• (The) Research of the performance art and culture
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• no.41
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• pp.133-156
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• 2020

This is a paper that examines the meaning and changes of how Dalgang Song, a parenting song, is accepted in pansori works and how it plays a role in the narrative of the work. In Chapter 2, Compared the lyrics of Dalgang-Dalgang in actual parenting scene and Dalgang-Dalgang in Pansori's work. As a result, the songs in Pansori, show some differences in lyrics, but most of them kept the narrative structure intact. Among them, Gangreung-maehwa-ga maintained the phrase "Dalgang-Dalgang" in front and back, making the least changes. Simcheong-ga and Jeokbyeok-ga maintained their epic structures, but the the front and the rear phrase turned into a "Uh huh, Doong doong". And Dalgang-Dalgang was sung mostly by its mother or grandmother at the actual parenting scene, but the song in Pansori, was all sung by men. Dalgang song in Pansori, had a mostly Gyemyeon melody due to the genre characteristics of Pansori. Also Dalgang-Dalgang for actual parenting, was sung with a leisurely, soft beat. But Dalgang song in Pansori's works were sung rhythmical with Jungjungmori rhythm or Jajinmori rhythm to maximize joy. In Chapter 3, I discussed the roles and meanings of Dalgang song contained in Pansori. Dalgang-Dalgang of Simcheong-ga appeared in the crucial process of Sim Hak-kyu's return to will of life through Simcheong after the death of his wife. In Jeokbyeok-ga, Dalgang song also appeared as a tool to recall the happy memories with his son. On the other hand, Dalgang-Dalgang of Gangreung-maehwa-ga played a role of expressing affection for relationships between men and women, not between parents and children. This is beyond the original meaning of parenting, which means the hedonistic and excessive affection of Mr. Gol. The desire to change a relationship between a man and a woman into between parents and children is also found in Kim Yeon-soo's Chunhyang-ga. This change is an example of how the role and meaning of Dalgang song has changed dramatically as it was inserted into pansori. And the reason why Dalgang-Dalgang was so important in the narrative of Pansori was because of The lyrics of the song contain the love of the baby.

• Economic Analysis
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• v.27 no.4
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• pp.70-119
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• 2021

This paper analyzes the changes in financial reform during the Kim Jong-un era based on North Korean literature. We find that North Korea has systematically and functionally separated the central bank from commercial banks since the Kim Jong-un era began. In addition, enterprises have been allowed to withdraw cash from bank accounts and make inter-enterprise cash payments. In other words, nowadays non-cash currencies with passive money can partially serve as active money with purchasing power. With the systematic and functional separation of the central bank and the commercial bank, the issuance of the central bank changed to a money supply method through the commercial bank, and changes in the currency distribution structure have allowed commercial bank's credit creation function to be implemented. This means that the banking system and the monetary·payment system of the socialist planned economy are changing in the way of the market economy. Reforms in the financial sector are believed to have been necessary to support changes in the economic system and to restore the function of the public financial sector. These changes have progressed in terms of the level of reform, but they are still considered similar to the period of the former Soviet Union's Perestroika or to the early period of China's reform and opening. Although North Korea's financial reform is superior in terms of enacting the banking law, it is insufficient in terms of realizing the functions of commercial banks. In addition, it is assessed that institutional constraints such as maintaining a planned economy, and the lack of confidence in public finances limit the effectiveness and development of the financial system. It should be noted that these results are based on literature published in North Korea. In other words, there is a limit in the fact that such recent changes have been carried out on a trial basis in some areas, or have been carried out in a full-scale manner with a blueprint, since Kim Jong-un's inauguration.

