• CONCEPT AND COMMUNICATION
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• no.23
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• pp.5-37
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• 2019

The March 1st Movement in Korea and the May 4th Movement in China, which both occurred in 1919, have often been thought to reflect each other like two mirrors. This paper is an attempt to reexamine the relationship between these two events in terms of simultaneity, and thus to articulate their world-historical significance. Their distinctive historical character is also understood through the perspective of an interlocking East Asia, by which is meant that although imperial Japan, semi-colonial China, and colonial Korea were all connected to the modern world-system, these three states each occupied different positions within the hierarchy of interstate relations. The differences between the anti-Japanese national movements of colonial Korea and those of semi-colonial China deserve particular attention, since they help to reveal the complexities of (semi-)colonial modernity, and may provide some clues for overcoming modernity. In this context the theory of the Double Project of Modernity is useful, which describes the process of simultaneously adapting to and overcoming modernity. The (re)remembrance of the March 1st Movement and the May 4th Movement is more than a historical issue: it is also an existential issue. The historical significance of these two events should be beyond doubt, and to make this clear it is proposed to rename them respectively as the March 1st Revolution and the May 4th Revolution. This renaming is surely justified by the way that people gathered at these events.

• Journal of International Area Studies (JIAS)
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• v.15 no.1
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• pp.155-180
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• 2011

This paper aims at comparing the metanarrative and East Timor's local narrative in Indonesia during the Suharto's regime. Although these history writings have different political goals, the patterns of writings are ironically similar. Both of the history writings show strong nationalistic history writing patterns. Yet, in the writings, these histories place different interpretations on the historical events. In the metanarrative, local dynamics are seen through the diagrams of the nation and nationhood. This narrative finds the roots of the "ethnie" from some kingdoms in Java and Sumatra. These kingdoms, which throve based on the Hindu-Buddhist culture, achieved a territorial unity to a degree, covering some parts of Java and Sumatra. The glorious past disappeared with the advent of the colonial rule. The metanarrative then emphasizes the unity of the ethnic groups in the archipelago, which fiercely resisted against the colonial exploitation and oppression. By this, these ethnic groups were defined as "the masses," the collective identity, which had a same goal to achieve the national independence. In addition, some local histories, which took positive attitudes toward the European forces, were simply left out from the metanarrative. All the separatist movements taking place in the republic were also described as the anti-unifying forces. On the other hand, the goal of the history-writing in East Timor was to enhance the sense of nationalism and create the perception of the "East Timorese." The fundamental aim was the separation from Indonesia. In the narrative, the nationalist politicians overcame the problem of the non-existence of any memories of the glorious past with the awakening of the idea of "the imagined gloriousness of the past if there was no colonial rule." In addition, the narrative overemphasizes the memory of the colonial rule for 450 years under the Portuguese rule in order to stress the fact that it was the colony of Portugal, not of the Netherlands. Finally, the narrative shows how the East Timorese collectively fell to the status of slaves. By this, the political leaders of East Timor evoked the notion that it was recolonized by Indonesia, under which the East Timorese were demoted to the status of slaves. This notion of "slave-master" relationship then became the motives for the independence struggles in East Timor.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.161-188
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• 2020

