• 제목/요약/키워드: Historical background

검색결과 683건 처리시간 0.027초

독일 자연치료사(Heilpraktiker) 제도 현황과 형성과정 (German Heilpraktiker system, its history and current status)

  • 박인효;김동수
    • 대한예방한의학회지
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    • 제22권3호
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    • pp.45-60
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    • 2018
  • Background : There have been a variety of healthcare systems related to CAM practitioners developed in each country. However, the European cases have not been widely introduced in Korea so far. In the case of Germany, CAM practices have been developed in the frame of "Heilpraktiker" system. Objectives : The objectives of this study were to review the historical development and current situation of German Heilpraktiker system and its conflicting relationship with Western medical doctors, in order to utilize it as basic data for the conflict resolution between Western- and KM doctors in Korea. Methods : The historical development, current regulations and education system of Heilpraktiker were assessed. Research articles, reports, government publications and websites dealing with this issue were searched for and analyzed. Results : Heilpraktiker system was developed within German historical and cultural situation where naturopathic traditions were reilluminated in connection with modernization process of the state under the influence of romanticism formulating German nationalism. Between the concept of "Kurierverbot"(prohibition on medical treatment by non-physicians) and "Kurierfreiheit"(freedom of medical treatment), Heilpraktiker achieved a limited but legitimated right to conduct non-biomedical treatments from the state in the process of the formulation of modern German medical system. In this process, the conflicts between medical doctors and heilpraktikers have been also growing up to now. Conclusions : Heilpraktiker system, officially recognized with the legislation of Heilpraktiker law in 1939, stands at a crossroads between the continual development through strengthening its professionality, and abolition of the system due to its lack of quality control and medical evidence mostly argued by Western medical doctors, which has considerable implications for Korean situations in terms of the conflicting relationship between KM- and Western medical doctors. In this regard, it is necessary to discuss the debates on the concept "Kurierfreiheit"(freedom of medical treatment) developed within German tradition of medical pluralism.

줄리언 반즈의 정체성, 민족성 그리고 역사의 재건축 -히스토리오그래픽 메타픽션으로서의 『잉글랜드, 잉글랜드』 (Julian Barnes' Reconstruction of Identity, Nationality and History: England, England as a Historiographic Metafiction)

  • 우정민
    • 영어영문학
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    • 제56권2호
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    • pp.301-328
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    • 2010
  • Many recent British novels engage with the construction and deconstruction of history and identity; and in dealing with these historical, or historicised novels it seems to be an untouchable ground that truth is beyond grasp. Even when approached, its authenticity should be examined under the post-modern "incredulity toward metanarrative" discourses. Julian Barnes's 1998 novel England, England may be one of these. Yet, unlike others it achieves a complicated and controversial status as a new kind of historiographic metafiction by providing selfconscious reflections on the invention of innocence and the questionable notion of historical authenticity against the background of current postmodern historical, cultural, and literary explorations. The book, set in a near-future, namely post-post-modern England, starts with a story of a young girl, Martha Cochrane, whose first memory goes back to her early infantile years. Yet, the narrator comments that it is a lie, "her first artfully, innocently arranged lie," since memory, or history, is a product of identity, and vice versa. Her memory of the jigsaw puzzle is both a reminiscent and a significant component of who she is now, both a simulacrum and the original of herself. The correlation between her individual memory and identity parallels that of a region, England, in formation of its history and nationality. "England, England" is the replicated miniature of the former glorious Kingdom as well as a becoming der Ding an sich (the thing itself). In search of the English history and identity, the author satirizes the modern mind's perception of the unreliability and arbitrariness of memory and history, and further explores the alternative to the postmodern discourses by suggesting the probability of inventing innocence glimpsed in children's face "believing while disbelieving." In doing so, the author reconstructs not only the history of Englishness on the ground where nothing seems to be solid, but more importantly also the postmodern theme of relativity in relation to memory, history and identity.

