• Journal of Korean Theatre Studies Association
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• no.40
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• pp.5-27
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• 2010

The Korean Mask-Dance Theatre has been developed closely related to Korean Shaman rituals. As many scholars noticed, the performers of the Mask-Dance Theatre were closely related to the Shaman family. In addition, there are mask-dance performances in actual shaman rituals. and are the representative performances among them. This essay intends to compare these two mask-dance performances in the shaman rituals to the similar performance of Old Grandpa and Grandma episode in the regional Mask-Dance Theatre. This study would bring us further in proving the close relation between the shaman ritual and the Mask-Dance Theatre. is one episode, Keori, in the shaman ritual of 'Baeyeonsin-kut' and 'Taedong-kut' in the mid-west seashore area. 'Taedong-kut' is the village shaman ritual for fertility and prosperity, while 'Baeyeonsin-kut' is a private shaman ritual for a large catch of the ship. is held in the later part of the whole shaman ritual since the later part tend to be more for entertainment than actual ritual. The story of is very similar that of in Pongsan Mask-Dance Theatre of the mid-west region. In addition, some of their dialogues are very similar. Only the later part is different. These similarities indicate that the Mask-Dance Theatre, which came into being in later period than the shaman ritual, has likely taken the story motif of the shaman ritual. is also a performance in the shaman ritual of east coasts. is more elaborate and recreational than of the west coasts. is also performed near the end of the ritual, and sometimes it is not performed at all. This indicates that has little ritual meaning left. When we compare it with the regional Mask-Dance Theatres such as Keosung Okwangdae, Tongyong Okwangdae, and Suyong Yaryu, the structure and the story lines are also very similar. It is a question why only the motif of the Grandpa and Grandma isfound both in the shaman ritual and the Mask-Dance Theatre. Many other motifs of other episodes in the Mask-Dance Theatre are not found in the shaman rituals. It seems that the Grandpa and Grandma motif is related to the ur-belief in fertility. In other words, this motif seems to be originated from the old belief in the fertility couple of Chonha Taechanggun and Jiha Yeochanggun. The shaman ritual for fertility first picked up this motif, and then the mask-dance theatre also adapted this motif for its recreational purpose. When we compare with , still has more aspects of fertility ritual, while lost its ritualistic meaning and its main purpose is to develop dramatic needs. and are invaluable existent performances to prove theatre's origin in ritual. The existence of mask-dance performances in the shaman rituals shows us the transit performance between theatre and ritual.

• Journal of Dairy Science and Biotechnology
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• v.17 no.1
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• pp.58-71
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• 1999

This study was designed to investigate the health promotion effect of fermented milk and historical story of Korean dairy products from the ancient period to present. Although the origin of fermented milk is Europe, the recede of fermented milk was founded in far-east and middle east areas at BC 4C. After the spread of fermented milk to Korea and Japan. The consumption of fermented milk in Korea was dramatically increased to 14.2 kg per person in 1997. Health promotion effect of fermented milk can be devided to 5 major effected improvements of intestinal microflora, anticancer, cholesterol assimilation anti-pathogenic activity. Fermented milk reduced the level of ${\beta}$-glucornidase and nitroreductase to 50% and it provides anticancer activity by cell wall an polysaccharides. Fermented milk has cholesterol assimilation activity ca. 54${\sim}$40% (B. longum, Str. thermophillus). Anti-pathogenic activity of fermented milk was significant. It appeared that Sal. ser. typhimurium was more susceptible than 5. coli 0157 at low pH fermented milk. Viable cells of E. coli 0157 were not dramatically decreased in most of fermented milks tested, but in general, Sal. ser. typhimurium was drastically decreased in most of the fermented milks.

• Journal of Korea Game Society
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• v.18 no.3
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• pp.87-102
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• 2018

In this study of effective game localization, we attempt to gauge the influence of characteristics on the translation of the texts in games. In general, the characters in the games that feature interactive story-telling structure have a huge impact on events that occur in the games. Additionally, in case the origin of the characters are closely connected with either cultural factors or symbolisms, the relation between characters and stories tends to be stronger. In this research, the characteristics of the characters in the game 'Lobotomy Corporation' - featuring characteristics based on 'The Tree of Sepiroth' of Kabbalah - will be analyzed in depth; then, the result will lead us to suggest the method of proper translation in order to show how to localize the games effectively in future.

