• 음성과학
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• 제10권3호
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• pp.79-86
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• 2003

This study compared the voices of ministers and priests. There. has been a common notion that ministers is more passionate than priests in delivering their speech. Therefore, it can be assumed that ministers abuses or misuses his/her voice compared to priests. This study attempted acoustic analysis of the voices of 6 ministers and .5 priests before and after their speech. We measured F0, jitter, shimmer, NNE and HNR using Dr. Speech (Version 4.0, Tiger DRS). A t-test was performed to determine any objective differences of their voices. The results showed that there were no significant differences in the voices of ministers and priests before and after their speech. However, there seemed to be an interesting reversed tendency between ministers and priests, although it did not reach a statistical significance. That is, P0 tended to increase after the speech in ministers, whereas it tended to decrease in priests. In addition, HNR tended to decrease after the speech in priests, while it tended to increase in ministers.

• 동아시아식생활학회지
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• 제6권3호
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• pp.425-434
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• 1996

The purpose of this study was to investigate of the dietary life and nutritional status of the Buddhist priests. Dietary life, the state of prepare a meal and menu are carried out through the questionnaire and the nutritional status is carried out through the analysis of the constituents of the blood. The results of this study can be summarized as follows. 1. The traditional temple's foods undergo a change with the variety and westernization of dietary life. 2. Buddhist priests take a carbohydrate centered meal and the intake of protein and lipid is tendency to lack, but the intake of vitamin and mineral is sufficient with various vegetables. 3. The content of the lipid compoents and glucose of blood are low and they are free from the danger of geriatric diseases but the content of triglyceride is very higher than the healthy general adults. Therefore it is necessary to improve the nutritional status of the buddhist priests with decrease the intake of rice and increase the various side dish and to develop the standard menu for the Buddhist priests.

• 한국의상디자인학회지
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• 제21권4호
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• pp.43-54
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• 2019

This study analyzed the casula wearing by Catholic priests. By understanding various applications of the priests' wearing of casula, we can understand the meaning of wearing casula, situational judgment, and the role and status of priests. Ultimately, the Catholic symbol and meaning of the casula can be found. The purpose of this study is to examine the basic setting of the casula, the setting according to the status of the priest, and the origin of the casula. Second, this study to understand the design of the pattern shown in the casula. The patterns containing the symbol and the liturgical period were examined, and the method of making the pattern design was considered. Third, various symbols appearing in examples of priests' rituals were considered and analyzed. The method of this study was to utilize various pictures acquired during interviews with priests and nuns and to perform content verification. As a result of this study, the aspects of form, color, and pattern were shown through the wearing of casula during various situations. First, the morphological symbols appearing in the rituals are the simplified casula that hangs on the stola on the top of the alb and the symbols of the form according to the priest's status. In the liturgy, the casula is put on the outermost side as for basic wearing, but in the case of celebration or the attendance at celebrations other than the liturgy, it is the same as simplified wearing. Second, in terms of the symbol and color, the basic colored casulas were worn to match the time and character of the liturgy, and in addition, on the priests' ordination ceremony and celebration day the priests wore white casulas. Third, the symbol of the pattern used in the casula was a Cathoric pattern according to the period in the basic casula wearing of the liturgy. In addition, the patterns were produced by combining the patterns and meaning of the priests that were used in the casulas of the priests' ordination ceremony. The design of the pattern used in the beatification mass casula and the Mass of Peace casula during the Pope's visit to Korea in 2014 used the same motif as the Pope's design, but the simplified pattern was produced for the casula of the Cardinal and bishops. Through this, it is possible to understand the situation where a morphological symbol appears due to a distinction according to the role and status of the priest. This shows that the symbols that appear are the cross and should also consider the complexly, shape, color, and pattern.

