• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.3
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• pp.36-45
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• 2022

This study examines the historical transition process of Hwanseonjeong Pavilion in Suncheon, identifies the landscape of the original Hwanseonjeong Pavilion in the past and its constituent elements, and compares it with the landscape of the present Hwanseonjeong Pavilion at Jukdobong area. It was intended to identify the problems and draw implications for future restoration of Hwanseonjeong Pavilion. Hwanseonjeong pavilion, the subject of this study, was built in 1543 by Tong-won Shim, the governor of Seungpyeong, as a garden architecture for government. Since then, it has been renovated several times, and as a pavilion representing "Seonhyang(immotal world)" Suncheon in the past, it was located along with an artificially created lake and other elements of the garden at a location where can be seen Dongcheon stream and Jukdobong Peak on the opposite side at a glance. Hwanseonjeong pavilion, which had been safely maintained during the Japanese colonial period, was lost on August 28, 1968 due to a major flood in Suncheon. The difference between Hwanseonjeong Pavilion and other lost is that another Hwanseonjeong Pavilion for the role of archery was built on Jukdobong Peak in 1935, before it was destroyed. The restoration case of Hwanseonjeong pavilion provides the following important implications for the restoration of pavilions as a garden architecture: First, the value of a pavilion is not formed from the building itself, but from the relationship with the surrounding landscape. Therefore, restoration of a pavilion should not be approached in the same way as restoration of buildings. Restoration of a pavilion requires efforts to understand the existing landscape value and to restore landscape elements together with buildings. Second, an artificially created long north-south lake along with Hwanseonjeong pavilion was a very important landscape component and a means of providing a way to enjoy the landscape. For restoration in the cultural context of Hwanseonjeong pavilion, efforts are also required to restore not only the architecture, but also the experience of cultural activities through an integrated examination and restoration based on an understanding of the cultural activities performed in Hwanseonjeong Pavilion. Third, compared to the past original Hwanseonjeong Pavilion, the existing Hwanseonjeong Pavilion shows a different shape, composition, scale, color, etc. In terms of the restoration of buildings, it is thought that restoration will be possible only when restoration is done through more accurate historical evidence, research, and investigation.

• (The) Research of the performance art and culture
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• no.43
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• pp.79-120
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• 2021

Nagyangchun is a Dangak that has been handed down to the present time with Boheoja as a Saak of the Song Dynasty which was introduced in the Goryeo Dynasty. The title and lyrics of Nagyangchun are conveyed in the Dangakjo of Goryeosa-akji and the Jeungbomunheonbigo. The remaining scores containing Nagyangchun include Akjangyoram, Sogagwonbo Vol.4 and Vol.6 of the Joseon Dynasty and Aakbu-akbo, the 6th Aaksaeng-gyogwacheol, Leewangjikaakbu-oseonakbo during the Japanese colonial period. Besides, the current melody of Nagyangchun is based on Hangugeumak and Gugakjeonjib published by the National Gugak Center. This paper aims to examine how Nagyangchun, which is currently being performed at the National Gugak Center, went through the process of change to have the same structure and form as it is now using these scores as a research subject. The study results are summarized as follows. First, the song of Nagyangchun, which was originally Saak but transmitted as an instrumental piece without lyrics, first appeared in the Hangugeumak Vol.16 and Gugakjeonjib Vol.7 published by the National Gugak Center in 1978 and 1979. In this process, the Janggu added by Kim Ki-soo is now disappearing and is replaced by Jwago. Second, though the five notes of 黃, 太, 仲, 林, and 南 have been maintained unchanged since the Akjangyoram, the pitch of 無/應 and 夾/姑, which appear once each, gradually rises and is unified into 應 and 姑 during the period of Aaksaeng-gyogwacheol or at the latest Leewangjikaakbu-oseonakbo, and reached the present. Third, the current melody of Nagyangchun consists of a structure in which the tones and range of each phrase rises within the form of Mijeonsa (a·b·c·d) and Mihusa (e·b'·c'·d'). Particularly, except for the a-type and e-type melodies, which are the introduction for the Mijeonsa and Mihusa, the remaining melodic types show a gradually descending structure within the corresponding phrase, so the structure of ascending and descending is generally in harmony. Forth, the Ganeum that appeared from Aakbu-akbo are currently classified into seven types, and they appear in ascending pitches of 2nd, 3rd, 4th, and 5th and play a role in smoothly or fluently connecting melodic progression. Fifth, after Akjangyoram, Nagyangchun, which had been handed down as an instrumental piece without lyrics, was restored in 1960 by Lee Hye-gu, and is being passed down as the form of male and female vocals added to the instrumental accompaniment. As a result of examining the current Nagyangchun, which was formed through the process of change after Akjangyoram, it was found that there were tasks that required reconsideration of the current Nagyangchun, which is being played at the National Gugak Center, such as the arrangement of Janggu, the identification of the key, and the investigation of the lyrics. When follow-up studies are continued in the future, it will be able to contribute to the cultural transmission of Nagyangchun.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.349-392
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• 2019