This paper seeks to expand the scale of literary history by restoring and analyzing the whole aspect of Kwak Hashin's works, which has so far been studied little. For this purpose, I notice the rupture of discontinuity of his works which is greatly divided into the colonial period and post Korean war period. And the characteristics of each works can be analyzed based on the three axis, local(colonial period), jobless person(post-war period), and Homo Economicus(some short stories, and popular novels in post-war period). In Chapter 2, 'Local-the world of Munjang', I evaluated that Kwak Hashin's novel, which had been published in the late 1930s in the Journal of Munjang, embodied anti-modern aesthetic consciousness, as clearly revealing the sorrow for disappearing things, the pre-modern sense of time, and the preference for local. In Chapter 3, 'Jobless Person' and Chapter 4, 'The State of All People's Struggle against All People, The Appearance of Homo Economicus', the Korean society in late 1950s, which entered underdeveloped capitalist countries after Korean war, can be characterized by two contrasting male-gender, one is the jobless, incompetent male, and the economic man on the other hand. In the late '50s, Lumpen(=Jobless Person) novels showed the problems of the Korean economy through incompetent male character. The intelligent men took the path to survival rather than morality or intimacy, projecting their own incompetence and anxiety to women/wives. In the popular novels Women's Song and The Shadow of the Fig Tree, achievement-oriented male figures who betrayed their colleagues, and exploited women's sex by using love relationships to rise to the top appeared. They can be defined as the Homo Economicus who embody the state of universal struggle against all people. These novels showed the formation of the masculinity in post Korean war period, which pursued the survival of the fittest, borrowing form of popular novel. As we have seen so far, Kwak Hashin needs to be re-evaluated as an writer who expanded the modern literary history in the outside of literature. He was the last generation writer written in Korean late colonial period, and provided the model of postwar literature by borrowing the form of journalism and popular novels.

• Cross-Cultural Studies
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• v.42
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• pp.131-163
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• 2016

The issue of migrants has always been a social problem in France. Particularly, migration issues from the Maghreb region to multicultural France are recognized as topics of confrontation and conflict. One of the many reasons would be that the Maghreb migrant issue is interpreted with a hostile or conflicting 'Arab-Islam' meaning in the West. Therefore, the naming of natives from this region as 'Arab-Maghrebis' has become a common phenomenon. However, deeper understanding of the Maghreb region will explain that such naming could produce a number of problems. This is because the native Maghrebis, not only in the Maghreb region but also in France, are Berbers. Among the various Berbers, the Kabyles are in many ways different from the Arabs in their language, culture, and way of thinking. Apart from the difference in their lifestyle, there is a deep anti-Arab sentiment within them that represents their resistance against the hundreds-of-years Arab domination. This feature has also been used as France's tool of colonial division policy during the colonization period. The purpose of this study is to discuss the settlement process of the Kabyles in France by paying attention to their features. The Kabyles were the first to migrate to France among the natives of the Maghreb region. This study focuses on the process of their migration and search for identity, as well as how they continued to form community and the Berber's cultural movement. Through these series of processes, it is possible to point out the fictitious claim in France and in Korea that Maghrebis are Arab-Muslims. Lastly, the current use of Berber language in France and Algeria is not a coincidental phenomenon, rather it has a connection with the prolonged cultural movement and the settlement process of the migrants in France.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.371-405
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• 2004

International circulation of cultural assets involves numerous countries thereby making an approach based on international law essential to resolving this problem. Since the end of the $2^{nd}$ World War, as the value of cultural assets evolved from material value to moral and ethical values, with emphasis on establishing national identities, newly independent nations and former colonial states took issue with ownership of cultural assets which led to the need for international cooperation and statutory provisions for the return of cultural assets. UNESCO's 1954 "Convention for the Protection of Cultural Property in the Event of Armed Conflict" as preparatory measures for the protection of cultural assets, the 1970 "Convention on the Means of Prohibiting and Preventing the Illicit Import and Transfer of Ownership of Cultural Property" to regulate transfer of cultural assets, and the 1995 "Unidroit Convention on Stolen or Illegally Exported Cultural Objects" which required the return of illegally acquired cultural property are examples of international agreements established on illegal transfers of cultural assets. In addition, the UN agency UNESCO established the Division of Cultural Heritage to oversee cultural assets related matters, and the UN since its 1973 resolution 3187, has continued to demonstrate interest in protection of cultural assets. The resolution 3187 affirms the return of cultural assets to the country of origin, advises on preventing illegal transfers of works of art and cultural assets, advises cataloguing cultural assets within the respective countries and, conclusively, recommends becoming a member of UNESCO, composing a forum for international cooperation. Differences in defining cultural assets pose a limitation on international agreements. While the 1954 Convention states that cultural assets are not limited to movable property and includes immovable property, the 1970 Convention's objective of 'Prohibiting and preventing the illicit import, export and transfer of ownership of cultural property' effectively limits the subject to tangible movable cultural property. The 1995 Convention also has tangible movable cultural property as its subject. On this point, the two conventions demonstrate distinction from the 1954 Convention and the 1972 Convention that focuses on immovable cultural property and natural property. The disparity in defining cultural property is due to the object and purpose of the convention and does not reflect an inherent divergence. In the case of Korea, beginning with the 1866 French invasion, 36 years of Japanese colonial rule, military rule and period of economic development caused outflow of numerous cultural assets to foreign countries. Of course, it is neither possible nor necessary to have all of these cultural properties returned, but among those that have significant value in establishing cultural and historical identity or those that have been taken symbolically as a demonstration of occupational rule can cause issues in their return. In these cases, the 1954 Convention and the ratification of the first legislation must be actively considered. In the return of cultural property, if the illicit acquisition is the core issue, it is a simple matter of following the international accords, while if it rises to the level of diplomatic discussions, it will become a political issue. In that case, the country requesting the return must convince the counterpart country. Realizing a response to the earnest need for preventing illicit trading of cultural assets will require extensive national and civic societal efforts in the East Asian area to overcome its current deficiencies. The most effective way to prevent illicit trading of cultural property is rapid circulation of information between Interpol member countries, which will require development of an internet based communication system as well as more effective deployment of legislation to prevent trading of illicitly acquired cultural property, subscription to international conventions and cataloguing collections.

