• Journal of Korean Medical classics
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• v.36 no.4
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• pp.109-130
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• 2023

Objectives : The Dong-hwa Yakbang Cheobangcheol, a formulary on proprietary medicines created by Dong-hwa Pharmacy in the early 20th century was analyzed with a focus on characteristics of the formulas that were made and sold at the time. Methods : First, external features such as bibliography, table of contents, and descriptive style were examined. In content, licensure of listed formulas, ingredients, dosage form, manufacturing process, effects, properties were medically and pharmacologically analyzed. In this process, the Japanese Pharmacopeial Convention, legislation related to medicinal pharmacology during Japanese Colonial Period, and the Donguibogam were referenced. Results : In terms of form, the Dong-hwa Yakbang Cheobangcheol faithfully follows medicinal related legislation established in the Japanese Colonial Period. However, in terms of content, we could see that most of the formulas were based on the Korean Medical tradition, while Western pharmaceutical technology and chemicals were selectively integrated when necessary. Conclusions : The Dong-hwa Yakbang Cheobangcheol comprehensively displays the situation and goal of Dong-hwa Pharmacy, one of the most representative pharmaceutical companies in proprietary medicine of the early 20th century, in which it was under pressure to adapt to power for survival, while it strived to help improve the health of the people of the time by adopting strengths of both Eastern and Western medicinals.

• The Korean Journal of Quaternary Research
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• v.15 no.1
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• pp.47-52
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• 2001

April∼August precipitation (141 years : A.D. 1858∼1998) of Mt. Sorak region (East-central Korea) was reconstructed using a tree-ring chronology of Pinus densiflora sampled from Beakdam Shelter area. During the reconstructed Periods, dry periods were 1880∼1887, 1893∼1901 and 1922∼1938, and wet one 1906∼1918. In the long-term variation, the late 19th and early 20th century were drier than the late 20th century. Major wet/dry periodicities in April∼August precipitation series reconstructed were 3.16 and 4.14 years, indicating that short-term variation were more prominent than long-term one.

• Acta Via Serica
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• v.7 no.1
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• pp.1-28
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• 2022

The province of the People's Republic of China, the Xinjiang Uygur Autonomous Region has historically been known under various names - Eastern Turkestan, Chinese Turkestan, Kashgaria, etc. In the early 19^th century this region was one of the least explored in Western scholarship and for the influence over which the so-called 'Great Game', geopolitical rivalry between Great Britain and the Russian Empire, gradually unfolded. This rivalry was one of the significant factors stimulating increased interest in an in-depth and comprehensive study of the geography, nature, and population of Kashgaria. Accordingly, in the second half of the 19^th to early 20^th centuries, several expeditions were organized that pursued serious academic goals alongside military, diplomatic, and commercial purposes. One of these expeditions, organized by the Imperial Russian Geographical Society, was the so-called 'Tibetan expedition' led by a talented scientist and military figure M.V. Pevtsov in 1889-90. The expedition followed the routes of Eastern Turkestan, the northern outskirts of the Tibetan Plateau, and Dzungaria studying this vast region's geography, topography, nature, climate, and population. The results of this investigation were presented by M.V. Pevtsov in a detailed and comprehensive report published in St. Petersburg in 1895. An important part of this narrative is the so-called "Ethnographic Essay of Kashgaria," which reflects the author's observations and thoughts on this region's ethnic composition, religious beliefs, language, customs, and rituals. This article offers insights and analysis of the content of Pevtsov's report, which provides valuable information about the daily life of the population of Kashgaria at the end of the 19^th century to an English-speaking audience.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.8
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• pp.31-41
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• 2018

This research examines pioneering works of two representative Western modern architects which played a significant role in constructing modernity in the early 20th century: Frank Lloyd Wright's Florida Southern College and Ludwig Mies van der Rohe's Illinois Institute of Technology. These two campuses were constructed and developed at the similar period by two named architects, and these were considered the collections of iconic modern buildings in the States. However, design approaches and principles of these buildings were totally opposite ways: Frank Lloyd Wright's Florida Southern College was in the roof of organic architecture drawn from a great Chinese sage, Laotze, which have more five hundred years history. On the other hand, Ludwig Mies van der Rohe's Illinois Institute of Technology was well embodied the International Style which originated from European tradition in the early 20th century, and Mies was one of the leaders of the International Style. These different approaches could be understood in the discussion of the meaning of the Greek concept of paradoxa which was mentioned by a German philosopher Martin Heidegger. Comparing the paradoxical gestures of these two campuses can reveal the truth of each campus master plans and expand the discourse of modern architectures.