In the 1960s of Korea, the normalization of diplomatic relations between Korea and Japan led to a sense of a vigorous anxiety and fear that "Japan will once again come to the Korean peninsula". As a reaction to this, the discourse on the criticism of 'Japanese Style' strongly emerged. If the prior discourse of criticism was to express the national antipathy toward the colonial remnants that had not yet been disposed of, the critical discourse of the 1960s was the wariness of the newly created 'Japanese Style' in popular culture, and to grasp it as a symptomatic phenomenon that 'evil-minded Japan' was revealed. Thus, this new logic of criticism of the 'Japanese Style' had a qualitative difference from the existing ones. It was accompanied by a willingness to inspect and censor the 'masses' that grew up as consumers of transnational 'mass culture' that flowed and chained in the geopolitical order under the Cold War system. Therefore, the topology of 'popular things=Japanese things=consuming things' reveals the paradox of moral demands that existed within Korean society in the 1960s. This was to solidify the divisive circulation structure that caused them to avoid direct contact with the other called 'Japan', but at the same time, get as close to it as ever. It is a repetitive obsession that pushes the other to another side through the moral segregation that strictly draws a line of demarcation between oneself and the other, but on the other hand is attracted to the object and pulls it back to its side. This paper intends to listen to the different voices that have arisen in the repetitive obsession to understand the significance of the dissonance that has been repeated in the contemporary era. This will be an examination of the paradoxical object of Japan that has been repeatedly asked to build the internal control principle of Korean society, or to hide the oppressive and violent side of the power, and that can neither be accepted nor destroyed completely as part of oneself.

• Journal of Ethics
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• no.88
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• pp.103-122
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• 2013

This paper aims to study on conceptual suitability or unfitness of Silhak(實學). It is general that by criticizing Chujahak(朱子學) or beyond the limitation of Seonglihak(性理學), Silhak has developed practical tendency to reforming the society in the middle and end of Chosen Dynasty, related to the context of Korean national reflection in modern times. However, it is unfortunate to be understood. As presented in Chosenwangjosillok(『朝鮮王朝實錄』), there has been a few usages in the term 'Silhak'. In short, it was different from its contemporary meaning. At that time, it was usually used to have the meaning of Gyunghak(經學), compared to Sajanghak(詞章學), or rarely, of 'the true study' or 'the practical study'. Therefore, it is to claim that its conception has been manipulated or exaggerated very seriously. Since 1930s, in particular, its conception has been misused in interpreting works of Jung Yak-Yong by some scholars, such as Jung In-Bo, Moon Il-Pyung and An Jae-Hong, who tried to apply the term to overcome the Japanese colonial era symbolised as modernity based on the future life of Korea. Even though their attempt has led to have crucial discussions on the conceptions of Silhak, it has an unnecessary result that there has been a new and totally different understanding of Silhak in South Korea, North Korea, China, Japan, etc., which means that the unsustainable conception of Silhak has been one of major problems in studying of Silhak. To give an practical solution, I would try to make sense of 'time spirit' whose scholars studied Silhak in the middle and end of Chosen Dynasty. A problem, however, is that a scholar group in the name of Bukhakpa(北學派) had certain links and bonds. This is because many scholars studying of Silhak were usually features out of the main stream, which made them it difficult to form any various groups. That is to say, it seems to be natural that they have dreamed of utopian imaginations less than of overlapping points in reality. To sum up, it would be concluded at least that any approach to human lives and thoughts in the given conceptions of Silhak, e.g. ethical thoughts of Silhak, enables us to be indifferentiated to take its true meaning and time spirit of Chosen Dynasty. To be disenchanted of its social roles in Chosen Dynasty, fundamentally, it should be escaped from the wrong net of illusions and sings in understanding Silhak in certain eclectic steps.

