• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.192-203
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• 2021

This paper investigates the process of change in the meaning of the term gongye (工藝) (nowadays it means craft) during Korea's transition to the modern era. The Annals of the Joseon Dynasty (朝鮮王朝實錄) will serve as the basis for the examination of pre-modern usage, and the Korea-United States Treaty of 1882 for the changes that occurred between the translation from Chinese and from Japanese following the opening of the port . After the port opened, the meaning of gongye, which once broadly referred to the wide range of work of people from different fields, was narrowed down to singularly represent the manufacturing industry. Following the example of Japan, the first East Asian country to succeed in modernization, this new meaning of gongye was generally used in the context of embracing Western culture and creating industry. As industrialization emerged as a national mission, and new terminology was needed to express these new concepts, the Chinese characters used by the Japanese to translate Western concepts were directly imported and used without making any changes. Gongye was similar in meaning to gongeop (工業) (nowadays it means industry) at the time, and the two terms were used interchangeably. However, following the Japanese annexation of Korea, the cultural administration of the Governor-General imbued the term with artistic concepts, and gongye was differentiated from gongeop, As such, examining the establishment of terminology and concepts can be helpful for understanding the contradictions and problems of the Korean crafts scene, which were derived from a period in the past called the modern era.

• Korean Journal of Oriental Medicine
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• v.18 no.2
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• pp.17-24
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• 2012

Research on Seokgok(石谷), Lee Gyu Jun(李圭晙, 1855~1923)'s thought and medicine was progressed from various angles. There is no research on Chinese poem(漢詩) accounting for the half of his collection of literary works, "Seokgoksango(石谷散稿)" yet. Hence, the article reviewed concerns on his life and what life he lived as a Confusion(儒家) writer through his Chinese poem. Should read "Seokgoksango", Seokgok's spiritual orientation and attitude to life were found to have its core in the Confusion(儒家的), especially ethical(道學的) aspect. Seokgok's Chinese poem materialized his spiritual composition more, able to access up to general emotional state, representing concerns and frustration of intellectuals in the latter era of the Choson Dynasty. Anxiety consciousness(憂患) of patriotism and love of the people which traditional intellectuals implicated enough at the turbulent era of early modern time appeared strongly in his works. Also works seeking for devotion(歸依) toward the clean world(淸明世界) staring at the corrupt world losing the national sovereignty at the same time and the expansion(擴散) was able to be found many. The latter half of the 19th century and the early 20th century when Seokgok lived was the period of changeover in the history of civilization called intersection between traditional era and modern times. His Chinese poem showed traditional intellectuals' anxiety, frustration, conflict, and hope based on such times. Along with the status of an Oriental, medical doctor and thinker, up to discussion on the quality of a writer, the intensified research on him is expected.

• Journal of the Korean Society for Library and Information Science
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• v.12
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• pp.7-37
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• 1985

In most of the modern libraries throughout the world, it is popular to adopt the author number which arranges the books or entries in alphabetical order of their author's names within the same ultimate class. However, viewed historically, that was the Western practice never used in the East before. Traditionally chronological order was followed in the East. Book number not only individualizes the books within the same class but also makes it easy for the user to choose and find out the relevant materials. In this respect, chronological book number is decidedly superior to all kinds of book number systems ever have been existed. Especially in these days of rapid obsolescence of documents and with serious problems of storage of documents, the chronological order seems to be the most modern and future-oriented of all other book number systems because it distinguishes clearly new materials from aged materials by the date of publication and controls the stack spaces mechanically and effectively. This writer devised New Chronological Book Numbers adaptable to both the Eastern and Western materials, and the system has been adopted at Yonsei University Library. The features of the system are as follows: (1) It is easy to type the call number in cataloging the Eastern and Western materials. That is because the structure of the chronological number is pure numerical notation by taking the last two figures of the year within twentieth century(e.g. 85 for AD 1985), that is 1900s, and the last three figures of the year from twenty-first century to thirtieth century, that is 2000s. (2) It does not make all classes have chronological number uniformly. Within the classes for individual biographies, genealogies and collections of biography of specific family, books about individual organization, individual literary and artistic works, philosophical works of the famous philosophers, books and its facsmile editions published before 1900, new editions, translations, commentaries, serials, chronological number is assigned to the author number as in the past. (3) It separates the Eastern materials from the Western materials and makes the typing easy in cataloging. That is because the subarrangement within the same chronological book number is made by the accession order which uses 'panjol-ponmun' or the characters of basic syllabic table of Korean alphabet in case of the Eastern materials and Roman alphabet in case of the Western materials.