• Cross-Cultural Studies
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• v.25
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• pp.291-312
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• 2011

The academic world in Korea demands internationally competitive researches at the moment. However, there is a lack of understanding on research trends of Western countries. This research aims to understand how discussions on early modern Japanese plays are developed in Western countries such as America. Also, it aims to consider and compare the present situation of researches on early modern Japanese plays in Western countries, Japan and Korea. In Western countries, modern Japanese plays such as Kabuki and Joruri is accepted and enjoyed as universal plays of the world. It is not only because there is a background of enjoying plays such as Shakespeare's but also researches and translations are accumulated continuously from the early 20th century. In the early 20th century, the main theme of researches was about Kabuki actors in Ukiyoe which was collected because of an interest in orientalism. After 1930s, Japanese arts and handcrafts were sent to art museums in America in order to promote Japanese culture. Also, many Japanese books were donated to university libraries in order to form institutes of Japanology. The war was started when the foundation of Japanology was about to be laid. Students who were interested in Japan were mobilized to the war as agents to understand Japan. After the war, those students started to do researches on Japan on a full scale. There were researchers such as Donald Keen who did researches on Kabuki and Joruri. In western countries, there are researches on patterns of behavior and thoughts of Japanese people, comparison with Shakespeare's plays, dramaturgie, theatricalism as well as censorship of Kabuki during the war and mobilization of Kabuki to the war. It is necessary to understand where my researches are positioned in those research trends. It is also necessary to break away from overlapped and repeated researches of the same point of view and find out new research paradigms.

• Journal of Fashion Business
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• v.27 no.6
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• pp.47-65
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• 2023

The purpose of this study is to derive the future-oriented characteristics Sonia Delaunay presented at the time based on the identity and modernity shown in her works and diverse activity. The scope of study spans from 1907 to the start of World War II and includes both applied and fine arts, with a focus on textiles and fashion. The research method is a literary study that includes old documents, exhibition booklets, and explanations from museum curators. The visual materials are actual works observed at exhibitions and digital images of various exhibitions. As a result of the research, she was a practitioner who expressed her identity in marriage, artwork, textiles, and fashion. In order to embody her design and express modernity, she showed geometric and modern motifs and she incorporated a sense of bright color and modernized light into her work by following the principle of simultaneous contrast in color. Additionally, she applied Hungarian embroidery techniques to simple materials and created geometric abstraction with her simultaneous colors, which contributed to both originality and the mass production of textile design. The future-oriented characteristics she presented are the dynamism of modern rhythm, the expansion of convergence and collaboration, the innovation of new production and exhibition, the media of consumer society, and the femininity of modern life. She recognized the mass consumer society and mass production of the early 20th century and actively utilized various media and genres to evoke a dynamic sense necessary for modern life and presented a design to be seen as a modern woman.

• Journal of The Korean Association For Science Education
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• v.19 no.3
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• pp.409-427
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• 1999

The aim of this study was to illustrate how STS-related ideas in science education have been developed historically in the context of British education, particularly focused on the period of the 19th century and the first half of the 20th century. It has been hardly considered that the basic ideas of the STS education, one of the two paradigms of current science education together with constructivism, can be traced back to the beginning of the school science education itself. far beyond some of the programs which are largely regarded as the first-developed STS programs in Britain, such as Science in Society and SISCON. The movement of Mechanics' Institute during the first half of the 19th century would be the first systematic attempt to bridge the gap between the knowledge of pure science and its practical applications, although the main target was working-class adults rather than school pupils. At the end of the first half of the 19th century, this application-focused approach of science teaching was echoed in the elementary schools by Richard Dawes, one of the early experimenters of school science. The second half of the century was in large the period of the establishment of science as one of the core elements of school curriculum, mainly by emphasizing the aspect of pure science as a means for mental training. During this period, the elements of STS education-related appeared in the subject called 'Object Lesson' in elementary schools which was practically a separate subject from those of science. After the turn of the century, triggered by the experience of World War I, the growing appreciation of the impacts of science upon society and of the necessity of the teaching of science for wider audience gave a great impact towards two new main movements, i.e. for General Science and Citizen Science. The later illustrates a typical example of the STS movement in school science during the first half of the 20th century, particularly driven by the socialistic ideas towards the relation between science and society.

