• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.156-179
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• 2020

The Preservation Decree (1933) is the basic law relevant to the conservation of cultural property of colonial Chosun, and invoked clauses from the Old History Preservation Act (1897), the Historic Scenic Sites Natural Monument Preservation Act (1919), and the National Treasure Preservation Act (1929), which were all forms of Japanese Modern Cultural Heritage Law, and actually used the corresponding legal text of those laws. Thus, the fact that the Preservation Decree transplanted or imitated the Japanese Modern Cultural Heritage Law in the composition of the constitution can be proved to some extent. The main features and characteristics of the Preservation Decree are summarized below. First, in terms of preservation of cultural property, the Preservation Decree strengthened and expanded preservation beyond the existing conservation rules. In the conservation rules, the categories of cultural properties were limited to historic sites and relics, while the Preservation Decree classifies cultural properties into four categories: treasures, historic sites, scenic spots, and natural monuments. In addition, the Preservation Decree is considered to have advanced cultural property preservation law by establishing the standard for conserving cultural property, expanding the scope of cultural property, introducing explicit provisions on the restriction of ownership and the designation system for cultural property, and defining the basis for supporting the natural treasury. Second, the Preservation Decree admittedly had limitations as a colonial cultural property law. Article 1 of the Preservation Decree sets the standard of "Historic Enhancement or Example of Art" as a criteria for designating treasures. With the perspective of Japanese imperialism, this acted as a criterion for catering to cultural assets based on the governor's assimilation policy, revealing its limitations as a standard for preserving cultural assets. In addition, the Japanese imperialists asserted that the cultural property law served to reduce cultural property robbery, but the robbery and exporting of cultural assets by such means as grave robbery, trafficking, and exportation to Japan did not cease even after the Preservation Decree came into effect. This is because governors and officials who had to obey and protect the law become parties to looting and extraction of property, or the plunder and release of cultural property by the Japanese continued with their acknowledgement,. This indicates that cultural property legislation at that time did not function properly, as the governor allowed or condoned such exporting and plundering. In this way, the cultural property laws of the Japanese colonial period constituted discriminative colonial legislation which was selected and applied from the perspective of the Japanese government-general in the designation and preservation of cultural property, and the cultural property policy of Japan focused on the use of cultural assets as a means of realizing their assimilation policy. Therefore, this suggests that the cultural property legislation during the Japanese colonial period was used as a mechanism to solidify the cultural colonial rules of Chosun and to realize the assimilation policy of the Japanese government-general.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.164-173
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• 2013

This study starts from the genealogical analysis of the urban public spaces through local history of Seoul which is significantly different from western countries. The analysis targets the discourse on the urban street, the basic unit of urban tissue and the settlement condition in urban life, which defines urban space-structure among the urban public spaces. And this research classifies and categorizes the value recognition and policy value occurred each period. Based on these, this research defines the progress levels of urban public design policy in Seoul as follows. Results Firstly, 1890's and 1900's was the period of development in commerce and industry, which caused congested and crowded streets. The open port policy allowed the experience of the foreign circumstance, and thus the identity of the urban streets and the value of symbolism come to realize among the society. During the Japanese colonization, urban streets put on modernized images through the urban remodeling out of the context according to the colonization policy. The brand-new values such as publicness and amenity are injected as well as modern regulations by system and authority. From Liberation to 1950's, it performed only street restoration as a repair from war with Japanese colonial system because of the political confusion and administrative vacuum. Finally, each period can be defined as follows. 1890's and 1900's can be defined as 'spontaneous finding the modernization' because urban street was intentionally transformed by the empire. Period of the Japanese colonization can be defined as 'the formation of modernized urban street concept and the compulsion of modernized regulation.' And period of from Liberation to 1950's, can be called as 'the absence of value recognition and maintenance of colonial system.' methodology.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• The Journal of Fisheries Business Administration
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• v.35 no.1
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• pp.133-168
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• 2004

