• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.5
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• pp.97-111
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• 2021

The purpose of this study was to analyze commemoration characteristics of the United States of America, the Commonwealth, and Germany through representative 14 military cemeteries of World war II in Western Europe. Based on the commemoration characteristics such as spacial characteristic, commemorative elements, and graves and headstone, the commemoration culture among U.S., the Commonwealth. and Germany were studied comparatively. The results are as follows. First, taking geometrical form with mainly square type, rarely circle and spiral patterned, most cemeteries were structured spatial central axis with symmetry, those cemeteries were styled neoclassical, but some of the U.S. cemeteries were modernistic, connecting spaces organically with curved line layout. Second, chapel, the wall of missing, the wall of battle map, and sculpture in the U.S military cemeteries, and 'the cross of sacrifice' and 'the stone of remembrance' as classical monument in the Commonwealth war cemeteries were commonly applied standardized commemorative elements, but commemorative monuments in German military cemeteries were restricted except monumental cross. Third, the symbolic cross of christianism was used all cemeteries to console and cherish the soul of soldiers, specially the Latin crosses in the U.S military cemeteries delivered political message as the american martyr for Western Europe and also the power of the U.S., but the cross in German and the Commonwealth war cemeteries were basically cherish and comfort individual spirit. Fourth, showing the power of victory with national patriotism, the U.S. strongly represented christianism and liberal democracy against communism, the Commonwealth showed imperialistic style, and German military cemeteries were quietly appeared as traditional style forwarding reconciliation and peace. This study suggest the war cemeteries have national identity with typical form and symbolic aesthetics. Further study will be required to materialize sublime commemoration in national cemeteries and to form advanced commemorative culture in Korea.

• Journal of Korean Theatre Studies Association
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• no.52
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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.

• The Journal of the Korea Contents Association
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• v.17 no.3
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• pp.444-453
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• 2017

Moral education is essential to the military in fostering elite warriors to have clear sense of their nation and the security, while arming themselves with military spirit that strives for victory. To reach this goal, various moral education has been set forth through boot camp training, academic education, unit training, etc. depending on various subject and supporting agencies in question. Also, in order to heighten the effect of the education, various attempts to combine concert-style cultural activities with the programs are carried out. However, the ultimate goal for this moral education is to facilitate soldiers to voluntarily set their minds and will in combat, and the current education system lacks that motivation as it concentrates mostly on educating knowledges about nationality and security. Under such circumstances, various units have attempted to raise morality in creating many public and media activities within the unit, which proven to be successful. In theory, the usual definitions in the field of education such as emotion, interest, attitude, and personality can be expanded upon with public and media activities. With this in mind, we have researched on how effective this method is by conducting various public and media activities in multiple units, total of 531 soldiers, starting from June to July of 2016. As a result, these activities brought positive effects on young soldiers to build pride in their assigned units, and also increased their willingness to carry out their assignments and missions. Through this research, we drew to the conclusion that unit-level public and media activities, which was solely used for gaining trust and communicate with the general civilians, can be used to boost the soldiers moral strength and help them express the strength in action.

• Journal of Arbitration Studies
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• v.16 no.2
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• pp.3-49
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• 2006

The purpose of this paper is to make research on the settlement mechanism of the commercial disputes between the South and the North of Korea. Also, this paper is to make research on the south-north Korea's cooperative tasks to promote the disputes settlement, including the operation and management of the South-North Arbitration Commission as well as the enactment of the South-North Arbitration Rules. To realize the spirit of the South-North Joint Declaration of June 15, 2000, the Authorities concerned of the South and the North of Korea have reached an agreement titled 'Agreement on Settlement Procedure of Commercial Disputes' on December of the same year. As the follow-up measures of the said Agreement, the South-North Authorities have signed an another agreement called 'Agreement on Organization and Administration of the South-North Arbitration Commission' on October, 2003, which is becoming vital importance for settlement of the commercial disputes between south and north Korea including the Gaeseong Industrial Complex. Gaeseong, a city surrounded by the North Korean military and a symbol of inter-Korean tensions, is now turning into a peace zone where thousands of North and South Koreans are working side by side. The Gaeseong Industrial Complex project, driven by the logic and economic necessity of cooperation, has been steadily moving forward since the North designated it as a special economic zone and has enacted related laws and regulations for its development. Under the situation, the matter of primary concern is how to organize and conduct the Arbitration Commission for the prompt and effective settlement of the south-north commercial disputes. First of all, the South-North Authorities should recognize that the availability of prompt, effective and economical means of dispute resolution such as arbitration and mediation to be made by the Arbitration Commission would promote the orderly growth and encouragement of the south-north trade and investment. In this connection, the Korean Commercial Arbitration Board(KCAB) should be designated as the arbitral institution of the south Korean side under the Agreement on Organization and Administration of the South-North Arbitration Commission. The KCAB is the only authorized arbitral organization in South Korea to settle all kinds of commercial disputes at home and abroad.

