지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Yi Dynasty Museum is known to have been established for the purpose of making Sunjong, the king of Joseon, feel 'taste' at his everyday life. But the meaning of 'taste' written in Japanese is dubious either because it is not the familiar usage in Korean or because the political situation was very complicated for the threatening of imperialist Japan in that period Without the political context of that period, therefore, it cannot be understood correctly. This research is intended to investigate how the status of that museum changed accordingly, what relationship between the change and 'taste' was established, and what spectrum of meaning the conception of 'taste' had within the cultural discourses and practices in that period It will reveal how the Westem aesthetic conceptions such like 'taste' were used as dominating instruments by imperialist Japan.
To begin with, since established as a part of royal garden in 1909, Yi Dynasty Museum changed its name to Changyeongwon Museum after the name of the location, and then to Yi Dynasty (Private) Museum at the moment of the annexation of Joseon by imperialist Japan. This change is deeply associated with the deprivation of political and financial power from d1e royal family of Joseon And it was paralleled by the aestheticization of royal palace, which caused to take royal palace not as the centre of political practices in Joseon but as an an work displayed in museum. Ultimately, this display of the everyday life of royal family as well as the palace itself contributed to exhibit colonial domination as a business of civilization. So it can be thought that the purpose of that museum, which would make Sunjong feel 'taste', was a nominal, and never long-lasting alibi for disguising the imperialist mastery of Japan.
Moreover, the range of people enjoying the 'taste' was not limited to the royal family, and rather, from the beginning was planned to encompass the public whether they are Korean or Japanese. Japanese colonialists thought that there was no 'taste' with regard to earnest and noble-minded entertainments in Joseon, and so desired to establish cultural facilities such as public gardens, libraries, music halls, museLU11S, etc. This is because they thought of 'taste' as the expression of civilized status, and as the criterion which differentiates between Japan and Joseon at the same time manifests the gap between before and after the domination of Japan. In a word, this plan to make Kyeongseong the capital of colonial Joseon tasteful was not only for the practical problem to tempt Japanese immigrants to the new territory Joseon, but for training the museum visitors of Joseon as an obedient nation through museum and Japanese 'taste' such like the enjoyment of cheny blossom. This Japanese taste was showed as no other than the modem and fashionable taste of civilized man.
In addition, one of the principal function of Yi Dynasty Museum was connected with the tourism into Colonial Joseon, which was expected to contribute to improve Japan's international balance of payments. The fundamental quality of tourism to Joseon was as same as that of museum established in Joseon on the ground that Both of them were subordinate to the goal demonstrating the progress of Joseon after the domination of Japan. Therefore it is possible to say that the tourism to colonial Joseon was another expression of imperial 'taste.' It depended on the idea that Imperialist Japan was the protector and conservator of the traditional culture of Joseon as well as Joseon itself. Yi Dynasty Museum was the symbolic monument of that imperialist idea. and was considered as though it had been an essence of Jose on tourism with drawing up guidelines on that colonial tourism for Japanese and Western tourists, The objects displayed in that museum were, consequently, incorporated into the national culture of Japan through the politics of 'taste' conspired with Yi Dynasty Museum.
To begin with, since established as a part of royal garden in 1909, Yi Dynasty Museum changed its name to Changyeongwon Museum after the name of the location, and then to Yi Dynasty (Private) Museum at the moment of the annexation of Joseon by imperialist Japan. This change is deeply associated with the deprivation of political and financial power from d1e royal family of Joseon And it was paralleled by the aestheticization of royal palace, which caused to take royal palace not as the centre of political practices in Joseon but as an an work displayed in museum. Ultimately, this display of the everyday life of royal family as well as the palace itself contributed to exhibit colonial domination as a business of civilization. So it can be thought that the purpose of that museum, which would make Sunjong feel 'taste', was a nominal, and never long-lasting alibi for disguising the imperialist mastery of Japan.
Moreover, the range of people enjoying the 'taste' was not limited to the royal family, and rather, from the beginning was planned to encompass the public whether they are Korean or Japanese. Japanese colonialists thought that there was no 'taste' with regard to earnest and noble-minded entertainments in Joseon, and so desired to establish cultural facilities such as public gardens, libraries, music halls, museLU11S, etc. This is because they thought of 'taste' as the expression of civilized status, and as the criterion which differentiates between Japan and Joseon at the same time manifests the gap between before and after the domination of Japan. In a word, this plan to make Kyeongseong the capital of colonial Joseon tasteful was not only for the practical problem to tempt Japanese immigrants to the new territory Joseon, but for training the museum visitors of Joseon as an obedient nation through museum and Japanese 'taste' such like the enjoyment of cheny blossom. This Japanese taste was showed as no other than the modem and fashionable taste of civilized man.
