• Cross-Cultural Studies
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• v.41
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• pp.177-197
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• 2015

This study found that La hija del mar (1859) by Rosalía de Castro describes, as the background to the work, the lives of Galicians, along with the movement of the sea, scenes of the coast, storms, and lively plants in Muxía, a small city of Galicia and Cabo de Finisterre. It was shown that the nature of Galicia, as described in the work, is a beautiful site where fishermen and farmers live among the full aroma of plants and flowers, as well as being a subject of fear to the people there. Furthermore, it was also shown through the funeral process, along with a depiction of the natural environment, the unique place of Galicia is part of the traditional heritage that the Galician people have preserved, in which Roman Catholic rituals are mixed with superstitious rites. Moreover, the author shows through a description of the excessive drinking culture of Dionysian rites or Libation rites that Galicia is a land with longstanding and profound folk customs, as well as a special culture. It was proved that the work is a specific representation of the author's perspective. Thus, Rosalía depicts the lives of people and the natural environment, which have not been examined profoundly, although they always existed in Galicia. This provides space where the external reality of Galicia and part of the identity of Galicia can be elucidated.

• (The) Research of the performance art and culture
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• no.33
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• pp.97-128
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• 2016

According to the findings of the study, the music composition of the mask play is deeply related to the main characteristics of the scene. The first scene of the play starts with the Byeoksa dance. This particular dance part represents the evil spirit expel ritual. The instrumental accompaniment like and are played for the dance. The last part of the play starts with the Halmi and Yeonggam scene. This scene is played in both the instrumental and vocal music. For the instrumental part , for the vocal part and songs are played. and songs are played on the part of the Halmi's funeral ceremony scene. The instrumental and are played in various scenes for the accompaniment of the dance part. The musical structure of the mask play is flexible. This kind of flexibility of scene structure mainly concerned with the way of musical composition. The main structure of the mask play can be classified into two main styles according to the allocation of the vocal music. In first style, the vocal music is evenly dispersed. In second style, the vocal parts are concentrated in the rear section. As I mentioned earlier, no logical association is found in the matter of the scene arrangement. A scene arrangement has a deep connection with the arrangement of the music in each scene. In conclusion, the mixed arrangement of the scene in mask play is mainly concerned with the matter of the music arrangement in order to maintain the tension of the drama.

• (The) Research of the performance art and culture
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• no.36
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• pp.585-602
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• 2018

This article examines the academic world of Professor Sa jin-sil. This article is not a detailed and rigorous assessment of Prof. Sa's work. During my directly or indirectly meeting with Prof. Sa jin-sil, the writing was based on my experiences. This is why the theme of "participatory observation records" is attached. I was aware that this writing would become a customary and formal funeral speech. Because I thought Prof. Sa also did not want formal and customary writing. The initiation of the participatory observational records that I describe was the literature study of Prof. Sa. What I am about to say in the title of the table of "Known Performance and to Revalue." There I summarized my thoughts on what Prof. Sa contributed to the research of the literature study on traditional performance and my opinion of the justice of the assessment of her contributions. I have not recommitted again about contributions or achievements that have already been widely recognized. What I noticed here was what was to be revalued. I once again stressed the achievements that were not properly evaluated despite their importance and significance. In the ensuing discussion, I looked at Prof. Sa's entirely different academic side. I call the passage "an unexpected result against prejudice." The subjects covered were Prof. Sa's field-contextual studies. Prof. Sa is often referred to as a dramatical history or a traditional performing arts scholar who studies literature. Such an idea is so common that it is easy to overlook field-contextual research results, not literature-based. But I think this is prejudice. That is why the title of the table of contents has the words 'unexpected' and 'prejudice'. Here I actively emphasized and evaluated Professor Sa's achievements in field-contextual studies.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.271-317
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• 2014

