• The Journal of the Korea Contents Association
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• v.22 no.8
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• pp.681-691
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• 2022

The purpose of this study is to construct a digital archive system by analyzing the collections of the Korean Christian Museum at S University, which has a large number of materials related to Korean Christianity published in the modern period from the time of Korea's enlightenment until liberation. In order to construct a digital archive system, indexes and metadata for the collection are complied according to the pre-defined format. After digitizing the selected collection, a database is built using metadata information, and the actual system is divided into a web standard-based management system and a user service system. Also a content-based search system is constructed, which provides the matching value of retrieval results in units of one character and an automatic search term completion function to enhance user convenience. Therefore, collections in the museum, which are difficult to access the original text, are digitized and provided so that they can be easily used, laying the foundation for the long-term development of humanities contents for improving the accessibility and availability of collections for both researchers and the public.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.9-54
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• 2019

Since the birth of melodrama in the early Enlightenment era, it has flowed through various cultures and media. In order to grasp the principle of differentiation of melodrama and the direction of its change, a developmental approach to the formation process of melodrama is necessary. In this regard, this paper examines the formation process of modern melodrama and its aesthetic features around the time of the French Revolution. The modern melodrama was formed in the period between the end of the 18th century and the start of the 19th century. It was born at the intersectional point of the contradictions of the modern imagination and the political paradox of the French Revolution, which demanded an autonomous citizenship but did not recognize a woman as a citizen. The aesthetic of women's sacrifice and tears reproduced in the modern melodrama is a political aspiration to restore a corrupt society by glamorizing a woman as a moral icon. This was an icon to save a society under divide and crisis and a coordination of emotions to conceal sexist violence in the politics of the exclusion of women. The aesthetic of women's sacrifice and tears reproduced in modern melodrama has consistently been considered under negative evaluation such as a play of moral hypocrisy and vulgar drama. However, the academic interest in melodrama in the 1970s has been amplified due to the "Sirk-melo" which is a transition to the new aesthetic of women's sacrifice and tears, encompassing not only women, but also races and classes. In modern society, entering the era of uncertainty, where various social problems, national disasters, and global disasters have become commonplace, 'the aesthetic of women's sacrifice and tears' are shifting from gender differences to various victim narratives. Reviewing new theoretical trends and changes of recent melodrama as well as analyzing specific works are left as follow-up tasks.Since the birth of the melodrama in the early Enlightenment era, it has flowed through various cultures and media. In order to grasp the principle of differentiation of melodrama and the direction of its change, a developmental approach to the formation process of melodrama is basically necessary. In this regard, this paper examines the formation process of modern melodrama and its aesthetic features around the time of the French Revolution.

• Journal of The Korea Institute of Healthcare Architecture
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• v.20 no.1
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• pp.35-43
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• 2014

Purpose: Globally, Paradigm and corresponding awareness of mental health and mental illness is changing. At this point, social policy and cultural consciousness must also be changed. Medical facilities to contain the recognition of the people of that period and the social, cultural background. Social situation changes, science has developed and facility changes. So, awareness of people for the facility also changes. Thus, this study consider the meaning and features of the facility with change of psychiatry and the concept of disease in each period. Finally, the purpose of this study is to analyze the development of Mental Healthcare Facilities before 19th Century. Methods: In this study, focusing on the literature study, it investigated the developmental process of mental healthcare facilities. Results: As the result of this study can be summarized as followings. In ancient times, facility for the harmony of body and mental appeared by means of supernaturalism and rationalism. In the middle ages, facility for restraint and control appeared by means of religious absolutism and mysticism. In the early modern period, facility for therapy appeared by means of humanism and enlightenment. Implications: Unlike other healthcare facilities, Mental healthcare facilities have a unique history. Based on the point of view of each period, it appears form and characteristics of mental healthcare facilities are different.