• Journal of the Daesoon Academy of Sciences
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• v.21
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• pp.1-28
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• 2013

The intention of this article is to check for the believers in Daesoonjinrihoe how to perceive the gods who they believe in. For that intention, I explained how the perception of gods in Daesoonjinrihoe is different from the perception of gods in other religions. To make a long story short, because of its polytheism the idea of god in Daesoonjinrihoe is different from monotheism such as Christianity, Islam. In addition, in spite of its polytheism it is different from other polytheism such as the religion in ancient India, especially rig-vedicreligion. In this article it is said that the believers in Daesoonjinrihoe have understood the distinction between Shin(神) and Shinmyung(神明). Nowadays Shin that has been used in Korea, China, Japan, is the word that was translated from English god. Therefore we need to reappraise the meaning of the word Shin. Anyway Shin that is being used in general means Shinmyung in Daesoonjinrihoe. Instead when they say the name of functional gods and the name to which the meaning of its origin affixed, the word Shin is used. Meanwhile, it has the advantage of classifying the ideas of god, but we can't explain all of them through the use of those classifications. I checked some classifications in this article and tried to apply the idea of gods in Daesoonjinrihoe. As a result, each classification has some critical points. There fore in this article I explained the distinguishing ideas of god in Daesoonjinrihoe from that in other religions, instead of the explaining fitted those classifications.

• Cartoon and Animation Studies
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• s.33
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• pp.223-246
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• 2013

Even though cartoons and narration comics were born from different origin, they have been called by names such as 'cartoons' or 'comics'. The reason can be found in the similarity of cartoons and narration comics. The similarity of cartoons and narration comics is the genre consisting of writing and drawing. Writing can be the format of expression and it can represent the story. Such story is present as a component of 'narration'. Sub genre of comics includes cartoons and narration comics. It includes animation in a broad range. In cases of narration comics and animation, it is thought that narration is present with continuity of time. However, in case of cartoon, because one or two cuts without continuity of writing are frequently expressed, it is being asked whether narration is present. It is easy to be reminded of epic or chanson de geste whenever you hear 'narration'. Since it deals with a biography of the character, we think the concept of 'narration' with temporality. However, narration provides a certain event in a broad range. Thus, cartoons presenting one event with the image may have the existence of narration, because description of multiple scenes of narrative comics can be implicitly represented in cartoons. As such implications leave a space, the empty space can be filled by active reasoning of recipients. However, nevertheless, it is very difficult to find studies as well as mentions of narration in cartoons. Thus, in this paper, we investigate the concept and structure of narration and demonstrate the presence of narration in cartoons. First of all, we looked at the narration theory in literature before studying narration in cartoons. The reason is that we thought the approach to the literary theory was required in order to investigate the basic elements, since cartoons are a collection of writing and drawing. We were focused on the prerequisites of narration presented in "story and discourse" of s. Chatman. If the prerequisites of narration are present, we can assume that the narration is present. The prerequisites are 'narration reasoning', 'screening', 'consistency', 'process statements' and 'stasis statement'. As s. Chatman described them as prerequisites of narration, he analyzed the narration structures of films and novels. In addition, we revealed that the narrations were present in cartoons as we identified how prerequisites of narration presented by Chatman were presented and expressed through "vocabulary of comics", "Timeframe" and "life in the line" described in "understanding comics" by Scott McCloud.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.16-33
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• 2012