• Women's Studies Review
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• v.27 no.1
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• pp.3-36
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• 2010

This paper is based on the certain point that 'the indigenous', which have long been occupied by the Asian patriarchy or the local communities, now calls for the repositioning in the feminist context. 'The indigenous', in one part, generally refer to the matured long-standing traditions and practices of certain regional, or local communities, as a mode of a place specific way of endowing the world with integral meaning. In the narrow definition, it points to the particular form of placed based knowledge for survival, for example, the useful knowledge of a population who have lived experiences of the environment. In the other part, 'the indigenous' could be criticized in the gender perspectives because it has been served as an ideological tool for patriarchy and sexism, which have undermined women's body and subjectivity in the name of the Asian traditional community. That's why the feminists with sensitivity to the discourses of it, may perceive it very differently, still hesitating dealing with the problem. However, even if there are tendencies that the conservatives romanticize local traditions and essentialize 'the indigenous', as it were, it does not exist 'out there'. Then, it could be scrutinized in the contemporary context which, especially, needs to seek the possibility towards the alternatively post - develope mental knowledge system. In the face of global economic crisis which might be resulted from the instrumentalized or fragmented knowledge production system, it's holistic conceptions that human, society, and nature should not be isolated from each other. is able to give an insightful thinking. It will work in the restraint condition that we reconceptualize the indigenous knowledge not as an unchanging artefact of a timeless culture, but as a dynamic, living and culturally meaningful system towards the ecofeminstic indigenous knowledge. And then, indigenous renaissance phenomena which empower non-western culture and knowledge system and generate increased consciousness of cultural membership. Thus, this paper argues that the indigenous knowledges which have been underestimated in the western-centered knowledge-power relations, could be reconstructed as a potential resources of ecological civility transnationally which reconnect individuals and societies with nature.

• (The) Research of the performance art and culture
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• no.19
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• pp.221-280
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• 2009

This thesis is a study of the rise and the characteristic of 'Hyangto Gakeuk(literally Song drama of the country or local music drama)' in the Early 1940s. During the colonial period, there were attempts to incorporate traditional Korean music elements with Western operatic form. This type of music drama with librettos based on traditional tales came to be known as 'Hyangto Gakeuk'. Mostly 'Hyangto Gakeuk' has led this effort under the director Seo Hang-Suk, the composer Ahn Ki-Young and the lyricist Seol Eui-sik. In the first chapter, the study aims at arranging the performance history of 'Hyangto Gakeuk' composed by Ahn Ki-Young. Also, the study examined representative works after classifying 'Hyangto Gakeuk' performed by Lamila Music Drama Troupe, and Bando Music Drama Troupe. There is significant meaning to evaluate 'Hyangto Gakeuk' in the history of Korean music drama through this analysis of the performance history. In the second chapter, I will analyze with representative works composed by Ahn Ki-Young, a pioneer in the Korean art song. He tried to create the music that held the nationalism and tradition. His works which were called 'Kageuk' laid down the foundation of Korean original operatic style. This study demonstrated characteristics of 'Hyangto Gakeuk' as 'the beginning' in modern musical drama history and its effects on Korean musical drama developments. Namely, 'Hyangto Gakeuk' based on Korean traditions can be seen as examples of original modern musical in Korea. Practically, study on all the aspects of performance not only text generally studied, dramaturgy and criticism, but also performance concept and intention of creators in early period.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.54-70
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• 2023

