• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.124-134
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• 2011

The space has been interpreted from various perspectives, such as hierarchical, cultural, economic, political factors, etc. So we can see the space as a social existence. Space is now being formed through the dialectical relations of these elements. From this point of view, this study started to research the spatial practice of morden people through the case in the early 20th century film. With the discourse of Henri Lefebvre and David Harvey, and Michel de Certeau's theory, this research tried to find the mechanisms of spatial practice. Also Benjamin is a philosopher who intervenes the relationship between modernity and cultural production and his way of reading cultural phenomena seems to serve as the useful methodology of cultural studies. Modern people were individual unawared of the era, awakened to the ego. They were wandering the room and the street, private and public places. They were city dwellers walking around, collecting goods, and living of everyday life. Spatial practice is a fixed activity and have continuity. spatial practice appeared in the early 20th century film is at the intersection of social practices and the practice of everyday life. Social practices are a fixed practice and continuous practice. The practices of everyday life are nomadic practice and amusable practice. Modern people accommodate and adapt to a given space of the city through fixed practice. They realizes the access and the distance from spaces through continuous practice. They select and approved the spaces through nomadic practice. And they possess exclusively and utilize the spaces through amusable practice. Through These research spatial practices, it could easily found similarities and differences between modern space on the early 20th century and contemporary space of 21st century. True modern is not the past but the present.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.121-150
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• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.

• Korean Linguistics
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• v.71
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• pp.1-22
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• 2016

The early 20th century is a period of time when Korea confronted with the surging waves of modernization, and made a variety of internal reactions. The Korean language, not immune to the upheaval, also experienced new changes and gradually gained characteristics of today's Korean. Although scholars have not yet fully agreed upon the time division of Korean, Gabo reformation (1896) is usually considered to be the beginning of modern Korean. Thus, the early 20th century was also the beginning of modern Korean. Phonological, lexical, and grammatical characteristics of modern day Korean began to appear during this period of time. Phonologically, the 10 vowel system was established, glottal sounds and aspirated sounds increased, vowel harmony declined. Phenomena such as vowel raising, front-vowelization, monophthongization, and the word-initial rule appeared. Meanwhile, hangul-Chinese mix writing became common practice, and hangul-only writing also started to take place in narrative writing, and elements of spoken language began to reflect in written language. All those pointed to the unification of written and spoken language. Under the influence of modernization, a great amount of new words appeared. Especially, Japanese and other foreign words flooded in in great quantities. Grammatically, '-eos-(-엇-), -neun-(-는-), -ges-(-겟-)' trichotomy system of tenses was established, and hearer-oriented honorific system also formed a binary system of 'hasoseo(하소서), hasibsio(하십시오), hao(하오), hage(하게), haera(해라)' and 'hae (해), haeyo(해요)'. In word formation and sentence construction, the use of '-gi(-기)' became more frequent than '-eum(-음)', while '~geot(~것)' also significantly increased. In negative, causative and passive expressions, the use of long form, which has fewer restrictions than the short form, became more frequent. A tendency towards simplicity appeared. In the same vain, long and complex sentences with several clauses tend to be avoided. Instead, short simple sentences became more favorable. Korean linguistics scholars should pay closer attention to the modernization period, which includes the early 20th century. In order to fully understand today's Korean language, more thorough research on this immediately preceding period is necessary.

• Journal for History of Mathematics
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• v.21 no.4
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• pp.105-126
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• 2008

This article summarizes the historical changes of the secondary school geometry to give insights into the new direction of geometry education for the 21th century. Geometry has been considered as an essential subject in high school since mid-nineteen century in accordance with the social changes. Since the development of computer softwares such as CAD effects on the role of geometry in work and professional societies, the knowledge and skills the contemporary world require to school geometry have being changed. More focus on applications and modeling aspects, expansion of reasoning and problem solving, emphasis on design-related elements are features of the school geometry for the new century.

• (The) Research of the performance art and culture
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• no.37
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• pp.61-94
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• 2018

