• Journal of English Language & Literature
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• v.55 no.5
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• pp.865-883
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• 2009

The mock-heroic, "the single most characteristic and individual literary form of the neoclassical era," as Brean Hammond puts it, epitomizes the process of the "novelization" of the 18th-century British culture. Bakhtin mentions that when the novel reigns supreme, almost all the remaining genres are "novelized"; Hammond borrows the term "novelization" from Bakhtin and uses it as a "shorthand way of referring to the cultural forces that render epic anachronistic." Indebted to Hammond's apprehension of novelization, this paper reads Alexander Pope's Rape of the Lock in the context of novelization, particularly focusing on 'probability,' 'contemporaneity' and 'domesticity,' three important signatures of the novelization of the 18th-century British culture. First, Sylph as a counterpart of god in epic is presented in The Rape of the Lock just as a helpless, fictional and irrelevant thing that hardly affects the empirical world. It indicates how the mock-epic 'mocks' the classical world of 'epic' and stands closer to the world of the novel. Second, Pope's poem displays an accurate picture of the author's contemporary reality, a capital concern of the novel, such as imperialism, consumer society, commodity fetishism, or reification. Lastly, The Rape of the Lock lays out the construction of modern gender ideology, another quintessential interest of the novel, particularly with the fixed female image of a coquette. It efficiently silences and nullifies Belinda, a typical coquette, who stands as a threatening force to the ascendent domestic ideology.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.18-31
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• 2021

Linoleum is a resilient, hygienic, and eco-friendly floor covering. It was developed in England by Frederick Walton in 1863. Made of cork flour, linseed oil, and burlap as its main materials, the flexible and waterproof linoleum became globally popular in the early 20th century. Unlike the vinyl coverings, the burlap-backed linoleum was used not only in commercial spaces but also in household areas like kitchens, bathrooms, and even living rooms. As a global product, linoleum was imported and used in Korean palaces like Deoksugung and Changdeokgung in the early modern period. According to the record Deoksugung Won-Ahn, linoleum was applied to the major buildings, including Hamnyeongjeon, Deokhongjeon, and Jeonggwanheon, and various other venues. The linoleum used in these places are mainly monochrome blue and brown color, which probably means that they are from England. The trade records in the early 20th century show that linoleum was imported mainly from England and America. The Ewangjik building floor plan in the Changdeokgung Palace shows that linoleum was used extensively. There are even some originals, which were laid in 1920 and left in the Changdeokgung Palace. When Daejojeon and Huijeongdang were rebuilt in 1920, the interior was outfitted with western features and linoleum was used in areas such as bathrooms, the tonsorial parlor, and one of the rooms on the west side of Huijeongdang. In situ in the Daejojeon and Huijeongdang areas in the Changdeokgung Palace are monochrome, patterned black, and stylized floral tile patterned, which are closely similar to American products made by ALC and Armstrong company. This study will help us better understand linoleum's characteristics, its uses and the material itself. It will also form the basis for the restoration of Changdeokgung Palace as well as other modern interiors with linoleum flooring in the future.

• Korean Institute of Interior Design Journal
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• v.19 no.2
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• pp.107-116
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• 2010

In Europe, traditionally the low-rised buildings for public art museum have been constructed since the 18th century like any other buildings and these are because of the technical issue for construction difficulty. Even if the low-rised art museum buildings are still continued for it's construction, gradually the high-rised art museum buildings begin to be build due to the development of contemporary technology in high-dense modern urban space. This tendency of high-rised art museum building in recent years is expected to affect on the interior space of it and most of all the spatial change in conjunction with circulation system variation is remarkable. Because the circulation system in art museum means tourist's spatial experience and it normally controls the experience of knowledge in art museum. This study is to understand how the multi-floored art museums in Europe affect to the spatial structure and how this is related to the circulation system. And also the study raised an issue on what it's social meaning is. Through these analysis the study can provide the meaning of multi-floored art museum and basic indication in art museum planning. To understand this, the study calculated the number of stories, number of vertical circulation and number of ring-structure space. Also the study tired to use space syntax tools, which are connectivity, integration value, integration value in major space, integration value in vertical circulation and intelligibility value. those tools alculated topological transfiguration of the whole space.Throughout the study, it was concluded that the influence of high-rised art museum in Europe changed the spatial structure and circulation system. The topological center of art museum that has been the grand space since 18th century changed to the vertical circulation due to the it's roll of distributing visitors to each floor. It became a starting point of spatial deployment and experience in art museum.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.37 no.2
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• pp.209-215
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• 1992

