• The Journal of Korean Philosophical History
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• no.59
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• pp.39-63
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• 2018

Kiho Academic in the late Joseon Korea, the negative effect of the Horak debate is amplified and the division within the academic is accelerated. However, the scholars of the Kiho Academic field put forth efforts to unify the academics with the same sense of responsibility to end the schism. Nevertheless, the scholars of the Kiho Academic have shown various differences in the process of accepting Neo-Confucianism, which creates new schools. Therefore, Kiho Academic in the late Joseon Korea coexisted with various schools with different academy positions. Some of the representative groups are Hwaseo, Nosa, Ganjae, Yeonjae, and Uuidang Schools. In addition, through the scholarly differentiation and the school division of the Kiho Academic, the debate on the mind that characterizes Neo-Confucianism of the late Joseon Korea has developed. However, there was a common value that everyone pursued in the middle of the debate: the construction of a moral ideal society, the ultimate goal of Neo-Confucianism. In conclusion, though the purpose they pursued was not fulfilled, it can be seen from the debate on the mind that they fiercely demanded that these requests were urgent in the late Joseon Korea This paper, therefore, the situation of the Kiho academic in the late of Joseon Korea, the problem consciousness of the scholars of the Kiho academic, and the issue and development of debate on the mind.

• (The)Study of the Eastern Classic
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• no.63
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• pp.115-140
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• 2016

This Articles intend to articulate The Tao(道) and Te(德) in Confucian analects("論語") Tao & Te is key concepts in Confucian analects. Tao is the Way of human life. Te is the incarnation of the Way. Jen(仁) is the universal Virtue of Human beings. Therefore, Confucius said, "If Human beingsa bo the Virtue proper to Humanity, what has to do with the Rites of propriety and Music?". Confucian's Human relationship is altruism(恕). Chu-Hsi and Dasan uphold and reestablished Tao & Te and Jen as maim concept of Confucius Analects. Jen is a practical methodology of Tao and Te. Confucius said, 'Let the will be seat on the path of duty.' 'Let every attainment in what is good be firmly grasped.' 'Let perfect Virtue be accord with. Tao(道), Te(德) and Jen(仁) is Trinity in Confucian Analects. Dasan redefined Tao and Te as his Commentary of Confucian analects("論語古今註"). Dasan interpreted that Te is achieved only by Human beings's behavior. But Chu-Hsi' Te is substance of Mind(心之體). He interpreted Te as an innate idea.

• English & American cultural studies
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• v.9 no.1
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• pp.273-295
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• 2009

As Oedipa Mass, the heroine of Thomas Pynchon's The Crying of Lot 49, is apparently associated with Oedipus, the hero in Sophocles' tragedy, this paper aims to show some of their similarities in quest theme and plot development as well as in the use of dramatic irony. Oedipus the King opens with a priest's pleas to relieve the Theban people from a plague and the king's promise to rid its cause by avenging the murder of the former king, as told by the oracle. Lot 49 begins as a Los Angeles law firm informs Oedipa that she is named as the executrix in her former lover Inverarity's will to sort out the mogul's estate. Ironically, however, Oedipus' investigation reveals himself to be the very cause of the national disaster, the murderer for whom he searched. Likewise, Oedipa starts her inquiry dedicating herself to make sense out of what Inverarity had left behind, only to find that the legacy was America. Sophocles and Pynchon both employ dramatic irony to provide a controlling principle for plot development in their works. In Oedipus the King, Sophocles creates mounting tension as well as distance between the reader's knowledge and the protagonist's ignorance, compressing the play's action into the moment that Oedipus discovers his real identity. For dramatic irony, however, Pynchon tends to work through authorial comments and utilize allegorical meanings of the characters' names, directing his novel at illuminating Oedipa's discovery of Inverarity's legacy as well as the meaning of Tristero, an underground postal service system. Unlike Oedipus the King that proceeds on a single line of action, Lot 49 develops in esoteric, multi-layered allusions and intricately-interrelated double strains involving Oedipa's roles as executrix and quester. At the end of Sophocles' tragedy, Oedipus stabs his eyes and decides to live in exile, realizing that, blinded, he begot his children through his mother; Oedipa comes to a painful realization that she allowed her former lover to create death-orienting America without her diversity and moral system in old times. As Oedipa now discovers herself through her search for Tristero, her tragic spirit lies in her determination to confront her binary choices between two Americas: transcendence or entropy, the Tristero possibility or Inverarity's America. Ultimately, Oedipa tries to find who will be the bidder for the Tristero forged stamps designated as lot 49, awaiting the auctioneer's cry and the "crying" of a new-born America.

