• (The) Research of the performance art and culture
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• no.19
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• pp.347-378
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• 2009

Those who were from Jaeincheon and Jaein line entertainers played great roles during transition period from traditional society to modern society, and even at present the dances of them are the representative traditional dances of Korea and the matrix of Korean originality. Nevertheless, Korea dance field has given little importance to these dances, but too much importance to Gibang dance in studying traditional dances, which causes the studies on Jaein line danced to be superficial or separate. Therefore, the aims of this article are to analyze the dances of Jaein line by Han Seong-jun, who was representative for the dances, and to appraise the historical value of them. Han Seong-jun(1874-1942) was the most influential dummer and dancer of his day in Japanese colonial times, and has been recognized as one of the masters of traditional dances. He established autonomy of traditional dances by reorganizing, collecting and stage-formalizing the dances, and systemized transmitting ways for various folk dances including a Buddhist dance, which made it possiblefor those dances to be traditional dances of Korea and the bases for creative dances. The values of Jaein line dances, which were transmitted through Han, are the following: First, the dances have been designated as national or regional intangible cultural assets, and, as the representative traditional arts, we proudly show them to the world. Second, the dances, as one of the genres of Korean dances, are the subjects of younger scholars' studies. Third, the dances become one of the representative examples of revivals of traditional dances, which tend to be extinct during modernization times, and contribute to establishing national identity and subjectivity. In addition, they contribute to discovering and transmitting other traditional dances. Fourth, the dances enable many dancers to make association, that is, Association for Preservation of Traditional Dances,for the transmitting the dances, and to distribute the dances and get many dancers to transmit the dances. Furthermore, as new performance repertories, they give another pleasure to the audience. In addition to the above, as a base for expansion of Korean creative dances, Han's dances have other values such as the following: First, in searching for a new methodology for creation, he played an important role in rediscovering the foundation in the tradition, and tried to discover nationalidentity by employing the traditional dances for expression of theme. Second, he contributed to drastically dissolving the genres by expanding the gesture language from motion factors of traditional dances, which can be compared to the modern dance. Third, he tried new challenging approaches to re-create the tradition, and contributed to pursuing the simple elements of our traditional dances as traditional aesthetics. While the dances of Jaein line have such values as the above, there are also some problems around the dances, such as the confusion in the process of transmission resulted from different transmission forms and transmitters, which we must no longer leave as it is. Furthermore, it is urgent that the rest of Jaein line dances be recovered and designated as intangible cultural assets for the sound transmission of the traditional dances.

• Cartoon and Animation Studies
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• s.41
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• pp.553-578
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• 2015

The Korean society was forcefully merged with the invasion of Japan in 20th century, and traditional culture of Korea was damaged severely by colonization from Japan. After liberation, Korean society experienced drastic social change with Korean War, and industrial economy and democratic system developed as modernization and democratization occurred. However, Korean traditional culture dissolved more severely as Korean society developed industrial economy and democracy. As criticism of existing Western center of society and the emphasis of cultural identity of non-western regions and third-world, world society preferred exchange of culture of diverse nations and people with each other in advent of postmodernism thoughts in mid-late 20th century. If the cultural identity of Korea was dissolving meanwhile, it was needed to be recovered again. Despite the research in Korean history, language, art, architecture was performed to recover cultural identity of Korea, it did not go in-depth with Korean mythology, for Korean mythology is considered as superstition or savage. Mythology shows subconscious group psychology of people who live in certain specific region. Studying Korean mythology is one of the ways to rediscover cultural identity of Korea. In order for Korean mythology to be known to many people, its stories should be told by media. There were movies, plays, drama, and novels produced based on existing Korean mythology as introduction, then these mythical stories are appear in subculture contents such as recent comics, animation, webtoon, games, and light novels. Then population of game players and webtoon readers increased as dissemination of PC and smart phones, and increasing market scale of subculture contents increased a population of consumers of comics, animation, and light novel. Consumers of sub-culture contents were interested as many of these contents were created, base on Korean mythology. Therefore, this paper is written as research on Korean mythology and its signification in sub-cultural contents which were produced base on Korean mythology.

