• Journal of Ginseng Culture
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• v.4
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• pp.38-58
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• 2022

Park Wan-seo's novels deal with realistic topics of society, such as women's issues, the capitalist system, and the problems that come with old age. Assuch, her work is used as a tool to analyze social phenomena in various fields, such as women's studies, sociology, and literature. A characteristic style of Park Wan-seo's novels is that she bases them on her own experiences. However, among her novels, the novel Mimang is exceptional. The plot is based on stories that have been passed down from generation to generation. This is to show the spirit of the times through the unforgettable story of her hometown, Gaesong. Mimang is the story of a family chronology that spans four generations centered on Chun Cheu-Man and his family, who became powerful capitalists through the cultivation and commerce of ginseng cultivation. Set in the late 19th century until the end of the Korean War, the novel unravels the essence of the times symbolized by merchants of ginseng and Gaeseong, focusing on the actions of people living in a period of historical turbulence. Gaeseong is the mecca of Korean ginseng, and Gaeseong cannot be portrayed without the story of ginseng and its merchants. Therefore, Mimang, a fictionalized story based on real facts, contains valuable testimony of the history of ginseng, not only as historical values of modern history and personal customs but also as microhistory. In the novel, traces of the times of Gaeseong and the spirit of ginseng merchants, as shown in the Japanese sacking of ginseng during the colonial period, the resistance of ginseng merchants, and the conversion of ginseng capitalism to modern capitalism, are imprinted like fossils. What is especially meaningful is that the stories in the novel correspond to historical facts and constitute a chapter in the history of ginseng. The symbolism of ginseng in the novel can be explained in three main ways. First, it shows the essence of Korean ginseng. It reveals the soul of ginseng through the sincerity and rigor of ginseng farming, as well as the spirit and pride of ginseng. Second, it symbolizes the exploitation of ginseng in Japan as a national issue. The efforts of ginseng merchants to protect this and support the independence movement are presented as important themes to express nationalism. Third, it shows the modern capitalist progressiveness of Gaeseong ginseng merchants, who do not stay in landownership and commercial capital, but convert them to productive capital and contribute to society by modernizing them. The three symbolisms show the spirit of the times of the Gaeseong ginseng merchants, clearly revealing the meaningful relationship between the Korean people and ginseng.

• The Journal of the Korea Contents Association
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• v.5 no.6
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• pp.193-208
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• 2005

The purpose of this study was to look into Korean film criticism that started during Japanese occupation. It's specifically attempted to shed light on the development and significance of Joseon film criticism and on film movement theory as part of the history of Korean early modern film criticism. When kino-drama that could be called the start of Joseon movies was popular, enlightenment-based view of movie was rampant due to the inflow of western civilization and modernistic consciousness. Afterwards, the nature of movie itself drew a lot of attention from contemporary people in the silent picture days, and there appeared a critical trend in pursuit of artistry. Diverse criteria of criticism about reality and representation were presented, and a lot of disputes were eventually stirred up. Thus, criticism started to make a progress. A proletarian film movement theory, the so-called KAPF film campaign that was prevalent from the mid-1920s to the mid-1930s, was one of leading contemporary movie theories and took the lead in critic community. That had a great impact on the entire Joseon film circles. That took a proletarian view of movie, which was based on Bolshevik theory of Popularization and dialectic historical materialism. their criticism made a contribution to providing information on foreign movies and theories and to presenting main principles and multiple alternatives toward film organization and playing.

• Journal of Korean Society of Forest Science
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• v.31 no.1
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• pp.21-29
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• 1976

In foreign countries the national forests began to emerge when the modern body politic came into being and looked upon forests as an indispensible source of national wealth to the effect that eachnation virtually nationalized the forests to promote the public interest such as erosion prevention and water source stability. Most of the forests that are now in national ownership used to be the estates of kings and feudal lords in the Middle Ages. In Korea in national forests come into being toward the end of Yi-dynasty as an outcome of the Japanese colonial policy under which, with the purpose of exploiting the forest resources, the dense forests of large area were systematically transferred into national property to be controlled by establishing the echelon of the national forest stations. The main task of these stations was to fell lumber to no limits.