Surveys and studies on cultural assets using LiDAR measurement are already active overseas. Recently, awareness of the advantages and availability of LiDAR measurement has increased in Korea, and cases of using it for surveys of cultural assets are gradually increasing. However, it is usually restricted to surveys of mountain fortresses and is not actively used for surveys of ancient tombs yet. Therefore, this study intends to emphasize the need to secure fundamental data from LiDAR measurement for the era from the Three Kingdoms to Unified Silla in which recovery, maintenance, etc., in addition to the actual surveys, are unfulfilled due to the sites being mainly distributed in mountainous areas. For this, LiDAR measurement was executed for the area of Jangsan Ancient Tombs and Chunghyo-dong Ancient Tombs in Seoak-dong, Gyeongju, to review the distribution and geographical conditions of ancient tombs. As a result, in the Jangsan Ancient Tombs, in which a precision archaeological (measurement) survey was already executed, detailed geographic information and distribution conditions could be additionally identified, which could not be known only with the layout indicated by the topographic map of the existing report. Also, in the Chunghyo-dong Ancient Tombs, in which an additional survey was not conducted after 10 tombs were found during the Japanese colonial period, the location of the ancient tombs initially excavated was accurately identified, and the status and additional information was acquired, such as on the conditions of ancient tombs not surveyed. Such information may also be used as fundamental data for the preservation and maintenance of future ancient tombs in addition to the survey and study of the ancient tombs themselves. LiDAR measurement is most effective for identifying the condition of ancient tombs in mountainous areas where observation is difficult or access is limited due to the forest zone. It may be executed before on-site surveys, such as archaeological surveys, to secure data with high availability as prior surveys or pre-surveys. Therefore, it is necessary to secure fundamental data from LiDAR measurement in future surveys of ancient tombs and to establish a survey and maintenance/utilization plan based on this. To establish survey/study and preservation/maintenance measures for ancient tombs located in mountainous areas, a precision archaeological survey is currently executed to draw up a distribution chart of ancient tombs. If LiDAR measurement data is secured before this and used, a more effective and accurate distribution chart can be drawn up, and the actual conditions can be identified. Also, most omissions or errors in information can be prevented in on-site surveys of large regions. Therefore, it is necessary to accumulate fundamental data by actively using LiDAR measurement in future surveys of ancient tombs.

• Journal of the Daesoon Academy of Sciences
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• v.46
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• pp.1-32
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• 2023

The purpose of this article is to critically reflect on the 2022 national curriculum on religions. The perspective of this reflection is that since the religious curriculum is meant to be a national curriculum, it should be applicable to all high school students, be shareable, and function as a place for meta-reflection regarding the proper use of the category of religion. For this purpose, I reviewed the form and content of the 2022 curriculum on religions in Section 2. The form of the 2022 curriculum on religions looks similar to the previously utilized curriculum. However, the main change is that the subject of religions was arbitrarily placed into the category of 'subjects for choosing a career.' And the 2022 curriculum on religions has two characteristics in terms of content: the orientation of 'making religious people (spiritual formation)' and the reemergence of the concept of 'pseudo-religion.' In Section 3, I delved into the orientation of 'making religious people through religious reflection' among the characteristics of the 2022 curriculum on religions. In this process, I discovered that the concept of 'reflection as a metacognitive technology,' which was the core of the prior curriculum and school education, was transformed into the concept of 'religious reflection,' and the concepts of spirituality and religiosity were also added. In Section 4, I delved into the dichotomy of 'religion and pseudo-religion.' 'Pseudo-religion' is a new focus in the 2022 curriculum on religions. In this process, I revealed that the concept of 'pseudo-religion' is a combination of an outdated administrative term of the Japanese Government-General of Korea during Japan's occupation of Korea, and as such, the term is inherently value-laden and harmful. I also revealed that determining 'pseudo-religion' in school education regenerates the colonial Japanese Government-General's biased attitudes toward Korean religions and forces teachers to 'invent' (detect or personally appraise) modern day pseudo-religions through arbitrary judgements. The 'curriculum to emphasize religious reflection and detect pseudo-religions in order to create religious people' can distort the subject of religion in the national curriculum as into a 'subject for religion (promotion or degradation).' If this distortion continues, the appropriateness of curriculum on religions existing within the national curriculum will eventually become a subject of debate.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.80-100
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• 2024

