• 제목/요약/키워드: Cultural History

검색결과 1,750건 처리시간 0.024초

프랑스 시민대학, "대학 밖 대학" 특성과 운영 (Study of Operation of Civil College, "the College outside College," in France)

  • 황성원
    • 비교문화연구
    • /
    • 제25권
    • /
    • pp.597-626
    • /
    • 2011
  • Civil college is a public educational institute for theoretical and practical learning. This study examines the social context behind France's civil college and how it is being operated. Many studies have been conducted in Korea to examine Germany in terms of lifelong learning or adult learning, but there is almost no study on France. Therefore, this study was conducted to analyze the history and operation of civil college, the "college outside college," in France and what Korea should learn from it. The civil college of France can be discussed in two contexts: first, it is AUPF, which stands for the French association of civil colleges, and it was mostly influenced by Northern Europe and Germany. Second, it is Caen Civil College, which was established by M. Onfray based his philosophical collaboration. The European civil college opened almost 1,000 courses in 2010-2011 for a variety of subjects, including Foreign Languages, Mother Tongue, the Dialects of Alsace, Philosophy, Cosmology, History, Art History, Psychology, Sociology, Astronomy, Botany, and Natural Science. Courses in Fine Arts include drawing, painting, sculpture, photography, music, and theater. For another form of civil college, Philosopher M. Onfray has been operating Caen Civil College since 2002 for general education and cultural education. It is not acknowledged by conventional philosophers, but it is contributing to the popularization of philosophy. In conclusion, the civil college in France has brought in-depth philosophical discussions out of the lecture rooms in an effort to popularize learning, making lifelong learning more accessible to the general public.

Mongol Impact on China: Lasting Influences with Preliminary Notes on Other Parts of the Mongol Empire

  • ROSSABI, MORRIS
    • Acta Via Serica
    • /
    • 제5권2호
    • /
    • pp.25-49
    • /
    • 2020
  • This essay, based on an oral presentation, provides the non-specialist, with an evaluation of the Mongols' influence and China and, to a lesser extent, on Russia and the Middle East. Starting in the 1980s, specialists challenged the conventional wisdom about the Mongol Empire's almost entirely destructive influence on global history. They asserted that Mongols promoted vital economic, social, and cultural exchanges among civilizations. Chinggis Khan, Khubilai Khan, and other rulers supported trade, adopted policies of toleration toward foreign religions, and served as patrons of the arts, architecture, and the theater. Eurasian history starts with the Mongols. Exhibitions at the Metropolitan Museum of Art and the Los Angeles County Museum of Art confirmed that the Mongol era witnessed extraordinary developments in painting, ceramics, manuscript illustration, and textiles. To be sure, specialists did not ignore the destruction and killings that the Mongols engendered. This reevaluation has prompted both sophisticated analyses of the Mongols' legacy in Eurasian history. The Ming dynasty, the Mongols' successor in China, adopted some of the principles of Mongol military organization and tactics and were exposed to Tibetan Buddhism and Persian astronomy and medicine. The Mongols introduced agricultural techniques, porcelain, and artistic motifs to the Middle East, and supported the writing of histories. They also promoted Sufism in the Islamic world and influenced Russian government, trade, and art, among other impacts. Europeans became aware, via Marco Polo who traveled through the Mongols' domains, of Asian products, as well as technological, scientific, and philosophical innovations in the East and were motivated to find sea routes to South and East Asia.

중국계 동남아인(華人) 주거에 관한 연구 -말레이시아와 싱가포르 사례를 중심으로- (A Study on Chinese Southeast Asian housing -Cases in Malaysia and Singapore-)

