• (The)Study of the Eastern Classic
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• no.49
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• pp.325-355
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• 2012

This research aims to generalize the thoughts of military science of the intellectuals through the books on military arts and science, which were published in the early Joseon Dynasty. In the early Joseon dynasty, it was in a position to establish the foundation in the new monarch internally, and, at the same time, to overcome foreign powers on both northern and southern borders externally. Thus, the books on military arts and science should have to be published under a premise of such situations. Accordingly, the books on military arts and science of those days took account of political stability having reflected the activities not only as the founder of Joseon but also as the military officer in the late Goryeo along with the books' own purpose to found military arts and sciences. The books on military arts and science that published in the early Joseon Dynasty were written mostly based on Chinese military books and its annotations, except some descriptions of the history of war. However, the intellectuals at that time endeavored to redefine military arts and science from the perspective of Confucianism having evaluated Chinese military science books that were biased to boost Machiavellian tactics. As a result of this, the geographical distinctions between China and Korea were the start of an argument for the military arts and science. There were also disputes over the relationships between the military science and the Yin-Yang School, and between the military science and Confucian school. Organizing our country's own history of war for the first time in the early Joseon Dynasty is worth for putting a high evaluation. However, it cannot help but to point out the limits of the books that there are noticeable descriptions about the factors related to toadyism, and that there are no descriptions about the wars against Japanese raiders. The books on military arts and science in the early Joseon Dynasty put emphasis on the commander's leadership that should be good at both literary and martial arts, as well as the harmony in military-to-military relations. After all, the intellectuals in the early Joseon Dynasty had linked the military arts and science to the sages of Confucian school under a premise that scholarship is to be used in combination with martial arts. And, as the nexus between the two, they noted the items of virtue, such as humaneness and righteousness (仁義); ritual and music (禮樂); loyalty and filial piety (忠孝); three fundamental principles (三綱); five moral disciplines (五倫). It can be said that this point is the typical features of the military arts and science in the early Joseon Dynasty, which cannot be found in Chinese military classics.

• (The) Research of the performance art and culture
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• no.34
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• pp.315-353
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• 2017

This study examined the music policies of the three kings, Seongjong, Jungjong, and Injo, who were in power for about 200 years from the late 15th century to the early 17th century. These three kings deserve attention in musical history for different reasons. Sungjong published "Gugjooryeui"(1474), "Gyeong-gugdaejeon"(1476), and "Aghaggwebeom"(1493), the typical etiquette books, law books, and musical books that take the most important position in the history of Joseon, so his direction of music policy deserves attention. Jungjong was the king who rose to the throne after there was a revolt against Yeonsangun's tyranny. Injo ascended to the throne by starting a military coup d'etat himself. One may wonder how the aspect of music policies developed by a king, who was crowned by a revolt, is different from other cases. As each of these three kings had different background of enthronement and the contents of music policies in the royal family also developed with different emphasis, this study examined each aspect separately. Sungjong emphasized the importance of music and regarded it important to cultivate officials who know music. To this end, he gave a special order to Yejo(the office of protocol) and this study tried to clarify the contents first. In addition, this study examined the process, contents, and meaning of various modification works related to the revision of the lyrics used in the ceremonies. Jungjong supplemented the institutional aspects of music. This is the result of expressing the will to correct the anomalous and reckless music policies of the period of Yeonsangun. In addition, many words in the lyrics had been about Buddhist doctrines and love songs between male and female, so there were efforts to reform these. As for the period of Injo, this study examined the music policies that were made in the process of resolving the crisis after the war. It was a time when court musicians were scattered after two times of war and it was not possible to hold the national ritual properly, so music policies in this period were different from the ones in stable era. This study covered discussions on the measures to collect lost instruments and scattered musicians. It also looked at how the restoration effort was made in the situation that the music used in ancestral rites was abolished.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.2
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• pp.64-75
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• 2022

