• Journal of architectural history
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• v.24 no.1
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• pp.29-40
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• 2015

This study is on historiography of Modern Architecture since its beginning to present. As a critical review of the history of the writing history of Modern Architecture, this study tends to be a meta-history and criticism of historical text. This study try to analyse historiographical project of Modern architecture at specific phase since the beginning of modern architecture. The historiography of Modern architecture shows that writing a history is making a discourse of Modern architecture as a imaginative representation to define and justify Modernism in architecture. The analysis of canonic text since early 20th century proves that the history of writing history of Modern architecture played a critical role not only to shape of our ideal but the practice of architecture with a ideology construction in retrospect. With a name of truth or morality they made myths about the modernity in architecture. So we can find deep 'Hagelean Unconscious' in writing history of Modern architecture not even the first generation of historians but the second generation who were influenced by earlier writer in spite of their intention of revision and overcoming, which is in itself the key concept of Hegel's philosophy of History. Under this kind of 'operative' discourse our view point of Modern architecture were confined and the historiography of Modern architecture itself was narrowly defined as a kind of melodrama that a few architect and work of art matters. The rise of critical history fundamentally has changed the way of seeing and writing the history of Modern architecture. but it has also a new kind of dilemma as regard to writing history and involving practice. This review of historiography traces the texts of historians as like Pevsner, Giedion, Banham, Rowe, Tafuri, Frampton, and Curtis relating to different discours making. When we consider Benjamin's famous concept of constellation, writing history necessarily is a kind of montage making in time and we always need to recognize the historicity of historiography.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.209-221
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• 2019

A found-footage film La France est notre patrie is a documentary, in which archive images are juxtaposed with intertitles, non-diegetic music and foley, by borrowing an audiovisual strategy of silent films. The filmmaker Rithy Panh has excavated the images, which had been taken during the same period as the film history of the end of the 19^th and early 20^th centuries in Southeast Asia and Africa under French colonial rule. This paper examines the filmmaker's methods of historiography when utilizing archive images in order to represent the past by referring to Walter Benjamin's concept of historical montage and dialectical image. As the analysis illustrates the singularity of constructive methods, which include multi-layer viewpoints and montage styles of compilation and collage, it reveals how La France est notre patrie elicits the essay film modes through its self-reflexivity, leads audience to the threshold of critical thinking about time and history and creates a discourse of counter-memory.

• Journal of Korean Society of Archives and Records Management
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• v.13 no.1
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• pp.135-158
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• 2013

While academic discussions and methodological researches on oral history are being progressed in Korea, its exploitation has already begun to increase with a variety of methods and approaches in the private sector. Oral history is a new method of research, as well as another process of production of archives. In order to make valuable and highly qualified archives of oral history with the application of the aforementioned conditions and characteristics, its recognition, environment, process, and method should be improved and developed. From this point of view, it is regarded as reasonable that oral history is recognized as a part of the strategy for documentation. Oral history should be produced based on common sense and reasonable judgment, applying empirical know-how rather than logic or principles because it holds a great number of characteristics, which include variable elements in the field of oral history. In addition, its process or documentation methods should be improved and developed, giving consideration to thorough exploitation. The promotion or revitalization of oral history is a signal that announces the advent of new archives and the new subjects of history at the same time. Endeavors to produce highly efficient archives of oral history are expected to be continued with the complex accumulation of empirical assets achieved at academic discussions and its fields.

• The Journal of the Korea Contents Association
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• v.13 no.3
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• pp.511-519
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• 2013

The purpose of this paper is to examine how European textbooks reflect Seoul nowadays. The study focuses on the trend of textbooks in main European countries, such as England, France, Spain, Italy, and Germany. They tend to describe Seoul as one of the mega cities with urban problems, and introduces the city as an economic center which is responsible for interaction with other mega cities. Besides, Seoul is also described as less competitive city compared to others, and its history and cultural resources are not paid attention. Despite everything, it is fortunate that there are very few errors in descriptions of Seoul. In future I expect that descriptions of Seoul in European textbooks are enhanced in not only economic aspects of Seoul but also historic and cultural aspects of Seoul and then European textbooks get more reliable contents to inform Korea.