장예모의 영화 ≪영≫의 중국문화상징과 현대문화상징의 응용에 관한 내용 (On the Application of Traditional Chinese Cultural Symbols and Modern Literary Symbols in Zhang Yimou's Film)

  • 두안타오
    • 한국엔터테인먼트산업학회논문지
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    • 제13권5호
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    • pp.83-89
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    • 2019
  • 장예모 감독의 영화 ≪영≫은 중국전통문화상징을 다양하게 인용하여 시각적 효과를 높이는 반면, 스토리구성에 있어서는 대량의 현대문화상징의 내용을 인용하였다. 그러므로 그의 작품은 전통시각적인 느낌과 현대스토리내용을 모두 구비하였다. 의상과 장신구에서는 전통을 추구하였고 역사를 숭상하는데 충실하였으며 스토리구성에 있어서는 객관성 및 엄숙성을 담보하는 역사소설과 차별을 두었다고 할 수 있다. 가공문학해소로 역사를 새로 쓰고 더 나아가 역사에 대해 풀이함으로써 의도적으로 역사와 일정한 거리감 혹은 잘못된 관계를 유지하고 있다. 장예모 감독의≪영≫영화는 이러한 가공문학의 언사실천을 구사하였다. 영화는 역사를 시적으로 표현하는 한편 한 사람의 마음을 서사하였다. 예전의 영화제작과정에서 원작스토리에 충실하고자 했던 것에 반해 장예모의 ≪영≫은 (2018)제작 당시 원작 ≪삼국·정주≫의 작가 주수진의 동의하에 소설에 큰 변화를 주었다. 그 중에서도 제일 눈에 띄는 부분은 영화에서 원작의 설정을 과감하게 버리고 스토리의 시대배경을 허구적으로 구상해 냄으로써 가공문학을 완성시킨 것이다. 이는 결코 역사 문학의 언사실천은 아니다. 동시에 시각효과에 있어서 중국전통문화인 수묵 등 문화원소를 대량으로 인용하여 새로운 시각효과와 문화체험을 안겨주었다.

근대일본의 '바우하우스 사진' 수용과 국가선전: 야마와키 이와오의 '포토몽타주'에 대한 재조명을 통하여 (The Reception of 'Bauhaus Photographies' and Propaganda in Modern Japan: Rethinking of Yamawaki Iwao's Photomontage)

  • 서희정
    • 미술이론과 현장
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    • 제9호
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    • pp.59-91
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    • 2010
  • The Bauhaus educational method gave the strong influences on Modern Japanese art and design education. In the 1920s and 1930s, Japan allied with Germany and Italy politically and tried to receive German system to be modernized. The reception of the Bauhaus and Moholy-Nagy's photographic theory was one of those activities at that time. Japanese intellectual class went to the Bauhaus and studied there; Ishimoto Kikuchi, Nakata Sadanosuke, Mijutani Takehiko, Yamawaki Iwao and Yamawaki Michiko(Yamawaki Iwao's wife). Especially, Yamawaki Iwao studied about the architecture at the Bauhaus, but his interest moved toward the photography and the photomontage based on Moholy-Nagy's theory. He studied at the photography workshop of the Bauhaus presented by Peterhans irregularly. Even though Yamawaki Iwao was an architect, he wanted to be admitted as an expert for the photomontage that he particularly studied at the Bauahus as a Bauhaus member. He had presented many articles about the photomontage at the photography magazines in Japan in order to introduce it to Japan since he returned in 1933. Thus, Yamawaki Iwao is the important person when we look back the Modern Japanese design and art history. In Japan, the art and design systems are managed by the Bauhaus educational system until now, and it has become a kind of cultural legacy in Modern Japan; The university of Tama and The university of Tsukuba are the representative educational systems which are based on the Bauhaus legacy. However, Yamawaki Iwao had been concealed as a photographer in Japanese design and photography history until the retrospective discuss named by 'Bauhaus syashin(Bauhaus Photographies)' at the photography magazine, Deja-vu in 1995 and the retrospective exhibition titled as 'Bauhaus syashin(bauahustofografie)' in 1997. This study rethinks of Yamawaki Iwao's historical position while looking at the term as 'Bauhaus Syashin(Bauhaus Photographies)' used in Japan. It is very important to bear in mind Moholy-Nagy's wide variety of approaches to photography at the Bauhaus, but it is impossible to name it 'Bauhaus style'. 'Bauhaus style' is the international style in architecture, but that was never a Bauhaus style in photography. Eugene J. Prakapas indicated that the vague term of 'Bauhaus Photographies' in his article in 1985 as well. This study considers the historical background for the mistake of the term of 'Bauhaus Syashin(Bauhaus Photographies)' in Modern Japanese history, while looking at Yamawaki Iwao's photomontage faintly entering on the historical stage again to discuss the reception of the photomontage from him. In particular, Some of Yamawaki Iwao's photomontage presented as the wall photography in Japan during the Second World War, that was related to the propaganda of Japanese government. It had not been known well in the modern Japanese art and design history because it was related to a declaration of the Second World War by Japan. However, the historical position of his photomontage is very important for Japanese history when we rethink of the reception of the Bauhaus and Moholy-Nagys' photographic theory to build up the Japanese modern history. In the result, this study wants to discuss that the mistake of the term of 'Bauhaus syashin(Bauhaus Photographies)' in Japan is related to the interpretation for the the historical position for Yamawaki Iwao's photomontage in the reception of Bauhaus and Moholy-Nagy's photography in Japan.

