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이동언(Lee Dong-Eon) 독립기념관 한국독립운동연구소 2009 한국독립운동사연구 Vol.0 No.34
김홍량은 1885년 9월 20일 황해도 안악에서 태어나 어려서 일찍이 부친을 여의고 조부 김효영의 슬하에서 자랐다. 조부의 권유로 1904년 일본에 유학하여 명치학원을 졸업한 후 조도전대학 정치경제학부 예과에서 수학하였다. 일본 유학생단체인 태극학회와 대한흥학회 임원으로 활동하면서 유학생들과 교류를 통해 안악지역 교육진흥을 위해 매진하였다. 김홍량의 활동을 요약해 보면 안악면학회 설립, 양산학교 운영, 해서교육총회 결성, 안악고보 설립, 경신학교 인수 · 경영 등 교육을 통한 구국운동에 투신하였다. 또한 일본유학생 단체인 태극학회 · 대한흥학회 등 유학생들이 조직한 학회에서 임원으로 활동하였다. 신민회에 가입하여 활동하였으며 특히 안명근과 함께 독립운동 자금 모금을 주도한 안악사건으로 15년 형을 언도받고 서대문형무소에서 옥고를 치렀다. 동아일보 안악지국을 운영하였으며 모범농촌운동과 김농장 건설에 매진하였다. 그 외에도 김구를 비롯한 독립운동가와 그 가족들을 후원하는 등 다양한 민족운동을 전개하였다. 김홍량의 독립운동 방략은 안악면학회 설립목적과 일치한다. 안악면 학회의 설립목적은 ‘국권회복운동의 장기전으로 신교육과 민지계발로 청소년을 계몽하여 독립사상을 고취하고 많은 학교를 세워 교사들을 양성하며, 농사기술을 개량하고 공업을 장려하여 산업진흥을 도모한다’는 것이었다. 김홍량이 고향인 안악을 중심으로 추구하고자 한 국권회복을 위한 실천방안 모델이 바로 안악면학회였다. 김홍량은 안악면학회 설립목적을 평생 실천하면서 국권회복운동을 전개한 독립운동가였다. Kim Hong-Ryang’s was born in Anak, Hwanghae Province on 20th of September, 1885. When he was young, he lost his father and was raised by his grandfather, Hyo-Young Kim. As his grandfather recommended him to study abroad, he started to study in Japan in 1904. Graduating from Meiji school, he studied the preparatory course of the department of political economy, Waseda University. Participating in Taegeukhakhoi(Great absolute academic society), an association of the students studying in Japan and Daehanheunghakhoi(Korean Education Promotion Society) as an executive member, he strove to develop education in Anak area through an exchangeprogram with the students studying in Japan. To make his activities short, he devoted himself to a save-the-nation drive by education like the establishment of Anakmyeonhakhoi(Anak Study Society), Yangsan School management, organization of Haeseo Educational Convention, establishment of Anak High School, Gyeongshin School takeover and management, etc. Also he participated in the academic societies like Taegeukhakhoi, Daehanheunghakhoi as an executive member, which were organized by the students studying in Japan. As he participated in Shinminhoi(a secret society for recovering the sovereignty of Korea). Due to the Anak case in which he led the fund raising for an independence movement with Myeong-Geun Ahn, he received 15 years in prison and languished in Seodaemun Prison. He managed Anak branch office of The Dong-A Daily News and strove to participate in an exemplary farm village movement and the establishment of KIM farm. In addition, he started various national movements like supporting independence fighters including Kim Goo and their families, etc. His independence movement stratagem coincides with the purpose of the establishment of Anakmyeonhakhoi. The purpose of the establishment of Anakmyeonhakhoi was as follows; to enlighten young boys and girls and instill independence ideology into their hearts by new education programs and the development of their intellect for a long war for the recovery of national sovereignty, teacher training through the establishment of lots of schools, and to promote the development of industry by improving farming technology and encouraging industrial production. The model of the practice program for the recovery of national sovereignty which he pursued with Anak, his hometown as the center was Anakmyeonhakhoi. He was a independence fighter who practiced the purpose of the establishment of Anakmyeonhakhoi throughout his life and performed the campaign for the recovery of national sovereignty.
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이동언,Lee, Dong-Eon 한국건축역사학회 1999 건축역사연구 Vol.8 No.3
The purpose of this phenomenological inquiry is to suggest a positive direction for Korean architecture to pursue. In order to have the inquiry, we need Heidegger's term, 'World 3.' To discuss works of art and architecture as created is also to discuss such works as creative, that is, as realities which add themselves to the creativity of a world which is never complete except by our going with the venture of creativity, which is in Heidegger's term World 3. Through it, our ground is transformed into an ever changing but ever self-recovering World. If all of this has any fundamental significance for architecture and if this significance cannot be neglected in favor of other considerations, the work of architecture does not enter into the world as a thing of abstraction or concept. Rather, as a venture, as a tension of the 'World 3,' the work of architecture constantly brings about the transformable truth of the world.
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이동언,Lee, Dong-Eon 한국건축역사학회 1999 건축역사연구 Vol.8 No.2
The purpose of this paper is to apply Stephen C. Pepper's contextualism to architecture: to interpret the former in the light of architectural theory, and ultimately to liberate architecture from the Western 'Idea' and return it to its context. The major concepts of Pepper used in the paper are quality, texture, spread, change, fusion, strand and context. Pepper's contextualism makes us realize that architecture cannot be separated from its context where human beings, history, neighborhood, and nature are all interpenetrating, and create a quality. Contextualism thus teaches us to make an effort to understand the region where we belong, and to create an architectural device that interrelates form and function of an architecture with its space-time environment, or its strand, texture and context.
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세계, 사인(Sign) 그리고 건축 - 개념적 건축과 창조적 건축의 구분을 위한 시도 -
이동언,Lee, Dong-Eon 한국건축역사학회 1995 건축역사연구 Vol.4 No.2
The main aim of the paper is to reveal what is the sign in art and architecture and what is difference between technology and art. By keeping in mind the suggestions of Heidegger's four different worlds, we become able to discern or elaborate on four different contexts of signs and modes in which the sign can work. World (1) is not conceptualized by selected relations of some of things' aspects with one another; rather, it is constructed by our sensory impressions. The sign of World (1) simply points to other objects occurring in the situation. World (2) emerges as an ontological term, and signifies, in terms of relations that are now brought systematically forth, the Being of those entities of World (1) which we naively perceive or take for granted. The sign of World (2) signifies a constructed world. World (3) is understood as the 'wherein' or environment of beings whose total activity is proven to be inseparable from their circumstances. The sign of World (3) is to recover the perspicuous silence of World (3). The World (4) is the ontological-existential understanding of worldhood. The sign of World (4) is to reveal the conspicuous silence of World (4). Finally, the paper suggests that art including architecture cannot be the sign of World (1), (2) but the one of World (3).
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