東萊학춤에 관한 硏究

김온경 新羅大學校 1987 論文集 Vol.23 No.-

This general study on the Tongrae Crane, Dance Intangible Cultural Asserts No. 3, aimed at searching for intrinsic basic spirit of general Korean Traditional Dance and its context and studying the substance and basis of Korean Dance by considering the generation background the composition of dance and the internal aesthetic consciousness of the Tongrae Crane Dance. What, recognized as aesthetically valuable dance which has bird names in Korean Traditional Dance, can be classified into the Royal Crane Dance, royal banquet dance, and the Tongrae Crane Dance, folk dance which has been transmitted by people. Between them I extracted symbolism of the Tongrae Crane Dance, pure folk dance. By that process I could arrange it as discipline and make it a dance form by copying Tongrae Crane Dance pose. Meanwhile I set up six issues in order to approach more specific matter of this study. First, what is the relationship of generation background of the Tongrae Crane Dance and its characteristics? Tongrae had developed its commerce due to its general geographical condition, and had had much property with its natural spa. Because of this geographical condition, the Tongrae Crane Dance with the same history of the Tongrae Yaryu(Field Play) could create refined atmosphere and show easy and graceful taste as two upper classes of Korea's dance although it is a folk dance. The above is characteristics of the Tongrae Crane Dance and agrees with its generation background. Second, what is the sameness and difference between the Tot-pae-gi dance and the Tongrae Crane Dance? Because extempore amusement is essential to the Tot-pae-gi Dance, the unformed form, which creates dance pose instantaneously by spiritual impulse, is the pricipeple of the Tot-pae-gi Dance. The Tot-pae-gi Dance is the matrix of the Tongrae Crane Dance. The Tongrae Crane Dance is more developed artically than the Tot-pae-gi Dance and a refined symbolic dance. When dancing paegim pose, in the Tongrae Crane Dance one should stretch one's leg more in the back than in the Tot-pae-gi Dance and have one's knee nearly touch the floor. Furthermore, the Tongrae Crane Dance has such symbolic dance pose as Pi-yak form, Mo-yi-o-rum form, Aejong form, etc, more than the Tot-pae-gi Dance. Those are the only differences between them. Third, what is the essential difference the Tongrae Crane Dance and the Royal Crane Dance? While the Royal Crane Dance is based on a severe form of a royal banquet dance and is a calm and beautiful dance of a mimic dance to immitate the crane really, the Tongrae Crane Dance is based on extempore amusement and individual taste of prodigals' pastime dance, and expresses the symbolism of the crane accidentally by dance pose itself. Therefore the Tongrae Crane Dance is a complex of amusement, taste, and neatness. Fourth, what aesthetic foundation does the aesthetic consciousness of the Tongrae Crane Dance connotate? The aesthetic consciousness of the Tongrae Crane Dance was considered into the external beauty and the internal beauty. The external beauty (the beauty of form) based on natural beauty is unformed form. It agrees with the priciple of "the unity of variety". It establishes its dance composition by artical principle formula such as harmony, contrast, balance, symmetry, rhythm, etc. Its internal beauty has grace essentially with elegance, neatness, and dignity. Therefore I felt the complex of natural beauty and artical beauty from it. Fifth, what is the symbolic factor of the crane in the Crane Dance Pose and the composition of dance? *Hwal-kae-zit-t'uym Pose A dance form, which symbolizes the appearance of the crane flying in the excess of mirth *Chwa-u-hwal-kae-Pose A dance form, the crane fluttering and frolicking in a place. *Tol-rim Pose A dance form, turning to search for its feed with spreading its wings. *So-mae-kot-om-Sae Pose A dance form, the crane spreading and folding its wings in turn. *Pae-gim Pose A dance form, the crane jumping with spreading its wings out and then sitting down. *Chwq-u-pool-yi Pose A dance form, the crane frolicking with its wings spread gradually and its body turned a little in the right and left. *Mo-yi-o-rum-Sae A dance form, the crane searching and pecking at the feed. So-k'u-ri-ch'um A dance form, the crane frolicking and walking slowly with its wings raised up a little. *Mo-tom-t'uy-gi A dance form, the crane hopping with its wings raised up a little. Meanwhile, symbolism of the general composition of dance is as follows: *the crane flying, Pi-yak form. *the crane standing still with its one leg raised, Chong form. *the crane playing in front of the feed, Mo-yi-o-rum form. *the crane wooing, Ae-chong form. *the crane wavering merrily int he excess of delight, Yok-tong form. Finally, what is the meaning when the Tongrae Crane Dance influences on the Pusan provinsal and Korean Dance? The Tongrae Crance is considered as symbol of the nature of the typical male dance, for it has wide, dynamic, notangular but round and smooth form. Therefore it is considered to be significant in developing the neutralized present male dance. In conclusion,, in its every aspect as mentioned above I realized that it is the only pure dance itself and symbolism as its end and its result, is everything to it. It is different form the other Korean Folk Dance which is based on magic or starts from a ritual to pray to a superhuman power or tries to solve the commons' distress by humour and satire, as in the Mask play. As musical instrument, such percussion instrument as a gong, a small gong, a jang-go, a drum has used. Now it may bo performed in a form of group dance with melody additionally.