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일본만화의 역사왜곡에 대한 고찰 (Consideration on a Historical Distortion of Japanese Cartoon : Focusing on works of the Rightists cartoonist Kobayashi Yoshinori and Yamano Syarin)

  • 고경일
    • 만화애니메이션 연구
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    • 통권17호
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    • pp.21-35
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    • 2009
  • 독일이 의장국으로 있는 유럽연합(EU)에서는 회원국 전체가 홀로코스트를 부인하는 것을 범죄행위로 규정하는 방안을 추진하고 있다. 이미 유럽의 11개 나라에서 역사왜곡을 범죄로 보고, 이에 대한 책임을 묻고 있다. 그러나 일본에서는 국민통합이라는 이름아래 교과서문제나 헌법개정, 야스쿠니 참배 등을 주장하며 국가주의적인 움직임이 커지고 있다. 역사교과서의 개악을 주도하는 우익들의 논리는 과거 침략의 역사를 미화하고 정당화하는 데 그치지 않고, 전쟁의 피해자로서의 일본을 강조하여 오히려 피해자라는 국민적 공감대를 형성해가고 있다. 특히, 일반대중들의 깊은 관심을 끌어내고 있는 만화분야에서는 고바야시 요시노리와 야마노 샤린의 만화작품을 통해 우익들의 논리를 확대 재생산하고 있다. 본 논문에서는 '만화 일본사회의 역사왜곡의 실태'와 '일본우익의 논리와 만화의 상호작용'이라는 큰 틀 안에서 일본 만화의 현황에 대해 역사적, 사회적 그리고 문화적 측면에서 구체적으로 살펴본다. 특히 일본 우경화의 실태와 배경 그리고 왜 국가주의와 보수주의가 고조되었는지를 살펴보고, 일본 우익들의 정신적 뿌리를 이루고 있는 야스쿠니 신사와 우익단체의 주도로 집필된 새로운 역사 교과서에 객관적으로 접근하였다. 그리고 역사왜곡의 대표적 작품인 '고바야시 요시노리'의 "전쟁론"과 야마노 샤린의 "혐한론"을 집중 검토하여 문제의 실상을 보다 심층적으로 분석하였다. 이 과정을 통해 허위 과장된 문제를 정면으로 제시하여 앞서 언급한 두 작품을 역사의 실증으로 분석함으로써 일부 만화가들이 가지고 있는 우리 역사에 대한 편견과 왜곡을 체계적이고 이론적인 대응 논리로 만화가들의 극복과제를 제시하였다.

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고도경주의 역사문화경관 특성과 보존 대책 (The Preservation Policy and Historical Landscape Characteristic of Ancient City Gyeongju)

