• Journal of architectural history
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• v.14 no.4 s.44
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• pp.177-195
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• 2005

Tough Korean architecture and urban environment has been developed for almost 100 years, it still remains various kinds of problems. Many attempts was carried out by every new plan to reduce the problems, it result in requiring more investment than before. It means all the investment for the development has been inefficient and immature to protect economic problems compared with the developed country. For the reason of economic problems it must be studied in historical cases which influenced the economic impacts, before the proposal of index with the economic theory. Searching typical architecture or urban development that brought about economic impacts can be classified into 3 cases. First case is the impact that caused the economic growth, increase, boom like the Westminster & others and the american architectures after the economic crisis. Second case is the impacts that was the origin of decline, shrink in economic as the Palace of Versailles, the skyscrape buildings in america before the economic crisis. Third case is the impact that was the both role of increase and decline in economic as the modern architecture in industrial revolution which led to the national economic growth and the gap between the rich and the poor, and as the american architecture that was the root of crisis and the revival in economic. From the case study, it is clear that architecture has relation with economics in various factors as mass production, labour, and another industries all over the history & the world. Now, architecture strongly needed not only to raise functional, cultural effect and value, but to predict and control the economic impacts with theory from further research of historical cases to policy and practise.

• Cross-Cultural Studies
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• v.46
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• pp.63-84
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• 2017

This paper analyzes Gloria Anzaldua's borderland proposal through her work Borderlands/La Frontera (1987). One of the strong trends of US geographical imagination started from the concept of 'city upon a hill'. It left an important footprint in the American history. In the area of international political history, it was the starting point of the isolationism policy. But, this imagination is contradictory because it has exercised the bordering power that demarcates the border and overpasses it as needed. Anzaldua's geographic proposal consists of transformation of the border into the borderlands. This is a challenge to the bordering power and a challenge to the geographical imagination that has led to isolationism, and ultimately a history war. This is not only a nationalist war aimed at the Chicano's restoration but also a war that can measure the American society's possibility of change in the future.

• Journal of Conservation Science
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• v.38 no.2
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• pp.124-132
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• 2022

Through scientific analysis, this study identified the material characteristics of metal foil decorating the border line and knotting of the National Folklore Cultural Heritage 'Pouch for the Sutra Embroidered with a Sun and Moon Design'. Through Scanning Electron Microscope-Energy Dispersive Spectroscopy results, it was estimated that silver (Ag) and sulfur (S) were present in the metal foil, and silver leaf was also attached to the medium. S may discolor Ag from yellow to black depending on its concsentration and contact time. Yellow color could not be identified in metal foil at present. But there existed an example of the preparation of a gold-colored flat silver thread; therefore, further research is needed to estimate the original color. The lamella was reddish brown on the back. Aluminum, silicon, and iron were also detected and were the main components found in red soil. This is believed to be the red adhesive in traditional flat gold thread and is considered to be an adhesive-related component of the metal foil. From the gas chromatography mass spectrometry results, the adhesive component was confirmed to be animal glue.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.270-286
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• 2023

This article is about the conservation and use cases of Horogoru, a Goguryeo site located in Wondang-ri, Jangnam-myeon, Yeoncheon-gun in Gyoenggi Province. After Horogoru was excavated, it was decided to build a park around it as a way to prevent damage, and also to plant sunflowers to symbolize the sun. Naming the park 'Tong-il Balagi Park', which refers to the wish for unification, local residents and other related organizations jointly opened the site. Afterwards, they looked for ways to utilize the location and park, and chose to hold the 'Tong-il Balagi Festival'. The festival is an event held under the leadership of local residents, which has the effect of promoting both conservation and cultural property, as well as generating economic benefits. In other words, the Yeoncheon-gun, Jangnam-myeon Tong-il Balagi Festival can be said to be an exemplary example of successfully overcoming various disadvantages associated with the border area near the ceasefire line through local residents' own utilization of cultural property.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.278-294
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• 2022