  • 이상헌;윤인석
    • 건축역사연구
    • /
    • 제9권2호
    • /
    • pp.65-84
    • /
    • 2000
  • The region of Southeast Asia had already experienced rapid urbanization and cultural change before the East Asia region did. None the less, nowadays shophouses and rowhouses still form the major portion of streets in Chinese town in Southeast Asia countries. The purpose of this study is to examine the adaptation process of shophouse and rowhouse in the Southeast Asia region and the architectural characteristics between the middle of 18th and the early of 20th, which Chinese people of the region inherit and develop, for more thorough understanding of cultural adaptability and regionalism of Chinese architecture in Southeast Asia. The common fact found in the Southeast Asia region is that Chinese people in countries of this region gradually started to live densely as a group in a certain zone in city area since they got to play important roles in commerce, trade and service works related with cities, due to European countries' advance into Southeast Asia and their construction of colonial cities in the region. Chinese people in the region utilized residential rowhouse and special shophouse, which is a kind of shop adapted from rowhouses' sitting room or storage, for their commercial and industrial activities in urban areas, which had problems of limited space. They also realized high densities through vertical expansion of space in order to adjust to changing urban structure under execution of urban planning in cities of colonial area and rapid urbanization. Even though residence of Chinese in Southeast Asia was influenced by new political, social, economic and cultural rules of European colonies in Southeast Asia, it has continuously succeeded to the cultural tradition of China, their home country, in terms of planning principle which puts air well in the middle and hierarchial spacial construction method. Appearance of the open connected verandah, designed by Stamford Raffles, the founder of Singapore, can be regarded as one of the architectural characters. Hence, Chinese residence in cities of Southeast Asia can be understood as a new regional architectural culture in the context of European countries' urban planning and urbanization of colonial areas, Immigrants from southern China and their role, their adjustment to urban areas by utilizing mixed type houses of residence and business, cultural tradition of Chinese home country.

  • PDF

Thinking Modernity Historically: Is "Alternative Modernity" the Answer?

  • Dirlik, Arif
    • Asian review of World Histories
    • /
    • 제1권1호
    • /
    • pp.5-44
    • /
    • 2013
  • This essay offers a historically based critique of the idea of "alternative modernities" that has acquired popularity in scholarly discussions over the last two decades. While significant in challenging Euro/American-centered conceptualizations of modernity, the idea of "alternative modernities" (or its twin, "multiple modernities") is open to criticism in the sense in which it has acquired currency in academic and political circles. The historical experience of Asian societies suggests that the search for "alternatives" long has been a feature of responses to the challenges of Euromodernity. But whereas "alternative" was conceived earlier in systemic terms, in its most recent version since the 1980s cultural difference has become its most important marker. Adding the adjective "alternative" to modernity has important counter-hegemonic cultural implications, calling for a new understanding of modernity. It also obscures in its fetishization of difference the entrapment of most of the "alternatives" claimed--products of the reconfigurations of global power--within the hegemonic spatial, temporal and developmentalist limits of the modernity they aspire to transcend. Culturally conceived notions of alternatives ignore the common structural context of a globalized capitalism which generates but also sets limits to difference. The seeming obsession with cultural difference, a defining feature of contemporary global modernity, distracts attention from urgent structural questions of social inequality and political injustice that have been globalized with the globalization of the regime of neoliberal capitalism. Interestingly, "the cultural turn" in the problematic of modernity since the 1980s has accompanied this turn in the global political economy during the same period. To be convincing in their claims to "alterity", arguments for "alternative modernities" need to re-articulate issues of cultural difference to their structural context of global capitalism. The goal of the discussion is to work out the implications of these political issues for "revisioning" the history and historiography of modernity.

북한의 일상생활과 '문화 아카이빙' ('Cultural Archiving' of Everyday Life in North Korea)

  • 설문원
    • 기록학연구
    • /
    • 제65호
    • /
    • pp.321-363
    • /
    • 2020
  • 분단 70년을 거치며 남북한의 문화적 이질화가 가속화되고 있다. 이러한 상황에서 북한 주민의 일상생활에 대한 장기적인 아카이브 구축은 북한 이해의 폭을 넓히는 데 기여할 수 있다. 여기서는 일상생활을 "제도, 사회통제, 규범, 질서 등의 사회구조적 측면과 개인의 다양한 실천과 행위가 교차하는 사회적 공간"으로 규정하였다. 이 연구의 목적은 이러한 일상생활의 개념을 적용하여 북한 일상생활에 관한 증거와 기억이 풍부하게 담긴 아카이브 구축 모형을 설계하는 것이다. 이를 위하여 일상생활의 특징을 반영한 방법론이 필요한데, 이를 '문화 아카이빙'이라고 명명하고 그 핵심 개념을 정리하였다. 이러한 방법론을 적용하여 북한 일상생활 아카이브 구축의 원칙과 절차가 포함된 모형을 제안하였다. 또한 각 구축 절차가 어떻게 적용될 수 있는지를 실제 사례(북한 생활·문화·역사 데이터베이스)를 통해 살펴보았다.