This article examined that the historical changes and current significance of the Jaedam(재담) and the Xiangsheng(相聲), one of the traditional Korean and Chinese language games. Both Korean Jaedam and Chinese Xiangsheng are representative language games and traditional performing arts for laughing. The origin of the Jaedam can be traced back to Uheui(우희). Uheui has been called Changyouxi in China, Bae Woo-hee, and Jo Hee in Korea. Uheui is the most traditional language game and a variety of performances were derived from its spreading and inheriting process. Among them, Korean Jaedam and Chinese Xiangsheng can be said to be a piece of art that has successfully inherited Uheui tradition. From the late 18th century, Korean Jaedam were established as independent performance arts, and became highly active in many performance by professional joker Park Chun-jae and other performers. With the development of gramophone record in the early 20th century, the Jaedam was mainly made on the theater stage and radio. At this time, the new performance art of 'Mandam(만담)' was derived from the Jaedam, which focused more on satire current events and criticizing the social situation. Mandam has been popular for a long time and then extinct in the 21st century. The jaedam have been handed down only in the Korean traditional performance so far. Meanwhile, Chinese Xiangsheng, which was built in the mid-19th century, a bit later than Korean Jaedam, was initially considered to be a vulgar art of the lower class, but finally became popular in the early 20th century. In the mid-20th century, Xiangsheng was transformed into a new character, which mainly deals with social praise and edification of the masses. But since 'New Xiangsheng' does not focous on a satire on social conditions, the humor has been reduced. In the early 21st century, Xiangsheng was on the verge of extinction just like Mandam, but through the efforts of young actors to revive tradition, another reformation of this art was made to return to tradition and small theater. Currently, the 'traditional Xiangsheng', which has returned to tradition, is once again receiving the love and support of the Chinese audience. Korean Jaedam and Chinese Xiangsheng have many similarities in terms of history and recruitment, but they are now in different fates. There is also a great deal in common ground in terms of the content and form of the two arts. In the case of Xiangsheng, it is one of the traditional folk art forms which is still loved by the Chinese people and has become one of the most important traditional performances. On the other hand, in Korea, Jaedam as independent performance arts has disappeared and now only can be seen in traditional performances such as 'Korean mask theater'. The fact that Korean Jaedam and Chinese Xiangsheng have undergone similar changes in their spreading and inheriting process, while Korean Jaedam have disappeared and Chinese Xiangsheng is well preserved. The reason can be confirmed through the main idea of this article.

• Proceedings of the KAIS Fall Conference
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• 2010.11b
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• pp.624-627
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• 2010

20세기 재즈의 흐름에서 특히 주목할 만한 인물은 마일즈 데이비스로 그의 독창적인 시도와 새로운 접근방식은 현대 음악에도 많은 영향력을 발휘하고 있다. 어느 분야에서건 그 흐름을 주도하는 인물들은 시대적 배경과 무관하지 않다. 흐름을 주도한다는 것은 현재 없던 것을 새로이 선보인다는 개념이 아니라 과거에 있었던 것을 다르게 접근, 발전시킨다는 것이 타당할 것이다. 이 연구에서는 마일즈 데이비스가 보여주었던 수많은 시도 중에서 Nefertiti 라는 특정 곡을 중심으로 20세기 초에 에즈라 파운드를 중심으로 영국과 미국에서 형성되었던 이미지즘과의 연관성을 논하고자 한다. 음악과 문학은 항상 그 시대의 흐름과 무관하지 않았고 독창적인 예술가와 작가의 세계를 연결시켜보는 것 또한 커다란 의미가 있으리라 본다.

• Proceedings of the Korea Water Resources Association Conference
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• 2022.05a
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• pp.190-190
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• 2022

최근 30년 강수량은 20세기 초보다 124mm 증가하였으며, 지역별 변동성 역시 매우 크다. 또한 일 강수량 80mm 이상의 강한 강수의 증가가 뚜렷하고 약한 강수가 감소하는 양극화로 인하여 홍수기에 홍수피해가 증가하는 추세를 보인다. 하지만 홍수에 대비하는 기간인 홍수기는 1970년 이전에 제정된 후 개선된 적이 없어 기후변화를 반영하지 못하고 있으며, 전국적으로 동일한 홍수기를 적용하고 있기에 최근 강수량의 지역특성이 강한 점을 반영하지 못하고 있다. 따라서 본 연구는 20세기와 21세기 두 그룹의 통계특성을 비교하여 홍수기의 강수량 변화를 정량화하여 기후변화를 보이고 국내 18개의 다목적댐 유역에서의 강수량 변화를 통계기법을 통해 지역 특성을 확인하였다. 이후 장마와 태풍을 기준으로 한 기존의 홍수기와 extension, shift, 그리고 split 등의 방법을 적용하여 개선한 홍수기를 비교하였다. 모의 방법은 댐 운영 기본 규칙에 국내 다목적댐에 가장 많이 활용되는 일정률-일정량 방식의 Rigid ROM과 예측한 유입수문곡선의 정확도가 관건인 일정량 방식의 Technical ROM을 활용하여 방류량을 결정하였다. 홍수저감효과는 계획방류량을 기준으로 한 세 가지 지표(frequency, duration, magnitude)를 통한 비교와 하천의 계획홍수량과 댐의 200년 빈도 계획홍수량을 기준으로 한 K-water 방법을 활용하여 평가하였다. 본 연구의 결과로 20세기와 21세기 홍수기의 통계량을 비교했을 때 강수량의 평균값이 86.55mm가 증가한 것을 확인할 수 있었으며, 각 댐 유역별로 비교하였을 때도 1개의 댐을 제외한 94%의 댐에서 증가 추세를 확인하였다. 추가적으로 모평균 차이를 95% 신뢰구간으로 확인한 결과 80% 이상의 범위에서 증가추세를 확인하였다. 가설검정 결과인 p-value가 최소 0.038에서 최대 0.3의 값을 가져 지역별 강수 차이 또한 유의미한 통계적 차이를 파악하였다. 홍수저감효과의 경우 2020년의 시범 유역에 대해서 15일의 extension을 적용한 홍수기가 기존의 홍수기에 비해 평균적으로 frequency는 0.002%, duration은 1.85hr, magnitude는 26.96% 정도 저감됨을 확인하였으며, flood의 횟수도 6회정도 적음을 확인할 수 있었다. 본 연구의 결과를 바탕으로 향후 기후변화에 대응한 새로운 홍수기의 기준을 제안할 수 있을 것으로 기대한다.

