• 시큐리티연구
• /
• 제6호
• /
• pp.1-46
• /
• 2003

During the ancient times, there was no separative judicial system and administrative , legislative and judiciary functions were ultimately concentrated in the all-powerful monarch. And the three states developed state organization , adopting hieratical structures and placing at the pinnacle . State Codes were promulgated to initiate a legal system to rule the people, these codes instituted under influence of China codes. The people tradition sees crime control as the preservation of the authority of hereditary rulers. In the period of the Koryeo dynasty, government accepted a serious of detailed penal code from Tang dynasty . Legal response to crime stressed preservation of the dynasty rather than making citizen behave according to certain rules. In the period of Early Joseon , the compilation of Grand Code for state administration was initiated, the Kyeongkuk Taejeon ,became comer stone of the dynastic administration and provided the monarchial system with a sort of constitutional law in written form. This national code was in portant means of criminal policy at that time, Late Joseon , the impact of Western culture entering through China gave further impetus to pragmatic studies which called for socio-economic reforms and readjustment. Approach to criminal justice policy emphasized more equitable operation of the criminal justice system ,rehabilitation and crime control. Korea-Japanese Treaty concluded on 22 August ,1910 and proclaim a week later ,Japan gave the coup de grace to the Korea Empire and changed the office of the Resident - General into the Government - General . Thus korean criminal policy were lost during a dark ages ,which lasted for 36 years after fall of Joseon Dynasty (the colnial period,1910${\sim}$1945). After 1945 Korea's liberation from Japanese colonial rule, the occupation of devided Korea by the United States and Soviet Union frustrated the efforts of Koreans to establish an independent government, and the transplantation of two conflicting political ideologies to south and the north of the 38th parallel further intensified the national split. U.S. military government office occupied the south of the 38 the parallel and placed emphasis on democracy of criminal policy. ln 1948, the U.S. military government handed over to the ROK government its administrative authority.

• 건축역사연구
• /
• 제11권2호
• /
• pp.37-56
• /
• 2002

The purpose of this study is to examine the changing process of the collective housing in Korea; focusing on the alteration process of the apartment housing, which became a representative housing type in Korea, nowadays. The alteration process of the apartment housing in Korea can be divided into three stages: the introduction stage, the trial stage and the settled stage. The introduction stage is the period between 1920, when the collective-housing buildings were constructed in Korea for the first time, and the Liberation of Korea(1945). The trial stage is the period between 1945 and 1975. During this period, common housing has been constructed. And the massive apartment buildings were started to be supplied after 1975. The settled stage is the period between 1975 and the present. The main scope of this study will be the introduction and trial stages, since a lot of in-depth studies have been executed on the settled stage. The history of the collective housing of Korea starts with City Housing of Seoul, in 1921. It is guessed that this housing was to be small-sized and row-housing type. The first-built, apartment-type building, in Korea, was Mikuni Apartment House, which was constructed as a boarding room of Mikuni Company. In the introduction stage, apartment buildings were built by Japanese architects, with Japanese housing style. Most of them were planned in dormitory type, and some of them were run as tenant houses. Most of them were constructed by bricks, but sometimes by timbers. Tadami was laid in every room and inside-corridor was located in the middle of the house. Although the major style of the apartment buildings was Japanese, the Korean dwellers of those apartments has been influencing the housing type of them. In the trial stage, apartment housing has been experienced in diverse ways. With the development of building technology, floor heating system was settled in apartment housing. This improved the amenities of apartment dwelling remarkably. Although some heterogeneous characteristics still remained in the apartments of Korea, in terms of housing style, the housing style of apartments has been changed into own style of Korea, in accordance with Korean people's life style. The results of this study give us some good implications regarding contemporary housing plan: First, if the unit size of a collective housing is small, the more space could be available for community activities. Second, when planning of collective housing, more concerns should be payed on surroundings. Third, more attention should be payed about low-rise apartment housing, and more land-friendly planning would be required.

