• The Journal of the Korean dental association
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• v.49 no.11
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• pp.688-703
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• 2011

Park Myoung Jin (1903-1957) was a respectable leader who disseminated dental medical education to make our path as the leading dental medical education developing a new global history of dental medicine. Dr. Park was born in Seoul on 3 July 1903. He graduated Kyongseong dental medical school and studied at the pharmacology department achieving his M.D. In 1938, as the president representing the Hanseong dentists association equivalent to the Japanese dentists association, Dr. Park participated in various events. After liberation, Dr. Park tried his best to achieve Korean dental medical education as the pursuit of ideal ego with self-centered ego. He reorganized the Kyongseong dental medical school and incorporated it to the Seoul National University dental college. Even during the Korea war, Dr. Park still sincerely carried out his duties as the director of the Seoul National University dental medical college by recruiting university entrants and turned out graduates. In 1954, Dr. Park as the director of the Seoul National University dental medical college, he frontiered an opportunity to adapt the American dental medicine by sending school staffs to study overseas. On 25 June 1954, Dr. Park received 25 years of meritorius service award presented by Seoul National University Dental Medical College. Further, on 6 Aril 1954, Dr. Park became a member of an academic research committee. In April 1946, Dr. Park was elected as the president of the Chosun Dentists Association(Korean Dental Association). On 19 May 1947, Dr. Park was also appointed as the director of the Korea dental medicine association leading the general meetings and academic conferences from 2nd through the 8th sessions. On 30 November 1954, as the president of the Korea dental medicine association, Dr. Park also published the Korea dental association publications. In 1957, Dr. Park donated the school housing for the principle of the Kyongseong dental medical school establishing the basis for the Korea dentists association center. Dr. Park also participated in establishment of the oral hygiene campaigne, dental administration policy, organization of the specialized subject delegation board members and the dental materials association. On 10 December 1955, we can recognize Dr. Park's respective historical consciousness through his declaration 'history is a true record of historical traces of a national'. Dr. Park was a living witness of the Korean dental industry. Especially, he stated that the origin of the Korean dentists association was in the Hanseong dentists association. Dr. Park overcame the pressure and indignity during the Japanese colonization. The joy of liberation did not last long since he also had to experience the fraticidal tragedy of the Korea war. Dr. Park was a professional dental specialist and a leader researching dental medicine. He was a great leader who understood the dental medicine and dedicated for the dentist association and dental medicine association with compassion for the nation and national as a Korean.

• Journal of the Korean Society of Costume
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• v.36
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• pp.239-262
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• 1998

The pursuit of freedom by the individual--desire to be liberated from all forms of restrictions-- is one of the defining character-istic of the modern society. As costume is, in part, a product of the spirit of the times, it was only natural that this desire for freedom would find its expression in modern costume as well. Among various forms of restrictions, differentiaton by sex has placed one of the most significant binding influences on individual behavior. From early times, the dichotomous division by sex was incorporated into the disign of costume, and the traditional differestriction of costume by sex imposed a significant restriction on the background,“the modern androhynous look”was born as a by-product of the sexual liberation movement in the second half of the 20th century, based on the concept of the individual as a complete human being rather than as a member exclusively of either the male or the female sex. This paper seeks to examine the androgynous look within a coherent theoretical frame-work, and explore new design possibilities by analyzing and understanding the visual characteristics of the androgynous look. In addition, this paper seeks to define the functional aspects of the androgynous look based on the premise that costume is an embodiment of the spirit of the times. As for research methodology, both theoretical and historical methods are employed. Through a theoretical examination of historical documents, the meaning of the androgynous look is explored from various angles, and order to examine its place in modern fashion, an-drogynous styles are categorized and system atically analyzed. The main findings of the paper can be summarized as follows : 1. Androgyny is a compound word consisting of“andro-”(meaning man) and“gyn-”(meaning woman). In modern times, this word has been associated with the socio-cultural aspect of gender rather than the physical or physiological aspect with the pshchological characteristics of the male and female sexes. Androgynous styles also appear in fashion and general arts such as drama, film, dance, and music. In fashion, the androgynous look, represented by the visual superimposition of “masculine”and “faminine”elements, has emerged as a major element of the 20th-century costume, and has gained broad acceptance among those free spirits wishing to be liberated from the conventional conceptions of male clothing, and the unisex look. 3. The androgynous look in modern fashion reflects the spirit of the 20th century society and culture, and performs various functions as follows : expression of fun, change in gender roles, expression of the inner consciousness, and pursuit of the ideal human type.

