• Sijohaknonchong
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• v.25
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• pp.175-209
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• 2006

This study focuses on Korean-American writer Hong-Eun$(1880{\sim}1951)'s$ American travel gasaes and sis who played an active role under the rule of Japanese imperialism. This study also investigates Hong-Eun's experience and expression on American travel and culture and discusses his changes in stream of consciousness. According to American travel sigaes which were published in the New Koren Times in 1936. 1937, and 1949, his consciousness can be summarized as follows. First travel siga depicts his inner conflict as a refugee who lost one's home country. That is to say. by observing Indians' losing identity and their miserable labor conditions, he developed his own critical eyes on American society. Eventually he missed his country desperately and sought for the ways of his returning there. Second travel sijo reveals his own agony about not be able to return his home country where he could Possibly visit. In other words, after suffering from his agony, it is evident that he started to take positive attitude towards American society and establish his own identity. Based upon Hong-Eun's changes in consciousness as a writer, the researcher hypothesizes that there exists Diaspora-Consciousness in his work. His consciousness is strongly related with his attitude towards his home country whether it Is positive or vice versa. When his home country declared her independence. his attitude towards immigrant society was positively changed, which was quite contradictory from his previous one. In this transition period, not only he accepted American ideology and life, but he re-conceptualized them as a Korean mode. In sum, Hong-Eun's mental traces lie on the core of hybrid and diaspora which Post-Colonial literature values highly of.

• Journal of the Korean Geographical Society
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• v.29 no.3
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• pp.318-339
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• 1994

U.S. had given large amount of cotton to Korea as food aid program since 1945. This cotton aid had negative impact on cotton culture in Korean agriculture. Korean government used counterparts funds (sale proceeds of food aid) not for investment to agriculture sector, but for military budgets. And food aid on program type had influenced general economic policies, which neglected agricultural sector too. Anti-agricultural policy which was helped by U.S. food aid, had caused cotton cultivator an economic loss. So this economic loss had made many farmers abandon cotton culture. But in our times, cotton is cultivated for the purpose of domestic consumption in a few rural villages. The purposes of this study are 1) to analyze the process of spatial reduction of cotton culture since 1945 in regional contexts in Korea, and 2) to identify the function and meaning of cotton culture which does not pay off in agricultural region. Materials for acreage of cotton culture are acquired through the agricultural statistical year book(1952-1989) and census. To clarify the meanings of cotton culture, field survey are conducted in a rural village which is identified as only one where cotton was cultivated in 1993. In these contexts, this study has come to the following conclusions. In the period of under the rule of Japanese Imperialism (1910-1945), G. arboreum, species of cotton which was traditionally cultivated since 1364, had been driven out. And G. hirustun species, which is suitable for the production of highly qualified textile, has been hierarchically diffused by policy. In these period, regional structure of Korean agriculture was reorganized for the provision with food to Japan. Crops leading this dependent spatial structure were rice and cotton. So agricultural region, specialized with cotton, were distributed in the hinterland of the area which is specialized with rice. U.S. cotton aid to Korea began in 1947. U.S. took an interest in agricultural export because of her domestic surplus of cotton. Cotton aid is one mechanism by which U.S government developed agricultural market in recipient countries, Specially in the exchange rates, up-valuation of won to the U.S. dollars made domestic cotton more expensive than cotton imported, Production cost of domestic cotton is higher than Government's purchasing price of cotton which was also more expensive than price of cotton imported. Korean farmer could not help abandoning the cultivation of cotton, and this gave rise to spatial reduction of cotton culture. Spatially, cotton culture was abandoned in early stage of reduction in regions where stand at a disadvantage climatically, and in next stage in regions where other up-land crops which paid off in urban market, eg, fruits, could be cultivated. In the stage of extinction, cotton was cultivated only in area where G. hirustun species was originated in Korean peninsula. This region is not only suitable climatically for cotton culture, but is far away from urban market. Use of cotton produced is not for spinning, but for fillings of comforter. The main purpose of cotton culture in rural village is not for cotton yields, but for increase of production of seasame, which is grown together with cotton as mixed crops. Cotton product are used for domestic consumption and sold out to gin house. Though cotton culture is not paid off, farmer wanted to cultivate continuously for the cultural purpose, and they wanted the cotton culture promotion policy with the goverment subsidy.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.4
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• pp.24-41
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• 2013

