• 천문학회보
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• 제40권1호
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• pp.57.5-58
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• 2015

We describe relations between modern cosmology and general relativity in the historical context. We reveal some ironies imbedded in Einstein's final correction of his gravitational field equation in the context of cosmology in 1917 which has apparently opened a new era of modern physical cosmology. The ugly (according to Einstein) correction term was introduced only to build a static cosmology which turns out to be in flat contradiction with observation. Somehow, however, it is the correction term which has saved the modern cosmology from the genuine creativity of nature continuously revealed by astronomical observations. Whether the present precision cosmology is also a correct one is often ignored by the practitioners but still a pressing open question left for future theoretical and observational pursuits.

• 한국의류학회지
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• 제25권5호
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• pp.880-890
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• 2001

The purpose of this study was to find out the correlation between the spirit of the times and the characteristics of each eras fashionable silhouette and clothing in Gothic and Modern Period. Theoretical studies about the spirit of times, and the characteristics of clothing about each times were preceded. The results were as follows: The similarities of spirit of times were 1) emphasis on reason and rationality 2) centralization by christianity in Gothic Period, and modernism theory in Modern Period 3) times of the nobility and the churchman in Gothic, and elite class in Modern era. The similarities of characteristics of clothing were 1) preference of slim body form as the ideal body figure, 2) emphasis on convenience and function for freedom in action, 3) discontinuation of traditional way of clothing attitude, 4) emphasis on straight and simple on the silhouette and design, 5) tendency of eliminating ornaments on clothing.

• 건축역사연구
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• 제24권6호
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• pp.7-19
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• 2015

'Griffis Collection' is a collection of photographs of Japan and Korea in modern era, collected by William Elliot Griffis. Originally Mr. Griffis was studying about Japan when he developed an interest on Korea, and started to collect helpful materials he could find to study. Later days of Griffis' life, he donated his research to Rutgers University Library, and those materials were named and preserved as Griffis Collection. This paper is about photographs that illustrate modern Incheon and Hansung, and study them in order to discover how Korea's modern cities and architecture were formed and built. In total, there is four categorized chapters of photographs, and those are cities, public buildings, educational facilities and private buildings. In Griffis Collection, there are 23 photos those are relate to this paper's subject, but only 19 of them that has historic value has been covered in this paper. In results, all 19 photos were proved that they have significant information in terms of historic research of modern Korea and Korea's modern architectural stages.

• 교육시설
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• 제15권2호
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• pp.27-38
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• 2008

This study aims to examine Japanese elementary school architecture in Meiji Era, in which Japanese modern education system was settled down and the school architecture flourished by mass construction of stereotyped school buildings. It is assumed that stereotyped school architecture is due to the influence of the standard drawings made by Japanese Ministry of Education, therefore standard drawings could be a key to understand the characteristics of the stereotyped school buildings in Meiji Era. In this perspective this study attempts to analyze 4 standard drawings and interpret it in relation to regulations and design guidelines for school architecture in that time. As results of this study the change and characteristics of stereotyped school architecture in Meiji Era are clarified in several categories. They are as follows : the deviation of classroom and corridor, the change of classroom size fixing to 4 kan(間) by 5 kan(間), the absolute use of north-lacing single corridor type block-plan, and the change of other space such as waiting room(控所), special instruction room, auditorium and gymnasium.

• 한국콘텐츠학회논문지
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• 제16권2호
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• pp.633-642
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• 2016

이 글은 근대시기 일본의 한국인식을 당대의 한국 담론과 교과서 콘텐츠를 중심으로 살펴보았다. 이를 위해 민족성, 역사인식, 한국의 사회상으로 주제를 설정하고 교육 잡지를 중심으로 각 주제에 관해 형성되었던 담론과 이들 담론들이 투영된 교과서 교사용 지도서의 서술내용들을 살펴보았다. 민족성에 관해서는 나태 무기력 미개라는 단어로 대표되는 부정적 측면에서 인식하는 성향이 강하게 나타났다. 그리고 한국 역사를 수동적, 타율적 성격으로 규정하고 무능한 국가운영으로 인해 부정적 민족성이 형성되었다고 보고 있다. 그리고 더 나아가서는 독립을 유지할 능력이 없는 한국은 일본과 동양의 평화를 위협하는 존재이며 결국은 한일강제병합에 이르렀다는 것이 한국 역사에 대한 인식이다. 또한, 일본이 한국사회를 평가하는 척도는 서구식 문명화였으며 한국사회의 모습을 문명 문화의 정도가 낮은 전근대적 사회로 규정하고 있었다. 근대시기 일본에서 형성된 한국에 대한 담론에는 근대국가로 탈바꿈한 일본의 자신감과 제국주의의 길을 걷게 된 일본의 지배이데올로기가 강하게 반영되어 있었고 이와 같은 담론은 교과서와 지도서를 통해서 학생들에게 확산되고 있었다.

