• Journal of Popular Narrative
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• v.27 no.2
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• pp.179-214
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• 2021

The purpose of this study is to reconsider the background of the acceptance and formation of Manmun Manhwa in colonial Joseon. It raises questions about previous discussions that cartoons have emerged as a political product of Japan's suppression of the media. Through this, this paper look at other possibilities in consideration of the colonial Joseon's situation of inner movement and the influx of popular culture. The term "Manmun-Manhwa" was first used in 1925, not by Ahn Seok-Ju. In addition, Ahn Seok-Ju returned home after studying in Tokyo and developed a cartoon in earnest. This paper traces the background and meaning of his interest in universal comics. Ahn Seok-Ju emphasized literary characteristics and image to all cartoonists. This marked the birth of a cartoonist with literary qualities and a cartoonist with the ability to write. This represents the cultural scene of the 1920s and 1930s, which was reorganized from text-oriented to Image text, with the emergence of a unique style of universal comics. In the end, Manmun Manhwa(comics) have emerged as the purpose of modern journalism and a strategy to popularize them. Considering the circumstances of this era, the acceptance of Manmun Manhwa is being examined in various ways in the connection between comics and essays. Like this, Manmun Manhwa are an important symbol of the colonial cultural arena, reorganizing not only cartoon history but also modern media into image text.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.217-245
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• 2019

Recently, the interest among Korean broadcasters in the 'observation entertainment' genre has intensified. This study aims to analyze the genre and storytelling of observation entertainment programming from a narratological perspective. The origin of the Korean observation entertainment program began with the 'reality-variety show'. There was a 'real-life' debate in these reality-variety shows, and as an alternative, the observation entertainment program appeared. Documentary filming, omnibus composition, and spatialization of 'everyday' life have led to the recognition of observation entertainment as a single genre. In particular, 'observers' have become a key factor in the observation entertainment program. The subject of the program is determined by who the observer is. The variability of the program format is the same. The observer looks at the observation target on behalf of the viewer. At the same time, he or she serves as a narrator of the program. The observer functions as the most influential factor in the storytelling of the observation entertainment program. In the observation entertainment program, 'observation' is only a form. It is the observer who creates a narrative within this same format to make the difference between each program. Also, voyeurism has been considered a problem in reality shows such as observation entertainment programs. However, the form communicated by observers is not a direct peek, so much of the problem of voyeurism is mitigated. Such observation entertainment programs analyzed through observers are meaningful in that they make people understand the cultural meaning of "reality" in TV and the storytelling of contemporary Korean TV entertainment.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.5
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• pp.57-69
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• 2023

This study investigates the garden vision of the Ancient Rome, focusing on garden literature in the Natural History by Pliny the Elder. Ancient Roman garden's types, character, and forms greatly influenced the development of later Western gardens, to which the practical and professional texts of Pliny the Elder and others contributed. This study explores the garden visions projected in these texts, with an introduction of Roman garden forms and stylistic features. The Natural History and other garden and agricultural texts written during the Ancient Roman period are characterized by their focus on practical production spaces rather than abstract nature or garden art. In the Natural History, Pliny described botanics in terms of usefulness rather than pleasure, and his discussion is premised on the practical hortus. In ancient Roman society, gardens were not only spaces for practical production and relaxation, and places to reproduce or realize the ideals of Roman rulers and intellectuals, including Pliny. They shared the episteme that sought to encompass knowledge of the entire world they ruled and, in doing so, realize their vision of the Roman Empire. Through the Natural History, Pliny sought to embrace useful knowledges of his time into the vast civilized world of the Roman Empire, and the garden was an important place to practice this ideal.

