• 한국식생활문화학회지
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• 제29권6호
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• pp.477-487
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• 2014

This study aimed to develop a new commercialization model for theindustrialization of head family food as a gentry families' complex food culture product. We tried to develop a head family food and propose a city sightseeing style's head family product by interviews with 'Hakindang' as the center, the head house of the Suwon Baek clan, and Injaegong group in Jeonjoo. Hakindang (in Jeonju) was confirmed as an improved model Korean-style house in the enlightenment period and the twentieth style modern head family as emerging capitalist. Hakindangsupported independence war funds in the Japanese colonial era and was widely known as gate of filial piety in Jeonju. Representative seasonal foods of Hakindang include pan-fried sweet rice cake with flower petals in the spring, hot spicy meat stew and polypus variabilis in summer, hanchae in autumn, and napa cabbage kimchi with salted flatfish seafood in the winter. When parents-in-law had a birthday, there were party noodles, sliced abalone stuffed with pine nuts, brass chafing dish, fish eggs, slices of blilde meat, and matnaji. Daily, there were mainly salted seafood, slices of raw fish, grilled short rib patties, braised fish, baked fish, syruped chestnut, grilled deodeok root, bean sprouts, radish preserved with salt, dongchimi, soy sauce-marinated horseshoe crab, butterbur, perilla seed stew, salted clams, raw bamboo shoot, agar, fried kelp, etc. The most basic virtue of the head family is filial duty, and they developed mosim dining as a representative food of Hakingdang's head family. The mosim menu is composed of 65% carbohydrates, 20% protein, and 15% fat because it is table for parents-in-law like more than 75 years old. The sensory evaluation showed a chewy texture that is easily swallowed.

• International Journal of Costume and Fashion
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• 제14권2호
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• pp.33-50
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• 2014

Investigations on the symbolic role, spiritual health benefits and efficacy of the clothing items of the Ga wolomo (chief priest) have received little attention. Highlighting the relevance of these clothes, this paper focuses on the chief priest's dress code for his appointment, confinement, ordination, ceremonial and daily life activities. Data were collected through content analysis, participant observation and interviews with people from selected Ga communities, such as La, Teshie and Ga Mashie. The findings revealed that the selection of the chief priest is confirmed with a special clothing item. His traditional clothes and adornment also have meanings, importance and symbolic interpretations; explained in their uses, colour and style. As the spiritual head, the role of the chief priest's costume is very distinguished and symbolic in executing his duties; protecting, strengthening faith, confidence and assurance during spiritual healing, and when solving pertinent problems in the community. The paper concludes by recommending further research and documentation on other aspects of the Ga clothing culture, such as hand items and hair styles from the pre-colonial period to the present.

• 가정과삶의질연구
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• 제14권1호
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• pp.147-162
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• 1996

This study will attempt to show how the marriage customs is Korea have changed due to fluctuations in Korea society and values related to this fluctuation from the Japanese colonial period to the present. The procedures for marriage consists of preparation union and absorption. Before 1960 these mainly conformed to the old marriage customs of traditional society. Nowadays the processes of preparation in marriage have been eliminated in large part the processes of union have been changed to western style and the processes of absorption have been altered to a adegree. Matching the horoscopes of a prospective bride and groom and the "marriage box" still remain from the procedures of old marriages. The meaning of marriages as familism has changed to a form that emphasizes individualism opportunism and materialism.terialism.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2004년도 추계학술발표대회 논문집
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• pp.197-198
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• 2004

This study has been done to know concretely the designs of traditional American houses in eighteen century and their specific styles based on Deerfiled town and I found out followings. First, the traditional eighteen century houses in Deerfied had a 'L'shape exterior view and a flat facade and the front door made a symmetry with sash windows. A chimney had been installed in the middle of the roof and it usually had a gable with natural materials in a simple manner. Secondly, the most important factor to design houses was a front door and it had been decorated in luxury and in a display. Lastly, the traditional American houses in eighteen century had been greatly influenced not by the that of British which is commonly taken but by the various cultural backgrounds which represented regional characteristics and was rather simple.