• 헤리티지:역사와 과학
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• 제54권3호
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• pp.192-203
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• 2021

이 글에서는 근대 전환기 한국에서 '工藝(공예)'라는 용어의 의미가 변화하는 과정을 문헌을 통해 고찰한다. 근대이전의 용례는 『조선왕조실록』을 중심으로, 개항 후 중국과 일본을 통해 번역됐을 때 달라지는 각각의 의미는 1882년 조선과 미국이 체결한 조미수호통상조약을 중심으로 살펴본다. 그 외에 『승정원일기』, 『각사등록』 등의 사료와 통감부 문서(1904~1910년), 주한일본공사관 기록(1894~1908년), 1910년 이전에 발간된 잡지와 신문을 대상으로 '공예'라는 용어가 어떻게 쓰였고 변화하게 되었는지를 검토하였다. '공예'의 의미는 개항 이후 각기 다른 분야의 사람들이 종사하는 일·직분이라는 넓은 범위에서 제조업·공업과 같은 산업의 한 분야를 나타내는 범위로 좁혀진다. 새로운 의미로 쓰인 '공예'라는 단어는 동아시아 국가 중에 가장 먼저 근대화에 성공한 일본을 본받아 서구의 문물을 수용하고 산업을 일으키자는 문맥에서 주로 사용되었다. 개항과 더불어 산업화가 국가적 과제로 부상하면서 새로운 개념을 표현할 용어가 필요해지자 일본이 서양의 개념을 번역하여 조어한 한자어를 기표 그대로 수입하여 사용하기 시작한 것이다. '공예'는 '공업'과 서로 비슷한 의미를 가지고 혼용되었다. 그러나 한일합병 후 총독부의 문화정책을 통해 미술로서의 개념이 부여되면서 '공예'는 공업으로부터 분화하게 된다. 이와 같이 용어와 개념의 성립을 살펴보는 작업은 한국 공예가 안고 있는 문제를 이해하고 해결하기 위한 기초가 될 수 있을 것이다.

• 비교문화연구
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• 제20권
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• pp.241-274
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• 2010

Due to the remarkable changes in the early twentieth century, the new invention and technology impacted peoples' everyday lives and people started to use the word, modern, to apply specifically to what pertained to present times and to designate a movement in what was new and not old-fashioned-a condition of newness. In the present day, however, the fantastic cultural changes of a century ago have now become commonplace, and what was once considered radically new is no longer a reason to marvel. This paper considers what it mean to be modern, once the new is no longer new. This question seems to remain as complicated and inappropriate to ponder because the consideration and impact of modernity cannot simply end with the end of an era. This paper investigates how the interconnected nature of popular culture provides apt illustrations to reveal the ambivalent nature of modernity and postmodernity. In doing so, first of all, this paper pays attentions to the notion of modernity and popular culture which emerged together in the early twentieth century when technology and mass consumer culture were promoted over the world. Also, it examines how popular culture represents a complex of mutually-interdependent perspectives and values that influence society and its institutions in various ways as the image of modernity continues to build in a postmodern era. That is, popular culture is identified as a large amount of intertextuality or collective experiences due to its intermingling of complementary distribution sources and techonology. Thus, this paper explores that popular culture devotes itself other images or narratives instead of referring to the real world and its output revisits the contemporary or past times in other places, being a means to produce and reproduce the accumulated images of the modern which shapes ceaseless simulacra of modernity over complexities of modernity. In order to find a critical juncture of the complex networks of modernity and popular culture, this paper considers two places, Chicago and Gyeongsung in the 1920s and 1930s in which the rapid modern experience took place and the modern movement forced the two societies to join the mass consumer culture whether willingly or not. Next, this paper considers two movies released in 2002 and 2008 that exemplify the complexities of modernity in Chicago and Gyeongung of the 1920s and 30s: Chicago and Modern Boy. Both films have common themes of the 1920s and 30s such as violence, adultery, femme fatal, and criminal themes with the forms of musical, dance, drama, and romance. Through the textual analysis of both Chicago and Modern Boy, two films are compared in observing the similar and different ways in which two films deal with the theme of modernity when they are represented from the contemporary perspectives. More specifically, this paper questions how modernity is present in contemporary cultural forms such as commercial and hybrid genre films; and how these movies create a new image of modern by embodying the double coding. Ultimately, this paper aims at realizing the paradox of double edged modernity and its ongoing discourse that controls people's consciousness through the medium of popular culture.

