• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.306-329
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• 2024

Established in 1909, the Imperial Museum was the forerunner of Korean museums, and its collection formed the foundation of today's National Museum of Korea. However, when the Imperial Museum was first established in Changgyeonggung Palace, a zoo and botanical garden were created in addition to the museum. From 1911 onward, these three facilities were collectively referred to as Changgyeongwon Park. The zoo and botanical garden remained at Changgyeongwon when the museum was relocated in 1938, as did some of the items from the collection of the Yi Royal Household Museum. Among them were palanquins used by the royal family and folk items such as armor, as well as taxidermized birds. These stuffed birds were displayed in the corridor of Myeongjeongjeon Hall in Changgyeongwon, and were also displayed in the specimen hall at the back of Myeongjeongjeon Hall. The stuffed birds in particular should prompt a reconsideration of the nature of the Imperial Museum (Yi Royal Household Museum). The museum had been known as a prominent art museum, mainly collecting masterpieces of ceramics (such as Goryeo celadon), Buddhist sculptures, and paintings. However, this character seems to have been just one aspect of the museum. Along with the zoo, which housed live animals, and the botanical garden, which included greenhouses for tropical plants, the museum also featured specimens like taxidermy, suggesting that its initial aim, from a museological perspective, was to be a more comprehensive museum. Notably, Shimogoriyama Seiichi, who managed the general affairs of the museum, collected and cataloged Korean avian specimens from 1908 to 1917. This suggests that the zoo and botanical garden were not merely for entertainment purposes, but also served a museological purpose. However, the Imperial Museum (Yi Royal Household Museum) lacked the essential research and educational functions necessary for a museum, beyond its collecting and exhibition roles. For instance, although specimens of stuffed Korean birds were collected, they were not thoroughly researched. This indicates that while the museum's collection was acquired from a museological perspective, it did not advance into more specialized research. This study aims to examine how the characteristics of the Yi Royal Household Museum have evolved by analyzing the inventory of the museum's collections and the list of Korean bird specimens it held.

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.95-130
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• 2006

Japanese government college researchers, including Sekino Tadashi(關野貞), have conducted research studies and collected data, on overall Korean cultural relics as well as Silla tumuli(新羅古墳) in the early modern times under the Japanese imperialistic rule. They were supported by the Meichi government in the early stage of research, by the Chosun government-general, and by their related organizations after Korea was coIonialized to carry out investigations on Korean antiquities, fine arts, architecture, anthropology, folklore, and so on. The objective for which they prosecuted inquiries into Korean cultural relics, including Silla tumuli, may be attributed to the purport to find out such data as needed for the theoretical foundation to justify their colonialization of Korea. Such a reason often showed locally biased or distorted views. Investigations and surveys had been incessantly carried out by those Japanese scholars who took a keen interest in Korean tumuli and excavated relics since 1886. 'Korea Architecture Survey Reports' conducted in 1904 by Sekino in Korea gives a brief introduction of the contents of Korean tumuli, including the Five Royal Mausoleums(五陵). And in 1906 Imanishi Ryu(今西龍) launched for the first time an excavation survey on Buksan Tumulus(北山古墳) in Sogeumgangsan(小金剛山) and on 'Namchong(南塚)' in Hwangnam-dong, which greatly contributed to the foundation of a basic understanding of Wooden chamber tombs with stone mound(積石木槨墳) and stone chambers with tunnel entrance(橫穴式石室墳). The ground plan and cross section of stone chambers made in 1909 at his excavation survey of seokchimchong(石枕塚) by Yazui Seiyichi(谷井第一) who majored in architecture made a drawing in excavation surveys for the first time in Korea, in which numerical expressions are sharply distinguished from the previous sketched ones. And even in the following excavation surveys this kind of drawing continued. Imanishi and Yazui elucidated that wooden chambers with stone mound chronologically differs from the stone chambers with tunnel entrance on the basis of the results of surveys of the locational characteristics of Silla tumuli, the forms and size of tomb entrance, excavated relics, and so forth. The government-general put in force 'the Historic Spots and Relics Preservation Rules' and 'the Historic Spots Survey Council Regulations' in 1916, establishing 'Historic Spots Survey Council and Museum Conference. When museums initiated their activities, they exhibited those relics excavated from tumuli and conducted surveys of relics with the permission of the Chosun government-general. A gold crown tomb(金冠塚) was excavated and surveyed in 1921 and a seobong tomb(瑞鳳塚) in 1927. Concomitantly with this large size wooden chamber tombs with stone mound attracted strong public attention. Furthermore, a variety of surveys of spots throughout the country were carried out but publication of tumuli had not yet been realized. Recently some researchers's endeavors led to publish unpublished reports. However, the reason why reports of such significant tumuli as seobong tomb had not yet been published may be ascribed to the critical point in those days. The Gyeongju Tumuli Distribution Chart made by Nomori Ken(野守健) on the basis of the land register in the late 1920s seems of much significance in that it specifies the size and locations of 155 tumuli and shows the overall shape of tumuli groups within the city, as used in today's distribution chart. In the 1930s Arimitsu Kyoichi(有光敎一) and Saito Tadashi(齋藤忠) identified through excavation surveys of many wooden chamber tombs with stone mound and stone chambers with tunnel entrance, that there were several forms of tombs in a tomb system. In particular, his excavation survey experience of those wooden chamber tombs with stone mound which were exposed in complicated and overlapped forms show features more developed than that of preceding excavation surveys and reports publication, and so on. The result of having reviewed the contents of many historic spots surveyed at that time. Therefore this reexamination is considered to be a significant project in arranging the history of archaeology in Korea.