  • 강태호
    • 한국전통조경학회지
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    • 제28권4호
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    • pp.64-75
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    • 2010
  • 신라천년의 역사를 간직하고 있는 경주는 산과 물을 끼고 있는 이른바 배산임수의 분지지형으로 아름다운 자연풍광이 도시경관과 함께 어우러져 있는 매우 인상적인 역사도시이다. 경주의 역사경관은 구시가지 지역과 구시가지 동남측에 주로 지정되어 있는 사적보존지역, 이들 주위를 위요 하고 있는 산으로 이루어진 자연경관지역 등 3개 그룹으로 형성된다. 구시가지 지역은 인공적이며 한국의 평범한 지방 중소도시에서도 흔히 느낄 수 있는 경관이 연출되고 있지만, 그 주변지역은 자연경관 속에서 역사경관이 중첩되어 나타나고 있어, 경주만이 간직하고 있는 독특한 도시경관을 형성하고 있다. 그러나 경주는 현대도시화 과정을 거치면서 역사경관이 교란되고 훼손되었다. 특히 1970년대부터 시작된 급격한 도시화와 산업화의 추세와 현대적인 관광도시 개발을 위한 경주관광종합개발이 시작되면서부터 나타났다. 경주의 역사경관 보존은 신라고분군과 한옥의 처마선으로 중첩되어 나타나는 곡선의 아름다움을 어떻게 잘 유지시켜 나가느냐에 달려 있다. 따라서 경주의 역사경관 보존에 가장 중요한 관건은 건축의 고도제한과 전통 한옥군의 보전이다. 특히 구시가지에 위치한 고분군의 조망권역 형성을 위하여 건물의 높이를 제한하지 않을 수 없다. 이를 성공적으로 수행해 나가기 위해서는 법적 제도적 그리고 재정적인 뒷받침이 따라야 한다. 경주와 같은 한국을 대표하는 역사도시를 보존하려면 국가적 사업으로 중앙정부의 정책적 개입과 경주의 역사성 회복이 바로 문화민족의 자긍심을 되찾는 길이라는 것을 계몽하고, 국민적 합의를 도출해내야 한다. 이를 위해서는 국가 경영의 기조가 경제지상주의에서 문화우선주의로 바뀌고 문화정책이 중시되는 사회 풍토가 조성되어야 한다.

역사극 공연을 위한 시대언어 복원의 의미 연구 (A Study on the Restoration of the Language of the Time for a Historical Drama)

  • 표원섭;박윤희
    • 한국엔터테인먼트산업학회논문지
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    • 제13권2호
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    • pp.133-143
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    • 2019
  • 사극 희곡을 집필하는 데 있어서 시대 언어를 복원하는 것이 극작가의 책임이라는 주장이 있었지만 이에 대한 본격적인 연구는 이루어지지 않고 있었다. 극작가와 국어학자의 협업 연구가 없었기 때문이다. 지금까지 많은 극작가들은 언어를 발굴하고 복원하는 것이 오롯이 국어학자들의 책임이라고 여겼다. 그러나 연극이나 영화와 같이 대중과 쉽게 만날 수 있는 매체야말로 창작에 있어서 큰 책임을 가져야 할 것이다. 언어라는 것은 시대에 따라 변한다. 따라서 희곡과 시나리오에서 시대언어를 복원하는 것은 현대의 관객과의 소통의 어려움을 초래할 수 있다. 그러나 언어가 시대에 따라 변한다는 것은 당대의 사회상과 유행을 담아낸다는 것을 뜻한다. 따라서 사극에서의 언어 복원은 장면과 배경을 더욱 사실적으로 묘사할 수 있다는 것을 의미한다. 언어의 복원은 창작 환경 개선을 위해서만 필요한 것은 아니다. 이러한 노력은 이미 학습되어진 관객의 시대 언어 이해 능력에 부합하는 작가의 책임으로 이해되어야 한다. 사극을 집필하는 극작가는 배경이 되는 시대의 문법을 익히는 것에 그치지 않고 소실된 발음과 변용된 어휘를 발굴하여 다채로운 대사를 구사할 수 있도록 해야 할 것이다.

중국의 이공계 강세 현상에 대한 고찰 (How Science-Engineering Graduates Become so Powerful Elites in China?)