• Journal of the Korean Society for Library and Information Science
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• v.57 no.1
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• pp.183-211
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• 2023

As a private school and a library in the Enlightenment Period of Korea, Woo-Hyun Seoru(友弦書樓) was established between 1904 - March 1905 by Lee, Dong Jin who had a will and provided a economic support for it and his son Lee, Il Woo had founded and operated it and it seemed to be closed in 1911. By this time, Woo-Hyun Seoru has been underestimated or ignored in the history of libraries in Korea. This study tried to investigate 8 aspects of Woo-Hyun Seoru as a modern library including the subject and purpose of establishment, the date of establishment, the location and buildings, the collection development and the acquisition methods, the user group and the important users, the library activities, the process of closure, and the moving path of the collections after the closure of Woo-Hyun Seoru. To do this, the articles of newspaper, periodicals, and academic journals, the relating documents and Sung Nam Se Go(城南世稿) written by Dong Jin Lee, Il Woo Lee and their descendants and colleagues were analyzed.

• International Journal of Costume and Fashion
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• v.11 no.1
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• pp.15-33
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• 2011

The late $19^{th}$ and early $20^{th}$ centuries of Korea were the times when the Confucianism (牲理學) ideology was shaken heavily under the influences of modernism and capitalism by Western and Japanese military and political-economic forces. Under such circumstances, alteration of clothing was much influenced by ideologies than changes in social structure or technological advance. In this study, an ideology was defined as "the force which drives people into a particular social order". Ideologies were postulated as an ongoing process of socialization with dialectic features rather than being a static state. Comparative analyses on conflict structures and different clothing patterns symbolizing the ideologies of the Ruling (支配) and the Opposition (對抗) were conducted. Investigating dresses as representations of ideologies is to reconsider the notion of dichotomous confrontation between the conservatives (守舊派) and the progressives (開化派) and a recognition of Koreans' passively accepting modernity during the Japanese occupation. This may also have contributed to enlightening Koreans about modernization. Here are the results. First, the theoretical review found that ideologies were represented by not only symbols of discourse, but also dresses, and that dresses embodied both physical and conceptual systems presenting differences between ideologies and their natures, Second, during the late 19th century Korea, conflict between conservatives' Hanbok (韓服) and progressives' Western suits (洋服) was found. Moderate progressives showed their identity by "Colored Clothing" (深色衣), and radical progressives by black suits with short hair (黑衣斷髮) or by western suits (洋服). The ultimate goal of both parties was a "Modern Nation". With these efforts, pale jade green coats and traditional hats symbolizing the nobleman class was eliminated within 30 years from 1880 to 1910, and then simple robes and short hair emerged. However, the powerful Japanese army had taken over the hegemony of East Asia, and Korea was sharply divided into modernization and pro-Japanese camps. Third, during the time of Japanese colonial rule, the dress codes having set by the modernization policies during the time of enlightenment were abandoned and colonial uniforms for the colonial system was meticulously introduced. During this period, Western or Japanese-style uniforms were the symbol of the ruling ideology. In the mean time, Hanbok, particularly "White Clothing (白衣)", emerged as a representation of the opposition ideology. However, due to Japan's coercive power and strong zeal for "Great orient (大東亞)", white clothing remained as a mere symbol. Meanwhile, Reformists (實力養成論者) movement toward improving quality of life followed a similar path of the Japanese policies and was eventually incorporated into the ruling ideology. Fourth, dresses as representations of ruling ideologies were enforced by organizational powers, such as organizations and laws, and binding policies, and changes in such dresses were more significant when the ruling ideologies were stronger. Clothing of the opposition ideology was expressed as an aggregation of public consciousness. During the period, the subjects of ruling ideology and the objects who were granted modernization benefits were different although their drives for colored clothing with short hair (色衣斷髮) for modernization were similar.