• Industry Promotion Research
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• v.5 no.4
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• pp.91-100
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• 2020

In the U.S.A. from the late 19th to the early 20th century, the big business system emerged surpassing the British Empire economy. Such growth resulted from the realization of the "American-productive mode' being derived from the continuous immigrants inflow, renovative development of transportation, national markets formation and R&D of the science·technology. During 10 years after 1895, American economy was prevalent with the combination trends by the vertical or horizontal integration and these both mixed systems. As such big business was recognized, the American domestic citizens expressed the strong doubt to the revolutionary change and its public benefits and inaugurated the anti-big business campaign with deep concern that the American traditional symbol 'land of the wealth and opportunity' would be threatened. Although the governmental organizations controlling big business were established and the control laws were enforced, the American society accepted the new economic order. This situation resulted from the American economic prosperity, material affluence and managerialism of the big business.

• Journal for History of Mathematics
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• v.20 no.1
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• pp.1-16
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• 2007

In the 19th century, Chosun mathematicians studied the most distinguished mathematicians Qin Jiu Shao(泰九韶), Li Ye(李治) Zhu Shi Jie(朱世傑) in Song(宋), Yuan(元) Dynasty and they established a solid theoretical development on the theory of equations. These studies began with their study on Si yuan yu jian xi cao(四元玉鑑細艸) compiled by Luo Shi Lin(羅士琳). Among those Chosun mathematicians, Lee Sang Hyuk(李尙爀, $1810{\sim}?$) and Nam Byung Gil(南秉吉 $1820{\sim}1869$) contributed prominently to the research. Relating to Si yuan yu jian xi cao, Nam Byung Gil and Lee Sang Hyuk compiled OgGamSeChoSangHae(玉監細艸詳解) and SaWonOgGam(四元玉鑑), respectively and then later they wrote SanHakJeongEi(算學正義) and IkSan(翼算), respectively. The latter in particular contains most creative results in Chosun Dynasty mathematics. Using these books, we study the relation between the development of Chosun mathematics and Si yuan yu jian.

• Journal of International Area Studies (JIAS)
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• v.14 no.1
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• pp.129-153
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• 2010

The guiding research question of this paper is to discover 'why the UK could not develop a general structure in which transnational corporations were born during the end of the 19th ~ beginning of the 20th century like other countries'. In response to this question, although acknowledging its imperfections, the author would like to explore the causality in the context of 'Social Construction' which is reflected in the attributes of British society. As such, researchers are strongly recommended to take into account the actors' interests and the increased value effect of events which is driven by control power. This paper concludes that: firstly, not only was contempt for industrial capitalism prevalent in British society, the British government was unable to recognize the necessity of promoting policies for the development of transnational corporation. In addition, the increase in the clout of commercial-financial capitalists in the city of London along with the expansion of gentlemanly elites interfered with the transnationality of British companies. Secondly, the foundation of the political and economic structures in the UK experienced continuity and challenge simultaneously. Since the 1850's, the British social structure has been progressively characterized by the strengthening power of the commercial-financial elites in London, which resulted not in the transnationality of manufacturing but that of financial services. Finally, the configuration of the social network driven by the British elites consists of the actors' interests and control power in association with severance and connection. Unlike the complementarity of interests, in the initial stage, intended connection based on voluntary motivation between gentries and commercial-financial elites occurred in terms of control power. However, ultimately, the holding of power was transferred to the commercial-financial elites excluding the industrial capitalists and resulted in the reconfiguration of the social network.