• Title/Summary/Keyword: Colonial Period

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Park Kilyong's Functionalist Theory of Architecture in the Mid-1930s and Critique of Gyeongseong (Seoul) Buildings (1930년대 중반 박길룡의 기능주의 건축론과 경성건축 비평)

  • Kim, Hyon-Sob
    • Journal of architectural history
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    • v.32 no.6
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    • pp.49-62
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    • 2023
  • This research aims to investigate Park Kilyong's architectural theory and critique of Gyeongseong (Seoul) buildings, expressed in his 'Overview of Modern Buildings in Gyeongseong' and 'Critique of Gyeongseong Buildings' (Samcheolli, Sept. and Oct. 1935); and 'Architectural Form of the 100% Function' and 'The Modern and Architecture (1)-(4)' (Dong-A Daily, 28 Jul. to 1 Aug. 1936). As a result, it is confirmed that Park had the functionalist theory of modern architecture, which suggests that Korean architects of the Japanese colonial period were accommodating the contemporary trend of world architecture. However, Park shows his fundamental limitations in the fact that the main content of his articles was a verbatim translation of two Japanese references (Kurata, 1927; Ishihara, 1929) without proper indications. Despite the limitations, his texts are still meaningful since he formed his own architectural theory on the basis of what he translated; and indeed his critique of Gyeongseong buildings, however simple, was based on the theory. This research makes a critical analysis of Park's functionalist theory from both the 1930s' and present points of view and compares his commentaries on Gyeongseong architecture with those by Ko Yu-seop (1932) and Hong Yunsick (1937), illustrating how Korea perceived architecture and modernism in 1930s.

Epic Design : Local Design in Globalization Era - based on Restaurant Style - (서사적 디자인의 발현(I) - 레스토랑 양식을 통해 본 세계화 시대의 지역 디자인 -)

  • Jo, Hyun-Shin
    • Archives of design research
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    • v.19 no.1 s.63
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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.

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Colonial Cyanobacteria, Microcystis Cell Density Variations using Ultrasonic Treatment (초음파 처리 조건에 따른 집락형 유해남조류 Microcystis 세포수 변화 연구)

  • Lee, Hae-Jin;Park, Hae-Kyung;Heo, Jun;Lee, Hyeon-Je;Hong, Dong-Gyun
    • Journal of Korean Society on Water Environment
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    • v.34 no.2
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    • pp.210-215
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    • 2018
  • It is difficult to count colonial cyanobacteria Microcystis cells since the thickness of colonies is constrained by amorphous mucilage, making it impossible to estimate the number of cells. Disaggregation of Microcystis colonies into single cell is needed to improve the accuracy and precision of cell density estimation of naturally collected samples. Uultrasonic treatment method is commonly used owing to the simplicity and immediacy of the procedure. However, amplitude, frequency, and duration of ultrasonic treatment also cause cell loss during the experiment. Optimal ultrasonic treatment has not been standardized yet. Therefore, the objective of this study was to investigate optimal ultrasonic treatment by analyzing cell density and colony numbers. We collected colonial Microcystis from Changnyeong-Haman weir area in Nakdong River during harmful algal boom period from September to October in 2017. Ultrasonic treatment method was applied to disrupt colonies into single cells to enumerate cell density. Among treatment conditions, results from continuously treated for 100 seconds were found to be the optimum to reduce colonies to a suspension of single cell without cell losses under high and low density of Microcystis cells. Lugol iodine fixed cells followed by sonication showed less negative impact of cell damage within the optimal treatment time (100 seconds). Furthermore, disaggregated cells treated by sonication enables microscopic observation more easily since gas vacuoles were collapsed to facilitate sedimentation of cells under the counting chamber for quantitative enumeration of buoyant Microcystis cells.

The characteristics of cotton production of Damyang-gun & Hwasun-gun, Yeongsan River, in modern times - Focused on the comparison of Gurye-gun, Seomjingang River - (근대시기 영산강 유역(담양군과 화순군) 면직물 생산 문화의 특징 - 섬진강 유역의 구례군과의 비교를 중심으로 -)

  • Choi, Seung yeun
    • The Research Journal of the Costume Culture
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    • v.24 no.4
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    • pp.471-482
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    • 2016
  • This study investigated the characteristics of cotton production of Damyang-gun & Hwasun-gun, Yeongsan River compared with that of Gurye-gun, Seomjingang River in modern times. To do this, research method was both literature and fieldwork research, results were as follows. First, as for cotton fiber cultivation in Damyang-gun & Hwasun-gun, Chinese cotton (在來綿) has been cultivated during Japanese Colonial era unlike Gurye-gun. Especially, Yellow cotton (黃綿) has been cultivated in Hwasungun. Second, as for spinning in Damyang-gun, Hwasun-gun and Gurye-gun, some of cotton spinning process have been gradually changed to mechanization by market shop equipped with mechanized cotton gin and cotton whipping tool since Japanese colonial era. Third, the loom types also, like spinning tools, have been changed from the traditional Korean back-strap loom to the treadle loom in Damyang-gun, Hwasungun and Gurye-gun. Chemical dyeing with chemical dyestuff also has been done since Japanese Colonial era. Fourth, since the 1970s, the outputs of cotton production have been reduced in both Damyang-gun & Hwasun-gun. For Damyang-gun, this has been connected with bamboo craft since the Joseon Dynasty period. So, Damyang-gun has more concentrated on bamboo craft than cotton production. For Hwasun-gun, since Japanese Colonial era, sericulture has been very important. So, Hwasun-gun also has more concentrated on sericulture than cotton production. The main reason to discontinue cotton production in Damyang-gun, Hwasun-gun and Gurye-gun was related to the local choice like economic added value.