• (The) Research of the performance art and culture
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• no.43
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• pp.357-380
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• 2021

Akjang yoram 『樂章要覽』 is a book that summarizes only the important contents from the Akjang 樂章. Akjang 樂章 is arranged in the first half, and score 樂譜 is arranged in the second half. It seems that Akjang yoram 『樂章要覽』 passed through a total of four stages through the time when the handwriting and the lyrics were written. The presence of various handwriting and traces of modifications means that it has been passed through by several people, so it is not unrelated to the fact that several traces remain on the back of the cover of Akjang yoram 『樂章要覽』. The first part of the Akjang 樂章 is a method of presenting the name and lyrics of the accompanying music based on the ritual procedure, and in particular, the lyrics are written in Chinese characters and Hangeul sounds to improve readability. The score in the second half complies with the ritual procedures, but boldly omits overlapping melodies, and is composed based on the music, and various symbols are used to capture the expression of court music. This structure is a reflection of the direction we practiced to harmonize with the music after prior ritual procedures and diction. This was a device to increase the efficiency of music education and music practice for the court musician. The characteristics of the musical pieces are that they consist of essential musical pieces that must be mastered as musicians. In addition, the name Kim Hyung-sik 金亨植 is noted on the back cover of Akjang yoram 『樂章要覽』, and he was a court musician who was active in the age of King Sunjo 純祖. In other words, the musical pieces included in Akjang yoram 『樂章要覽』 are the core repertoire played by court musicians like Kim Hyung-sik 金亨植. Akjang yoram 『樂章要覽』 is a 'music practice booklet' containing the daily life of court musicians. Akjang yoram 『樂章要覽』 is a booklet designed for the purpose of teaching the court musicians to sing while correctly pronouncing the lyrics in major ceremonies. It is even more noteworthy in that Kim Hyung-sik 金亨植 was an owner. In addition to the fact that Kim Hyung-sik's name remains, and in the practicality of being used by various court musicians reflecting and modifying the changes of the times, it is meaningful in that it contains the path of court musicians who spent a lot of time and time to transmit court music.

• (The) Research of the performance art and culture
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• no.42
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• pp.257-290
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• 2021

The Wonju Nongyo (agricultural work song) is geographically classified as eastern minyo (folk song) which has many distinctive, regional features such as tunes, forms and the use of a melodic line. There has been growing attention to the transmission value of the nongyo including the Wonju Eorirang of the Wonju Origol Nongyo and its region of origin. The Wonju Nongyo is of great value and worthy of preservation in the western part of Gangwon Province. For this reason, it seems fairer to say that a focus should be directed towards establishing the identity of the song and increasing the contextualisation of transmission. At the same time, the preservation association's efforts in passing the traditional song down and education activities fairly deserve equal attention. In addition to the way the folk songs are handed down, a discussion on the facilitation of their use will be required. An in-depth discussion about the restoration and use of the song will be encouraged in a multifaceted manner. Unfortunately, few of the previous literatures on nongyo has gone so far as to investigate Arirang as a separate research topic. In fact, the Wonju Origol Nongyo should be viewed as an intangible cultural asset that paved the way for performance artistry of the Korean agricultural work songs to be seen at a national folk art festival. From the perspective of regional characteristics (traditionally termed "tori"), the Wonju Eorirang represents the cultural value of the manners and customs of our locals which constitute unwritten and neglected literary property and musicality of the song. Particularly, a more attention should be paid to making a record of woodcutters and diversity of farmers' small cooperative groups. The existence of the Wonju Eorirang indicates that the melodies to which the song are sung in Nongyo are of infinite variety. A minyo-singer unfolds various journeys of life through various modes and structure of epic chants, ranging from first encounter, love to marriage, realistic problems to relationship with husband's family and death. The epic chant of the Wonju Origol Nongyo contains a rich variety of regional sentiments about life. In particular, the epic chants of the Galtteukgisor and Ssoeltteukgisori are a genius example of sexual satire and a sense of humor. In the past, the agricultural work songs were rhythmic songs served to synchronize physical movements in groups, coordinating tasks in upland farming and rice paddy with the usage of catchy, repetitive verses easy to pass down. The Wonju Origol Nongyo is a precursor of the work songs which took the farming activities a notch higher to be part of the excitement and festivals. In the context of transmission, a festival serves to demonstrate the value of history and life. The value of the Wonju Eorirang should be appreciated and a concerted effort should be made to find a way to facilitate the transmission of the folk song. A folk-singer is a traditional oral poet and a storyteller of minyo and the forms and species of melody solely depend on the signer. The combination of performance and witticism is shown by the singer freely expressing himself. The Origol Nongyo symbolizes ethnic arts cleverly combining playful effects such as tune, rhythm and old agricultural work of the region. It is to be hoped that much of the efforts is directed to designating such folk songs as the archetype of a cultural heritage. In terms of the foundation on which the folk songs are transmitted, the usage(Performance Content) of a community would be an alternative.

