일제강점기 후반 불교계의 당면한 과제는‘자주권 확립’과‘민족해 방운동’이었다. 주류적 흐름이었던‘불교계의 자주권 확립’은 전통 불교 생존의 측면은 물론이거니와, 왜색불교에 맞선 우리불교 정체 성의 수호와 함께 불교의 대중화 및 활성화라는 측면, 더 나아가 사 찰령 등에 맞서서 우리나라의 전통 불지(佛旨)를 잇고자 하는 노력이 었다. 그러나 대다수의 불교계 인물과는 달리 만해는‘민족해방운동’ 에 보다 중점을 두었다. 만해는 꺼져가는 불법을 되살리고 그 대중화 및 활성화에 천착했지만, 보다 큰 안목으로 일제로부터의 조선 독립 에 더 큰 의미부여를 하였다. 하지만 그렇다 하더라도‘자주권 확립’ 의 차원에서 한국불교의 주체적 발전 방향을 끊임없이 모색하였다. 초기의 저작인『조선불교유신론』에서 만해는 불교적 계몽주의자로 서의 모습을 보여주고 있다. 만해는 이 글에서 불교사상에 기반을 두 지만 서구의 사회진화론을 수용하여 봉건적인 불교의 개혁을 주장한 다. 하지만 사상의 원숙기에 이르면서『십현담주해』를 완성하고『유 마경』을 번역한다. 요컨대 여기에서 볼 수 있는 만해 사상의 요체는 실천불교인‘대중불교’이다. 만해는 한편으로는 불교를 통해서 세상을 구하겠다는 강렬한 구세 의식을 가지고 있으며, 다른 한편으로는 조선불교계의 출세간적인 면모에 대해서 강렬한 비판의식을 가지고 있다. 뿐만 아니라 그의 구 세의식은 깨달은 자의 우월의식이 아니라 저자거리에서의 동참의식 이다. 이런 의미에서 만해의 선은 대중들이 행할 수 있는 선이며, 그 가 표방하는 바의 보살행은 구원(救援)이나 시혜(施惠)이 아니라‘더 불어 삶’이다. 만해는 이러한 입장에 대한 구체적 실천을 위한 안을 제시하는데, 그것이「조선불교의 개혁안」이다. 그는 이 개혁론에서 초기의『조선불교유신론』을 계승하면서도 당시 변화된 불교계의 동 향에 유의하여 개혁의 당위성, 그리고 대상과 방법을 제시하였다. 만해를 근·현대 한국불교계를 대표할 수 있는 가장 뛰어난 선지식 중의 한 분이라고 하는 것은 그에 대한 적당한 표현이 아니다. 오히 려 그는 한국근대사의 중심에서 민족이 가야할 길을 묵묵히 걸어간 지사였다. 만해가 민족운동가, 독립운동가, 선사, 선생 등의 여러 가 지 명칭으로 회자되는 이유는, 그가 항일민족운동에 매진하였을 뿐 아니라 하나의 명사로는 그를 제대로 표현할 수 없을 정도로 문학, 사상, 불교, 지성 등 각 분야에서 주목할 만한 행적을 우리에게 남겼 기 때문이다. 더 나아가서 만해의 개혁은 불교 개혁을 포함하여 철저하게 대중보 다 한 발 앞서 갔다는 점에서 아주 특별하다. 그뿐만 아니라 수많은 저작과 실천을 통하여 봉건불교의 개혁 그리고 일본 제국주의 식민 지 상태를 극복하기 위한 다양한 투쟁의 행적을 우리에게 남겨 놓았 다는 점에서도 만해는 우리에게 아주 의미심장하다.