This study aims to investigate the complex planning processes and design ideas of the Gwanghwamun Plaza which was opened in 2009. The opening of the plaza was significant as it was built in order to restore the symbolic meaning of axis in the historical Joseon Dynasty that was distorted during the Japanese Imperialism. The plaza itself attracts many citizens and tourists by providing the empty ground carrying historical ambiences around. In this paper, the story of the Gwanghwamun plaza will be summarized. Particularly, the background of promoting the project will be discussed and the whole planning process will be dealt with. The plaza was realized through several stages. First, the planning stage will be reviewed. The planning stage had been a quite long process since the initial idea was discussed. Since the early 90s, the political decision of making the plaza was made through the change of people's understanding toward public space. At this stage, the city government worked together with diverse citizens and professionals to share the vision and to realize the right decision in making the plaza. Second, the design stage will be elaborated in detail. This is the second design stage. The former was the idea competition and the latter was the turn-key base. The final design scheme emphasized the restoration of symbolic axis and the forgotten Yukjo Street. The scheme consists of four zones such as history restoration zone, prospect and history representation zone, culture zone, and the urban zone. Through the whole design process, the original idea remained as it was. The design concept was "a place of memory and prospect." It emphasizes the history representation, view corridor, cultural activities platform as well as the emptiness and flexibility of the basic premise of the plaza. Finally, the construction stage will be discussed. There were some additions and omissions in the construction process. The design chances in the construction stage will be reviewed in detail. After the opening of the plaza, there were some changes in the detail design. We will discuss how and why these modifications were made. In the end, the social and cultural implication of the plaza will be discussed. The storytelling of the Gwanghwamun Plaza will contribute to the clear understanding of planning and design process of pubic places. Based on this reflection, we are able to think about some suggestions of public projects for the future.

• The Korean Journal of Archival Studies
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• no.34
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• pp.221-250
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• 2012

This paper introduces the characteristics of the records and archives management of Korea from Joseon dynasty to now. This paper also explains historical background of making the records and archives management in Joseon dynasty. This paper introduces the process of establishment of modern records management system by adopting records management system and public administration of USA after liberation in 1945. The Joseon bureaucrats established systematic methodologies for managing and arranging the records. Jeseon dynasty managed its records systematically since it was a bureaucratic regime. It is also noticeable that the famous Joseonwangjosilrok(Annals of Joseon dynasty) came out of the power struggles for the control of the national affairs between the king and the nobility during the time of establishment of the dynasty. Another noticeable feature of the records tradition in Joseon dynasty was that the nobility recorded their experience and allowed future generations use and refer their experiences and examples when they performed similar business. The records of Joseon period are the historical records which recorded contemporary incidents and the compilers expected the future historians evaluate the incidents they recorded. In 1894, the reformation policy of Gaboh governments changed society into modernity. The policy of Gaboh governments prescribed archive management process through 'Regulation(命令頒布式)'. They revised the form of official documents entirely. They changed a name of an era from Chinese to unique style of Korean, and changed original Chinese into Korean or Korean-Chinese together. Also, instead of a blank sheet of paper they used printed paper to print the name of each office. Korea was liberated from Japanese Imperialism in 1945 and the government of Republic of Korea was established in 1948. In 1950s Republic of Korea used the records management system of the Government-General of Joseon without any alteration. In the late of 1950's Republic of Korea constructed the new records management system by adopting records management system and public administration of USA. However, understanding of records management was scarce, so records and archives management was not accomplished. Consequently, many important records like presidential archives were deserted or destroyed. A period that made the biggest difference on National Records Management System was from 1999 when was enacted. Especially, it was the period of President Roh's five-year tenure called Participation Government (2003-2008). The first distinctive characteristic of Participation Government's records management is that it implemented governance actively. Another remarkable feature is a nomination of records management specialists at public institutions. The Participation Government also legislated (completely revised) . It led to a beginning of developing records management in Republic of Korea.