• Korean Journal of Culture and Social Issue
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• v.29 no.4
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• pp.497-536
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• 2023

This study was conducted with the purpose of exploring the relationship dynamics of couples who experienced dating violence. For this purpose, interviews were conducted with 15 couples who experienced dating violence. The collected data was analyzed using the consensual qualitative research(CQR) method. As a result, 3 domains, 13 categories, and 30 subcategories were derived. Domain 1 was about "the direction of the dynamics of perpetration and victimization, types of violence, and experience level," and found that the dynamics of perpetration and victimization are bidirectional, and that there are situational and controlling types of violence. For domain 2, we explored "major conflict themes, unique perceptions, and psychological dynamics of violence" and identified "other and communication issues" and "interference and personality issues" as major conflict themes, "gender stereotypes" and "violence permissive beliefs" as unique perceptions, and "attribution styles," "major emotions," and "coping styles" as psychological dynamics of violence. For domain 3, we looked into the 'changes in commitment and satisfaction as well as relationship maintenance factors' and presented changes in commitment and satisfaction, and found that the relationship maintenance factors were divided into positive and negative factors. These results are significant in that dating violence consists of mutual abuse and that it empirically revealed the detailed elements of the psychological dynamics of male and female. This was compared and analyzed with previous studies, and limitations and future research were also presented.

• Sijohaknonchong
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• v.30
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• pp.241-262
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• 2009

In this study, we will find out and understand of the literary characteristics and the material status about the translation of Sijo into chinese poetry which is the representative genre in Korean traditional poetry. Most of the work was done from 17th 19th century, and there are about 120 literary men who translated Sijo. 759 works are translated into Chinese poetry and we cannot find 135 works' original poetry. Therefore about 900 works are translated into Chinese poetry. One Sijo can be translated into more than 1 Chinese poetry, so there are more translated works. According to this study, there are 1356 translated works in total. Many works are done in piece by piece, however most of them are in series with many poems from 10 to 100. First, some popular Sijo was translated into series. Second, some serial Sijo or some Sijo of particular writers are translated into Chinese works. In first case, there are 22 writers' 27 works of Sijo along with Shinwi's "Soakbu" and 652 translated works. In the other case, there are 30 writers' 26 works of Sijo including 10 "Kosangugokga", which was translated by Song shiyul. There are 511 translated works. A lot of translations of Sijo into Chinese poetry are in various documents. They are in personal collections of works such as "Beonbanggok" in Namguman's "Yakchunjip". The works are in books of poems such as Hong yangho's "Chunggudangok" and Shinwi's "Jahasoakbu". In collection of Sijo like Shin heum's "Bangongshiyeo" in "Chungguyoungwon", there are some translated works as well. We can understand Sijo which we do not know the lyrics now by studying the materials about the translation of Sijo into Chinese poetry. The materials about the translation of Sijo into Chinese poetry have necessary value for studying the creation and tradition process of Sijo. In addition, with the materials, we can study the interaction between Korean literature and Chinese one, and also we can study about the changing aspects of Chinese poetry in Late Chosun.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.114-131
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• 2014

The Portrait of Yang Zhuxi(楊竹西小像) at the Palace Museum in Beijing holds important significance as one of the rare portraits from Yuan Period and as a painting with a definite year of creation in 1363. It is also noteworthy in that it is the only remaining work of Wang Yi(王繹), who was one of the critical portrait painters during the second half of Yuan Period and the author of Xiexiang Mijue(寫像秘訣), the first book on the portrait theories, that it was created in conjunction with Ni Zan(倪瓚), one of the utmost landscape painters of the times, and that it was an early case of landscape and figure painting-format portraits. The figure in Portrait of Yang Zhuxi was originally known as Yang Wu(楊瑀), a high official during Yuan Period, but it was a misunderstanding on the part of Li Rihua(李日華), a literary figure from Ming Dynasty. The actual model was Yang Qian(楊謙), a reclusive literary figure in the Songjiang(松江) region. Yang Qian is estimated as one of the central figures with a high reputation in the literary community of Jiangnan those days. Portrait of Yang Zhuxi was depicted by borrowing the icon of such hermits as Su Shih(蘇軾), which seems like a proper choice to express Yang Zhuxi, a reclusive literary figure. Furthermore, the rocks and pine trees described by Ni Zan reinforced the significance of the portrait through their traditional symbolism of man of virtue and man of letters, respectively. Portrait of Yang Zhuxi used the Baimiao Manner(白描法), thus being differentiated from other portraits from the same period. Even though there is no coloring in the painting, it boasts more excellent realism than colored portraits. It expressed the body with the graceful and controlled Li Gonglin(李公麟) and Zhao Mengfu(趙孟?) style Baimiao Manner, raising its dignity further. In terms of functions, Portrait of Yang Zhuxi is strongly characterized by the appreciative function unlike other portraits focused on the ceremonial function. Being created to be viewed and appreciated by the model himself and his friends, the portrait was very significant to promote their friendship. However, there was a great intention to reflect the emotions of the model himself and his friends in the painting beyond the simple appreciation level.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.52-64
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• 2015

