• The Journal of Korean Philosophical History
• /
• no.53
• /
• pp.131-163
• /
• 2017

We were already thrown into the modern by the Japanese before reflecting the relevance of modernization and acceptance, and the value of the modern was postponed. The late period of Chosun, people sank into a state of torpor and traditional culture and ideology has caused people to have a negative perception of modern times.Modern times, however, are defined in the relative concept of tradition and modernity in the history of modern times. In order to understand the modern era and its origin, it is necessary to look squarely at the face of modernity. Failure of modern times is a failure of traditional succession.So, if we analyze the causes of the failure of the traditional heritage, why can't we see some of the reasons why we perceive it as a failure? In this thesis, it seeks to understand the diverse views of the traditional elites of the journal and the newspaper, which are published in the traditional education of the journal, and are looking at a variety of views. Moreover, we should seek to explore the traditional elements of the new tradition by discussing the aspects of the educational problems caused by the cause of the accidental break and the educational problems caused by its results.

• Sijohaknonchong
• /
• v.30
• /
• pp.91-107
• /
• 2009

This study is to examine how Sijo is being accommodated to modern Gagok by comparing them. In details, the work is about comparison between three verses in Sijo and twofold grouping in modern Gogok, JoongYuUm in traditional Gagok, YuBak in Sijo, the interlude, ADanSungJang, and changing verses in modern Gagok. First point is about three verses in Sijo and a rhythm of twofold grouping in modern Gagok. In particular, modern Gagok is treated as a group of twofold leaving three verses of Sijo. The way is chosen that whether it sets on an interlude into a song or the third part of three verses in Sijo is extended to avoid its logic of music and poem. Second, the discussion moves points on between an interlude in traditional Gagok and in Sijo. In the process of grouping twofold in modern Gagok, the parts which are interludes of both in traditional Gagok and in Sijo, combined with the interlude of the modern Gagok. It shows that the modern Gagok is affected on both the traditional Gagok and the Sijo. In addition, it explains elements of ADanSungJang - - tones and sounds in the modern Gagok. Originally, the traditional Gagok and sijo are composed of tones and sounds. At this point, tones are short, whereas sounds should be longer. This kind of way in the song has appeared on the modern Gagok of Hong, Nan-Pa. Lastly, the factors is about changing verses of modern Gagok. The one of differences between the modern Sijo and traditional Sijo is verses. For example, when it comes to sijo by Lee, Eun-Sang, he used to create his sijo with three verses. Hence, he did not change verses on his works. Whereas, the modern song "The Spring Lady" by Hong, Nan-Pa has shown the phenomenon that is separating three verses into six verses. It is noticeable that this phenomenon in "The Spring Lady" has the same bases with the modern Sijo.

• Journal of Korean Home Economics Education Association
• /
• v.19 no.4
• /
• pp.137-151
• /
• 2007

The characteristics of Hyeonmoyangcheo-ism (wise mother, good wife) in the 1950s, which were observed through the girls' school curriculums and homekeeping textbooks, were arranged as follows. Firstly, Hyeonmoyangcheo-ism in homekeeping textbooks in the 1950s stressed the modern housewife. The Confucianwomen's virtues, such as submissiveness, faithfulness and samjongjido (obedience to father, husband and son), that were in girls' moral training and home management textbooks during the Japanese imperialism. This was a part of girls' education built on democracy and equality asserted by a new Korea, the 'modern nation'. Secondly, with the increasing demands for women's labor after the Korean War, women's occupations were reinforced and incorporated in homekeeping textbooks in the 1950s. Even though having a job was a secondary task to the role of a homemaker, the details of women's occupation illustrates the characteristics of Hyeonmoyangcheo-ism in this period of time. Thirdly, The resident practice program emphasized the tradition women's behavior along with the modern homemaker, the rational designer of homekeeping. This seems to have been reinforced from the criticism towards women based on Westernization after the Korean War.

• Korea journal of population studies
• /
• v.16 no.2
• /
• pp.140-157
• /
• 1993

