• Journal of Popular Narrative
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• v.25 no.4
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• pp.289-319
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• 2019

Kim Chan-sam's 『世界一周無錢旅行記』 was released in 1962. This was a time when the general public was strongly restricted from traveling abroad. Most of the people lived in 'domestic'. Low development and political upheaval continued. The readership wanted a fantasy, which came out of a desire to escape from the peninsula. So was to become more popular around the popular characters called 'Kim Chan-sam'. Kim Chan-sam had to be a pushover to the public. This figure had to be secular and de-politicized. Above all, ideological bias had to be removed. The book's imaginary geography is the "world as a non-communist state" with a high purity. The Cold War ideology was prevalent throughout South Korean society. Kim Chan-sam knew exactly what he could and could not tell the South Korean reader. He couldn't tell you the reality of my readers not being able to travel abroad. Not to mention a society locked up 'domestic' on the Korean reality. The study analyzes Kim Chan-sam's storytelling strategy. Looking at the meaning of the travel fantasy,agenre of the 1960s, I would like to ask why travel writing in our time is still bound by its past limitations.

• Lingua Humanitatis
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• v.1 no.2
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• pp.91-104
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• 2001

Ford Madox Ford, the early twentieth-century writer most famous for his novel The Good Soldier, perceived his "business in life [as an] ... attempt to discover and to try to let you see where you stand." With this grand purpose in mind, Ford disregarded distinctions of genre in his prolific output of what we would consider novels, memoirs, literary criticism, travel writing, and history. Claiming that "the Novelist ... [is a] historian of his own time," Ford sought his own version of the "truth," a truth that was more faithful to his own subjective impressions than to verifiable "fact." Among these works that depict his age are a series of "memoirs" or "reminiscences," works published from the 1910s to the 1930s which carry out his Impressionistic purpose. What lies behind these memoirs is Ford′s view that his own individual history can be understood as his contemporary society′s collective history. This article explores Ford′s experimentation with boundaries of fact and fiction, and history and narrative, as he employs and expands the memoir form. In particular, 1 focus on two works, Memories and Impressions (1911) and It Was the Nightingale (1933), and Ford′s techniques in these memoirs, such as 1) the adoption of fictional personae from which to comment on his society at large and 2) the use of emblematic "parables" to encapsulate larger lessons of life within the minutiae of existence. Current theorists on the memoir form share interests in these questions of genre and of the social role of the memoir Nancy Miller, for instance, terms the memoir "the record of an experience in search of a community." This article engages these current discussions of the memoir genre by examining Ford′s early twentieth-century examples as innovative experiments that play with the boundaries between fiction and history, and personal impressions and collective truth.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.113-124
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• 2005

Information sources about Mongolian pigtail of 13-14C are relatively rich. But it was difficult to estimate the shape of the pigtail in detail with the descriptions in historical writing or travel books only, and paintings were neither enough to observe the beautiful shape of the pigtail closely on the whole because the portrayed characters were always wearing their hats. However, the authors could trace the detailed shape of the pigtail of 13-14C through close investigation into Mongolian stone statue of the period. In conclusion, the authors performed a comparative study by historically comparing the historical writings, archeological materials, ethnological materials and figurative arts featuring medieval Mongolian pigtail. And the authors paid careful attention to the meaning of those materials to the hairdo history. Historically nothern minority races have become assimilated with surrounding races in language, culture and customs through long economical and cultural exchange, and today their national traits gradually fade away by globalization. But each minority race still stands independently and maintain its own traditional culture. only recently began the study by Korean researchers on Mongolian pigtail, and there is still much to be discussed in ethnological issues such as racial pedigree.

• Journal of The Geomorphological Association of Korea
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• v.20 no.4
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• pp.133-145
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• 2013

There are many traditional natural heritages, so-called Dongcheon-gugok, in the Sobaek mountainous region ranged from Sangju city to Mungyeong city. Because Yongyu-dong has the beautiful scenery, well conserved, and many related documents, making amusing storytelling is allowed. Therefore, this study is to construct the storytelling by putting together the geomorphological explanation of topographical landscape and travel writing or poetry and prose by ancient people. The main themes of storytelling are the sculpture of the letter, gutters and pot holes on the broad and flat rock, and the arguments of the forming processes of Yong-choo. I expect this storytelling to help understanding and symphasizing the traditional natural heritages.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.3
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• pp.64-73
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• 2011

