• Title/Summary/Keyword: Intellectual History

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Film and the Politics of Post-memory in Chile's No and Korea's The Attorney (칠레의 와 한국의 <변호인>, 영화와 포스트메모리의 정치)

  • Park, Jungwon
    • Cross-Cultural Studies
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    • v.44
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    • pp.29-58
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    • 2016
  • 'Post-memory' is the act of remembering traumatic events in history by subsequent generations who have not had direct experiences or relations with them. For this reason, the narratives of 'post-memory' are considered as re-interpretations of the past deeply influenced by current perspectives and concerns. The Chilean film NO goes back to the Referendum of 1988 in order to examine the "NO campaign" which was opposed to another eight years of continuation of the Pinochet regime. Although this campaign contributed significantly to the Chilean democratization, the filmmaker does not just celebrate it: rather he attempts to cast a critical reflection on its strategies that eventually turned democracy into a "commodity" by deploying commercial language and marketing tools for characterizing and describing it. On the other hand, the Korean movie The Attorney sheds light on the story of an attorney who, during the military regime in the 1980's, became a human rights lawyer when he tried to advocate for university students accused of violating national security law. This film reconstitutes the meaning of democracy built upon the logic of "common-sense" that privileges freedom and fundamental human rights over Statism. Despite the different historical contexts between Chile and South Korea, these two movies retell the history of a dictatorship that ended a couple of decades ago. In doing so, they raise questions about history, memory and democracy in order to deepen the understanding of current social and political circumstances while placing an emphasis on the roles and responsibilities of intellectuals during the transition to democracy and democratic consolidation.

The origin, development, philosophy and reality awareness of Soron School(少論學派) (소론학파(少論學派)의 연원과 전개, 철학과 현실인식)

  • Kim, Jong Soo
    • The Journal of Korean Philosophical History
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    • no.32
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    • pp.113-159
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    • 2011
  • The self-segmentation of Seoin(西人) School and the appearance of Soron(少論) School in the 17th century Joseon society has an important meaning in the political history. Soron School(少論學派) had quite different line in their thought and public position from the Noron(老論) School represented by Song Shi-yeol. With such thought and position, Soron School added a vitality to the barren climate of Joseon intellectual society and soon became an important school of it. Especially, the senior leaders of early Soron School shared the culture of discussion and dialogue which was represented by the phrase, "the forest of debate and the hill of argument". Accordingly, Soron School could form an unique academic tradition which was different from other schools. For instance, Park Se-dang(朴世堂), Nam Gu-man(南九萬), Yoon Jeung(尹拯) and Park Se-chae(朴世采) had relatively flexible Conception of Heresy; which was in the same context with the academic position of Soron School that allowed diverse approaches to truth each as the path of justice. Furthermore, the leaders of Soron School continued dialogue and discussion on the wide range of current issues. They deeply sympathized with the Tangpyeong-ron(蕩平論), which was to appoint important government positions equally from multiple schools. They thought that the Tangpyeong-ron(蕩平論) was to avoid the harmful influence of conflicts between schools, the Bungdang(朋黨), and tried to tune and compromise the different opinions of different schools. In fact, the "Hwanggeuk Tangpyeong-ron" (皇極蕩平論) submitted by Park Se-chae was the summarization of the discussions shared by the Soron School leaders. Consequently, the seniors of Soron School practiced their philosophy that "the true academic practice is the communication" by keeping the dialogue with other schools while respecting the difference of each other, rather than staying comfortably in the closed academic fence of uniformity. Such communicative academic practice adopting discussion and dialogue had been succeeded to the second generation of Soron School and it remained as an unique academic tradition of Soron School.

Coexistence of Everything that Exists -An Imagination about Love of Korean American Immigrant Nakchung THUN (존재하는 모든 것들의 공존 -미주 이민자 전낙청의 사랑에 관한 한 상상)