일제하 총독부 박물관 문서와 관리체계 (The Document of Museum of Chosen General Government and its systemic management of document)

  • 김도형
    • 기록학연구
    • /
    • 제3호
    • /
    • pp.115-137
    • /
    • 2001
  • The Museum of Chosen General Government(MCGG) was a supreme organ to take charge of business affairs of historical remains Japanese imperial rule. The MCGG was established in Kyongbok Palace in 1915. The MCGG was changed the reorganization of the Chosen General Government(CGG) setups, the MCGG was to maintain the cultural assets, to excavate the ruins and to put on display the remains. However, the Japanese colonist took advantage of the MCGG for political purposes. They didn't use the MCGG to promote the research of Korea culture. Therefore, the MCGG was an organization to belong to the Department of Education of the CGG. In this reason, the MCGG produced the amount of public document to business affairs. Now, This document left in the Museum of Korea. We have seen the document to study the cultural policies and the cultural assets of the CGG. This document includes the abundant information for the historical remains and ruins at that time. Accordingly, this document will help to survey the archaeological research and historical research. In addition, this document will help to manage the cultural assets. What then is the advantage of this document? The first is to see the cultural policies of the CGG through this document. The Japanese colonist took advantage of Korea history, which was low-grade culture, to justify rule of the colony. Therefore, they needed collect Korean assets to verity their theory. The second is to see the administration system of the MCGG. Indeed, this document includes information of organization of the MCGG, the policies and the process of the MCGG. In substance, we can see the systemic proceedings of the MCGG. The third is to provide historical materials to the historian. This document has the persons to plan the colonial culture policy of the MCGG, and events to rule the Korea culture. Moreover, the document of the MCGG would help to inquire into the truthfulness of history and to get the national identity.

구조사건축기술연구소의 유네스코회관 초기 계획안(1959)에 관한 고찰 (On the Initial Plans (1959) of UNESCO House in Seoul, Korea by Kuzosa Architects & Engineers)

  • 우동선;김태형;이수민
    • 건축역사연구
    • /
    • 제31권2호
    • /
    • pp.35-50
    • /
    • 2022
  • This study examines the design intent and the construction background of the UNESCO House in Korea planned in the 1950s, with a focus on the initial plans of the House by Kuzosa Architects & Engineers in 1959. To this day, the House has been evaluated as a representative example of an office building in the 1960s, and an early case of introducing curtain walls in Korea. However, only its technical characteristics have been explored with less emphasis on further research data. This study attempts to demonstrate the social and cultural expectations and the demands of the construction of the House by examining the documents produced at the time and the initial plan. This study also highlights the fact that the House was the first project of the architect Pai Ki Hyung to realize high-rise reinforced concrete construction in Seoul's dense center. In the 1950s, the House was planned as a modern building with a complex of various cultural facilities and offices due to the character of activities of the Commission, and the lack of public cultural facilities in Korea. The plan of the Kuzosa Architects & Engineers was selected through a design competition held in 1959. The House was completed in 1967, which took about eight years from planning to completion with design modification in the 1960s. The initial plan submitted before the design modification shows that Pai used the vocabulary and logic of modern architecture and planned the House not as a simple office building but as a complex cultural facility.

농업농촌의 문화환경적 자원의 중요도 평가에 관한 연구 (A Study on Evaluating the Importance about Cultural-environmental resources of Agriculture and Rural Areas)

  • 신용광;임진강;김상범
    • 현장농수산연구지
    • /
    • 제15권1호
    • /
    • pp.3-15
    • /
    • 2013
  • The purpose of this study is to investigate priority of cultural-environmental resource using the Analytic Hierarchy Process. Based on survey of expertise, a series of pairwise comparison judgements is performed to evaluate the relative strength or intensity of impact among the elements in the Hierarchy. This Study are applied three kinds of evaluation criteria and 40 kinds of cultural environmental resource. The results of this study are as follows. First, Traditional culture, landscapes, rural community vitality of Agriculture and Rural culture of environmental resources by establishing the concept of a comprehensive classification scheme are defined by the United Nations Food and Agriculture Organization (FAO) and the Rural Amenity Resources Multifunctionality in Agriculture. Second, Experts was considered important to "Continuity of history (43%),"> "Global importance (37%)"> "Notable characteristic (20%)" the order of the ratings on the importance of culture with rural agricultural and environmental resources. This is deemed the most important part of Continuity of history Third, The importance of the cultural and environmental resources comprehensive evaluation of the results, a strong tradition of building traditional sense or a landscape resource most highly were evaluated. and Vinyl greenhouse and warehouse such as agriculture, the current facilities required the relatively compared to other resources very low importance were evaluated. Resources, the importance of this study is judged to be able to be utilized as basic data in the selection criteria for the evaluation of the agricultural heritage.