• 만화애니메이션 연구
• /
• 통권16호
• /
• pp.179-198
• /
• 2009

본 연구는 한국만화 탄생 100주년을 맞아 현대미술관에서 개최되는 한국만화 100주년 기념전시회의 어린이 만화섹션을 기획, 진행하면서, 캐릭터를 통해 본 어린이만화의 연대기를 연구 분석한 것이다. 어린이 만화에서 캐릭터는 내러티브의 서사적 구조보다 더 큰 역할과 의미를 함유하고 있는 만큼, 캐릭터를 기초로 한 접근법은 어린이 만화의 특성과 의미를 규명하는데 가장 적합하고 타당하다고 하겠다. 본 연구와 전시기획진행을 위해서 한국만화 100주년 위원회, 어린이만화연구회 아이처럼, 네이버 만화 내 사랑 카페${\ast}$와 함께 주요 어린이 만화캐릭터 70개를 선정하였으며, 이를 토대로 태동기와 해방공간의 1950년대 이전, 1950년대, 1960년대, 1970년대, 1980년대, 1990년대, 2000년대 이후 등 대략 10년을 주기로 7개의 영역으로 연대기를 구분하여 간략한 역사를 정리했다. 단순한 연대기 나열이 아니라 당대에 회자된 만화캐릭터와 작가를 중심으로 시대적 의의와 반향, 특성 등을 따졌으며, 세대를 뛰어 넘어 사랑 받아 온 어린이 만화와 캐릭터에 대해 입체적인 조명을 하고자 시도했다. 또한 작가와 작가, 캐릭터와 캐릭터 관계의 유사성과 인과관계를 추궁하고 유추하여 어린이 만화 캐릭터가 개별적 존재가 아니라 유구한 만화역사의 전통과 맥의 연장선상에 놓여 있음을 밝혀 보고자 했다. 끝으로 어린이 만화에 있어서 캐릭터의 중요성을 다시한번 환기시키고, 산업적 가치를 확인하면서 순수창작어린이 만화의 방향성과 전망을 냉정하게 되짚어 향후 우리나라 만화계에 어린이순수창작만화가 활성화되는데 일조할 수 있게 되기를 희망해 본다.

• 한국디지털건축인테리어학회논문집
• /
• 제11권2호
• /
• pp.93-102
• /
• 2011

Existing research for store has been localized in that of Seoul area, and research for the Japanese style store built under the rule of Japanese Imperialism has not been done properly owing to national sentiment. This research established Naju that inland pillage is available along Yeongsan River after opening of Mokpo harbor. I will compare modernization developmental process of building of Korean style store with that of Japanese Style store, so obviously try to make clear the activities of modernization by linking social and economical change with Joseon merchants' life. I will try to light up the position of korean style store in Naju area in history of architecture by analyzing two styles of stores into urban architectural element, putting process of change in order and translating it according to flow of age. The development process of Korean restaurant stores and that of Japanese counterparts are rather relative. Whereas Japanese accumulated wealth through oppression and exploitation of the people of Joseon the former dynasty of present day Korea, the people of Joseon could not but be oppressed and depressed. On the other hand, while the dynamic liberation movements of Joseon merchants managed to develop based on the vitality that was growing ever more, Japanese chose to back down to some degree by exercising appeasing policy. The efforts to take initiative by shattering off the submissive attitude can be found from the ability fostering movement, Gwangju students campaign and new construction or remodeling of hanok the traditional Korean house as commercial building in the 1920s. The changing phase of the people breaking away from subjugated relation to subjective attitude can be found in the commercial districts.

• Journal of Preventive Medicine and Public Health
• /
• 제56권1호
• /
• pp.1-11
• /
• 2023

In 1945, atomic bombs were dropped on Hiroshima and Nagasaki. Approximately 70 000 Koreans are estimated to have been exposed to radiation from atomic bombs at that time. After Korea's Liberation Day, approximately 23 000 of these people returned to Korea. To investigate the long-term health and hereditary effects of atomic bomb exposure on the offspring, cohort studies have been conducted on atomic bomb survivors in Japan. This study is an ongoing cohort study to determine the health status of Korean atomic bomb survivors and investigate whether any health effects were inherited by their offspring. Atomic bomb survivors are defined by the Special Act On the Support for Korean Atomic Bomb Victims, and their offspring are identified by participating atomic bomb survivors. As of 2024, we plan to recruit 1500 atomic bomb survivors and their offspring, including 200 trios with more than 300 people. Questionnaires regarding socio-demographic factors, health behaviors, past medical history, laboratory tests, and pedigree information comprise the data collected to minimize survival bias. For the 200 trios, whole-genome analysis is planned to identify de novo mutations in atomic bomb survivors and to compare the prevalence of de novo mutations with trios in the general population. Active follow-up based on telephone surveys and passive follow-up with linkage to the Korean Red Cross, National Health Insurance Service, death registry, and Korea Central Cancer Registry data are ongoing. By combining pedigree information with the findings of trio-based whole-genome analysis, the results will elucidate the hereditary health effects of atomic bomb exposure.

