• 베이커리
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• no.8 s.349
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• pp.89-95
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• 1997

• The Korean Publising Journal, Monthly
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• s.205
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• pp.2-2
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• 1997

지난 한해는 일종의 휴지기와 같아서 새로운 문학정신의 출현을 예비하고 있던 게 아닐까. 90년대 전반을 풍미했던 포스트모더니즘론.대중문학론 등이 상당히 퇴조하면서 문학은 그 충격에서 벗어나 시각을 조정하는 상태에 들어섰음을 예고한다.

• Journal of the Korean association of regional geographers
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• v.20 no.4
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• pp.357-378
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• 2014

The concern on new regional geography in Korea has emerged in the 1990s under the influence of paradigm shift of Western geography, that is, the withering of positivist geography and the introduction of grand social theories into geography. New regional geography in Korea also seems to have developed in the rapidly changing process of glocalization of capitalism which has accompanied with the transformation toward post-Fordism with high-tech innovation, development of transportation and communication technology with time-space compression, and increasing social and cultural mobility with change of identity. But it can be pointed out that discussion on methodology for regional geography in Korea has been shrunken since the mid 2000s, and there has been relatively little empirical research with synthetic approach to region. But more concern on methodology in terms of place, territory, network, scale, etc. rather than the concept of region itself has increased, and empirical researches on regions in specific fields of human geography have been promoted. It is argued that the traditional distinction between synthetic and analytic approaches seems no longer significant. But geographers need to extend the concept of region in relation to other diverse spatial concepts, and to purse simultaneously structural analysis on glocalization process and practical strategies responding positively to the process.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.23-36
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• 2010

The purpose of this study is to infer the aspects and significance of Musa basjoo of latter part of Chosun Dynasty by analyzing the planting tendency and planting location of Musa basjoos drawn in total 77 old paintings and the characteristics of the paintings where Musa basjoos appeared, while trying to understand symbolic meanings of floral languages as well as the images and significance of Musa basjoos which appeared in the prose and poetry of Chosun Dynasty, and the results are as follows; With its floral languages of 'waiting', 'parting' and 'beauty', Musa basjoo represented the wealth and resuscitation and it aroused the elegance of hermits in its Taoistic sense. And it also represented 'the unworldliness to get out of transient human affairs' in its Buddhistic sense. Musa basjoos which appeared in 'Garden Custom Painting(庭園雅集圖)', 'Gosa Figure Painting(故事人物圖)' and 'Gyehoe Painting(契會圖)' is considered a device to increase the unworldly atmosphere of gardens and to dignify the elegant meetings of scholars, reflected by the high appearance frequencies of cranes and deer. And it seems that the meaning of Musa basjoo in certain paintings like 'Life-time Paintings(平生圖)', 'Castle City Painting(盛市圖), and 'Cultivating and Weaving Painting(耕織圖)' is an aspiration for wealth and prosperity, and the Musa basjoos planted in temples are considered to have symbolic meanings of aspiration for 'Salvation through Belief' as well as a unworldly meaning which reminds the transiency of human affairs. In addition, the expected effect of experiencing 'the sound of rain falling on the leaves of Musa basjoo' has been pursued, which can be confirmed by the fact that Firmiana simlex with wide leaves similar to Musa basjoo can be frequently spotted near the houses. Meanwhile, Musa basjoos seem to have been planted mainly in front garden or side garden around detached house and Musa basjoos inside the houses seem to have been planted mainly in right side when viewed from the entrance, in relation with the location of bedrooms where it is easier to hear the sounds from the right side of the environment. And the paintings where Musa basjoos appear with strange rocks and bizarre stones among other things have greater part of all the paintings, which is considered a kind of intentional landscaping and a product of mixed materials for elegant appreciation. And the major characters of the painting were involved in the activities of scholars such as arts, and the activities of minor characters were greatly related to their everyday lives. Musa basjoo of Chosun Dynasty in $17^{th}$ and $18^{th}$ century was one of the symbols necessary for description of gardens. And it provided the images of rainy scenes together with scholar culture which had a meaning of self-discipline, and it is assumed that the planting of Musa basjoo with the spirit of cease lessen deavor of a new leaf pushing up the tree and the spirit of resuscitation had the same trace of wheels in the city space of our country as the decline of scholar culture of Chosun Dynasty.