• 이베로아메리카
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• 제12권1호
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• pp.241-265
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• 2010

The main purpose of this study is to reveal the historical origins of Latin American economic underdevelopment, by answering two research questions; 1)'Why is Latin America underdeveloped?' and 2)'How has colonial experience impacted on the economic growth in Latin America?' First, this essay analyzes long-term tendency of growth domestic product(GDP) per capita data. The data verify that current underdevelopment of Latin American economy is the result of economic stagnation during the eighteenth and nineteenth centuries, when Latin America suffered political and economic instability before and after the independence from Spain and Portugal. It elucidates that colonial experience affected on the economic growth in Latin America. Second, this essay reviews key independent variables of the relationship between colonial experience and economic growth in Latin America. To do so, the study categorizes extant literature into two groups according to the type of its independent variables: 1)internal factor and 2)external factor. Finally, the essay surveys the role of institutions in Latin American economic growth and development. The survey confirms that the importance of institutions in the study of Latin American economic history. In addition, the essay suggests some tasks for further research in Latin American economic history; 1)the construction of basic economic data, 2)the substantialization of the role and characteristics of institutions, and 3)the expansion of research on institutions which overcomes ideological rigidity of existing institutional approach.

• 한국초등과학교육학회지:초등과학교육
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• 제41권2호
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• pp.236-249
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• 2022

이 연구는 일제강점기의 교사 윤재천(尹在千)이 언급한 조선의 초등 과학교육에 대한 내용을 분석한 것이다. 윤재천은 대한제국 말에 태어나 일제강점기와 광복을 직접 경험한 사람이었다. 일제강점기에 경성사범학교 교사였던 윤재천은 <조선의 교육 연구(朝鮮の敎育硏究)>라는 교육 전문 잡지에 과학교육에 관련된 글을 많이 게재했다. 특히 그가 1939년에 저술한 "조선의 이과교육(朝鮮の理科敎育)"은 조선인 교사가 평가한 당시의 과학교육 전반을 분석하여 보고한 기사였다. 이 연구에서는 일제강점기에 조선인 교사의 눈으로 본 조선의 과학교육의 전반적인 상황을 추적했다. 일제가 강제 점령한 식민지 상황의 조선에서 윤재천이 생각했던 과학교육의 관점은 친일적인 색채를 드러내지 않을 수 없었던 한계가 있었다.

• 한국의사학회지
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• 제35권2호
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• pp.101-111
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• 2022

Sakae Miki, a Japanese medical historian, was a leading figure in the study of medical history in the Korean Peninsula due to his three representative books, Bibliography of Korean medicine, ancient and mediaeval(朝鮮醫書誌), The History of Korean medicine and of diseases in Korea(朝鮮醫學史及疾病史), and A Chronological table of Korean medicine(朝鮮醫事年表). After graduating from Kyushu Imperial University's Faculty of Medicine in 1927, he moved to Seoul (then called Keijo) the following year and lived in colonial Korea until 1944. As a doctor and bureaucrat working for the Government-General of Chosen in colonial Korea, this study focused on his career activities. It was in 1928 when he entered Keijo Imperial University's Faculty of Medicine where he participated in experimental research under the supervision of Professor Shinosaki, who was the chief of the third Institute of Medicine. It was discovered that he received his doctorate in medicine from Kyushu Imperial University in August 1932. In 1933, he became an assistant professor of Keijo Imperial University and started working at the Keijo Prefectural Resident Hospital until 1935. In August 1935, he was appointed as the director of Suigen Provincial Hospital where he served until 1944. While actively practicing medicine in colonial Korea, he spent his spare time researching Korean medical history, which he used for the basis of his later publications.

• 대순사상논총
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• 제16권
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• pp.151-166
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• 2003

Contemporary Buddhist scholarship in Korea has been strongly affected by its origins in the Victorian era, when Western religious scholars sought to rationalize and historicize the study of religion. Modern Korean scholars, trained within the Western scholarly paradigm, share this prejudice which tends toward the rational. The result is a skewed understanding of Buddhism, emphasizing its philosophical and theoretical aspects at the expense of seemingly "irrational" religious elements based on the direct experience of meditation practice. This paper seeks to look at the historical context in which modern Korean Buddhist scholarship had been shaped during the colonial period of Japan. Two case studies will be examined particularly in the light of post-colonial perspectives of Buddhist studies: the case of Jonghong Bak(1903-1976) and the case of Donghwa Gim(1902-1980), two pioneering scholars in the field of Buddhist studies. They share similarities as well as differences. Both were born and active at almost the same period, during which Korean peninsula experienced modernization forced upon by Japanese colonialism. And thus, the experience of colonialism and modernization brought them into conflict between tradition and modernity. Their responses, however, were different. Pak, originally trained in Western philosophy, especially German philosophy, wanted to study Korean Buddhism in the context of the so-called Korean Philosophy per se. He was motivated to seek for the national and cultural identity of Korea. And thus his scholarship on Korean Buddhism naturally led him to look for an original Korean Buddhism distinct from the Buddhism of India, China and Japan. On the other hand, Gim, who became a monk in his youth, later went to Japan for college where he was exposed to modern Buddhist scholarship. He was the first to introduce modern Buddhist scholarship to Korea, and since then, contemporary Korean Buddhist scholarship owes much to his contributions. Despite his contributions to contemporary Korean Buddhist scholarship, if we look at his efforts in the light of post-colonial perspective, his ideas need to be reevaluate.