문학텍스트와 문학적 해석 -「스페인 문학사」를 통한 모델 연구 (Literary Text and the Cultural Interpretation - A Study of the Model of 「History of Spanish Literature」)

  • 나송주
    • 비교문화연구
    • /
    • 제26권
    • /
    • pp.465-485
    • /
    • 2012
  • Instructing "History of Spanish Literature" class faces various types of limits and obstacles, just as other foreign language literature history classes do. Majority of students enter the university without having any previous spanish learning experience, which means, for them, even the interpretation of the text itself can be difficult. Moreover, the fact that "History of Spanish Literature" is traced all the way back to the Middle Age, students encounter even more difficulties and find factors that make them feel the class is not interesting. To list several, such factors include the embarrassment felt by the students, antiquated expressions, literature texts filled with deliberately broken grammars, explanations written in pretentious vocabularies, disorderly introduction of many different literary works that ignores the big picture, in which in return, reduces academic interest in students, and finally general lack of interest in literate itself due to the fact that the following generation is used to visual media. Although recognizing such problem that causes the distortion of the value of our lives and literature is a very imminent problem, there has not even been a primary discussion on such matter. Thus, the problem of what to teach in "History of Spanish Literature" class remains unsolved so far. Such problem includes wether to teach the history of authors and literature works, or the chronology of the text, the correlations, and what style of writing to teach first among many, and how to teach to read with criticism, and how to effectively utilize the limited class time to teach. However, unfortunately, there has not been any sorts of discussion among the insructors. I, as well, am not so proud of myself either when I question myself of how little and insufficiently did I contemplate about such problems. Living in the era so called the visual media era or the crisis of humanity studies, now there is a strong need to bring some change in the education of literature history. To suggest a solution to make such necessary change, I recommended to incorporate the visual media, the culture or custom that students are accustomed to, to the class. This solution is not only an attempt to introduce various fields to students, superseding the mere literature reserch area, but also the result that reflects the voice of students who come from a different cultural background and generation. Thus, what not to forget is that the bottom line of adopting a new teaching method is to increase the class participation of students and broaden the horizon of the Spanish literature. However, the ultimate goal of "History of Spanish Literature" class is the contemplation about humanity, not the progress in linguistic ability. Similarly, the ultimate goal of university education is to train students to become a successful member of the society. To achieve such goal, cultural approach to the literature text helps not only Spanish learning but also pragmatic education. Moreover, it helps to go beyond of what a mere functional person does. However, despite such optimistic expectations, foreign literature class has to face limits of eclecticism. As for the solution, as mentioned above, the method of teaching that mainly incorporates cultural text is a approach that fulfills the students with sensibility who live in the visual era. Second, it is a three-dimensional and sensible approach for the visual era, not an annotation that searches for any ambiguous vocabularies or metaphors. Third, it is the method that reduces the burdensome amount of reading. Fourth, it triggers interest in students including philosophical, sociocultural, and political ones. Such experience is expected to stimulate the intellectual curiosity in students and moreover motivates them to continues their study in graduate school, because it itself can be an interesting area of study.

전기 영화가 인물과 역사를 소환하는 한 방식에 대해 - 영화 <황금시대>를 중심으로 (On a Way in which Biographical Film Summons Character and History - Focusing on the Film, The Golden Era -)

  • 진성희
    • 비교문화연구
    • /
    • 제39권
    • /
    • pp.287-308
    • /
    • 2015
  • Biographical film is a genre narrativizing the actual person and history, and reproducing the character and history in a biographical film is in a dimension different from a film focused on a fiction. Discussion between these methods of narrative composition and image reproduction in a biographical film is also, in line with artistic/aesthetic problems and ethical/philosophical theses of the film text. This study discusses the phase of the way of reproduction of the actual person, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ in the biographical film, The Golden Era and the time she lived in a biographical film and how the audience's discussion of the film and socio-cultural discourse differ depending on their attitude towards the cinematic introspection of the text. The narrative structure, the method of image reproduction and cinematic devices of the film, The Golden Era are completely off the point of the general format of the traditional biographical film. In The Golden Era, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ and the history which she lived in did not revive depending on an omniscient subject's selective statement and meta-film structure. Ann Hui removed general, mythic images of $Xi{\bar{a}}o$ $H{\acute{o}}ng$ formed in the field of traditional Chinese culture and reproduced her through multilateral visions of a real, fictional narrator. Each spectator's judgment and interpretation of the film intervene in the multi-layered and sparse descriptions of the actual person's images and the era of the characters. Through this, it is possible to approach the uniqueness and authenticity a historical character, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ and to have an opportunity of multi-layered reflection on how to secure a critical distance and make a perception in historical judgment.