This study starts from the hypothesis that the information society has affected the layman's interpretation and production of content. Specifically, the manner and contents of communication concerning the landscape of Soonyoo-do Park in blogs are surveyed and the possibilities and limitations of this phenomenon are discussed. The following topics are dealt with. Firstly, what is the landscape of Seonyoodo Park as captured by bloggers? What type of landscape do bloggers respond to? Secondly, what is the unique way that bloggers capture and interpret the landscape? Thirdly, What are the possibilities and limitations discovered from the landscape as captured and interpreted by bloggers? Thus, 1,000 blog posts concerning Soonyoo-do Park, as culled from the Internet, were categorized into three areas, First are blog posts browsed by keywords such as 'photo', 'a photographer's visit', 'a good p1ace for taking photos', and 'landscape'. These are focused on the visual aspects of the landscape. The second category is posts under the keywords 'domestic travel', 'Seoul travel', 'travel', and 'recommendation'. They contain introductory information on Seonyoodo Park; that is, they focus cm the more utilitarian functions of Seonyoodo Park as a place. The third one is posts that record personal experiences. The subjects for photography are the bloggers themselves and their companions. As a result of studying the way bloggers deal with landscape, it was found that first, people have developed the ability to capture the landscape and interpret the landscape actively and independently. This process can be regarded as the reproduction of landscape and place. In addition, the recording of their appreciation and feeling overlaps with evaluation and assumption. One negative aspect, however, is that many bloggers dramatize and repeat similar scenes. This can be seen as a make-up of image. The limitations of this study include difficulty in interpretation because blogs, which are the objects of this study, are very subjective and personal. In addition, it was not easy to categorize posts because there were diverse images and a broad range of writing. Nevertheless, practitioners of landscape architecture should continue to monitor and use one-person media like blogs, because the relationship between modern man and the landscape can be better understood through them.

• English Language & Literature Teaching
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• no.5
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• pp.49-62
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• 1999

Education systems throughout the world encourage their students to learn languages other than their native one. In Australia, our Education Boards provide students with the opportunity to learn European and Asian languages. French, German, Chinese and Japanese are the most popular languages studied in elementary and high schools. This choice is a reflection of Australias European heritage and its geographical position near Asia. In most non-English speaking countries, English is the foreign language most readily available to students. In Korea, the English language is actively promoted by the Education Department and, in less official ways, by companies and the public. It is impossible to be anywhere in Korea without seeing the English language alongside or intermingled with Korean. When I ask students why they are learning English, I receive answers that include the word globalization and the importance of English throughout the world. When I press further and ask why they personally are learning English, the students mention passing exams, usually high school tests or TOEIC, and the necessity of passing the latter to obtain a good job. Seldom do I ever hear anything about communication: about the desire to talk with other people in English, to read novels or poetry in English, to understand movies or pop-songs in English, to chat on the Internet in English, to search for information on the Internet in English, or to email pen-pals in English. Yet isnt communication the only valid reason for learning a language? We learn our native language to communicate with those around us. Shouldnt we set the same goal for learning a foreign language? In my opinion communication, whether it is reading and writing or speaking and listening, must be central to language learning. Learning a language to pass examinations is meaningless unless those examinations are a reliable indicator of the ability of the student to communicate. In previous eras, most communication in a foreign language was through reading novels or formal letters. This required a thorough knowledge of grammar and a large vocabulary. Todays communication is much less formal. Telephone conversations, tele-conferences, faxes and emails allow people to communicate regularly and informally. Reading materials are also less formal as popular novels and newspapers are available world-wide. Movies and popular songs have added to the range of informal communication available. Finally travel has ensured that people from different cultures will meet easily and regularly. This informal communication requires less emphasis on grammar and vocabulary and more emphasis on comprehension and confidence to speak. Placing communication central to language learning has important implications for the Education system and for teachers.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.75-86
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• 2016

The area surrounding Segeomjeong, one of the famous pavilions near the capital in the Joseon Dynasty, was a favorite place of scholars to visit and enjoy the beautiful natural landscape. The recreational culture of Segeomjeong area in traditional societies representing the prototype of urban tourism in modern society indicates cultural landscape which is a combination of the surrounding landscape and human activities. At this point, the purpose of this research on Saegumjeong area as a recreation place was to examine recreational activities and landscape elements before restoration. Through the relevant historical literature, there were several recreational activities such as traveling to enjoy scenery, taking a view of stream with waterfalls, doing creative writing of reciting poems and drawing about the greatness of nature and gathering on a broad and flat rock or Tangchundae. Also, the main landscape elements-such as Saegumjeong, stream, broad and flat rocks, pine trees, Tangchundae Peak, and mountains-were extracted through paintings of Saegumjeong drawn before restoration. Consequently, in this study, it was confirmed that the Segeomjeong area was the spot that scholars visited consistently, the center for travel, and the place for communication between scholars and national banquets. This study is significant, in that it drew conclusions on the cultural landscape of the Korean people through the ages and helped to discover the meaning and value of cultural landscape of recreation places based on Korean natural characteristics and cultural climate.