The purpose of this study is to examine the state and characteristic of seafood marketing in Korean West Coast during the colonial period ruled by Japan. To accomplish the purpose, we tried to set the fisheries statistical database by reviewing of $\boxDr$Statistical Annual Report of Chosun Chongdokbu$\boxUl$ and $\boxDr$Official Report of Chosun Chongdokbu$\boxUl$. A trend analysis was carried out with the data. Also, by reviewing of articles related to the state of seafood marketing via $\boxDr$Daehan Maeil Newspaper$\boxUl$, $\boxDr$Maeil Newspaper$\boxUl$ issued at the period, we could find out some meaningful findings which backed up the statistics in realistic facts. For numbers of businessman in seafood marketing, it was clear that the number of Japanese businessmen increased more quickly than that of Korean compared with other sphere of fisheries. That means Japanese grasped Korean seafood market in a short time. In price of seafood in terms of cities, Kunsan was comparatively higher than Incheon and Mokpo. In price of seafood in terms of species, ‘Snapper’ was mostexpensive, and ‘Mackerel Pike’, ‘Anchovy’, ‘Mullet’, ‘Eel’, ‘Flatfish’ followed in that order. In price of a species in terms of ‘Yellow Croaker’, which was famous in West Sea, ‘Croaker with salt’ was more expensive than dried and fresh one. For the transition trend of number of fish market, we could ascertain that the number of market increased until 1919, however, it decreased slowly from 1932. That means Japanese government went to war against China from 1931. Of the West Coast, the number of fish market in Chungnam province was most high, but that of Chonbuk outrun from 1940. At that time, the number of fish market in West Coast reached to 34% out of that of whole country. In 1919, the proportion of seafood sales amount of West Coast neighboring provinces, such as Kyunggido, Chungnam, and Chonbuk, was 23% of whole country which rose to 28% in 1929, and 29% in 1939. Therefore, we could assure that seafood marketing was very active at that time in the region. When we consider the trend of seafood export at the main ports of West Coast, in 1910's, the export through Mokpo and Inchon port was very live but that of Kunsan was very tiny. However, in 1920's, the export amount of Inchon port did not much change, but that of Mokpo decreased, whereas, that of Kunsan increased. In the early and middle of 1910' s which was around beginning of Japanese ruling period, we realized that the imperialist Japan was very eager in political efforts to enhance the mind of seafood's quality improvement through the opening of several fisheries competitive shows and fairs.

• Journal of the Korean Institute of Rural Architecture
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• v.14 no.3
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• pp.109-119
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• 2012

This study aims to analyze architectural characteristics of railway station facilities which were built with development of railroads from Japanese Colonial Period to 1950's. To achieve this goals, 7 railway stations in Gyeongju area that are worth preserving were set up as research targets. For this study, I analyzed literature of the railway station and drawings which the KORAL Daegu Branch is keeping. Railway stations without a construction drawing investigated a direct visit. After analyzing the railway station facilities, the architectural properties such as plan, elevation and section have been identified. The results are as follows. First, Each modern railway station is usually consisted of waiting room and office, and ancillary spaces have been added. Over the years, however, the space was expanded horizontally. In that case, the structure and finish materials have been changed, like now. Second, Most of the roof shape is 'Matbae'(gable roof), especially Gyeongju station and Bulguksa Station are 'Woojingak roof. The roof structure is truss structure, especially as Pratt and Scissors type, but Gyeongju Station's structure is a reinforced concrete. Third, main doorway of waiting room is located in the center of the front gable. However, small stations like 'Ahwa' and 'Ipsil' station to ensure the passengers' waiting area are placed next to the office area.

• Journal of architectural history
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• v.28 no.6
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• pp.55-65
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• 2019

Ganggyeong, a city which is located at riverside of Geum River, played a role to connect the inland cities and the coastal cities through the Geum river waterway. In Chosun dynasty, Ganggyeong was one of the three major markets in Korea, and at the same time, it was one of the two river docks in Korea. However, after the railway was installed in Korea, railroad was more important than waterway in transporting logistics and in 1911 Honam railroad and Ganggyeong railway station was installed. Thus it was necessary to reorganize urban structure of Ganggyeong city from the traditional river-dock city to modern railroad city. In addition, urban infrastructure to prevent flood damage was needed because Ganggyeong suffered from floods and water shortages every year. Therefore, between 1910s and 1930s large-scale social infrastructures including road, water and sewage system, river bank, floodgate was constructed not only to revitalize the declining city but also to prevent flood damage and water shortages that hinder urban development. The installation of urban infrastructure has enabled the urban expansion and development of Ganggyeong city, and it is still served as a basic urban structure.