울릉도 독도는 6세기 이사부의 우산국 정벌 시기부터 고려, 조선을 거쳐 대한 제국기인 1905년까지 강원도 관할 하에 있었다. 강원도 지역민들은 고대 때부터 육안으로 '울릉도 독도'를 바라보며 '우산국' '무릉도 우산도'라 불러온 같은 생활 권역에 있다. 일제 침략과정에서 울릉도 독도와 지리적, 역사적, 생활문화적으로 연속선상에 있던 강원도를 배제하고 부산, 포항으로 해상교통 거점을 의도적으로 바꾸면서 행정의 연속성을 흔들어놓았다. 1906년 행정구역 편제로 강원도 관할에서 경상남도로 이관되었으며, 1914년엔 경상북도로 변경되어 현재에 이르고 있다. 울릉도 독도가 타 시도로 이관된 이후 일제강점기를 거치며 교류 양상이 어떻게 전개되고 인식되었는지 1920~30년대 신문 기사를 통해 살펴보았다. 1920~30년대 󰡔동아일보󰡕에 실린 울릉도 관련 기사 164건을 대상으로 강원도 부분이 어떻게 서술되어 있는지 분석한 결과 행정 및 민원 관련 기사는 강원도와 무관하였으나 실생활과 역사성을 다룬 기사에서 서술되고 있었다. 첫 번째는 울릉도 입도 과정, 해상 조난 등 사건 사고, 태풍과 같은 기상, 경제 활동 등 실생활과 밀접한 뉴스에 나타나고 있다. 1920~30년대 경상도 부산항이나 포항항, 함경도 원산항에서 울릉도를 입출항할 때 강원도 울진 앞 바다까지 북상 내지 남하하여 동쪽으로 선회하고 있어 최단거리 항구인 울진 죽변항이나 삼척 임원항은 여전히 중요 항구로 역할을 하고 있는 것으로 드러났다. 두 번째는 역사, 전설을 다룬 기사에서 강원도 관련 내용이 풍부하게 서술되고 있다. 울릉도 역사 서술의 첫머리에 하슬라군주 이사부 활약 및 고려 때 강원인의 이주 시도, 삼척영장과 월송만호 수토, 개척령 시기 강원인 이주 등 강원도 역사와 중첩돼 환기되고 있다. 울릉도 태하리 성하신당 전설은 강원도 수토사를 수행 해왔다가 풍랑으로 익사한 강원도 하급관리의 희생을 기리는 공간이었으나 이후 울릉도사람들의 무사안전을 기원하는 신앙처로 윤색되어 전승되고 있는 것으로 나타났다. 울릉도가 강원도 행정관할에서 타도로 이관되면서 각종교류도 위축되었으나 1920~30년대 울릉도 관련 신문기사를 통해 실생활 차원의 교류는 지속적으로 확인되고, 역사성도 언론을 통해 수시로 환기되고 기억되고 있다. 현재 강원도는 울릉도 독도와 행정구역을 달리하고 있지만 최근 인적교류가 가장 활발한 곳으로 위치를 다시 점하며 교류거점으로 재부상되는 역사성이 발휘되고 있다.

The purpose of this study is to identify the characteristics of the use of the western building system with the change of the architectural design in the Japanese colonial period focused on the facility built by Joseon Government-General in 1910s. Through the 131 cases of governmental building, the tendency of the use of western building system. After 1910, Japanese Imperialism adopted the western wooden building system which main structure was made with combination of small pieces of timber for building the modern governmental facility because of the political and financial intention. So, all facilities were designed similarly by the structural module and the facade was finished by the feather boarding in the same with the ‘sitamitakei-giyohu’ in Japan. the functional requirements of each facility was not revealed. Such an western wooden building system was used until 1920s with the change of the facade by the mortar coating. But, in 1920s-1930s, the building system have begun to change. The use of the brick system caused some changes although the planing concept was still lasted. On the other hand, the use of the reinforced concrete led to more changes on the overall scheme.