• Journal of the Daesoon Academy of Sciences
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• v.39
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• pp.69-97
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• 2021

'Déconstruction' is a system of thought that induces the emergent property that characterizes contemporary philosophy. The tradition of ancient Greek philosophy evolved over and over again, giving rise to the Renaissance and Enlightenment. It seemed to have reached its end under the historical perspective of modernity. However, contemporary philosophy wanted to see more possibilities through the deconstruction of modern philosophy. If modern philosophy dreams of a strange cohabitation between God and man with the humanistic completion of Plato's philosophy, modern philosophy rejects even that through deconstruction. Although Plato's classical metaphysics is a stable system centered around the absolute, it is ultimately based on God and religion. Under that system, human autonomy is only the autonomy bestowed by God. Contemporary philosophy is one of the results of efforts that try to begin philosophy from the original human voice through deconstruction. Instead of epistemology dependent on metaphysics, they wanted to establish epistemology from human existence and realize the best good that would set humans free through deconstruction. As such, it is no mistake to say that deconstruction is also an extension of the modern topic of human freedom. Deconstruction and human freedom act as one body in that the two cannot be separated from each other. Oddly enough, Daesoon Thought, which seems to have religious faith and traditional conservatism as main characteristics, has an emergent property that encompasses modern and contemporary times. The period of Korea, when Kang Jeungsan was active and founded Daesoon Thought, has an important meaning for those who have a keen view of history. Such individuals likely think that they have found a valuable treasure. This is because that period was a time when ideological activities were conducted due to an intense desire to discover the meaning of human freedom and envision a new world without copying the ways of the West. Instead they looked to face internal problems and raise people's awareness through subjectivity. In other words, the subtle ideas created by Korea's self-sustaining liberalism often take the form of what is commonly called new religions in modern times. Among these new religions, Daesoon Thought, as a Chamdonghak (true Eastern Learning), aims to spread a particular modern value beyond modern times through the concept of Haewon (the resolution of grievances) that was proclaimed by Jeungsan. The Haewon espoused in Daesoon Thought is in line with the disbandment of modern philosophy in that it contains modernity beyond modern times. First, Haewon means to resolve the fundamental resentment of human existence, which arose from Danju's grievance. Secondly, Haewon in Daesoon Thought encompasses the Haewon of the Three Realms of Heaven, Earth, and Humanity centers on a Haewon-esque style of existence called Injon (Human Nobility). Haewon in Daesoon Thought can be understood in the same context as Derrida's philosophy of Deconstruction. Modern deconstruction attempts to expose the invisible structures and bonds within human society and attempt to destroy them. In a similar way, Haewon endeavors to resolve the conflicts among the Three Realms by releasing the bonds of fundamental oppression that hinder the Three Realms of Heaven, Earth, and Humanity.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.3
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• pp.59-66
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• 2023

This study attempts to examine the process of establishing a Japanese-style garden in the modern period through the perspectives of garden designers, spatial composition, spatial components, and materials used in their works, and to use it as data for embodying the identity of Korean garden. The results are as follows: First, by incorporating elements associated with Koreanness into the modern garden culture, there are differences in location, presence, and subjectivity when compared to Japan. This reflects Japan's relatively seamless cultural continuity compared to Korea's cultural disconnection during the modern period. Second, prior to the modern period, Japan's garden culture spread and continued to develop throughout the country without significant interruptions. However, during the modern period, the Meiji government promoted the policy of 'civilization and enlightenment (Bunmei-kaika, 文明開化)' and introduced advanced European and American civilizations, leading to the popularity of Western-style architectural techniques. Unfortunately, the rapid introduction of Western culture caused the traditional Japanese culture to be overshadowed. In 1879, British architect Josiah Condor guided Japanese architects and introduced atelier and traditional designs of Japanese gardens into the design. The garden style of Ogawa Jihei VII, a garden designer in Kyoto during the Meiji and Taisho periods, was accepted by influential political and business leaders who sought to preserve Japan's traditional culture. And a protection system of garden was established through the preparation of various laws and regulations. Third, as a comprehensive analysis of Japanese modern gardens, the examination of garden designers, Japanese components, materials, elements, and the Japanese-style showed that Yamagata Aritomo, Ogawa Jihei VII, and Mirei Shigemori were representative garden designers who preserved the Japanese-style in their gardens. They introduced features such as the creation of a Daejicheon(大池泉) garden, which involves a large pond on a spacious land, as well as the naturalistic borrowed scenery method and water flow. Key components of Japanese-style gardens include the use of turf, winding garden paths, and the variation of plant species. Fourth, an analysis of the Japanese-style elements in the target sites revealed that the use of flowing water had the highest occurrence at 47.06% among the individual elements of spatial composition. Daejicheon and naturalistic borrowed scenery were also shown. The use of turf and winding paths were at 65.88% and 78.82%, respectively. The alteration of tree species was relatively less common at 28.24% compared to the application of turf or winding paths. Fifth, it is essential to discover more gardens from the modern period and meticulously document the creators or owners of the gardens, the spatial composition, spatial components, and materials used. This information will be invaluable in uncovering the identity of our own gardens. This study was conducted based on the analysis of the process of establishing the Japanese-style during Japan's modern period, utilizing examples of garden designers and gardens. While this study has limitations, such as the absence of in-depth research and more case studies or specific techniques, it sets the stage for future exploration.