A History of Vietnam's Integration in Modern Times: The Case of Franco-Chinese Conflict over the Sino-Tonkinese Border (1885-1895)

  • Hanh, Nguyen Thi
    • SUVANNABHUMI
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    • v.11 no.2
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    • pp.85-105
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    • 2019
  • Investigating the clash among different forms of international relations has been a frequent issue in modern research and attracts interest in the fields of history and politics. In the nineteenth-century, Asia witnessed a fierce struggle between traditional relations in Asia that existed during the feudal period, that of "The Heavenly Dynasty, China and its vassal states"; and a the new form of relations introduced by the West, that of relations between "colonial powers and colonized countries." As a result, the formation of "colonial societies" in Asia with very specific features was established. However, as stated by Vu (2015), for many reasons, which include the lack of material resources, the politically sensitive nature of the object, and the focus on gains and losses in previous studies, there were little studies on the process of demarcating the Tonkinese border between Franco and Chinese in Vietnam, especially from a globalization perspective. This study thus aims at examining the issue of the demarcation of the Tonkinese Border between Franco and Chinese (1885-1895), in view of globalization, as a case study for the transition process of the modern history of Vietnamese society.

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A Study on Cheondeok-Song of the Japanese colonial period shown on Cheondo-Gyohwe-Weolbo (≪천도교회월보≫에 나타난 일제강점기의 천덕송)

  • Kim, Jeong-hee
    • (The) Research of the performance art and culture
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    • no.35
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    • pp.125-174
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    • 2017
  • The Cheondeok-Song (religious songs of Cheondo-Gyo) of the Japanese colonial period shown on Cheondo-Gyohwe-Weolbo, the monthly magazine of Cheondo-Gyo Church were examined in this paper. The results are as follows. There are scores of songs, lyrics, and articles related to Cheondeok-Song in the monthly magazine. The five-tone scale or Korean traditional rhythm style was partly used, but western music form was dominant in most of the songs. Especially the four-part form of Christian hymns became usual since 1931. This shows how people thought of the new trends. The reception of the new trends being emphasized, but they recognized tradition as an object of overcoming rather than of succeeding. The lyrics contain religious contents and the spirit of the period to restore national self-respect and contribute to the world peace through overcoming Japanese imperialism. But the rhythm of seven and five syllables which is suspected to have been introduced by Japan was spread after the 1920s. Cheondeok-Song have been sung in the three grand anniversaries and other anniversaries, the Prayer-day, in Cheondo-Gyo church services on Sunday, ceremonies, and in lecture. There are various kinds of songs and their status is very high. Especially, Cheondeok-Song have been used actively in mission works and edification for women. Cheondeok-Song actively reflected the domestic and international trends and the demands of that times. They could sing self perfection through enlightenment and also the social reform based on it. These are the reasons why I think Cheondeok-Song of those days are so important. Cheondeok-Song reflected modern elements actively, but couldn't succeed the national form and the traditional elements properly. The problem of cultural identity is not only a specific group's but also that of the whole humanity of maintaining cultural diversity. This is also a task that Cheondo-Gyo Cheondeok-Song have to solve in the future.

A Time Sequential Research on Changes in Jangchungdan Park during the Period of Japanese Colonial Rule (일제강점기 장충단공원 변화에 관한 시계열적 연구)

  • Kim, Hai-Gyoung;Choui, Hyun-Im
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.31 no.4
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    • pp.95-112
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    • 2013
  • Jangchungdan Park is now perceived as a mere park at the foot of Namsan mountain, but originally it was created to commemorate soldiers of Korean Empire on a site which name was Namsoyeong(南小營) during Joseon Dynasty. During the period of Japanese colonial rule, it was transformed into a park due to the rapidly changing circumstances, so the components expressing the validity of the colonial rule were introduced into the park. This paper examines the time sequential changes of Jangchungdan Park during the period of Japanese colonial rule, and the conclusions can be summarized as given below. Firstly, the park originally was a space to commemorate the soldiers who fought for the Korean Empire. It was built on formerly restricted area at the foot of Namsan Mountain in 1900, and it was arranged putting the ceremonial shrine Dansa (壇祠) as a central building and the annexes in the surroundings of it. The memorial ceremonies were held regularly in spring and autumn until 1909. Secondly, it became a city park for citizens of Gyeongseong-bu(the name of Seoul under the Japanese colonial rule). The authorities of Gyeongseong-bu reorganized Jangchungdan as a park in 1919, prohibited the performance of memorial ceremonies, and the existing buildings except the ceremonial shrine Dansa began to be used as park management facilities. Resting areas and amenities were supplemented for the usage of people from various backgrounds, and the large scale planting of cherry trees made the park a famous place to enjoy cherry-blossoms and other flowers in spring. Thirdly, it was reconstructed as a space to honor the influential personalities of Japanese colonial system. In 1932, Bankmun temple (博文寺) to commemorate Ito Hirobumi was constructed at a location that made it possible for a number of people to overlook Jangchungdan area. During that time, the buildings of traditional Joseon architecture were removed and reconstructed to serve as annexes to Bankmun temple. Due to the strategy to make Jangchungdan park a tourist attraction, Bankmun temple was included into the Gyeongseong sightseeing course, since the wide panorama of Jangchungdan Park and the whole city of Gyeongseong was opening from the temple. Various different components were introduced into Jangchungdan Park due to the rapidly changing circumstances; therefore the nature of the park was either altered or reproduced. Hopefully, the park rearrangement works will be executed paying respects to the memories of the past hereafter.