  • Chon, Woo-Hyung
    • Journal of Popular Narrative
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    • v.26 no.2
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    • pp.191-219
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    • 2020
  • This paper aims to identify the key features of the novel writing of Korean American immigrants and their meaning as one aspect of movement and contact occuring in the early modern period. The late return of the novels written by Nakcheong THUN in the 1930s is significant in that it restored ideas on the diversity of early modern mobility and confronted the history and culture of immigrants who were excluded from records and memories. Not only are these novels a product of the phenomenon of immigration, but they have also created a crack in the dichotomous perceptions of domination and subordination, center and periphery by envisioning it as a space that creates new history, culture, institutions and values. These novels treat the free love of intellectual, emotional, and ethical figures as a central event, demystifying Western free love, and at the same time, a society divided by various identities including class, race, and gender. The novels by Nakchung THUN visualize the active exchange between the immigrant and the indigenous community through the character of Jack, and imagines the heterotopia as a place where not for the immigrants' utopia, but for everyone's coexists. These novels have declared a kind of memory war on the subordinate and marginalized contact zones. The contact zones of the immigration area had been a place for experiencing extreme conflicts and discords, and at the same time, it has served as a place where various groups and communities are connected. The contact zones were common areas of solidarity and creation before being subject to division and occupation. The contact zones are far from the border or borderlands, so it is not a fixed and immutable deadlock. As a world free from central domination the contact zones have been a space that preoccupied history and culture through various encounters, and have been a community.

Ideology, Politics, and Social Science Scholarship on the Responsibility of Intellectuals

  • Koerner, E.F.K.
    • Lingua Humanitatis
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    • v.2 no.2
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    • pp.51-84
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    • 2002
  • The 1990s have seen the publication of many books devoted to Language and Ideology (cf. Joseph & Taylor 1990. for one of the early ones) even though the term 'ideology' itself has remained ill-defined (Woolard 1998). The focus of attention has usually been placed on the particular use of language and often for some kind of 'political' ends, not on linguistic or other scholarship which might have been driven by some sort of ideology, i.e., a bundle of assumptions which themselves were taken as given. At least since Edward Said's 1978 book Orientalism, it has been clear to everyone that scholars construct their conceptualization of things in line with their understanding of the cultural, social, and political world in which they live, and that this often unreflected 'pre-understanding' effects their view of cultures that are different from theirs and more often than not geographically and temporally distant from theirs. This recognition has had a sobering effect no doubt, and Said's book has long since become 'mainstream.' Much more disturbing to the scholarly profession has been the publication of Martin Bernal's Black Athena in 1987, since it went much further, going beyond accusations of colonialism and cultural bias, in suggesting that the Western representation of Classical Greece over the past two hundred years was false and that what had been accepted until now about occidental antiquity must now be seen derived from African-Asiatic cultures of the Near East, notably that of the Ancient Egyptians, and that no other than Socrates should be seen as black man. While we may understand the intellectual climate in the United States that led academics to present 'myth as history' (Lefkowitz 1996), it is obvious that lines of regular scholarly principles of investigation have been crossed (cf Lefkowitz & Rogers 1996). The present paper investigates what may be seen as the ideological underpinnings of such work. After reviewing some recent scholarship in the area of linguistic historiography that have shown that academic work has never been 'value-neutral' (as may have been assumed or has been claimed by some practitioners), it is argued that in effect one must be aware of what Clemens Knobloch has recently termed Resonanzbedarf, i.e., the desire, whether conscious or not, of scholars-and probably scientists, too-to have their work recognized by the educated public and that, in so doing, their discourses tend to pick up on contemporary popular notions. These efforts may be harmless if everyone was to recognize these allusions and adoption of certain lexical. items(buzz words) as props or what Germans call Versatzstiicke, but history tells us that this has not always been the case. Still, as Hutton (1999) has shown, not all scholarship during the Third Reich for example can simply be dismissed as worthless because it was conducted in under a prevailing political ideology. Indeed, in seemingly innocent times, linguists can be shown to frame their argument in a way that makes them appear so utterly superior to their predecessors (cf. Lawson 2001). Upon closer inspection, those discourses turn out to be much like those of scholars in nationalistic environments that have tended to select their 'facts' to prove a particular hypothesis (cf., e.g., Koerner 2001). The article argues for scholars to take a more active role in exploding myths, scientifically unfounded claims, and ideologically driven distortions, especially those that are socially and politically harmful.