• (The) Research of the performance art and culture
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• no.42
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• pp.107-146
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• 2021

This article examined the current status of performance activities in the theaters in Ulsan during the Japanese colonial period, and examined the characteristics and social roles of performance culture at that time.,The cultural space during the Japanese colonial period can be divided into theater space and semi-theater space.,The theater spaces in Ulsan include Daejeonggwan, Sangbanggwan, and Ulsan Theater. The semi-theater spaces include Ulsan Youth Center, Ulsan Youth Alliance Hall, Barrack Youth Hall, Eonyang Youth Alliance Hall, Eonyang Christian Hall, Eonyang Christian Hall, Eonyang Inn, Eonyang Public Inn, Eonyang Public Normal School, Seosaeng School, Ulsan Public Aid Auditorium, Night school.,These spaces not only held events or performances for a specific purpose, but also played a role as public spaces producing local discourse. The theater was a complex cultural space where performances are performed along with movie performances, and artists and audiences meet.,Furthermore, the theater provided a special experience of producing and consuming various issues such as colonial modernization, modern city formation, and the emergence of new popular culture beyond the meaning of stage space.,The theaters in Ulsan also functioned as a space to represent the foreign culture acceptance, leisure activities, the performance and viewing of cultural contents, and the artistic skills of local artists in accordance with the purpose of establishing local theaters.,It was a base space for local discourse production and enjoyment activities by holding political rallies, meetings, lecture activities, and various conferences.,Political rallies were also concerts, enlightenment activities were also accompanied by film screenings, and music performances were associated with dance performances and charity gatherings.,In particular, Ulsan Theater, which is the first theater in Ulsan, and the role of the public hall, held a lecture, debate, and oratory for public enlightenment along with performances such as musical drama, children's song contest, fairy tale contest, small-sized play performance,, It was widely used as a large-scale rallying place, and served as a public hall, such as a place to visit outside theaters. Thus, the theater and semi-theater space in Ulsan during the Japanese colonial period improved the cultural level of the region, fulfilling the aesthetic needs of the local people and faithfully fulfilling the social role as a public sphere leading the public opinion and agenda.,And it was also positioned as an alternative public area of ​​modern society and also played a role as a public institution.

• 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.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.2
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• pp.628-633
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• 2010

All the text of housing in 1910s was conveyed in three; hygiene general readings, home economics texts saying women's responsibility of cleaning house, and Japanese's observation and criticizing Korean housing. It stressed sanitary conditions of housing and criticised Korean housing dirty, of which contents and logic were same with the housing discourse in 1900s but much simpler and smaller in amount. It was mainly written by those in medical treatment field like doctors for enlightenment of private hygiene practice to Koreans. Because Choson Government-General(朝鮮總督府) excluded Korean residental areas from urban sanitation project, they remained dirty in 1910s. The practice of housing sanitation remained just as a matter of private sanitary practice. These political and discoursive conditions insinuated a sense that Korean dirty housing was representation of Korean's uncivilized customs and manners and a reason for being colonized. This sense made many Koreans to insist their housings' reforming to sanitary states just for civilization during colonized period.