• Journal of architectural history
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• v.32 no.5
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• pp.95-105
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• 2023

Focusing on Hwaseokjeong in Paju, the work seeks to clarify the social production of Nujeong (樓亭: Korean traditional pavilions) space, which took place over the 1960s and 70s, and its cultural-political implications. To make the effort as such meaningful, a theoretical framework based not merely on the thesis of 'social production of space' advocated by Henri Lefebvre but especially on some discussions related to 'state production of space' is prepared, according to which Hwaseokjeong is analyzed and explained. As a consequence, two principal arguments are put forward: one is that Hwaseokjeong was a social space which had been built and constructed in accordance with the unique mode of production dominating Korean society at that time called 'the state mode of production (le mode de production étatique)'; the other is that what lies beneath the denotation of a 'social space of tradition restoration' that Hwaseokjeong appears to carry is in fact the connotation of 'infiltration of anti-communist ideology'. All of these claims are once again supported both by examining Roland Barthes's semiology and mythologies and by considering Hwaseokjeong's P yeonaek (扁額: a plaque or framed text) as 'the practice of naming power through Jesa (題詞: inscribing dedications)'. While providing a succinct summary, the paper finally evaluates what 'social production of space' implies to social practices of architecture and related criticisms by taking into account the relationship between visibility and readability of space including buildings.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.30-39
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• 2023

This study aims to identify the value of Incheon Freedom Park as a 'historic urban park' through the historical transition process of the park and surrounding areas. To this end, this study uses a time series analysis, as research method, based on old maps and aerial photographs to investigate the changes in the park over time and to interpret them based on the historical and cultural changes in modern and contemporary history. As a result of the study, the park not only has (1) evidence of major events in modern and contemporary history, but also (2) historical value as an urban park based on the first urban plan in Korea, and (3) very important heritage value that shows the rapidly changing civic life in modern and contemporary times. However, despite the identification of heritage values in this study, further research is needed to explore and excavate in-depth data on the park in order to more clearly identify, restore, and utilize the heritage values of the park.

• Journal of the Society of Disaster Information
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• v.15 no.1
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• pp.1-11
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• 2019

Purpose: This study intends to determine how disaster prevention characteristics of important state-designated wooden cultural properties in Gyeongsangnam-do vary according to the surrounding environments and to examine disaster prevention measures for wooden cultural properties that fit their surrounding environments accordingly. Method: The designation status and characteristics of cultural properties in Gyeongsangnam-do and Gyeongsangbuk-do were identified, and the damage status of cultural properties in Gyeongsangnam-do and Gyeongsangbuk-do was reviewed based on the history of disasters. Also, the disaster prevention environments for 58 state-designated wooden cultural properties in Gyeongsangnam-do and Gyeongsangbuk-do were analyzed separately into mountainous area, rural area and urban area, topographic characteristics were drawn. Results: For cultural properties located in urban areas, it was found that security guards were arranged properly and disaster prevention training was carried out well. In addition, access condition to the cultural properties was adequate; prompt access to such properties was possible. In rural areas, flame retardant works have been undertaken properly and many cultural properties were found to be located on a flat ground. Mountainous areas had highly inadequate access condition to cultural properties and disasters occurred most frequently in these areas in the past. Conclution: First, for wooden cultural properties located in urban areas, it is necessary to secure the self-defense fire service manpower for an initial response and reinforce the disaster prevention education. Second, for wooden cultural properties located in rural areas, prevention projects such as insect control project and disaster prevention insurance should be carried out in order to protect the cultural properties. Third, as for wooden cultural properties located in mountainous areas, it is necessary to prepare establish to reinforce self-response capability.