Maehwa blossom(梅花) has been favoured in literary and artistic works in the East Asia as one of representing symbols of virtuous men's character. Maehwaseookdo(梅花書屋圖) is one of major forms of painting. This paper starts from the birth of Maehwaseookdo since it aims to examine the following points: its structural origin of the Gurimaehwachonsado(九里梅花村舍圖) style; how this style was distributed in Korea; process and features of Maegamdo(梅龕圖). The current academic world admits Maehwaseookdo is originated from an ancient story of Lim Po(林逋). Even though Maehwaseookdo and Lim Po story can be linked to a meaning of schoarly hermitage, ways to structure works are hard to compare paintings based on Lim Po story. While paintings related to Limpo story such as Banghakdo(放鶴圖) and Gwanmaedo(觀梅圖) depict a scholar(s) and a few Maehwa trees with cranes, Maehwaseookdo presents scholarly hermitage with a lot of Maehwa trees which encircle a house building. As other paintings related to Maehwa blossom were widely painted since the nationwide popularity of the theme of Maehwa, Maehwaseookdo was not drown throughout the whole period of time. Since Goryeo, Maehwa paintings including Sehansamu(歲寒三友), ordinary Maehwado as one of the Four Gentlemen's plants, and Tammaedo(探梅圖) which was based on ancient anecdote of Maeng Hoyeon. Maehwaseookdo, however, was created exclusively in the 19th century. In China a similar feature took place much earlier period which was in the 17th century. Accordingly we can assume that these patterns which paintings in particular styles were generated by particular cultural phenomena. The reason why Joseon's Maehwaseookdo works were painted exclusively in the 19th century was that Kim Jeonghee's party and Sin wi had acquaintanceship with Jang Sim(張深) who got work orders for Oh Sungyang(吳嵩梁). In these corresponding activities, two types of Maehwa paintings were exchanged. In China, scholars usually drew paintings in the type of Gurimaehwachonsado(九里梅花村舍圖) depicting scenic views of Guriju(九里洲) which was riverside area under the Mt. Buchun(富春山). This place surrounded by thousands and hundreds of Maehwa trees was where Oh Sungyang(吳嵩梁) was about to retire to hermitage in. In this repect, Joseon scholars painted Maegamdo(梅龕圖) depicting a scene of a shrine with Oh Sungyang(吳嵩梁)'s poetry books surrounded by Maehwa trees for paying tribute to the wall of Maehwa trees(Maebyeok(梅癖)). This seems to adapt the format of 'Manmae(萬梅)' which appeared in the type of Gurimaehwachonsado. One of the representing works of this, is painted or supervised by Sinwi. Paintings in two types with respective meanings were combined by which was estimated to be painted by Sin Wi, then it became a structural base of by Jang Sim(張深) This type of Maegamdo brought the popularity of Maewhoseookdo which once had another name of 'Manmaeseookdo(萬梅書屋圖)' by a group of scholars such as Jo Heeyong, in the 19th century. All things considered, this paper can be a sort of precedent phrase to find out the birth of Manmaeseookdo which was very popular in the late 19th century.

• The Southeast Asian review
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• v.20 no.3
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• pp.223-262
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• 2010

This paper has been written to find facts about the image of earth goddess broadly found in the Southeast Asia. The research findings are as follows: Firstly, the image of earth goddess wringing her hair is phenomenally discovered in both Buddhist temple murals and independent shrines in Thailand. This phenomenon is common in other Indochinese Buddhist countries such as Myanmar, Laos and Cambodia. Secondly, the life of Buddha including the story of the victory over Mara is found in such Buddhist canons as Mahavastu, Buddhacarita, Lalitavistara, Nidanakatha and Patamasambodhi. Among the canons, the story of the victory over Mara is described in differently ways. Earth becomes personified as the goddess in later version. The main cause to expel Mara's army also changes from sound to water. Patamasambodhi is most closely associated with the iconography of the earth goddess of Southeast Asia. Thirdly, Vessantara Jataka and Indian ancient customs tell us that a merit maker performs a rite of pouring water on the earth as an evidence for merit-making. This rite is a key to understanding the meaning of the scene where the earth goddess expels Mara's army into the flood by wringing her hair. The earth goddess is personified from the earth upon which the merit water is poured. Water soaked in her hair is the very holy water poured by the Buddha whenever he made a merit in his former lives. The amount of water flowed from the hair of the earth goddess representing the amount of his merit making was so huge and enough to defeat the Mara's army and for the Buddha to reach the Enlightenment. This legend explains the significance of the notion of merit in the Theravada Buddhist countries such as Thailand and Myanmar where the water pouring rites still take place and the images of the hair wringing earth goddess are commonly discovered. Fourthly, the first image of the earth goddess as the witness of merits for the Buddha appeared in some Gandharan Buddhist sculptures in the form of devotional gesture with her both hands pressed together and the upper half of her body above the ground. The appearance is in accordance with the description of her in the Lalitavistara canon. In later periods, the form changed into various types and finally the image of the earth goddess wringing her hair appeared in Southeast Asia around 11 century C.E. Some researchers argue this image form of the earth goddess shows the influence from China or India. However, the arguments are considered to be hypothetical as they have no strong evidence to prove. Finally, the modern image of earth goddess shows richer and more dynamic expression compared with its predecessors. Especially, outstanding is the standing earth goddess images found in the scene of the victory over Mara in many temple murals of central region of Thailand. The earth goddess in her voluptuous body shape is usually depicted as wringing her hair with her arms wide open in a posture of S curve. This appearance strongly reminds us of the postures of Salabhanjika and Tribhanga originated from Indian art. The adoption presumably has been made to signify her fertile and affluent characteristics.