This essay studied the acting theories of Diderot, Delsarte, Meyerhold, and Artaud to know the historical formation of 'sign acting' and its theoretical and aesthetic appropriateness. The sign acting so far discussed shows the repetitive patterns of idea as follows. The sign acting (1) emphasizes the physical expression such as gesture and movement, (2) assumes that the physical expression functions as a sign evoking special emotion and thought, (3) thus recommends the imitation of the outer sign, (4) uses a tableau for the effective reception of outer sign, (5) aims for the spectator oriented aesthetics as it stresses the result of outer sign rather than the creative process of a role, (6) assumes that the emotional reaction or the intellectual understanding springs from the physical experience, (7) thus emphasizes the physical language rather than speech, (8) can attain the appropriateness of physical language by the recent theories of cognitive science. Besides having such commonness, the sign acting also reveals the individual differences. For instance, the intended sign for Diderot and Delsarte was the sign of emotion, for Meyerhold the stylized sign of circus and acrobatics, and for Artaud the spiritual sign. If Diderot and Meyerhold demands the cool consciousness for the correct sign acting, Artaud's sign acting tends to pursue the state of trance. And if Diderot, Delsarte, and Meyerhold think the sign acting on the level of sensory appeal, Artaud insists that the sign acting should dismantle the spectator's sense. As such the discussion of sign acting shows both recurrent ideas and new visions, forming an unity out of diversity. Perhaps the sign acting is a matter of practice before we consider it as a theory. It is not only supposed to have been existed practically since ancient theatre, but also used by actors consciously and unconsciously in expressing certain emotion and thought. We need to study the sign acting more academically, considering its long history and aesthetic potentials. In fact the sign acting has been an essential element of acting, in spite of bad reputation judging it as a banal and worn-out style. It is true that the sign acting, in the worst case, could produce a stereotypical expression. It was this aspect of sign acting that caused a fierce negative reaction of the realists who sought the natural expression based upon psychological truth. Of course the sign acting has a serious problem when it stays banal and artificial. But we need to see this issue from a different perspective. What is the natural expression of emotion? How is it free from the learned way of expression? In some respect, we use, in reality, a learned expression of emotion that could be accepted socially. For instance, when we attend a funeral, we use the outer sign of mourning gestures learned socially. If a semiotic expression pervades various aspects of our life, the acting, being the representation of life, seems not to be free from codified expression. The sign acting could be used consciously and unconsciously in all kinds of acting.

• Korean Journal of Heritage: History & Science
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• v.41 no.1
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• pp.57-78
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• 2008

According to the previous studies about Shilla's cremate grave, in the process of importing the cremate grave, there has been correlation with Chinese Buddhism, and there have been a lot of mentions about the change of the grave, Yinwha(Stamp) patterns and its existence, and about the characteristics of the vessels to contain the bones. The cremate grave is categorized into two-parts type and mono-type, depending on the dead person. The cremate graves that are in local areas such as Wang-Gyeong, show difference in types. The typical vessel to contain the bones, called "Yeongyeol Gori Yoogaeho" is again proved to have existed from A.D 8c. ~ A.D 9c., judging from the Yinwha pattern stamp's existence. Yet, the Yeongyeol Gori Yoogaeho from 9th century used the patternless pottery, also seen from the Won-wha 10 yeon-myeong cremate grave. Due to the prosperity of Buddhism, when the "Mukuchonggwang Taranikyong(Sutra)", translated into Han language in 704 at Dang, was imported into Shilla, the funeral ceremonies of Shilla people changed from making cremate graves with vessels or scattering the bones in oceans, into building stupas in temples with hopes and wishes to bring oneself and family's fortune and the next life of the dead. As a result, the meaning of "Grave" disappeared for the cremate graves, and rather the ceremony changed into scattering bones and wishing fortunes for the dead person. In other words, the ancestor-worship ceremony which was focused on the tomb changed into commemorating the ancestors and wishing individual fortunes by the religious assembly in temples and the building process of stupas. In conclusion, this social change was the cause of the extinction of stone chamber with tunnel entrance and the tombs such as cremate grave.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.52-69
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• 2012

This paper attempts to analyze the inner and outer structure of royal tombs that were built during the Joseon Period. This analysis is based on the relevant historical records and they were restored through visual composition in order to compare the features of Joseon royal tombs with those of Goryeo royal tombs and common tombs of the Joseon Period. Royal tombs of the Joseon Dynasty are structurally solid and contain a variety of artistic ornaments that symbolize guardian deities both inside and outside to protect the owners of the tombs for a long time. According to historical records such as Sejong sillok oryeui (Five Rites of State from the Annals of King Sejong) and Gukjo oryeui (Five Rites of State), it is presumed that the inner structure of royal tombs dating back to the early Joseon Period consisted of a stone chamber and that the byeongpungseok and nanganseok were built outside of the tomb. However, ever since King Sejo left it in his will not to make a stone chamber in his tomb, the royal tombs began to follow a new pattern, a burial pit outside the coffin filled with lime powder. Gukjo sangnye bopyeon (Supplement Book of the State Funeral Rites), which was compiled during the reign of King Yeongjo, is a book that shows how the royal tombs were formed in the late Joseon Period. The book explains in detail how lime powder was used to fill the burial pit of royal tombs. The byeongpungseok used during the late Joseon Period were engraved with peony flowers, while those previously made were engraved with twelve spirit warriors. Peony designs were frequently used to decorate the items of royal families, and the use of peony designs in tombs reflects the idea of regarding the royal tombs as an everyday living space for the deceased.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.387-411
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• 2007