• Proceedings of the Korea Society of Costume Conference
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• 2001.08a
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• pp.81-81
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• 2001

R.O.C. has experienced successively the development of previous dynasties that creates out the unique traditional culture of each stage. The Chinese nation is not a one-fold race; each dynasty absorbs the culture of the outside race. It is Tang Dynasty blends mutually however yield unusually brilliant results. The Tang Dynasty's national strength is forceful and the economy is prosperous. Above all, social custom and current of thought both break the constraint of previous dynasties' conservative thinking and keep positive and aggressive. While in the contact with extraterritorial culture, not only changes the feminine social status, but also produces unprecedented innovation and reform on the feminine dress. The Tang Dynasty's varied feminine suit is affected by the western regions of China culture, such as expose of chest, low collar, short top garment and skirt with narrow sleeves or wide sleeves, sleeve gown with plate collar or turndown collar, man's wear, and military dress, etc. An epoch can be known by Tang Dynasty feminine dress's special features, for example, the make-up of Tang-Shien-lon's Uan-Ho period presents dress style of late Tang days. However, the Chinese people compete mutually pursuing the strange costume, and accepting different cultural incitement This reveals that the changes of popular culture would result in the big transform of the Tang's dress style. This paper studies inherit of Tang Dynasty's culture and east-spread of the western regions of China culture. While understanding the Tang's favor in the western regions of China customs, all follow the western regions of China without exception, such as dance music, painting, dress, food, amusement, etc. Because of emperor's progressive race policy and forgiveness attitude to the foreign tribe that makes Tang Dynasty's feminine dress much easier to accept and blend the special features of the foreign tribe culture. While joined with west culture, and pick the dress's essence of the western regions of China, the original possessed of culture consciousness and esthetic sense improve and create their own dress, as well as enrich more inner part of dress art and the spirit.

• Journal of the Korean Society for Library and Information Science
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• v.29
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• pp.11-44
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• 1995

The purpose of this study is to investigate the general characteristics of modem library which was in a germinal stage at the opening period of Korea. The major findings of this study is summarized as follows. 1. Modern libraries which began to develop during the opening period of Korea were deeply rooted in the spirit of patriotism. After 1905, which was the year of so-called Korean-Japanese Protocal concluded under the Japanese military pressure, the patriotic enlightenment campaign against foreign penetration developed rapidly throughout the country. Accordingly, the movement for establishing modern library was carried out among advanced reformers. 2. The first modern school library was built in the private school of Wonan established by the residents of Wonsan area. They believed that the best way to strengthen the national power to oppose Japanese penetration was to learn the Western culture and technology. 3. The first modern public library named The Central Library of Korea was originated by Oh Ha Young and his comrade in 1906. Included among these promoters of the library were Yun Chi Ho and Min Sang Ho, two persons who had experienced Western culture during their study abroad. 4. Pakmunkuk, the newspaper office of the government, had its own library in 1883 which was the first modernized special library in Korea. 5. Major factors which hindered the rapid growth modern libraries m the opening period are as follows; (1) Lack of people's demand fer the library. (2) Limited scope of the publications(mainly school text-books) (3) Poor financial conditions. 6. Japanese invasion in 1910 had broken the growing roots of modern libraries in formative stage.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.364-371
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• 2018