• Journal of the Korean Society of Food Culture
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• v.26 no.4
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• pp.374-382
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• 2011

The origin of Korean traditional food's spicy taste dates back to the first telling of the Dangun myth-a story of a tiger and bear who tried to reincarnate themselves in human form by eating garlic and wormwood. For a long time, Koreans have eaten spicy vegetables such as green onion, garlic, ginger, mustard, leeks, corni, cinnamon bark, and Chinese peppers (Zanthoxylum schinfolium) and Zanthoxylum bungeanum. In prehistoric times, spicy vegetables were probably used to eliminate the smell of meat. In the agricultural age, they were used to supplement meals with fresh taste. They were also used as a substitute for salt (salt was very precious and expensive) as well as side dishes for the poor. Spicy vegetables have also been used as a substitute for main dish like medicinal gruel and used to increase the spiciness of soup, and they are usually used as a side dish and with condiments in namul (cooked vegetable dishes), sangchae (salad), ssam (wrapped in greens and garnished with red-pepper paste or other condiments) and Kimchi. In addition, chili pepper was introduced to the Korean Peninsula in the middle of the Joseon Dynasty (mid-15th, 16th century). The soil and climate of the Korean Peninsula are suitable to growing chili pepper, and chili pepper has excellent adaptability and productivity. Accordingly, it is processed to red pepper powder and has become a major part of traditional Korean food along with Chinese pepper. Since the Joseon Dynasty, many kinds of Kimchi made with red pepper powder have been developed, and most Koreans enjoy them these days. The main characteristics of Korean food are spiciness and honest-to-goodness taste.

• Journal of Korean Society for Atmospheric Environment
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• v.14 no.6
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• pp.577-588
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• 1998

Polycyclic aromatic hydrocarbons (PAHs) are products of incomplete combustion and, in urban area atmosphere, are mainly traffic or heating in origin. Size-segregated aerosol samples were collected on the Eixth story of Shinchon on the Yonsei campus, using a high-volume cascade impactor, between August 1994 and September 1995. Ten PAHs were analyzed by GC/MSD. The size distribution of PAH-containing particulates followed approximately a log-normal relationship with the majority of PAH content associated with particles below 3.0mm. PAHs concentration in submicron particles increased during the winter months. The Mass Median Diameter (MMD) value of annual particulates in the heavy traffic area of Shinchon shows about 1.6 pm. The MMD values of air particulate in winter were the lowest values and similar to that in summer, while MMD values of seasonal PAHs were generally lower than 1.0 pm. Among the PAHs, MMD values of PAHs with the more than 5 benzen ring were averagely lower than those with 4 benzin rings. Especially MMD's of dibenzo (a, h) anthracene in winter was clearly lower than in summer. This reason may be caused by fuels used for heating. In this area, 50∼80% PAHs mass was particles smaller than 1.0mm aerodynamic diameter in size range, and the MMD values of PAHs lower than those of other country's area.

• The Journal of the Korea Contents Association
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• v.20 no.5
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• pp.500-512
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• 2020

This research aimed to verify organizational culture of resort underlying bottom of organization and shared by employees. Healing-seeking and life style oriented experiences are in prevailing recently, which resort industry insomuch as presumably held from its origin. Unfortunately, it is also widely recognized that resort lost its entity, blurring business domains with hotel industry or yielding integrated resort by imitating theme park. In order to probe organizational culture, in-depth interview with 16 resort experts conducted in resort setting, prepared by Gremeis actant model which is effective in finding myth(story) structure of interviewees. Firstly, interviewer matched six actants with resort business involving-group and asked interviewee to metaphor freely based on 3 night resort experiences. Results showed that sender, receiver, subject, object, helper and opponent were matched with resort, visitor, company, product & service, supporters, and opponent group in orderly manners and also interviewees made each actant into metaphor as healing, patient, medical doctor, medicine, helper and charlatan, respectively. Significance and limitation of research were included in the end of article.