• Current Research on Agriculture and Life Sciences
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• v.4
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• pp.141-153
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• 1986

This study intends to document the existing cyclical fluctuations of garic and onion price at farm gate level during the period of 1966-1986 in Korea. The existing patterns of such cyclical fluctuations were estimated systematically by removing the seasonal fluctuation and irregular movement as well as secular trend from the original price through the moving average method. It was found that the cyclical fluctuations of garic and onion prices repeated six and seven times respectively during the same period, also the amplitude coefficient of cyclical fluctuations showed speed up in recent years. It was noticed that the cyclical fluctuations of price in onion was higher than that of in garic.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.2
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• pp.37-52
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• 2010

The main purpose of this study is to examine how place representation is related to the formation of urban parks in Seoul, which began at the end of the 19th century. In order to grasp place representation, the hypothesis of this study is that most urban parks are undertaken with the idea of monumentality and symbolism or memories of the place itself. Diverse ways of representation through physical or non-physical aspects of symbolism, monumentality, and place memory are summarized as follows. First, in the case of the physical aspects of representation in the parks, monumentality and symbolism are expressed mostly through monuments or statues. In the case that the intention of the park is commemorative, celebrative elements are more actively utilized. In other cases, symbolic sculptures or statues, which are randomly designated by the government, are so often used regardless of the overarching concept of the urban park. In addition, in the case of place memory, monumentality or symbolism are commonly represented through bronze statues or partial remnants of the past. Recently, however, the site in itself has been constructed to coordinate the memories of a certain place into the configuration of the park. Secondly, in relation to the non-physical representation elements, many urban parks tend to reveal monumentality or symbolism through the names they are given. Recently, this tendency has significantly dropped, but some places of parksare frequently denominated in consideration of place memory. In the case of events held in parks, parks which were constructed in the beginning of the park movement, such as Tapgol Park, hold certain events to commemorate certain causes that took place in those days. On the other hand, the main purpose of recently-constructed urban parks relating to place memory is to encourage citizens to participate in events in a variety of ways.

• Cartoon and Animation Studies
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• s.40
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• pp.1-31
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• 2015

The Korean animation that has relatively short history compared to the Western Europe and Japan's animation started out from the non-commercial short-piece animation produced as part of advertisement animation and culture movie in the later part of 1950s. In 1960s, the culture movie animation reflecting for the Movie Act and cultural policies has hardly been mentioned in the history of Korean animation, but they are the precious cultural work produced prior to the theatrical long-piece animation. In particular, compared to the 15-second short CF animation, the short-piece animations are ranging for 4 minutes to 10 minutes as the work pieces with the historic value to measure the level of the Korean animation at that time. in 1960s, approximately 20 short-piece animation works were produced and they contained the educational contents to enlighten general public in the process of modernization policy. Those short-piece animations produced in cultural movie at the National Film Production Center of Korea had been produced not only in cell-facilitating cartoon animation, but also in paper animation and puppet animation. In this background, this thesis takes a close look to the short-piece animation works produced in the National Film Production Center of Korea in 1960s. While there was almost no studies of early short-piece animation other than CF works, it is meaningful to discover and analyze the works, and, Director Park Young-il, Director Han Sung-hak, Director Jung Do-bin, Director Shin Dong-hyun, Director Nelson Shin and others participated in the creative work process have worked as the animation directors for theater that the analysis on the works would be considered as important fundamental studies to understand the Korean animation. Under this thesis, it is intended to study the historic implication and formative characteristics around some 10 work pieces to affirm participating personnel, including directors, for the short-piece animation created by the National Film Production Center of Korea as well as the situation of time to launch the National Film Production Center of Korea in 1960s. Through this effort, it is intended to come up with the starting point to process enriched researches on non-commercial short-piece animation as well as contemplation on the Korean animation history that have been neglected in the study of the Korean animation history through such effort.