• (The)Study of the Eastern Classic
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• no.48
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• pp.195-223
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• 2012

Until now, I guess, many scholars misunderstood the characteristic of economic awareness of Yi Hang-no as if it was a modern nationalism or radicalism against Japanese anti-Korean insistences. But I think these opinions are out of historical attitude. So to understand Yi's economic awareness correctly, I think, We should focus on the traditional Confucian thought system at that time. As one method to reach the goal, I focused on the word, Jeong-jeon-je: Oriental equal land system. Yi Hang-no put the importance on Jeong-jeon-je to make utopia he dreamed of. Yi thought Jeong-jeon-je is the basis of equal society and strong state. Also Yi thought a moral society would be achieved by Jeong-jeon-je because the equal land system, so called Jeong-jeon-je provide peasants with equal lands, so it makes peasants stable in economic situation. Especially, Yi Hang-no put importance on that Jeong-jeon-je would raise moral consciousness of people because equal economic condition makes people wealthy, so people would be good men naturally. Yi Hang-no explain it in basis of Insim-Dosim-seol: a theory of two minds bad & good to be. Yi Hang-no thought equal economic condition is the basis of making people moral being. He thought Jeong-jeon-je was a basis of the condition. Reversely, Yi thought Western insists of trade was the beginning of making people fight for individual benefit, so it produces devil selfishness out of human mind. That was the reason that Yi Hang-no opposed the trade with Western Powers. Eventually Yi's assertion of embargo came out of his Insim-Dosim-seol. In this context, Yi's Jeong-jeon-je was insisted as a method to raise human moral consciousness.

• East European & Balkan Studies
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• v.35
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• pp.153-186
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• 2013

Literature has been special for the Polish who suffered from the numerous invasions from surrounding countries for her geographical location at the center of Europe. In the late 18th century at a time when Poland was divided and ruled by Russia, Prussia and Austria, literature played an important role in uniting Poland. During the 2nd world war in which Poland was occupied by the Soviet Union and by Germany, and during the Cold War period under socialism system(1948~1989), the Polish literature was in the front to keep unique national culture with overseas migration community at the center. The Polish Diaspora literature from 19th century up to now has naturally embodied national sufferings from foreign powers in their literary tradition linked to the problem of 'migration'. In addition, they belong to other cultural sphere, but keep their own unique identity, which is similar to Korean Diaspora literature to a great degree. This study has two stages. In the first stage, it figures out the formation and trend of the Polish Diaspora literature followed by their meaning in the history of Polish literature. In the second stage, specific texts (two dramas) are analyzed before and after system transition in 1989. * Before system transition: S. Mrożek, Emigranci (1974), * After system transition: J. Głowacki, Antygona w Nowym Yorku (1992) Mrożek and Głowacki had themselves migration experiences with high achievement and recognition in literature not only in Poland but also in the world. In their works, hardships as 'strangers' in foreign countries, emotional wandering and agony, nostalgia to lost home land and exploration of identity were described vividly. By comparing the 2 literature texts, this study attempts to trace the change of Diaspora consciousness which Polish migrants experienced in foreign countries with different political system like socialism and capitalism.

• Korean journal of communication and information
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• v.84
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• pp.99-123
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• 2017

We analyzed the movie (2016/ directed by J-yong E), which is entangled in politics of gender, age, class, or sexuality, naming as "spaces of Others", using the concepts of heterotopia of Foucault. Foucault addressed three types of spaces: the realistic space where we currently live, the unrealistic and non-existent utopia, and heterotopia, which functions antithetically to reality. Thus, Foucault's heterotopia can be considered to indicate "heterogeneous spaces" in reality. The Bacchus Lady revolves a 65-year old prostitute So-Young, sells her body to old men at the parks in downtown of Seoul. Old prostitute on streets are often referred as "Bacchus Ladies", because suggest the popular energy drink a bottle of Bacchus while selling sex. The movie represents some minorities such as transgender, Tina and madam of the club, G-spot, migrant women like Camila and Aindu, and a amputee, Dohoon. Through these people's bodies, the problems such as imperials, nations, ethnics, gender, age, class are entangled in the movie. The politics of these points work and construct heterotopias in four spaces of Others. First, the spaces which ageing and death are intersected. Second, the spaces of So-Young for prostitutes, Third, the spaces of So-Young's mothering: she adopted her baby to American when he was a infant, so she have felt guilty. Fourth, the spaces for So-young's quasi-family with Minho, a Kopian boy who was abandoned by Korean father, Dohoon, who is a poor amputee, and Tina, who is a transgender singer. Fifth, the spaces of speech of So-Young as the subaltern: the subaltern does not have the language to express its own experiences. In order to listen to the words of subaltern, we must do the task of measuring the silence. This cinematic representation of So-young as the subaltern makes her speak about her situation. Finally, the spaces constructed by the movie can be connected 'heterotopia of crisis', 'heterotopia of deviation' and 'heterotopia of fantasy'. The spaces of the movie represents lives of Others, nevertheless, So-Young's Otherness through spaces of heterotopia was transformed to an absolute Other by patriarchal traits of cinematic narrative.