東海岸 別神굿의 巫舞에 대한 硏究 : 金石出 一家를 中心으로

김온경 新羅大學校 1981 論文集 Vol.10 No.-

From time immemorial the Mudang worship has been transmitted from generation to generation as a unique religious form of our people which is so closely associated with us as to be considered part of our daily lives. In this respect,k it follows that our folk arts are mostly based on this unique form of worship and our traditional dancing is probably originated from the dasncing of this worship. As an example of evidence for this, we can offer a historical record on the singing and dancing of Korea which appeared first in a book of Chinese history, samkukji Wiji Dongijeon. This book says that in Korea they held a nationwide festival with consisted of mainly singing and dancing in order to thank God every time they finished sowing in May and harvesting in October. It was already reported that this nationwide ritual festival was very analogous to the Mudang worship in that both were performed to thank or entertain God by singing and dancing. It can be, then, argued that the Mudang worship is worth studying as the origin of our folk arts, especially singing and dancing. To be more specific, the Mudang worship is a primitive religious form in which participants try to achieve their aspirations with the gelp of God who is assumed to descend on the earth while thiy continue to sing and dance until they even forget what they are doing. Thus, the Mudang worship can be thought as a technique of enchantment which enabled participants to contact God who they thought descended during the entertaining performance. Gradually, the Mudang worship has changed into various forms such as Gud, Nori and Puri. The Gud, among these, is the more direct representation of the Mudang worship. It is noted thatl the Gud has also developed into various forms as the procedure of worship, costumes, music and dancing have varied with regional differences, This development naturally entails the change of the dancing forms of it. The aim of this studyh is to survey the distinctive features of the dancing and music presented by the Byeolshin Gud which represents the area of the Eastern Coast. This aim is, eventually, to preserve the cultural heritage which characterizes in a sense the culture of our people. This study puts puts emphasis on especially the discovery of how the Byeolshin Gud has influenced the community in the aspects of mentality, arts and entertainment.

東萊野遊의 춤사위 硏究

金溫慶 新羅大學校 1990 論文集 Vol.29 No.-

In this research, we recorded more systematically classes, names and making processes of dane poses played in Dongrae Yayu of the Kyengnam province. Dongrae yayu is one of the most famous Korean traditional mask plays. On the basis of the efficient and scientific study, this research provides a series of information to the dancer who would like to research the dance systematically. Especially, Dutbagi dance as the collection of all dance poses included in Dongrae Yayu has a unique taste and motion, and provides the another direction to study our traditional dance. The contents of the research is as followed, : The outline of Dutbagi dance : The practice of Dutbagi dance : The investigation of dance poses by parts : The distinctive feature of dance poses by casts The typical dance poses are, in Leper's dance part, Tottering pose, Rolling pose, Baegim pose and So해 dance pose, etc., in Yangban's dance part, Dolim pose, Jawoohalge pose, Baegimpose as Yangban dance poses, Kagumzil pose, Whirling pose, Gwodrangpose, Bagin pose as Maltugi dance poses, in Halmi dance psrt, Twimgulum pose, Dirobogoeulugi, Hip pose as Halmi dance pose, Ilja pose, Halgaezit pose, Gudrang pose, Crying pose as Gaxi dance pose. The feature of Dutbagi dance are 1. The motion is large and simple 2. Attaching importance to not the external form but the inside introspection and not taste, but beauty 3. Stepping on the ground with strong power, and the line of dance pose is storng and changes slowly 4. This dance posses a manly capacious mind, because the motion with arm is simple and the arm is only extended to the side. 5. Almost of all expect halmi and Gaxi dance is man's dance. 6. The mask dance of the north area above the central foward region is Jumping dance and represents the continentalism of the northern race. Because Dutbagi dance of Dongrae is the typical standing dane and magnificient and stupid but contains man's power and generosity, we can feel the comfortable taste and beauty. By the above typical feature, Dutbagi dance is related to the regional charater of the Kyengnam province. So we can understand once more that dance is represented through the body and composed with the dancer's body shape, personality and emotion. Because Baegim dance pose as the main current of Dutbagi dance represents the decesive moment of cutting off the devil, we can feel the dancer's conentration of the mind and the spectator's trembling with fear. Conclusively, Dutbagi means the cutting off the devil. So Dutbagi dance is the dance to cut off "Dut", and has the meaning as the incantation. We can understand that Dutbagi dance occured in Kyengsangdo region and became the foundation of Dutbagi dance of Dongrae Yayu and the oldest dance of the existing Korean traditional dance.

