• 한국의사학회지
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• 제23권1호
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• pp.77-104
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• 2010

In July 2008, I obtained a copy of "Hanbang Eihak Gangseupseo" through Uibangseowon. It was recorded that the book was compiled by Seong Ju-bong and reviewed by Ji Seok-young. According to previous studies, this book was the lecture book that was used in teaching Traditional Korean Medicine in Daejeon, Chungcheongnam-do. This book gave insight to the system and curriculum of the school for Traditional Korean Medicine in Daejeon, Chungcheongnam-do. It also exhibited the academic characteristics of Traditional Korean Medicine in the Period of Japanese Occupation and the medical viewpoint of Seong Ju-bong. The summary is as follows: First, an independent School for Traditional Korean Medicine was run in Daejeon, Chungcheongnam-do, with reasonable curriculums and systematic textbooks. Second, the medical viewpoint and treatment methods of Huang Yuan-Yu of Qing Dynasty was actively introduced. Then it was reorganized for the society and stimulated the progress of Traditional Korean Medicine. Third, while absorbing Chinese Medicine, it still inherited our heritage of Traditional Korean Medicine Especially, Seong Ju-bong's original opinions and clinical experiences are shown in surgery, gynecology and pediatrics. Fourth, in a break from the past, when Chinese culture could not be introduced due to diplomatic problems between Joseon and Qing, efforts were made to overcome limitations of lagging behind by adopting and educating Warm Disease study. Fifth, while working side by side with Ji Seok-young who introduced the modern Western Medicine through vaccination, it still searched for a traditional Korean medical treatment for chickenpox. I hope that the report of my findings through reading "Eihak Gangseupseo" could make up for the fact that the medical history during the colonial period is scarce.

• 미술이론과 현장
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• 제3호
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• pp.135-154
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• 2005

In the late decade of 1930, under the Japanese Imperialism, the Korean abstract art which was formed with affection by Japan and Europe. They say the early Korean abstract art is colonized, from a point that it derives from exterior impact. And they say also it is colonized not to be related to the representation of their own life world. On the other hand, the early Korean abstract art in 1930s is told as the prehistory of 'Korean Modernism in Art', which flourished in 1970s followed 'Informal Art Movement' in the late 1950s. Because the status of abstract art in 1930s was not more than a germ of 'Korean Modernism in Art', while they understand until 1950s as a period dominated by representational art based on Chosun Exhibition or Korean National Exhibition, the period until 1970s as a period ruled by abstract art which was accepted as 'Korean Modernism in Art', and the period after 1980s as a period by Min-jung Art and Post-Modernism Art. However, the historical value of Korean Abstract Art in 1930s cannot be passed over, if not trying to understand the development of 'Korean Modernism in Art' especially focusing on not their own history but the impact of Western and Japanese art. In the late colonial period, the Korean early abstract art was the strongest utterance of the time paradoxically, even if not related much to optical representation of the Korean subjectivity. Therefore the existing viewpoints about the early Korean abstract art should be changed.

• 건축역사연구
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• 제28권4호
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• pp.17-26
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• 2019

After opening Suwon railway station in 1905, a new road was constructed between Suwon station and Paldalmun(the South gate). It was the starting point to change urban structures of Suwon and shape the new city scape. In 1914, administrative districts of Suwon were reorganized. Suwon-myeon (township, a subdivision of Suwon-gun) was promoted to Suwon-eup(town) in 1931. Suwon-eup expanded its territory and changed the address system from 'li(里)' system to Japanese address system, 'Jeong(町)' in 1936. From 1920s, road system was changed and transformed Suwon's urban structures. A straight road was built from Jongro intersection to Janganmun(the north gate) in 1928. Another straight road was constructed between Suwon station to Padamun in the early 1930s. Public office buildings used the Hwa Seong HaengGung(華城行宮) and some of building moved to new location with new buildings. Main buildings of most schools in Suwon were reconstructed since 1930s. Commercial buildings and stores were sprung up and had their own characteristics by region. Around Suwon station, there are more hotels and restaurants than other areas. Rearranging administrative areas, developing road system and new buildings transformed Suwon's spatial structures. Constructing new roads formed a straight road passing through Suwon. After reorganizing administrative areas, this road turned to be the central axis of Suwon. Buildings in new style on the axis made the modern cityscape in Suwon.