Different from 'Seyokwiryang' (歲易爲良 : fallowing as the best method) which was an agricultural technique of ancient China, fertilization of rice fields was already practiced in the end of Koryo age in Korea. 'Bunjongbeob'(糞種法 : fertilizer applicating method on seed) or 'Bunkwabeob' (糞科法 : fertilizer applicating method on each plant) was practiced before green manure of bean crops and 'Bunjeonbeob'(糞田法 : fertilizer practicing method on fields) were done. In the 15th century 'Dojeonbunjeonbeob'(稻田糞田法 : fertilizer applicating method on paddy) in 'Jikseol' was divided the materials to be used into the soil brought from another place, trees, grasses, and the manure. Also, it discribed the fertilization between first plowing and the second, and proper fertilization for particular soil conditions. In case of transplanting techniques, the fertilization practices were specified into nursery and rice fields, and restoration of organic matter was systemized by plowing for cultivation in the reclaimed areas. In the 17th century, through 'Jikseolbo'($\ulcorner$直說補$\lrcorner$), the habitual practice of Kyungsang province was systemized and 'Bunyangsool'(糞壤術 : technique of fertilization) of 'Jodoangkicheo' (早稻秧基處 : rearing fields of early-ripening rice) was completed. Specific things was the manufacturing and utilizing techniques of 'Bunhoe'(糞灰 : mixture of manure and ash), 'Yohoe'(尿灰 : mixture of urine and ash), and additional fertilizers. In the 18 to 19th century, the materials of fertilization were greatly enlarged to recover the waste lands and to support the reinforcement of soil fertility for increasing the system of two cropping a year. Also, 'Jeobunbeob'(貯糞法 : method of manure storage) and additional fertilization were emphasized, and use of wagons for it was emphasized to improve the theory of fertilization and working efficiency. As mentioned above, limitation of fertilizing materials was conquered by 'Dojeonbunyang'(稻田糞壤 : techniques of practicing fertilizers in paddy) and the system of additional fertilization was established. The fertilization methods were improved with 'Jeobunbeob' due to the theory and recognition necessary for high rates of fertilizers.

• Journal of Korean Medical classics
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• v.35 no.3
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• pp.41-58
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• 2022

Objectives : In this paper, the outline and overall content of the Majinhwiseong, a specialized medical text on measles written by Lee Wonpung was introduced, along with its academic historical meaning. Methods : The entire Majinhwiseong was analyzed according to content and form. In terms of form, organization, construction, cited literature, etc., were studied, while in terms of content, diagnosis of disease pattern and treatment formulas were studied. Later, based on cited medical texts and the author's social position, the academic historical meaning of this book was discussed. Results : Through the Majinhwiseong, Lee Wonpung strengthened the credibility of the text by not only providing medical knowledge on measles but listing their sources and comparing and analyzing related contents. In the diagnosis part, Lee focused on the changes in symptom, shape, color, and pulse of measles, discussing in detail its differential diagnostic methods. In the treatment part, while listing numerous formulas suggested by Ming (明) masters, Lee did not leave out treatment experiences of Joseon physicians. Meanwhile, the Majinhwiseong is indicative of measles medicine in 18th century Joseon having been progressed in the private sector rather than the official, and how the results of private sector medicine were being absorbed into the official realm through the Uiyakdongcham (議藥同參) system. Conclusions : The Majinhwiseong is a practical treatment manual written by clinician Lee Wonpung to deal measles which was widely spread at the time. The author organized existing medical knowledge on measles for clinicians while reflecting outcomes and medical situation of Joseon physicians in this book. Based on these findings, we could verify that medicine in 18th century Joseon had been progressing actively around the private medical sector.

• Journal of Digital Convergence
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• v.18 no.5
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• pp.391-397
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• 2020

This article aims to introduce a representative case of convergence among art, technology and science, and look into the factors that contributed to its success. The focus is specifically brought to the cooperation between the Plantin Press and local painters in Antwerp in the Netherlands during the 16th century. The Plantin Press scored huge successes through collaboration with Flemish artists such as Rubens and Borcht. This helped the artists to use their talents in a new medium or to secure a job that appreciates their values. The Plantin Press outdid its competitors in the market through applying new techniques on its works. Great botany books also came out as a result of such convergence. The backdrop to the Netherlands appearing as the center of botanical studies in the 17th century is the concerted efforts of the painters that created quality illustrations and the publishers that knew how to use them efficiently.

