• Journal of architectural history
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• v.24 no.6
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• pp.35-44
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• 2015

The purpose of this study is to critically investigate the ways in which scholars and architects in Korea have theorised the tradition in Korean architecture from the early 20th century to the present. After opening the door to foreign powers, the most important issue to be resolved in Korea architecture has been the modernization of the traditional architecture. The successful modernization of Korean traditional architecture depends on successful theorization of the tradition. However, many attempts to theorise the uniqueness of tradition in Korean architecture had not been instrumental to the modernization of Korean traditional architecture. The reason why they were not successful lies in the lack of philosophical and methodological reflection upon how to approach the tradition. They were either trapped in ambiguous essentialism without systematic methods and theories, or simply inventing the tradition from the vantage point of the present. This paper argues that in order to theorise the tradition, one need to translate the tradition into contemporary architectural vocabularies. What is important in translating the tradition is not to directly apply contemporary concepts and perceptual frame of architecture to traditional architecture but to find the gaps and differences between the two. This will open hermeneutic spaces to translate the tradition into useful principles and vocabularies of comtemporary architecture.

• Journal of The Korean Association For Science Education
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• v.33 no.6
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• pp.1119-1138
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• 2013

It has been a decade since argument and argumentation were introduced in science education literature in South Korea. The word "argument" has been translated into three different Korean terms in literature. The purpose of this study was to clarify those translated terms by examining how the terms were defined and used in Korean education research literature. From a philosophical perspective on the diversity of translation, we examined definitions of argument and argumentation, research topics in papers published in major international journals on science education, and reviewed relevant science education papers published in South Korean journals. We reviewed 79 papers published since the year 2000 in major international journals on science education, whose titles have terms argument and/or argumentation and 37 Korean science education papers whose titles have terms translated from the two English words. Findings showed that Korean researchers defined argument and argumentation either in a general sense or in a specific sense such as science investigation or group work aspects, depending on research contexts. Researchers in Korea rarely mentioned the diversity of translation. If they mentioned it, justification for a specific translation of the term was not provided except for in one case. When the same foreign literature was reviewed to define "argument" or "argumentation, different Korean words were used to translate the same two terms. This indicated to the researchers that the translation of the terms was not related to their definitions of them. On the other hand, each research group used a certain translation of the term consistently, indicating that translations might be based on research tradition. Based on the findings, a position on translation of the term is proposed in terms of professionalism and communication between research groups.

• Cross-Cultural Studies
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• v.20
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• pp.225-240
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• 2010

Soon after joining the Canadian Confederation in 1867, the province of Quebec adopted the phrase Je me souviens ("As I recall") as its 'national' motto, although many Qu?b?cois do not remember today what they were supposed to memorize, as collective subject, when their government voted this motion. My thesis is that contrary to other countries which have a strong sense of history based on a secular tradition, this process was more complicated in Quebec - as if a collective memory loss lied at the heart of it's history. Through a rereading of Hubert Aquin's cult novel, Trou de m?moire (in its English translation Blackout), first published in 1968, I try to illustrate this paradox and to emphasize the heuristic functions of memory blanks, gaps and lapses in certain postmodern narratives, after the historical breakdown of "the great narratives" (Lyotard). In this perspective, the example of Quebec, through the voice of one of its more gifted yet controversial novelist, can be seen as emblematic of what happens when the mnemonic impossibility of rewriting history opens up new possibilities for writing fiction.

• Journal of Korean Philosophical Society
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• v.147
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• pp.147-178
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• 2018

In this thesis, the author elaborates on how acceding to the Eurocentric paradigm-driven dichotomy of the premodern vs. modern engenders a logic bottleneck that debilitates academic efforts to explore the formation of the Korean constitution. Following this logic, the author will add credence to the belief that though the West may have had an influence on the formation of Korean democracy, the institution Korea enjoys today is a result of proactive and self-driven interpretation of those influences through the lens of local tradition. This insight is a prerequisite to understanding the spirit of Korea's First Constitution as a result of Koreans creative translation of Western democracy and Republicanism in the Korean context, and one whose roots lie deep in Confucian Great Harmony Thought. Through this, the thesis aims to offer insight into how Confucian Great Harmony Thought can shed light on the historical background of the spirit of Korea's Constitution.