• Journal of the Korean housing association
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• v.17 no.2
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• pp.63-75
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• 2006

The exploration of the spatial structure of a particular urban area, or the analysis of the tendencies of spatial consumption among urbanites, can be a literary-geographical attitude, shifting literary interests toward geography. It may also constitute a field of cultural geography that reads texts as cultural symbols. Based on this kind of attitude, the paper reads the literature of Park Wan So, particularly the popular novels that involve urban and residential spaces of Seoul, as a cultural text that carries a kind of symbolism. It proceeds with the idea that most popular novels reflect the mass phenomena of its times, and that representing real cultural experiences through text, it becomes a means of generalizing the identity shared by the anonymous masses and the characteristics of particular places. Hence the individuality of Park Wan So, who moved to Seoul during the Japanese colonial period and hence forth lived as a middle-class citizen, is inseparable from her literary work. With this attitude and methodology, the paper argues that in the urban space of metropolitan Seoul, the modern ambivalent gaze of the colonial period shifted toward increasingly new value systems, and was replaced by a dichotomous view, and furthermore, that the contents of this dichotomous view has experienced a multivalent transformation through the accumulation of time and the expansion of space.

• Journal of the Korean Society of Food Culture
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• v.32 no.6
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• pp.487-497
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• 2017

This study was conducted to examine the 2nd broadcasting cooking program of Gyeongseong Radio from April 26th 1933, when the 2nd broadcasting for Koreans started, to December 1941. From its opening date, there were continuously regular cooking programs such as 'Recipes' and introducing 'Japchae'. Analysis of names broadcasted in cooking programs included a total of 452 foods (328 types); specifically, 332 Korean foods, 71 Western foods, 24 Japanese foods, 18 Chinese foods, and seven other foods. Korean foods included 35 staple foods, 223 side dishes, 64 deserts, and 11 sauces. Western foods included seven soups, 25 main dishes, and 25 deserts. Main dishes included many deep-fried dishes, while diverse types of desserts were also introduced. In the case of Japanese food, there were many foods combined with Western food. Chinese food included many types of dumplings and fried rice, as well as many dishes using pork. Among people broadcasting cooking programs, there were 11 whose names were shown in the schedule, all of whom were recognized as the best cooking specialists and educators of the time.

• Parasites, Hosts and Diseases
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• v.57 no.6
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• pp.595-599
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• 2019

In this study we take a closer look at the diseases that afflicted Japanese police officers who were stationed in a remote mountainous region of Taiwan from 1921 to 1944. Samples were taken from the latrine at the Huabanuo police outpost, and analyzed for the eggs of intestinal parasites, using microscopy and ELISA. The eggs of Eurytrema sp., (possibly E. pancreaticum), whipworm and roundworm were shown to be present. True infection with Eurytrema would indicate that the policemen ate uncooked grasshoppers and crickets infected with the parasite. However, false parasitism might also occur if the policemen ate the uncooked intestines of infected cattle, and the Eurytrema eggs passed through the human intestines. These findings provide an insight into the diet and health of the Japanese colonists in Taiwan nearly a century ago.

• Cross-Cultural Studies
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• v.27
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• pp.105-122
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• 2012

This article aims that Chinese characters represented in Korean films have been explored for historical consideration of Korean's viewpoint on Chinese from early modern to the present day. During Japanese colonial period, Chinese had been hateful and feared by most of Korean because Korean had been acted high-handedly by chinese in early modern time and had covertly regarded chinese as threatening competitors in economical part of the colony, refered to the chinese characters represented in the films, For the Lover(1928) and Secret of Chinese Street(1928). Chinese had been called as enemy forces in Korean movies, such as Marines are Gone(1963), Dragon competed with tiger(1974) made with Korean battle field setting and Manchuria setting developed a Korean independence movement, after Korean War in the 1960-70s maintained the cold war system in the World. According to analyzing chinese characters depicted in Failan(2001), A Good Rain Knows(2010), Korean public have a friendly attitude with contemporary Chinese as China has been the great trade partner of Korea with interdependent relationship after 1992, the year of Korea have established diplomatic ties with China.