This study was carried out investigation of characteristics palace gardens representing historical background, political and cultural identity in Korea, China, and Japan. It had been done a comparative analysis in formation, location and site layout, site composition, landscape elements and planning, landscape technique and vista for palace gardens in East asia's three countries. In order to process this study, Changdeokgung Palace in Korea, Summer Palace in China and Sento Imperial Palace in Japan were selected based on similar status. therefore it provide theoretical foundation to investigate the identity of palace gardens in three countries. Furthermore the study determined homogeneity(similarity) and heterogeneity(differentiation) of the characteristics between palace gardens in three countries through the in-depth comparative analysis in order to investigate identity of palace gardens in three countries and to present the value of Korean palace garden. Homogeneity and heterogeneity between palace gardens in three countries deducted from the study were summarized as follows; First, it shows indigenous style of Korean garden throughout adapting natural terrain without natural destruction. Second, various symbolic elements which ie reflected East asian ideologies present in the gardens. Chinese thoughts and technique were influenced in the development of palace garden in Korea and implemented in similar ways of China. Homogeneity of utilizing waterscape could be found in three countries. Lastly, Palace garden in Changdeokgung had played a role as cultural place with taste for the arts rather than representing authority of the throne. It appears to be similar in China and Japan. The reason how Korea, China and Japan established their own independent style is that each palace garden had been developed to embrace indigenous culture with introduced elements even though they were closely bound up with culture.

• Cartoon and Animation Studies
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• s.30
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• pp.139-168
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• 2013

This article aims to explain the significance and value of cartoons in the 1910s which were largely passed unnoticed in the preceding cartoon studies by scrutinizing cartoons published in Maeilsinbo in the 1910s. Until now, Korean cartoons in the 1910s has been neglected just because it were published in Maeilsinbo. However, this writing analyzed cartoons in this period on the base of the fact that the cartoons in the 1910s printed in Maeilsinbo diversified the horizon of the Korean cartoon. Cartoons in Maeilsinbo functioned as a bridge connecting cartoons published in Daehanminbo in 1909 reputed as a root of Korean cartoon and 1920s, the time when satirical cartoons and comics started being printed in newspapers. The characteristics of Maeilsinbo as a bulletin of government general and periodical characteristics that the agent of popular culture begun to move reside as multi layers in the cartoons in the 1910s. In this article, the process and the development of how cartoons published in Maeilsinbo. As pleasure became important in everyday life in Korea, cartoons were able to earn a portion in the newspaper. In the beginning, modern cartoon style seemed vague, but as time goes by, its own style gradually settled. Cartoons in this period were not fixed in specific section but various kinds of cartoons were developed during the time since works of Korean as well as Japanese cartoonists and illustrators were published. Among them, representative cartoons in Maeilsinbo were analyzed in this article under three categories: first, cartoons represented 'Choseon-ness' through scenes of daily life and customs concurrently contained a view of anti-civilization/enlightenment; second, cartoons represented the accumulation of wealth as valid from the view point of public interest; last, cartoons divided Koreans who suffered from hardships of life in Kyungsung and Japanese in Jingogae in order to divide space. In conclusion, Maeilsinbo disciplined the colonized, Koreans, and exposed the discourse of the colonial power via cartoon.

