• Journal of the Korean Institute of Navigation
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• v.21 no.4
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• pp.93-102
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• 1997

History will be defined as a science on human beings in both space and time(des hommes dans le temps et l'espace). Navigational History is a premise to compose Maritime History. Maritime History is a branch of General History which is classified on the basis of space and will be definded as a branch of history to examine 'inter-realtions between maritime affairs and inland affairs'. Then, what kind of 'go by sea'can be a subject of Navigational History ? A research-subject of Navigational History must be navigation rather than sail or voyage. Because while 'sail' means to 'passive and noncommercial sailing' and voyage means to journeyin a general sense that includes sail and navigation, navigation means to indicate ' to go from one place to another in a ship' adn 'to convoy goods by water'. Then, how can we define Navigation History? Navigational History in a narrow sense is to be a field of studying 'process of development of nautical science and seamanship on the side of History ofScience and Techique, whereas Navigational History in a broad sense is to be a field of analyzing 'effects of historical navigation upon history on the side of General History. On studying Navigational History in a narrow sense, there are signifiacances of disclosing what the development of nautical instruments and arts of navigation have played a role in history. Navigational History in a broad sense is a branch of General History to study effects of historical navigation upon history. In conclusion, the significance of studying Navigation History is to disclose process of developmentof arts of navigation, and on the basis of this study is to reveal how the human elements operate in historical navigation. In short, it should not cease to study Navigational History in a narrow sense, and should enlarge its perspective of research toward Navigational History in a broad sense.

• Proceedings of the Korean Society of Surveying, Geodesy, Photogrammetry, and Cartography Conference
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• 2002.04a
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• pp.25-33
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• 2002

Historical maps are precious materials, which show spatial distribution of land use, streets and so on at the time when the maps were produced. In analysis of historical maps, the most practical method is to compare them with the present ones, for instance by overlaying them. However, the low precision, in the geometrical sense, of the historical maps makes the task of comparison very difficult. This drawback brings us the idea to incorporate the historical maps into GIS after rubber-sheet transformation, i.e. geometric correction, of them. It makes comparing and overlaying multiple maps from different time periods. Furthermore, it gives map-scales to the historical maps, which are not in general represented on the old maps, and if we allow ourselves to ignore the changes in terrain from past to present, it will make overlaying of present contour lines on the historical maps. As a result, we can bring the points of view of quantitative consideration and three-dimensional visualization into analyses of historical map. We have addressed incorporating historical maps produced in Edo period (1603-1867) in Japan into our GIS for Tokyo. This article shows the outline of our procedures and some applications, e.g., overlaying different maps from Edo period to present, quantitative analyses of land use in Edo, and visualization of landscape of Edo.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.270-277
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• 2007

Postmodern designers freely used historical motifs as symbolic expressions or ornamentations. Historical references often became a key to express their ideal against modern standardization. Among the historical references, Art Deco style was frequently appreciated by postmodern furniture designers from the 1960s throughout postmodern era. This study is Intended to explore the way of incorporating Art Deco in postmodern furniture design. Rational Italian designers in Anti-design Movement began to adapt historical motifs and Pop, and this spread out throughout to other Postmodern designers. The research explored how Art Deco and postmodern design are related and what the examples of Art Deco revival in the postmodern era we. In this sense the research mainly covered from the exhibition catalogs from the 1960s to 1990s. As a result of stylistic, symbolic, methodological analysis, Art Deco revival in postmodern era was an essential method to express anti-modern characteristics of postmodernism. In postmodern design, Art Deco was one of historical styles that surpass the limitation o( modernism, at the same time decorative style that express the postmodern ideal.

• SUVANNABHUMI
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• v.14 no.2
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• pp.207-231
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• 2022

From being understood as a dwelling, the concept of home is extended to denote belongingness and a sense of attachment in which spiritual, ethnic, religious and historical identities shape a sense of self. Hence, home with its expanded definitions is considered as a cross-cutting and fundamental theme in works by Võ Phiến, one of the diaspora's towering minds who devoted his life to capturing the rich details of Vietnamese culture, its villages and locals. This article pays attention to the cultural space created through Võ Phiến's tuỳ bút written when he lived in Saigon and California. Many representations of home were argued as evidence of subtle influences of the historical and social context on the way Võ Phiến perceived and built his own homeland. By observing disruption and continuity through the expressions of the home in Võ Phiến's writing, we shed light on how Võ Phiến managed to create an indigenous cultural space towards social interactions of Western ideology in South Vietnam from 1964 to 1975.