• Journal of architectural history
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• v.24 no.2
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• pp.27-34
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• 2015

The tasks of writing history is to reconstruct the past in order to understand the present condition and to envision the future. Modern architectural histories in the west have assumed this role, from Winckelmann to Giedion. Likewise, history of Korean modern architecture has to serve this purpose. However, existing histories of Korean modern architecture simply list up stylistic changes from western eclectic architecture to modernism without any historical narratives explaining the transition from Korean traditional architecture to modern architecture. History of Korean modern architecture has simply been understood as a unilateral process of transplantation of western architecture into Korea. This paper points out two major problems underlying this kind of historiography of Korean modern architecture. The one is formalistic approach which sees history of modern architecture mainly as a process of formal and stylistic changes. The other is humanistic approach which sees modern architects as agents of history. This paper argues that this kind of history writings has limitations since modernity of Korean architecture is fundamentally different from that of the west. and that specific tasks that Korean modern architectural history has to address are then two folds;(re)connecting the past architectural tradition to the present and forming self-identity of Korean architecture.

• Journal of Science and Technology Studies
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• v.2 no.2 s.4
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• pp.55-89
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• 2002

The purpose of this article is to examine and assess the main issues in social constructivism with reference to the history of technology. Social constructivism, as an alternative explanation to technological change, has developed its points actively responding to various criticisms. Historians of technology have joined in dialogues with social constructivists through controversies about narrative vs theory, reliability vs performance, and evolution of bicycle. Social constructivists tend to use new jargons excessively, don't deal historical materials rigorously, and don't consider content-dependency sufficiently. To apply social constructivism to Korean cases many problems should be identified including the deficiency of historical materials, the importance of technological learning, and the peculiarity of relevant social group.

• 전기의세계
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• v.40 no.1
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• pp.37-44
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• 1991

변압기의 발전은 송전계통의 변화추이와 밀접한 관계를 갖으므로, 본 논문에서는 송전계통 전압의 변화추이, 국내 변압기의 개발역사, 변압기 정격전압 및 용량 현황, 변압기의 기술동향, 2000년대를 대비한 변압기 기술 연구과제에 대해 서술키로 하겠다.

• 프린팅코리아
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• v.13 no.9
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• pp.96-96
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• 2014

유창준 대한인쇄문화협회 전무이사가 우리나라 인쇄문화의 역사와 현황, 미래를 한눈에 살필 수 있도록 서술한 단행본 '한국인쇄문화사'를 출간했다.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.141-142
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• 2018

본 발표문은 서두수의 Korean Literary Reader(1965)를 소개하고 영어를 중심으로 쓰인 한국문학 교과서로서의 면모를 파악하는 것을 목적으로 한다. '영어로 쓰인'이 아닌 '영어를 중심으로 쓰인'이라는 수식을 붙인 이유는 한국문학에 대한 개략적인 역사는 영어로 서술되었지만, 한글로 된 원문을 수록한 본문에서는 어렵거나 생소한 단어만 영어로 주석을 달았기 때문이다. 따라서 완전히 영어로만 서술된 한국문학 교과서라고는 할 수 없다. 하지만 Korean Literary Reader(1965)를 통해 초창기 미국-한국문학 교과서의 형태를 살필 수 있다는 점에서 의미가 있다고 하겠다. 또한 저자 서두수의 행적 안에서 미국에서 이 책을 발간한 목적 중 몇 가지를 유추하는 것으로 발표를 마친다.

• Communications of Mathematical Education
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• v.31 no.2
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• pp.139-152
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• 2017

In this paper, we examine how secondary school mathematics textbooks on calculus introduce the history of calculus. In order to identify the problem, we consider the Babylonian integration by trapezoidal rule, which was made to calculate the location of Jupiter in 350-50 B.C., and the integration by the method of the rotating plate of ibn al-Haytham in Egypt, about 1000 years. In conclusion, our secondary school mathematics textbooks describe Newton and Leibniz as inventing calculus and place their roots in ancient Greece. The origin of the calculus is in Babylonia and the Faṭimah Dynasty (909-1171) (Egypt) and it is desirable that the calculus is developed in Europe after the development of the power series in India, and that the value of Asia Africa is introduced in the textbooks.