• 아동학회지
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• 제3권
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• pp.115-126
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• 1982

Nobody denies that to detect a view of children agreeable to us is one of our tasks. Studying the Early Buddhist Scriptures, for the purpose of finding and the view of children entered the priesthood of Buddhism rooted deeply in our culture, I can find out the following conclusions. 1. Buddha regards that adults and children are same in that both of them are equally able to attain Nirvana, and he recognizes the differences between adults and children appeared in body and mind in the process of spiritual discipline. 2. He consideres that parent's worldly love is needed to the children priests below the age of 12. 3. He called priests over the age of 12 to 20 children priests, and he said that they have to be under a certain guard in particular, because unlike adults they have a lot of problem in the discipline process. 4. In the view of human being's growth and development, it is assumed that the group of children priests played a part as a group of spiritual discipline for youths. 5. It's regarded that the group of children priests also had function as a group of child welfare of today. 6. In other side, we can see Buddha's strict view of education for children priests, that is, even though they were children they had to discipline themselves thoroughly according to the view of values of Buddhism as far as they are priests who entered the temple. 7. Even if they are children, only minimal living things are permitted to them, and an ascetic life is required to them. In modern sense, how can such views be accepted and used? I think, this is our new task deeply looked into again in the standpoint of education of whole man rooted in religions psychology.

• 복식
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• 제62권5호
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• pp.16-30
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• 2012

This study examines the types and features of formal ritual hats for Tibetan Buddhist priests. Findings of the study are as follows. The types of formal hats that Tibetan Buddhist priests wear during religious rites or rituals include: u rgyan pad zhwa, pan zhwa, tshogs zhwa, rigs inga, zhwa nag, zhwa dmar and dwags zhwa. The reason why such formal ritual hats as listed above were developed is because the region had an alpine climate, and also because they were the symbolism of Buddhism, the most reverent priest, and reincarnated Buddha thoughts. They were an essential part of the culture of dressing Buddhist statues and offering utensils. Formal ritual hats' shapes originate from lotus. They are colored in red, yellow, indigo, green, white or black, that reflect the nationality and aesthetics of Tibetans. They are mainly made of woolen or silk fabrics. They are usually decorated with gold, git bronze or jewels and the patterns of the sun and the moon, vajra or clouds.

• 복식
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• 제50권8호
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• pp.113-128
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• 2000

This essay examines the costumes for gods and priests in ancient Mesopotamia as they are depicted in various documents and artifacts of the period, and it is part of an ongoing project that studies the process in which the religious costumes, the means of religious communication, of ancient Mesopotamia had evolved. The study shows that the religious costunmes in ancient Mesopotamia have following characteristics. 1. The costumes for gods are the same as those for men, including warp-around skirts, tierd skirts, shawls, and tunics. However, there are some differences : costumes for gods include such distinguishing features as aprons and long tassels. 2. Both wear stylized headpieces that indicate their divinity and have long hair and long beard. 3. As for shoes, the Sumerian and Babilonian gods go barefoot, but the militant Assyrian gods wear sandals. 4. Sumerian and Babilonian figures do not have much, but the Assyrian gods wear various ornaments including earrings and bracelets that emphasize their muscular physique. 5. Priests wear weird skirts or wrap-around skirts but no top. They have shaved hair to indicate their role as purifiers, but some of them have long beards.

• 복식
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• 제60권2호
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• pp.68-80
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• 2010

In order to get the information needed for the preservation and application of Korean traditional dyeing techniques to modern textiles products, the present study analyzed the color and color differences of dyed goods according to the contents of fabrics and the traditional techniques of dyeing the Buddhist priests' robes. A spectrophotometer was used to measure the differences in achromatic color according to dyeing techniques, dyestuff, kinds of dyed fabrics, and after-treatment methods. Through experiments based on the traditional dyeing techniques used by Korean Buddhist priests, a total of 144 pieces of dyed fabrics were made and all the colors of those 144 pieces were analyzed. Among three dyeing techniques tested; (1) dyeing with a dye-bath made of ink stick that was ground down with water, (2) dyeing with a dye-bath made by shaking a bag containing ink powder in water, and (3) dyeing with a dye-bath made by rubbing a boiled ink stick on a fabric, dyeing with a dye-bath made of ink stick that was ground down with water was shown to be the best technique in terms of coloring. For fabrics, ramie was the best of all three techniques in terms of making achromatic color. Starching and rubbing was the most effective after-treatment method used on both fabrics dyed with a grounded ink stick and on fabrics dyed by rubbing a boiled ink stick on them. As a whole, yangyeonmook, made from minerals' soot, is better than songyeonmook, which is made by burning old pine trees or yooyeonmook, which is made by burning oils from seeds. Therefore, yangyeonmook could help to preserve and utilize the traditional dyeing techniques of Korea in a practical way in modern life.

