• 건설안전세미나
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• s.6
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• pp.1-27
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• 1995

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.4
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• pp.14-21
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• 2016

This article explores Changgyeongwon's spatial and cultural characteristics that were created there as the first modern urban park in Kyeongseong in the Japanese colonial era. First, in point of comparison regarding a colonial historical view, the study tried to understand the background of Changgyeongwon's establishment as well as three aspects of Changgyeongwon's characteristics as a modern urban park. The study found that; First, foreign envoys and high ranking members had visited Changgeongwon in the early opening period. This shows that this site was a park for foreign propaganda and modern display. Second, Changgyeongwon was altered as a place of enlightenment in the 1920s. This is related to the tendency of Changgyeongwon's increasing popularity around this period. More facilities and events particularly for women and children were offered at that time. Third, investigating the historical records, Changgyeongwon's cultural characters as a park are discussed. Changgyeongwon was an important place creating a modern park culture in Kyeongseong in the colonial era.

• Korean journal of communication and information
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• v.68
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• pp.130-165
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• 2014

By exploring the works of popular culture, our research aims to demonstrate that culture and politics revolve around each other. Culture and politics are not separate but are articulated into cultural politics; the process of articulation reveals various comparable areas, including contradictions and differences. Our research pays specific attention to Japanese modernity in the eight popular manga series by Naoki Urasawa. These works seemingly value peace and brotherhood, placing themselves in opposition to the logics of the conservative right wing. After engaging in a thorough reading and re-reading, however, we found three salient themes in the deep layers of the works: first, no-nationality a-nationality; second, the relationship between Japan and the West, and representation of Asia; and third, nostalgia for Japan of the past, and transnational desire. The manga series contain the ideas of leaving Asia and entering the West and overcoming modernity. Our research findings reveal that the works of popular culture, specifically those by Naoki Urasawa, subtly expose transnational desires of Japan in tandem with the tensions in international politics between Asia and Japan.

• The Journal of the Convergence on Culture Technology
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• v.1 no.2
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• pp.1-19
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• 2015

The history of modernization of Korea is divided into two folds of the colonial era in the 20's and the economic development era in the 60's. Most of the spaces built in the process of modernization were public spaces developed by the drive of the government. These spaces of modernization are functionality-oriented public places of production and at the same time, and they are the spaces of national power to symbolize the identity of national authorities. Along with changes in the society, modern spaces were reduced down to monument buildings without functionality and this requires new definition to renew the identity of modern spaces. Small stations, power plants, mines, warehouses, abandoned factories, and etc... the study has paid attention to the process of changing thought, one of the main characteristics of modernization, the relations of modern concepts projected in the spaces, framework of modern society, and placeness in the process of framework building and relations of people in the spaces with video records on the process of rebuilding new identity of modern spaces and memories of the spaces. The relations of modern spaces and memory were explored in < Seoul Station > while the relations between modern spaces and records and place identity were explored in < Onyang Folk Museum > and < Okpo Shipyard > respectively. In the relations between space identity and memory in each space, the ironic relations of power in modern spaces (placeness) and personal narrative (memories) were explored with oral narrative and video footage.

• The Korean Publising Journal, Monthly
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• s.106
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• pp.16-17
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• 1992

베버에 있어서는 모든 것을 이해한다는 것이 모든 것을 용납한다는 것을 뜻하지 않았다. 그는 근대적인 서구문화의 유산과 토대 위에서 비서구적.비근대적 문화를 이론적.실천적으로 극복하여 서구문화의 장래를 보다 확고한 기반위에 올려놓으려고 했다.

• Journal of the Korean association of regional geographers
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• v.10 no.4
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• pp.833-850
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• 2004

Modernism is understood as a process of differentiation. Postmodernism or postmodernity, by contrast, involves de-differentiation. Recently, most museums have many social function, a central defining feature is its 'inscapes', or the spaces, architecture, material objects, texts, and meanings of exhibitions. Aims of this paper is to examine the processes and characteristics of differentiation and de-differentiation of the korean museums in historical development. The processes of differentiation and de-differentiation of the korean museums are divided into three phases: a establish stage of modem museum(l945$\sim$1974), a establish stage of postmodern museum(1975$\sim$1989), a diffusion stage of postmodern museum(1990$\sim$2003).

• The Korean Publising Journal, Monthly
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• s.94
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• pp.19-19
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• 1991

• The Korean Publising Journal, Monthly
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• s.337
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• pp.94-94
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• 2003

• Korean Journal of Heritage: History & Science
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• v.22
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• pp.73-88
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• 1989

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.1
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• pp.61-71
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• 2018

This study sought to interpret the Ya-Aeng (夜櫻) from the viewpoint of urban society, focusing on the occurrence of the Ya-Aeng at Changgyeongwon (昌慶苑) in the modern city of Kyungsung. When the Ya-Aeng started in the 1920s, the social aspects of Kyungsung were in a transitional period from the traditional to the modern. The social modernization of Kyungsung has had a dramatic impact on the Ya-Aeng as a part of the city culture. Using the concept of 'phantasmagoria', which was widespread in Kyungsung society and the Ya-Aeng, this study has established three implications of the Ya-Aeng. First, Kyungsung's phantasmagoria appeared in the form of crowds, spectacles, and experiences. This study suggests that such interpretation also applies to the Ya-Aeng. This means that the capitalism-controlled modern society on one hand and the Ya-Aeng on the other had the same mechanism. Therefore, the Ya-Aeng, as modern city culture, becomes a miniature version of Kyungsung and a modern commodity world in itself. Second, the fact that phantasmagoria is a major element of the landscape of the Ya-Aeng means that there is a special way of seeing. For modern subjects, the phantasmagoria of the Ya-Aeng has acted as a learning mechanism for a modern way of seeing. Third and finally, the phantasmagoria of the Ya-Aeng was an illusion to encourage the continued consumption of this culture and at the same time, forget about the capitalism-controlled urban culture. At this time, capitalism was dominated by the influence of Japanese imperialism. The significance of this study lies in that it expands the idea of the Ya-Aeng from the events inside Changgyeongwon into the urban culture, which is a projection of modern urban society. In addition, where the Ya-Aeng in the past had been regarded as a decadent and poor-quality spring celebration in comparison to the traditional spring celebration, this study proposes a new point of view for the Ya-Aeng in an urban social context.