  • ;박희제
    • 과학기술학연구
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    • 제4권2호
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    • pp.1-32
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    • 2004
  • 이 논문은 최근 한국사회에서 큰 관심의 대상으로 떠오른 중국의 이공계 강세 현상의 내용과 그 배경을 살펴본다. 지금까지 언론과 과학기술계를 중심으로 한 중국의 이공계 강세 현상에 대한 논의는 그 원인과 과정에 대한 논의는 도외시 한 채 결과적인 현상에만 주목하여 중국을 부러움의 대상으로 부각시켜왔다. 그러나 이 논문은 중국의 이공계 강세현상은 사회주의 국가건설과 문화혁명이라는 중국의 독특한 역사적 경험을 통해 형성된 것임을 보여준다. 사회주의 교육개혁이 중국사회에 인문사회교육은 무용지물이라는 인식을 심어주었다면 문화 대혁명은 한 걸음 더 나아가 인문사회계열의 학문을 공부하는 것이 정치적으로 위험하다는 인식을 확산시키는 계기가 되었다. 따라서 중국의 이공계 강세 현상은 매우 극단적인 정치적인 결정에 의해 형성된 기형적인 현상으로 정치에 의해 강요된 학문의 위계질서를 반영하고 있는 것이다. 또한 이공계 출신의 고위 공직자 비중이 높은 것도 이들이 대학에서 인문사회교육을 충실히 받았거나 이공계 졸업자에 대한 정책적 우대 때문이라기보다는 중국의 정치체제 특히 중국공산당의 독특한 인사제도를 통해 이루어진 것이다. 이러한 배경에 대한 이해 없이 결과적인 현상에만 주목하며 중국의 예와 한국의 예를 비교하는 것은 이공계 위기문제의 원인과 해결책에 대한 진단에 큰 오류를 가져올 수 있다는 점에서 주의를 요한다.

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중국의 사지서목에 대하여 -육사예문$\cdot$경적지의 분류 및 편목체재 비교를 중심으로- (On the Bibliographies of Chinese Historical Books - Classifying and cataloguing system of six historical bibliographies -)