• Cross-Cultural Studies
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• v.22
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• pp.223-277
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• 2011

Tan Yuanjie(譚元杰) of CHINA COSTUME ART OF PEKING OPERA("中國京劇服裝圖譜") is 'Foreword' attention from the bar 'Formalism'. A note is makeup system from ever performances here, 'what kind of adaptation must be a corresponding type of costume should be worn.' This stance to 'type of person's identity and faced the scene correlated' with the actual performance tradition plays out is going and, while here the rules to capture the opera's on the character of 'identity and the circumstances under clothing' is defined. This position discussed previously 'Formalism' in line with the will he perform, and looks to meet the elements of production. This basic stance is clean up, while 'Old Beijing Opera costumes costumes taxonomy largely' literary costume' and 'militant outfit' into two groups divided over throughout steamroll surgery, because surely need to have a more systematic classification. The classification system was established as 'Part 1. Mang, Part 2. Pi, Part 3. Xi, Part 4. Kao, Part 5. YI'. In addition to these classification systems, as well as the aforementioned 'object theory' Given the symbolic significance of the capacity to keep in mind is necessary. Costumes conduct, character, situation, atmosphere and so the transport of charged symbols here, a target symbol of the system is the projection of water. This costume is detrimental to the mall for the positionsay, but I kept in mind damwongeolyi internationalization of Chinese culture. when you see the view from the perspective of semiotic systems for the sign, that the theater is necessary to complement. In this paper, 'Yi(衣)' costume on the corresponding point of the target compared to the China Culture Department of Theatre and Folklore methodology ran off and sprinting was to lay the groundwork for research.

• Journal of the Korean Institute of Landscape Architecture
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• v.23 no.2
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• pp.223-241
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• 1995

Ji Cheng's great work on garden design, the 'Yuanye'(Craft of garden), written in 1631 and originally published in 1634 is the first surviving manual on landscape gardening in the Chinese tradition. This study aims at investigating not only Ji Cheng's life, achievements companionship and design activities, but also the xylographic copies, literary style, and framework of Yuanye in their historical context in order to provide the bases for further study, Ji Cheng was exellent in poetry and painting. And he constructed Dongdiyuan in Changzhou around 1623, Wuyuan in Yiaheng in 1631, and Yingyuan in Yangzhou around 1634 But no poems, paintings, and gardens designed by hi shill exist Therefore his design phi philosophy is able to be interpreted only by his work, Yuanye. After publishing, Yuanye fell into obscurity for several centuries in Chlna. It was redescovered and reprinted for the first time in 1931. Yuanye is composed of prefaces and main text The main text is divided into 'the Theory of Construction' and 'on Gardens', and the latter also into 10 sections. In this text Ji Cheng explains the aesthetic principles underlying garden design and the appropriate emotional response to various efftcts Especially, he emphasizes the importance of basin the garden design on the taxi ting nature and features of landscape and making use of natural scenery. The literary style of the book is highly mannered, and there are so many poetic descriptions and Ji Cheng's native Jiangsu dialects. So the translation of the original text is very difficult After this, the major design concepts of Ji Cheng's landscape gardening theory and whole network of these concepts have to be studied.

• Sijohaknonchong
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• v.30
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• pp.241-262
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• 2009

In this study, we will find out and understand of the literary characteristics and the material status about the translation of Sijo into chinese poetry which is the representative genre in Korean traditional poetry. Most of the work was done from 17th 19th century, and there are about 120 literary men who translated Sijo. 759 works are translated into Chinese poetry and we cannot find 135 works' original poetry. Therefore about 900 works are translated into Chinese poetry. One Sijo can be translated into more than 1 Chinese poetry, so there are more translated works. According to this study, there are 1356 translated works in total. Many works are done in piece by piece, however most of them are in series with many poems from 10 to 100. First, some popular Sijo was translated into series. Second, some serial Sijo or some Sijo of particular writers are translated into Chinese works. In first case, there are 22 writers' 27 works of Sijo along with Shinwi's "Soakbu" and 652 translated works. In the other case, there are 30 writers' 26 works of Sijo including 10 "Kosangugokga", which was translated by Song shiyul. There are 511 translated works. A lot of translations of Sijo into Chinese poetry are in various documents. They are in personal collections of works such as "Beonbanggok" in Namguman's "Yakchunjip". The works are in books of poems such as Hong yangho's "Chunggudangok" and Shinwi's "Jahasoakbu". In collection of Sijo like Shin heum's "Bangongshiyeo" in "Chungguyoungwon", there are some translated works as well. We can understand Sijo which we do not know the lyrics now by studying the materials about the translation of Sijo into Chinese poetry. The materials about the translation of Sijo into Chinese poetry have necessary value for studying the creation and tradition process of Sijo. In addition, with the materials, we can study the interaction between Korean literature and Chinese one, and also we can study about the changing aspects of Chinese poetry in Late Chosun.