• 복식문화연구
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• 제28권1호
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• pp.114-130
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• 2020

The purpose of this study is to reveal the cultural meaning behind modern experiences of diversity through the history of clothing in Korea. To this end, this study examines aspects that dictate clothing culture acceptance experienced and practiced by women by analyzing the case of the Naju rural area in Jeollanam-do from the 1950s to 1980s. Modern clothing was accepted later in the 20 century in this village, and the Satgolnai traditional textile tradition was an important factor after 1950s. In addition, the continuity of the rural five-day market is different from practices in the city. Limitations in access to media such as TV, films, and magazines, and the functional meaning of clothing in rural areas contributed to limitations for women to get the opportunity to access modern clothing items that were popular in the city. Unlike in the city, the event that inspired the transition to full-scale modern clothing in this village was the Saemaul Undong Movement of the 1970s. Additionally, Mombbe (labor cloth) worn during the Japanese colonial period was continuously worn as daily clothes for Naju women even after the 1950s. Therefore, colonial modernity continued through clothing.

• 헤리티지:역사와 과학
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• 제56권1호
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• pp.22-43
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• 2023

본 논문은 만공이 1924년에 조성한 정혜사 석조관음보살입상에 대해 다루고 있다. 정혜사 석조관음보살입상은 만공이 제작한 현존하는 가장 이른 시기의 불상으로, 정혜사가 중창되는 과정에서 상징성이 부여된 작품이다. 지금까지 만공이 주도한 불사와 구체적 유물을 통해 사상과 신앙에 접근한 연구는 없었다. 본 연구에서는 만공이 남긴 법어와 일화 및 일제강점기 신문기사 등을 활용하여, 만공이 주석하던 시기 정혜사와 수덕사의 역학 관계를 추적하고 대형 보살상 조성으로 얻은 효과와 그 조성 위치가 갖는 의미에 대해 고찰하였다. 이를 위해 당시 조각을 담당했던 석장 후손과의 면담을 시도하여 정확한 공사 기간과 장인의 명단을 확인하였다. 정혜사 석조관음보살입상에서 보이는 이중보개와 방형보관, 신체에 비해 크게 표현된 손, 두부와 신체의 비례, 석주(石柱)와 같은 체구에서 느껴지는 괴량감 등은 관촉사 석조보살입상에서 영향을 받은 것으로 판단하여 고려 초기에 제작된 관촉사 석조보살입상이 어떻게 근대기 보살상 조성에까지 영향을 미칠 수 있었는지에 대해 살펴보았다. 또한 일제강점기 철도 부설을 계기로 시작된 관촉사 참배와 1929년에 개최된 조선박람회에서 충남을 대표하는 상징으로 활용된 관촉사 보살상의 이미지가 양식의 계승과 변용이라는 관점에서 어떻게 활용되었는지 다각적인 분석을 시도하였다. 본 연구를 계기로 근대기를 대표하는 선사 만공에 대한 이해와 근대기 한국 불교조각 연구의 지평이 넓어지길 기대한다.

• 한국산학기술학회논문지
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• 제20권12호
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• pp.671-677
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• 2019

칭다오의 근대 도시계획은 20세기 초 독일 식민시기 부터 시작되었다. 당시 독일인들은 칭다오 계획에서 근대 도시계획 기법과 도시 건설 기준을 채택했다. 비록 독일 식민시기 이후에도 칭다오의 도시계획은 일본 점령시기와 중화민국 자치정부 시기를 거치면서 도시 계획이 끊임없이 바뀌는 과정을 겪기는 하였으나, 초기 독일인들에 의해 수립된 도시계획의 기본 골격은 지속적으로 유지되었다. 이러한 측면에서 칭다오의 도시계획 발전사는 여러 관점에서 높은 연구 가치를 지니고 있다. 따라서 본 논문은 칭다오의 도시 계획적 특징을 시기별로 구분하여 특징을 분석하고자 한다. 먼저 청도 식민시대의 도시계획에 대한 시간 구분을 실시하였다. 시기별 역사적 배경을 결합하여 각종 문헌 자료를 분석하다. 또한 표를 통해 시기별 도시계획 도면 자료등을 정리하여 칭다오 근대 도시계획의 발전의 변화를 뚜렷이 표현하였다. 본 논문은 칭다오 현재 도시계획 분석을 위한 풍부한 기초 자료를 제공 할 것이다. 본 논문은 총 3장으로 구성된다. 제1장은 서론으로 연구 목적과 범위를 서정하여 제2장은 식민시기 칭다오의 도시계획의 과정을 분석하였다. 제3장에서 특징을 정리하여 결론을 맺다.

