The purpose of this study is to understand the architectural changes that occurred in the main space of Deoksugung Palace based on the 『Deoksugung Wonan』. In the 1910s, constructions in the Deokhongjeon area and Hamnyeongjeon area caused a change in the main space of Deoksugung Palace, which is similar to the change in the central space of Changdeokgung Palace. In both palaces, the space composition, architectural structure, construction equipment, and architectural design of the palace were changed due to the changed architectural organization and construction system.

This study was described with a focus on the maintenance and management of Local Confucian School(Hyanggyo) architecture, centering around cases investigated through official documents written in the 1910s. In 1910, by the Japanese imperial rule, the regulations on Local Confucian School(Hyanggyo) property were enacted, and the income was paid solely to elementary school education expenses and ancestral rites. Through this process, many Local Confucian School(Hyanggyo) buildings were destroyed while only the space for ritual sacrifices remained by the Japanese colonial rule. In particular, as the land, which was the basis of Local Confucian School's property, was sold for various reasons, the finances gradually deteriorated. In addition, as the architectural acts that Local Confucian School preserves itself are restricted, it loses its original character. This study was of great significance that identified the intention to dispose of Local Confucian School(Hyanggyo) property by Japanese imperialism in the 1910s and clarified the purpose of its disposal.

본 논문은 이탈리아 태생의 미국화가 조셉 스텔라의 1910-1920년대 작품에 나타난 종교성에 대한 연구이다. 스텔라는 뉴욕의 도시풍경을 묘사한 대표작 <빛의 전쟁, 코니 아일랜드, 마디 그라 Battle of Lights, Coney Island, Mardi Gras>(1913-1914)와 <해석 된 뉴욕 도시의 음성 The Voice of the City of New York Interpreted>(1920-1922) 등으로 잘 알려진 미국의 미래주의 선구자로 평가되고 있다. 스텔라는 산업도시 이외에도 여성 누드, 마돈나, 식물 등 다양한 주제와 양식으로 풍성한 다작을 남겼다. 그러나 대부분의 스텔라 작품 연구는 미래주의 시각에서 아주 짤막하게 소개되었고, 간혹 정밀주의에서 스텔라의 이름이 언급되지만 그 관계는 매우 미미하다. 그렇다면 어떻게 스텔라의 작품 속에 내포된 의미에 접근해야할 것인가. 스텔라는 1896년에 도미(渡美)하면서 대도시 뉴욕의 모습에 압도되었다. 그는 산업적 풍광에서 심미적이고 위대한 아름다움을 느꼈으나, 이내 건물에 가려진 햇빛과 주변의 노동자와 이민자들의 현실은 망향(望鄕)이 깊어지고 내면적 감정을 작품에 투영하게 했다. 스텔라가 간직한 고향 풍광은 교회종탑이 있었고 이는 그리움과 종교적 근원처럼 그의 무의식을 지배했다. 따라서 스텔라는 대도시 뉴욕의 수직적 공간에서 발생한 양가 적 감정을 천상과 소통하려고 하는데 유연한 접근이 가능했다. 스텔라는 브루클린 다리를 본 순간, 다리의 본질적 기능인 통로를 떠올림과 동시에 과거의 대성당이 그 시대의 상징물이었던 것처럼 현대 기계시대의 상징물로 보았다. 그는 브루클린 다리를 배경 속의 부수적인 역할로 등장시킨 당대 예술가들과 달리 지상과 천상을 연결하는 통로로 사용하여 감상자를 신성의 면전에 세울 수 있었고, 이를 통해 종교미술에 내포된 신성함과 경건함 등의 감정을 드러낼 수 있었다. 이러한 스텔라의 노력은 전형적인 현대 도시, 뉴욕 자체를 묘사하면서 더욱 강화되었다. 스텔라는 거대한 크기의 <해석된 뉴욕 도시의 음성>에서 종교 제단화 구조의 서사적 구성으로 맨해튼을 상징하는 장소들을 가시화하고 유랑하는 듯이 정신적 체험을 유도할 수 있었다. 1910-1920년대 스텔라의 대표작 속에서 종교성은 갑작스러운 것이 아니라, 가톨릭 문화권에서 유년시절을 보낸 스텔라에게 내재되어 있는 가톨릭 유산이 나타난 것이자 점진적으로 정신적 통합을 고취시킨 것이다. 스텔라는 기계문명을 찬미하는 세속적 주제와 종교성을 결합하여 캔버스를 정신적 감동으로 승화시켰고, 이것은 모더니즘 양식에 기초하면서도 정신적 가치를 시각적으로 구현하여 표현하는데 적합하게 작용했다. 따라서 본 논문에서는 스텔라의 1910-1920년대 뉴욕 이미지를 통해 종교성이 내포된 것을 확인할 수 있었다. 본 연구는 스텔라의 작품에 대한 기존 연구가 미흡한 것을 고려할 때 대표 작품을 종교성이라는 주제에서 재조명하고 스텔라 연구의 영역을 확장했다는 점에서 의의가 있다.