• The Korean Journal of Archival Studies
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• no.1
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• pp.189-217
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• 2000

In this article I tried to take an overview of the training course of Chinese Archivists. The emphasis of this work lies on the development of the Archives College of Renmin. Univ. of China after the Cultural Revolution. It includes also the development in 1950's and early '60's. An overview of the Chinese development in 1950's and early '60's will be helpful for the development of Korean archival system, especially in training of archivists. What is necessary above all in our today's situation is to bring some experiences from the advanced countries in this field. It can be carried out in two ways : the empirical studies of archival development in foreign countries and the systematic translation of their publications. It also needs an establishment of professional institutes for the archival studies in Korea. In fact the professional archivists are now hardly found in Korea. Those scholars working in the archival areas now are not archival specialists in their academic origin. Because of the urgent needs some scholars of related fields, i.e. history and library science, take over the roles of researchers and instructors in archival studies. It is therefore very urgent to offer the environment where the archivists are able to devote themselves to research in archival science. In conclusion, we need to pursue the studies of archives to give order to the records we find in the long history of our archival tradition. By doing so, we can develop our own archival science in the end. This project, however, needs supports from the government for the formation of policies, securement of budget and collaboration between the related agencies to pave a way for the strong foundation of Korean archival studies. Without these supports it might take much more time then that Chinese have taken for the enhancement of their own archival studies.

• Korean Institute of Interior Design Journal
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• v.15 no.6 s.59
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• pp.27-34
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• 2006

This paper present a study on the $\lceil$Parere su Architettura$\rfloor$ of Piranesi published in 1765. In the 18th century, there were fundamental cultural and social changes in Europe. This paper intends to discover the influences of these changes on the field of architectural theory, and it also intends to reveal its characteristics and meanings. The $\lceil$Parere su Architettura$\rfloor$ of Piranesi was composed as a dialogue between two architects, named Didascalo and Protopiro. In this paper, Didascalo represent the Master and Protopiro the Novice(according to the translation of Kaufmann). On the artistic theory of the Enlightenment, Didascalo proclaims as a dogma. Then he inveighs against the rigorists, using strong language quite up the attacks of the Novice. The modernistic Protopiro assails every kind of embellishment. The dialogue non only helps us to understand Piranesi, but also reflects the artistic situation in the 18th century. The summary of the result of this study is as follows: 1. The book of Piranesi represents a controversy of the romanticism against the architectural rationalism. 2. The negation of the originality of the Roman architecture has been considered as the negation of the Baroque architecture that was the artistic base af Piranesi. 3. Piranesi had ideological intention to defend the hegemony of the Italian culture through strengthening of the Etruria-Roman-Baroque cultural tradition.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.127-142
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• 2006

In this study, I have analyzed Indian traditional clothing in fashion design of 21st century by comparing 1,286 fashion items designed by Indian designers and 722 Western fashion items, which were presented from 2000 S/S to 2005 F/W Formal analysis were made for change in how to wear clothes, and change in items and ornaments. Change of traditional clothing was found in two ways; Western elements added to Indian tradition and Indian traditional image adopted in Western clothing. First, Indian traditional elements added to Western clothing in the formal aspect was found in 83% of Western collections and 27.2% of the Indian designers' collections. In Indian designers' collections, traditional clothing form takes 72.8%, which shows the regional characteristics of India where the traditional clothing is still adhered to in daily life especially by women. Second, from the fashion design of the Indian designers, we can find modernization of sari, change of traditional items into more active and modern way by adding Western clothing; change of form, color and material of traditional items in various ways; and decorative aspects highlighted by adding Indian traditional color, pattern or decoration into Western clothing. In most cases, Western collections are seasoned with Indian traditional image, rather than utilizing the form of Indian clothing. Although adopting the farm of Indian traditional clothing, it can be considered as a translation from the viewpoint of the West. Third, Indian look is expressed in various ways by reproducing Indian traditional ornaments such as earings, bracelets and henna, or by adopting Indian traditional fabric design and decoration in mufflers, bags and etc.