• Journal of the Korean association of regional geographers
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• v.20 no.4
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• pp.425-443
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• 2014

The subjects of this research are two-folds. First, it investigates the ways in which previous geographic studies have approached to human death and its spatial representations through various theoretical frames. It is found that necrogeographies on cemetery have changed into those studies focusing on the social and spatial contexts in which deathscapes are represented. Second, this research analyzes what institutional discourses have intervened in excluding or including modern deathscapes in Korea. Some discourses socio-spatially excluded specific (undesirable) deathscape, and they mostly depended on employing such terms as 'Yeoido' and 'illegal, luxury, or deserted cemeteries'. On the contrary, other discourses employed such terms as 'developed country', 'Unified-Silla Dynasty', and 'NIMBY', and they introduced new (desirable) types of deathscapes such as cremation. This paper conclusively argues that these discourses engendered 'truth effect' so as to introduce and promote specific deathscapes while repressing pre-modern (or conventional) deasthscapes and concealing discursive contradictions.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.1-18
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• 2011

This study has been examined characteristics of Yeoju Lee family, rich group at Miryang in the middle of the Joseon Dynasty, around Geumsidang(今是堂) Lee Gwang-jin remains as a cultural landscape appeared in pictures, poetry, and a strange story. Geumsidang Lee Gwang-jin returned to his old home abandoned the middle government post after the death of Moonjeong queen in socially confused stage and tried to manage an annex to a Geumsidang located in Baekgok of Eungchun riverside, and Geumsidang he managed was affected by his teacher and uncle Wolyoun Lee Tae of a view of nature, filial behavior, and nature management etc. Also, 'Painting of 12 landscapes to Geumsidang' is landscape painting with the actual view not like the '8 landscapes of So-Sang' or '8 landscapes of Sa-Si' which is abstract landscape and Lee Gyeong-hong drew 12 landscapes of Geumsidang that includes Angbong(鶯峰: nightingale peak), Yongdu mountain(龍頭山), Mubong Buddhist temple(舞鳳寺), Maam mountain(馬巖山), Wolyeon-dae(月淵臺), Saindang village(舍人堂村), Youngnam-ru(嶺南樓), Miryang eubseong(密陽邑城), Eyeonso(梨淵沼: pear tree deep water), Yullim(栗林: chestnut tree forest), Miryang river(密陽江), Sammundong fields(沙門野), land and government office owned by Yeoju Lee family as landscape objects. 'Poems of 12 landscapes to Geumsidang' by Lee Yong-gu 11th sons of Lee Gwang-jin was written based on 'Painting of 12 landscapes to Geumsidang', and sang for time, season, and changes of the weather. All 12 poems are all a quatrain with seven Chinese characters in each line consisted of all 28 words, but does not match completely with shown elements in pictures because it is not a simple description of pictures but it is recreated by writer's personality. Therefore these painting shows not only th meaning of filial behavior but also village owned by Yeoju Lee family rich group in Miryang, and these poem recreated the pictures by changing as certain scenic spot with the object of enforcing territory of Yeoju Lee family.