• Journal of English Language & Literature
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• v.64 no.4
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• pp.565-584
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• 2018

The pedagogical dynamic dramatized in Shaw's Pygmalion, which sets man as a distinct pedagogical authority and woman his subject spawning similarly patterned plays many decades later, has been relatively overlooked in the play's criticism clouded by its predominantly mythical theme. Shaw stages Eliza's pedagogical subordination to Higgins followed by her Nora-esque exit with the declaration, "I'll go and be a teacher." The central premise of this article is that the pioneering modern playwright and feminist's pedagogical rewriting of A Doll's House sets out a historical dialogue between Eliza, a new woman who repositions herself as a teacher renouncing her earlier subordinate pedagogical position that is culturally ascribed to women while threatening to replace her paternal teacher, and her immediate precursors, that is, Victorian women teachers whose professional career was socially "anathematized." Through a historical probe into the social status of Victorian women teachers, the article attempts to align their abortive career with Eliza's new womanly re-appropriation of the profession of teaching. With Pygmalion as the starting point of its query, this article conducts a historical survey on the literary representation of pedagogical women from the mid to late Victorian era to the turn of the century. Reading a wide selection of novels and plays alongside of Pygmalion (1912), such as Jane Eyre (1847), A Doll's House (1879), An Enemy of the People (1882), The Odd Women (1893), and The Importance of Being Earnest (1895), it contextualizes Eliza's resolution to be a teacher within the history of female pedagogy. This historical contextualization of the career choice of one of the earliest new women characters in modern drama helps appraise the historical significance of such choice.

• Journal of the Korea Convergence Society
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• v.12 no.4
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• pp.151-159
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• 2021

The purpose of this study is to attempt a convergent study by analyzing modern funk ceramic artworks through 'Irony', which was mainly used in rhetoric and literature. The irony has come to modern times and has embraced the type of irony by Jung Keut-Byul, a literary critic who has discovered that the classifications and definitions are different from each other, and who has solved these problems and has newly classified the irony (the irony of oxymoron, the irony as a counterstatement, the irony of dramatic turn, the irony as a poetic truth) as a framework for analyzing the works of 20th century punk potters. As a result, the formative language found in funk ceramic art had many similarities with the irony of duality of surface and reality, and its humorous and comic character was more prominent than the heavy, melodramatic tone shown in literature. It was also found that the media characteristics and craft properties of ceramic art, such as clay and glaze, have become the drivers for ceramic sculptors to draw attention in funk art.

• Journal of English Language & Literature
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• v.56 no.3
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• pp.501-517
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• 2010

This paper examines the British imperialism found in Edith Nesbit's fantasy stories by looking at the function of magic and of the hierarchical relationships seen in the books. Although Edith Nesbit is relatively unknown in Korea, she is widely recognized as having had a great influence on the 20th century British literary world, and is also well-known for her political position as a socialist. Nesbit's fantasy books are commonly differentiated from other Victorian children's books written before her in that she created realistic and liberal children characters and rejected the adult didactic tone. While Nesbit's books have been recognized as revolutionary and being distinguished from other Victorian children's books, I suggest that the ideas found in her fantasy novels largely include the dominant Victorian message of British imperialism. This imperial ideology is delivered by the logic of magic and the multilateral hierarchies. The two magic creatures (The Psammead and the Phoenix) and the two magic items from an Oriental background (the Carpet and the Amulet) all have a magic power to grant people's wishes, wholeheartedly exercising their power and knowledge for the sake of the British characters. While the magic agents serve to fulfill the children's wishes, the children aim to please their parents and to benefit their family, showing layered hierarchies among the characters. Also, there is a hierarchical distinction between the magic items and the magic creatures in that the magic items have no voice to express themselves but only serve and obey the British children. The foreign characters that the children encounter in their adventures also cooperate with the British characters to help them to fulfill their goals. In short, magic frees the children from the adult-centered world but ultimately their free adventures serve their parents and other adults, and represent the ideals and hierarchical concepts of British imperialism. Thus, Nesbit's position as a modern writer seems to be ambiguous, switching between modern characterization and style, and the old Victorian imperial messages that also exist in her fantasy novels.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.421-446
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• 2012