The purpose of this study is to illuminate the meaning of the soundscapes of two bells, Daeheung-dong Cathedral and Sungsimdang in Eunghang-dong, which are landmarks and attractions in the historic downtown of Daejeon. The study was conducted through field research and recordings, as well as literature studies of related documents and soundscape theory. Daejeon city was developed along with Daejeon Railway Station during the Japanese colonial period in the early 20th century. As the Chungnam Provincial Office moved to Daejeon, Daeheung-dong and Eunhang-dong in Jung-gu, located near Daejeon Station, developed significantly and formed the city centre. As major administrative agencies moved to Seo-gu in the 1990s, the downtown area of Daejeon was on a path of decline, and the decline accelerated with the development of Sejong city. Meanwhile, Daeheung-dong Cathedral and Sungsimdang, founded by refugees during the Korean War, firmly protected the historic downtown area of Daejeon, where the natives left. Daeheung-dong Cathedral, established during the Japanese colonial period, is a local landmark with a history of 100 years in 2019. Sungsimdang, which was created with the backdrop of the Korean War, is also a historical and cultural asset with a history of 60 years and a local landmark selected as the No. 1 tourist attraction in Daejeon. This research, which started from the sound of the bells of Daeheung-dong Cathedral, heard even in the neighboring residential areas, led to the discovery of the bells of Sungsimdang in Eunhang-dong, located across the street. In this paper, the bells of Daeheung-dong Cathedral and Eunhang-dong Sungsimdang have characteristics of soundmarks according to R. Murray Schafer's soundscape sound category. Furthermore, this paper attempted to analyze the meaning of the two bells according to the relatively recent EU soundscape definition. These two bells are signal sounds at the surface level, but are the sound marks of the historic downtown area of Daejeon at the deep level. Although there are outward differences in size, scale, frequency, and famousness, these two bells share a meaning in terms of locality and good influence with the historicity and spatiality of a special relationship. The implication of this study is that the two places should be preserved as local historical and cultural assets not only as visual landmarks but also as sound marks in the urban regeneration or urban development of Jung-gu, Daejeon.

• Journal of architectural history
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• v.12 no.3
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• pp.163-179
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• 2003

The records of about 60 travel essays of the Hall of Bhaisajyaguru(Healing) Budda which was built in Chung Yang Temple passed down since 1525. The chronological change of that Hall architecture according to each period was traced upon. The building structure of the Hall of Bhaisajyaguru Budda which has a roundabout way, and 6 pillars inside, sometimes each 6 pillars inside and outside is hexagonal, one story building in Japanese colonial period(picture 3-1) or the present(picture 3-3). The panaromic picture of Chung Yang Temple shows no alterations of the layout of buildings(picture 1-1), in which the Hall of $Praj{\tilde{n}}{\bar{a}}$(般若殿), the main building in the center and the Hall of Bhaisajyaguru(Healing) Budda, three story stone pagoda, stone lighthouse in front of it became the central axis. The Hall of Bhaisajyaguru(Healing) Budda remained as it was until Japanese invasions in 1592 and 1597. However, it was greatly damaged by the flood in 1717. It was newly built by Lee Ha Gon's leading in 1717-1732. At that time, the interior design was changed. With Bhaisajyaguru(Healing) Budda, 53 Buddhas and ${\acute{S}}arira$ of Stone stupa which show itself by the flood in 1717 was located in the image of the Mountain of Chunchuk or Cheontae like Yu Jeom Temple. The doors of this Hall are located in the front and back. In the four walls each, two realistic and cubic buddhism pictures were drawn, The color of those picture was partly taken off in 1671 and repainted in 1714. The new building in 1717-1732 regained its colorful appearance. However, the names written beside each Images of Buddha disappeared. The notable remark in these records is that some of these travel essays in 17th-18th centuries was calling this hexagonal hall as the octagonal one. It is very important records because it means that before 1525 the octagonal hall might have existed. Chung Yang Temple was rebuilt between 1976 and 1985 after the destruction in the Korean War. After the records are carefully read, the full scale excavation about this historic site was not done yet. The interesting issue of the existence of octagonal building will be resolved by the full scale excavation.

• Strategy21
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• s.31
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• pp.190-219
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• 2013

Since Korea and Japan established diplomatic relationship, Relationship between Korea and Japan has not been easygoing. There are two most explosive, and noticeable ones among topics which have affected the relationship ; Dokdo and Historical Distortion. Without these issues, relationship between two countries will take a turn for the better. However, unfortunately, it seems that it is almost never going to happen. There is the Japanese conservative right-wing who has an influence on those two issues. The right-wing takes regard getting negative view or finding out dark past as an action from Self-torture view of history, and tries to dilute the Japanese sense of guilt on past invasions to neighbor countries. Moreover, to become a "normal country", they are trying to revise Constitution of the Japan so that Japan can possess the military and re-arm, dispatch troops abroad, and get the right to break the war. In other words, they expect Japan to become a powerful nation with great influence on Asia and world, as the period in which Japan conquered Korean peninsula, China, and South-Eastern nations. Japan still harbours secret romanticism for bygone days of imperialist glory. That is why neighbors want to never make the painful history happen again. In order to deal with this effort, most of all, it is required to assert better argument with a careful, thorough analysis on Japanese opinion about Dokdo. There might be a hidden card which can be accepted in the international society considering Japanese persistent effort to make Dokdo disputed area, and that is why we have to know that it is. In addition, it is needed to secure a high-quality professional manpower because the issues of Dokdo and Historical Distortion are primarily the matter of logic and references. The professional manpower should have open-minded to break down walls of their own majors. We have to introduce our achievements and stances to the international society vigorously. As a definite way to solve these problems, we have to develop national power. We have to possess naval forces and coast guard to protect our territory and Koreans overseas. There are not many options Korea can do to Japan, except protesting denunciation, and pressing a joint efforts. Most of the suggestions stated before are what have to be conducted domestically. It is a miserable condition, because two problems are Japanese domestic issues, but they become international issues and we have to seek a solution for ourselves.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.1
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• pp.61-72
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• 2002

