• Journal of the Korean Home Economics Association
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• v.33 no.4
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• pp.1-9
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• 1995

가정학이 학교교육의 체계를 갖추기 시작한 것은 개화사상이 전반적으로 확산된 19세기 말이다. 미국인 선교사에 의하여 시작된 가정과교육은 그 후, 대학이 설립되고, 석.박사 과정이 증설되면서 양적인 증가와 더불어 가정학의 전문성이 강회되었다. 한국의 가정학은 초기부터 여성교육에 주도적 역할을 해왔으며, 실생활에 필요한 지식을 제공하여 생활개선에 계몽적인 활동을 추구해왔다. 현재 한국의 가정학은 초기의 가정과 교육에서 분화하여 아동 및 가족학, 가정관리 및 소비자학, 식품영양학, 의류학, 주거학 그리고 가정교육학 등 6개 하위영역으로 세분화해가고 있다. 따라서 현재의 한국의 가정학은 전문적인 분화와 전체적인 통합간의 균형을 추구하고 있으며, 변화하는 미래 사회에 적합한 전문인을 양성하기 위하여 새로운 교과과정을 준비하고 있고, 가정학의 발전방향을 공동연구하고 있다. 또한 그동안 상대적으로 소극적이었던 대외활동 및 서비스를 활성화하여 함께 발전하는 가정과 사회 건설에 적극 참여하고 있다. 한국에서의 가정학 역사는 60여년에 불과하나, 짧은 역사에도 불구하고 학문적 체계를 갖추고 의미있는 성과를 거두어왔으며, 미래 사회에서는 가정학이 더욱 중요한 역할을 할 것으로 전망된다.

• Proceedings of the Speleological Society Conference
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• 1994.05a
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• pp.89-96
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• 1994

카르스트라는 용어는 고대 인도-유럽어로 그 기원은 거슬러 올라간다. 암석을 뜻하는 칼라(Karra)로 부터 그 근원을 찾을 수 있고, 그것의 파생어는 유럽과 중동의 많은 언어에서도 발견된다. 북부의 유고슬라비아에서 그 단어는 칼스(kars)를 거처 카라(Kra)로 발전했다. 또한 유고슬라비아와 이태리의 국경지대인 트라에스트(Trieste)지방에서 그 지역에 대한 지역적인 명칭으로 이것이 '불모의 땅'이라는 뜻이기도 하다. 이 지역은 종종 이 지역의 자연적인 특징이 최초로 광범위하고 과학적인 연구로 받아들여진 지역으로 '고전적인 카르스트'로 언급된다. 로마시대에 지역적인 명칭은 '칼스서 혹은 칼소'(Carsus ＆ Carso)였고, 그것이 오스트리아-헝가리(Austro-Hungarian)제국의 일부분이 되고 나서, '카르스트'(karst)라는 독일말로 정착되어진다. 뷔엔나(Vienna)의 지리학 또는 지질학술대회에서 국제적인 과학적 용어로서 그 단어가 정식으로 사용되었고, 그 용어의 기술적인 사용은 19세기 중반경에 확립되었다.(중략)

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.66-83
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• 2018

This article focuses how the materials of hatstrings of the 19th to 20th century gat, the Korean top hat for men among the collections of National Folk Museum of Korea, was transformed after port opening treaties with overseas since 1876. As a result of analyzing the materials of the hatstrings, amber, tortoiseshell, wood and bamboo as the traditional materials were used, and ivory, glass (soda glass, lead glass, alkali mixed glass) and plastics (cellulose nitrate, phenol-formaldehyde, polystyrene, acryl) were newly used for the hatstrings. Bamboo, wood and amber were the most frequently used materials. Bamboo was mainly used for the pipe of hatstring and were combined with beads and central decorations of other materials. This shows the trend of bamboo hatstring according to the simplification of the clothing and the culture by Regent Heungseon Daewongun. Ambers were used in the central decorations and beads and the origin of ambers was baltic amber just like the amber relics found in Korea. Compositions of glass were soda glass and alkali mixed glass which were excavated or handed down in Korea from ancient times to Joseon dynasty. But in the case of lead glass, Na2O was detected and it is considered to be a new type lead glass for crafts which came from overseas after port opening since 1876 because it showed the characteristic that it deviates from the lead glass component found in Korea. Plastics such as cellulose nitrate and phenol-formaldehyde were used as new synthetic materials to replace traditional materials such as tortoiseshell, amber, and coral as in the West. Cracks, crazing, crumbly and yellowing of cellulose nitrate of hatstrings were observed by deterioration. The survey of the materials of the 19th to 20th century hatstrings among the collections of National Folk Museum of Korea showed that the introduction of new materials such as glass and plastics were used to replace natural materials such as tortoiseshell and amber along with the use of traditional materials after port opening since 1876.