姜太弘流의 散調춤 硏究

김온경 新羅大學校 1998 論文集 Vol.45 No.-

The purpose of this paper is to study Sanjo dance which is an unique style of the late Tae-Heung Kang(1893-1957) who was active in KyeungNam province in 1940. Dance in one of the phenomena through which human body, has a limit to its analysis, whereby one studies using letters and logic. Thus this study is an important work for younger dance scholars who to study Sanjo dance. Until recently, it was not difficult to create a physical pattern through Sanjo dance. But the purpose of this paper is to adjust and raise Sanjo dance into a master's work. This study's content includes : 1. Background and existence of Sanjo dance 2. Practice of Sanjo dance 3. Aesthetic consciousness of Sanjo dance This paper's direction is to establish Sanjo's musical note. This dance has a difficulty and uniqueness which accentualtes Tae-Heung Kang's Sanjo musical note. The phases of this dance consist of Dasrim(Naedrim), Jinyangjo, Jungmori, Jungjungmori, Jajimnori and Jungmori in this order. Dance Sawi expresses 50 different kinds of steps such as Hapsawi, Gyuerangsawi, Gupmorisawi, Puchaepuninsawi and so on. The dance sawi created a precise pattern accurately. One chacteristic of the dance is use its musical tempo, such as U-Jo, Pung-Jo and Gepyun-Jo, which create a balanced beauty of Op-Pak. Therfore, Dance sawi uses a fresh and bright U-Jo, confortable and peaceful Pung-Jo, and delicate Gepyun-Jo. On the whole aesthetic consciousness of Tae-Heung Kang's Sanjo dance expresses a clear, splendid beauty which is more than abundant : an affluent beauty. It may hold momories of a past dark age, which brings sadness and unpleasantness to the Korean society. But on the other hand, this lovely Sanjo dance carries clear, smooth beauty.

양수 알파태아단백과 태아핵형과의 상관관계

고경심,오보훈 단국대학교 1998 論文集 Vol.33 No.-

Amniotic fluid alpha-fetoprotein measurement is widely used to detect not only open neural tube defects but also other congenital anomalies. Our aim is to anlayse the relationship of amniotic fluid alpha-fetoprotein and fetal karyotyping. We include 1536 midtrimester pregnant women undergoing amniocentesis to detect fetal chromosomal abnormality in the cytogenetic laboratory at Dr. Oh’s genetic clinic and at Dankook University Hospital from February 1996 to December 1997. The most common indication for amniocentesis was abnormal triple makers. Overall incidence of chromosomal aberration was 28.0:1000(43/1536). Among chromosomal aberration, these were 31 cases of numerical aberration, 11 cases of structural aberration and one case of mosaicism. Amniotic fluid alpha-fetoprotein declined by 15 weeks gestation and upper and lower cut-of values was estimated by the suggestion of U.K. Collaborative Study91979). Amniotic fluid alpha-fetoprotein concentration of the group of chormosomal aberration was within normal limit according to the corresponding gestational age. We could no find any relationship between the amniotic fluid alpha-fetoprotein and the chromosomal aberration.