• Korean Institute of Interior Design Journal
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• v.22 no.4
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• pp.121-129
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• 2013

This study was aimed at determining the characteristics of circular multi-family housing under the assumption that the shape of a residential building affects local identity. A total of six case studies were included in this study, three case studies on idle historical industrial facilities turned into residential buildings and another three on multi-family housing located in newly developed residential complexes. The study drew its conclusions as follows. First, the design of circular multi-family housing was intended to maximize security and defense from the outside in older times. This was later developed as the terrace house style with geometric urban squares designed under the urban planning of the Baroque period. This evolved high-density housing with a courtyard in the center offering a green open space, with the aim of restoring a sense of humanity. Second, the six case studies on circular multi-family housing were analyzed from the viewpoint of each factor of local identity, including historical and cultural, landscape, and community. Third, the historical and cultural elements of circular multi-family housing are found in some unused historical industrial facilities remodeled into residential buildings. They provide new capabilities and shapes desired by society at a given time, while maintaining familiar styles and elements of history, integrating a legacy of the past into the present. Fourth, circular multi-family housing with unique shapes and structures often become landmarks of a region with their distinctive appearance against a uniform urban environment and the monotonous scenery of residential complexes. They also show a high level of visual awareness with the distinctive shapes made possible when new elements are added to a historical exterior. Finally, circular multi-family housing with courtyards in the center prompt social contact between inhabitants, especially with dormitories and rental houses for the low-income bracket, which provide a small individual units with high use common space. Circular multi-family housing are planned in a manner similar to a small village or a city. They are designed to enhance sense of community, allocating various public amenities and provide cultural and commercial spaces on the ground floor and courtyard areas.

• Journal of Contemporary Eastern Asia
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• v.17 no.1
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• pp.112-129
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• 2018

Produced by Chinese local television stations, Maritime Silk Road is a documentary which adopts ancient Maritime Silk Road as a historical nostalgia to interpret "the Belt and Road Initiative", a contemporary Chinese economic, political, and cultural strategy put forward by Chinese government mainly aiming at the countries of Southeast Asia. The main body of this article has three parts and the first part analyses how the documentary adopts computer-generated imagery (CGI) to create a historical nostalgia about ancient Maritime Silk Road in the period of Imperial China. At the same time, this part also presents a sense of diasporic nostalgia of the overseas Chinese. This historical and diasporic nostalgia is related to Chinese President Xi Jinping's political discourse: "Chinese dream" that propagandises to build a strong China put forward by Xi in 2013. The second part analyses how this historical and diasporic nostalgia legitimates Xi's "Chinese dream" and how it responds to recent territorial dispute when China continuously claims its territorial sovereignty in the South China Sea. In this light, the documentary repeatedly mentions two political rhetoric: "coexistence" (gongcun) and "mutual benefit"(huli gongying) as a practical strategy to deal with the dispute between China and some countries of Association of Southeast Asian Nations (ASEAN). In the third section, the concept of "community of common destiny" (mingyun gongtongti) is adopted by the documentary to depict a convenient and effective organization of China and ASEAN, which is framed as an ultimate goal that Chinese government is depicted as the potential leader of this nostalgic community. At the same time, by providing different and even opposite viewpoints, this article discusses three controversial political rhetoric to present how historical and diasporic nostalgia is politicalized and served for Chinese diplomacy and national interest. Overall, this article argues that the documentary creates a glorious ancient Maritime Silk Road, as a sense of nostalgia, to expand China's economic and political influence, to respond to the controversial issues, and to reassert China's leadership as the centre of Asia.

• Journal of North-East Asian Cultures
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• v.33
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• pp.23-49
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• 2012

In this paper, I examined the history of Baizu that the Brief History presented. PRC created Baizu as one the 55 ethnic minority nations, as it "nationalized" all the people living within its territorial boundary. And it constructed the narrative of the "ethnic history" of Baizu, while it constructed the grand narrative of the history of the unified, multinational "zhonghua minzu." There are two major problems in the historical narrative of Baizu, thus constructed. First, the genealogy of the ancestors of Baizu constructed by PRC lacks sufficient historical evidence to prove it. Second, the politically-driven ethnic classification project by PRC produced ethnic minority nation, which does not have their own territory and Baizu was one of them. Because of this, the history of Baizu, who historically lived mixed with other ethnic groups together in Yunnan, cannot help but becoming a part of the larger Yunnan history, rather than constituting a history of an ethnic group. Then, what would be a historically sensible way to write a history of ethnic minorities in Yunnan, who have not transformed themselves into a modern nation? What I would like to suggest is, first, to abandon the construction of the history of Baizu as an ethnic group. I also suggest to distinguish Yunnan from China (zhongguo) as a unit of historical writing, and thus to cut the relationship between the Baizu history and the larger history of the unified, multitethnic "zhonghua minzu." The narrative of the Chinese history (history of Zhongguo), which takes the PRC's current territorial boundary as the unit of historical narrative, lacks historical objectivity. Names for historical communities survive, because they have been used by those who have lived in the communities as well as by other historical communities. Members of a certain historical community occupy distinctive historical space and share common historical experience. And their historical experience is mainly informed by political changes that affected the space that the historical community occupies. If one constructs the history of "Yunnan" as a distinctive historical space and community, which could be distinguished from the historical "China" (zhongguo), one may be able to construct the history of the people of Yunnan in its fullest sense.