• 영미문화
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• 제14권1호
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• pp.117-139
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• 2014

This paper examines the moral vagueness penetrating Heart of Darkness. It views that the inarticulate moral presentation in the book is caused by the way in which the author distracts Marlow throughout his journey to Congo and ultimately to Kurtz, and puts him in a distance from what the real Cong is. Also Conrad's peculiar narrative style leads the readers' view astray Marlow describes what he sees and delivers the impression he gains in the journey but all he gets seems to be merely hazy and nebulous the readers are left with suspicion about his reliability on what he conveys to them. The effect is, because of the meagre tangibility on what Marlow experiences, he does not seem to get a clear grip on his moral rumination on what Congo can emit and what Kurtz ended up with, which allows the novel to defy a moral absoluteness. The moral awakening Marlow has gone through remains obscure. The readers are simply invited to work out what Marlow is up to.

• 미술자료
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• 제101권
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• pp.48-65
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• 2022

경상북도 김천 대휴사(大休寺)의 일본 불교 존상은 일제강점기가 시작되는 1910년경에 일본 신의진언종지산파(新義眞言宗智山派)가 대구에 설치한 별원(別院), 즉 대구 편조원(遍照院) 본당에 봉안하기 위해 조성되었다. 이들 존상 중 목조홍법대사좌상(木造弘法大師坐像)은 일본 진언종을 개창한 고보다이시 쿠카이(弘法大師 空海, 774-835)의 모습이며, 목조대일여래좌상(木造大日如來坐像)과 목조부동명왕좌상(木造不動明王坐像)은 진언종의 불교 사상과 신앙을 대표하는 존상이다. 지금까지 알려진 일제강점기에 조성된 대일여래상, 홍법대사상, 부동명왕상은 대부분 마애상이나 석조상으로, 대휴사의 존상들은 당시 일본 사찰에 봉안된 나무로 만든 일본 불교 존상이라는 점에서 매우 주목된다. 이들 불교 존상은 조형적으로는 근대적인 미감을 갖추고 있지만, 그 도상적인 연원은 헤이안(平安)시대(794-1185)까지 거슬러 올라간다. 즉 대일여래상은 신의진언종을 개창한 고교다이시 가쿠반(興敎大師 覺鑁, 1095-1143)이 만든 대일여래상의 신앙적인 전통을 계승하고 있으며, 홍법대사상은 고보다이시 쿠카이의 제자였던 신뇨신노(眞如親王)가 그린 신뇨신노 스타일[樣]을 따르고 있고, 부동명왕상은 겐죠(玄祖) 스타일의 십구관(十九觀) 부동명왕상을 답습하고 있다. 일제강점기 대구 편조원에 봉안되었던 당시의 모습은 구체적으로 알 수가 없지만, 이들 존상은 신의진언종의 삼륜신상(三輪身像)으로 조성되었을 가능성이 매우 높다. 즉 대일여래상, 홍법대사상, 부동명왕상이 각각 자성륜신(自性輪身), 정법륜신(正法輪身), 교령륜신(敎令輪身)의 성격을 지녔을 것으로 추정된다. 한편 1950년대 전반의 실달사(悉達寺)(대구 편조원의 후신)의 상황이긴 하지만, 그 전신인 일제강점기의 대구 편조원에서 고보다이시 신앙의 전통이 계승되고 있었음을 추측하게 하는 본당 내부의 모습도 확인할 수 있다. 즉 실달사 본당에 놓여 있던 유골들은 11세기 이후 고보다이시 신앙과 함께 유행했던 고야산(高野山)의 납골(納骨) 신앙의 전통을 보여 준다.