Performance Activities and Social Role of the Theater in Ulsan during the Japanese Colonial Period (일제강점기 울산지역 극장의 공연활동과 사회적 역할)

  • Kim, Joung-Ho
    • (The) Research of the performance art and culture
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    • no.42
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    • pp.107-146
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    • 2021
  • This article examined the current status of performance activities in the theaters in Ulsan during the Japanese colonial period, and examined the characteristics and social roles of performance culture at that time.,The cultural space during the Japanese colonial period can be divided into theater space and semi-theater space.,The theater spaces in Ulsan include Daejeonggwan, Sangbanggwan, and Ulsan Theater. The semi-theater spaces include Ulsan Youth Center, Ulsan Youth Alliance Hall, Barrack Youth Hall, Eonyang Youth Alliance Hall, Eonyang Christian Hall, Eonyang Christian Hall, Eonyang Inn, Eonyang Public Inn, Eonyang Public Normal School, Seosaeng School, Ulsan Public Aid Auditorium, Night school.,These spaces not only held events or performances for a specific purpose, but also played a role as public spaces producing local discourse. The theater was a complex cultural space where performances are performed along with movie performances, and artists and audiences meet.,Furthermore, the theater provided a special experience of producing and consuming various issues such as colonial modernization, modern city formation, and the emergence of new popular culture beyond the meaning of stage space.,The theaters in Ulsan also functioned as a space to represent the foreign culture acceptance, leisure activities, the performance and viewing of cultural contents, and the artistic skills of local artists in accordance with the purpose of establishing local theaters.,It was a base space for local discourse production and enjoyment activities by holding political rallies, meetings, lecture activities, and various conferences.,Political rallies were also concerts, enlightenment activities were also accompanied by film screenings, and music performances were associated with dance performances and charity gatherings.,In particular, Ulsan Theater, which is the first theater in Ulsan, and the role of the public hall, held a lecture, debate, and oratory for public enlightenment along with performances such as musical drama, children's song contest, fairy tale contest, small-sized play performance,, It was widely used as a large-scale rallying place, and served as a public hall, such as a place to visit outside theaters. Thus, the theater and semi-theater space in Ulsan during the Japanese colonial period improved the cultural level of the region, fulfilling the aesthetic needs of the local people and faithfully fulfilling the social role as a public sphere leading the public opinion and agenda.,And it was also positioned as an alternative public area of ​​modern society and also played a role as a public institution.

Jeonghyesa Temple reconstructed at Yesan by Mangong and the meaning of the creation of the stone standing Avalokiteśvara statue during the Japanese colonial period (일제강점기 만공(滿空)의 예산 정혜사 중창과 석조관음보살입상 조성의 의미)

  • Lee Jumin
    • Korean Journal of Heritage: History & Science
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    • v.56 no.1
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    • pp.22-43
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    • 2023
  • This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.

Aboriginal Community Archives in Australia and Current Meaning of "Parallel Provenance" (호주 원주민 공동체 아카이브와 '평행출처주의'의 현재적 의미)

  • Lee, Kyong Rae
    • The Korean Journal of Archival Studies
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    • no.40
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    • pp.29-60
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    • 2014
  • The purpose of this study is to trace the formation process of "parallel provenance" concept in the context of Australia's aboriginal community archives development and draw its implications for contemporary rebuilding of domestic "past affairs-related committee archives". Focused on historical development of aboriginal community archives in Australia, this writing divides its development into three periods: colonial archives, post-colonial archives, and contemporary archives and investigates each period's distinct features in managing and building of aboriginal community archives. First of all, for colonial archives, it pays attention to Australia's archival tradition, which focused on current record-keeping and then development of multiple provenance resulted from this tradition. Second, for post-colonial archives, it examines the appearance of aboriginal people as the subject of documentation category and name indexing on them. Finally, for contemporary archives, it analyzes current activities of Australia's academic world of archival science for overcoming "the otherness" of aboriginal people through conceptualization of "parallel provenance". Conclusively, through current meaning of parallel provenance, this study draws implications for democratic contemporary rebuilding of domestic past affairs-related committee archives, in which historical victims become the subject of archives.