• 건축역사연구
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• 제32권6호
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• pp.33-47
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• 2023

The study confirmed the "house search report(家宅搜索調書)" containing criminal records during the Japanese colonial period, as well as the production process and the way of expressing the illustrations contained in them. It also explored architectural values through analysis of the location and use of the building. This records the discovery of evidence by searching the residences of those involved in the crime from 1919 to 1922. The illustrations contained in this record were not standardized, so the contents of the article differed depending on the author's background and cultural experience. Nevertheless, this painting reflects the regional characteristics of traditional houses located throughout the Korean Peninsula. It is also evidence that the house was used for cultural, commercial, and industrial purposes, beyond the general assumption that it was used only for residential purposes. The "House Search Report(家宅搜索調書)" provides information on ordinary buildings that existed as the background of everyday life, rather than buildings with a specific purpose or exceptional design. It is evaluated as an important resource for understanding the diverse life and spatial structures of buildings during that time.

• 미술이론과 현장
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• 제14호
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• 비교문화연구
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• 제28권
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• pp.5-16
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• 2012

First published in 1934, George Orwell's Burmese Days, which can be read as an example of both descriptive realism and fictional realism, is considered to be a colonial example of British literature because of its publication date. However, based on the personal experience of the author as an imperial officer in Burma, the novel has an anti-imperialist tone, which can also make it possible to read it through postcolonial eyes. As a result, the novel stands as an example of ambivalence since it has both the colonial and the postcolonial perspective; both the colonizer and the colonized are portrayed with their own flaws, adding to the impact of what can be called "Third Space." This is why the voice of the imperial is heard in an anti-imperialist tone in Burmese Days, through which Orwell presents a critique of colonialism with a from-within approach.

• 수완나부미
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• 제10권1호
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• pp.7-34
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• 2018

Finding distinguishing characteristics of Southeast Asia has proven to be a significant challenge: by focusing on the encounters which primarily colonial British writers had with the region's state rulers, it becomes possible to recover the early conceptualizations of regional governance. The writings of Henry Yule, Anna Leonowens, Sir George Scott, and Hugh Clifford all document the "orientalist" features of Western discourses because these writers at once were affected by it as they contributed to it. The discourse about royalty and rulers was central to many of the tropes associated with orientalism, but also with 'ornamentalism'. David Cannadine has shown that ornamentalism (in which British conceptualized many imperial practices in relation to their own hierarchical conceptions of society) was as critical a feature of imperial outlook as was orientalism. The need to understand ruling elites was at the heart of the imperialist project. Tracing the ways in which colonizing powers represented the region's ruling elite offers a new avenue for recognizing the affinities of the regional experience. Beyond orientalism, the paper explores questions about the representation and presentation of authority. Understanding the conceptualizations of rulers is connected to the comprehension of social organization-including representations of "traditional society."

• 디자인학연구
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• 제19권1호
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• pp.243-252
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• 2006

This essay studies local design style in globalization era through investigation of the restaurants which are located at suburb of big cities in Korea. All regional memory and history is disappeared in 'The world time' and world design style in globalization era. Thus to study local design means to study the history of certain region and the memory of the people who lives in that area and how they represent their past and memory. Post colonial theory, everyday aesthetics and the way of using past and memory are preresearched for the theoretical background. Post colonial theory is discourse for the countries which have the experience of colonialism. History and memory are used for defining present political, social, economical and cultural situation. In this essay, the way using past and memory were classified in three dimension - by government, company, and individuals. The past which is represented by government is conceptual and defined as only sign without on going history. When it is represented by company, it is also uses as a sign and imitation without contextual meaning. However, when the past is used by individuals, it is alive in daily life. This essay argues that those restaurants which have the style of 'the Koreaness' symbolize the suppressed desire to represent the lost past and memory which are forced to be exduded during the colonial period and fast modern development. And the design style can be defined as epic design, for it has it's own main character, story, memory and plot too. This word 'epic' imply the main point of local design style. In conclusion, this essay will ask the role of design in the country which has colonial memory in globalization era.

• 농촌지도와개발
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• 제4권1호
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• pp.231-243
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• 1997

Objective of the study was to investigate characteristics and meanings of the agricultural extension work during the period of Japanese $rule(1906{\sim}1945)$ through historical review on the work. The agricultural extension work during the period of Japanese rule was categorized into six patterns such as agricultural extension work by (1) government agricultural administration system, (2) agricultural experiment/research institute, (3) public school, (4) through the movement of rural development(Nong-chon-Jinheung Undong), (5) pro-government private organization, and (6) pure private organization. In conclusion, the characteristics of the extension work were defined; 1) a tool and/or method for colonial rule, 2) non-democratic and top-down extension work by administration, 3) authoritative and coercive work initiated by governmental system, 4) nation wide work of cooperation with public and private organization, 5) extension work focused on production increasing food and industrial materials, and 6) extension work initiated by government system without participation of pure private organization. The meanings of the extension work were reviewed in two ways. Firstly, in macro point of view, the work has negative meaning that was utilized as a tool and/or method for Japanese colonial rule, since the extension work was implemented under the direction of agricultural policy and was also directly related to the policy of Japanese colonial government. Secondly, in micro point of view, the work has significant meaning either negative or positive such as 1) beginning of modernized extension work based on experiment and research, 2) introduction of forcible agricultural extension work, 3) inducement of distrust tendency to agricultural policy and agricultural extension work, 4) establishment of basis in hardware of agricultural extension work, 5) production of experience in software of agricultural extension work, and 6) improvement of recognition toward scientific farming and improvement of level in agricultural techniques.