• 디자인학연구
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• 제13권3호
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• pp.135-144
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• 2000

본 연구의 목적은 바젤 스타일에 대한 역사적인 고찰을 통해 20세기 모던 타이포그래피의 전개과정과 그 현재적인 의미를 파악하고자 하는 것이다. 제1장에서는 20세기 초 모던 타이포그래피와 스위스 스타일이 형성되는 배경을 살펴보았고, 제2장에서는 바젤 타이포그래픽 전통이 형성되고 또 극복되어 가는 과정을 고찰하였다. 제3장에서는 바젤 스타일의 현재적 의미를 살펴보고 이 스타일이 디지털 시대의 시각언어와 조형문법을 형성하는데 어떠한 영향을 미쳤는지 살펴보았다. 이러한 연구를 통해 본 연구자가 고찰하고자 한 것은 그래픽 디자인의 역사가 단지 탁월한 능력과 감각을 지닌 몇 몇 디자인 거장들에 의해 이끌어지거나 사회, 문화적인 맥락과는 상관없이 일시적으로 등장했다가 사라지는 화려한 디자인 스타일들로 이루어지는 것이 아니라 나름대로의 내적인 동력을 가지고 역사적인 진보의 방향에 따라 전개되어온 전문 분야의 역사임을 보여주고자 하는 것이었다.

• 만화애니메이션 연구
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• 통권17호
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• pp.205-218
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• 2009

예술작품의 복제는 오래전부터 광범위한 유포와 이익을 위해 이루어져 왔다. 최근 디지털 복제 매체의 발달에 따라 물질적 복제화와 함께 예술작품 내에 그 개념이 개입되며 의미가 더욱 확대되고 있다. 본 논문에서는 근래 두드러지고 있는 디지털 예술작품의 복제성이라는 개념을 현대 대중문화와 연관지어 고찰하고, 기계 매체 시대의 복제성과 비교하며, 또한 새롭게 정립할 수 있는 그것의 특성을 연구하였다.

• 한국문화재보존과학회:학술대회논문집
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• 한국문화재보존과학회 2004년도 제20회 발표논문집
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• pp.25-32
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• 2004

All the works including sculpture created by modern artists contain a message that represents both the ideas and spirit of an era. We are entrusted with the responsibility of transmitting to future generations modern art in as nearly as perfect condition as possible. Thus despite the challenges we face in preserving modern art, we are obliged to conserve it. Especially, outdoor sculpture can be considered as not only works of art themselves, but also a public art. The work of contemporary sculptors often refers to the complexity of social relationships between the art and the public space, so that the public space tends to include the actual public in the art. The conservator at this point needs to preserve tile concept of the public art which is incorporated in the public participation in the sculpture, in addition to the materials of the sculpture itself. Once the sculpture is damaged, it will need restoration. Restoration may be essential to prevent further deterioration, or it may be necessary in order to make an object usable again. It is difficult to generalize about restoration because, as with preventive treatment, the acceptable degree of intervention varies from one discipline to another The degree of treatment including restoration may depend on such variables as available resources, the future use of the object, and the needs of the particular discipline to which it belongs. When conservators start to treat artworks or during the treatment, they will face many moments where they have to make a choice. Codes of ethics are necessary in order to provide a basis for making choices. Even though ethics have always been subject to change depending on an era or culture, the ethics subject will be much easier to reached an agreement on than one involving aesthetic value. The aesthetic value will be one of the most prominent factors for defining the damage: even minor loss of parts or discolouration can be considered as fatal damage for artworks. Sometimes, an alteration of the appearancecould be intended by the artist himself so that the artist's intention could be important factor for judging the damage of artworks. But, modern hermeneutic theories show that the artist's intention cannot be the only factor for consideration, so that the interpretation and application of artist's intent should be an interdisciplinary task regarding distinctive social and cultural backgrounds.