• 한국문헌정보학회지
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• 제28권
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• pp.167-191
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• 1995

The school library standards. a guideline encouraging the reasonable library administration for school education that began with early quantity in 1920, has been changed as an information power in 1988 after 7th revision. The school library is highlighted as a gear of education process and the center of education change. The major summary is as follows: First. the name of librarian has been changed from teacher's librarian to school library media specialist that executes as a leader for participating in plan. performance and development of instruction. Second. the type of material has been changed from book to electronic media. Also, the number of book per capital has been increased from 6-8(1920) to 23-28(1988) Finally, the function of school library has been changed from space service into proactive service which is playing the role of the heart of school education process based on information skill.

• 한국연극학
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• 제52호
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• pp.5-59
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• 2014

This paper investigates the development and aesthetics of Korean political theatre from its quickening period 1920s to democratization era 1990s. Political theatre before 90s developed an antithesis resistant movement toward Korean modern history that had been scattered with suppressing political circumstances such as colonial era and dictatorial government, the movement has powerful activity and social influences. Just like the 20 century political theatre had been quickened under the influence of Marxism at Russia and Germany in 1920s, Korea's political theatre began in socialism theatre movement form around the same time. Proletarian theatre groups had been founded in Japan and Korea, and developed into practical movement with organized connection. However, the political theatre movement in Japanese colonial era was an empty vessel makes great sound but not much accomplishments. Most performance had been canceled or disapproved by suppression or censorship of the Japanese Empire. The political theatre in liberation era was the left drama inherited from Proletarian theatre of the colonial era. Korean Theatre alliance took lead the theatrical world unfold activities based on theatre popularization theory such as 'culture activists' taking a jump up the line and 'independent theatre' peeping into production spot as well as the important event, Independence Movement Day Memorial tournament theatre. Since 1947, US army military government in Korea strongly oppressed the left performances to stop and theatrical movement was ended due to many left theatrical people defection to North Korea. The political theatre in 1960s to 70s the Park regime, developed in dramatically different ways according to orthodox group and group out of power. The political theatre of institutional system handled judgment on sterile people and had indirect political theatre from that took history material and allegory technique because of censorship. In political theatre out of institution, it started outdoor theatre that has modernized traditional performance style and established deep relationship with labor spot and culture movement organizations. Madangguek(Outdoor theatre) is 'Attentive political theatre', satirizing and offending the political and social inconsistencies such as the dictatorial government's oppression and unbalanced distribution, alienation of general people, and foreign powers' pillage sharply as well as laughing at the Establishment with negative characters. The political theatre in 1980s is divided into two categories; political theatre of institutional system and Madangguek. Institutional Political theatre mainly performed in Korea Theatre Festival and the theatre group 'Yeonwoo-Moudae' led political theatre as private theatre company. Madangguek developed into an outdoor theatrical for indoor theatre capturing postcolonial historical view. Yeonwoo-Moudae theatre company produced representative political plays at 80s such as The chronicles of Han's, Birds fly away too, and so on by combining freewheeling play spirit of Madangguek and epic theatre. Political theatre was all the rage since the age of democratization started in 1987 and political materials has been freed from ban. However, political theatre was slowly declined as real socialism was crumbling and postmodernism is becoming the spirit of the times. After 90s, there are no more plays of ideology and propaganda that aim at politicization of theatre. As the age rapidly entered into the age of deideology, political theatre discourse also changed greatly. The concept 'the political' became influential as a new political possibility that stands up to neoliberalism system in the evasion of politics. Rather than reenact political issues, it experiments new political theatre that involves something political by deconstructing and reassigning audience's political sense with provocative forms, staging others and drawing discussion about it.

• 공연문화연구
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• 제35호
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• pp.175-202
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• 2017