鄭顯碩의 敎坊歌謠 硏究

김온경 新羅大學校 1995 論文集 Vol.40 No.1

This Research was for me to analize and the contents of Gyobang-gayo in 1872(King KoJong's 9th year), with translating as korean. The book of Gyobang-gayo was written by Jung Hyun Suk, Jinju pastor, detaily recorded dancing and singing enacted by kisaeng in that area. This contents of Gyobang-gayo is simillar to the book of Ak hak-guae bum, recording of various palace dance form, but the scale is simply described. But the contents is shown in a graphic form for understanding and recited with simple poem to each dance item. The contents of research is as follow: 1. Introductoion 2. Review of Gyogang-gayo 3. Relationship between Gyogang-gayo and palace Jeoung-Jae 4. Contemporary meaning of Gyo bang-ga yo 5. Conclusion The book of Gyobang-gayo gave a account of song and dance but the research only focused on dance for depth of study. And the research proved that the dance of Gyobang-gayo and palace Jeoung-Jae danc are inseparably related. In the middle of dances enacted by Kisaeng in provincial government employ, there is not jeoung-Jae dance and vanished dance in Jeoung-Jae dance is noticed to be transmitted in the book of Gyobang-gayo. In the name of dances in Gyobang-gayo, Yook hwa dae, Yun hwa dae, Hun sun do, Go moo, Po goo rak, Gum moo, Sun ak, Hang jang moo, Ui am byul je ga moo, Ah bak moo, Hyang bal moo, Hwang chang moo, Cheo youg moo, Soong moo are contained. It is noticeable phenomenon that Ui am byul je ga moo, Soong moo are not contained in the book of Ak hak-guae bum but only in Gyobang-gayo. Gyo bang moo enacted by Kisaeng in rpovincial government employ functions bridge between palace dance and folk dance. Contemporary meaning of Gyobang-gayo not only offers important significance in exploring the root of modern dance but records the dance of kisaeng in provincial government employ, compares this dance one century ago with modern dance. The book of Gyobang-gayo is significant in research of korean dance history because of its uniqueness recording the contents of Gyobang-gayo.

元兩班춤과 말뚝이춤사위에 對한 比較硏究 : 東萊野遊를 中心으로 Mainly Concerning the Dongrae Yayu (Field play)

김온경 新羅大學校 1980 論文集 Vol.8 No.-

The aim of the present study is to make a comparative research between Wonyangban(Lord) dance and Maldukee(Foot man) dance, two main dance types found in the play of "Dongrae Yayu" which is a traditional mask play of the Kyeongnam province, and to reveal the historical background in which the distinctive features of the Dongrae dance was formed and transmitted. Geographycally the Dongrae area was the place where the villagers lived in plenty since both agriculture and commerce developed earlier around there. Their wealthy living conditions enabled them to know to enjoy their lives, thus making their entertainment more distinctive. The Dongrae dance is characterized by the uniqueness that it is more faithful to amusement itself rather than to a religious cult. Its dance pose is elegant and refined, and in a sense even liberal implying the taste of improvisatory dance. Moreover, the ensemble of its group dance could be said to attain the highest perfection of spatial art. The Dongrae consists of various typical dance poses. In Wonyangban dance, Hwalgaezit jumpingpose, Ilja pose, Zwawoohwalgae pose, Baegim pose and Poolyi pose are typical, and in Maldukee dance Whidurum pose, Woolreomaen pose, Geooderang pose and Baegim pose dominate. In these two dance types it is remarkable that no matter how similar their poses may be, they appear to be quite different depending upon the status, characters, and physical builds which the dancers have. This may be because dancing is a spocial language spoken through the movement of human body.

中學校 科學科의 實驗實習 敎材의 開發硏究(Ⅲ)

尹世重,趙泰璟,吳濟直,金溫植,金黎相 공주대학교 사범대학 과학교육연구소 1983 과학교육연구 Vol.15 No.1

Teaching materials available for the effective performance of laboratory exp-erimental work in middle school were developed: Physics part ; A measuring apparatus of uniformly accelerated motion and normal force of inclined plane was developed. Chemistry part ; An imploved Eudiometer applicable in measuring reaction mole ratio and usful for a gas generating apparatus was developed. Biology part ; convenient teaching materials observing law of dominance, law of segregation, law of independence, incomplete dominance and dihybrid cross were developed. Earth science part ; A laboratory teaching materials observing formation of wave, current and graded bedding, and identification of sedimentary rocks were developed. Putting the above results of study together, the integrated suggestions were made to the effective development of science education in middle school : 1. The contents of science textbook should be simplified to the direction of the understanding of essential principles and concept. 2. The development and dirtrihbution of various supplementary teaching materials (film, T.P., cassettes film, supplementary textbook, program teaching materials individual learning materials) are required. 3. The experimental laboratory should be equipped with common instruments and equipements. 4. Efforts and time are needed to science teachers, and so remission of sundry duties and arrangement of assistant are hopefully considered. 5. Teacher's research activities should be encouraged by administrative route or relevant institute.