• 한국연극학
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• 제52호
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• pp.5-59
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• 2014

This paper investigates the development and aesthetics of Korean political theatre from its quickening period 1920s to democratization era 1990s. Political theatre before 90s developed an antithesis resistant movement toward Korean modern history that had been scattered with suppressing political circumstances such as colonial era and dictatorial government, the movement has powerful activity and social influences. Just like the 20 century political theatre had been quickened under the influence of Marxism at Russia and Germany in 1920s, Korea's political theatre began in socialism theatre movement form around the same time. Proletarian theatre groups had been founded in Japan and Korea, and developed into practical movement with organized connection. However, the political theatre movement in Japanese colonial era was an empty vessel makes great sound but not much accomplishments. Most performance had been canceled or disapproved by suppression or censorship of the Japanese Empire. The political theatre in liberation era was the left drama inherited from Proletarian theatre of the colonial era. Korean Theatre alliance took lead the theatrical world unfold activities based on theatre popularization theory such as 'culture activists' taking a jump up the line and 'independent theatre' peeping into production spot as well as the important event, Independence Movement Day Memorial tournament theatre. Since 1947, US army military government in Korea strongly oppressed the left performances to stop and theatrical movement was ended due to many left theatrical people defection to North Korea. The political theatre in 1960s to 70s the Park regime, developed in dramatically different ways according to orthodox group and group out of power. The political theatre of institutional system handled judgment on sterile people and had indirect political theatre from that took history material and allegory technique because of censorship. In political theatre out of institution, it started outdoor theatre that has modernized traditional performance style and established deep relationship with labor spot and culture movement organizations. Madangguek(Outdoor theatre) is 'Attentive political theatre', satirizing and offending the political and social inconsistencies such as the dictatorial government's oppression and unbalanced distribution, alienation of general people, and foreign powers' pillage sharply as well as laughing at the Establishment with negative characters. The political theatre in 1980s is divided into two categories; political theatre of institutional system and Madangguek. Institutional Political theatre mainly performed in Korea Theatre Festival and the theatre group 'Yeonwoo-Moudae' led political theatre as private theatre company. Madangguek developed into an outdoor theatrical for indoor theatre capturing postcolonial historical view. Yeonwoo-Moudae theatre company produced representative political plays at 80s such as The chronicles of Han's, Birds fly away too, and so on by combining freewheeling play spirit of Madangguek and epic theatre. Political theatre was all the rage since the age of democratization started in 1987 and political materials has been freed from ban. However, political theatre was slowly declined as real socialism was crumbling and postmodernism is becoming the spirit of the times. After 90s, there are no more plays of ideology and propaganda that aim at politicization of theatre. As the age rapidly entered into the age of deideology, political theatre discourse also changed greatly. The concept 'the political' became influential as a new political possibility that stands up to neoliberalism system in the evasion of politics. Rather than reenact political issues, it experiments new political theatre that involves something political by deconstructing and reassigning audience's political sense with provocative forms, staging others and drawing discussion about it.

• 공연문화연구
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• 제35호
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• pp.125-174
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• 2017

본고의 목적은 일제강점기의 천덕송에 대해 "천도교회월보"를 중심으로 살펴보고, 천덕송의 역할과 위상 및 시대적 의미에 대해 조명하는 것이었다. 그 결과는 다음과 같다. "월보"에는 악보가 수록된 경우와 노랫말이 수록된 경우, 그리고 천덕송 관련 기사들이 있다. 음악양식에서 부분적으로 5음계나 전통장단 풍의 리듬이 쓰였으되, 대부분의 곡에서 서양음악어법이 지배적이며, 1931년 이후로 기독교의 찬송가식 4성체가 보편화되었다. 이는 신문물 수용은 강조된 반면, 전통은 계승보다 극복의 대상으로 인식되었던 당시의 경향을 보여준다. 노랫말에는 종교적 내용뿐 아니라 일본제국주의를 극복하고 민족자존을 회복하며 세계평화에 기여하고자 하는 시대정신을 담고 있으나, 1920년대를 기점으로 일제에 의해 유입된 것으로 의심되는 7.5조의 운율이 번지고 있다. 천덕송은 3대 기념일을 비롯한 각종 기념일과 시일식, 행사, 강연회 등에 항상 수반되었으며, 그 양상과 종류가 다양하고 그 위상이 매우 높다. 특히 부인들을 대상으로 한 포덕과 교화에 적극적으로 천덕송을 활용하였다. 당시 격변하고 있던 국내외의 동향과 시대적 요구를 교리와 연결하여 적극적으로 반영하였으며, 기성 종교의 기복성에서 벗어나, 깨달음을 통한 자아완성과, 이를 바탕으로 한 사회개혁까지 노래할 수 있었다는 점에서 당시의 천덕송은 큰 의미를 갖는다. 다만 우리 전통음악에 대한 연구가 부족했던 시기라는 현실적 한계로 인해 근대적 요소는 적극 반영한 반면, 민족적 양식과 전통적 요소는 온전히 계승하지 못하였다. 이는 천덕송의 향후 과제이기도 하다.