The analysis of ancient DNA (aDNA) has become increasingly considerable anthropological, archaeological, biological and public interest. Although this approach is complicated by the natural damage and exogenous contamination of a DNA, archaeologists and biologists have attempted to understand issues such as human evolutionary history, migration and social organization, funeral custom and disease, and even evolutionary phylogeny of extinct animals. Polymerase chain reaction(PCR) is powerful technique that analyzes DNA sequences from a little extract of an ancient specimen. However, deamination and fragmentation are common molecular damages of aDNA and cause enzymatic inhibition in PCR for DNA amplification. Besides, the deamination of a cytosine residue yielded an uracil residue in the ancient template, and results in the misincorporation of an adenine residue in PCR. This promotes a consistent substitution (cytosine thymine, guanine adenine) to original nucleotide sequences. Contamination with exogenous DNA is a major problem in aDNA analysis, and causes oversight as erroneous conclusion. This report represents serious problems that DNA modification and contamination are the main issues in result validation of aDNA analysis. Now, we introduce several criterions suggested to authenticate reliance of aDNA analysis by many researchers in this field.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.169-211
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• 2004

As for the "Guang-Xi(廣西)", "Dong-Shan(東山)", "Yao-Ju(瑤族)", folklore culture to achieve the substratum (New Year manners and customs, a passage rites, folk belief, dwelling folklore, agriculture and a farming machine) generally very received an influence of "Han-zu(漢族)" for the reason that an interchange was active early with "Han-zu(漢族)". However, a traditional form of "Yao-Ju(瑤族)" is covered the base with. Even if it is a national holiday commemorateing the birth of the "Pan-Gu(盤古)" which is ancestors of all "Yao-zu(瑤族)" during New Year manners and customs, songs as "ku-jia(哭嫁)" consisting at the time of marriage during a lot of ritual, "zhaoxu-hun (招婿婚)" and the "liangtou-che(兩頭扯)" marriages which are a classic marriage of "Yao-zu(瑤族)", a ritual format, master "Shi-Gong(師公)" of faith of "Yao-zu(瑤族)" are. Also, a difference is in dwelling folklore related to construction or this very much in "Han-zu(漢族)" and the various sides. It is the part where toilets to use are quite different from the Korean race in a tool, the outside written with the dwelling formal characteristics that are structure, "the ceremony of putting up the ridge beam" in, for example, two folds. Agriculture and a farming machine are basically similar to it of the Korean race, but it is a degree with some transformation by environment and the local cause.

• Journal of the Korea Convergence Society
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• v.13 no.4
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• pp.111-125
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• 2022

This study historically examined nine representative community-related elements such as Hyangyak, Doore, Pumassi, Dongje, Gwallye, Wedding, Funeral, Ancestral Rites, Saemaul Undong, etc. in our society. This study aimed to create a better Korean society by revealing the relationship between well-aging and well-dying. This study investigated and analyzed 45 recent papers published between 2016 and 2021. As a result of the analysis, out of 45 cases, 22 cases are connected to the Joseon Dynasty, and 15 cases are related to modern society. When divided into life and death, 6 out of 9 items were bound to life, and 3 items encompassed life and death. And based on the relationship between well-aging and well-dying, it was specified as Type A-D. In conclusion, this study allows our society to achieve social integration and share the interests of the community through the principle of reciprocity and solidarity. This study can contribute from the perspective of convergence to becoming a true community that can share the interests of the community.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.1
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• pp.31-36
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• 2021

This study is for the collection and analysis of historical records on forest culture. It aims to satisfy the people's needs for forest culture by collecting and analyzing forest-related materials described in the law codes of the Joseon Dynasty to grasp the general matters of the forest culture at that time. From the provisions related to forests in the law codes of the Joseon Dynasty (Gyeongguk Daejeon, Sokdaejeon, Daejeon Tongpyeon and Daejeonhoetong), it was possible to gain insights into the process of changes in forest administration and policies, and changes in forest landscape, etc. Analysis of the Gyeongguk Daejeon revealed the following facts; at that time, special tree species or trees produced only in specific regions were managed separately; and there was a lot of attention paid to manage the landscape of specific areas; for reserved forest management regulations, beyond the level of logging bans, attention was paid not only to planting and cultivation, but also to landscape creation. In addition, it was found that private ownership of forests was generally forbidden, however, the ownership of a certain range of forests around the tombs was recognized for funeral rites.