  • 강순애
    • 한국문헌정보학회지
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    • 제24권
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    • pp.289-332
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    • 1993
  • In china, six bibliographies of offical historical books are evaluated at the most important things among the systematically-editing bibliographies. These bibliographies would be usful to study the orign of classical sciences and their development, bibliographic research of Chinese classics, bibliographic judgement on genuine books, titles, authors, volumes. They could be refered to research into graving, correcting, and existence of ancient books. therefore, these bibliographies would be applied to estimation the phase of scientific and cultural development. The study of these bibliographies has been not yet made in Korea. This thesis lays its importance on the background of their appearance, their classification norms, organizing system of their catalogue, and comparison between their difference. 1. Editing and compiling of Chilyak (칠약) by Liu Chin (유흠) and official histories played an important role of entering an apperance of historical book's bibliographies. Chilyak has been lost. However, its classification and compiling system of classical books would be traced by Hansoyemunji(한서예문지) of which basic system is similar to Chilyak. It classified books according to their scientific characteristic. If a few books didn't have their own categories, they were combined by the circles parallel to the books' characteristic. With the books classified under the same scientific characteristic, they were again divided into the scientific schools or structures. It also arranged the same kinds of books according to the chronology. The some books wi th duplicate subjects were classified multiplely by their duplicate subject. 2. Ssu-ma Chon's (사마천) The Historical Records (Saki, 사기) and Pan Ku's (반고) The History of the Former Han Dynasty (Hanso, 한서) has also took effects on appearance of historical books' bibliographies. Covering overall history, Saki was structured by the five parts: The basic annals(본기), the chronological tables (표), the documents (서), the hereditary houses (세가), biographies (열전). The basic annals dealt with kings and courts' affairs according to the chronology. The chronological tables was the records of the annals. The documents described overall the social and cultural systems. The hereditary houses recorded courts' meritorious officials and public figures. The biographies showed exemplars of seventy peoples selected by their social status. Pan Ku(반구)'s The History of the Former Han Dynasty(한서) deserved to be called the prototype for the offical histories after Saki's (사기; The Historical Records) apperance. Although it modelled on Saki, it had set up its own cataloguing system. It was organized by four parts; the basic annals (본기), the chronological tables (표), treatises(지), biographies (열전). The documents in the Hanso(한서) was converted into treatises(지). The hereditary houses and biographies were merged. For the first time, the treatise with The Yemunji could operate function for historical bibliographies. 3. There were six historical bibliographies: Hansoyemunji(한서예문지), Susokyongjeokji (수서경적지), Kudangsokyongjeokji(구당서경적지), Shindangsoyemunji (신당서예문지), Songsayemunji (송사예문지), Myongsayemunji (명사예문지). 1) Modelling on Liu Chin's Chilyak except Chipryak(집략), Hansoyemunji divided the characteristic of the books and documents into six parts: Yukrye(육예), Cheja(제자), Shibu(시부), Pyongsoh(병서), Susul(수술), Pangki(방기). Under six parts, there were thirty eight orders in Hansoyemunji. To its own classification, Hansoyemunji applied the Chilyak's theory of classification that the books or documents were managed according to characteristic of sciences, the difference of schools, the organization of sentences. However the overlapped subjects were deleted and unified into one. The books included into an unsuitable subject were corrected and converted into another. The Hansoyemunji consisted of main preface (Taesoh 대서), minor preface (Sosoh 소서) , the general preface (Chongso 총서). It also recorded the introduction of books and documents, the origin of sciences, the outline of subjects, and the establishment of orders. The books classified by the subject had title, author, and volumes. They were rearranged by titles and the chronological publication year. Sometimes author was the first access point to catalogue the books. If it was necessary for the books to take footnotes, detail notes were formed. The Volume number written consecutively to order and subject could clarify the quantity of books. 2) Refering to Classfication System by Seven Norms (칠분법) and Classification System by Four Norms(사분법), Susokyongjeokji(수서경적지) had accomplished the classification by four norms. In fact, its classification largely imitated Wanhyosoh(완효서)'s Chilrok(칠록), Susokyongjeokji's system of classification consisted of four parts-Kyung(경), Sa(사), Cha(자), Chip(칩). The four parts were divided into 40 orders. Its appendix was again divided into two parts, Buddihism and Taiosm. Under the two parts there were fifteen orders. Totally Susokyongjeokji was made of six parts and fifty five orders. In comparison with Hansoyemunji(한서예문지), it clearly showed the conception of Kyung, Sa, Cha, Chip. Especially it deserved to be paid attention that Hansoyemunji laied history off Chunchu(춘추) and removed history to Sabu(사부). However Chabu(사부) put many contrary subjects such as Cheja(제자), Kiye(기예), Sulsu(술수), Sosol(소설) into the same boundary, which committed errors insufficient theoretical basis. Anothor demerit of Susokyongjeokji was that it dealt with Taiosm scriptures and Buddism scriptures at the appendix because they were considered as quasi-religion. Its compilation of bibliographical facts consisted of main preface(Taesoh 대서), minor preface(Sosoh 소서), general preface (Chongsoh 총서), postscript (Husoh 후서). Its bibliological facts mainly focused on the titles. Its recorded authors' birth date and their position. It wrote the lost and existence of books consecutive to total number of books, which revealed total of the lost books in Su Dynasty. 3) Modelling on the basis of Kokumsorok(고분서록) and Naewaekyongrok(내외경록), Kudangsokyongjeokji(구당서경적지) had four parts and fourty five orders. It was estimated as the important role of establishing basic frame of classification by four norms in classification theory's history. However it had also its own limit. Editing and compling orders of Kudangsokyongjeokji had been not progressively changed. Its orders imitated by and large Susokyongjeokji. In Its system of organizing catalogue, with its minor preface and general preface deleting, Kudangsokyongjeokji by titles after orders sometimes broke out confusion because of unclear boundaries between orders. 4) Shindangsoyemunji(신당서예문지), adding 28,469 books to Kudangsokyongjeokji, recorded 82,384 books which were divided by four parts and fourty four orders. In comparison with Kudangkyongjeokj, Sindangsoyemunji corrected unclear order's norm. It merged the analogical norms four orders (for instance, Kohun 고훈 and Sohakryu 소학류) and seperated the different norms four orders (for example, Hyokyong 효경 and Noneuhryu 논어류, Chamwi 참위 and Kyonghaeryu 경해류, Pyonryon 편년 and Wisaryu 위사류). Recording kings' behaviors and speeches (Kikochuryu 기거주류) in the historical parts induced the concept of specfication category. For the first time, part of Chipbu (집부) set up the order of classification norm for historical and literatural books and documents (Munsaryu 문사류). Its editing and compiling had been more simplified than Kudangsokyongjeokji. Introduction was written at first part of bibliographies. Appendants except bibliographic items such subject, author, title, volume number, total were omitted. 5) Songsayemunji(송사예문지) were edited in the basis of combining Puksong(북송) and Namsong(남송), depending on Sabukuksayemunji(사부국사예문지). Generally Songsayemunji had lost a lot of bibliographical facts of many books. They were duplicated and wrongly classified books because it committed an error of the incorrectly annalistic editing. Particularly Namsong showed more open these defaults. Songsayemunji didin't include the books published since the king Youngchong(영종). Its system of classification was more better controlled. Chamwiryu(참위류) in the part of Kyongbu(경부) was omitted. In the part of history(Sabu 사부), recordings of kings' behaviors and speeches more merged in the annals. Historical abstract documents (Sachoryu 사초류) were seperately arranged. In the part of Chabu(자부), Myongdangkyongmaekryu(명당경맥류) and Euisulryu(의술류) were combined. Ohangryu(오행류) were laied off Shikuryu(시구류). In the part of Chipbu(집부), historical and literatural books (Munsaryu 문사류) were independentely arranged. There were the renamed orders; from Wisa(위사) to Paesa(패사), Chapsa (잡사) to Pyolsa(열사), Chapchonki(잡전기) to Chonki(전기), Ryusoh(류서) to Ryusa(류서). Introduction had only main preface. The books of each subject catalogued by title, the volume number, and author and arranged mainly by authors. Annotations were written consecutively after title and the volume number. In the afternote the number of not-treated books were revealed. Difference from Singdangsohyemunji(신당서예문지) were that the concept and boundary of orders became more clearer. It also wrote the number of books consecutive to main subject. 6) Modelling on Chonkyongdangsomok (경당서목), Myongsayemunji(명사예문지) was compiled in the basis of books and documents published in the Ming Danasty. In classification system, Myongsayemunji partly merged and the seperated some orders for it. It also deleted and renamed some of orders. In case of necessity, combining of orders' norm was occured particulary in the part of Sabu(사부) and Chabu(자부). Therefore these merging of orders norm didn't offer sufficient theretical background. For example, such demerits were seen in the case that historical books edited by annals were combined with offical historical ones which were differently compiled and edited from the former. In the part of Chabu(자부), it broke out another confusion that Pubga(법가), Meongga(명가), Mukga(묵가), Chonghweongka's(종횡가) thoughts were classified in the Chapka(잡가). Scriptures of Taiosim and Buddhism were seperated from each other. There were some deleted books such as Mokrokryu(목록류), Paesaryu(패사류) in the part of history (Sabu 사부) and Chosaryu(초사류) in the part of Chipbu(집부). The some in the each orders had been renamed. Imitating compiling system of Songsayemunji(송사예문지), with reffering to its differ-ence, Myongsayemunji(명사예문지) wrote the review and the change of the books by author. The number of not-treated books didn't appear at the total. It also deleted the total following main subject.

