• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.22-44
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• 2023

The subsistence economics of the early Bronze Age has focused on explaining the intensity of agricultural practices without sufficiently taking into account the diversity of production methods that may arise from cultural types or environmental factors. The problem appears to stem from paying insufficient attention to the question whether we should understand the transition from the Neolithic Age to the Bronze Age as continuous or discrete. This has hitherto blocked an avenue to investigate the gradual changes in subsistence resource production methods. Taking as its premise that changes in the production methods of subsistence resources in the Bronze Age have been continuous and gradual, this paper seeks to restore the production patterns of subsistence resources according to the variety of factors that may have influenced the early Bronze Age production method. With diverse cultural patterns and ecological spaces of the early Bronze Age being confirmed, the work of restoring the production methods of subsistence resources in a specific period is difficult to achieve with one or two stand-alone analyses. A more appropriate method would involve separating a number of different aspects related to the production of subsistence resources, analyzing and interpreting each, and in the final stage, synthesizing the analyses. The specific research method employed in this paper checked for compositional differences in stone production tools, functionally categorized according to a variety of factors that have a close relationship with the production of subsistence resources: cultural-environmental factors and cultural patterns, geographical and topographical factors, soil productivity, and size of settlement. The results of the analysis are as follows: for the early Bronze Age production pattern of subsistence resources in the Seoul and Gyeonggi regions, while no substantive differences were observed with respect to cultural type, geographical and topographical location, the results show statistically significant differences in the composition of production tools according to settlement size and soil productivity. Also, with an increasing ratio of settlement size and total production soil, increases in hunting and armoring tools, woodworking tools, and harvesting tools were observed; on the other hand, when it came to the ratio of fishing tools, the opposite relationship was observed. While a correlation between settlement size or crop cultivation productivity and dependence on hunting or farming was expected, the results of the regression analysis show that settlement size and soil productivity ratios do not have mutually significant relationships. The results thus illustrate that patterns of production differ according to a variety of factors, and no single factor is decisive in the adoption of subsistence resource production methods by a specific settlement. Therefore, the paper emphasizes the need to investigate the production patterns of subsistence resources according to the variety of cultural and environmental factors that make up settlements in early Bronze Age society.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.161-188
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• 2020

This paper seeks to expand the scale of literary history by restoring and analyzing the whole aspect of Kwak Hashin's works, which has so far been studied little. For this purpose, I notice the rupture of discontinuity of his works which is greatly divided into the colonial period and post Korean war period. And the characteristics of each works can be analyzed based on the three axis, local(colonial period), jobless person(post-war period), and Homo Economicus(some short stories, and popular novels in post-war period). In Chapter 2, 'Local-the world of Munjang', I evaluated that Kwak Hashin's novel, which had been published in the late 1930s in the Journal of Munjang, embodied anti-modern aesthetic consciousness, as clearly revealing the sorrow for disappearing things, the pre-modern sense of time, and the preference for local. In Chapter 3, 'Jobless Person' and Chapter 4, 'The State of All People's Struggle against All People, The Appearance of Homo Economicus', the Korean society in late 1950s, which entered underdeveloped capitalist countries after Korean war, can be characterized by two contrasting male-gender, one is the jobless, incompetent male, and the economic man on the other hand. In the late '50s, Lumpen(=Jobless Person) novels showed the problems of the Korean economy through incompetent male character. The intelligent men took the path to survival rather than morality or intimacy, projecting their own incompetence and anxiety to women/wives. In the popular novels Women's Song and The Shadow of the Fig Tree, achievement-oriented male figures who betrayed their colleagues, and exploited women's sex by using love relationships to rise to the top appeared. They can be defined as the Homo Economicus who embody the state of universal struggle against all people. These novels showed the formation of the masculinity in post Korean war period, which pursued the survival of the fittest, borrowing form of popular novel. As we have seen so far, Kwak Hashin needs to be re-evaluated as an writer who expanded the modern literary history in the outside of literature. He was the last generation writer written in Korean late colonial period, and provided the model of postwar literature by borrowing the form of journalism and popular novels.