• Trans-
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• v.6
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• pp.43-78
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• 2019

Dance is an art that includes not only art historical facts, but also a series of processes for dancers' body, choreography, and the creation of entire process of dances and their lives. In other words, dance is the art of embodying the experience and consciousness of the dancer as the subject, and embodying it through the physical body, and therefore, the existing empirical study which relies solely on the literature in the history of dance study is difficult to deliver a complete history. Oral history is a new methodology historical writing that overcomes the limitations of research methods based on literature centered documents. Oral history in the field of dance is that the dancer becomes the subject of the history of dance's narrative. The memory and testimony of a dancer can become a history, complement the missing parts of the documentary record, and amount to analysis and interpretation to attempt the history of dance from various perspectives. The history of dance through oral history analysis thus generates another view from the literature. The oral history is acted as a prism that can explore the sociocultural discourse of the time and the history of dance. As a new academic challenge for the history of dance field, I expect to be able to review the artistic, social, and cultural functions and roles of dance beyond the limit of existing literature-oriented history study and to be able to progress to various the history of dance.

• The Journal of the Korea Contents Association
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• v.18 no.5
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• pp.292-302
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• 2018

This article examines how India's major colonial cities-Madras, Calcutta, Bombay (today, Chennai, Kolkata, Mumbai) and New Delhi- are described in India's history textbooks and analyzed them from the perspective of Indians. It is explained the major colonial cities as the process of making the cities and their political, social, economic and cultural changes, the separation between British and Indian, urban planning, colonial architectures built by British colonial power in Indian history textbooks. The viewpoint of its descriptions is featured by the coexistence of 'deprivation, exclusion, discrimination, resistance, challenge' and 'grant of opportunity, acceptation, absorption'. That is, this characteristic maintains a mutual confrontational and inseparable relation. And in a multi-layer, it enables to consider the inherent characteristics of a colonial city reflecting the British ruling ideology and the society within which the rulers and proprietors are forming without simplifying the cultural characteristics. It is clear that there was a resistance against the unreasonable discrimination and exclusion that had been suffered by the British colonial government as well.

• The Research Journal of the Costume Culture
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• v.10 no.6
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• pp.633-647
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• 2002

The purpose of this study is to observe the symbolic meaning and the values of the costume which express bisexuality through the definition from a culture point of view. The research method is to contemplate the documentary records such as world history, art history and clothing history, and to recognize the symbolic meaning of a bisexuality in modern fashion design. A definition the word´man and woman´restricted the human being for a long time. This restrict is enforced by the costume, but this traditional fixed idea is retarded by the liberal sense of the human being and the design expresses a sex ambiguity This study inspects the sex ambiguity and the meaning of that through a cultural background and a historical costume. The results are as follows: The first, the cultural background about bisexuality is classified into the etymological point, the mythologic point. the art and philosophical point, the political and economic background, the mass media, and the custome and the regulation. A bisexuality is a concept in existence from ancient times. we have an open-minded attitude about bisexuality in the present than the past. The second, the function of costume is sex classification before 20th century, but since 20th century the costume expresses sex ambiguity. The third, the symbols of the bisexuality are the interminacy, the unity and the dismantling. The costume which expresses bisexuality means coexistence of male sex and female sex. this is a kind of motion to embody a ideal body of the human being. This study makes a contribution to recognize the dignity of human body and to understand the phenomenon of modern society.

• (The) Research of the performance art and culture
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• no.32
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• pp.107-129
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• 2016

This article is about the tradition and history of Baekjesooryukjae(Sooryukjae, one of the Buddhist ritual is called Baekjesooryukjae in Buyeo), which is conducted in Baekje Cultural Festival, the annual festival that is held in Buyeo. Buyeo was a place where various ritual books on Sooryukjae were published, and where Bumpae(Buddhist chants) were taught centering on Mooryang Temple. Based on this tradition, to comfort the lonely spirit of Baekje and pacify the three thousand court ladies, Sooryukjae started to be held 60 years ago. Baekjesooryukjae, unlike Sooryukjae of other regions, have the feature that it is held on the river. In Buyeo, where ritual books were published many times and where there was its own Buyeo education, Sooryukjae is assumed to have been handed down for a long time. Thanks to such historical tradition, Sooryukjae was held as a ritual of pacification in Baekje Cultural Festival. Baekjesooryukjae has unique characteristics. Baekjesooryukjae, which started with the proposal of the residents, shows off its status as the one and only water Sooryukjae that is currently existent, and it shows there are significant meanings depending on the changing venues of 재차 as well as the composition of 재차. It is a Sooryukjae with 60 year-long tradition and locality, history.

