본 연구는 20세기 이탈리아에서 정체성에 대한 고민이 높았던 시기에 진행되었던 통일, 파시즘, 2차 세계 대전 이후의 전시의 시각 체계를 분석하고 전시와 사회의 관계를 살펴보았다. 이를 위해 살펴보았던 《이탈리아 통일 50주년 기념 전시》는 박람회 문화의 영향 속에서 타자를 바라보는 관점을 통해 주체를 구성했고, 《파시즘 혁명의 전시》는 전시품의 서사를 넘어서 큐레이터의 관점과 서사를 강조함으로써 이데올로기적 특성을 강조하며 역사와 사회를 보는 관점에 적극 적으로 개입하며 새로운 이탈리아인의 정체성을 고안하려고 시도했다. 전후 카를로 스카르파의 카스텔베키오 박물관의 상설 전시는 건축과 공간에서 큐레이터의 의도를 명확하게 구축하였으나 과거의 기억과 시각적으로 구분함으로써 역사를 해석할 수 있는 가능성과 동시대의 관점들이 만나는 인터페이스를 만들어냈다. 이런 점은 전시가 사회적 정체성을 지향하며 역사와 동시대에 대한 평론으로 사회를 반영함을 보여준다.

Historically, rhythm has played a key role not only in musical composition, but also in architectural design. In 1893, architectural theorist and art scholar August Schmarsow, in "The Essence of Architectural Creation,” created a new definition of architecture as space-creation and characterized rhythm as a design principle. However, this new idea was confronted by Heinrich Wölfflin. While Schmarsow’s theory represents a dynamic world-view based on anthropomorphism, the architectural theory of Wölfflin is based on the notion of harmony, displaying a kind of conservative stasis. These two main streams have greatly influenced the development of modern architecture. The concept of space has prevailed in the discourse of modern architecture, but the principle of rhythm has seldom received any positive recognition. This article introduces and develops the concept of rhythm and disputes whether Behrens and Frankl in particular, two who dispute Schmarsow’s theories, have used the concept of rhythm in terms of space. I conclude that they could not overcome the notion of the physical—the body —, thus their use of the term rhythm is incongruous with the notion of space. The idea of rhythm in architectural creation remains an up and coming idea.

In this study, clothing items recorded in Nappyemulmok (納幣物目) and Ugwimulmok (于歸物目) in the early 20th century were examined. These clothing items were recorded on the lists of goods for wedding gifts from the 1910s to the 1930s. A large quantity of these lists were organized into eight categories by analyzing the fabrics of each item of clothing. Representative fabrics used for skirts and Jeogori (such as Myeongju, 明紬) were used widely. Jeoksam was mostly made with ramie fabric. Pants mostly used cotton such as Dangmok, Mumyung, and calico, with some use of silk. Gojaengi mostly used cotton such as Dangmok, Mumyung, and calico, with some use of ramie. Danui (單衣) used silk fabrics such Pparinseu, Myeongju, and Gyoju for decorative features that were revealed when rolled up. Naeui (內衣) is believed to be the closest underclothes to the body, and Mumyung was mostly used. Dangmok and calico were used for the Yodae (腰帶) and fabrics such as silk, Nobangju, and JuhangNa were used for outdoor use. This type of categorization is significant, as it can be used as academic evidence to verify and reproduce the clothing of the time by identifying fabrics, colors, and characteristics of certain items of clothing. Lastly, it is expected that the analysis of clothing will provide theoretical data in the same way that movies, dramas, and museum exhibitions feature modern traditional weddings.