• 한국주거학회논문집
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• 제18권4호
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• pp.69-78
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• 2007

This study is to describe the changes of spatial structure of Korean traditional housing in urban context with the following preconditions. Firstly, Chosun Hanyang's urban housing should be classified as it's own type. Secondly, Chosun's traditional housing accomplishes a complete urban housing type in Japanese colonial period through the stream of time. And the purpose of this study is as followings. First is to find out the process of changes of urban housing in urban context from the latter period of Chosun Dynasty to 1960's. Second is to find out the origin of spatial structure of urban house which is being kept throughout the above changes. Third is to find out the unique characteristics of urban house and the fundamental differences with folk houses in province.

• 영어영문학
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• 제55권4호
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• pp.517-538
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• 2009

This study explores the possibility of finding intersections of commonness and differences between Mahasweta Devi's short stories, "The Hunt" and "Douloti the Bountiful" and Angela Carter's "Flesh and the Mirror" and "Master" in Fireworks. At appearance, Carter as a writer of Great Britains and Devi as a writer of India in postcolonial period do not seem to share any commonness. This study, however, tried to find "common differences," to quote Chandra Mohanty's terminology, as a basis of solidarity possible between these two different feminist writers. Another concept appropriated in this process of comparing Carter and Devi is Gayatri Spivak's 'planetary comparative literature,' which contends the necessity of critical regional studies and the study of Asian Literature in the study of English literature. Devi and Carter, despite their historical, geopolitical and racial differences, share commonness in depicting Asian or colonized women not only as the oppressed others but also as the subjects who show potential for resistance and independence. Carter portrays Japanese women as the colonized and oppressed others of Japanese society, even though Japan did not have any colonial history. Devi finds in the postcolonial Indian women both the oppressed in the interstice of colonial/postcolonial/patriarchal Indian history and the potential for resistance. Despite some limitation in her understanding of Asia, Carter shows her insight to accept Asia as a true origin of her self-knowledge and performativity of her woman's role. Despite their differences, these two writers use Freud's 'unheimlich' from the feminist point of view, in general. Devi's depiction of the heroine's dead body at the end of the story implicates the possibility of resistance through women's 'uncanny' bodies. Carter converts Freudian and negative connotation of woman's body into positive and comfortable 'home' as a starting point of her self knowledge.

• 한국농촌건축학회논문집
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• 제24권4호
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• pp.17-24
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• 2022

This study aims to identify the Spatial Changes and the main agent of space creation in Samrye Area during the Japanese Occupation Period. As for the urban space in the Samrye area, the urban space was expanded to the Hujeong-ri area from the construction of the Jeonbuk light railway. Before 1914, the urban space of Samrye was formed around Samrye Station in Samrye-ri, which oversees Samrye-do from the Goryeo Dynasty to the Joseon Dynasty, but when Samrye Station of Jeonbuk light railway was established in Hujeong-ri in 1914, the foundation of a ladder-type street network visible from the central space of the current Samrye area was formed until the 1930s. And it was the Japanese and Korean landowners who took the lead in the construction of the Jeonbuk light railway, not the government, who expanded the urban space of Samnye from Samrye-ri to Hujeong-ri. The background of the establishment of Jeonbuk light railway is the reason why Dongsan Farm has difficulty in transporting rice to the Honam Line during the rice harvest. At that time, Park Ki-soon, famous as the land king, took charge of the established chairman of the railroad installation and established it, and with the establishment of Samrye Station, the access road was connected to his farm. In addition, a new road was built on the farm land that owned the Hujeong-ri area to the Seoul-Mokpo Interroad in Samrye-ri, thereby expanding the urban space. In other words, unlike Gunsan and Iksan, which were built under the leadership of the Japanese colonial eran government, the urban space in Samrye area was expanded by a farmer who grew up as a large landowner based on agriculture, which was the economic base at the time.

• 한국주거학회논문집
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• 제17권2호
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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.