이 글은 1993년 4월 5일에서 8일 사이 영국의 에쌕스 대학교 (Univ. of Essex) 에서 열렸던 연례 영국 사회학회에서 발표되었던 글을 줄이고 다시 다듬은 것이다. 따라서 최초의 내용과는 꽤 차이가 있다. 지난 반세기 동안 이 땅에 밀어 닥쳤던 산업화, 도시화를 비롯한 이른바 근대화에 의하여 엄청난 사회변동을 겪었다. 인구학적으로든, 문화적으로든, 그리고 경제 성장면에서나 사회적으로도 변화의 폭과 속도는 다른 어느 나라와도 비길 수 없는 거대한 것이었다. 이런 변화의 물결 속에서 한국 가족은 스스로 많은 변신을 하여야 했다. 그리고 그 변화는 그 자체가 또 하나의 사회적 힘으로 등장하여 제2, 제3의 영향력을 현대 한국인의 일상생활에 연속적으로 끼쳤다. 그럼에도 불구하고 전통적 가치관은 사회구조의 중요한 부분들을 차지하고 여전히 한국인의 삶을 조정하고 있다. 이 논문은 위와 같은 맥락에서 가족구조의 변동을 분석하고 있다. 우선, 한국의 가족크기는 어떻게 바뀌었는가 현대 한국인들 사이에 가장 자주 관찰되는 가족유형은 어떤 것이 있는가 또한 일반적 유형으로부터 벗어나 버린 가족형태에는 어떤 것들이 있으며 그런 것들은 어느만큼 뚜렷한 존재로 증가하였는가 등을 따져 보았다. 지난 4반세기 동안 일어 났던 가족분야의 변동은, 전통적 가족주의의 원리가 전반적으로 약화하였다는 점에서 기존의 근대화 이론의 논의와 일치하고 있다. 하지만 전통적 원리가 비록 미약하나마 여전히 존재하며, 생각지도 못하였던 가족 형태가 증가하기 시작하였다는 점에서 근대화 이론의 타당성은 재음미되어야 하리라 본다.

• The Korean Publising Journal, Monthly
• /
• s.251
• /
• pp.26-26
• /
• 1999

보비오가 근대적인 정치이념으로서의 중도좌파(사회민주주의)이념과 제도로서의 좌파정당의 유효성을 강조하는 반면, 기든스.벡.래쉬는 성찰적 근대화 이전의 전통적인 좌파이념과 좌파정당의 한계를 강조하고 있다.

• Journal for History of Mathematics
• /
• v.22 no.3
• /
• pp.207-254
• /
• 2009

We would like to give an introduction about Korean Tertiary Mathematics and curriculum in the early 20th centuryan Ttails like, when tertiary mathematics was introduced in Korea, who adiated it, and how it appeared in curriculum for college education were presented. From the late 19th century, the royal circle of the dynasty, officers, socd. Felites, intellectu. sculum in tand many foreatn my mionaries, who entered Korea, began to establish educational ulstitutions begulnearlfrom the nt80s. Kearl GoJongtannounced thescript for general education icentur. Most of the new schoo scadiated western mathematics as tcompulsory course in their curriculumiese introduced tertiary mathematics in most of the curriculumurse end curriculum in, lfrom nt85 to 1960. Since then, tertiary mathematics was tautit at most of the new private and public schools of each level and in colleges. We have investigated the history of Korean tertiary mathematics with its curriculum from 1895 to 1960.

• Korean Architects
• /
• no.2 s.382
• /
• pp.60-66
• /
• 2001

우리나라 주거양식의 근대화는 단순히 전통한옥에서 현대의 주택, 아파트로의 교체가 아니라 일련의 연속적인 변화과정 속에서 시대를 살아온 사람들의 생활양식과 문화를 담고 있다고 볼 수 있다. '주택이란 삶을 담는 그릇'이라는 표현에서 볼 수 있듯이 주택이란 거주자의 가치관을 포함한 주생활양식과의 대응 속에서 주거환경의 질적 향상이 이루어질 수 있다. 따라서 주거양식의 변화에 관한 연구 또한 이러한 삶과 문화에 대응하는 방향으로 이루어져야 바람직할 것이다. 이상의 배경 하에 과거 전통주택에서부터 근대화 이후의 여러 주택유형에 이르기까지 다양한 유형을 포함한 우리 나라 주택이 가지는 공간구조의 변천을 시대적으로 조망하고자 하였다. 이를 위하여, 전통사회의 양반주택, 도시형한옥, 표준주택, 일반단독주택, 작가주택, 아파트에 이르는 다양한 주택유형을 포함하여 총 104개의 주택평면을 대상으로 공간구조의 변화에 대한 분석을 실시하였다. 또한 다양한 주택유형들이 보여주는 공간구조와 그 통시적 변화를 객관적이고 계량적인 방법론을 이용하여 관찰하고자 공간구문론의 분석방법을 이용하여 주택형식에 따른 기능적 형상학을 뛰어넘는 사회학적 형태학의 관점에서 우리나라 주거의 변천과정을 고찰하고자 한다. 상기한 바와 같이 개개의 주택형식에 대한 고려보다는 시대적 상황과 배경을 설명해주는데 용이한 대상을 중심으로 전반적인 변화의 양상과 그러한 변화에 내재한 사회적 동인과 배경을 파악하고 이해하고자 하였다.