• (The) Research of the performance art and culture
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• no.39
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• pp.801-833
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• 2019

This article has reviewed on the characteristics of the Beompae (Buddhist chanting) performed by Gyeongjaeeosan Wonmyeongchang(唱) based on the result of musical style of Gyeongjae Anchaebi-sori as defined under the previous studies. And, through the comparison with the Beompae performed by Songam-chang (唱), a same type of musical piece, it contemplates on musical differences between the two singers. Results of the study are shown as follows. of Gyeongjaeeosan Seolhoeinyu-pyeon and of Socheongsaja-pyeon are sunged as Yuchi-Seong(聲) among Anchaebi-sori. 'main melody type' and 'ending type' are generally similar to the musical characteristics of the Yuchi-Seong(聲), and the differences between the two singers are detected from main melody type D and ending type b. In particular, under of Socheongsaja-pyeon, only the type a is detected among the two types. becouse ending note of ending-type 'a' is ended with 'sol'. The basic frame of the Jjaimsae(musical form) has been clarified in the previous studies that the Jjaimsae of Yuchi-Seong(聲) has been maintained just the way it is. However, even for the same Seong(聲), the combination of the 'main melody type' of passage has not been unified, and depending on the musical piece, it has been discovered that the combination of the 'main melody type' has been diversely organized. of Gyeongjaeeosan Bongsongsajapyeon belongs to Pyeon-gae-seong(聲) broadly from the Anchaebi-sori and it is shown to be So-seong(聲) in details. In particular, in the previous studies, the 'ending melody' of So-seong(聲) and the closing melody of were similar with a slight difference for the 'ending melody'. Such a difference is relation to the characteristics for sequentially descending melody of Wonmyeong-chang(唱). The 'Jjaimsae(The musical structure)' is not much different from the previous studies, and the 'yeok-eum(weaving lyrics)' of Songam-chang(唱) has strong tendency of 3-sobak rhythm while the Wonmyeong-chang (唱) is shown the tendency of 2-sobak rhythm in general for the difference.

• (The) Research of the performance art and culture
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• no.19
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• pp.5-33
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• 2009

Jain-Danoje's course since modern is not different with almost all of folk performances, which were restored and reconstructed with a background of the designation of an intangible cultural heritage and National folk arts contest sine the 1960s. Generally, these folk performances were decontextualized in course of extinction and reappearance, and recontextualized in course of new directions on tradition. Also, the performances were interpreted differently and transformed by the main constituents of reappearance. Jain-Danoje nowadays has a regular form just at that time that has been designated as a cultural heritage at 1970s. But, today's Jain-Danoje is clearly different with the last appearance in 1936 and some Literature and jainhyun-eupji. I think such differences would stems from the process of reproduction. From this perspective, I had investigate Old literature and the early days report, and the current text. Especially, I will show the considerable change which has been occurred in the Yeowonmu and Hojanggut, the central role to configure that identity, by comparing past and today. As a result of consideration, today's form of the Yeowonmu and Hojanggut are created texts that mind the designation of an intangible cultural heritage and National folk arts contest. These texts has been reproduced without understanding about structure and current of folk festival and state of performance which has been transmitted on premodern society. some intellectuals search for an archaic form of Jain-Danoje based on jainhyun-eupji that created in 1895, except the other jainhyun-eupji. Moreover, because of the understanding with a bias, they can't grasp the meaning about the religious service for Hanjanggun, and they can't see the facts of Yeowonmoo. In addition, they were aware of 'o-sin' that led by Hojang as a fancy dress parade in a carnival, and that is recognized as a component of Jain-Danoje, so there was other text which is different from our own festival.

