• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2007.10c
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• pp.15-19
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• 2007

본 연구는 서양의 과학적 합리적 이성주의에 대한 단절된 동양문화의 상징적 사유체계에 내재된 상상적 환경을 복원하는 것을 목적으로 하였다. 상상적 환경을 복원하기 위해 한국 중국 일본의 고대도시인 서울, 북경(北京), 교토(京都) 등을 사례대상지로 선정하였다. 이들 사례도시의 역사 문화경관을 분석하여 상상적 환경요소를 도출하고자 해석학과 현상학적 접근방법을 활용하였다. 동북아시아 삼국(한 중 일)의 역사문화경관 비교와 재해석을 통해 그 속에서 내재된 상상적 환경을 도출한 결과, 각 도시에 내재된 장소의 정신과 자연환경요소가 인문환경요소로 반영되어 구조화되었으며, 개별요소들이 결합하여 조직화되었고, 점진적으로 장소(場所)의 혼(魂)은 더욱 성화(聖化)되었다. 본 연구는 인간생활의 실존적(實存的) 장(場)인 도시공간을 상상적 환경이라는 새로운 개념으로 비교분석한 최초의 시도로서 의의를 가진다. 그러나 동북아시아 삼국의 역사문화경관에 내재된 상상적 환경의 보편성을 확인한 것은 의미가 있으나, 각 도시별 세부적인 요소에 이르기까지 특수성을 밝히는 데는 한계가 있었다.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.263-267
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• 2020

In the Japanese colonial period of Korean history, appropriate conclusion often overwhelmed the historical imagination, and also pointed out that it shows a similar pattern in spite of the history detective novel genre that emerged with pointing out the limitations of modern history. Historical facts showing in , the legitimacy of independence based on nationalism, and modern civilization are well known in the historical and cultural contents of the Japanese colonial period. It is the reason why applied in historical and cultural contents, as the history as is for current desire of the public to the imaginary community(nation), and as the history which current social conflicts are reflected. History, historical facts and fiction are intermingled in the contents of history, and it is creating a new 'historical imagination'. As a matter of fact, there is only one fact of the past, but the historical imagination of historical and cultural contents is diverse as there is not one historical fact made by historians. History has not yet gone to the imagination for the future, but writing history through historical and cultural contents will create a 'history of possibilities'.

• CHINESE LITERATURE
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• v.99
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• pp.157-177
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• 2019

1949年後周作人散文中，有關魯迅的回憶文章是其重要組成部分。特别是《魯迅的故家》，展现了形成當下周作人鲁迅的过去经验，根源，历史，文化，地域传统以及逐渐衰败的士大夫家的荒凉内面。周作人在《魯迅的故家》上的魯迅回忆法很独特。明明以魯迅的文章《朝花夕拾》为引子，但很快就超越了原本。他望着被魯迅漏掉或遗忘的百草园内外徘徊。那里有鬼園，有漂泊在鬼園之上的灵魂，也有些生活在想象和历史的境界里的人。甚至还有被他遗忘似的祖父和父親。《魯迅的故家》在虚构和历史，想象和事实或魯迅和周作人这两个领域之間无数次往返，跳跃，并创造出上下四面扩张的新世界。但是在这个时空中，真实和虚构已经不再是個问题。因为在虚构和事实之间徘徊的《魯迅的故家》中的人和事不知不觉间变得更加立体，时时刻刻变化，拥有丰富的内涵。 但是另一方面，随着《魯迅的故家》中出现的魯迅周围人物和事迹具有具体的质感，魯迅本身其形象和存在感也变得模糊不清。因此，"《魯迅的故家》实际上是周作人的故家"的不满和由周作人對魯迅谈论的结果，被认为是 '对左翼鲁迅的放逐'。周作人復原了魯迅早年和青年時代。那是被推頌爲 "現代中國聖人"，"革命家"以前的周作人長兄的魯迅，是生活在衆多背景和事件中凡人魯迅，是非革命性的非戰鬥性的魯迅。這是周作人創造的另 一個世界，是周作人和魯迅的文學和學術發祥地，也接近于曾分化成許多不同面貌的原生質世界。

• The Science & Technology
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• no.9 s.412
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• pp.86-91
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• 2003

화석이란 지질 시대에 살았던 생물, 곧 고생물의 유체나 흔적이나 배설물들이 지층에서 바위나 돌멩이처럼 굳어져 있는 것을 말한다. 또 지질시대란, 46억 년의 역사를 가진 지구역사에서 최초의 바위가 만들어지기 시작했던 때부터 역사시대 이전까지를 말한다. 그러므로 화석의 나이는 최소한 5천~6천년은 더 되므로, 80년 정도를 사는 인간의 처지에서보면 상상이 되지 않는 때에 살았던 생물들이 껍데기나 뼈대나 알 그리고 배설물들이다. 그러나 이집트 미이라는 역사시대의 유물이므로 사람의 화석이라도 말하지 않는다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.38-48
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• 2010

The Gwanghalu garden which has a pond of approximately $6,000m^2$ around the pavilion at Namwon City, used as official uses consists of the various imaginary environmental elements such as moon palace as an immortal world, miniatured cosmology and law of nature. This study has focused on the interpretation of the imaginary environmental elements at 1) the name of garden structures, 2) the paintings on the structures, 3) the poems on the garden, and then emphasized on the values of imaginary environments at the historic sites which have been abandoned because of the Westernized scientific attitude in landscape design. Imaginary environment is the 3rd one above the natural and built environment which was a long traditional culture. Accordingly education on landscape architecture might pay attention to this lost environment, imaginary to give the people dream.