• The Research Journal of the Costume Culture
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• v.28 no.4
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• pp.544-561
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• 2020

Goldwork embroidery is the art of embroidery using metal threads. As well as being used as a decorative element of religious clothing, flags, performing costumes, uniforms, and badges, goldwork embroidery is also used in many current designer collections. Therefore, this study aimed to examine the techniques and materials of goldwork embroidery and the formative characteristics and socio-cultural values of goldwork embroidery from its beginning to the early 20th century. For this study, various embroidery works, costumes, museum portraits, and literature were analyzed. The results are as follows. First, the transition of goldwork embroidery was divided into 4 categories: The beginning of goldwork embroidery; the golden age of goldwork embroidery; the maturity of goldwork embroidery; and various goldwork embroidery (depending on the materials used, usage, and design features). The earliest extant example is the "Maaseik fragments" in Belgium dating from the late 8th to early 9th centuries. Until the 15th century, the Church was the most important patron of goldwork embroidery; however, after the 15th century, goldwork embroidery was produced on costumes. Second, the social-cultural values of goldwork embroidery (based on transition and formative features) were classified as expression of divinity, instrument of governance, desire to be approved, and tools of self-expression. Through this study, it is evident that there have been many advances in both technique and technology over time. Furthermore, patterns of usage and social-cultural values of goldwork embroidery have changed significantly.

• Journal of the Korea Furniture Society
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• v.17 no.2
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• pp.57-68
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• 2006

This study understands rockers of today and supplies basic data of design and manufacture studying pattern change of rockers arisen in West, there is the purpose. Also, this study is investigated by dividing theoretical background of rockers, 7 kinds of American traditional rockers and European rockers from 18th century to opening part of 20th century and contemporary rockers since 20th century. The theoretical background and the style of 2 rockers (Windsor rocker, Boston rocker) were investigated to study the stylistic changes of rockers. Originally a rocker was invented by a European farmer around 1700. It developed to a household which equip practicality and comfortablness in the United States than Europe. Early rockers in a primal form appeared in the 1740s in the United States. American early rockers connected skate to established chair bridge. Rockers are deep connection with family's emotion. Rockers can provide playing functions for children and medically treating functions for adults. Windsor Rockers developed by attaching skate is mammy bench and according to shape of back form bow or hoop-back rocker, birdcage rocker, comb-back rocker. Windsor Rockers formed peculiar American tradition of craftsman furniture through structure that have a unique back of a chair and round seat. Boston Rockers were the first chairs made by mass production method. They show a particular shape with S-curve style seat and rectangular crest at the upper part of the back. Often Crests were decorated by stenciled pattern with curled leaves such as rosettes and scrolled designs.

• (The) Research of the performance art and culture
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• no.37
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• pp.61-94
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• 2018

This article examined that the historical changes and current significance of the Jaedam(재담) and the Xiangsheng(相聲), one of the traditional Korean and Chinese language games. Both Korean Jaedam and Chinese Xiangsheng are representative language games and traditional performing arts for laughing. The origin of the Jaedam can be traced back to Uheui(우희). Uheui has been called Changyouxi in China, Bae Woo-hee, and Jo Hee in Korea. Uheui is the most traditional language game and a variety of performances were derived from its spreading and inheriting process. Among them, Korean Jaedam and Chinese Xiangsheng can be said to be a piece of art that has successfully inherited Uheui tradition. From the late 18th century, Korean Jaedam were established as independent performance arts, and became highly active in many performance by professional joker Park Chun-jae and other performers. With the development of gramophone record in the early 20th century, the Jaedam was mainly made on the theater stage and radio. At this time, the new performance art of 'Mandam(만담)' was derived from the Jaedam, which focused more on satire current events and criticizing the social situation. Mandam has been popular for a long time and then extinct in the 21st century. The jaedam have been handed down only in the Korean traditional performance so far. Meanwhile, Chinese Xiangsheng, which was built in the mid-19th century, a bit later than Korean Jaedam, was initially considered to be a vulgar art of the lower class, but finally became popular in the early 20th century. In the mid-20th century, Xiangsheng was transformed into a new character, which mainly deals with social praise and edification of the masses. But since 'New Xiangsheng' does not focous on a satire on social conditions, the humor has been reduced. In the early 21st century, Xiangsheng was on the verge of extinction just like Mandam, but through the efforts of young actors to revive tradition, another reformation of this art was made to return to tradition and small theater. Currently, the 'traditional Xiangsheng', which has returned to tradition, is once again receiving the love and support of the Chinese audience. Korean Jaedam and Chinese Xiangsheng have many similarities in terms of history and recruitment, but they are now in different fates. There is also a great deal in common ground in terms of the content and form of the two arts. In the case of Xiangsheng, it is one of the traditional folk art forms which is still loved by the Chinese people and has become one of the most important traditional performances. On the other hand, in Korea, Jaedam as independent performance arts has disappeared and now only can be seen in traditional performances such as 'Korean mask theater'. The fact that Korean Jaedam and Chinese Xiangsheng have undergone similar changes in their spreading and inheriting process, while Korean Jaedam have disappeared and Chinese Xiangsheng is well preserved. The reason can be confirmed through the main idea of this article.