• Korean Journal of Environmental Agriculture
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• v.42 no.1
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• pp.35-43
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• 2023

The fine particulate structure of biochar limits its use as a heavy metal adsorbent, and makes separation of the biochar from the solution technically challenging, thereby reducing recovery of the heavy metals. To address this issue, this study prepared biochar beads under various mixing conditions and investigated their efficiency in removing Pb from aqueous solutions using adsorption models. The biochar beads were produced by mixing alginate and biochar at different ratios: alginate bead (AB), 1% biochar + bead (1-BB), 2.5% biochar + bead (2.5-BB), and 5% biochar + bead (5-BB). The results revealed that the Freundlich isothermal adsorption pattern of the biochar beads to Pb was of the L-type. The highest Langmuir isothermal adsorption capacity (28.736 mg/g) was observed in the 2.5-BB treatment. The dominant mechanism among the kinetic adsorption characteristics of biochar beads for Pb was chemical adsorption. Additionally, the optimal pH range for Pb adsorption was found to be between 4 and 5.5. The highest Pb removal efficiency (97.9%) was achieved when 26.6 g/L of biochar beads were used. These findings suggest that biochar beads are an economical and highly efficient adsorbent that enables separation and recovery of fine biochar particles.

• Journal of the Daesoon Academy of Sciences
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• v.42
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• pp.75-108
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• 2022

This paper aims to newly investigate the meaning of life in this era when various discussions on life and ethical living are commonly raised by comparing and examining the theories of life proposed by Confucianism and Daesoon Thought. Both Confucianism and Daesoon Thought explain the creation of all things as having been based on the principles of life in heaven and earth. Specifically, there is the will to live (生意 saengeui) and also divine beings (神明 sinmyeong). For this reason, everything in heaven and earth is created by obtaining the same principle of life such that it is an equal being with the same intrinsic value. Here the consciousness of being one body amid all things as one living thing is established. The consciousness of being one body forms an organic worldview in which all things are one. As a result, all things in heaven and earth exist within a mutual organic relationship, and that makes oneself and others precious life partners that coexist rather than separate beings. Nevertheless, both Confucianism and Daesoon Thought define humans as outstanding beings, set aside for a higher purpose than other beings. The excellence of humans is that by constantly engaging in self reflection and completing tasks through independent efforts, they thereby achieve the great moral doctrine of coexistence and symbiosis. In this process, cultivation of character (修養 suyang) and cultivation of the Dao (修道 sudo) are presented as means to realize one's nature and establish the right human image. By realizing nature or humanity through the cultivation of character and cultivation of the Dao, humans fulfill their responsibilities and missions by independently participating in being nourished by Heaven and Earth (天地化育 cheonjihwayuk) or the Reordering Works of Heaven and Earth (天地公事 cheonjigongsa), both being based in the concept of the three generative forces of Heaven, Earth, and Humanity (天·地·人 cheon·ji·in). In the end, the theories of life posited by Confucianism and Daesoon Thought are based on a consciousness of being one body. Both emphasize the characteristics and roles of humans who are distinguished from other beings and phenomena. At this time, human characteristics and roles are revealed as the reasons for which humans have a responsibility and mission take care of all things. From this point of view, it can be seen that the theoretical structure of Neo-Confucianism and Daesoon Thought, in regards to their theories of life, is rather similar.