• Korean Journal of Heritage: History & Science
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• v.43 no.2
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• pp.82-119
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• 2010

"Gongchengzuofazeli" was published by the Ministry of Engineering (工部) in 1734, the 12th year of the Yongzheng(雍正) emperor of China's Ching Dynasty. Its purpose was the standardization of building construction and the strengthening of management policies The book records exact measurements of every material used in the building, dividing the building into sections called "dugu (斗口)." It also contains records of the funds that were needed for fair management. Today, it has great historical value because it provides information as to the state of architectural technology and environment of that time. However, the research of Korean architectural historians tends to focus on the "Yingzaofashi(營造法式)" which was written in the Northen Song Dynasty. While the significance of "Gongchengzuofazeli" is widely acknowledged, not enough interest has been garnered to even begin a full-scale translation project. This article, by summarizing in the introduction the basic contents of "Gongchengzuofazeli" and a translation of the first volume in the body, seeks as its purpose to provide data to become the foundation of future research in this area.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.94-135
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• 2000

Rituals for burying the tae(胎) is a unique royal tradition of Korea that lasted from Unified Shilla(統一新羅) Kingdom to Joseon(朝鮮) dynasty. However, all of the currently known taesil(胎室)s are of the royal descendants of Joseon dynasty. Therefore, Taesils made earlier than Joseon dynasty are only known by historical documents. Taesils of the royal descendants of Joseon Dynasty divide into two kinds. One is for those of princes and princesses and the other is for those of Kings. The structure of taesils of princes and princesses is a stone chest(石函) in a pit which dug on the apex of the Taebong(胎峰) containing a pair of Tae(胎)-urn(the inner urn and outer urn), a stone tablet called Jiseok(誌石) which the date of baby's birth and Tae burial is inscribed in. And a tombstone-shaped stone tablet which called Taesilbi(胎室碑) was built on the ground. And the underground structure of Taesils of Kings is identical with that of taesils of princes and princesses, but instead of just an stone tablet, this has a Budo(浮屠);means stupa of a monk in korean)-shaped stone structure on the top of the stone chest, and an octagon-shaped porch was built around it, and a Tapbi(塔碑) was built. This treatise is focused on the current status and change process of stone ornaments. The subject of this treatise is 54 Taesils which were transferred to Seosamnung(西三陵) during the japanese occupation and Tae-urns and Jiseok(誌石)s from any other Taesil and its stone chest were not included in this treatise. Researches on Taesils can be great help to history by providing resources about genealogy of Jaseon royal family and social, economical status of that time. And researches on stone ornaments and tae-urns from Taesils can provide great help to stone art history and porcelain history of Joseon dynasty.

• (The) Research of the performance art and culture
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• no.33
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• pp.303-328
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• 2016

This paper identifies the life of Kim Jung Hyun who was so called kisaeng, a beauty and entertainer in modern times and serves as the study considering what kinds of dances she played going through modern times and the significance works in Korea Dance illustrated guide bear in terms of dance history. Kim Jung Yun who was designated as an important intangible cultural asset for her Korean traditional narrative song in the northwestern provinces (Number twenty-nine. designated in 1971) devoted herself to Korean classical music area after having been designated as cultural asset and became a stranger in dance area. However, in Kisaeng call-office, she had been estimated to learn dancing under the great dancer, Lee Jang Sin, and make efforts on dance activity until the early 1960's. Her works derived from such learning and creation activity came to be part of Korea Dance Illustrated Guide. This study aimed at studying Kim Jung Yun in addition to her works who had not received attention so far but worked on positive lines and made a significant accomplishment in modern dance history in order to reveal her importance status in modern dance history.