근대를 맞아 외국의 공연예술이 조선에 소개되었을 때, 조선의 연희자들이 매우 적극적으로 이를 받아들이고 자국화하기 위해 노력한 사실은 별로 알려져 있지 않다. 일제 강점기에 발행된 여러 자료 속에는 우리 공연예술의 일정 부분을 담당했던 마술 공연과 이를 현재화하기 위해 애썼던 조선인 연희자의 흔적을 다수 찾을 수 있다. 본고에서는 각종 자료 속에 편린처럼 남아있는 조선인 마술사들의 등장을 알리고 그들의 연행양상을 밝히는 것에 일차적인 목적을 두고 있다. 외래의 공연예술 중 마술은 그간 전혀 보지 못했던 새로운 공연예술로 소개되었으며, 많은 호기심과 관심을 받았던 것으로 보인다. 마술의 옛 용어는 환술(幻術) 혹은 환희(幻戱)인데, 우리 공연문화에서는 발견하기 힘든 분야였다. 1915년 조선물산공진회 때 초빙된 일본인 마술단 쇼쿄쿠사이 덴카쓰(松旭齋天勝) 일행은 경성협찬회의 후원과 ≪매일신보≫의 선전으로 마술의 대명사로 등장했다. 이들이 연행하는 마술은 신문물의 상징이면서 대중오락의 전성기를 알리는 예비신호와도 같았다. '마술'을 연행하는 '배우'의 위치는 전통연희 담당자들에 큰 자극이 되기도 했다. 당시엔 마술을 기술(奇術)이라고 불렀는데, 다동기생조합의 기생들이며 무명의 조선인 연희자들이 이 기예를 배워 무대에 서기도 했다. 이후 1920년대 중반이 되면 자기 이름을 걸고 마술단을 조직해 공연에 나선 조선인들이 여럿 등장했음을 확인할 수 있는데, 대표적으로는 러시아 유학 출신의 김문필과 천도교의 후원을 받은 박창순, 김완실 등이 있다. 이들은 조선인 마술사로서 이름을 알렸고 전국 순회 공연에 나서서 조선 관객의 갈채를 받았으나, 극단 운영이 오래가지 못했다는 한계를 보이기도 했다. 한편 마술을 일종의 사기수법에 연결시켜 사회문제로 비화되는 사건도 종종 나타난 것이 1920년대이다. 다만 조선인 마술사의 등장이 새로운 공연물에 대해 적극 임하는 조선인 연희자의 존재를 확인시켜 준다는 사실에는 변함이 없다.

• 한국의류학회지
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• 제24권2호
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• pp.173-184
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• 2000

The purposes of this study is for consideration of the flapper image through the culture and novels in Jazz Age(1919∼1929) of America. The back ground of flapper fashion was Jazz. Jazz was one of the cultural languages which expressed liveness, noise, salacity, harmony of primitivity, modernity, innocence and freedom. In processing American had gotten economic power, the Jazz Age had new mood which was combined materialism and realitism. Environmental changes of life styles and development of mass culture of modern big cities could aid the birth of modern girls, flappers. They became the main group of new consumer and mass culture in new consciousness and freedom with independence. Their characteristics are confirmed from Fitzgerald's novels, This Side of Paradise and The Great Gatsby. As the results of above, the consciousness of flapper were rebellious attitude, liberalism and actualism. The designs of flapper fashion were expressed by simplicity, functionality, nudity and rhythm. The flapper images are as follows: First, they expressed modern image as a rebellious attitude. Second, flapper had a sensual image of freedom through rhythmical and speedy expression. Third, premature image for pursuing youth could be found. Therefore the changes of culture and women's life styles are very important points for fashion studies and the connecting fashion and other fields like novels is needed also for it.

• 한국정보통신학회논문지
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• 제7권2호
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• pp.276-283
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• 2003

본 논문은 IMT-2000 단말기용 전력증폭기의 선형성을 증가시키기 위해 기존의 선형화 기법을 사용하는 대신 선형성이 우수한 Infineon 사의 SiGe HBT를 이용하여 IMT-2000 단말기용 2단 전력증폭기를 설계하고 제작하였다. HBT의 비선형 모델은 Gummel-Poon 모델을 이용하였으며, 등가모델을 이용하여 회로 시뮬레이터인 ADS를 사용하여 DC I-V 특성과 입ㆍ출력측의 S-파라미터 특성을 살펴보았다. 시뮬레이션한 S-파라미터를 이용하여 2단 전력증폭기의 첫째단은 고이득 조건으로 정합하고, 둘째단은 고출력 조건으로 정합하였다. 시뮬레이션 결과를 바탕으로 hybrid 형태로 제작한 2단 전력증폭기는 IMT-2000 상향 주파수 대역인 1920∼1980MHz에서 27.1dBm의 출력전력과 18.9dB의 전력이득, 20dB의 ACLR, 34%의 전력부가효율을 얻었다.

• 한국주거학회논문집
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• 제20권5호
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• pp.61-72
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• 2009

The purpose of this study was to examine how the interface between "place of work" and "place of living" in the housing sphere has changed, and to understand its social background. During the korean modernization period, changes in economic structure toward industry has an influence on many aspects of modem life in addition to occupations. The traditional mixing of heterogeneous activities in the home-such as between reproduction and household affairs, first changed into a coexistence of two spaces with different functions within the boundaries of home, and finally into a spatial separation between functions in an urban dimension. As a result of this process, the primary role of the modem home is as a place for relaxation without work. One important kind of home, in which a retail shop is integrated with it, was researched as a transitional form. Its spatial layout showed a various combined usage of both spaces. In conclusion, changes in relevant macro-social aspects are very concretely reflected m the function and spatial organization of the home.