• Cartoon and Animation Studies
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• s.30
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• pp.139-168
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• 2013

This article aims to explain the significance and value of cartoons in the 1910s which were largely passed unnoticed in the preceding cartoon studies by scrutinizing cartoons published in Maeilsinbo in the 1910s. Until now, Korean cartoons in the 1910s has been neglected just because it were published in Maeilsinbo. However, this writing analyzed cartoons in this period on the base of the fact that the cartoons in the 1910s printed in Maeilsinbo diversified the horizon of the Korean cartoon. Cartoons in Maeilsinbo functioned as a bridge connecting cartoons published in Daehanminbo in 1909 reputed as a root of Korean cartoon and 1920s, the time when satirical cartoons and comics started being printed in newspapers. The characteristics of Maeilsinbo as a bulletin of government general and periodical characteristics that the agent of popular culture begun to move reside as multi layers in the cartoons in the 1910s. In this article, the process and the development of how cartoons published in Maeilsinbo. As pleasure became important in everyday life in Korea, cartoons were able to earn a portion in the newspaper. In the beginning, modern cartoon style seemed vague, but as time goes by, its own style gradually settled. Cartoons in this period were not fixed in specific section but various kinds of cartoons were developed during the time since works of Korean as well as Japanese cartoonists and illustrators were published. Among them, representative cartoons in Maeilsinbo were analyzed in this article under three categories: first, cartoons represented 'Choseon-ness' through scenes of daily life and customs concurrently contained a view of anti-civilization/enlightenment; second, cartoons represented the accumulation of wealth as valid from the view point of public interest; last, cartoons divided Koreans who suffered from hardships of life in Kyungsung and Japanese in Jingogae in order to divide space. In conclusion, Maeilsinbo disciplined the colonized, Koreans, and exposed the discourse of the colonial power via cartoon.

• Korean Journal of Agricultural and Forest Meteorology
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• v.6 no.2
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• pp.107-117
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• 2004

If doubtlessly contributes much to agriculture and rural development. The roles can be summarized as; 1. to activate rural areas and to provide more comfortable and safe rural life with equivalent services to those in urban areas, facilitating distance education, tole-medicine, remote public services, remote entertainment etc. 2. To initiate new agricultural and rural business such as e-commerce, real estate business for satellite officies, rural tourism and virtual corporation of small-scale farms. 3. To support policy-making and evaluation on optimal farm production, disaster management, effective agro-environmental resource management etc., providing tools such as GIS. 4. To improve farm management and farming technologies by efficient farm management, risk management, effective information or knowledge transfer etc., realizing competitive and sustainable farming with safe products. 5. To provide systems and tools to secure food traceability and reliability that has been an emerging issue concerning farm products since serious contamination such as BSE and chicken flu was detected. 6. To take an important and key role for industrialization of farming or lam business enterprise, combining the above roles.

• Sijohaknonchong
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• v.44
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• pp.7-28
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• 2016

Music was made popular through the modern mass media. Nonetheless, if a period of high standard performances and appreciation by a minority of culture connoisseurs can be qualified with the expression "gentrification of culture", then a period when anyone can access culture through the mass media can be qualified with the terms "popularization of culture" and in this period the reorganization of performance culture can only be driven by the public. In fact, the Jabga, which is a type of traditional song that received strong public adhesion by means of phonograph records and radio broadcasts at the time, stands as a typical example to it. Gagok and Sijo up until the 1920s and even the 1930s are believed to engage actively in the changing media environment and the new modes of music enjoyment and transmission. The Album recording of faster rhythm music and the inclusion of the Sijo, Jabga, and folk songs in one broadcast programme can be seen as reflecting such an effort. However, it can only be hard for the Sijo and Gagok to challenge the predominance of the Jabga which made its lyrics more popular and the new songs written in accordance with the new media environment. Until the 1930s in this changing environment of music enjoyment, Gagok and Sijo performers rather sought to distinguish themselves from the existing popular song style by reproducing traditional forms. The album recording and broadcasting of Lee Wangjik Aakbu, the beginnings of local singers, the participation of male performers not only contributed to the diversification the enjoyment culture of songs and sijo, but also made the 'difference in standard' with the popular songs even more salient.