• The Journal of the Korea institute of electronic communication sciences
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• v.11 no.3
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• pp.325-330
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• 2016

Sea level is upward trend since the end of 19th century, it is accelerating after 20th century. Because sea level height has regional differences, we concerned sea level change in Korean Peninsula. We used Topex/Poseidon, Jason-1 and Jason-2 satellite altimetry data which has $1/4^{\circ}$ resolution. From 1993 to 2013, for 21 years, monthly mean sea level anomaly was negative between January and April, positive between March and October. Bohai Bay in China, affected the continental climate, showed big sea level changes. Mean sea level data showed remarkably affecting the continental climate in Bohai Bay in China, the Kuroshio Current and eddy affects the sea level change.

• 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 Historical Folklife
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• no.46
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• pp.195-237
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• 2014

Palsapum are ornaments to reveal the purpose of commander of three naval forces as well as symbols to remember the greatness of admiral Yi, Sun-Shin. In 1966, ther were designated as a treasure No. 440 based on their value; however, they have not received attention from academia because they are relics from China. This study compares and analyzes the document, paintings, and relevant references from Korea and China focusing on Palsapum, understands their formal characteristics, and examines their historical value such as years and location of creation. As a result, the study determines five of them are original, but three of them were newly created by the later generations. The five, Dodogin (都督印, Commander's seal)·Yeongpae (令牌, Commander's tablet)·Gwido (鬼刀, Replica of the devil sword)·Chamdo (斬刀, Replica of the decapitation swor d)·and Gognapal (bugle) were created by Ming Dynasty before 1598, and delivered by the hands of General Chen Lin. The other three, Dokjeongi (督戰 旗, Battle flag)·Hongsoryeonggi (紅小令旗, Commander's flag)·and Namsoryeonggi (藍小令旗, Commander's flag), were created in 19th century by Joseon Dynasty. After analysis on the former relics, the study determines that they are not official relics with the dignity of Ming Dynasty but personal relics with regional characteristics; in other words, Palsamun are not the royal gifts from Emperor Shenzong to Admiral Yi, Sun-Shin. but personal momentoes left by General Chen Lin in the Tongjeyoung to celebrate the admiral. The names, variety, numbers, and appurtenances of Palsapum have been changed with time as follows. First, the scholars of Jeseon in 17the century only focused on Dodogin. It was certainly created in Ming Dynasty; however, it was a personal stamp, so considered to be not from the emperor but from General Chen Lin. Second, Palsapum was called Palsamul and consisted of 14 pieces of 8 kinds in 18the century, ; it is confirmed on the 「Dosul(圖說, stories with pictures of」 『Yi Chungmugong Literary Collection』 The sizes of five relics including Dodogin are similar to the records, but their patterns and shapes are exotic, or cannot be found in Joseon. Thus, they reflect the regional characteristics of Guangdong province. Third, they were called Palsapum, and consisted on 15 pieces of 8 kinds in 19th century; it is confirmed on , a sixteen-fold folding screen drawn by Shin, Gwan-Ho in 1861. The stamp box, tablet bag, and three flags were newly created to engrave Joseon style letters and patterns on damageable materials such as leather and cloth. The relics easy to be destroyed have been renewed even after 19th century. Last, there are many misunderstandings about Palsapum by governmental indifference and improper management of records even though they were designated as a treasure in very early times. Thus, authorities should be concerned with Palsapum to provide the measures for stable maintenance of the relics; this will let people remember not only the history of cooperation between Korea and China to stop the Japanese ambition, but also Admiral Yi, Sun-Shin and General Chen Lin to bring victory in Japanese invasions of Korea.