The harsh economic conditions of Buddhist temples in late Joseon dynasty, and the prevalence of the Buddhānusmrti(念佛) practice, which is a practice of reciting Amita Buddha(阿彌陀佛), led Buddhist temples to organize the Buddhānusmrti association(念佛契) in the nineteenth and early twentieth centuries. For the practices and the activities of organization, an architectural facility was required; thereby, many temples had a Yeombul-dang(念佛堂). However, only a few of the Yeombul-dang have survived and are known today. This research investigates the ways temples tried to acquire Yeombul-dang buildings during the period and their architecture characteristics by reviewing historical records and documentary works of literature. In this research, Yeombul-dang is found to have various types of building names and building forms. Different hall names such as Amitābha Hall(佛殿), Yosa(寮舍) and Daebang(大房) were used as Yeonbul-dang. The commonalities and differences in terms of building forms, spatial elements composition and layouts were found depending on how they were acquired. The Yeombul-dang were most commonly built as multi-complex buildings consisting of worshiping rooms and residential areas. Most of Yeombul-dang were located in the central areas of the temple site. On this basis, this research suggests the possibility that many Yeombul-dang is still being used under different names and for different purposes.

Considering the situation in the early 20th century when the existing urban system centered on urban areas began to change, the biggest factors causing urban structural changes in urban areas are construction of railroad and urban dismantling. The change process of Eupseong, in the microscopic viewpoint, can be understood as a process of change in the course of dismantlement of town's demarcation, improvement of accessibility and urban expansion due to the construction of railroads, process of urban expansion following the crumbling boundaries and structural changes. This study aimed to look at the transformation process of the Eupseong in the early 20th century, focusing on the demolition of the castle and the railway construction from a microscopic point of view of city.

At the beginning of the 20th century, Cartier developed Art Deco jewelry designs that have been used as design inspirations to this day. The purpose of this study is to analyze the characteristics of the Art Deco jewelry designs of Cartier in the early 20th century. Regarding the research method, this study explored the jewelry designs from 1904 to 1939 by extracting 288 analysis subjects from Cartier’s exhibitions, auction picture books, and foreign books, and analyzed the characteristics in terms of design motifs, colors and materials. The results of the study are as follows. Regarding the design motifs, 73% were geometric motifs, and 66% were a combination of circular shapes and polygons, the most frequent. In terms of colors, 69% were chromatic in color, and vivid colors were mostly used in the order of red (24%), - green (19%), and - blue (14%). Of the materials, 92% of the metals consisted of platinum, and gemstones were used in the order of diamonds (41%), - onyx (13%), - emeralds (11%), - rubies (9%), and - sapphires (8%). In the early 20th century, Cartier’s Art Deco jewelry designs featured abstract and geometric motifs, vivid colors and strong contrasts, platinum and precious gemstones. This study is meaningful in that it explores the competitiveness of Cartier’s designs and provides practical ideas to combine Art Deco style with contemporary jewelry designs successfully.

현재 우리가 살고 있는 세계는 기상이변으로 재해에 대해 예측하기 어렵지만 조선시대에는 더욱 어려웠을 것으로 예상된다. 1662년 부사 허목이 쓴 『陟州誌』 에는 17세기 중기 삼척 기후에 대한 일면이 서술되어 있고, 또 沈宜昇이 쓴 『삼척군지』에는 삼척의 기후에 대하여 기술하고 있다. 삼척지역은 이상기후와 그로 인한 자연재해가 빈번하게 발생하였고, 이러한 자연재해는 농업생산과 식량부족 현상을 초래하였다. 『陟州先生案』은 다른 지방의 읍 선생안과는 달리 내용이 다양하고 풍부하다. 그러므로 본 글은 『陟州先生案』을 통해 삼척지역에 대한 자연 재해를 좀 더 면밀히 살펴볼 수 있었으며 자연재해에 대한 府使·民의 대응도 검토하였다.