Effects of Ranolazine on Norepinephrine-Induced Cell Death by Inhibition of the β-adrenoceptor Signal Pathway in Cardiomyocytes

( Kyung Eun Kim ),( Hee Sang Song ),( Hye Jung Kim ),( Min Ji Cha ),( Byeong Wook Song ),( Eun Ju Choi ),( On Ju Ham ),( Chang Yeon Lee ),( Seong Yong Choi ),( Se Yeon Lee ),( Yang Soo Jang ),( Tae Wo 한국조직공학·재생의학회 2009 조직공학과 재생의학 Vol.6 No.12

Ranolazine blocks the intracellular sodium and calcium overload accompanying myocardial ischemia and is used in antianginal therapy. The effects of ranolazine on the β-adrenoceptor signal transduction system are poorly understood. The present study was designed to confirm whether the mechanism was associated with a β-adrenoceptor antagonist activity of ranolazine on norepinephrine (NE)-induced cardiomyocytes. After cardiomyocytes were preincubated with propranolol and ranolazine, cells were treated with NE for 24 hours. The phosphorylation of ERK was decreased by ranolazine treatment, in comparison with NE-only treated cells. Intracellular Ca2+and Na+ levels decreased by 40±3% and 17±0.5%, respectively, compared to control. Ranolazine decreased expression of Ca2+/ calmodulin-dependent protein kinase II (CaMKII) by 57±4%, the Na+-Ca2+exchanger (NCX) by 21±0.5%, and the ryanodine receptor 2 (RyR2) by 47±1.5%, compared with NE-only treated control cells. Ranolazine also increased expression of the L-type Ca2+channel (LTCC) by 48±3.5%, phospholamban (PLB) levels by 45±2%, and the sarcoplasmic reticulum Ca2+ATPase 2a (SERCA2a) by 36±0.5%, compared to levels in NE-only stimulated cells. The number of annexin V/PI-positive cells fell by 39±1.5% after ranolazine treatment, compared with levels in NE-only treated control cells. Ranolazine also inhibited apoptosis by regulating the levels of the pro-apoptotic factor Bax, the anti-apoptotic factor Bcl-2, and cytochrome C release. These results demonstrate that ranolazine had an effect on NE-induced cell death through inhibition of the β-adrenoceptor signal pathway in cardiomyocytes.

Quality of Life and Economic Burden in Recessive Dystrophic Epidermolysis Bullosa

( In Kyung Jeon ),( Hye Rang On ),( Soo Chan Kim ) 대한피부과학회 2016 Annals of Dermatology Vol.28 No.1

Background: Patients with recessive dystrophic epidermolysis bullosa (RDEB) exhibit blisters and erosions since birth, causing pain, pruritus and various complications. RDEB affects quality of life (QoL) in physical, emotional and social aspects. Furthermore, interminable dressing changes and supportive therapies impose a significant economic burden on the patient s family. Objective: We assessed the QoL and economic burden in patients with RDEB. Methods:Sixteen patients with RDEB were surveyed to assess the QoL and economic burden. Patients answered questionnaires consisting of a visual analogue scale (VAS) on pain and pruritus, Skindex-29, Quality of Life in EB questionnaire (QOLEB), and the economic burden due to EB. Results:Thirteen patients with RDEB completed the questionnaire. Female patients presented higher VAS, QOLEB and total Skindex-29 scores than male patients. Patients with RDEB showed severe levels of pruritus, which was more intolerable than pain. Mean VAS score on pain in RDEB was higher than in oral lichen planus and post-herpetic neuralgia. VAS score on pruritus was similar to those in chronic urticaria, atopic dermatitis, and prurigo nodularis. Compared with other dermatologic conditions, patients with RDEB were profoundly affected in all three scales of skindex-29. Mean “medical cost” in a month was $257. 54 (USD) (±169. 39) and mean “dressing cost” was $358. 41 (USD) (±312. 55), which was negatively related to patient age. Conclusion: RDEB had a profound impact on QoL and economic burden. Compared with other dermatologic diseases, RDEB showed severe symptoms and QoL was seriously impaired. Most patients sustained economic burdens, especially on preparing dressing materials. Younger patients experienced more economic burdens.