• 한국지역지리학회지
• /
• 제13권5호
• /
• pp.477-494
• /
• 2007

본 논문은 부산시를 대상으로 1900년대 초(구한말)부터 현재에 이르기까지 거주지역의 불평등한 현상을 거주분화의 개념을 중심으로 사회공간적으로 분석한다. 부산은 1900년대 초 조선 전통사회의 성격을 이어받아 신분사회의 계층질서에 의한 거주선택의 제한으로 불평등한 거주공간이 형성되었다. 이후 일제에 의한 신시가지의 형성으로 기존의 한국인 거주지와 분리되는 현상을 경험하였으며 일본인과 한국인, 그리고 중국인 거주지역으로 구분되는 민족별 분화 현상도 나타났다. 해방과 한국전쟁 이후 급속하게 인구가 증가함으로써 새로운 빈민거주지역이 등장하였고 이는 이후에 전개될 거주지 분화의 주요 요인으로 작용하게 된다. 빈민지역의 문제를 해소하기 위해 1960년대부터 실시한 정책이주는 제도상의 결점으로 인하여 큰 효과를 보지 못하였다. 1990년 이후 주민의 사회경제적 지위는 주택선택에 영향을 주어 주택계층에 의한 거주지역분화를 가능하게 하였다. 중간주택계층보다는 상 하위 주택계층이 거주공간의 불평등한 분포에 큰 영향을 주었다. 맥락적이고 시계열적인 접근방법을 시도하여 거주공간의 사회공간적 불평등에 관한 인과성을 파악하려고 시도한 본 연구는 미래에 전개될 거주공간패턴을 예측하고 다른 도시들의 거주공간연구에 도움을 줄 것으로 예상된다.

• 미술이론과 현장
• /
• 제1호
• /
• pp.109-144
• /
• 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.

• 대중서사연구
• /
• 제27권2호
• /
• pp.143-177
• /
• 2021

한국문학사에서 『지리산』(이병주)의 평가는 양분되어 있다. 해방 전후사를 객관적으로 재현한 실록 소설이라는 평가와 반공주의 이념에 편승했다는 평가가 그것이다. 본 연구에서는 이를 관점의 차이가 아니라 텍스트의 균열의 결과로 해석했다. 이는 『지리산』 출판 과정에서부터 드러난다. 이병주는 『지리산』을 1972년부터 『세대』에 연재한 후 1978년 원고의 일부를 출판한 이후 1981년 연재본 전체를 다시 재출판한다. 그리고 1981년 후속 이야기의 일부를 잡지에 게재한 다음 이태의 수기를 자료 삼아 6, 7권 내용으로 '증보'해서 다시 출판한다. 다시 말해 『지리산』은 연재본을 출판한 1981년 본과 증보한 내용까지 담은 1985년 본으로 나누어진다. 때문에 『지리산』의 완결 시점을 언제로 보는지에 따라 작품의 주제가 달라진다. 본고에서는 5권까지의 내용과 6, 7권 내용 간의 관점 차이에 주목했다. 특히 '빨치산'에 표상을 집중적으로 살펴보았다. 연재본에서는 유신 체제 하에서 '빨치산'을 일제 시대 독립운동으로 확장시켜 내면서 '빨치산' 표상을 입체적으로 수용해 내지만 6, 7권에서는 '빨치산'이 '교조적'이고 '악랄한' '빨갱이'이자 처벌되어야 하는 존재로 재현한다. 요컨대, 『지리산』은 해방전후사를 배경으로 '빨치산' 표상을 통해 냉전 체제의 담론, 표상, 이념을 분절해 내지만 증보 과정에서 '빨치산'을 악랄한 존재이자 실패한 인생으로 봉합시킨다. 결과적으로 『지리산』은 1970-80년대의 심연 속에서 반공주의/자본주의를 둘러싸고 진행된 분열과 길항의 과정을 보여주며 '빨치산'을 '적대적(빨갱이)'이거나 '무명(실패한)' 존재로 재현한다.

• 문화기술의 융합
• /
• 제5권1호
• /
• pp.227-234
• /
• 2019

효창공원은 조선시대 문효 세자와 생모 의빈 성씨, 순조의 후궁 숙의 박씨와 영온 옹주의 묘가 있었던 왕실 묘역이었다. 고종대에 효창묘에서 효창원으로 격상되었다. 일제는 왕실묘역이었던 효창원을 훼손하여 공원으로 만들었으며, 1944년에는 효창원의 왕실묘역을 서삼릉으로 이장하였다. 해방 후 중경에서 돌아온 김구는 효창공원의 비어있던 공간에 독립운동자 묘역을 조성하였다. 삼의사묘, 임시정부 요인 묘가 그것이다. 김구 자신도 1949년 서거 후 효창 공원에 묻혔다. 이승만 정권, 박정희 정권시기에는 독립운동가들이 묻혀있는 효창공원에 대한 정체성 변화시도가 끊이지 않아 효창운동장, 원효대사 동상, 북한반공투사위령탑 등이 세워졌다. 1987년 민주화 이후 효창공원의 독립운동가 묘역은 다시 의미를 부여받기 시작했다. 6공화국 헌법에서 임시정부의 법통을 계승하였으며, 이후 효창공원에 대한 국립묘지화와 독립공원화가 시도되었지만 사회적 합의를 이루어내지 못하였다. 본 연구에서는 효창공원의 역사적 중층성과 상징성에 주목하여 '독립의 길'이라는 주제로 스토리텔링을 하여 그 의미를 부각시키고, 효창공원의 정체성에 대한 사회적 합의를 이루어나가는데 기여하고자 한다.

• 한국연극학
• /
• 제52호
• /
• pp.5-59
• /
• 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.