• Journal of the Korean Geographical Society
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• v.48 no.2
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• pp.218-238
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• 2013

The objective of my paper is to investigate historical change in concepts of medical geography and to present its historical vision. Modern medical geography was established in the name of medical topography in Europe where it had to control tropical diseases in the course of exploration and voyages for colonial interests. England developed medical geography in the name of sanitary reform, France did so for civilizing mission, and geomedicine prevailed in Germany. The twentieth century witnessed two traditions of medical geography, with focus on disease ecology and medical care system, respectively. In addition, the paper emphasizes the significance of cartography of disease as knowledge as power. As the identity of place becomes increasingly important in relation to health at the around of the twenty-first century, geography of health has emerged as a new promising discipline independently of medical and public health geography.

• The Journal of the Korea Contents Association
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• v.13 no.9
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• pp.121-129
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• 2013

It is the fact that Korean police has not focused on establishing identity but focused on establishing system due to the war under the confused situation which accepted police system of continental law in the period of Japanese Colony and then accepted the police system when being governed by USA. Afterward, as political, economic, and social atmospheres outside became stable, police identity, the philosophy of police activity through internal introspection in order to orient police activity in modern society, is needed. However, most of approaches for establishing police identity have focused on phased measurement by emphasizing to find major variables. Such identity of police organization through certain measurement study could not only carry out replication but also showed its limit to internalize ideal identity. Therefore, this study analyzed the reflectivity of police activity according to how it depends on certain means and depending means as a recognition to internalize the identity in order to discuss the formation of necessity and approach in establishing police identity, and suggested its results.

• Communications of Mathematical Education
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• v.31 no.1
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• pp.149-177
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• 2017

Since modern mathematics textbooks were introduced in the late 19th century Korea, arithmetic experts started to teach modern mathematics using Arabic numerals at village schools and churches. After the Gabo Education Reform of 1894, western mathematics education was included in public education and the mathematics textbooks began to be officially published. We explored most of Korean mathematics textbooks from 1895 to 2016 including the changes of mathematics curriculum through 1885-1905, 1905-1910, 1911-1945, 1945-1948, 1948-1953, 1954-1999, and 2000-2016. This study presents the characters of modern mathematics textbooks of Korea since 1885.

• Journal of Digital Convergence
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• v.19 no.5
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• pp.407-414
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• 2021

This study will examine the relationship between women and art education between the 1910s and the 1930s, and how women broke down the feudalistic views on women by changing the perceptions of women and stepped into society through gendered art education. Women tried to restore dignity and realize freedom and equality between men and women through modern education. Nevertheless, women had to receive handicraft education for the cultivation of virtues as part of the Japanese colonial policy and returned to their traditional feminine role. However, this study aims to reveal how a small number of "new women" who studied in Japan took the lead in teaching handicrafts for the independence of women, and how they were officially recognized as in the arts and crafts community and was able to enter the exhibition space through records, interviews, and newspaper articles. In conclusion, this study hopes to provide an opportunity to examine the relationship between handicraft education and femininity, and to consider the role of art education and exhibition in the development of women into social beings.

• The Southeast Asian review
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• v.27 no.1
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• pp.1-52
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• 2017

This study aims to compare the state building process focusing on the founding presidents of South Korea, which was a colony of the defeated state of World War II and the Philippines, the colony of the victorious state. To this end, it compares the lives of the presidents, mainly the founding president of Korea Syngman Rhee and Manuel Quezon who led the autonomy of the Philippines and established the Commonwealth government, in the contexts of the state building process of the two countries. In each country, the leaders had to address the core tasks for founding the states in common. Firstly, after the independence or the acquisition of state autonomy, both countries adopted a constitution based on the presidential system with the strong authority of the presidents influenced by the United States. Secondly, the two countries after the independence were operated on the basis of anti-communism at the forefront of the Cold War. In addition, they also carried out land reform to bring the peasants into the system for supporting anti-communism. Lastly, the two countries also faced the same issues of liquidating the Japanese colonial legacies. Therefore the study examines the establishment of the constitution, settlement of anti-communism line, the land reform issues, and liquidation of Japanese colonialism or occupation in each country. The Philippines attained 'constitutional independence' in 1935 and experienced political development faster than any other post-colonial country in Asia. However, except for the establishment of the constitution, the early leaders were not able to address the principal issues for state building. As land reform failed, landowners became economically and politically dominant. The Philippines, where the modern citizen class has not arisen suffered from the political and economic recession. In Korea, despite the Korean War and division of the country, the founding president Syngman Rhee attempted to solve the tasks. As a result, he was able to lay the track of liberal democracy against communism and also settled Japanese colonial legacy as much as it was allowed. In particular, through land reform, he has laid the basis for the nation-state and economic development and has set up the girders of Korean economy by adopting the market economy system. Although there are merits and demerits, compared with the leaders of other countries especially with the Philippines, it is no doubt that Syngman Rhee has played an essential role in establishing the state as a founding president.

