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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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 동양사학회 동양사학연구 東洋史學硏究 第148輯
- 발행연도
- 2019.9
- 수록면
- 245 - 286 (42page)
- DOI
- 10.17856/jahs.2019.9.148.245
이용수
초록· 키워드
오류제보하기
Chosŏn’s first photograph was taken in Beijing, in the year 1863. It was not a photo that was taken passively without awareness of the situation, but rather one that was taken purposely in a principal capacity. Prior to Chosŏn-Japan Treaty in 1876, all photos which principally depicted Koreans had been taken by westerners in Beijing. That photography of Koreans was possible in Beijing owed to the fact that it was virtually the only space where Koreans could come into contact with western civilization and material culture at the time. Furthermore, following the Second Opium War and the complete opening of Beijing to westerners, westerns were free to visit or reside in Beijing, thus creating more opportunities for contact between Koreans and westerners.
After the Second Opium War, increased contact between Chosŏn and the West led to the deepening of mutual interest in each other. However, the directionality of such interest was not the same. Having opened up the ‘Imperial City (皇都)’ wherein the previous Qing-centric order was still firmly in place, westerners not only took a growing personal interest in Chosŏn, the ‘Hermit Kingdom’, but western powers also sought to open up Chosŏn, which still remained within the Qing-centric order. Beijing became a space wherein such tentative contemplations took place. On the other hand, Koreans took an interest in western civilization and material culture, and would recruit western photographers to have their pictures taken. Some Koreans contacted westerners and expressed keen interest in the West. However, due to Chosŏn’s policy of isolation, the experiences in Beijing were not conveyed to Chosŏn itself.
Beijing represented a space where the inquisitiveness of Chosŏn and the West intersected, and was also a place where the West - which sought to expand its sphere of political influence beyond the ‘Imperial City’ - came into contact with Chosŏn, which was opposed to such machinations. As such, the positions of both parties lay behind the photos of Koreans taken in Beijing. Following the photos of Koreans taken in Beijing during the 1860s-1870s, this study traces the background and processes by which the photos were taken to explore the nature of Chosŏn’s contact with the West, in addition to considering the significance of the ‘Imperial City’ - which had undergone changes since the ‘Convention of Beijing’ of 1860 - as a ‘contact zone’ between Chosŏn and the West.
After the Second Opium War, increased contact between Chosŏn and the West led to the deepening of mutual interest in each other. However, the directionality of such interest was not the same. Having opened up the ‘Imperial City (皇都)’ wherein the previous Qing-centric order was still firmly in place, westerners not only took a growing personal interest in Chosŏn, the ‘Hermit Kingdom’, but western powers also sought to open up Chosŏn, which still remained within the Qing-centric order. Beijing became a space wherein such tentative contemplations took place. On the other hand, Koreans took an interest in western civilization and material culture, and would recruit western photographers to have their pictures taken. Some Koreans contacted westerners and expressed keen interest in the West. However, due to Chosŏn’s policy of isolation, the experiences in Beijing were not conveyed to Chosŏn itself.
Beijing represented a space where the inquisitiveness of Chosŏn and the West intersected, and was also a place where the West - which sought to expand its sphere of political influence beyond the ‘Imperial City’ - came into contact with Chosŏn, which was opposed to such machinations. As such, the positions of both parties lay behind the photos of Koreans taken in Beijing. Following the photos of Koreans taken in Beijing during the 1860s-1870s, this study traces the background and processes by which the photos were taken to explore the nature of Chosŏn’s contact with the West, in addition to considering the significance of the ‘Imperial City’ - which had undergone changes since the ‘Convention of Beijing’ of 1860 - as a ‘contact zone’ between Chosŏn and the West.
목차
Ⅰ. 머리말
Ⅱ. 변화된 공간: ‘鄂羅斯館’에서의 사진 촬영
Ⅲ. 접촉의 확장: 서양인 촬영자의 경험
Ⅳ. 위축된 공간: ‘皇都’를 넘지 못한 조선인의 경험
Ⅴ. 암중접촉: 서양 외교관과 만난 조선 역관의 사진
Ⅵ. 맺음말
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2019-910-001240640