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A Study on Development of Chinese xian-xia films and its Space Aesthetics in the 21st Century -Foucuse on Journey to the West films (21세기 중국 선협영화의 발전 및 그 공간 미학 연구 - 서유기류 작품을 중심으로)

  • Kim, Bo-Kyong
    • Journal of Convergence for Information Technology
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    • v.9 no.2
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    • pp.115-120
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    • 2019
  • Chinese xian-xia films is a new genre that occurred through the fusion of the genre of martial arts and fantasy. This study analyzed the development of xian-xia films and the space aesthetics of xian-xia films through the miseenscene of the journey to the west films. In particular, the space for xian-xia in the films is divided into the human, urinary, heaven world and the space of conflict. It looks like the fantastic Middle Earth that Tolkien presented, however it is discriminatory in that it shows a highly Chinese appearance and overlapping world centered on the natural environment (the world of Mountains and Livers), such as mountains, deserts, caves, and grasslands, which usually appears in traditional martial arts history. Resently, the boom of journey to the west films is regarded as the change of the Chinese film industry under the influence of the development of IP (Intellectual Property) industry and the western fantasy genre in the 21st century China. This change marks the birth of the new Chinese fantasy "xian-xia" genre with the spirit of the present era that transcends the original world of journey to the west through the hybridization of the genre.

A research on the Construction and Sharing of Authority Record-focusing on the Case of Social Networks and Archival Context Project (전거레코드 구축 및 공유에 관한 연구 SNAC 프로젝트 사례를 중심으로)

  • Lee, Eun Yeong
    • The Korean Journal of Archival Studies
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    • no.71
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    • pp.49-89
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    • 2022
  • This study suggests the necessity and domestic application plan a national authority database that promotes an integrated access, richer search, and understanding of historical information sources and archival resources distributed among cultural heritage institutions through the "Social Networks and Archive Context" project case. As the SNAC project was transformed into an international cooperative organization led by NARA, it was possible to secure a sustainable operating system and realize cooperative authority control. In addition, SNAC authority records have the characteristics of providing richer contextual information about life and history and social and intellectual network information compared to libraries. Through case analysis, First, like SNAC, a cooperative body led by the National Archives and having joint ownership of the National Library of Korea should lead the development and expand the scope of participating institutions. Second, in the cooperative method, take a structure in which divisions are made for each field with special strengths, but the main decision-making is made through the administrative team in which the two organizations participate. Third, development of scalable open source software that can collect technical information in various formats when constructing authority data, designing with the structure and elements of archival authority records, designing functions to control the quality of authority records, and building user-friendly interfaces and the need for a platform design reflecting content elements.

Can Rubbish Become Art?: David Hammons's 'Homeless' Art (쓰레기도 예술이 되나요?: 데이비드 해몬즈의 '홈리스' 아트)

  • Rhee, Jieun
    • The Journal of Art Theory & Practice
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    • no.15
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    • pp.31-49
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    • 2013
  • This paper delves into the recent 'paintings' of African-American artist David Hammons, which combine rubbish-like plastic wraps with the abstract-expressionist style paintings. In straddling between rubbish and art object, his works tend to blur the boundary drawn between two opposite categories in value, art and garbage, provoking the sophisticated taste of Upper-East-side white community in Manhattan, New York. Choosing the venue of his exhibition at a commercial gallery, Hammons's creative efforts is also a critique of what can be seen as the dominance of abstract expressionism and white elitism in American art history. The artist is known for his use of unconventional materials in art making such as black hair, barbecue bones, and elephant droppings, ones that are often associated with African-American experiences in all different levels. Since his debut in the art scene in the 1970s, Hammons has pursued the view of art-making as a medium for provoking contentious issues of racial relations in the States. On the other hand, the reception of Hammons's work as African-American art can be potentially quite limiting, overlooking as it does multi-faceted meanings of his art practice. His unconventional approach to art often took him outside art galleries and museums, where he was seen using a variety of common materials for site-specific installations and performances. Staged in different parts of Manhattan, these acts of art making traverse seemingly opposite communities and cultures, often blurring their boundaries. Hammons's artistic practice can label him what Abdul Jan Mohamed calls "specular border intellectual", revealing as it does the symbiosis of binary oppositions that is basic to the experience of communnal living.