This study was intended to examine the continuance and transformation of food culture during the enlightenment and Japanese ruling era by analyzing the novel of "Toji". In the novel "Toji", the chaotic political and economic situation is reflected, along with the peoples' hard lives in the latter era of the Choson Dynasty. After the full-fledged invasion of China by the Japanese, the shift to a wartime posture was accompanied by an increased need for food. This led to a rationing and delivery system for rice in the late 1930s. While it was hard for people to obtain even brewer's grains and bean-curd dregs, food distribution officers were well off. Another distinctive feature of the food culture during the enlightenment and Japanese ruling era was that foreign food and recipes were introduced naturally to Korea through the influx of various foreigners. The industry of Choson was held by Japanese monopolistic capital, as a result, Choson had equal to the role as a spending site and was only gradually left destitute. In the Japanese ruling era, there were new type of business including such as patisserie of the types of civilization in the town, and those tempted Korean people. However, the Japanese and pro-Japan collaborators dominated commercial business. Being urbanization through the modernization, it was became patronized fast food in the populous downtown, and the change of industry structure and life style greatly influenced into our food culture. Acceptance the convenient Japanese style fast food such as Udong, pickled radish made was actively accepted with a longing for the advancement civilization. After the enlightenment, many Japanese exchange students went to Tokyo to get advanced civilization and provided urban mood according to their consumption of bread, coffee, Western food, which were considered a part of the elite culture.

This study aims to investigate the changing aspects about research methodology of stone pagoda from the period of Japanese colonial to now. There were the differences in purpose, method and analysis of the research according to each period. In Japanese colonial period, the purpose of research was to make lists of almost stone pagodas in Korea. Following this, Japanese researchers conducted detailed research for academic purpose. They took measurements of stone pagodas and made drawings. After liberation the research was focused on the relics contained in pagodas. They proceeded to investigate the inner relics in order to attract the attention of the people. In the late 1900's, the repair works of cultural heritages were increased. Many reports of the repair works were released and sent to administration offices. The reports contained the change aspects of situation between before work and after with drawings or simple investigation documents. In the 1990's, the restoration works for important stone pagodas were started by the National Research Institute of Cultural Heritage. Since then, researches from various way - architectural and conservational researches about historical interpretation, shape, structure, proportion, technique, etc. - progressed for careful restoration and accurate study. In Recent years, various professional organizations(in the field of structure, physics, chemistry, biology, lithology, etc.) started to join the researches. Researches conducted studies directly with the stone pagodas, as well as conducting indirect studies with the stone pagodas, such as the structural stability of stone pagodas, the characteristics of rock, and conservation chemicals. Today the research project 'The preservation project of stone cultural property' is being conducted by the National Research Institute of Cultural Heritage. The purpose of this project is to gain more detailed and accurate investigation documents to be provided for the people. In conclusion, researches from various fields must be included in the research. Furthermore, a synthetic study should be done through comparing similar characteristics or different characteristics among many research results.

This article is about the study on construction contractors in Daegu during the Japanese Colonial Rule. The first construction contractors who involved with Kyong-bu railroad work in 1904 personally. But, after they go through the bidding method, changed by the Japanese Government General of Korea in 1922, and the second bid rigging in 1932, contractors was changed gradually the organization into unlimited partnership, limited partnership or stock corporation. The number of them was increased. Most contractors were Japanese, and organized a limited partnership which has been capitalized at 30,000 won. On the other hand, Korean contractors couldn't work at an important part, except for the personal activities of Youngsil Lee(李永實). They were usually employed as consultants or field deputies by Japanese contractors. After the Liberation, Japanese construction contractors returned to Japan, however Tatuoka-kumi(龍岡組), Yasiro-kumi(屋代組) and Sakano-kumi(坂野組) that was leading the business which were took over by Koreans. They were leading architecture field in Daegu.

This article attempts to excavate Korean literary works influenced by modern Chinese literature during the Japanese occupation of Korea, based on which it also analyzes the ways in which Korean writers and intellectuals received, perceived and transformed modern Chinese literature. Research findings in this article are to be summarized as follow. Firstly, writers such as Guangsoo Yi and Nanson Choi, who lived during the nascent period of modern Korean literature, approached China in the image of a looser and Japan in the image of an empire. Thus, they completely excluded Chinese literature from the world literature since the Japanese occupation of Korea. This was a dark side of modern Korean literature as a result of Korea’s marginality in the colonial age. Secondly, Baekhwa Yang is generally regarded a first writer that received modern Chinese literature; but most of his works and translations related to China were from Japan since he introduced them to Korea by translating Japanese. Consequently, the perspective that Yang applied in approaching Chinese literature was not his own but Japanese during the colonial age. Although Yang’s contribution to the translation of modern Chinese literature needs to be fairly appreciated, one may not arguably say that he was the first writer who received Chinese literature based on a proper understanding of the trajectory of China’s intellectual history. Thirdly, Dong-gog Yi and Myung Yang are the critics who for the first time accepted Chinese modern literature into Korea on their own perspective. This study has a considerable significance in excavating, introducing and analyzing the large amount of their works. Dong-gog Yi had deep interest in the value and spirit of the Chinese New Cultural Movement, and was the first critic in Korea who accepted the value and spirit of modern Chinese literature in its full measure. Myung Yang was pursued ceaselessly in what direction Korean should lead their lives under the rule of Japanese imperialism, and for the first time accepted and blended Chinese modern theory with Korean reality. This was consequential of their struggles to overcome the dual problem of particularity and universality that Korea confronted during the colonial period. Thus they approached Chinese culture and literature in terms of the world historical conjuncture of decolonization and yearnings for modernity. They did not follow the trajectory of the reception of modernity via Japan as many Korean intellectuals did but groped for a way to receive it via China.