This paper is the second part of a series of the research about the Teddy boy style which is to examine various fashion changes in subcultural styles in 1900s. The main concern of this research is to investigate the creation and meaning of the Teddy boy style, how it interacted with the elements of class and generation and how the materials needed by the group constructed and appropriated into the visible systematic cultural form of correspondence. The Teddy Boys are the first recognized members of the British youth culture, which is known as the new Edwardian because of their dress. They had created the concept of the "teenagers," which forms the basis of the sense of a "generation" in the 20th century. The Teds set the style that would be used and modified in the following generations. They adopted the Edwardian style of the upper class, and changed it into their own style by modifying it and adding to it some other elements. The Teddy boys style is a special version of the sartorial appropriation encountered in the sphere of the fashion history. It actually began immediately after the war by the upper class youth far from the working class neighborhood. In the late 1953, the elitist aura surrounding the Edwardian suit was suddenly shattered. Within just a few months, the Edwardian suit became a source of social anxiety and the focus of a symbolic battle. Although the Edwardian look had initially went back to the upper class root, it became a symbol of rootlessness. In appropriation of this image, The Teddy boys were also rejecting the sartorial conformism of the English working class with its modest tradition. In this respect, the Teds effected the ascent or fall of the working class in the area of fashion. The Teds dress was not a merely borrowed fashion, but was a bastard fashion in the form of American trends, the Zoot suit. At this time members of the working class possessed only work dress for the week and waist suits for the Sunday outings. Teds broke this pattern, and developed the working class dandyism of wearing clothes simply to show off. The results were that they succeeded in opening the teen market, and popularizing a working class style for the first time in British history. The Teds became the first British street style with ties music, and remain as an symbol of the rising of a new age of values and styles.f values and styles.

• Asian-Australasian Journal of Animal Sciences
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• v.22 no.6
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• pp.906-914
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• 2009

The Korean Society of Animal Science (KSAS) was officially born on October 8, 1956 under the leadership of Professor Sang W. Yun of Seoul National University, Seoul, Korea a few years after the end of the Korean War. At that time, there were 0.9 million Korean native cattle, 1.3 million pigs and 8.9 million chickens in Korea. Per capita income for Korea (US$ 66) or China (US$ 59) was about 10% of Asian's average income (US$ 513) in 1956. Korea produced less than 0.2 million M/T of formula feed and consumed 6.1 kg/person/year of animal products. One could say that Korea was an example of an under-developed country in the world. Although the first issue of the Proceedings of the KSAS was published on October 28, 1958, regular quarterly journals of the KSAS were not published until March 1, 1969. Major activities other than publishing its journal were: holding an annual meeting and/or scientific forum at national or international level. The Asian-Australasian Association of Animal Production Societies (AAAP) was founded on September 1, 1980 at Kuala Lumpur, Malaysia with founding members from Australia, Indonesia, Japan, Korea, Malaysia, NZ, Philippines and Thailand. Thirteen AAAP Animal Science Congresses have been held in its 28 year history. Hosting countries were Malaysia (1980), Philippines (1982), Korea (1985), NZ (1987), Taiwan (1990), Thailand (1992), Indonesia (1994), Japan (1996), Australia (2000), India (2002), Malaysia (2004), Korea (2006) and Vietnam(2008). In 1988, significant progress of the AAAP was made by creating an official English journal of the AAAP entitled "Asian-Australasian Journal of Animal Sciences (AJAS)" under the initiative of the KSAS. This journal is now published monthly and distributed to more than 50 countries in the AAAP region and the world. It should be mentioned that the KSAS was able to successfully host the $3^{rd}$ AAAP Animal Science Congress in 1985 and the 12th in 2006, as well as the $8^{th}$ WCAP in 1998. During the last 50 years of KSAS history, per capita income of Korea increased to US$ 17,690 (268 fold), formula feed production increased to 15 million M/T (97 fold) and consumption of animal products increased to 105 kg/person/year (17 fold). Cattle, pig and chicken numbers also increased to 2.5 million (2.8 fold), 9 million (7.4 fold) and 119 million (13 fold). This trend was also found for China and Asia, even if the rate of growth was slightly lower than that of Korea. It is expected that a similar rate of growth in economics, animal numbers, formula feed production and animal protein intake will likely be achieved by other Asian countries in the $21^{st}$ century with somewhat lower rate of development than that of Korea.

