본 연구의 연구목적은 20세기 초 중국인 농과 도일 유학생 규모의 변 화 요인을 심층적으로 고찰하는 데 있다. 이 시기는 중국 국내에서 교육 과 정치의 변화가 급격하게 일어나던 시기로, 이러한 변화가 중국인 유 학생 수에 미친 영향을 분석하는 것은 매우 필수적인 작업이다. 이에 본 연구는 1900-1910년대 일본에서 유일한 농업 특성화 제국대학으로서의 역할을 수행했던 홋카이도제국대학을 사례로 삼아, 당시 중국의 교육 '장 '과 정치 '장'이 홋카이도제국대학의 중국인 유학생 규모에 미친 영향에 대해 자세히 고찰해 보고자 하였다. 이를 위해 피에르 부르디외의 '장' 이론을 적용하여 교육사회학·교육인류학적 해석을 시도하였으며, 이를 통 해 20세기 초 홋카이도제국대학 중국인 유학생들의 규모 변화에 미친 영 향을 체계적으로 분석함으로써, 궁극적으로는 당시 중국의 국내 및 국제 사회 '장'의 구조적 요인이 중국인 도일 유학생들의 학문적 경로에 미친 영향에 대해 심층적인 이해를 도모하고자 하였다.

본 연구의 연구목적은 20세기 초 조선인 여자 일본유학생들의 도일실 천을 피에르 부르디외의 '장' 이론에 입각하여 재해석 해보고자 함에 있 다. 피에르 부르디외는 사회를 다양한 사회적 '장'들로 이루어진 유기체 로 해석하였는데, 각각의 장들에서는 행위자들의 행위적 실천이 발생하 고 있고, 행위적 주체들은 여러 사회적 '장'에 동시에 소속되어 있다. 이 러한 시각에서 바라볼 때, 근대 조선의 지식인 사회 역시 여러 '장'들로 분화되어 있었다고 볼 수 있다. 이러한 '장'들은 본 연구의 연구대상인 15명의 조선인 여자 일본유학생들의 '도일유학' 행위의 실천 영역으로서, 각 '장'들은 독립적이면서도 서로 상호작용하며 연결되어 있었고, 이들 여자 유학생들은 동시에 이러한 '장'들에 몸담고 있었다. 20세기 초 조선 인 여자 일본유학생들은 도일 실천에 있어서 어떠한 '장'들을 공유하고 있었으며, 이들의 '도일'이라는 행위적 실천 양상은 어떠한 모습을 하고 있었는가. 본 연구에서는 이러한 질문들에 대해 교육사회학적·교육인류학 적인 시각에서 부르디외의 '장' 이론을 적용하여 재해석을 시도하였다.

This study tries to find out the commonalities and differences during the 20th century between the characteristics of Hanyang Sijeon revealed in previous studies by identifying the location of the Sijeon (market zones) installed in Namdaega, Gaeseong, the relationship between lots and streets, and the characteristics of the building arrangements. As a result, the integrated structure of the front and the doga, the market structures of Gaeseong, which have been passed down since the Goryeo Dynasty, influenced and developed those of Hanyang. In particular, additional furnaces were installed in the front, which led to the birth of Pimat-gil alleys. In determining the size of urban space, the scale of Gaeseong City was also applied to Hanyang, which became the basis for determining lots and roads around the market zones.

The purpose of this thesis is to understand the shape of the Sijeon (Licensed-Markets) established around the Jongno and Namdaemun-ro Avenues in Hanyang during the Joseon Dynasty in the 19th and 20th centuries and then to examine the relationship with the urban structures of Hanyang City. By investigating the excavation results of the Cheongjin and Gongpyeong areas, drawings, photos, and documentary records related to the city, this study classified the building types in the Jonggak area. As a result, since the 19th century, the basic form of Sijeon with 2 Gan(間, bay) in the front facade and 3 Gan(間) on the side, in other words, 5m in the front and 8m in the side was arranged in parallel, and it was a type with a corridor-type courtyard inside. The inner sides of Jongno Avenue had an atypical flat shape that suited the more free lot, and a courtyard-type plan with a single entrance was also confirmed in the one or two Bang(房, district). This study reflected the operation method of the Sijeon buildings b between the one unit and the other units, which affected the internal spatial structures, and it found that the size and style of the Sijeon buildings were closely relevant to the size of the lots near Jongno Avenue.