• Journal of the Korean association of regional geographers
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• v.20 no.2
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• pp.163-175
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• 2014

This study is to explain social capital characteristics of Filipino immigrant women at the level of neighborhood. This research targeted Filipino immigrant women in the metropolis, small town and rural area in Korea to find out the relevance of individual property and characteristics of the community and social capital of neighboring communities- school community, cathedral community, etc- through measurement of the participants' recognition. This study reveals that differences exist in the relationship between length of residence and social capital in the school community and the catholic church community. There is a significant positive relationship between length of residence and political factors in the catholic church community, thereby having a better relationship with longer period of stay, while length of residence and confidence show a negative trend in the school community, leading to less confidence. The catholic church community holds a dominant position in homogeneity, cohesion, and the amount of social capital. According to the findings, social capital 'relation' is more closely related to homogeneity of the community, 'norms' to cohesion. 'Relation and norms' and 'confidence and politics' factors are recognized similarly in both communities, thus resulting in the recognition that decision making within the community, the share of value, and observance of social norms approximate a friendly relationship among members, and satisfaction level, emotional support, and confidence among members approach politics that members can talk about their personal matters. It is noted in the research process that the symbolism of the cathedral community as a transnational circuit behavior occurs where collective culture and personal desires of Filipino immigrant women were combined with production of social capital. Filipino immigrant women's awareness of community and social capital appearing in the cathedral community show that not only residence, along with the cultural identity of Filipino immigrant women, but also collective social and cultural characteristics, such as 'family reunion' can not be overlooked. In particular, at this time when discussion and debate on the interculturalism over multiculturalism is heating up, communal spirit and social capital based on the ethnic identity are important in that they can be a crucial path to the cross-cultural interaction with our society, therefore, a study on the social capital of the ethnic community needs to be encouraged and extended to more diverse communities, to the space of the multilayered scale.

• The Korean Journal of Archival Studies
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• no.65
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• pp.365-396
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• 2020

I examined the archival basis of two historians who wrote history books with the same title of 'History'; Simaqian of ancient China and Herodotus of Halikarnassos. I examined a prejudice to these two history books, a misunderstanding of them as an imagination rather than a history. How can an imagination become a history? First, I explained the common characteristics found in their compilation and writing of 'History.' Simaqian and Herodotus did their field-works in historical sites, gathered oral-histories, and arranged archives they collected. These two historians heavily engaged in archival works in terms of verifying authenticity and reliability of their sources on the basis of historical empiricism. There are some misunderstanding on their archival endeavor and on the very nature of archives and historical studies as empirical studies. Furthermore, this misunderstanding regarding them as literature came from a confusion over the concept of literature. The creativity of literature is not equal to the "fictitiousness" of history despite historical works sometimes may give us an impression by the way of describing and providing insight into a certain event(s) and a person(s). As Herodotus said, a recognition of the differences of each race and human is a departure of historical archiving of the valuable experiences of human-beings. By doing so, natural results of archival behaviors, preservation of the records, and consistent inquiry of historian-archivists become a humanistic passage overcoming the current wrong trends of historical studies confined to a narrow nation-history.

• The Southeast Asian review
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• v.27 no.1
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• pp.95-129
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• 2017