• (The)Study of the Eastern Classic
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• no.41
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• pp.91-120
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• 2010

In this paper, I tried to analyze the image of bamboo from Chang Hyun-kwang's poetry. Especially I focused on defining the symbolic meaning of bamboo as a poetic material. To achieve this, I inspected his view of world and politic life. He considered his contemporary period as 'ethically corrupted' world. During his life time, he served for three kings and also suffered from the fires of war four times. That means, he had to undergo the political unrest and national crisis during his life time. Due to the chaotic state of affairs, all the people were busy pursuing their own interests. It made Chang had no choice but retiring from active life. While Chang revealed his attitude to life through writing poetry, he used the image of bamboo as a completion of one's mature character. And the image of bamboo what he used was somewhat different from general one. Chang used the image of bamboo in two ways. The one is seeking live in retirement, and the other is chasing completion of his own mature character in academic way.

• (The)Study of the Eastern Classic
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• no.36
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• pp.403-432
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• 2009

In this paper, I examined two things. First explore the of the reality(眞) in poems written on paintings and discussion on paintings in men of letters of Pre-chosun dynasty, furthemore, it analyzes the meaning and thought. To explain it, I would like to analyse the discourse surrounding the reality(眞) in poems written on paintings and discussion on paintings, and concept of the borrowing(假) and the unreal(幻). First of all, I examine the ways that the view of nature of Confucians is pertinent to the abiding in reverence and the investigation of principles of confucians, also painting is necessarry condition for their moral and spiritual self-cultivation. In the discourse surrounding the reality, it is to suggest from 'natural reality (天眞)' to escape from the reality(眞), and proceeds to examine the transformation of reality(眞) in mind(人心). Furthermore I examine the meaning of transform and delicate difference between borrowing(假) and the unreal(幻). In this process, concept of the borrowing(假) and the unreal(幻) is divided into the two meaning. False(假) is to become the Borrowing and painting, the unreal(幻) is change into the act of recognition. In conclusion, I examined the significant transformation of the reality(眞) and the unreal(幻). The reality(眞) has been recognized as a important concept, it is diverged into the Nature, outer things and painting mind, and the object of ultimate value in appreciation and painting of Pre-chosun dynasty.

• (The)Study of the Eastern Classic
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• no.35
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• pp.7-33
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• 2009

Oh Su-yeong (1521-1606) would be called 'Gyeomjung' with the pen name of 'Chundang' and 'Doam.' Since he was so good at calligraphy, he would also be one of the 'Seonseong Sampil (three great writers)' along with Geum Bo and Lee Suk-ryang. He wrote "Chundang Collection." So far, a study on him and his writing has been hardly conducted. This paper has investigated his life and companionship in order to restore his legacy that has disappeared in the history of Korean literature. This paper has briefly summarized his life and family line and examined his friendship with the students of Toegye Yi Hwang. In fact, most of his friends were the disciples of the great philosopher and Confucian scholar, which proves what he pursued throughout his life. In his poetry, many poems regarding moral standard in friendship are often found. A true humanity can be felt in them. In his sensitive poems on natural creatures can be sensed his wit and humor. After going through the vortex of war, he vividly described the reality of tragic war through his poems as well. A further study needs to be conducted on his poetry.

• (The)Study of the Eastern Classic
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• no.57
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• pp.41-66
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• 2014

The Purpose of this paper is, through the character-figuration aspect of existing Yeoheon Jang Hyungwang(旅軒 張顯光, 1554~1637)-related folk tales, to determine the relation between the people's awareness on Yeoheon and the change in the folk tales. Only 4 pieces of Yeoheon-related folk tales are existed ; ; Forgiving a rude son of the provincial governor generously. ; Predicting 'the frost of May' and Preventing the cold-weather damage, when he served as Euiseong governor, and ; The folk tales of origins of the place name - Chimabawi Rockand Yeoheondae. shows the great scholar's liberal-hearted and generous personality. One day Jang Hyungwang looked shabby and a young person was quite rude to him. But Jang Hyungwang forgive him generously. Also Yeoheon teach him the thrift and modesty. described him as a governor filled with a love for the people. He tried to edify the people with the Confucian ethics and improve the life's work of the people. embodied him as a government official of high integrity. When his wife received the silk slip from the people, as farewell gift, he ordered his wife return that. and show the images of the Predicting the future and an extraordinary moralizer. Generally These folk tales are based on his personality, whereabouts and the real case. So we could find his images in the folk tales are close to his actual feature - thrift, modest, noble-minded, well-versed in Iching and practicing moral statesmanship.