The purpose of this study is to analyze the articles of food and nutrition published in the Yeo-Sung magazines from 1936 to 1940 in Korea. Out of the 67 articles about the food and the nutrition from the Yeo-Sung magazines, 28 (41.8%) of them were about the brief information of food and nutrition news, 16 (23.8%) of them were about the recipes, 6 (9.0%) were about the nutrition information, and 17 (25.4%) of them were about others. As the number of recipes mentioned from the Yeo-Sung magazine was 103, 77 items, the majority, were about the Korean foods, 18 of the Western foods, 6 of Chinese foods, and only 2 of Japanese foods. This result showed that the Japanese colonization didn't seem to influence on Korean tastes and gastronomy. During this period, the modernization caused the numerous changes to our traditional cuisine with introduction of new western menu items and concept of nutrition. The nutrition articles highly recommended eating brown rice, vegetables, tofu, and the white meat. Shin-Young Bang, one of the main authors, insisted that "Cookery is not only the skill, but also the one of the very important academic sciences." showed budding modern cookery sciences in Korea.

This study examines the details and characteristics of prizewinning plans of Cho-Sun housing plan competition promoted by Daily Cho-Sun Company during Japanese colonial period. The main features of Cho-Sun housing plan competition were that the competition held with an application of popular newspaper readers and a judging committee was composed of only Korean architects, especially Park, Gil-Ryong as the president of the board of examiners. Cho-Sun housing plan competition put ideological factors for the improvement of living as like advancing to the cultured(modern) life, respecting for family life, respecting for privacy of family members and so on. First of all, the competition suggested the direction of the improvement of dwelling spaces which focused on making harmonious home life. This study found common characteristics of prizewinning plans of Cho-Sun housing plan competition as the result. First, Cho-Sun housing plan competition introduced a centralized house plan as a model of the improvement of small-sized houses. Second, architectural orders of western or japanese style mingled with ones of korean traditional style in prizewinning plans as entrance hall, western style reception room(parlour), maid's room, bathroom for example. And a manner of seating using chairs was brought into the style of living which would be assumed in the prizewinning plans. Third, traditional way of composing dwelling spaces was maintained, receiving the characteristics of dwelling spaces of japanese style simultaneously, which central corridor was put at the heart of house for improving arrangement of rooms and flow lines. Fourth, lavatory and bathroom were placed inside of the house.

The objects of this study were a review on the schedules and the programs of the school athletic meetings( a kindergarten, elementary and secondary schools) and yahak(night school) and citizen's athletic meetings during the Japanese colonial period in Kor

본 연구는 한반도를 둘러싼 동아시아의 격동기였던 구한말부터 일제강점기에 이르는 19~20세기 초엽의 한반도 지도제작과정을 규명한 것이며, 한국지도발달사 중 고지도와 현대지도의 고리를 잇는 작업으로 자리매김할 수 있다. 일제는 1884년부터 한반도에 육군참모본부 간첩대를 파견하여 지도를 제작하기 시작하였고, 국가기본도인 1:5만 축척의 지형도는 3차에 걸쳐 간행되었다. 제1차 지형도는 간첩대를 파견하여 비밀측량과 같은 주권국가에 대한 불법행위를 무릅쓰고 간행된 것이며, 제2차 지형도는 기존의 제1차 지형도를 삼각측량에 의해 개측하거나 새롭게 측량한 것이고, 제3차 지형도는 식민지정책인 토지조사사업의 일환으로 간행된 지도이다.