• The Korean Journal of Archival Studies
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• no.21
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• pp.85-116
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• 2009

Records are the social memory storage including collective memory about region, it is impossible to put into and represent all aspects of society with only public records. Japan showed the possibilities of cooperative collecting and the positive records producing and collecting efforts between organizations, even if it was not accomplished by systemic documentation strategy. Some characteristics were found out when this case was reviewed, it is as follows. To begin with, it is the cooperation and share in collecting. Especially, the activities of private organizations look better than public organizations and the cooperative collecting efforts lead to transmit much more social memory and historical records to next generation. Secondly, it is the positive records producing and collecting. The private organizations also left many records of various activities of those one accord. They recognized that recording experience and leaving behind is the survivors' responsibility. We cannot help recognizing the growth of a sense of duty and historical consciousness to record their own experience with undergoing big disaster, earthquake. Thirdly, there was no limit when it comes to the collecting scope. All records related with people and place in disaster area were the target for collecting just like slogan, 'Let's transmit records to next generation as much as possible', 'Common records and resources deserve leaving, because it is important life's information proving situations of the time. We were able to confirm the high will and enthusiasm about 'how, what and why do we transmit something of society to next generation' in this case.

• The Journal of Korean Philosophical History
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• no.52
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• pp.185-211
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• 2017

Lee Neung Hwa is a scholar of the late Joseon Dynasty, renowned for his studies of Korean studies. In this thesis, the study of Confucianism and Buddhism removed the research and teachings of Confucianism as a traditional study of Confucianism. Lee Neung Hwa criticized the social functioning of Confucian texts during the late Joseon Dynasty. His criticisms reflect the historical consciousness of the late Joseon Dynasty. Lee Neung Hwa is also known as the Buddhist religion. The History of Chosun Buddhism is his masterpiece. He pointed out the differences between the Buddhist scriptures of the Joseon Dynasty and the Japanese Buddhist scriptures. Moreover, the Joseon Dynasty felt more integrated into the Japanese Buddhist kingdom than in Japan. And ineunghwa also studied the mythology of Korea. He established a universal cultural phenomenon as a universal cultural phenomenon, which belongs to any ethnic Koreans. He insisted that the Sin Gyo of Dan Gun is the identity of Korean culture. His Founding Myth was not a matter of historical fact. His Founding Myth was a tool of ideological struggle to fight against Japanese imperialism.

• (The)Study of the Eastern Classic
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• no.69
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• pp.481-507
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• 2017

The petition movement to Paris peace conference was the movement for 137 Neo-Confucian scholars including Kwak Jong-seok to ask for Korean independence in March, 1919. Kim Bok-han had led all the course of Ho-seo version. Although we don't know the exact contents on the both of Yeong-nam and Ho-seo versions, but Ho-seo version might be more conservative than Yeong-nam version in comparison with other versions. This was because Ho-seo version basically represented the conservative stance of the Neo-Confucian scholars in Ho-seo (Southern Chung-cheong province). However although Ho-seo version had conservative characteristic, the projecting and practicing of petition movement to Paris peace conference shows Kim Bok-han's active attitude. What I would like to explain in this paper is the background of how spontaneously Kim led the movement. Especially I tried to make Kim's historical status be revealed through talking the idealogical history of Neo-Confucianism ignored until now. Although Kim received blames he behaved with barbarians when he led the petition movement from the conservatives, Kim never submitted on those blames. Kim's tolerant attitude was prominent in relation with Hwa-seo school against which Nam-dang school(Kim's party) was a rival, especially from also after 'the problem of Choe Ik-hyeon' in 1903. This attitude was connected to the petition movement in tolerant manner. The tolerant attitude like this was revealed from Kim's historical consciousness attached importance to 'the completion of work'.