• Cartoon and Animation Studies
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• s.36
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• pp.281-302
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• 2014

Human beings have advanced to release instinctive desire. Among the human desires, sexual desire is classed as a basic desire with appetite and has been expressed in many ways from prehistoric times to present. Despite the social and ethical restriction, expression of sexual image has been evolved with change of time and medium's development. Thanks to inventing the photograph technique, Change of pornographic image has showed a dramatic aspect since early 20th century. The video which delivers message more directly than the picture boosted this change, and the animation has experimented the expression methods and techniques numerously exceeding the limit of realistic image which reappeared by the device. In this thesis, I want to discuss how human beings express sexual desire in animation based on society's sex culture, and analyzed Japanese pornographic animation as its obvious cases. Japanese pornographic animation should be interpreted as the result of culture and society system's history. Through Heian, Edo and early Meiji period, Japanese sex culture has been kept very openly and preposterously. Transformation, metamorphosis, pedophilia, tentacle sex and exposure of specific body parts that are frequently appear in Japanese animation can be interpreted by ancient Japanese open sex culture like Wakashu, polygamy, sleeping in mixed sex group and pederasty. These Japanese odd sex culture is hard to find elsewhere and settled as intrinsic sexual expression in Japanese animation. This situation was institutionally severed by European Modernization's force at the end of World War II in 20th century. However, it seems they have been keeping their influence in a proper form until now. In this study, I discussed that pornographic animation should be interpreted in a frame of cultural phenomenon by researching the series of procedure that ancient Japanese open sex culture has been changed by the system. Sexuality which is found in general Japanese animation was started from their history, and the dichotomous expression about women can be understood that it is bent by institutionally regulated sexual opinion. Japanese history and culture can be understood that it is transformed to the dichotomy that are simultaneously according freedom of eroticism to the pornographic animation, and the fear and irresistible temptation about the woman's body as the other.

• Journal of Korean Philosophical Society
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• v.117
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• pp.275-301
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• 2011

Die Einzelwissenschaften, zum Beispiel, die Biologie, die Psychologie, Soziologie behandeln heuzutage den Menschen. Aber sie alle behandeln den Menschen nach ihren eigenen Gesichtpunkten. Infolgedessen $k{\ddot{o}}nnen$ die Einzelwissenschaften den ganzen Menschen als den Menschen nicht $ber{\ddot{u}}ksichtigen$. Jhre Anthropologien $m{\ddot{u}}{\ss}en$ daher weitgehend $beschr{\ddot{a}}nkt$ bleiben. Dagegen entwickelte Max Scheler im letzten Jahrhundert eine neue philosophische Anthropologie. Seine Anthropologie ist wirklich neu und grundgehend. Diese Anthropologie bestimmt den Menschen als Geist, Freiheit, Person. Aber Max Scheler betont allzusehr "den Geist" in seiner philosophischen Anthropologie und infolgedessen distanzierter sich vom "Leben" in seinem $Menschenverst{\ddot{a}}ndnis$. Die Verfasserin sieht hier in dieser philosophischen Anthropologie einen Dualismus zwischen den Geist und das leben. Und Verfasserin findet eine Integration von Geist und Leben in der ontologischen Anthropologie bei Edith Stein. Diese ontologische Anthropologie charakterisiert sich $folgenderma{\ss}en$. 1. Es ist eine Anthropologie des "$Ge{\ddot{o}}ffnet$-Seins." 2. Es ist eine Anthropologie des "$Gef{\ddot{u}}hlt$-Seins." 3. Es ist eine Anthropologie des "Einheits-Seins." Die Verfasserin behauptet infolgedessen die ontologische Anthropologie bei Edith Stein sei eine geeignete und $sachm{\ddot{a}}{\ss}ige$ Anthropologie.