In addition, one of the principal function of Yi Dynasty Museum was connected with the tourism into Colonial Joseon, which was expected to contribute to improve Japan's international balance of payments. The fundamental quality of tourism to Joseon was as same as that of museum established in Joseon on the ground that Both of them were subordinate to the goal demonstrating the progress of Joseon after the domination of Japan. Therefore it is possible to say that the tourism to colonial Joseon was another expression of imperial 'taste.' It depended on the idea that Imperialist Japan was the protector and conservator of the traditional culture of Joseon as well as Joseon itself. Yi Dynasty Museum was the symbolic monument of that imperialist idea. and was considered as though it had been an essence of Jose on tourism with drawing up guidelines on that colonial tourism for Japanese and Western tourists, The objects displayed in that museum were, consequently, incorporated into the national culture of Japan through the politics of 'taste' conspired with Yi Dynasty Museum.
목차
흔들리는 위상
‘경성의 취미화’: ‘살풍경’에서 문명의 ‘낙원’으로
박물관, 조선여행의 ‘에센스’: 신영토의 전시
참고문헌
ABSTRACT
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
他者로서의 李王家博物館과 傳統觀 : 書畵觀을 중심으로
미술사학연구(구 고고미술)
2003 .12
-
한국 박물관 역사를 통해 본 미술사의 역할과 전망
서양미술사학회논문집
2008 .08
-
전국 공립박물관의 전시 현황과 그 배경에 관한 연구
현대미술사연구
2011 .12
-
국립 박물관의 연대기적 변화특성에 관한 연구
한국실내디자인학회 논문집
2010 .06
-
동아시아에서 전시와 이데올로기의 관계에 대하여 : 한국과 일본 국립박물관의 상호 문화재 전시의 중요성을 중심으로
현대미술학 논문집
2007 .12
-
사회문화적 관점에서 본 박물관의 역할변화 : 근대 이후 박물관 프로그램의 새로운 경향을 중심으로
한국실내디자인학회 논문집
2009 .06
-
Museum as Powerhouse: Museum Performance in 21st Century Taiwan
현대미술사연구
2007 .12
-
석남 이경성(石南 李慶成, 1919-2009)의 뮤지엄 인식과 실천
한국근현대미술사학
2011 .12
-
A STUDY ON UTILIZING VIRTUAL ART MUSEUM FOR ENLARGING VISITOR"S EXPERIENCE IN OFFLINE ART MUSEUM : FOCUSING OF THE CURRENT STATE OF THE APPLICATIONS OF KOREAN NATIONAL ART MUSEUMS
한국디자인학회 학술발표대회 논문집
2015 .10
-
A Comparative Study on Current Status of Smartphone Application use in the National Museums of Korea and Japan
한국디자인학회 학술발표대회 논문집
2013 .12
-
현장조사를 통해 본 미국의 소박물관 - 운영과 전시 중심 -
한복문화
2005 .12
-
과학계 박물관의 전시 내러티브 분석에 관한 연구
한국실내디자인학회 학술대회논문집
2017 .05
-
국내 국, 공립 뮤지엄 감시체계에 관한 연구 : 공간구조에 의한 간접감시체계를 중심으로
한국실내디자인학회 논문집
2011 .04
-
Design and the Design Museums' Role in Culture and Society - Three Distinguished Case Study as the Exemplars of the Design Museums -
한국디자인포럼
2015 .01
-
2000년 이후 중국 사회의 국제화에 따른 뮤지엄 공간구조의 변화에 관한 연구 : 2000년 이전ㆍ후에 설립된 중국 박물관의 공간구조를 중심으로
한국실내디자인학회 학술대회논문집
2012 .05
-
어린이박물관 전시매체 유형별 관람객의 행동특성
한국실내디자인학회 학술대회논문집
2009 .10
-
박물관 환경 가이드 표식디자인의 심미적 흥미에 관한 연구 : 어린이 박물관을 중심으로
한국실내디자인학회 학술대회논문집
2013 .05
-
새로운 문화 裝置는 가능한가 : 일본 미술관의 문제와 가능성
미술사논단
2005 .06
-
자연계 박물관의 전시체계 및 내러티브 구조 분석에 관한연구
한국공간디자인학회 논문집
2018 .01
-
마르셀 브로타스의 미술관
서양미술사학회논문집
2000 .06
이 논문의 저자 정보
이 논문과 함께 이용한 논문
博物館의 政治性에 대해 : 博物館史 연구방법론에 대한 생각
가네코 아쓰시
,
박미정
미술사논단
2002
.09
레지스탕스의 탄생 : ‘인류박물관’ 조직과 ‘북부해방’을 중심으로
이용우
프랑스사 연구
2012
.08
식민주의의 그림자들 : 새로운 세계사와 서구 포스트-식민박물관의 경우
김용우
코기토
2012
.02
제국과 식민지를 연구하는 또 하나의 시각 : '트랜스내셔널 역사학'과 '다양한 근대성(multiple modernities)'의 관점
朴龍熙
역사학보
2009
.09
박물관의 식민주의적 혐의 : 빅토리아기 영국 사우스켄싱턴 박물관을 중심으로
권의신
역사와 세계
2008
.06
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2010-650-002616823