• Journal of Families and Better Life
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• v.23 no.5 s.77
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• pp.63-77
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• 2005

The purpose of this study was to examine the changes and the characteristics of the attitudes toward children and spaces provided for them. by analyzing people's daily lives in housing spaces and architects' floor plans between the 1920s and the 1960s. Different kinds of data were obtained from a variety of early literature, research reports, newspaper articles, historical documents, and magazines from the period. Findings of this study are as follows: 1. Before modernization in Korea, children had been regarded as immature persons. Confucian ideas of children viewed them as 'small adults' or 'immature adults.' Thus spaces for children's daily lives were neither differentiated from those of the adults' nor deemed important. However, since the Western invasions and colonization by Japan, a remarkable change in the attitudes toward children took place. Children began to be considered a hope for the future as well as members of modem families. In addition, the introduction of the new word, 'eorini (children),' by Mr. Bang Jeonghwan, brought about a significant change in social consciousness of children. 2. The appearance of 'adongshil (children's room)' on architects' floor plans, which was a result of the social critique against androcentrism during the l930s and 1940s, was highly meaningful. The new floor plans not only emphasized rationalization of the space but also upgraded the children's status in the family. 3. Since the liberation (1945), children's space was differentiated from parental spare by the introduction of private rooms and shared spaces. The privacy of each generation was expressed by the division, and the generations were considered equal in this space distribution. In conclusion, the appearance of children's rooms required conflict-laden changes of social ideals and of the family system. It also was a symbol of modernization.

• The Journal of Art Theory & Practice
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• no.4
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• pp.105-121
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• 2006

The term 'modern', in broader sense, refers to the concepts like modernity, modernization, modernism and the like, which came from Westernization impling the recognition of indigenous culture as being inferior to Western culture by comparison along with the expanded influences of the Empire of Japan. These concepts, however, rather than evolving from Western standards, came into being as a form of civilization led by Japan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came to create eastern way of modernism, as a new East Asian trend mainly revealed in China which was against colonization after Japan's invasion and conquest of Manchuria. Therefore, Eastern' modern' unlike Western one could be understood in the widespread terminology, 'Modern(摩登)' in Shanghai, reflecting consciousness like 'Fashion' or 'Trend' in female images on a variety of visual media. By 1930s it was the most notable that 'modern' was accepted as something similar with 'Fashion', or 'Trend' in sociocultural contexts. These atmosphere had led commercial arts to enable to communicate with the public in a great deal of supports and success in Shanghai which was widely regarded as the citadel for the inflow of Western culture, among which transformations in female images were remarkable as a representative form of culture. It is also remarkable that 'historical modernity' transforming from the feudal age to modern society was considered a synchronic modernity, and nationalism was regarded as a sort of being modern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way of expressions showing what was modern through commercial artistic productions, were easily noticed in visual media as an outlet of modern women's inner desire revealing their pursuit for new mode of life in metropolitan cities. As a characteristic of the time creating a new code of visual female images, it is notable that there existed another form of 'modern' satisfying socio-cultural needs of the general public seeking for being 'modern'.

• Atmosphere
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• v.22 no.2
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• pp.199-208
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• 2012