To date, cultural property education has seen rapid quantitative growth due to national and personal needs. However, qualitative growth is lacking. The objectives of cultural property education have not been established, and therefore, even its identity is not clear. The most pressing issue at present in cultural property education is to first set objectives. This study aimed to analyze the objectives of current cultural property education, identify the problems, and set new objectives to meet significant national and personal needs in terms of education. The problems with the objectives of current cultural property education are that the persons interested in the education do not understand the concept of the education objectives clearly and that the objectives do not contain much actual content of the education. Also, the objectives of the education do not take into account the dynamic competencies and interests of the learners and do not satisfy the changes of the times. To solve these problems, new cultural property education, called 'U.V.E.C.,' was offerred. U.V.E.C. education is aimed at understanding cultural properties, recognizing their value, and enjoying them, and at creating culture. The objectives of U.V.E.C. cultural property education were set such that they can be modified flexibly in a learner-centric way with clear and practical format and contents. Based on this direction, stepwise objectives were set including overall objectives, detailed objectives, and practice objectives, and objective cases of each step were proposed. Considering the generality of the education and the distinct characteristics of the cultural properties, the U.V.E.C. education objectives took into account the diversity of behavioral objectives, clearness in statements, the objectives of problem solving, the initiative of learners and openness for expression outcomes. The U.V.E.C. objectives are clear and specific so that teachers can enhance their pedagogical efficiency and learners are able to develop interesting and diversified competencies. In addition, it is expected that the U.V.E.C. objectives will significantly affect objective setting for education on cultural properties which have not been studied widely. Further systemic and specific studies on the contents and methods of the U.V.E.C. education would help to change the overall education on cultural properties and position the field as a new academic area.

• The Journal of Art Theory & Practice
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• no.14
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.128-136
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• 2018

This study was centered on the protested data of the issue of "History of Landscape Architecture" in the handwritten course of landscaping articles of National Qualifications Test. The purpose of this study is to examine the types of social problems in the process of correcting erroneous historical facts. The purpose of this study was to find alternatives for the development of the field of landscape and culture history that can assist in the verification of the historical facts of the landscape sciences examination questions. The main results are as follows. First, as a result of analyzing the contents of the landscape architects' subject matter, the establishment of concept of landscape style and form and the confirmation of historical facts were investigated as important types to be established for development of landscape landscape history department. It seems that the social consensus of the expert group is needed to supplement the lack of data to refer to landscape architectural theory. Second, the analysis of the problematic narrative contents resulted in a total of five types of questionnaires. The appeared in the Undefined style and form(52.94%), Unproven historical facts(25.13%), Obscurity Era classification(11.77%), Lack of specificity(6.95%), Content scope of obscurity events(3.21%) Third, it is not only the lack of information to learn the theory by comparing and analyzing the contents of the statements in the landscape architect 's question items, but also the difference of contents between books was analyzed as the main cause of the problem. As a result of examining the characteristics and examples of the issues raised in landscape architectural problems, it was related to the social phenomenon, and it was classified into cultural factors and political factors. Fourth, the resolution of problematic issues in landscape architects' landscaping articles, which are national technical qualification tests, shows positive results. The information determined in the process of solving the perceived content can be used directly in landscaping field, and it helps the accuracy of the verification process by identifying the types and characteristics of the issues.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.268-289
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• 2013