“청년에 의한, 젊은 여성에 의한, 젊은 여성을 위한”이라는 기치 아래 기독교 정신을 바탕으로 시작한 세계YWCA는 복음의 열정으로 출발한 신앙 운동이자 에큐메니컬 정신을 바탕으로 한 봉사 운동이며, 인류의 평화와 화해를 추구하는 평화 운동의 주체로 오랫동안 자리매김 해 왔다. 그 정신을 이어받아 한국 YWCA는 2022년 4월이면 창립 100주년을 맞이한다. 그러나, 한국 학계는 일반사나 기독교사를 막론 하고 YWCA에 대해 큰 관심이 없었다. 한국 YWCA 역시 아시아에서 처음 개최된 항주 세계YWCA 협의회(이하 항주협의회)에 대한 정보가 빈약하다. 1947년에 개최된 이 대회는 전쟁 후 울고 있는 세계를 치유하고 화해를 도모한 여성들의 진한 우정 이야기를 담고 있다. 그래서, 본 연구는 선교역사 연구에서 빠져 있는 한 조각의 퍼즐을 맞추고, 장차 한국교회가 평화 선교로 나아가기를 제안했다.

The Sijeon (Licensed Markets) legally permitted by the government along the Jongno and the Namdaemunro Avenues played a central commercial role in Hanyang. However, after the opening of the port in the late Joseon era, the Licensed Markets suffered a blow and declined due to the introduction of a new product of civilization and the appearance of foreign merchants. Although the Licensed Markets, which have been maintained without major changes for a long time, have played a major role in the urban spatial structure, the exact location has not been still determined, and researches until now has remained limited for such that. In this study, based on the 1912 land survey records, the location of the Licensed Markets pre-and post- 1910 is identified, and the spatial change of the dismantling process is investigated.

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.

본 논문은 18세기 후반 프랑스에서 시작된 무대 멜로드라마의 영향으로 낭송자와 한 악기 주자 또는 오케스트라가 함께하는 연주회 방식으로 동시대에 발생한 콘서트 멜로드라마에 대한 학문적인 관심에서 출발하여, 창작 및 수용에 있어서 최고의 시대였던 20세기 초 독일의 콘서트 멜로드라마와 당대 대표적인 작품인 실링스의 ⟪마녀의 노래⟫를 연구한 것이다. 20세기 초 독일의 콘서트 멜로드라마는 낭송 텍스트로 발라드를 선택하는 18세기부터의 전통을 따르고 있고, 19세기 동안 굳어진 기악 음악의 묘사적인 표현 기능 및 음악적 동기의 유기성을 극적인 작품으로의 완결성을 위해 더욱 발전시키는 한편, 낭송자의 뛰어난 표현력을 작품의 창작 과정에서 고려하는 새로움을 수용했다. 대표적인 작곡가는 리하르트 슈트라우스와 실링스로, 특히 실링 스는 콘서트 멜로드라마를 주요 장르로 정착시키고 예술성을 알리기 위해 노력했다. 실링스는 빌덴브루흐의 발라드 <마녀의 노래>를 텍스트로 선택하여 동명의 콘서트 멜로드라마를 창작하면서 낭송 텍스트로 선택한 발라드의 내용을 그대로 쓰는 소극성에서 벗어나 극적인 짜임 새를 위해 각색하고 고유의 방식으로 주도동기를 설정하고 적용하여 낭송과 기악 음악의 조화를 추구하는 한편, 기악 음악만의 자율적인 감정 표현도 필수적인 요소로 삼는 새로움도 시도함으로써 콘 서트 멜로드라마의 발전 가능성과 독립된 형태로서 음악사적인 의미와 가치를 충분히 지니고 있는 것을 확인하게 하였다.

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.

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 purpose of this research was to re-illuminated the artistic value of costume designs that had shared identical history with human beings through the formation and the progress of the newly introduced Russian avant-garde art. This resulted from the fact that the Russian avant-garde art changed the human esthetic sense through the trend of art that Natalia Goncharova introduced in the early 20th century. The research method defined the formation and progress of the development of the Neo-Primitivism centering the works of art by Natalia Goncharova. Based on this method, Goncharova designed the set and the costume designs for the Ballets Russes of Serge Diaghilev and studied the molding characteristics of the costumes worn in the performing art. The result were as follows. First of all, Goncharova's costume designs were all manufactured based on the theme of Russian folk art and genesis. In other words, Goncharova represented the Spanish passion, the Russian folk art Lubok, and Goldern cockerel or religious Icon-paintings in her costumes. she pursued straight lines and abstract shapes in her costume designs. her design displayed the Neo-Primitivism influence through the separation between the lines and the surfaces, which defined the costumes as a decorative art experiment. Therefore, the study of Goncharova had one realize that Neo-Primitivism was not only an art form of Avant-garde, but it also became the basis of the molding character of all the artworks. Natalia Goncharova reflected the miracle of the transformation of the early 20th century in their costume designs.