• The Journal of the Petrological Society of Korea
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• v.11 no.3_4
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• pp.200-213
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• 2002

The Andong granitoid batholith represents five temporally distinct episodes (phases) of igneous activity. The batholith represents a plutonic complex of five pulsatively emplaced distinct intrusive multiphases. The petrochemical data show that the plutons fall into calc-alkaline series except for the Yean pluton, and plot within the diaenostic range for I-type origin and continental arc orogenic tectonic setting. Each pluton reveals systematic compositional variations of major and trace elements with $SiO_2$ or MgO, but different variation trends for some elements and considerably different REE patterns. Thus discontinuous, inconsistent variations in the elements indicate that the five plutons can not be explained by simple fractional crystallization from the same primary magma, but were intruded and solidified from the independent magmas of chemically heterogeneous origin. In the Andong, Dosan and Pungsan plutons, high values of molar CaO/(MgO+$FeO^{t}$ ) combined with low $Al_2$$O_3$/(MgO+$FeO^{t}$ ) and $K_2$O$Na_2$O ratios suggest a magma originated by dehydration melting of a metabasaltic to metatonalitic protolith. Whereas the Imha pluton show similar values of CaO/(MgO+$FeO^{t}$ ), but significantly higher ratios of $Al_2$$O_3$/(MgO+$FeO^{t}$ ) and $K_2$O$Na_2$O implying to a metagreywacke protolith.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.9-40
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• 2019

This study presents an investigation into South Korean films in the 1990s in the aspects of genre change and emotional reorganization. The 1990s witnessed a change of genres and a paradigm shift in the history of Korean films according to the revolutionary changes of the film industry structure and media environment. Believing that these changes had something to do with emotional changes driven by global capitalization symbolized by democratization in 1987 and the foreign currency crisis in 1998, the investigator analyzed the phenomena in film texts and examined the opportunities and context behind them. Unlike previous researches, this study made an approach to the history of Korean films in the 1990s with three points: first, this study focused on why the romantic comedy genre emerged in the 1990s and what stages its formation underwent since there had been no profound discussions about them; secondly, this study analyzed the biggest hits during the transitional period from 1987~1999 to figure out the mainstream genres and emotions during that period since these hits would provide texts to show the genre domain and public taste in a symbolic way; and finally, this study grew out of the separate investigation approach between melodramas and romantic comedies and looked into an emotional structure to encompass both genres to make a more broad and dynamic approach to South Korean films in the 1990s. History flows continuously without severance from previous times. When there is attention paid to inflection points and opportunities in the continuum, it can show the dynamics and structures of changes. This research led to the following conclusions: the mainstream genre of South Korean films had been melodramas until the 1980s. The old convention had been kept to offset or suture contradictions and excessive elements deviant from the structural consistency. Here, the structural consistency refers to no compliance to rational regulations or trade. The process of genre reorganization in the 1990s happened while securing some distance from the convention of making the structural consistency a sacrifice. The direction was to reinforce control through reasonable rationalism and logic of capital. It developed into romance, which would start with comedy to keep distance from the objects through laughter, heighten the level of remarks, and expand criticality, symbolize emotions with taste items, and build through the logic of mutual consensus and practical trade. In the 1990s, the South Korean films thus developed in a direction of moving away from the narrative of urgent pathos based on unconditional familism. It was on the same track as the entry of the South Korean society into the upgraded orbits of democracy and capitalism as the twins of modern rationalism since the latter part of the 1980s.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.4
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• pp.60-73
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• 2011

Since Jeju Ollegil opened in September 2007 and attracted the sensation of popularity throughout the country, the interest in 'Walking Trails' has increased, and the central ministries and the local governments composite and assign various 'Walking Trails'. Walking trails are not tours on which people go to see one spot and move to another spot by vehicle, but a long linear journey that leads people to see, to feel and to experience a region's landscape and culture while walking on the trail. 'Walking Trails' are efficient routes to discover and to use a former way and to link the various ecological regions' histories and cultural resources, so it is most important to select a route. Although the routes were selected by considering the various planning factors and giving each route a specified theme, some problems like the inconvenience of visitors caused by lack of facilities have occurred. After designation and construction of the trails, they were not properly evaluated by visitors. Therefore, it is the purpose of this study to suggest a better way to construct the trails by surveying visitor satisfaction and by analyzing the impact of planning a route on visitor satisfaction at Bukhansan Dulegil which was completed. For this study, with a questionnaire based on the literature review to identify the important planning factors for selecting a route, a survey was conducted on visitor satisfaction for each section and their intention to revisit and to recommend that trail. Based on the characteristics of each section that was identified in the field research, the trails were classified into five types and satisfaction of each type and each type was analyzed. In addition, analyzing the impact of planning factors on satisfaction, the impact of satisfaction on revisiting and recommending and visitors' perception of the theme, further improvement for better construction of the trail was presented. Satisfaction of sectors with strong natural elements was higher; 'walking comfort' was the highest planning factor affecting satisfaction. In addition, satisfaction was surveyed to have high influence on revisiting and recommending.