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A Study on Homogeneous Clothing Culture surrounding Bering Strait -Between Northwestern Alaska and Northeastern Siberia - (베링(Bering) 해협 연안 지역의 복식의 동질성에 관한 연구 -Alaska 서북 지역과 Siberia 동북지역을 중심으로-)

  • 김문숙
    • The Research Journal of the Costume Culture
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    • v.5 no.4
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    • pp.32-43
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    • 1997
  • Deprivation of means to study the cultures and history of the natives of Bering Strait in their own lands, gives us and especially U. S. A. and Russia-where the objective regions of this study is pertained to-the great suffering of intellectual and aesthetic losses. Throughout 20th century, as political and economic forces prevailed, it became increasingly difficult for both Natives and outsiders to see this region as having common past. In such difficult circumstances, United Nations Council for Environmental Development held at Rio de Janeiro, Brasil in June, 1992 started out to give obligations to present environmental future. With such trend getting stronger and being in demand, this study is also focussed on coincides with such environmental matters and differs from man centered western civilization which ruled th environment rather than to harmonize with it. Through the studies of fashions and cultural materials of this region, it was able to identify the great similarities between Northwestern Alaska and Northeastern Siberia. Especially in the clothing materials of this region\`s toy dolls, it was possible to confirm that both side of Bering Strait possessed similar culture. Although both side had similar environment, in the past its peoples began to be seen as separated and alienated aligned only with their current political state-Russia and U. S. A. Through this study, it was able to see diversity of the peoples and thir languages but also close cultural and historical ties that link them very closely together. This study verified such similarities and common characteristics through close examination of Native clothing and decorations and other traditions of Siberian Natives such as Yupik, Chukchi, Koryak, Even, Amur River peoples and Nivkh; and Alaskan Natives such as Inupiag, Yupik, Alutiig, Aleut, Athapaskan, and Tlingit.

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The Meaning of Practice in Theory (이론(理論, Theoria)에 있어서의 실기의 의미)

  • Kang, Tai-Sung
    • The Journal of Art Theory & Practice
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    • no.1
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    • pp.7-22
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    • 2003
  • What is 'Art Theory'? In the western sense, the term poses a vague ambiguity, and in the eastern, it is rather an abstract and metaphysical concept. As for etymology, theory is derived from theoria and theoria from theoros. It refers to an act of viewing or seeing, of course not in a metaphysical sense. Plato understood it as 'eide'. During the time of Plotinus, theoria encompassed gazing at every possible reality, and this gazing, that is theoria, is closely related to reality as aunit that theoriacan perceive. However, we tend to distinguish, as other scientists of dualism have done, studio art from theory since a pre-modern approach to art has been particularly tuned to studio practice, set apart from theory. Therefore, in studio classes, students are expected to learn the subject based on the foundational curriculum methods such as medium, genre, technique:, rather than bringing out their own interpretations and discussing theories. As a result, students have become artists, who are not able to understand their own art. Art professors who conduct class in studio are required to proceed with specific 'theories' as well as 'intellectual reflections'. In this respect, this thesis presents poiesis and an idea of 'acting out'. Although art history and aesthetic theory tend to view art as a finished product, actual art-making and related theories should not only be acknowledged as 'completion' (finition) but also be accompanied by theoretic interpretations of the act itself and process. Accordingly, it is to accept and appreciate art as finished result in view of current theory and aesthetics thus boils down to aisthesis. Likewise, poietics starts from a point where an artist is related to studio and examines the 'work process' that extends as far as to the exact end of work. Through the study of such relationship, it is possible that theory understands 'studio' and 'process', and an artist can grant an independent meaning to studio where s/he pours her/his heart out creating a work of art. Theory is a study on artistic discovery thus should be equipped with functions that can accommodate fortuity, imitation, thinking, culture, and surrounding.

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A Study on role of Science Museum for STEAM Education (융합교육에 있어서 과학관의 역할 연구)

  • Yoon, Young-doo;Choi, Hun
    • Journal of the Korea Institute of Information and Communication Engineering
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    • v.19 no.6
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    • pp.1353-1358
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    • 2015
  • The creative economy is the industrialization era, the information age, knowledge-based economy, linking the new economic paradigm. The core words of the creative economy are stand for creativity, innovation, consumer protection and utilization of intellectual property. Creative ideas are combined with software technology will make innovative ecosystem-based structured market such as Apple, Google, Facebook. Intangible assets attributable to creativity than ever before in human history that is important as the economic value. In addition, innovative ideas, creativity and economic growth beyond the knowledge and information society is required. Because the core has a fusion of science and technology, industry, culture and industry convergence, various genres of creative activity support, and cultural and high-tech fusion industries, such as content creation and job creation through economic traction is needed. In this study, we analyze the case of the US Smithsonian Institution proposes the direction of Science Museum in creative workforce.