• Korean Architects
• /
• no.2 s.382
• /
• pp.67-73
• /
• 2001

우리나라 주거양식의 근대화는 단순히 전통한옥에서 현대의 주택, 아파트로의 교체가 아니라 일련의 연속적인 변화과정 속에서 시대를 살아온 사람들의 생활양식과 문화를 담고 있다고 볼 수 있다. '주택이란 삶을 담는 그릇'이라는 표현에서 볼 수 있듯이 주택이란 거주자의 가치관을 포함한 주생활양식과의 대응 속에서 주거환경의 질적 향상이 이루어질 수 있다. 따라서 주거양식의 변화에 관한 연구 또한 이러한 삶과 문화에 대응하는 방향으로 이루어져야 바람직할 것이다. 이상의 배경 하에 과거 전통주택에서부터 근대화 이후의 여러 주택유형에 이르기까지 다양한 유형을 포함한 우리 나라 주택이 가지는 공간구조의 변천을 시대적으로 조망하고자 하였다. 이를 위하여, 전통사회의 양반주택, 도시형한옥, 표준주택, 일반단독주택, 작가주택, 아파트에 이르는 다양한 주택유형을 포함하여 총 104개의 주택평면을 대상으로 공간구조의 변화에 대한 분석을 실시하였다. 또한 다양한 주택유형들이 보여주는 공간구조와 그 통시적 변화를 객관적이고 계량적인 방법론을 이용하여 관찰하고자 공간구문론의 분석방법을 이용하여 주택형식에 따른 기능적 형상학을 뛰어넘는 사회학적 형태학의 관점에서 우리나라 주거의 변천과정을 고찰하고자 한다. 상기한 바와 같이 개개의 주택형식에 대한 고려보다는 시대적 상황과 배경을 설명해주는데 용이한 대상을 중심으로 전반적인 변화의 양상과 그러한 변화에 내재한 사회적 동인과 배경을 파악하고 이해하고자 하였다.

• Cartoon and Animation Studies
• /
• s.30
• /
• pp.27-57
• /
• 2013

Animation which appeared with films in the late 19th century was a medium which came on obtaining nourishment from art historical style of modernism. However, the relation establishment between animation and modernism has been focused mainly on animation shapes, namely painted images. This sprang from explaining the relationship between animation and paintings, and for this reason, discussions of movements in animation were understood in tradition of chromophotograph of Muybridge and Jules Marey, or some characteristics owned by the live-action film. However, movements of animation were essentially different from the indexical sign of films or photogram, and objects of reproduction were different between them. Movements reproduced by animation are not ordinary movements, but expressions of or compressed movements and considerably systematic movements. As a result, these movements are far from reproduction of live-action film photogram. Rather, the logic of movements reproduced by animation comes near to controlling their motion scopes, time, distance etc. after dividing each part of the body. This is concluded in a standpoint of modern mechanism which is represented by Descartes and La Mettrie who tried to understand human body as a exchangeable machine. Design of modern mechanism ranging from modern society to industrial society and the age of modernism came to lead to analysis of physical motions of modern industrial society called composition of efficient movements understanding them as the law of nature rather than movements as nature. In the late 19th century, Taylor, F. W. and Gilbreth, Frank Bunker's studies of workers' working hours and 'motion study' were a way of constituting the frame of machine-human, which indicates that tradition of modern mechanism affected the entire modernism passing through industrial society. Further, we can see that motion studies conducted by them have almost similar characteristics to action analysis to study animation later in the name of 'timing'.

• Korean Journal of Heritage: History & Science
• /
• v.57 no.2
• /
• pp.52-78
• /
• 2024

This study analyzes the sculptural art of SeokhaSichan(石霞施讚, 1893-1958), a significant figure in modern Korean Buddhist art, to re-examine his contributions and standing in the history of Korean Buddhist art. Sichan expanded the boundaries of modern Korean Buddhist art by developing a unique style based on the traditional sculptural techniques he learned from his mentor, Wanho Nakhyeon (玩虎洛現, 1869~1933). This study explores Sichan's artistic development, focusing on his artistic characteristics and sculptural evolution. Sichan's early works are characterized by small sculptures modeled after the main Buddha of Seokguram Grotto and heavily influenced by his mentor, WanhoNakhyeon. In his later works, notable features include a sense of massive volume, larger scale, upright postures, integration of the Buddha statue with its pedestal, and decorative treatment of drapery. These changes are interpreted as Sichan's response to social changes and his reflection of inner contemplation and artistic exploration in his works. This study reveals the influences of Wanho Nakhyeon, collaborations with Toewon Woneil(退雲圓日, 1877~1939), interactions with patron Kim Jiseonghwa(金至誠華), and master-disciple relationship with successor Geumchun Seongpil(金春性必) through literature review and newly discovered works by Sichan. His works and his artistic evolution are pivotal milestones in the history of modern Korean Buddhist sculpture, demonstrating a unique integration of traditional and modern aesthetics. This study provides valuable insights into how Sichan's artistic legacy was inherited and developed by subsequent generations and offers crucial materials for the study of modern Korean Buddhist sculpture history.