한중 양국의 전통시기 문화관에서는 세상에 재앙과 혼란을 가져오는 두려움의 대상, 죽음 과 절망의 공간으로 바다를 인식하고 있다. 이에 반해 대항해시대 이후 서구에서는 바다를 생존의 바다, 미지의 넓은 세계로 나아가는 모험과 동경의 바다라고 인식하면서 바다중심의 근대문명을 태동시켰다. 최남선과 궈모뤄의 시에 보이는 바다는 전통시기 죽음의 바다를 의 미하는 것이 아니라 근대적 계몽과 각성을 통해 변화된 살아 꿈틀거리는 생존과 부활의 바다 로 문화적인 의미가 변이한다. 전통적 문화의 해체와 근대적 계몽으로서의 바다이다. 김기림 과 쉬즈모는 모더니스트로서 바다를 모더니티의 심미적 대상으로 승화시켜 생동하는 이미지 를 통해 바다에 대한 희망과 절망이 교차하는 우울과 고독, 근대적 인간존재의 근원적 비애, 방황과 고민의 자의식을 잘 보여주고 있다.

19세기 중반 이후 서구의 의한 강제적인 문호 개방에 시달리며 문명의 큰 충격을 경험한 중국의 전통적인 문사들은 새로운 지적 생성을 도모해야 했다. 이 과정에서 선도적인 역할을 한 엘리트집단은 자국을 무력화시킨 서구 문명국의 유학생들이라 할 수 있다. 이들 초기 유 학생 대부분은 전통학문을 훈습하였고 전통적인 ‘문사(文士)’들의 전철을 밟은 인물들로 전통 문인의 기질과 품격을 아우르고 있었으며 자국의 문화와 학문에 대한 자존감은 여전하였다. 본고에서는 이처럼 전통 학문과 서구 학문을 모두 총섭하고 유학까지 경험한 루쉰(魯迅)의 일본 유학시기에 초점을 맞추어 그가 유학생 잡지 절강조(浙江潮)와 하남(河南)에 발표 한 글을 통해 루쉰의 전통적 사유와 서구의 사상관념이 어떻게 교응(交應)하는지를 살피는데 주목하였다.

As the international competitive landscape deepens, the need to understand foreign cultures and establish effective strategies is increasing. At the beginning of the 20th century, Cartier actively developed exotic designs to secure international competitiveness; theses designs have also been used as design prototypes for Cartier in modern times. The purpose of this study is to analyze the color characteristics and types of exotic designs in the early 20th century, which was a turning point in Cartier's design. After studying the literature, a total of 248 exotic designs were presented in Cartier catalogs. This study also selected overseas monographs from the early 20th century, and their design types were classified and color analysis was performed based on the Natural Color System(NCS). Cartier’s exotic designs cover wide range of styles, such as Chinese, Japanese, Persian, Indian and Egyptian styles. Multicolor, primary colors, and contrast are all strongly expressed. 97% of designs contained multiple colors, with at least two colors and maximum of six colors. The most frequently used colors are red, green, and blue, which means that only 9% of the designs do not contain the three colors, showing a high preference for theses three colors. In addition, color combinations of red and green, red and blue, or all three colors are used to show high contrast and utilize complementary colors, or near complementary colors, for coloration. This study is meaningful in that it analyzes the color characteristics of Cartier’s exotic designs and translates them into practical data for establishing the color strategies of companies in the global market.

As the international competitive landscape deepens, the need to understand foreign cultures and establish effective strategies is increasing. At the beginning of the 20th century, Cartier actively developed exotic designs to secure international competitiveness; theses designs have also been used as design prototypes for Cartier in modern times. The purpose of this study is to analyze the color characteristics and types of exotic designs in the early 20th century, which was a turning point in Cartier's design. After studying the literature, a total of 248 exotic designs were presented in Cartier catalogs. This study also selected overseas monographs from the early 20th century, and their design types were classified and color analysis was performed based on the Natural Color System(NCS). Cartier’s exotic designs cover wide range of styles, such as Chinese, Japanese, Persian, Indian and Egyptian styles. Multicolor, primary colors, and contrast are all strongly expressed. 97% of designs contained multiple colors, with at least two colors and maximum of six colors. The most frequently used colors are red, green, and blue, which means that only 9% of the designs do not contain the three colors, showing a high preference for theses three colors. In addition, color combinations of red and green, red and blue, or all three colors are used to show high contrast and utilize complementary colors, or near complementary colors, for coloration. This study is meaningful in that it analyzes the color characteristics of Cartier’s exotic designs and translates them into practical data for establishing the color strategies of companies in the global market.