• The Korean Publising Journal, Monthly
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• s.238
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• pp.20-21
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• 1998

도시 연구자들은 역사상 유례가 없는 자본주의의 승리를 예견하면서도 그것이 우리의 도시를 얼마나 살 만한 곳으로 만들 것인가에 대해서는 별로 긍정적이지 못하다. 도시사회학 책들은 결국 우리에게 우울한 상상을 강요한다. 그러나 그만큼 대안적 미래를 꿈꿀 수 있는 여지도 넓혀주는 게 아닐까.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.

• (The) Research of the performance art and culture
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• no.18
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• pp.379-412
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• 2009

According to "Jinjak-yigwe(進爵儀軌)", a special banquet was held at Yungyungdang(演慶堂, a kind of royal theatre) to celebrate the 40th birthday of Queen Soonwon(純元王后) in 1828. This banquet is famous for the presentation of nineteen new Jungjae(呈才) repertoires that the Crown Prince Hyomyung(孝明) created. In order to explore the theoretical basis for the reproduction and presentation of Yungyungdang(演慶堂) Jinjak(進爵, a type of royal banquets), in this article, the imagination and experience of the presentation of Yungyungdang Jinjak are pursued, while focussing on audience's reception. In Yungyungdang Jinjak, King Soonjo(純祖), Queen Soonwon and the prince were the special audience; they participated in the procedure of Ye(禮, etiquette of ceremony) and also were considered as the characters of certain repertoire of Jungjae. Hyomyung arranged the spectacles from the myths of Taoist gods and immortal hermits, as well as historic episodes of the past emperors' elegant tastes of music. These mythic and historic images lead the audience toward the imagination and experience on the transcendental world. Hyomyung, managing the administration as the representative of King Soonjo, tried to show absolute royal authority through the splendid performances of Yungyungdang Jinjak, so as to overcome the politicaly difficult situation. He set up the sacred world for his father King Soonjo, distinct from the secular ordinary world, and emphasized his position as the bridge between the two sides. He expressed his filial duty through the devotion of performing arts to display absolute royal authority.

• Journal of Korean Historical Folklife
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• no.27
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• pp.267-361
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• 2008

This article traces how the modern Chinese "nation" was constructed as an "imagined community" around Huang-ti (the Yellow Emperor) in late Qing. Huang-ti was a legendary figure in ancient China and the imperial courts monopolized the worship of him. Many late Qing intellectuals appropriated this symbolic figure and, through a set of discursive strategies of "framing, voice and narrative structure," transformed him into a privileged symbol for modern Chinese national identity. What Huang-ti could offer was, however, no more than a "public face" for the imagined new national community, or in other words, a formal structure without substantial contents. No consensus appeared on whom the Chinese nation should include and where the Chinese nation should draw its boundaries. The anti-Manchu revolutionaries emphasized the primordial attachment of blood and considered modern China an exclusive community of Huang-ti's descent. The constitutional reformers sought to stretch the boundaries to include the ethnic groups other than the Han. Some minority intellectuals, particularly the Manchu ones, re-constructed the historic memory of their ethnic origin around Huang-ti. The quarrels among intellectuals of different political persuasion testify how Huang-ti as the most powerful cultural symbol became a site for contests and negotiations in the late Qing process of national construction.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.191-219
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• 2020

This paper aims to identify the key features of the novel writing of Korean American immigrants and their meaning as one aspect of movement and contact occuring in the early modern period. The late return of the novels written by Nakcheong THUN in the 1930s is significant in that it restored ideas on the diversity of early modern mobility and confronted the history and culture of immigrants who were excluded from records and memories. Not only are these novels a product of the phenomenon of immigration, but they have also created a crack in the dichotomous perceptions of domination and subordination, center and periphery by envisioning it as a space that creates new history, culture, institutions and values. These novels treat the free love of intellectual, emotional, and ethical figures as a central event, demystifying Western free love, and at the same time, a society divided by various identities including class, race, and gender. The novels by Nakchung THUN visualize the active exchange between the immigrant and the indigenous community through the character of Jack, and imagines the heterotopia as a place where not for the immigrants' utopia, but for everyone's coexists. These novels have declared a kind of memory war on the subordinate and marginalized contact zones. The contact zones of the immigration area had been a place for experiencing extreme conflicts and discords, and at the same time, it has served as a place where various groups and communities are connected. The contact zones were common areas of solidarity and creation before being subject to division and occupation. The contact zones are far from the border or borderlands, so it is not a fixed and immutable deadlock. As a world free from central domination the contact zones have been a space that preoccupied history and culture through various encounters, and have been a community.