• The Korean Journal of Air & Space Law and Policy
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• v.34 no.1
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• pp.203-234
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• 2019

The concept of denied boarding is defined in Article 2(j) of Regulation 261/2004 thus: "denied boarding means a refusal to carry passengers on a flight, although they have presented themselves for boarding under the conditions laid down in Article 3(2), except where there are reasonable grounds to deny them boarding, such as reasons of health, safety or security, or inadequate travel documentation." So far as relevant to this case, to be entitled to compensation, if denied boarding, Article 3(2) provides a passenger must first come within the scope of the protection of the Regulation, which applies under the following conditions: "${\cdots}$.that passengers (a) have a confirmed reservation on the flight concerned and, except in the case of cancellation referred to in Article 5, present themselves for check-in, as stipulated and at the time indicated in advance and in writing (including by electronic means) by the air carrier, the tour operator or an authorised travel agent, or, if no time is indicated, not later than 45 minutes before the published departure time." This paper reviews the EU Cases such as Rodríguez Cachafeiro v. Iberia [2012] Case C-321/11; Finnair Oyj v. Timy Lassooy [2012] Case C-22/11; Caldwell v. easyJet Airline Co. Ltd. [2015] ScotSC 64. ECJ and Sheriff court of Scotland held that the concept of denied boarding, within the meaning of Articles 2(j) and 4 of Regulation No 261/2004 establishing common rules on compensation and assistance to passengers in the event of denied boarding and of cancellation or long delay of flights, and repealing Regulation No 295/91, must be interpreted as relating not only to cases where boarding is denied because of overbooking but also to those where boarding is denied on other grounds, such as operational reasons. Also, ECJ ruled that Articles 2(j) and 4(3) must be interpreted as meaning that the occurrence of extraordinary circumstances resulting in an air carrier rescheduling flights after those circumstances arose cannot give grounds for denying boarding on those later flights or for exempting that carrier from its obligation, under Article 4(3) of that regulation, to compensate a passenger to whom it denies boarding on such a flight.

• Sijohaknonchong
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• v.21
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• pp.77-110
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• 2004

This study is an exploration of a Korean-American writer, Hong-Eun's Mong-yu siga. Hong-Eun immigrated to the United States during the colonial rule of the Japanese government. He was a publisher of The New Korea Times, and contributed various literary works to it. The purpose of this study is to analyze his two Mong-yu sigas published in 1935 and 1947 and elucidate their meanings. Using dream as a primary motif, the intention of Mong-yu mode is to achieve desire which is impossible to reach in reality. While his staying in the United States, Hong-Eun could not return his home country for two reasons, that is, political and financial ones. To return Korea desperately, he wrote sigas by adopting Mong-yu mode. His first attempt was reflected as eight pieces of consecutive poetries titled This Mountain In My Dream, I am Home. This Mountain was published on the 25th of April, 1935 and In My Dream, I am Home was contributed from May the 9th of 1935 to July the fourth of the same year. These works were published in the The New Korea Times' poetry column under the pen name of Donghae-soboo , Representing gasa of the enlightenment era, this poetry depicts historical identity of Chosun dynasty, especially focusing on before and after the 1900s. As a result of it, the poetry sketches the ideology of the Middle Ages. His second attempt was A Country and Hometown written as a form of prelude on the 25th of September, 1947. In addition, A Country in My Dream was published as a form of six pieces of consecutive poetry from October the second to November the sixth of 1947. He chose sijo as a major form of poetry, and the image of the poetry seemed to be the continuation of his first attempt. Confronting the reality of the his own country which is divided, the writer expresses his antagonism toward America and Russia. Although he could eventually return his country later, he rationalized himself by saying that his it is not the ideal place to go. Mong-yu mode is a traditional poetic technique which the intellectuals of the Middle Age used to use as one pattern of allegory. In addition to this, in the period of the enlightenment of Korea, Mong-yu was used to avoid the Japanese censorship and experiment on the diverse ways of writing. In terms of literary history, the significance of Hong-Eun's creation of Mong-yu sigas is that Hong-Eun shares the same intention with Korean intellectuals of the enlightenment period.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.