• The Research Journal of the Costume Culture
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• v.15 no.2 s.67
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• pp.203-213
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• 2007

This study is on the esthetic characteristics of Christian Lacroix's haute couture works. The materials for the study are the precedent studies, the related literature, and the photographs of the works and the interview articles in fashion journal at home and abroad. The result of this study were finds three esthetic characteristics in his works and fashion philosophy; historic, ethnic, and hybrid sense. First, the historic sense, Christian Lacroix's biggest characteristic, is influenced by his major studies, but is not a revival from the past itself but a new characteristic based on borrowing and reinterpreting the images created by introducing and compromising the historic elements. Second, the ethnic sense is influenced by the growing background in his childhood and can be characterized as compromise among the multi-national design features. It is certified by the contrasting images, styles, expressions, materials, ornament elements, and so forth with the worldwide ethnic senses centered by the southern France and Spain. Third, the hybrid sense as the essential characteristic shows the uniqueness in his design by not only combining the modern materials, technologies, and futuristic emotion but also liberally compromising and associating the emotions based on a mixture among the follows; the historic representative styles, the foreign materials, the diversity between the Eastern and Western culture, and all elements, details, trimmings In the fashion design.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.32-46
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• 2011

The study researched the characteristic of helmet and armor reflecting Joseon Dynasty by focusing on the helmet and armor appearing in dramas, the Tear of Dragon and King Sejong, whose common point is the historical background, the early Joseon Dynasty, among the historical dramas, which are manufactured on the basis of historical person or age. First, the helmet and armor appearing in historical drama was reproduced on the basis of historical record depending on age. In the early Joseon Dynasty, helmet was classified into cheomju and wonju and armor was classified into chalgap, swaejagap, gyeongbeongap, dujeonggap and dudumigap. In drama, the Tear of Dragon and King Sejong, for helmet, cheomju and wonju were used and for armor, chalgap, dujeonggap and dudumigap, whose type and manufacture method were similar to that of historical record, were reproduced. Second, the helmet and armor appearing in historical drama searched for function. In drama, the Tear of Dragon, rather than heavy iron, plastic and textile were used and the metal scale inside armor was removed. In drama, King Sejong, the weight of armor was decreased by removing the metal scale inside armor and easy wearing was secured by using velcro. Third, the helmet and armor appearing in historical drama expressed various dramatic interpretations. In drama, the Tear of Dragon, the same color as that of armor was adopted for helmet to provide stable and unified feeling. Visually splendid display was added to armor by matching powerful prime color and glossy metal. In drama, King Sejong, modem sense was added to helmet and armor by actively using pastel color reflecting modem fashion.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.35-50
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• 2010

The purpose of this study was to know how helmet and armor was reinterpreted in historical play by considering general concept and type of old helmet and armor from the aspect of costume history and comparing the helmet and armor types of TV historical plays, Yeongaesomun and Taewangsasingi, whose historical backgrounds were based on the age of Goguryeo. The helmet and armor type shown in Yeongaesomun was reinterpreted as the one, which is close to historical investigation, by reappearing lamellar armor and jongjangpanju(helmet made of slim, long plate) shown in Goguryeo wall painting. The helmet and armor type shown in Taewangsasingi expresses fantastic helmet and armor by adding fantastic factor regardless of historical investigation. The study result reveals that there are several common characteristic factors between the helmet and armors of two historical plays. First, there was a classification in the display of character and story. The helmet and armor type shown in Yeongaesomun classified color and detail design depending on lamellar armor or character. In Taewangsasingi, the helmet and armor was manufactured depending on character's nature and the chain armors, which are lighter than existing helmet and armors, were usual. Second, they escaped from the historical investigation about traditional helmet and armor. In Yeongaesomun, myeonggwangae(a type of armor), which might be popular, was not expressed and Taewangsasingi is free from an imperative idea of historical investigation by manufacturing helmet and armor referring to that of ancient Rome age. The modern sense was reflected to increase dramatic effect. The helmet and armor of Yeongaesomun provides modern feeling by using stainless steel material and modern color arrangement and that of Taewangsasingi is designed in modern, splendid way as it aimed at game development from the planning step.