou will. 'banghui' scope particularly for extensive, come apparently every kind of buildup that help can return into the banghui, where is the person of this village or outside village of, the general cent in banghui work is clear and definite, for longpaihui would various businesses open smoothly the exhibition provides to guarantees powerfully. Fanzhuang longpaihui from the beginning of February to beginning six proceed six days totally. The longpai is used as the ancestry absolute being to exsits with the community absolute being at the same time in fanzhuang first took civil faith, in reality is a kind of method to support social machine in native folks realize together that local community that important function, it provided a space, a kind of a view to take with a relation, rising contact, communication, solidify the community contents small village, formation with fanzhuang. The fanzhuang is used as supplies for gathering town, by luck too is this local community trade exchanges center at the same time therefore can say the faith of the longpai, in addition to its people's custom, religious meaning, still have got the important and social function. Moreover matter worthy of mentioning, Longpai would in organize process, from prepare and plan the producing of meeting every kind of meeting a longpeng of the matter do, all letting person feeling is to adjust the popular support of, get the mass approbation with positive participate. Apart from the originator of a huitou excluding, those although not originator of a huitou, however enthusiasm participate the banghui of its business, also is too much for the number.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.243-266
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• 2004

This paper is based on fieldwork conducted from July 6, 2003 to July 24 of 2003 among the Tungusgroups Hezhe, Daur, Oloqun, Owenke, and Mongolian in the areas of Heilongjiang and Inner Mongolia Provinces. Recognizing the need for more in-depth study among these groups, the present research shows that the Tungus people are archeologically, historically, and linguistically different from Korean Han ethnic group and challenges the link between Korean and Tungus groups since the Bronze Age. The comparison between the "House Spirit" belief of the Tungus people and Koreans reveals certain commonalities in the "Maru," "Kitchen," and "Samshin Spirit" practices. There are two possible reasons for such commonalities. Historically, the Korean Han ethnic group and the Tungus people were geographically intimate, and contact or transmission between the two groups occurred naturally. Also, immigration of refugees from the fallen Koguryo and Puyo to the Tungus region added another dimension of cultural contact. In contrast to the common features shared between the two groups, there also exists differences between the two groups House Spirit blief. The Korean Han group's "House Spirit" belief is based on the agricultural practices that separates the inside sacred and outside secular world of the houses, whereas the Tungus ethnic group's "House Spirit" belief is based on mobile herding life style with a less distinction between in and outside of house. Additionally, each Korean "House Spirit" has its own distinctive personality, and each spirit is placed and worshipped according to its function. In the Tungus group, all the "House Spirits" are located and worshipped in "malu," and some of the spirits are non-conventional house spirits. Moreover, Korean "House Spirits" form a kinship structure, placing Songju, the highest spirit, at the center. In the Tungus practice, such structure is not found. The tight cohesive family formation among the house spirits in the Korean "House Spirit" belief is also the most distinctive feature in its comparison with Chinese belief. In China, the highest spirit is Jiang Taigong or Qiwu, and the house spirits do not have kinship relations. Korean's Outhouse Spirit and Chowangshin are related to the Han Chinese's counterpart on certain levels? however, their basic structures are different. It is clear that the correlation of "Malu" "Chowangshin" and "Samshin" between Korea and Tungus indicate important role of Tungus cultural elements within Korea's "House Spirit" belief.

• The Korean Journal of Archival Studies
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• no.47
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• pp.95-130
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• 2016

The job satisfaction of records managers is of importance because it affects their work performance and retention. The purpose of this study is to investigate records managers' job satisfaction and to identify factors affecting records manager's job satisfaction to find the way to improve their job satisfaction. Specific questions of the study are as follows: 1) What is the job satisfaction of records managers? 2) Are factors affecting job satisfaction different depending on record managers' personal characteristics? 3) What are the most influential factors on job satisfaction? To do that, questionnaires were used to gather data from 60 domestic records managers working in different types of records centers. Data analyses included descriptive statistics, one-way ANOVA, independent t-test, and multiple-regression analysis. Additionally, interviews with 2 record managers were conducted to collect opinions on factors affecting job dissatisfaction and recommendations for improving their job satisfaction. Important findings of the study are as follows: First, the respondents are moderately satisfied with their jobs (3.2 out of 5 points). The level of job satisfaction is different depending on years of career, years of employment, number of personnel the respondent is working with in the records center, and etc. The number of personnel the respondent is working with was found to be the most influential factor. Second, multiple-regression analysis result shows that motivation factors(satisfaction factors) are more influential than hygiene factors (dissatisfaction factors) on the respondents' job satisfaction, which confirms Herzberg's two factor theory. More specifically, 'work ethic,' one of motivator factors, has the greatest influence, followed by 'procedural impartiality', 'communication', 'job characteristic', 'distributive justice', and 'working conditions.' Based on the results, this study suggests several ways to improve record managers' job satisfaction level. First, the awareness of records management should be increased. The respondents indicated that their job dissatisfaction is usually derived from a lack of the awareness of records management. Therefore, every chief of organizations, National Archives of Korea, and records managers themselves should try to raise the awareness of records management. Especially, records managers should make stronger efforts to attract the office's attention. Second, records managers ought to establish their identity as records management profession. Also, they should participate in various activities of the archival community to overcome the limitation of individuals.