帝國의 취미 = Imperial Taste : Yi Dynasty Museum and the Cultural Politics of Imperialist Japan

다국어 초록 (Multilingual Abstract)

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.

목차 (Table of Contents)

• 흔들리는 위상
• ‘경성의 취미화’: ‘살풍경’에서 문명의 ‘낙원’으로
• 박물관, 조선여행의 ‘에센스’: 신영토의 전시
• 참고문헌
• ABSTRACT