• Journal of Korean Philosophical Society
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• v.139
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• pp.169-190
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• 2016

We must heed the late $19^{th}$ century German philosopher Friedrich Nietzsche. He criticized toleration in the same context as he strongly denied the slave morality, i.e. morality of the weak, and victims paralyzing humanity. Therefore the toleration that Nietzsche makes the target of criticism is an excuse which enables the weak to conceal their own cowardliness and powerlessness and to take such a dismissal as justice. Of course, Nietzsche proposes a further alternative. It is not toleration coming from weakness but toleration coming from strength and can be called 'the great toleration.' The great toleration is the virtue that only human beings who can also use opposite thought or opinion for themselves can show.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.1
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• pp.63-70
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• 2018

The foreign concession of Yokohama was the first downtown formed through the open port of Yokohama. It became a stepping stone to the center of the market economy. Yokohama was regarded as the turning point of modernization in Japanese history and it reached the high light of modern city in Japan. In the nineteenth century the term "open port" which occurred in East Asia was directly connected with modernization. Nevertheless, there is not many researches on architectural history about the central space of the open port city. As the method of research, we examine the parcels and spatial changes that are based on the contents of maps and pictures in terms of architectural history. For the foreign concession that was set up in Yokohama and the first open port in Japan, the spatial scope was set for certain and the temporal range was also set from the setting of the concession in 1859 to the abolition in 1899. The purpose of this study is to consider the future research related to the study of the open port city from the perspective of comparative historical research.

• Cross-Cultural Studies
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• v.45
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• pp.349-380
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• 2016

In this article we tried to discover the predilection of the Goncourt brothers for the noble culture of the eighteenth century. It is well known that two brothers sought to bring forth the aristocratic world formerly reigned by Louis XV and Louis XVI. The favorite themes of the Goncourts included rococo, rocaille, Kings' mistresses, and antiques. Were the brothers fascinated by the culture of the eighteenth century only because they were themselves in the lineage of an aristocratic family? Are there any other reasons behind their predilection for the eighteenth century? This research started from these questions, because we believe that, in their preoccupation with such culture, there must be other reasons beyond their aesthetic predilection. We first studied ideological grounds to answer these questions. Our attention was particularly drawn to the relationship between their attachment to aristocratic culture and their rejection of bourgeois culture in their time. We then attempted to discern the meaning of their studies on the French Revolution, in the wake of the revolution of 1848. By means of this approach, we found that they overestimated the vibrant and energetic culture of the eighteenth century, and they wanted to propose such culture to their contemporaries, in an effort to forget the terrible memory of the year 1848. We can therefore say that the Goncourt brothers proposed a remedy for the psychological torment of their time.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.2
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• pp.30-39
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• 2015

The English Landscape garden and picturesque aesthetics, which was in fashion during the 18th to early 19th century in England, has been accused of making people see the actual garden in terms of a static landscape painting without a synesthetic engagement in nature. As new optic devices such as diorama, panorama, photography, and cinematography were invented, ways of seeing nature transitioned from a perspective vision to a panoramic, that is, modern one. This study intends to uncover signs of this kind of modern vision in the picturesque aesthetics and visual representation of landscape gardener Humphry Repton. German garden theorist Christian Cay Lorenz Hirschfeld contended that the English landscape garden was a new style of designing landscape that followed the principle of the serpentine line, which produced movement in sightlines; thus, he considered garden art as a superior art form among all other genres. The signs of visual motion appear in Repton's sketches of "Red Books". Firstly, he designed systemic routes in his clients' properties by considering different types of movements between walks and drives. Secondly, he often used the visual effects of panoramic views for his sketches in order to allow his clients to experience the human visual field. Lastly, he constructed sequences of sketches in order to provide his clients with an illusion of movement; in other words, Repton's sketches functioned as potential visual media to produce the duration of time in a visual experience. Thus, the garden aesthetics of the time reflected the contemporary visual culture, that is to say, a panoramic vision pertaining to visual motion.