• (The)Study of the Eastern Classic
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• no.32
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• pp.425-441
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• 2008

Most of Korea's Kyungmaedorock(auction book: 競賣圖錄) and pictorial record of exhibitions in the modern times were usually published in the 1930s. Although 1930s were periods of the Great Depression when economic slump continued because of the aftereffect of the slump in the stocks issued by the US in 1929, during this period, Japan began regular continental invasion starting from invasion of the northeastern area of China. To curio dealers, the 1930s were 'boom period of curio transaction' and in urban cultural aspects, the period is evaluated as the one when the first step of modernism was formed. Collection, photo-printing and arrangement of the data related to modern exhibitions including the Auction Book being published at that time are very important because they enable us to know characteristics of fine arts in the transition period from paintings & writings to fine arts in addition to enabling us to revert the circulation history of our paintings & writings and curios. Furthermore, these data will become important data for reconstitution of the circulation history of the Eastern Asia's modern art works. Although the pictorial record of Joseon's Exhibitions of Chinaware and Wooden Works(朝鮮陶磁木工展) is a small and thin one, it records our country's high level chinaware and wooden works. Although we can't know the exact time for 'Joseon's exhibitions of chinaware and wooden works', they are assumed to have been held in Tokyo, Japan in the 1930s and there seems to have been sale of works, too. As such, studies of the books such as the auction book and exhibitions under Japanese imperialism have the first importance in the fact that through which we can examine the course of outflow of our art works to Japan. Furthermore, they can be studies of art-sociology that examine flow and phase of recognition and taste of art works of those days. And from now on, comparative studies of auctions and exhibitions being held in Japan such as Tokyo, Osaka and etc. as well as art markets in Seoul during modern times would also be necessary.

• (The) Research of the performance art and culture
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• no.41
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• pp.285-320
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• 2020

This study aims to examine the processes of changes of the two main roles, Sangjwa(the young Buddist monk) chum and Omjung(the monk with a boil on his face) chum, performed in Yangju Byeolsandae Nori, on the basis of Chumsawi (dance-movement). Above all, having studied many artistic remains performed by Jo jong sun, Jung han gyu, Park jun seup, Kim sung tae from 1929 to 1942, two main roles, in which Geodeureum chum is now an essential part in almost all performances, were then played only in Kkaekki chum to Taryong Jangdan without performances of Geodeureum chum. In case of Sangjwa chum, players had performed ad libitum and without restraint only on the basis of five sorts of Kkaekki chum's movements. In Omjung chum, witty remarks along with the drama had become more important factors than dances. Let alone two main roles, other parts then also showed no big changes in dance performance. Performers just tried to maintain its slender existence within stifling atmosphere because of oppressions and restraints during the Japanese imperialism. After the restoration of independence in 1945, Kim sung tae and his disciples made a great effort on the restoration of Talnori. During the Korean war, many players also endeavored to keep a good track of Talnori, teaching and training their young followers. Especially performers such as Park jun seup, Park sang hwan, Kim sung tae, and Lee jang sun put much more efforts on restoring Talnori. From that time, Geodeureum chum began to appear in two main roles' performances. In Sangjwa's performances, Byeogsa ritual dance, which was performed to Taryong Jangdan, changed into performances to Yeombul Jangdan, and Kkaekki chum -originally slow and ritual dance, became very fast and active one. Geodeureum chum, called Yongteulim, was added in Omjung chum, so that dance had more important role in performance. Even at this time, dance movements were not clearly and completely organized and arranged, because Geodeureum chum's performance was not clearly defined as orderly dance movements but was regarded as just a movement. After Geodeureum chum being designated as a cultural treasure, Lee byeong kwon took over the task from Park sang hwan, Sangjwa chum's performer, so Geodeureum chum became much more well organzied, arranged and orderly. Geodeureum chum played by Sangjwa had almost the same order of scenes and movements as Geodeureum chum played by Yeonnip. Based on this performance, the order of dances and movements was consistently arranged and settled. Following Park jun seup's performances, Jangsam was more widely applied and used in Omjung chum than ever before, so Omjung chum became much more organized and arranged. Well-arranged Omjung chum had also almost the same dances and movements as Nojang chum's. Yeonnip and Nojang's performances were not directly and intentionally studied and applied to two main roles in Yangju Byeolsandae Nori. Players seemed to borrow those parts naturally through many times of performances. Through their persistent efforts, Jangdan and dance movements have more clearly and completely been organized, establied, and improved through many years' performances. And dance movement can be performed exactly to Jangdan, so we have more complete and orderly types of dance movements. Thanks to many performers' efforts, Sangjwa chum has been established as one that only top performer can play, and Omjung chum has become an integral part in Yangju Byeolsandae Nori.