• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.238-239
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• 2004

• Journal of the Korean housing association
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• v.18 no.3
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• pp.9-18
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• 2007

The purpose of this study was to provide the basic information about the formation background of urban squatter and their housing state in Korea. This study was progressed on the basis of socio-historical point of view from the opening of a port to the after the Korean War. In that sense, this study considered meaning of housing for urban squatter in the Korean housing history. For this study, the formation background of the urban squatter was divided into three periods. The first period was after the opening of a port (1876-1910) when the inflow of Japanese and their plundering from Korea started. The second was Japanese occupation period (1910-1945) which contributed to increase the number of Tomak (mud hut) and made the Tomak-min's village. The third period was Korean war & postwar years (1945-1953). This period was divided into three parts again; after the Korean independence (1945-1950), during the Korean War (1950-1953), and after the Korean War (1953-). The urban squatter was settled in the national land and the public land in each period and experienced the severe housing shortage. The government of the time could not protect the urban squatter from the special national states such as the Japanese rule and the Korean War.

• The Journal of the Korea Contents Association
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• v.12 no.3
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• pp.411-420
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• 2012

In Korea, the traces of Mongolian history and culture are often found in Korean life and customs. Under these perceptions, this study has attempted to develop the learning contents using the Mongolian historical and cultural heritages in Korea. For this, the perspective on Mongolia in Korean History and Social Studies textbooks and the exhibition of Mongolian cultural materials in a museum have been analyzed. In addition, this study has researched a plan to develop learning contents for exhibition and education using the Mongolian historical & cultural heritage and folklore materials in Korea and people's perspective on Mongolia in the ancient western maps as a way of understanding the historical and cultural heritage between Korea and Mongolia. In addition, a way of taking advantage of the Mongolian historical and cultural heritage in Korea from the view of world history has been proposed to share historical views and promote cultural exchanges between the two countries. Furthermore, the development of learning contents of the museum using the historical and cultural heritage between Korea and Mongolia could be grounds for humanistic studies from the view of understanding multiculture and characteristics of international culture.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.5
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• pp.343-353
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• 2021

Historical dramas are changing in response to the public who wants more dramatic development, and historical costumes are also expressed in a modern sense. The purpose of this study is to examine the modernization of historical costumes in historical dramas and how the modernization of historical costumes in historical dramas is fostered from the learner's point of view with suggesting implications. As a result of this study, first, the essential problem with the modernization of historical costumes was the excessive modern transformation that undermines historical facts in historical dramas. Second, the negative perceptions of the modernization of historical costumes in historical dramas included the loss of the unique Korean identity, decreased immersion in drama, and the educational influence of media. Positive perceptions focused on the increased interest through raising awareness of traditional culture, compromises on changes in the times, and increased visual play of the public. Third, the implications of the modernization of historical costumes in historical dramas require the awareness improvement of participants in historical drama and a thorough preliminary investigation by the costume designer on the historical costume, an in-depth study of traditional costumes, a systematic educational approach, viewers' attention, and government effort.

• Cross-Cultural Studies
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• v.29
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• pp.201-232
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• 2012

In the world history in the rein of totalitarianism cultural project of government had been activated, and consequently of it official culture had been organized. But at the same time on the other side of it people('narod'), who didn't have cultural means for active expression of own opinion on the reality, had expressed world-view and judgement informally in everyday language. In the literature of autocracy, subjected to censorship, had been expressed and fixed mythically idealized image of sovereign and his works. But in the folklore the image of ruler had been created by liberal fantasy of people. This article examined russian literature and folklore texts of 18 century, when russian people suffered from rapid and dramatic changes, caused by Peter I. Although russian literature of 18 century had gone over to the new literary regime, it still accepted political mechanism as dominant of age, and consequently in the literary texts of this century Peter I was represented as ideal person and great monarch. But various images in folklore texts show that people's opinion on ruler and his activities couldn't be controlled. In other worlds, diverse images of Peter I in folklore texts reflect clear and plain historical consciousness of people. This analysis reveals not only difference between mechanism of idealization of government and historical consciousness of people, but also meaning of cultural memory as indicator of historical reality.