The Dinosaur tracksite at Jeori, Geumseongmyeon, Euiseonggun, Gyeongsangbukdo, Korea (National Monument No. 373) has been studied in the aspects of location, stratigraphy, sedimentology, fossil occurrence, unique geological records, literature, significance in natural history, preservation, and management. On the basis of these features, the Jeori tracksite has been assessed semiquantitavely. The Jeori tracksite occurs in the Sagok Formation (Albian) of the Euiseong sub-basin, and over 300 footprints forming 12 sauropod trackways, 10 ornithopod trackways, and 1 theropod trackways are preserved in this tracksite. The track-bearing deposits consist of tabular-bedded medium- to fine-grained arkose with mudstone drape, interlaminated fine-grained sandstone to siltstone and mudstone, and shaly mudstone. The dinosaur tracks are preserved in the interlaminated fine-grained sandstone to siltstone and mudstone, and most of them are observed as underprints. The track-bearing deposits are interpreted as sheetflood deposits on the floodplain under a seasonal paleoclimatic condition with alternating of wetting and drying periods. Multiple tension fractures with NE strike were formed in the track-bearing bed, which resulted in that tracks seem to occur in several horizons. The significance in natural history of the tracksite can be summarized as follows: 1) the historical implication of the Jeori tracksite as the firstly designated National Monument of dinosaur fossil sites, 2) the high density of the occurrence of diverse footprints (over 300) within small area (about $1,600m^2$), and 3) the significance of the tension fractures associated with the track-bearing bed as geoeducational records for the understanding the development of fault. In order to share the value of the Jeori tracksite in the aspect of natural history with the community and public, the interpretive panel should be modified to include figures explaining paleoenvironment and tension fault development. In addition it is recommended that a brochure be published briefly explaining the tracksite and to educate the residents about the natural and social significance of the tracksite. For the safety of visitors it would be desirable for the road in front of the tracksite to be moved at least 10 m southward, which could mitigate the shaking of the track bed caused by traffic.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.138-156
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• 2023

Some of the metal cultural heritage that make up a considerable proportion of Korea's cultural heritage have been installed and displayed outdoors due to their own functions, roles, and scale. Therefore, more diverse and complex damages can occur outdoors than they are in a stable environment. Therefore, it is necessary to combine accurate diagnosis and systematic survey methods in order to utilize basic data obtained from research results as data for the long-term and continuous conservation management as well as to do the research to diagnose the conservation status of outdoor cultural heritage. The clepsydra(hereinafter referred to as Jagyeongnu) of Changgyeonggung Palace, the National Treasure has been installed and displayed outdoors since it was manufactured. Though regular conservation and maintenance of the Jagyeongnu have been carried out, damage still occurred. Therefore, the scientific research on Jagyeongnu to diagnose the state of conservation was conducted prior to the full-scale conservation treatment. First, the state of conservation was investigated with an examination of basic data, macroscopic inspections and past records of repair history according to the purpose of the research. More detailed examinations were also conducted through the 3D scan, surface pattern investigation, and color difference analysis, and the analysis on materials and contaminants were conducted through P-XRF, FT-IR, and Py-GC/MS. The scientific research reveals that squalane and silicone oil have been applied in the past for conservation treatment and directly exposed to outdoor environmental factors, which caused damage to Jagyeongnu and contaminants such as dust adhered thickly to its surface, accelerating severe damage. A greater incidence of damage was found around the part with relatively high exposure effect, which corresponded with the tendency identified by grouping color difference data. As a result of integrating various research methodologies to diagnose the state of conservation and secure basic data, the causes and types of damage were identified. Furthermore, the process of obtaining digital data to be utilized in various ways, and the color difference analysis presenting visible damage as scientific data and identifying the tendency of damage patterns were confirmed to have been effective.

• Cross-Cultural Studies
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• v.52
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• pp.223-251
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• 2018

This paper comparatively considered how Korea and Japan address the concept of 'postwar' in descriptions of their literary history. In Japan, 'postwar' refers to the period after World War II (Asia-Pacific War). This word implies a variety of contexts such as collapse, poverty, confusion, calendar reform, reconstruction and restoration as well as a series of historical events such as war, war defeat, and American occupation; and so it has been treated in Japanese society a significant period. In the history of Korean literature, it is after national liberation that the word 'postwar' appeared; however, it has usually indicated 'the period after the Korean War.' The question is that although the term of postwar refers to periods after different wars, Koreans used the term of postwar also in the same way as Japan, and their concept of postwar overlaps with the concept of prewar or postwar used in Japan, and accordingly, side effects are produced that fail to grasp properly the independent characteristics and significance of the Korean War. In conclusion, the Korean War brought about contrasting effects on the history of Korean and Japanese literature. While the Korean War meant a start after the war in Korean literature, it became a turning point marking the end of postwar in Japanese literature. Such different perceptions on postwar also have major implications in that perceptions represent postwar discourses in today's Korea and Japan.