The purpose of this paper is to shed light onto the historical significance and limitations of the Tsukiji Little Theater's modern performances. The Tsukiji Little Theater holds a position of great importance to the history of both Japanese and Korean modern theater. Some, however, are under the completely opposite impression. There are also mixed opinions about whether the Tsukiji Little Theater is a "model example" of the modern theatrical movement or a "bad example". Based on this controversy, we look into the definitive characteristics of the Tsukiji Little Theater based mostly on "the controversy over translated foreign plays", "the controversy of foreign plays versus original plays", "the value of kabuki" and "Shinpa as a rival". This paper looked into the differences in controversy over translated foreign plays in the Tsukiji Little Theater and the controversy in existing translated foreign plays. It mostly looks at the "casuistry of foreign plays" and the "cultural engineering theory of foreign plays"to get a grasp on the controversy surrounding existing translated foreign plays. Meanwhile, the "internally critical meaning" towards the original plays of renowned writers was strong in the controversy of foreign plays in the Tsukiji Little Theater. Kaoru Osanai defined the 1920s as a dark period, and persisted that because of the activity of the Shingeki movement, foreign plays were needed instead of low-level original plays. This study examines the characteristics of original plays and foreign plays publicly performed at the Tsukiji Little Theater to analyze the "controversy of translated foreign plays versus original plays". The Tsukiji Little Theater mostly put on shows with a strong sense of resistance or that defied the old times. This caused there to be a lot of emphasis put on the rebellious mindset towards old conventions and ideologies for most of the plays, both foreign and original, and the problem arises that little mind was paid to the integrity or beauty of the works. In looking at the "value of kabuki", this paper looked into Kaoru Osanai, who was deeply involved in kabuki actors. He evaluated traditional Japanese arts highly not because of the literary value of their scripts, but because he recognized the value of how they were performed. In order to create a new spectacle, music, dance and mime was taken in from countries around the world, and kabuki was regarded highly as a means of expression on stage. Finally, we also examine the recognized reasons for treating Shinpa as a rival. There is a relationship between these reasons and a complex about the audiences they drew. The Shinpa performances always had many spectators and were successful, but those at the Tsukiji Little Theater were so unpopular with the public that it was hard for them to financially run their theater group. The empty seats in their theater constantly made the modern intellectuals in the Shingeki movement feel inferior.

• Cross-Cultural Studies
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• v.43
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• pp.241-264
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• 2016

The purpose of this study is to devise teaching goals for Liberal Literature Lessons in college through the class . Lots of domestic and foreign novels have recently been turned into films or TV series. As cinematized novels become hits in movie theaters, the original stories ascend to the bestseller list due to the success in the box-office, which proves once again how powerful the visual media is. In this study, 10 works of cinematized literature were explored for one semester in a Liberal Literature class called , aimed at increasing students' interest in novels in the era of digital images. The literary works chosen for the study were novels that had won the Akutagawa Prize, which is given to writers in the field of pure literature, the Naoki Prize, which is awarded in the field of popular literature, and the Japanese Bookstore Grand Prize, which the employees at Japanese bookstores award to the novel they want to sell most. Afterward, a survey was conducted on students in the class to determine their satisfaction with the lectures. Despite the fact that they had little interest in Japanese Literature before taking this lecture, they indicated greater interest in Japanese movies and culture as well as novels due to the class.