In the 1960s, both South and North Korea needed to stabilize their regimes, and propaganda films were at the core of establishing this purpose. South Korea claimed legitimacy of a military government and called for service to fulfill the government's mission of the era, while North Korea emphasized the impeccability of their leader and the superiority of their socialist system. This study investigates image reproduction strategies used in South and North Korean propaganda films at the time under the context of domestic and foreign environments in the 1960s. First, South and North Korea portrayed their rulers as a strong leader and friendly leader, respectively, to establish legitimacy. Second, South and North Korea tried to image the same incident from different views in order to instill the spirit of age defined from their own perspectives. Third, propaganda films at the time portrayed desirable images of citizens (people) and visualized a flawless government. Authoritarian governments in South and North Korea in the 1960s facilitated the establishment of the so-called official society through propaganda films.

• The Journal of Korean Philosophical History
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• no.50
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• pp.37-74
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• 2016

Song Joon Kil(宋浚吉, 1606-1672) intended to establish the subjectivity of people as a "Great Justice". He declared that at that time "Great Justice" was meant to respect 'Ming(明)' and reject 'Ching'(淸). He understood 'Ching' as a country which destroyed the human community and reasoned that if we put Ching's uncivilized behavior out of our mind in favor of the pursuit of present existence and merits, a temporary peace may be got but eternal peace and stability would not be achieved. 'Ming' doesn't refer only to the name of a country, but a country with the capacity to perform 'humanity and justice' with a human culture. On the other hand, he considered 'Ching' to signify the uncivilised country that destroyed or repressed the humanity and peaceful order of the world. He thought the international order can only be maintained under the organization respectful and protective of humanity. He believed a country should act to unify the whole world guaranteeing life and stability. He possessed this cultivated spirit which acted to protect the civilised world from the perils of an uncivilised world. But because of the great famine for a lot of years and the international state(Ming was regressing, and Ching was continuing to make rapid strides) was timely unsuitable to revenge and to wash the shame off. So Song propeled to stabilize the government and to strengthen the national ethics. Song focused on administering the domestic affairs. To him a high priority was a internal affairs, and a low priority was a external affairs[military aggression]. Song considered 'providing for the welfare of the people'(安民) before 'pushing ahead with military aggression'(外攘). And a high priority was 'restoring the people'(養民), a low priority was 'the military affairs'(治兵). Song regarded 'domestic affairs'(內治) as a fundamental affairs. He putted 'to nurse people'(養民) and 'to straighten King's mind'(格君心) first, than 'to buildup military'. His foreign policy was 'respecting Ming' and 'rejecting Ching'. Song was bothered about defining Chosun dynasty's moral obligations to the southern Ming government(1644~46) at Nanjing at that time.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.1
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• pp.35-46
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• 2023

This study investigated and analyzed ancient records on the type, planting background, and construction process of Gwanbang forest(關防林) planned for military defense during the Joseon Dynasty to find out the purpose, location, and planting species of Gwanbang forest. The research results were as follows. During the Joseon Dynasty, Gwanbang forests were created around various government facilities(關防施設), such as Eupseong(邑城), major government offices, camps, and fortifications, for the purpose of defending against enemies. Gwanbang forest includes Yeongaeglim(嶺阨林), which was created on the crest of a strategically important hill, and Military Forest created for military purposes. Most of the spirit forest was designated as Geumsan(禁山) and protected and managed, and the Gwanbang forest was created for various purposes such as shielding, flood damage and river bank erosion prevention as well as external defense. In addition, in order to continuously and efficiently produce wood, which is a material for ships, buildings, and agricultural tools, in most cases, large areas were created as mixed forests. As for the species constituting the Gwanbang forest, there are records of tangerine tree, which is effective for defense because it has thorns, and deciduous broad-leaved trees such as zelkova, elm, willow, david hemiptelea, and oak appear. In the case of Ganghwa island, which served as the defense of the capital and the royal family during the Joseon Dynasty, several records have confirmed that a forest densely planted with trifoliate orange was created for the purpose of Gwanbang forest to reinforce the defense of the outer fortress. Based on historical research in the literature, assuming that the natural monument 'Gapgotri tangerine tree in Ganghwa Island' was planted in the 30th year of King Sukjong(1704), the first record of planting trifoliate orange in Ganghwa Island, the maximum age is estimated to be more than 319 years.