• Economic and Environmental Geology
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• v.56 no.1
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• pp.1-11
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• 2023

In this study, we explore the morphological and geochemical characteristics for 440 manganese nodules collected from two different water depths [ARA12B-St52 (150 m, n = 239) and ARA12B-St58i (73 m, n = 201)] on the continental shelf of the East Siberian Sea from the ARA12B expedition in 2021. We also discussed the variations in the characteristics of manganese nodules with varying water depths in the Arctic Sea. The sizes of the nodules are generally greater than 3 cm at both sites. However, there is an obvious difference in the morphology with water depths. For the nodules collected at 150 m, brown-black colored tabular, tube, and ellipsoidal shapes with a rough surface texture are dominant. On the other hand, yellow-brown tabular shapes with a smooth surface texture are common for the nodules collected at 73 m. Furthermore, the slope of trend line between size and weight is significantly different at both sites: particularly, the slopes of nodules at 150 and 73 m are 1.60 and 0.84, respectively. This indicates the difference in the internal structure, porosity, and constituting elements between both nodules. Micro X-ray Flourescence (µ-XRF) results clearly demonstrate that the internal textures and chemical compositions are different with water depths. The nodules at 150 m are composed of a thick Mn-layer and a thin Fe-layer centered on the nucleus, while the nodules at 73 m are alternately grown with thin Mn- and Fe- layers around the nucleus. The average chemical compositions obtained by µ-XRF are 40.6 wt% Mn, 5.2 wt% Fe, and 7.9 Mn/Fe ratio at 150 m, and 10.3 wt% Mn, 19.0 wt% Fe, and 0.6 Mn/Fe ratio at 73 m. The chemical compositions of the nodules at 150 m are similar to those of nodules from the Peru Basin in the Pacific Ocean, while the compositions of the nodules at 73 m are similar to those of nodules from the Cook Islands or the Baltic Sea. The observed morphological and geochemical characteristics of the nodules show a clear difference at the two sites, which indicates that the aqueous conditions and formation processes of the nodules in the Arctic Sea vary with the water depths.

• Economic and Environmental Geology
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• v.56 no.1
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• pp.55-63
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• 2023

Variations in geochemical and mineralogical properties of the ferromanganese(Fe-Mn) crust reflect environmental changes. In the present study, geochemical and mineralogical analyses, including micro X-ray fluorescence and X-ray diffraction, were utilized to reconstruct the paleo-ocean environment of western Pacific Magellan seamount cluster. Samples of the Fe-Mn crust were collected using an epibenthic sledge from the open seamount XX (151° 51.12' 7.2" E and 16° 8.16' 9.6" N, 1557 meters below sea level) in the Western Pacific Magellan Seamount. According to the structure and phosphating status, the Fe-Mn crust of the OSM-XX can be divided into the following: phosphatizated (L4-L5), massive non-phosphatizated (L3), and porous non-phosphatizated (L1-L2) portions. All ferromanganese layers contain vernadite, and owing to the presence of carbonate fluorapatite (CFA), the phosphatizated portion (L4-L5) is rich in Ca and P. The massive non-phosphatizated section (L3) contains high Mn, Ni, and Co, whereas the porous non-phosphatizated portion (L1-L2), which comprises detrital quartz and feldspar, is rich in Fe. Variations in properties of the Fe-Mn crust from the OSM-XX reflect changes in the nearby marine environment. The formation of this crust started at approximately 51.87 Ma, and precipitation of the CFA during the global phosphatization event that occurred at approximately 36-32 Ma highlights an elevated sea level and low temperature during the associated period. The high Mn, Ni, and Co concentrations and elevated Mn/Fe ratios of samples from the massive phosphatizated portion indicate that the oxygen minimum zone (OMZ) was enhanced, and reducing conditions prevailed during the crust formation. The high Fe and low Mn/Fe ratios in the porous portion indicate a weak OMZ and dominantly oxidizing conditions. These data reflect environmental changes following the end of the Mi-1 glacial period in the Miocene-Oligocene boundary. Subsequently, Mn/Fe and Co/Mn ratios increased slightly in the outermost part of Fe-Mn crust because of the enhanced bottom current and OMZ associated with the continued cooling from approximately 9 Ma. However, the reduced carbonate dissolution rate in the Pacific Ocean from approximately 6 Ma decreased the growth rate of the Fe-Mn crust.