• 기독교교육논총
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• 제65권
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• pp.189-214
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• 2021

본 연구의 목적은 중세 후기 탁발 수도자들, 도미니칸 수도자들을 중심으로 그들의 삶과 교육목회가 성직자와 평신도들에게 끼친 영향을 탐구하는 것이다. 탁발 수도자들의 사도적 삶과 탁월한 교육목회는 거룩한 진리를 갈망하던 평신도들의 믿음의 성장에 크게 기여하였다. 특별히 도미니칸 수도자들이 가르친 정통 기독교 교리와 논리적 논쟁을 통하여 카타리파와 같은 이단들의 개종에 기여하였다. 또한, 탁발 수도자의 목회는 중세교회의 성직자들로 하여금 교회의 본질에 대한 바른 이해와 사도적 소명의식을 굳게 하였다. 끝으로, 탁발 수도자들의 교육 목회는 중세 교회 성직자들이 설교자, 교사, 영혼의 치유자, 그리고 고해 신부의 역할을 감당하는데 큰 도움이 되었다.

• 복식
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• 제44권
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• pp.144-152
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• 1999

The purposes of this study are to 1) enforce the necessity of liturgical vestments though clarifying the symbolic meaning, function and ritual importance of Christian liturgical vestments of ministers, 2) figure out the process of changes and characteristics of Christian liturgical vestments of ministers. 3) clarify the liturgical year, symbolic patterns and colors of the liturgical vestments, and 4) study on the status of current liturgical vestments worn by protestant ministers. Based on the catholic and the protestant churches, the scope of the study was decided and the study was conducted along with research on documents and materials. The results are as follows: 1) The liturgical vestments of priests in the Old Testament era had to be worn by stipulated rules and, instructions to perform duties. 2) The liturgical vestment of the catholid church are very various in their kinds and has their unique origins and meanings. 3) The symbolic patterns, color and meanings used by liturgical years of christianity. 4) Design on the liturgical gown and stole of christian ministers.

• 문화기술의 융합
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• 제7권1호
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• pp.496-501
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• 2021

한국영화에서 무속 혹은 무당의 표상은 시대에 따라 달라져왔다. 2000년대 이후 무속과 무당은 영화의 주요소재와 인물로 이전보다 빈번히 등장하게 된다. 무당에 대한 본격적인 탐구는 다큐멘터리 작업에서 이루어지는데 <영매>, <사이에서>, <비단꽃길> 등이 이에 해당되는 작품들이다. 극영화에서도 무속과 무당은 보다 다양한 양상으로 소환된다. 무속인은 유괴사건을 해결하는 탐정의 역할로 등장하기도 하고, 로맨틱 코미디의 남, 녀 주인공이 되기도 한다. 본고에서는 최근 한국 오컬트 영화에 등장한 무속과 무당 표상에 대해 비교, 분석해 보려 한다. 공포영화의 하위 장르인 오컬트는 신비하고 초현실적인 존재를 인간과 대비시켜 공포 효과를 창출하는 영화이다. 여기서 다루고자 하는 <검은 사제들>, <곡성>, <장산범>은 이전까지 한국 오컬트영화에서 보기 힘들었던 새로운 소재와 시각적 효과를 활용한 작품들이다. 세 편의 영화에서 무당과 굿의 의미는 확연한 차별성을 보이고 있다. 이들 영화의 분석을 통해 한국적 오컬트 영화의 특성과 가능성을 탐색하고자 한다.