• Journal of architectural history
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• v.5 no.2 s.10
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• pp.25-39
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• 1996

Architectural researches on the traditional houses of Korea have been studied mainly based on the data collected in the field survey. From explosively incresed real mesurements and drawings in the field, plenty of data have been collected. Those have been the basic data for verifing and developing the theories on the traditional house. But after Korean war the researchers in South-Korea were not able to approach to the field in North Korea, so the new data of North Korea were not added any more. The poverty of real data have caused regional unbalance in the researches. This paper aims at collecting new data of traditional house in North Korea. But still being prohibited for the researchers of South Korea to approach to the field, I had to depend on the memories and experiences of the immigrants from North Korea who are now living in Kyon-Nam and Pusan Province. Through the questionnaire and drawings, they described vivid memory of their old houses. I was able to collect the data of 71 cases, which are significant and valuable as much as those of the real field are. The data include the address and site condition, family structure, economic condition, construction period of each house, The drawings by themselves show the building forms and plans, the plans of each building, and the included spaces. Although the quantity of those data is not enough for statistical analysis, it shows general tendency for analizing regional charateristics, the differnces among economical classes, and the periodical change. It opens the way for verfying the existing theory. Analizing the data, I have some conclusions as followings: a. Most of researchers have classified the dominant housing type of Hamkyong-Do as 'the double fold' type. In this study, all cases of Hamkyongbuk-do also show 'the double fold plan with Chongju-kan'. But in Hamkyongnam-do some cases show 'the double fold plan without Chongju-kan, or projecting the stable into the yard, which seem to be different type from 'the double fold plan with Chongju-kan' b. Existing theories classified the dominant housing type of Pyongahn-do as 'two buildings with pararell arrangement'. This classification is verified with the plentiful cases in this study. Futhermore, I found new tendency, that is, getting higher econnomic condition, they construct annex buildings between the main buildings. Finally their houses show 'scattered ㅁ shape'. The houses included in this two types has narrow and closed inner yard, which is different from the houses of the same shape in the south region of Korea. c. Existing theories classified the dominant housing type of Hwanghae-do as 'ㅁ sape with Daechong' type. I found many cases of 'ㅁ shape', but only two cases show 'Daechong'. 'The doble fold' type was also founded. Unfortunately very few cases were sent from Hwanghae-do, it is not enough for finding general tendency.

• Journal of architectural history
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• v.19 no.3
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• pp.51-70
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• 2010

This paper aims to examine the constructional background and process of the Japanese military installations of Oiyang-po(外洋浦), especially based on the military secret documents. Furthermore, it aims to analyze the characteristics of the remains. The results are as follow; 1) The number of the Japanese military secret documents concerning with the installations of Oiyang-po, summed up to 33s. Especially, 14 documents about the expropriation of the lands and houses, and the constructions of the artillery position are reserved in "Mildae-ilgi"(密大日記)written from 1893 to 1942. 2) Imperialist Japan constructed firstly the military installations of Oiyang-po against the Russo-Japanese War. After the moving of the artillery headquarters into Masan in 1911, these installations had been maintained for the defense of Busan and Jinhae Bays. 3) As soon as 1904, the lands and houses of Oiyang-po were forcibly expropriated according to (韓日議定書). The Korean Government payed the expropriation prices to the dwellers. But the amount of money were too small and were lately payed. Moreover the dwellers' fishery right were never recompensed. 4) In 1904, the artillery headquarters and position were constructed by the 3rd Chookseong-dan(築城團) under the command of Matsui, a military engineer officer. The executional constructions were accomplished by the Japanese construction contractors. 5) After the moving of the artillery headquarters into Masan in 1911, the 3rd Chookseong-dan had usually repaired and consolidated the explosive warehouses and artillery facilities. 6) The artillery position constructed with the thick concrete walls was located at the foot of the mountain in back. It's plan was similar to the rectangular shape. It reserved six 280㎜ howizers and several explosive warehouses. 7) The reserve funds and arsenal funds were used for the constructions. And the items of expenses such as the establishments of the electric lights and communication networks, and the repairs of the explosive warehouses were mainly recoded in "Mildae-ilgi".

• Journal of Fashion Business
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• v.2 no.3
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.