• The Journal of Korean Philosophical History
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• no.42
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• pp.233-258
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• 2014

This article investigates the concept of the xing(性) used by Hu Hong. Hu Hong's philosophical system considered to top priority for xing is called xingbunlun(性本論), and he suggested the characteristics of xing as follows. First, Hu Hong regarded xing as the fundamental of whole world and related to the specific individual things, so he constructed the concept of xing in the perspective of ontology. Namely while xing is ti(體) the root of all the world, it is the realization of the uniqueness of the individual things. Also he considered xing which of the ontological aspect developed various psychological aspect contained xin (心), qing(情), yu(欲), etc. Seond, As Hu Hong regulated that wei fa(未發) is xing and yi fa(已發) is xin, he defined the ideal relation between xing and xin as xingtixinyong(性體心用). And he considered that the sage and the ordinary peoples are equal in the xing's aspect of wei fa, but they are not equal in ability of the xin in the aspect of wei fa. Hu Hong thought that the only sage realized the ideal relation between xing and xin in this world, because he keep his mind silent. So Hu Hong suggested the possibility of moral cultivation to the ordinary peoples, expressing that human nature realized the function of the mind(成性), in order that they realized ideal relation by following ren(仁). Third, unlike the traditional notion, Hu Hong understood the meaning of xing in the aspect of ontology. He interpreted the shan(善) of xingshan(性善) as the meaning of exclamation, which implied that "the innate goodness of human nature(性善)" meant "Human nature is good." Because Hu Hong thought that the meaning of xing transcended the relative concept of good and evil, and accepted the whole world affirmatively. In the opinion of Hu Hong, as the concept of xing had two ways of intentionality; likes and dislikes(好惡), things formed relationship with other in this world. Then the concept of good and evil of the ethical value judgement occurred.

• (The)Study of the Eastern Classic
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• no.35
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• pp.471-498
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• 2009

The aim of this study is to see how bamboo paintings developed and what is the iconographical meaning of them through bamboo Ti-hua-shi(poems on paintings) found in Sheng-Hua-Ji, a leading compilation of Ti-hua-shi(poems on paintings) of Song Dynasty. Bamboo paintings give shapes in a simpler and more direct way in drawing, which means bamboo paintings reveal concretely more characteristics of Ti-hua-shi (poems on paintings). Bamboo paintings, which flourished during Northern Song Dynasty, often had the image of the dragon, specially a lying dragon or a winding dragon, which suggests a great man in obscurity. Snow-laden bamboos were also a symbol of a great man, very wise man in Confucian tradition. This shows Confucian ideal examples were embodied through bamboo paintings. Another aspect of bamboo paintings is that bamboo paintings were regarded as a means of self-expression, which identified Confucian sadaebu (scholar-officials) who advocated simplicity and austerity in their life. Contrary to professional painters, who added color and decoration to their paintings, Confucian scholars of Song Dynasty reduced color and embellishment in their bamboo paintings in black-and-white to reveal their own identity, focusing on spirituality rather than the image itself. Therefore, drawing and appreciating bamboo paintings were highly respectable pastime among the literati of Song Dynasty. In short, Bamboo paintings in Song Dynasty were not only a Confucian symbol of a wise and virtuous man but also reflected the taste of Song sadaebu class who thought of bamboo as a symbol for moral and cultural responsibility of Confucian society.

• (The)Study of the Eastern Classic
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• no.67
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• pp.237-258
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• 2017

This study aims is consider the life and study viewpoint of Choi-Ja who lived in during the Musin regime of Koryo Dynasty. During this period, knowledge of the Confucian scriptures gradually generalized among scholars and writers. Therefore, it was possible to create an atmosphere that criticized sajanghak(詞章學). Choi-Ja regrets that people' reading style is not correct at the time. People are only trying to learn to participate in social exams and learn to read and write articles related to the Civil servant examination. Nevertheless, if he passed the Civil servant examination he criticized the government for failing to study harder, even though he had to work harder. Choi-Ja lamented that the intellectuals basically did not read about the Kyeongsabaekka(經史百家) and on the outward appearance. His scholarly attitude implies that he can be recognized as a genuine learningexperience when he forms the moral character of his inner self rather than his outward form. Choi-Ja' emphasis on six Confucian writings indicates that his virtues ere based on the Confucian spirit of Confucius. He pointed out the abuses of intellectuals at the time of his poems to build poems based on these Confucian traditions. He emphasized that the government ought to reflect on the Confucian scriptures and histories of the Confucian scriptures and reflect the politics of the people and improve the mood of the people.