• Journal of Korean Society of Archives and Records Management
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• v.3 no.1
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• pp.1-21
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• 2003

In this paper the characteristics of the script centers golden and/or silver letter center in Koryo Dynasty and a set of seven rolls of the script written in silver letter on blue paper prayed by Yearn Seong-Ik were studied with focusing on the referred records and an epilog of the script. This script was discovered from Namgewon's stone stupa, when it was transported from original site of Daekam Dong, Kaiseong city to Kyungbok Palace in 1919. This script prayed by Yeom Seong-Ik which was written in silver paste on blue papers is a set of seven rolls, the size is 31.1 cm (length) ${\times}$ 27.2 cm (width). The cover painting and Beonsangwha(Buddha's preaching picture) were painted out and in the roll cover. This script was written with 14 letters on a line whose characteristic with the style of cover painting and Beonsangwha is similar to the golden and silver scripts prayed by kings of Koryo Dynasty. The person who prayed this script was a powerful vassal of the king Chungyeol period, Yeom Seong-Ik. According to Koryosa(Koryo History) and Koryosa jeolyo(summarized Koryo History), it is described that Yeom Seong-Ik offered his own house which was built by a group of strangers as a 'Writing Place for the complete collection of Buddhist Sutras and the place of the script of the complete collection of Buddhist Sutras. Therefore, it is possible to consider that this script a set of seven rolls of the script of Saddharma Pundarika-Sutra was written to pray for himself as well as his families' fortune at the place of golden script of the complete collection of Buddhist Sutras, and enshrined it in the Namgaewon stone stupa when the stupa was repaired in 9th year of king ChungYeol. Above all the most important point should be centered on that he offered his house as a writing place for golden script of the complete collection of Buddhist Sutras as recorded in Koryosa Jeolyo. The writing place for golden script of the complete collection of Buddhist Sutras should be emphasized on the meaning of its site. It is an important key point to clear that Kumjawon(Golden letter center) would be different from Kumjadejangso(the writing place of golden script for complete collection of Budihist Sutras) with Kumkyungsa(Goldm script place). As considereing the point that this script showed the characteristics of golden and/or silver scripts which prayed by king Chungyeol in Koryo Dynasty as they were, even though this script was manufactured by individual praying, this script follwed in the style of Kumjawon(golden letter center) and/or Unjawon(siIver letter center) as they were, because this script was written in the place of the golden script for the complete collection of Buddhist Sutras. In this paper all of the points described above with focusing on the referred records and an epilog of this script were collectively considered to make clear the characteristics of the script centers, golden and/or silver letter.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.2
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• pp.1-9
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• 2011

This study concerns the Baekje Traditional Garden, one of the open spaces in the Lotte Resort in the Baekje Historical Reappearance Complex, which is part of the comprehensive plan for specific areas in the Baekje cultural area. The Baekje Traditional Garden has historic value, and its excellent garden style influenced the ancient Japanese gardens. This study dealt with three issues: (1) The context in which Lotte Buyeo Resort accepted the Baekje Traditional Garden, particularly the background and process of such; (2) The original form of the Baekje Traditional Garden; and (3) How the Baekje Traditional Garden should be represented in the open space of the resort. Representation is accomplished in two ways: using the structure of the original garden and in the borrowing of elements. For representation using the structure of the original garden, Imrugak was used as the main entrance space, and Wolsunjung was represented from the Ganbuklee remains. In the rear garden are wave watercourses and other garden facilities of the Wanggungri site in Iksan. Borrowing of elements, on the other hand, was accomplished in the plant plan and detailed development. In addition, mountaintops (three mountains and five mountain summits), a clean stream between mountains, and a pine forest are visualized in the garden. This is the representative landscape of the Taoist hermit world that appeared in the Baekje Gilt Bronze Incense Burner and Landscape pattern. The significance of this study is twofold. First, the Baekje Traditional Garden is a fresh trail because there has been no previous research concerning it. Second, while past research concerning traditional spaces focused on the results of representation, this study focused on the process of representation. This means that this research work tried to extend the study concerning the representation of traditional spaces from the conceptual to the practical approach. This study, however, also has its limitations. The authenticity of the representation suggested in this study may be questioned later because efforts have been made to preserve the original Baekje Traditional Garden. In addition, this study should seek a balance between authenticity on one hand and amusement and diversity of experience on the other, because the site is a resort.