The purpose of this study is to identify ways of remodeling from the traditional hanok to the modern local governmental facility in 1910s. Analysing architectural drawings in the National Archives of Korea, 58 hanok remodeling cases of 52 facilities were verified like the provincial office, county office, county court from 1907 to 1910s. Using hanok as the local governmental building, exterior walls were all changed to the scaled-wooden wall like one of western-wooden building in 1910s and the western-style entrance was set. Change of the plan caused by remodeling interior walls had an intention of the centralized closed plan. Remodeled semi-outer corridor using the space of the eave became changed to the inner corridor with expansion of space. Expansion of hanok for spatial demand was in three ways. First was the expansion towards the eave space, second was direct extension from hanok, and last was the use of external corridor to the new building. Using the eave space was simple but had limitation of space, it was planed with other expansion ways. The way of direct extension was usually used than the one with the corridor, because it was more economical way.

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.

Banchandeungsok is a book written by a person who lived in the Cheongju area located in northern Chungcheong Province. The literature is regarded as a useful source for showing types of local food in the 1910s, so it was purchased by the National Folk Museum in 2007. The writer categorized dishes described in the recipe section of the book into side dishes, snacks, rice cakes, drinks, and miscellaneous. Following this, each category was distinguished by the name of the dish, the main material, the side material, and the cooking method is presented in tables. Thus, the food culture of Chungcheong Province was arranged based on the above categorized contents. The material from the product and the outside which grow spontaneously divided with the product which flows. The case which is a product the outside, went through what kind of process and could flow toward Sangshin village in Cheongju area probably, to observe tried. The area and time were clear Eumsikdimibang and Gyuhapchongseo Jusigui with comparisons. So tried to observe the time of 1910's Cheongju area culture Dietary life time and a regional feature.

The concept of eonmunilchi (the unification of the speech and writing) reminds us of the unification of written and spoken language. However, from the late 19th century to the early 20th century, two problems were intervened in the argument of eonmunilchi. One is about the use of certain characters, and the other is regarding the styles that are used to complete the sentences. But this paper treats the problem of styles of the sentence level, not the problem of characters. In Korea, it is often said that the typical example of unification of written and spoken language at the level of sentences is the replacement of '-deora (-더라)' with '-eotta (-었다),' However, in modern Korean, '-deora' is mostly used in the spoken language whereas '-eotta' is rarely used in the spoken language. If '-eotta,' a typical example of ending expression of eonmunilchi is not related to the spoken language, then what is the fundamental meaning and effect of eonmunilchi? The basic effect of eonmunilchi occurs when it is difficult to suppose the relationship of speaker/writer and hearer/reader or even the context itself where a locution takes place. In other words, erasing the trace of speaker or writer in the text so that the sentence itself could carry out its own meaning is regarded as the effect of eonmunilchi.