This study surveys and reviews political change, economic performance, and regional cooperation that were carried out in 2016 by Southeast Asian countries and ASEAN. This paper reports that what has followed the inauguration of new governments in Myanmar, the Philippines, Vietnam, and Laos fails to live up to the expectation and optimism that arose in the aftermath of elections and party congresses that took place in the first half of the year. In other countries such as Malaysia, Thailand, and Cambodia, where authoritarian regimes are faced with strong oppositions, the prospects for democratic change worsened to a substantial degree, as schisms and internal strives complicated the opposition camp as a result of instigation and intervention by the authoritarian leaders and their followers. In stable political systems, both democratic and authoritarian, no significant changes that may entail serious political implications were noticed. In 2016, the national economy of almost each and every country continued its slow but steady recovery that had started in 2014 and grew by 5% on the average. For 2017 onward, however, the earlier optimism that it would grow at least as fast dimmed down as uncertainty about the world economy looms larger due to the unexpected win by Donald Trump as U.S. president and the expected 'hard landing' of the Chinese economy around 2018. ASEAN declared the launch of the ASEAN Economic Community (AEC) only one day before the New Year, but its track record looked already bad and unpromising by the end of 2016. ASEAN leaders were tied up by their domestic politics and affairs too tightly to take time off to work seriously to observe the schedule as laid out in the AEC Blueprint 2025. Korea's relationship with Southeast Asian countries and ASEAN was "as good as it gets" in 2016 as ever but could become subject to tough review in the near future, if the Ministry of Foreign Affairs is found out to have been implicated in the ongoing Choi Sun Sil scandal and if the opposition wins the next presidential election to be held by this year.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.26-44
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• 2017

Regarded as Korea's traditional pond, Gungnamj Pond was surmised to be "Gungnamji" due to its geological positioning in the south of Hwajisan (花枝山) and relics of the Gwanbuk-ri (官北里) suspected of being components to the historical records of Muwang (武王)'s pond of The Chronicles of the Three States [三國史記] and Sabi Palace, respectively, yet was subjected to a restoration following a designation to national historic site. This study is focused on the distortion of authenticity identified in the course of the "Gungnamji Pond" restoration and the invention of tradition, whose summarized conclusions are as follows. 1. Once called Maraebangjuk (마래방죽), or Macheonji (馬川池) Pond, Gungnamji Pond was existent in the form of a low-level swamp of vast area encompassing 30,000 pyeong during the Japanese colonial period. Hong, Sa-jun, who played a leading role in the restoration of "Gungnamji Pond," said that even during the 1940s, the remains of the island and stone facilities suspected of being the relics of Gungnamji Pond of the Baekje period were found, and that the traces of forming a royal palace and garden were discovered on top of them. Hong, Sa-jun also expressed an opinion of establishing a parallel between "Gungnamji Pond" and "Maraebangjuk" in connection with a 'tale of Seodong [薯童說話]' in the aftermath of the detached palace of Hwajisan, which ultimately operated as a theoretical ground for the restoration of Gungnamj Pond. Assessing through Hong, Sa-jun's sketch, the form and scale of Maraebangjuk were visible, of which the form was in close proximity to that photographed during the Japanese colonial period. 2. The minimized restoration of Gungnamji Pond faced deterrence for the land redevelopment project implemented in the 1960s, and the remainder of the land size is an attestment. The fundamental problem manifest in the restoration of Gungnamji Pond numerously attempted from 1964 through 1967 was the failure of basing the restorative work in the archaeological facts yet in the perspective of the latest generations, ultimately yielding a replication of Hyangwonji Pond of Gyeongbok Palace. More specifically, the methodologies employed in setting an island and a pavilion within a pond, or bridging an island with a land evidenced as to how Gungnamji Pond was modeled after Hyangwonji Pond of Gyeongbok Palace. Furthermore, Chihyanggyo (醉香橋) Bridge referenced in the designing of the bridge was hardly conceived as a form indigenous to the Joseon Dynasty, whose motivation and idea of the misguided restoration design at the time all the more devaluated Gungnamji Pond. Such an utterly pure replication of the design widely known as an ingredient for the traditional landscape was purposive towards the aesthetic symbolism and preference retained by Gyeongbok Palace, which was intended to entitle Gungnamji Pond to a physical status of the value in par with that of Gyeongbok Palace. 3. For its detachment to the authenticity as a historical site since its origin, Gungnamji Pond represented distortions of the landscape beauty and tradition even through the restorative process. The restorative process for such a historical monument, devoid of constructive use and certain of distortion, maintains extreme intimacy with the nationalistic cultural policy promoted by the Park, Jeong-hee regime through the 1960s and 1970s. In the context of the "manipulated discussions of tradition," the Park's cultural policy transformed the citizens' recollection into an idealized form of the past, further magnifying it at best. Consequently, many of the historical sites emerged as fancy and grand as they possibly could beyond their status quo across the nation, and "Gungnamji Pond" was a victim to this monopolistic government-led cultural policy incrementally sweeping away with new buildings and structures instituted regardless of their original space, and hence, their value.