• 대중서사연구
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• 제27권2호
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• pp.179-214
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• 2021

이 연구의 목적은 식민지 조선에서 만문만화가 수용·형성된 배경에 관한 '재고(再考)'다. 만문만화의 등장을 일본의 식민지 언론 탄압이라는 정치적 산물로만 해석한 기존의 논의에 의문을 제기하고, 안석영의 행보와 대중문화 유입이라는 식민지 조선의 상황을 고려해 또 다른 가능성을 엿본다. 이 과정에서 '만문만화' 용어의 등장이 1927년 안석영이 아니라 『신여성』 1925년 1월호의 '은(銀)파리'임을 밝히고, 글의 성격을 분석한다. 또한 안석영의 도쿄 유학과 귀국 이후의 행보를 통해 그가 만문만화에 관심을 가지게 된 배경과 의미를 추적한다. 만문만화가에게 "필치와 필법"을 강조했던 것으로부터 '문학성을 갖춘 만화', '글을 쓸 줄 아는 능력을 갖춘 만화가'의 탄생은 문자 위주의 텍스트에서 이미지텍스트로 재편되는 1920-30년대의 문화장을 만문만화라는 독특한 양식의 출현으로 보여준다. 이 연구는 '만문만화'라는 용어가 처음 등장했던 시기를 바로 잡고, 독자 확보라는 저널리즘의 재편과 대중화 전략으로 문(文)과 화(畵)의 절합으로 나타났던 시대적 상황을 고려하여 만화(漫畵)와, 만문(漫文), 만화(漫話)와 같은 잡문과의 연관성 속에서 만문만화(漫文漫畵)의 수용을 다각적으로 살펴보고 있다. 이처럼 만문만화와 만문만화 내에서의 문(文)과 화(畵)의 형식 실험은 단순히 만화장 내에서뿐만 아니라 근대 매체의 이미지 텍스트로의 재편이라는 식민지 문화장을 구성하는 한 징후로써 포착할 수 있다.

• 한국식생활문화학회지
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• 제26권6호
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• pp.539-553
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• 2011

This study was intended to examine the continuance and transformation of food culture during the enlightenment and Japanese ruling era by analyzing the novel of "Toji". In the novel "Toji", the chaotic political and economic situation is reflected, along with the peoples' hard lives in the latter era of the Choson Dynasty. After the full-fledged invasion of China by the Japanese, the shift to a wartime posture was accompanied by an increased need for food. This led to a rationing and delivery system for rice in the late 1930s. While it was hard for people to obtain even brewer's grains and bean-curd dregs, food distribution officers were well off. Another distinctive feature of the food culture during the enlightenment and Japanese ruling era was that foreign food and recipes were introduced naturally to Korea through the influx of various foreigners. The industry of Choson was held by Japanese monopolistic capital, as a result, Choson had equal to the role as a spending site and was only gradually left destitute. In the Japanese ruling era, there were new type of business including such as patisserie of the types of civilization in the town, and those tempted Korean people. However, the Japanese and pro-Japan collaborators dominated commercial business. Being urbanization through the modernization, it was became patronized fast food in the populous downtown, and the change of industry structure and life style greatly influenced into our food culture. Acceptance the convenient Japanese style fast food such as Udong, pickled radish made was actively accepted with a longing for the advancement civilization. After the enlightenment, many Japanese exchange students went to Tokyo to get advanced civilization and provided urban mood according to their consumption of bread, coffee, Western food, which were considered a part of the elite culture.