• The Southeast Asian review
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• v.21 no.2
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• pp.43-75
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• 2011

The article focuses on the impact and Acceptance of Hindu culture in Modern Southeast Asian Buddhism. The purpose of this study is to examine critically the influential epic Ramayana on Siam culture, Thai Ramayana version 'Ramakien', reveal instances of Buddhist Modification. The Ramayana by the great sage Valmiki is considered by Indians to be the first great literary work to be produced in India. The influence of this work is to be seen not only through centuries but even in other countries, such as Thailand where there are modified modern versions. In this paper, I have three objectives : (1) I may discuss the epic Ramayana of India gave birth to the Ramakien of Thailand. In modern times Valmiki's epic was made to fit the spiritual trends current in the new Chakri dynasty, which were themselves based on Brahmanic tradition and Theravada buddhism. With regarding to the structure of the Traibhumi cosmography, and the relationship between merit and power implied by this cosmography ranks all beings from demons to deities in a hierarchy of merit which accrues according to karma the actions of past lives. (2) I analyze how to have attempted to dissect the Hindi and Thai version of the Ramayana. The Hindu concept of kingship is also depicted in the life of Rama. The Hindus see in Rama the norm of a true Hindu life characterized by the Caste and Dharma. In Thai transformed version, it does not preach Hindu values of personal or social life. The Ramakien emphasized that the Buddhism were higher than all other laws, and that the King is regarded as the incarnation of Phra Ram, and thus is also the narration of the righteous buddhist ruler. (3) I discuss how cultural or social contexts can influence the structure of the royal Wat. The whole epic was painted by the order of Rama I in the galleries of the Wat Phra Keo. In other words, it is the very centre of the dynastic cult enshrining the Emerald Buddha, the most iconic expression of the Ramakien tradition were officially amalgamated. Rama I was continued the process of elaborating and stabilizing the complex religious pattern, with Buddhism at the pinnacle. My finding will support the idea that the Ramakien is particularly appealing to the Thai people because it presents the image of an ideal king, Rama, who symbolizes the force of virtue or dharma while Thotsakan represents the force of evil. Eventually the force of good prevails. Being Buddhists, the Thai poets bring into the story the Buddhist philosophy(especially, the law of cause and effect, karma). This paper examines the role of the Hindu epic Ramayana in the historical and cultural contact between Hindu India and Buddhist Southeast Asia. It should now be possible to evaluate what elements of Hindu culture were transmitted into Thai through the Rama story.

• Cross-Cultural Studies
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• v.43
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• pp.429-457
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• 2016

This article is an analysis of the status of the modern Korean novels translated into Chinese over the past five years and how they are perceived by readers. Translation of modern Korean novels over the past five years has a few important characteristics as the following. The first characteristic is diversity. Books written by the most representative modern Korean writers, like Lee Gwang-soo, Kim Yu-jung, Kim Dong-ri, and books of the authors with very unique ideas, such as Park Kyung-ri, Lee Mun-yeol, Shin Kyung-suk, Gong Ji-young, Kim Young-ha, Park Min-kyu, Cheon Myung-gwan, and Kim Ae-ran have been translated and introduced to the Chinese population. Secondly, there are active translation of the books written by female writers. Lastly, without the support of the Literature Translation Institute of Korea or the Daesan Foundation, the number of works translated and published is slowly increasing. As a result of the increasing number of translations, the quality of translation is improving. However, interest on the part of Chinese readers in the modern Korean novel is not very high. But, the works of authors like Kim Young-ha, Cheon Myung-gwan, Kim Ae-ran, and Park Min-kyu, who began their literary careers after the mid-90s, are drawing relatively more attention. The common features of such works are the novelty of the narrative methods, attachment to reality, and readability. The interest shown by Chinese readers is significant in explaining the two following factors. First, it is true that many modern Korean novels are available in China, but only those that have been read will continue to be read. Second, the indifference of Chinese readers to modern Korean novels is because they are not yet aware of the existence of such works. It is important to train professional translators who can properly translate literature and also to focus on introducing the differences in modern Korean novels through canonical translation. To achieve this aim, not only supportive policies, but also cooperation between researchers in the field of modern Korean literature, translators, and publishers is essential.