• The Korean Journal of Community Living Science
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• v.15 no.1
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• pp.17-26
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• 2004

Not much is known about Korean clothes from past centuries. Fortunately, we are able to make some inferences based on various sources of data other than the actual clothes themselves. Historical records such as Kim Hong-do's Pungsokhwa Pieces, well known to us, vividly depict features of the costume and the lifestyle of his time along with contemporary Korean humor and atmosphere. Kim Hong-do is the artist who, having accomplished pictorial refinement, recognized social change and took this into his artistic world late in the 18th century. The ruling classes, in contrast, tended to adhere to anachronistic medieval philosophies in a gradually changing society. In this study, Kim Hong-do's Pungsokhwachop, Treasure No. 527, preserved in the National Museum of Korea, was viewed from a new perspective, and it was discovered to have assorted the costume and culture of ordinary people according to their life styles. Fourteen of the pieces depicted how common citizens made their living, three described love affairs, five depicted people at play, md the rest showed elements of education, wedding ceremonies, and shamanism, respectively. Various types of clothing were observed reflecting the life styles of ordinary people, and a somewhat bold exposure of body was noticed in women's fashion in the late Chosun Dynasty. They chose clothing as they pleased to fit their jobs and functions, which produced elegant self-regulation and creativity based on practical beauty. A hat - yet to be found as a relic - appeared in Blacksmith's Workshop, and revealed the changing social customs of the late Chosun Dynasty in the 18th century. It is hoped that the results of this study will serve as a valuable reference point for the globalization of Korean clothes.

• Journal of Conservation Science
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• v.36 no.5
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• pp.351-367
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• 2020

The pigments of three old and new celestial charts folding screens(『Celestial Chart(Folding Screen)』 and 『Old and New Celestial Charts, Eight-Panel Folding Screen』 of National Folk Museum of Korea and 『Koudou-Nanboku-Ryousouseizu』 of National Diet Library of Japan) were analyzed to estimate their dating. It was estimated that the 『Celestial Charts(Folding Screen)』 was painted using traditional pigments from the Joseon dynasty such as azurite, indigo lake, malachite, atacamite, vermilion, iron oxide, cochineal, gamboge, orpiment, lead white, talc and soot. The green and blue colors of the 『Old and New Celestial Charts, Eight-Panel Folding Screen』 and 『Koudou-Nanboku-Ryousouseizu』 were painted using artificial inorganic pigments such as emerald green and ultramarine blue. These pigments were imported from Europe post the mid-19th century. In the 『Old and New Celestial Chart, Eight-Panel Folding Screen』, only artificial inorganic pigments were used for green and blue colors. However in the 『Koudou-Nanboku-Ryousouseizu』, emerald green and atacamite in green color, and ultramarine blue and indigo lake in blue color were used together. Based on both the results of pigment analysis and the study of star charts and inscriptions, the 『Celestial Charts(Folding Screen)』 was painted post mid-18th century. The 『Koudou-Nanboku-Ryousouseizu』 and 『Old and New Celestial Charts, Eight-Panel Folding Screen』 were painted after green and blue artificial pigments were imported in the mid-19th century. The 『Koudou-Nanboku-Ryousouseizu』 in which both traditional and western artificial pigments were used, can be dated earlier than the 『Old and New Celestial Chart, Eight-Panel Folding Screen』.

• Journal of Navigation and Port Research
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• v.38 no.5
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• pp.541-547
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• 2014

Busan was known firstly to the western world in the end of 18th century. When the Joseon opened a port under the western powers in the late 19th century, Busan was an important port. The increasing number of international ship exchange had magnified the harbor facility and the importance of lighthouses of Busan port. Busan maritime customs officer were in charge of installation and management of lighthouses. The operations of maritime customs became historical origin of Joseon changing from feudal society to modern nation. The majority of the documents from maritime customs was disappeared. So it was hard to know the exact history. But investigating documents and papers of Joseon, even media records will enable us to establish the objective fact relations. Moreover, published and translated data from the past make it possible such investigations. As a result, modern lighthouse of Busan harbor in the late Joseon after opening port was could be found. It could be offered to establishing the Korean modern history as the objective data.

• The Journal of Sustainable Design and Educational Environment Research
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• v.18 no.3
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• pp.39-49
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• 2019

Confucian ideologies formed a unique spatial order in the spatial composition of seowon architecture. Confucian scholars viewed ancient China as the ideal society, so they tried to apply the "Myochim" theory, the architectural system of the time, to the Joseon society. However, it was not easy to apply ancient architectural ideas in Joseon in the 16th century. Therefore, various opinions were presented by scholars to establish the relationship between Joseon alone. Unlike the Ki-ho school application of this theory, the construction of Seowon was done according to ancient principles from a practical standpoint, there were fewer experiments for actual application in Yeong-nam school. This was a pragmatic attitude that presupposes a clear difference between the ancient Chinese system and the reality of Joseon in the 17th century.