• The Journal of the Petrological Society of Korea
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• v.18 no.3
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• pp.223-236
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• 2009

Ultramafic xenoliths from southeastern part of Jeju Island can be grouped into two types: Type I and Type II. Type I xenoliths are magnesian and olivine-rich peridotite (mg#=89-91), which are commonly found at the outcrop. Most previous works have been focused on Type I xenoliths. Type II xenoliths, consisting of olivine, orthopyroxene and clinopyroxene with higher Fe and Ti components (mg#=77-83) and lower Mg, Ni, Cr, are reported in this study. They are less common with a more extensive compositional range. The studied Type II xenoliths are wehrlite, olivine-clinopyroxenite, olivine websterite, and websterite. They sometimes show ophitic textures in outcrops indicating cumulate natures. The textural characteristics, such as kink banding and more straight grain boundaries with triple junctions, are interpreted as the result of recrystallization and annealing. Large pyroxene grains have exsolution textures and show almost the same major compositions as small exsolution-free pyroxenes. Although the exsolution texture indicates a previous high-temperature history, all mineral phases are completely reequilibrated to some lower temperature. Orthopyroxenes replacing clinopyroxene margin or olivine indicate an orthopyroxene enrichment event. Mineral phases of Type II are compared with Type I xenoliths, gabbroic xenoliths, and the host basalts. Those from Type II xenoliths show a distinct discontinuity with those from Type I mantle xenoliths, whereas they show a continuous or overlapping relation with those from gabbroic xenoliths and the host basalts. Our petrographic and geochemical results suggest that the studied type II xenoliths appear to be cumulates derived from the host magma-related system, being formed by early fractional crystallization, although these xenoliths may not be directly linked to the host basalt.

• Journal of International Area Studies (JIAS)
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• v.15 no.1
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• pp.155-180
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• 2011

This paper aims at comparing the metanarrative and East Timor's local narrative in Indonesia during the Suharto's regime. Although these history writings have different political goals, the patterns of writings are ironically similar. Both of the history writings show strong nationalistic history writing patterns. Yet, in the writings, these histories place different interpretations on the historical events. In the metanarrative, local dynamics are seen through the diagrams of the nation and nationhood. This narrative finds the roots of the "ethnie" from some kingdoms in Java and Sumatra. These kingdoms, which throve based on the Hindu-Buddhist culture, achieved a territorial unity to a degree, covering some parts of Java and Sumatra. The glorious past disappeared with the advent of the colonial rule. The metanarrative then emphasizes the unity of the ethnic groups in the archipelago, which fiercely resisted against the colonial exploitation and oppression. By this, these ethnic groups were defined as "the masses," the collective identity, which had a same goal to achieve the national independence. In addition, some local histories, which took positive attitudes toward the European forces, were simply left out from the metanarrative. All the separatist movements taking place in the republic were also described as the anti-unifying forces. On the other hand, the goal of the history-writing in East Timor was to enhance the sense of nationalism and create the perception of the "East Timorese." The fundamental aim was the separation from Indonesia. In the narrative, the nationalist politicians overcame the problem of the non-existence of any memories of the glorious past with the awakening of the idea of "the imagined gloriousness of the past if there was no colonial rule." In addition, the narrative overemphasizes the memory of the colonial rule for 450 years under the Portuguese rule in order to stress the fact that it was the colony of Portugal, not of the Netherlands. Finally, the narrative shows how the East Timorese collectively fell to the status of slaves. By this, the political leaders of East Timor evoked the notion that it was recolonized by Indonesia, under which the East Timorese were demoted to the status of slaves. This notion of "slave-master" relationship then became the motives for the independence struggles in East Timor.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.