• The Korean Journal of Archival Studies
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• no.14
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• pp.359-388
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• 2006

This article shows how the tradition of German historicism and positive historical science contributed to the establishment of German archival system, especially the principle of provenance and original order. The theory of historicism focused on the recognition and realization of the individuality of the history as a whole unit which is made up of the mutually and organically organized cultural entities. The theory of historicism as this kind of world view got its academic basis from the methodology of the positive historical science, namely the critical reviews on the archival sources which exist in mutually and organically organized record entities. In this context, the scholars of the historicism saw the establishment of the efficient archival systems as necessary. To some great degree, the emergence of the principle of the provenance and original order was its logical result. The author of this paper tried to highlight this point of view historically, on the basis of the activities of Ranke, Sybel and Lehmann around and in the Prussia Privy State Archives throughout the 19th century.

• The International Journal of Costume Culture
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• v.8 no.2
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• pp.61-70
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• 2005

A representative British designer, Vivienne Westwood's work. world from radical punk style to aristocratic historical dress is explored in context in terms of Englishness. National identity opens up into the process of mobilization of collective sentiment in the national context, unlike nationalism, and Englishness signifies the idea or emotion of England in contrast with Britishness, the political constructor influenced by geographical aspects. There is no doubt that Vivienne Westwood is central to ideas about creativity and originality in English design on subculture. However, in evaluating a designer and her work we should consider the entire context surrounding her from a broader view, rather than arguing only her own ingenuity. In this article, through reconsidering her originality in the historical reference as well as the resistant punk style in aspect of fluid national identity, I show a case of a constituted Englishness, forged by Vivienne Westwood as a cultural creator of national identity. Vivienne Westwood's case hints the complexities of national culture, which constantly shifts, translating her understandings of history and culture into fashion in her contemporary insight and glamorous ways.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.124-131
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• 2011

Modernity is commonly defined as a reflection of the features of modern society based on the historical experience of the West. As such, modernity includes involvement with political, economic, and social changes, a changing world-view, and changing trends in equality, gender roles, a desire for "the new," consumption, distribution based on mass production, and rational reform in fashion and dress. First and foremost, however, modernity in costume has been driven by the functional requirements of industrial capitalism. But while modernity has popularly been regarded as some sort of universal standard, in fact the West and the other societies have vastly different, unique, and particular experiences with their own respective histories of modernization. For this reason, cultural changes in the modernization process should be-indeed, must be-analyzed in the context of a country's own unique historical and cultural circumstances, rather than through the prism or strict adaptation of generalized Western concepts of modernization. Moreover, a "periodization" of the modernization of fashion and dress can be established by examining the characteristics of modernity in costume.

• The Journal of the Korea Contents Association
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• v.13 no.6
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• pp.9-19
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• 2013

In this paper, we develop a Spatio-Temporal graph as of a key component of our knowledge representation Scheme. We design an integrated representation scheme to depict not only present and past but future in parallel with the spaces in an effective and intuitive manner. An event in general occupies not only a space but a time. Hence a crucial premise for the simulation of virtual situations is to position events in the multi-dimensional context, that is, 3-D space extended by the temporal dimension. Furthermore an event tends to have physical, social and mental aspects intertwined. As a result we need diverse information structures and functions to model entities and relations associated with events and to describe situations in different stances or perspectives of the virtual agents. These structures and functions are implemented in terms of integrated and intuitive representation schemes at different levels such as Ontology View, Instance View, ST View, Reality View. The resulting multi-dimensional comprehensive knowledge structure accommodates multi-layered virtual world developing in the time to maximize the diversity of situations in the historical context. The viability of this knowledge representation scheme is demonstrated with a typical scenario applied to a simulator implemented based on the ST Graph. The virtual stage based on the ST graph can be used to provide natural contexts for situated learning or next-generation simulation games.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.05a
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• pp.270-274
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• 2007

Clearing trace of symbol which was gone with a series of pre-modern architecture history since the modern architecture (pursuing true nature from tradition which is repeated and imitated unconsciously). That is, What is the course of deconstruction? In the early part of the 20th century, We still accept the necessity of decoration in spite of its existence at one time being threaten. This means, even though symbolism in architecture has relative importance by situation of Times, it plays an important role to add the past to current style through 'Symbol'. The history of Times, a carrier which reflects Present on New Futures, makes memory by gathering data but we can not amplify our historical imagination with only data. Data is a past memory and evidence but we can not substitute that for historical experience. And it is difficult for future generations who don't live through that history to change their historical recognition with recollecting memories. They have to draw history with data but it is very limited in itself. However, They can collect historical memory through symbol in architecture. In this study, We pay attention to the symbolism of a memorial hall architecture. So We'll analyze dichotomy concept of Barthes's signifiant and signifie, visual sign and course of symbolic meaning on basis of Daniel Libeskind's Jewish Museum.