• The Korean Journal of Archival Studies
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• no.14
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• pp.53-89
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• 2006

The historical value of the official documents of the Government General of Choson preserved as permanent archived documents has long been recognized. However, the fact that only parts of the overall documents were preserved and that the contents of the existing documents is not uniform, results in many problems regarding the evaluation and usage of such documents as archives. This study attempts to appraise a series of archival documents related to urban district planning compiled during the colonial era. Although limited in terms of its applicability to the development of an evaluation method for the official documents of the Government General of Choson as a whole, by evaluating the value of these documents based on the background of the documents produced during the Government General of Choson's implementation of its colonial policy, this study provides an important indicator of how such documents should be used in the future. On the other hand, the assessment of historical records such as the official documents of the Government General of Choson which have already been designated and preserved as permanent archived documents should not be perceived as an attempt to dispose of the relevant documents. With regard to the appraisal of historical archives, it is necessary to consider measures to link such documents with existing databases or information contents in order to heighten access to and usage of the relevant documents in the future.

• (The) Research of the performance art and culture
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• no.18
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• pp.315-346
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• 2009

Korean 'Sin-Pa' play is a way to examine self-reliance of Korean culture and influence of Japanese culture on the Korean one in the early modern times. Although the 'Sin-Pa' play has been estimated negatively in many aspects, such an estimation can be different depending on the methodology. Therefore, I tried to explain a characteristics of the rise of 'Sin-Pa' play. While making these trials, I made efforts to reappreciate the developing process of Korean 'Sin-Pa' play and its theatrical structure and value. Particularly, I focused on structure of 'Sin-Pa' play in the context of an actual cognition of colonized Korea. Based on the 'Sin-Pa' play's repertoires I found out that one of the representative characteristics of Korean 'Sin-Pa' play is a changing process from orality to literacy. And I made attempts to uncover some ideological functions and their effects of 'Sin-Pa' play, focusing on and whose story line is usually consisted of 'provocation-pangs-defeat' while it interacted with 'provocation-pangs-penalty' of the structure of melodrama under the contemporary cultural conditions. 'Sin-Pa'' play can be considered as a performance mode to accept the Japanese value embedded in the colonized Korea since the 1910s on the one hand and to resist the overwhelming power of western culture imported through Japan on the other hand. In other words, it was closely related with the cultural-field of that period. Based on these results of this research, I tried to outline what the mode of 'Sin-Pa' was, what it reflected, and what it desired for under the influence of the contemporary cultural conditions. I analysed double qualities of 'Sin-Pa' play as a dominant narrative and/or a resistant narrative considering its relationship with the people of colonized Korea. And also I examined the place of the 'Sin-Pa' play in the history of theatre and in the history of culture.