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한국에서 백의호상(白衣好尙) 현상이 고착된 배경에 관한 논의 - 유창선(劉昌宣)의 백의고(白衣考)를 중심으로 - (Discussion on the Background of the Baekeuihosang Phenomenon in Korea - Focusing on Baekeuigo written by Yoo, Changseon -)

  • 서봉하
    • 복식
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    • 제64권1호
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    • pp.152-164
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    • 2014
  • Korean people have revered the white color and enjoyed wearing white clothes. Various kinds of white clothes have been worn by the Korean people, ranging from everyday wear(便服), and scholar's robe(深衣) for the upper class, to religious costumes like Buddhist monk's robe(僧服), shaman costumes(巫服) and costumes for ancestral rites(祭服), or mourning(喪服). There have been many differing opinions by historians regarding the background of this Baekeuihosang(白衣好尙, the preference for white clothing) tradition and even now, it is frequently being discussed. This study aims to consider and discuss the background of this Baekeuihosang tradition, focusing on Chang-seon Yoo's Baekeuigo(白衣考, the consideration of white clothing), which was published in Dong-A Ilbo in 1934. The purposes of studying literature such as the Baekeuigo is to analyze the arguments on the origin of Baekeuihosang, to analyze Chang-seon Yoo's claim of its origin, and to discuss the culture of Baekeuihosang. Chang-seon Yoo claimed that the existing discussions on the background of Baekeuihosang based on the lack of dyes, or undeveloped technique, economic privation and national control strayed from historical facts, according to literature review. It is not worth discussing the farfetched arguments such as the use of costumes for ancestral rites as everyday wears, or the nation of sorrow. Baekeuihosang tradition mostly originated from the effects of many religions and the taste for innocence, or naturalness. White clothes were infused with the sorrow and emotion of Korean people and were also worn to show resistance to foreign power as symbols of ethnicity. Therefore, there should be a new view of the discussion of white clothes and Korean aesthetic sense, away from the logic distorted by the Japanese colonial view of history.