ScholarWorks@Hanyang University: Oh, Soo Kyung

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Oh, Soo Kyung (오수경)

서울 인문과학대학 (서울 중어중문학과)

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Tiger:4||Jiaodi play:2||Folk belief on tiger as a god of gate:2||‘BaYiji’:2||‘ZhaoshiGuer’:2||‘Zuibaiqiu’:2||Folk belief on tiger as a mountain god:2||Qiu Jun:2||Tian Qinxin:2||티엔친신:2||Tiger ritual in Zhaji:2||Tiger totem:2||Tiger totem of Qiang tribe:2||Four spiritual animal and 28 constellations:2||고선웅:2||생사장>:2||호랑이:2||White tiger totem of LinjunBa tribe:2||Whte tiger as a calamity in Taoism:2||Fujian MaskDance:2||Botou:2||Zhezixi:2||구준:2||오륜전비기:2||Zuochangxi:2||규장각본:2||Deified tiger and exorcism:2||Chinese folk belief and ritual on tiger.:2||Chinese folk belief on tiger:2||Songzaju:2||Extermination of white tiger by BandunBa tribe:2||kunqu performance.:2||Huanggong of East Sea:2||Luoli lian.:2||Chinese tiger plays(dances):2||ritual and entertainment.:2||12 deified animals in Narye:2||Mask:2||Fight with a tiger:2||tiger plays for beating off evil spirits and of artistic accomplishments:2||:2||Liu Hai with golden toad.:1||Local Knowledge.:1||Main Stream Realism Theatre:1||Marshal Zhao(Zhao Gongming):1||Miaohui:1||Mount Tai(Tai Shan):1||Narrative of Revenge:1||Parade:1||Ritual of Passage:1||Ritual text:1||Saihui:1||Seal of Jeong Seokkyo Hibaik:1||Shehuo:1||Shouning Prefecture:1||Territorial Symbol:1||The Five Sacred Mountains:1||The Orphan of Zhao:1||The Orphan of Zhao Family:1||The Yuanxiao Festival of Xiafang Village:1||The field of Life and Death:1||The old version of Wulunquanbeiji:1||The seed of Revenge:1||Theatre of Family Lineage. Local Culture:1||Theatre of MinGuang:1||Thunderstorm:1||Tushanchenghui:1||World Heritage of UNESCO:1||Xiao Hong:1||adaptation and disemmination:1||climbing a ladder of knives:1||education:1||festivity:1||history of theatre of early Ming Period:1||practical value of Chinese:1||puppet performance:1||puppet play Nainiangzhuan:1||the Spreading of Chinese Theatre to Hainan Province:1||the records of local history:1||the rites of passing barriers:1||way of succession:1||worship of the god of wealth:1||“정석교희백”인:1||〈조씨고아:1||〈조씨고아〉:1||《五倫全備記》的創作:1||가오싱젠:1||강족 호랑이 토템:1||계명본:1||고본:1||곤곡崑曲 규범의 전승과 변화:1||과관:1||과의본:1||관재신:1||교화극:1||군대:1||나례 십이신수:1||남희연출본:1||내랑전>:1||뇌우:1||늠군파인의 백호 숭배:1||도교 흉살로의 백호성:1||동해황공:1||로리리엔.:1||리얼리즘연극:1||명청 地方志:1||명초연극사:1||묘회:1||문신 신앙:1||문화적 표상. 산악숭배:1||발두:1||범려:1||베세토연극제:1||복건:1||복수극:1||복수의 씨앗〉:1||봉선:1||비간:1||비극적 사건과 골계의 조화.:1||사신 신앙과 28수:1||사제 중의 호랑이 제사:1||사화:1||산신 신앙:1||새회:1||샤오훙:1||세계문화유산:1||송잡극:1||아동 건강 장수 기원 의례:1||에피소드 중심의 옴니버스 구성:1||역사적 기억:1||오악:1||오악 담론:1||유해희금섬.:1||이민:1||인성:1||인형 퍼포먼스:1||인형극 <:1||재신신앙:1||전승방식:1||정경세 수택본:1||젠더 비극:1||조공명:1||조씨고아:1||주장희(작장희):1||중국 호랑이 관련 연희:1||중국 호랑이 신앙:1||중국가면극:1||지리적 표상:1||축제성:1||칼사다리오르기:1||탈:1||태산:1||토산성회:1||통과의례:1||투호와 각저.:1||판순만의 백호 구축:1||표현주의 무대:1||한국무대의 중국연극:1||한국적 비극:1||한국판 소극장 연극 <:1||현실적 재부관:1||호랑이 신앙과 제의 및 연희와의 연계성.:1||호랑이의 신수화와 벽사 기능:1||호랑이토템:1||個人與社會的矛盾，所謂社會 ‘美德’的暴力性，女性，觀照，娛樂性:1||改編與傳播:1||高行健:1||關王會:1||丘濬:1||奎章閣本:1||明初戲劇史:1||舞隊:1||福建壽寧縣下房村‘元宵會’，陳靖姑信仰，傀儡戲，《奶娘傳》，過關，宗族戱 劇，地方知識:1||非语言表演:1||世教:1||六十種曲:1||作家意識:1||折子戱:1||趙氏孤兒:1||趙氏孤兒；田沁鑫；當代化；高宣雄；在地化；TheOrphanofZhaoFamily；TianQinxin；KohSunwoong；ContemporaryInterpretation；Localization:1||中韩日戏剧节:1||綴白裘:1||八義記:1||海南 연극:1||从发现到共享:1||亚 洲自我认同:1||閩廣劇:1||现代话剧， 『冥城』:1||亚洲戏剧导演展:1||韩中戏剧交流:1||韩中日三国春香传:1||乱打:1||<:1||24 barriers:1||24관:1||36 barriers:1||36관:1||BeSeTo Theatre Festival:1||Belief on the goddess Chen Jinggu:1||Bigan:1||Children’s health and longevity:1||Chinese Drama on Korean stage:1||Creation of WuLunQuanBeiJI:1||Cultural Landscape:1||Emperor Guan(Guan Yu):1||Expressive Stage:1||Fanli:1||FengChan:1||Fujian Province. Puppet Performance Nainiangzhuan:1||Gao Xingjian:1||Gender Tragedy:1||Guo Guan:1||Historical Memory:1||Humanities:1||Immigrant:1||Jeong Gyeongse’s association copy:1||King Guan Festival:1||Ko Sunwoong:1||Koh Sunwoong:1||Korean Blackbox Theatre Version:1||Korean Style Tragedy:1||Kyemyung version of Wulunquanbeiji:1||Kyujanggak Library version:1||Kyuzanggak version of Wulunquanbeiji:1||

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