The study uses lists of wedding gifts used from old Korean documents written in Hangeul in the western Gyungnam province during the 20th century. The study analyzed four lists of wedding gifts from the Muncheongak archive and two lists from the archive of ancient document. This analysis found that clothing accounts for the majority of the items in the lists, and items such as furniture, jewelry, household goods, and medical materials were also recorded. That the furnishings were commonly prepared by the groom's side, and the fact that the number of jeogori was higher than the number of skirt, speaks to the unique wedding custom of Gyeongsang province. While the groom’s list of wedding gifts included a record of the bride's ornaments, jewelry, and furnishings in the bride’s list, the groom’s nickel top-knot pin was only included as an ornament. In the list of wedding gifts between brothers, the gifts for the eldest son differed from those for the third son in terms of number and price. The list of wedding gifts between father and son illustrates how economic development and changing times wedding custom. The lists of wedding gifts in the old Korean documents shed light on the oral research into 20th century wedding custom, which will be used as basic data in researching and reproducting the wedding culture and life conditions of the time.

The influence of Japonism, which is the post-mid-19th century phenomenon of appreciating and preferring the Japanese style that manifested all across Western art, started to grow as a result of the active open-door policy of Japan at this time. As all areas of Japanese arts and culture, such as paintings, sculptures and theater plays, influenced Europe and America, this influence developed into a cultural phenomenon that was reflected even in fashion. The characteristic elements of the kimono first expanded from Paris and showed a similar silhouette to that of the traditional kimono in the early 20th century, but towards the middle and the end of the century, kimono sleeves that were connected as one piece without a connecting seam line between the sleeve and bodice started to appear. The foundation of this research focuses on the design characteristics of kimono sleeves that can be seen in 20th-century fashion, and five varying kimono sleeve jackets and coats based on these formative characteristics were designed. Each design had a gusset design added, which improved the external and mobility problems inherent in kimono sleeve patterns, while at the same time serving as a proposal for new design element applications. Additionally, through various changes to and attempts at designs using the kimono sleeve as a limiting factor, new design possibilities were explored.

베트남은 한자문화권의 한 국가로, 이미 오래 전부터 한문화의 깊은 영향을 받 았다. 베트탐의 외교와 행정 교류, 과거, 시문의 창작 등 생활의 각 방면에서 베트 남인들은 한자와 한문의 생활을 하였다. 특히 베트남인들은 여전히 한자와 한-쯔 놈의 서적을 국내외의 여러 도서관과 장서관에 보존하고 있다. 한-쯔놈 서목의 통 계와 한-쯔놈 이중 언어 사전을 편집하는 과정 속에서 베트남에서 오랜 동안 시 행되었던 한자교육의 역사를 살펴볼 수 있다.

서평

This article chronicles key shifts in intellectual property regimes in the twentieth century as they related to the commercialization of academic research. The institutionalization and growth of scientific research in the research university in the twentieth century and the increasing awareness of its potential to promote technology innovation and economic growth posited an important question of the ownership of knowledge created in the academic setting, where knowledge was traditionally regarded as a common property among academic researchers. This paper shows the ownership of academic knowledge emerged as a key public policy and legal issue in the latter half of the twentieth century for academic researchers and government officials who pursue the commercialization of academic knowledge for private gain and public benefit. The resulting institutionalization of patent management in the research university and shifts in federal patent policy in turn opened a new legal avenue for the establishment of the private ownership of academic knowledge and the expansion of intellectual property rights in academia, especially in the area of biological and biomedical research. Reflecting upon historical shifts in intellectual property regimes in the twentieth century, this paper suggests recent controversies regarding ownership of biological knowledge and profit sharing in developing counties are linked to critical issues pertinent to the welfare of indigenous population, utilization of new natural resources, and sustainable development for humanity.