From the late 1920s to the 1930s, Korea’s fine art community focused on traditionalviewpoints as their main topic. The traditional viewpoints were discussed mainly byKorean students studying in Japan, especially oil painters. Such discussions on tradition canbe divided into two separate halves, namely the pre- and post-Sino-Japanese War (1937)periods. Before the war, the modernists among Korea’s fine art community tried to gain afuller understanding of contemporary Western modern art, namely, expressionism,futurism, surrealism, and so forth, on the basis of Orientalism, and borrow from theseschools’in order to create their own works. Furthermore, proponents of Joseon’s avant-garde fine arts and artists of the pro-fine art school triggered debate on the traditionalviewpoints. After the Sino-Japanese War, these artists continued to embrace Westernmodern art on the basis of Orientalism. However, since Western modern fine art wasregressing into Oriental fine art during this period, Korean artists did not need to researchWestern modern fine art, but sought to study Joseon’s classics and create Joseon’s ownavant-garde fine art in a movement led by the Munjang group. This research reviews thetraditional view espoused by the Munjang group, which represented the avant-garde fineart movement of the post-war period. Advocating Joseon’s own current of avant-garde fine art through the Munjang literarymagazine, Gil Jin-seop, Kim Yong-jun and others accepted the Japanese fine artcommunity’s methodology for the restoration of classicism, but refused Orientalism as anideology, and attempted to renew their perception of Joseon tradition. The advocation ofthe restoration of classicism by Gil Jin-seop and Kim Yong-jun appears to be similar to thatof the Yasuda Yojuro-style restoration of classicism. However, Gil Jin-seop and Kim Yong-jun did not seek their sources of classicism from the Three-Kingdoms and Unified Sillaperiods, which Japan had promoted as a symbol of unity among the Joseon people;instead they sought classicism from the Joseon fine art which the Japanese had criticized asa hotbed of decadence. It was the Joseon period that the Munjang group chose as classicism when Japanwas upholding Fascism as a contemporary extremism, and when Hangeul (Korean writing system) was banned from schools. The group highly evaluated literature written in the styleof women, especially women’s writings on the royal court, as represented by Hanjungnok(A Story of Sorrowful Days). In the area of fine art, the group renewed the evaluation of notonly literary paintings, but also of the authentic landscape paintings refused by, and thevalues of the Chusa school criticized as decadent by, the colonial bureaucratic artists,thereby making great progress in promoting the traditional viewpoint. Kim Yong-junembraced a painting philosophy based on the painting techniques of Sasaeng (sketching),because he paid keen attention to the tradition of literary paintings, authentic landscapepaintings and genre paintings. The literary painting theory of the 20th century, which washighly developed, could naturally shed both the colonial historical viewpoint whichregarded Joseon fine art as heteronomical, and the traditional viewpoint which regardedJoseon fine art as decadent. As such, the Munjang group was able to embrace the Joseon period as the source ofclassicism amid the prevalent colonial historical viewpoint, presumably as it hadaccumulated first-hand experience in appreciating curios of paintings and calligraphicworks, instead of taking a logical approach. Kim Yong-jun, in his fine art theory, definedartistic forms as the expression of mind, and noted that such an artistic mind could beattained by the appreciation of nature and life. This is because, for the Munjang group, theexperience of appreciating nature and life begins with the appreciation of curios ofpaintings and calligraphic works. Furthermore, for the members of the Munjang group, who were purists who valuedartistic style, the concept of individuality presumably was an engine that protected themfrom falling into the then totalitarian world view represented by the Nishita philosophy. Such a 20th century literary painting theory espoused by the Munjang groupconcurred with the contemporary traditional viewpoint spearheaded by Oh Se-chang in the1910s. This theory had a great influence on South and North Korea’s fine art theories andcircles through the Fine Art College of Seoul National University and Pyongyang Fine ArtSchool in the wake of Korea’s liberation. In this sense, the significance of the theoryshould be re-evaluated.

