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.

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.

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.

한반도와 주변 수역의 이름에 대한 논의는 국제적인 관심사가 되고 있다. 이러한 논의의 과정에서 유럽에서 제작된 다양한 지도상에 나타나는 수역의 명칭에 대한 연구는 다수 진행되었으나, 실제 어떤 자료가 각 국가들의 지명에 대한 입장에 영향을 미쳤는지는 파악되지 않았다. 본 연구에서는 영국의 국립기록보존관이 소장하고 있는 1920년대 이전에 간행된 한국과 한반도 주변 지역에 대한 지도 자료들을 조사하였다. 해당 자료들은 영국 정부의 공문서로 남은 자료들로 당시 영국정부가 직접 제작하거나, 수집한 지도 자료들로 구성되어있다. 여기에는 영국전쟁성의 자료가 포함되어 있으며 이에 대해서는 별도로 다루었다. 당시 영국 정부는 항해와 군사적인 목적으로 보았을 때 실용적인 자료들, 그리고 근대 지도학적인 관점으로 보았을 때 가치가 있다고 추정되어진 자료들을 주로 수집한 것으로 나타났다. 즉, 19세기 중반 이후에 간행되고, 경위선과 삼각점과 같은 근대 측량의 기법에 가까우며, 위치 정보가 명확히 드러나 있는 자료들이 주류를 이루고 있다. 영국 정부 자체가 생산한 한국에 관한 자료들은 중국과 일본에 주재하던 영국군 무관들에 의해서 수집, 제작되었으며, 일본이 제작한 지도들이 상당한 영향을 준 것으로 볼 수 있다. 한국에 대한 전면적인 근대적인 방식의 측량이 한국의 국권 상실 이후 이뤄진 것을 감안한다면, 지리적 좌표 등에 대한 사항은 불가피한 면이 있다고 보여진다. 그러나 앞서 논의한 것과 마찬가지로 당시의 지리정보에 대한 정의에는 당시의 근대적 사고가 배경에 깔려 있음을 유의해야 할 것이다. 당시 영국 정부 기관과 지도 제작자들은 지도에 표기하기 위한 지명을 확인하기 위하여 일본에서 획득된 정보들을 수합한 지명 요록을 사용하였다. 특히 영국 외교관인 어네스트 사토우, 일본인 곤도 마코토, 고토 분지로의 한국 관련 지명의 정리가 당시 서양 국가들의 한반도와 인근 지역 지명의 표기에 상당한 영향을 준 것으로 나타났다.

본 연구는 20세기 초기의 서양 흔들의자를 분석하여 조형적, 실용적 관점에서 양식적 특징을 학문적 으로 규명하고, 오늘날 우리나라 흔들의자의 설계 및 제작의 기초자료를 제공하는 것에 목적이 있다. 20 세기 전반의 서양 흔들의자(1925~1945년 제작)는 형태가 기능을 따라야 한다는 단순한 기능주의의 이념을 적극적으로 표현하였다. 원목을 활용한 흔들의자는 표면장식을 배제하였고, 강철관 프레임의 흔들의자는 검정색 가죽의 업홀스터리를 즐겨 사용하면서 노출된 구조미를 대담하게 표현하였다. 또 강철관을 통하여 가구의 경량화가 이루어졌고 곡선미 있는 새로운 양식이 출현하였다. 근대 흔들의자의 구조는 양식과 기능적 이유에서 모두 중요하게 되었다. 디자이너들은 강철관과 목재 프레임의 노출된 구조를 통합성 및 합리성과 결부 시켜 디자인의 평등주의 스타일을 만들어냈다. 특히 이 시기에는 밝고 대담한 색상의 업홀스터리와 목재 프레임으로 구성된 흔들의자가 근대적 특징의 단순한 형태로 다양하게 표현되었 다.

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.

This study aims to investigate and analyze the plan and structural system of 4 kan(間) by 4 kan(間) square church built in early 20th century. At that time, three kinds of traditional wooden structure church had been built under the circumstances of transitional era : Basilica style such as Ganghwa Anglican Church, ‘ㄱ’ shaped style such as Keumsan Church and 4×4 Square style such as Bukok Church and Jacheon Church that are concerned in this study. Traditional plans and structural system were mixed with new religious function and transformed into korean peculiar style. 4×4 Square style is a residual product in that process. Despite of it, little concerns on it till now. The results of this study are described as follows. 1. The plan of these 4×4 square churches is divided into three areas : cathedra(1×1), attendance(4×2), and intermediation(4×2). The location of cathedra is commonly the opposition part of main gate and projected out of the building. Attendance area was also divided into two, man and woman, because of keeping a distance with each other. 2. The structural system of these 4×4 square churches are somewhat different because of their size and roof style. In the case of Bukok church, 4×4 square fall off 3×3 and 2×2 gradually and turn into paljak(八作) roof, which enable us to get in traditional entering methods. On the contrary, Jacheon church use hipped roof but almost alike pyramidal roof, which could make us not to recognize entering in the aspect of gable part.

This study aims at examining the background and development process of Masan city after Koryo Dynasty, making a reconstructive map of Original Masan using the first registration maps made in 1912 and analyzing the urban structure of the Original Masan area. The origin of Masan city went back to Koryo dynasty. Around 1040 Koryo government placed an official shipping facility in Masan to transport the taxed grain to the capital city. After that Masan became an important port covering the southern part of KyungSang-Do. And the urbanization of the Original Masan began to bud after a shipping facility was again established by the Chosun Dynasty in 1760 and strengthened in the 19th century after the social standing system was broken and many peasants moved to cities as daily workers. In 1899 Masan was forced to be opened to foreign powers and they placed an international settlement distanced from the area(Original Masan). After this many Japanese advanced to the international settlement and further to the area. The advancement of Japanese brought a critical change in the urban structure of the area. Land was owned by Japanese and many modern sysytems were introduced such as modern buildings, new roads, railroad and modern factories. According to the reconstructive map of the area, 80.5% of land lots are less than $200m^2$ 수식 이미지 showing the size of each land lot is comparatively small. And Japanese occupied 31.5% of the land in the area. Their land was located on the stratigic points near the port and the center of commerce. The ratio of the road area to the whole land was around 14%, not so low for urban areas in that time. The reconstructive map reveals the exact coastline of the year 1912 erased now due to filling the sea and extending the land, Present Masan city has been developed having the Original Masan as its nucleus. The area has been always the center of urban activities for Masan city. Making an exact reconstructive map for the area and analyzing the urban structure of the area in 1912 is a very important work to understand Masan city wholy.