This paper investigated the major history and reality of iconological composition for Jagyeongjeon Hall's flowered wall in Gyeongbokgung Palace, which was controversial in terms of preservation and management of cultural heritage. While analyzing the moment and cause of the flowered wall's renovation as it is now, modified or disappeared patterns were identified, and meaningfully misinterpreted congratulatory phrases were reviewed. The research results can be used as meaningful basic data when discussions are made for the restoration of the wall in the future. Jagyeongjeon Hall's flowered wall has reached the present day with large and small changes, but the inflection point that had a significant impact was the Joseon Expo (朝鮮博覽會) held at Gyeongbokgung Palace in 1929. This is because the wall that remained in the Jagyeongjeon Hall area was demolished to build an exhibition hall while preparing for the expo, and it was restored after the end of the event. It is highly likely that the modification or disappearance of the patterns constituting Jagyeongjeon Hall's flowered wall was also due to the restoration process carried out after the expo. There is a view that was transformed into its current state in the process of repair work carried out after the Korean War, but it is difficult to find any meaningful circumstances and evidence. Currently, character patterns known as 'Seongnidori(聖人道理)' are arranged on the inner wall of the section from Gyeongdomun Gate(擎桃門) to Yeogangmun Gate(如岡門), but considering the design form and example, it can be read as 'Seongjasinson(聖子神孫)'. The inner wall of the section from Yeogangmun Gate to Yeonsumun Gate(燕壽門) was originally made in the form of a flowered wall, and the phrases presumed to be 'Gyegyeseungseung(繼繼繩繩)' and 'Cheonse(千世)' were arranged. In the case of the section from Yeonsumun Gate to Hamgyumun Gate(含奎門), the inner wall where the pattern has disappeared is originally composed of geometric and character patterns, and there were also phrases specified as 'Cheonsu(千壽)' and 'Mansemansu(萬世萬壽)'. On the outer wall of the section from Yeonsumun Gate to Hamgyumun Gate, there is a possibility that the phrase known as 'Nakgangmanse(樂彊萬歲)' can be read as 'Cheonsemanse(千歲萬歲)'. In addition, the current outer wall was composed of one drawing board, but in the past, two drawing boards were composed separately.

• The Korean Journal of Archival Studies
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• no.80
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• pp.43-88
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• 2024

The National Archives and Records Administration (NARA) is a relatively quiet latecomer to the traditional archives of the Western world. Although the United States lacks a long history of organized public records·archives management, it has developed a modern system optimized for the American historical context. This system focuses on the systematic management and preservation of the vast amount of modern records produced and collected during the tumultuous 20th century. As a result, NARA has established a modern archival system that is optimized for the American historical context. The U.S. public records·archives management system is based on the principle that records·archives are the property of the American people and belong to the public. This concept originated during the British colonial era when records were used to safeguard the rights of the colonies as self-governing citizens. For Americans, records and archives have long been a symbol of the nation's identity, serving as a means of protecting individual freedoms, rights, and democracy throughout the country's history. It is natural, therefore, that American life and history should be documented, and that the recorded past should be managed and preserved for the nation's present and future. The public records·archives management system in the United States is the result of a convergence of theories, practices, lessons learned, and ideas that have been shaped by the country's history, philosophies, and values about records, and its unique experience with records management. This paper traces the origins of records and archives in the United States in a historical context to understand the organic relationship between American life and records. It examines the process of forming a modern public records management system that is both uniquely American and universal to the American context without falling into the two forms of traditions that reflect the uniqueness of American history.