• 한류연구
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• 제2권1호
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• pp.9-16
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• 2023

This study will provide an overview of the development of 'Corporate Social Responsibility' (CSR) in South Korea throughout time, as well as its sources of inspiration and recommendations. The study will also rely on the body of existing research to provide insights into the present condition of CSR in the nation and the measures launched to promote socially responsible practices in the corporate environment. As a result, it will act as a crucial dedication to comprehending corporate social responsibility within the Korean environment. According to the searching results in the literature content dataset, there has been total four historical paradigm of CSR in South Korea, such as (1) Adoption of the CSR principles, (2) Introduction of the Korean Association of Social Responsibility, (3) The Seoul Environmental Charter, (4) The Board of Audit and Inspection Intervention. Based on the results of the current study, the present author could conclude that ingrained corporate social responsibility (CSR) is in Korean business culture, which has been promoted since the 1920s. Businesses can benefit by using the guidelines offered by the CSR Promotion Act and related activities to uphold their responsibilities towards society and the environment, overviewing comprehensively CSR advancement in South Korea from the 1920s to the display day.

• 복식
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• 제64권7호
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• pp.172-183
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• 2014

The term "new woman" (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these "modern girls" were also referred to as modan (毛斷), or "cut-hair", reflecting changes in appearances that rejected the traditional value system in favor of "the new" in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this "new woman" was constantly changing during this early modern period in East Asia, ranging from male-driven women's movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women's domestic roles and enlightened views on housekeeping, yet in most cases the "new woman" was also expected to be a good wife and mother as well as a successful career woman. The concept of the "new woman" was also accompanied by an upheaval in women's social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the "new woman" through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women's appearances and the images they pursued reflected the ideal image of the "new woman." Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the "new woman" was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.

• 한국조경학회지
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• 제19권3호
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• pp.41-54
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• 1991

This study was executed to analyze the vegetational landscape structure and administration planning of Younguan Royal Tomb forest by the classification and DCA ordination were applied to the study are in order to classify them into several groups based on environmental variables. Also Younguan Royal Tomb forest comparison of a pair of photographs taken in 1920s and 1990. Sixteen sites were sampled with clumped sampling method in september 1990 and five quadrats were examined in each site. By classification and DCA, the plant community were divided into two groups(A. japonica community, P. densiflora, Quercus acutissima community) by the humus. Pinus densiflora community of actual vegetion covered 15.9%, Alnus japonica 6.5% and Quercus community 65.6% of the total area. And the afforested vegetation of P. koraiensis. P. rigida and Juglans mandshurica covered 13.2%. DCA ordination showed that successional trends of tree species seem to be from P. densiflora, Q. aliena to Q. acutissima in P. densiflora community and from A. japonica community of the upper layer. By the comparison of couple photographs between 1920s and 1990 we can recognize the change of historical landscape composed of P. densiflora community, A. japonaca and those community shall be conserved by the disclimax method, i.e. the broadleaf vegetation in the underlayer in the P. densiflora community should be cleared out. Otherwise the vegetational landscape sructure in Younguan Royal Tomb is successed to progress succession to Q. acutissima landscape.

• 한국조경학회지
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• 제47권2호
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• pp.117-132
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• 2019

본 연구는 일제강점기 경성도시계획 문헌에 기록된 공원녹지 현황표를 분석하여 근대 공원녹지계획의 의의와 한계를 파악하였다. 1925년부터 1940년의 문서 7개를 중심으로 분석하였으며, 1930년과 1940년의 문헌은 공식적인 경성 공원녹지 계획안을 담고 있다. 경성의 근대 도시계획 흐름에서 공원녹지는 1920년대까지는 중요한 계획의 고려 대상이 아니었다. 1934년 조선시가지계획령의 제정을 계기로 1930년대부터 공원계획은 법정 시가지계획의 일부가 되었고, 1940년에 경성시가지계획공원안을 통해 경성의 종합적인 공원녹지계획이 완성된다. 도시계획 초기에 공원은 위생시설로 인식되다가 이후 방공, 여가, 문화적 기능을 하는 공간으로 계획된다. 주요 문헌의 계획 내용을 비교하면 규모와 기능에 따른 공원의 유형 구분, 공간적 배치를 고려한 계획 기준, 시설녹지를 통한 녹지체계의 구상 등의 중요한 계획 내용의 발전이 있었다. 공원녹지계획의 발전에도 불구하고, 현실적인 제약으로 인해 공원녹지의 수나 면적의 실질적인 증가는 거의 없었으며, 계획안과 현황 사이에는 심각한 괴리가 나타난다. 1920년대에는 경성운동장이 유일하게 조성된 시설이었으며, 1930년대에도 삼청공원, 앵정공원 두 개소만 신설된다. 1930년의 계획에서 38개소가, 1940년에는 140개소의 계획 공원이 제안된 것과는 대조적이다. 하지만 산림의 공원화, 대한제국 황실 토지의 공원화, 공원 용도의 중복지정, 소규모 아동공원 중심의 실행 등 현실적 조건에서 공원녹지의 양과 질을 향상하려는 대안이 계속해서 탐색되었다. 부족한 예산과 전쟁 준비의 상황으로 인해 일제강점기의 공원녹지계획안은 상당 부분 실현되지 못했지만, 해방 이후 서울의 공원녹지체계를 만들어 나가는 중요한 틀로서 역할을 한다.