This study was conducted in order to analyze weather characteristics during the reign of King Sejo in the Chosun Dynasty based on The Annals of the Chosun Dynasty. For this purpose, first of all, we need to determine whether The Annals of the Chosun Dynasty is a reliable material for research on weather characteristics. Thus, we compared weather phenomena during the reign of King Sejo with those in China and Japan in the same period. From the results, it was found that The Annals of the Chosun Dynasty is a useful material at least to grasp macroscopic trends in weather phenomena. Based on this assumption, we analyzed weather characteristics during the reign of King Sejo using data from The Annals of the Chosun Dynasty. During the days of King Sejo, the climate was not changed violently and there were not many disasters caused by abnormal climate such as bad harvests. This suggests that the climate was relatively stable during the period of King Sejo. As a consequence of stable weather, famine decreased markedly. However, this was not only because of stable climate but also because of the government's active efforts to reduce disasters. As droughts and floods were not frequent, social costs for recovery from disasters also decreased considerably and the saved money could be invested in the construction of social safety nets for the prevention of disasters. One of factors supporting the enthronement of King Sejo was a series of heavily damaging bad harvests during the reign of Kings Munjong and Danjong. The prevention of bad harvests was a historical mission given to the regime of King Sejo. During his reign, King Sejo promoted various policies in order to stop bad harvests. Such efforts included the government's active construction of embankments, introduction of seeds suitable for reclaimed lands, and inspiration of the consciousness of forceful farming enduring natural disasters such as floods. As a result, abnormal weathers such as floods and droughts did not lead directly to bad harvests.

• Lingua Humanitatis
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• v.6
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• pp.359-380
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• 2004

Considering Korean feminist theatre is not successful at all these days, it is needed to find the reasons of its crisis. As two Korean feminist theatre Scholars argued, the crisis owed to the structural problem from the start. That is the Korean feminist theatre started and developed depending on the imported popular feminist plays without social and cultural self-consciousness. Once the imported feminist theatres were flourished, some theatre companies pursued the commercial success blurring the feminist issues. It was resulted into the intentional ignorance in and out of the theatre society. While, some feminist plays were too inclined to the agit-prop without artistic sophistication. This essay tries to examine how the feminist theatres have been developing and what kinds of feminist performances have been made until now. And it intends to emphasize that the play text should be based on the Korean women's past, present, and future reality. Besides, they have to delve into the problem by which the Korean women were trapped in historical, social, and cultural environment. To make the women's matter the social issue at present and fur the future, the Korean feminist theatre should re-find its place as the socio-cultural forum. First, Korean theatre should cooperate with the other women's group crossing the different disciplines of the society, the culture, the politics etc . Secondly, we need to observe and watch where and how the distortion happens in women's matter, and react to correct it. Thirdly, we need to discover, to support, and to protect the women centered perspective of some playwrights as well as the performers. Co-writing or co-performing is also very positive to diversify the women's subjects. Lastly, to protect the feminist theatre against the consumerism, they need to have the financial support from the government or some civil society.

• Journal of Science of Art and Design
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• v.8
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• pp.95-127
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• 2005

It's a matter of ontology rather than that of cognition and methodology to discuss a work of art in Gadamer's philosophy. In addition, he emphasizes the cognitive aspect of a work of art instead of comparing forms and contents of them. For that reason, he excludes aesthetic consciousness derived from Kant first and then makes away with Schiller's theory of aesthetic education. For Gadamer, the concept of truth does not mean accord or correspondence. It would rather be an encounter. This encounter is not axed on a specific time, but a continuous and historical one. Basically. a work of art guarantees this kind of an encounter. This encounter is not based on mutual agreement through an objective standard but on recognition with mutual understanding. Therefore, prejudice or tradition should be acknowledged and respected instead of being excluded. We have only to minimize difference between them through conversation. Gadamer's ontology of a work of art is based on such a ground. The function of a work of art is not only simple satisfaction of aesthetic senses but an object of interpretation, that is, a text by presenting a ground of truth through an agreement of situation. This text reveals its meaning in the situation of author-text-reader. The appearance of this meaning is nothing but the birth of truth. Symbol-allegory and classicism show how to express this kind of truth in a work of art. It is true that Gadamer's philosophical hermeneutics cannot be easily applied to interpret a concrete work of art because it just lays emphasis on the process of 'understanding' instead of a detailed analysis on an individual work. For that reason, he was criticized by some people because of this subjectivity of understanding. However, it's meaning could be changed according to the viewpoint on a work of art. There appears various structural approaches on a work of art in contemporary theory of art. Gadamer just asks the basis of such approaches instead of criticizing a specific one Therefore, a practical approach on individual work should be made separately and hermeneutics enriches the meaning of open-ending of each work of art.