• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.148-173
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• 2012

The rear garden in Donggwol Palace which shared with the Changdeok Palace and the Changgyeong Palace is the salient places of technology and idea reflected the phases of the times of the Joseon Dynasty, so it is certainly one of the best Korean garden cultures. The rear garden in Donggwol which was not only the secret garden for the rest of royal family but also used as symbolic places for the various ceremonies and training its human resources has been considerably destroyed through the period of Japanese colonial rule. Thus the rear garden areas at north of Changkyung Palace were entirely transformed and a few territory from Juhabru(宙合樓) to Ongnyucheon(玉流川) keep up its surviving as the rear garden. The area of Jondeokjeong(尊德亭) which become subject on this studies from among these was constructed as flower garden after development of Ongnyucheon. The areas of Simchujeong(深秋亭), Cheoknoedang(滌惱堂), Pyemwoosa(?愚?), Mangchunjeong(望春亭), Chunhyagak(天香閣), Chungsimjeong(淸心亭) around Jondeokjeong, were situated among the beautiful scenery with the flowers and ponds. But there are only Jondeokjeong and Pyemwoosa at this moment, and the other pavilions was destroyed and transformed. For these reasons, in this studies, the formative purposes were investigated through analysing water elements, planting, ornaments and so on. According to these reasons, historical records and realities of garden construction of five pavilions : Simchujeong, Mangchunjeong, Cheoknoedang, Chunhyagak, Chungyeongak(淸燕閣) were considered to give authenticity to the restoration and reorganization as well as to accumulate basic knowledge about the conservation of environment surrounded garden architectures. These pavilions appeared at Gunggwolgi(宮闕志) and Joseonwangzosilok(朝鮮王朝實), but their names were not appeared at Donggwoldo(東闕圖). So they were ascertained through all of literatures on Donggwol Palace. Cheoknoedang and Simchujeong among these buildings could be found out as the existed buildings and the uncertain building at the northwest of Jondeokjeong was estimated as the name to Chunhyagak or Mangchunjeong. And the hypothesis that the wall surrounding Taichungmoon(太淸門) should be belong to Chungyeongak was supported. In addition, the area which did not known in connection with name and use on northeast at the Changdeok Palace, and had regarded as an impasses in the studies of Donggwoldo and the rear garden in Donggwol Palace, but the historical records of using by Yeonsangun(燕山君) and Sukjong(肅宗) were discovered at this study. And it could be uncovered that the obscure spatial space was a separate house only for king and he enjoyed play there unnoticing to others belong to palace.

• Journal of the Korean Geographical Society
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• v.40 no.6 s.111
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• pp.748-761
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• 2005

This study attempts to describe and periodinate the sixty years history of Korean Geographical Society. For the purpose, several numerical records concerned with the society were employed. The Korean Geographical Society was established in 1945 as a first academic society in geography. The international participation of Korean geographers started when it applied for the IGU membership in 1959. Next year, Korean's application was approved at the 19th IGC in Stockholm. The 40 years later, Korea came to host the 29th IGC in Seoul. This means that the activity of Korean geographers has been vigorous during the 40 years in accordance with high growth of Korean economy. The number of the society member reached 116 in the latter part of 1960s. It grew steadily from 1970s to 1990s and now amounts to around one thousand. It is believed that such trend is associated with the increase of geographical department and the development of graduate programs during past 40 years in Korea. The number of the advanced degree holders was only 2 in 1960, and now reachs 338 among which 166($43\%$) obtained from the foreign country. The Int issue of the society journal 'Geagraphy' -the title was changed to 'Journal of the KGS' in 1993-was published in 1963. It has gradually developed into the annual for $1966{\~}1973$, the semi-annual for $1974{\~}1990$, the quaterly for $1991{\~}1997$, and the hi-monthly until 2005. One issue per year has been published in English since 1993. The annual number of papers accepted by the editorial board has increased from 7 in 1960s-1970s to 52 in the new millennium. In terms of the specialty distribution of total 725 papers after 1963, many Korean geographers have been preferable to the field of socio-economic and urban geography as their major, and next histro-cultural and physical geography. Recently, a growing number of younger geographers are more interested in such diversified fields as ecological geography, socio-historical geography, applied geography concerned with GIS technic, geography education and so on. Such trend is a reflection of the new era which is characterized by diversity, software, high technology, globalization and others. The sixty years history of the society nay be summarized into the five phases of periodization: (1) establishment and chaos($1945{\~}1959$), (2) reconstruction(1960${\~}$1969), (3)reorganization(1970${\~}$1989), (4) jump and rush($1990{\~}1999$), (5)globalization($2000{\~}\;$).

• Sijohaknonchong
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• v.44
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• pp.7-28
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• 2016

Music was made popular through the modern mass media. Nonetheless, if a period of high standard performances and appreciation by a minority of culture connoisseurs can be qualified with the expression "gentrification of culture", then a period when anyone can access culture through the mass media can be qualified with the terms "popularization of culture" and in this period the reorganization of performance culture can only be driven by the public. In fact, the Jabga, which is a type of traditional song that received strong public adhesion by means of phonograph records and radio broadcasts at the time, stands as a typical example to it. Gagok and Sijo up until the 1920s and even the 1930s are believed to engage actively in the changing media environment and the new modes of music enjoyment and transmission. The Album recording of faster rhythm music and the inclusion of the Sijo, Jabga, and folk songs in one broadcast programme can be seen as reflecting such an effort. However, it can only be hard for the Sijo and Gagok to challenge the predominance of the Jabga which made its lyrics more popular and the new songs written in accordance with the new media environment. Until the 1930s in this changing environment of music enjoyment, Gagok and Sijo performers rather sought to distinguish themselves from the existing popular song style by reproducing traditional forms. The album recording and broadcasting of Lee Wangjik Aakbu, the beginnings of local singers, the participation of male performers not only contributed to the diversification the enjoyment culture of songs and sijo, but also made the 'difference in standard' with the popular songs even more salient.