This study deals with construction contract bid-rigging by Japanese contractors who monopolized the construction market of the Korean Peninsula during the Japanese colonial rule, and investigates the abuses of the contract bid-rigging. First of all, construction contract bid-rigging in Korea was triggered by Japanese construction contractors and contract brokers, who had savored the benefits of bidrigging in Japan and had repeated the bid-rigging in Korea since 1903. Second, the agency played a significant role to mediate construction contractors, and existed throughout the Japanese colonial rule on the Korean Peninsula with changing their names. Most of them were engaged in major contract bid-rigging scandals. Among them was Construction Association of Korea, which existed for over 13 years. The agencies had took part in governmental services since the mid-1930s when Japan exploited Korean people during wartime, and focused on sweating human resources for the constructions. Third, one of the biggest construction bid-rigging scandals during the Japanese colonial rule was "the 1st and 2nd scandal on Daegu construction contract bid-rigging." Indeed, the second scandal paved the way for the serial scandals: "Kyeongseong construction contract bid-rigging scandal", "Busan construction contract bid-rigging scandal", and other cases throughout the nation. Fourth, along with the contract bid-rigging cases related to the Japanese Government-General of Korea and local authorities, bid-riggings firmly took rooted in local governments' farmland reclamation projects in the 1920s and the poor relief services in the 1930s. The "bid-rigging charges" forced contractors to compensate their losses with exploiting material costs and labor costs, generating serious problems. The construction contract bid-rigging enabled Japan to monopolize the construction industry and to sweat farmers on the Korean Peninsula. Against this backdrop, contract bid-rigging by Japanese construction contractors during the its colonization made Korean contractors ruled out, and helped Japanese monopolize the industry. A large amount of bid-rigging charges drove Japanese contractors to do fraudulent work with cheap materials and to exploit Korean labor force.

This research examines symbolic meanings of architectural style of Japanese ruling era of Korea through analysis of Expo buildings. Expo buidings of Joseon Product Evaluation Expo(1915), Joseon Expo(1929), and Joseon Grand Expo(1940) are chosen as subjects of this research. Expos held in Korea since 1945 were creatures of colonial reign and their objectives are advertising the advancement of Japan. New and latest architectural styles of Western countries were used as a symbol of advancement in non-western countries. Renaissance style and Secession style in Joseon Product Evaluation Expo and Modernism style in Joseon Expo were introduced as architectural styles that symbolize advancement. On the contrary, the traditional architectural style of Joseon Dynasty was distorted as symbol of backwardness. Latest Western Architectural Styles were used elaborately and Intentionally to symbolize advancement and industrialization by Japanese ruling power and companies. Specially, Modernism style operating as 'symbol of advancement' is characteristic of non-western society in attempt to proceed Modernization through Westernization. Also, it can be suggested that architectures in Modernism style are used in ways to symbolize the advancement of the colonial reign authorities within the colonial society.

In this research, we analyzed the activities of Japanese architectural offices in Korea during the Japanese occupation era, classifying them into two groups: first, Japanese architectural offices that had their bases in Korea, and second, Japanese architectural offices that had their bases in Japan. There were totally 98 Japanese architectural offices that had their bases in Korea during the Japanese occupation period. The number of those offices had increased rapidly since 1920s. Nakamura(the design of bank buildings), Tamada(the design of theaters), Otsumi(the design of Japanese style residential houses) can be regarded as the most remarkable Japanese architectural offices among them. We found that these offices already specialized in certain architectural planning fields, such as bank buildings, theaters and residential houses. It was also found that, during the Pacific War period, even privately-managed architectural offices were mobilized for the war by Japanese government, through designing munitions factories, etc. On the one hand, since some large Japanese corporations entered into Korea, many Japanese architectural offices, that had their bases in Japan, got into working in Korea and designed a number of buildings, with the exception of the architectural office of Vories, who was a Christian architect. Even though the place that the activities of these Japanese architectural offices were carried out was Korea, any factors of Korean architectural style couldn't be found In their works. This means that they just transplanted the Japanese modern architectural style in Korea.