• (The) Research of the performance art and culture
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• no.19
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• pp.221-280
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• 2009

This thesis is a study of the rise and the characteristic of 'Hyangto Gakeuk(literally Song drama of the country or local music drama)' in the Early 1940s. During the colonial period, there were attempts to incorporate traditional Korean music elements with Western operatic form. This type of music drama with librettos based on traditional tales came to be known as 'Hyangto Gakeuk'. Mostly 'Hyangto Gakeuk' has led this effort under the director Seo Hang-Suk, the composer Ahn Ki-Young and the lyricist Seol Eui-sik. In the first chapter, the study aims at arranging the performance history of 'Hyangto Gakeuk' composed by Ahn Ki-Young. Also, the study examined representative works after classifying 'Hyangto Gakeuk' performed by Lamila Music Drama Troupe, and Bando Music Drama Troupe. There is significant meaning to evaluate 'Hyangto Gakeuk' in the history of Korean music drama through this analysis of the performance history. In the second chapter, I will analyze with representative works composed by Ahn Ki-Young, a pioneer in the Korean art song. He tried to create the music that held the nationalism and tradition. His works which were called 'Kageuk' laid down the foundation of Korean original operatic style. This study demonstrated characteristics of 'Hyangto Gakeuk' as 'the beginning' in modern musical drama history and its effects on Korean musical drama developments. Namely, 'Hyangto Gakeuk' based on Korean traditions can be seen as examples of original modern musical in Korea. Practically, study on all the aspects of performance not only text generally studied, dramaturgy and criticism, but also performance concept and intention of creators in early period.

• (The) Research of the performance art and culture
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• no.22
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• pp.223-252
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• 2011

If we remember that modern world history has built systems of meaning through the concepts "difference," "different," and "other-ness" and has constructed new identity based on opposing hierarchy, music anthropology which tried to build "difference" between the west and the non-west was thoroughly west -centered, in the sense that it has perceived the heterogeneous symbolic systems among nations, as well as the barrier between the two cultures. On the other hand, world music, which has emerged as the most attractive field in culture industry and concert-art-market by crossing over global capitals, markets, and barriers, can be considered the most post-modernist and glocal. However, it is interesting to note that world music, which has been described as post-modern and glocal, has "difference" and "different" in its basis, just like the precepts for modern music anthropology (Meintjes 1990; Guilbault 1993; Taylor 1997; Frith 2000; Feld 1988). Furthermore, one can understand that the "different" and "difference," generally termed as being "non-western," are fundamentally based on ethnic or national imagination. In this sense it is interesting and important to examine such ethnic imagination in the "non-western ethnic musics" in music anthropology and in world music. Notwithstanding the attention paid and research made by music anthropologists, they have failed to elevate the "non-western ethnic musics" to become universally communicative, and these ethnic musics were reborn as "global" and "world music," through the process of "acculturation," "derivation," and "hybridization," with the west as major site for production and consumption. Meanwhile, the audience for world music, which did not exist before the birth of world music as a term, was now born as world music emerged. They are global populace who consume the musical "difference" and "imagined ethnicity," who through their consumption are constructing new social meanings including ethnicity, race, nation, and class identity. This study, by examining current discourse, performance, and process for the world music through media and field studies and scholarly debates, attempts to understand the production and consumption of "imagined ethnicity." This will also shed light on how "ethnicity" is created and consumed, and how this is involved in the process of world music.