• Strategy21
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• s.31
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• pp.190-219
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• 2013

Since Korea and Japan established diplomatic relationship, Relationship between Korea and Japan has not been easygoing. There are two most explosive, and noticeable ones among topics which have affected the relationship ; Dokdo and Historical Distortion. Without these issues, relationship between two countries will take a turn for the better. However, unfortunately, it seems that it is almost never going to happen. There is the Japanese conservative right-wing who has an influence on those two issues. The right-wing takes regard getting negative view or finding out dark past as an action from Self-torture view of history, and tries to dilute the Japanese sense of guilt on past invasions to neighbor countries. Moreover, to become a "normal country", they are trying to revise Constitution of the Japan so that Japan can possess the military and re-arm, dispatch troops abroad, and get the right to break the war. In other words, they expect Japan to become a powerful nation with great influence on Asia and world, as the period in which Japan conquered Korean peninsula, China, and South-Eastern nations. Japan still harbours secret romanticism for bygone days of imperialist glory. That is why neighbors want to never make the painful history happen again. In order to deal with this effort, most of all, it is required to assert better argument with a careful, thorough analysis on Japanese opinion about Dokdo. There might be a hidden card which can be accepted in the international society considering Japanese persistent effort to make Dokdo disputed area, and that is why we have to know that it is. In addition, it is needed to secure a high-quality professional manpower because the issues of Dokdo and Historical Distortion are primarily the matter of logic and references. The professional manpower should have open-minded to break down walls of their own majors. We have to introduce our achievements and stances to the international society vigorously. As a definite way to solve these problems, we have to develop national power. We have to possess naval forces and coast guard to protect our territory and Koreans overseas. There are not many options Korea can do to Japan, except protesting denunciation, and pressing a joint efforts. Most of the suggestions stated before are what have to be conducted domestically. It is a miserable condition, because two problems are Japanese domestic issues, but they become international issues and we have to seek a solution for ourselves.

• The Journal of Art Theory & Practice
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• no.13
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• pp.97-132
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• 2012

1799 Francisco de Goya published Los Caprichos with 80 aquatint etchings. On 6 February he advertised it on the front page of the Diario de Madrid. The long advertisement which began with "a collection of prints of capricious subjects, invented and etched by Don Francisco Goya" informed purpose, themes and methods of this collection of prints. According to this advertisement Goya "has chosen as subjects for his work, from the multitude of follies and mistakes common in every civil society and from the vulgar prejudices and lies authorized by custom, ignorance or self-interest, those that he has thought most fit to provide material for ridicules, and at the same time to exercise the artist's imagination." The text emphasized that the 'author' of this series didn't to want to criticise any individual and to be a copyist. From his phantasy Goya invented many creatures like the anthropic, humanized animals etc.. With Los Caprichos he stood on the threshold to Romanticism. The early researchers of Los Caprichos classified its author, Goya as an enlightened intellectual. The similarity of the themes of the series with the subjects of the Enlightenment, his some enlightened 'friends' and the idea to avoid the prevalent mystification of his life supported this theory. But this trend became revised since the 80's of the last century. This made possible to research Goya's works in new perspective and to see that Goya didn't criticise the Spanish society and his contemporaries. Rather he showed its reality and parodied through creatures which are mixtures of the reality that he observed, and visions that he invented. Characters and scenes in Goya's prints are ambiguous and equivocal. They have the values which are defined by the dualistic metaphysic in Europe as oppositional, like good and evil for example, at the same time. Goya himself also appeared in various types in this series. This ambiguousness, or "polyphony", as Jennis Tomlinson defined, is a symptom of the decay of the belief in the Enlightenment which spreaded in Europe as a result of the attack of Bastille and the French Revolution. Goya's self-portrait in pl. 43 of this series, "El sue$\tilde{n}$o de la razon produce monstruos" shows the complex psychology of him and his contemporaries as well. As the rest etchings after this print show witchcraft and monsters reside in the world in which the reason of the Enlightenment and the through the reason weakened God's rule lost their authority. In this thesis I will examine and analyse how Goya represented in Los Caprichos the nature of man and its society, as complex being in which the 'antagonistic' value couple as good and evil couldn't be divided, but are united.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.58-68
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• 2014

Christian Cay Lorenz Hirschfeld is often regarded as 'a father of landscape garden art.' He was an aesthetics professor and garden theoretician in the $18^{th}$ century. He put forth the most comprehensive garden theory book in five volumes between 1779 and 1785. His book, Theorie der Gartenkunst, was translated and widely circulated in his contemporary. The book, which dealt with diverse aspects of garden art such as history, design, material, and type, urged to promote the prevalence of landscape garden in European continents as well as in Germany. However, there have scarcely been discourses in the Hirschfeld's garden theory. This essay aims to review Hirschfeld's garden thoughts in his book critically and to reinterpret some issues in the contemporary landscape theory and practice. Hirschfeldian theory was the product of $18^{th}$ century German Enlightenment and romanticism. At that time, Nature was regarded as divine realm. There was a German affinity with natural world. The spread of reading culture and the fashion of travel literature were another background of the success of his garden literature. Several issues in Hirschfeld garden theory will discussed here. First, privileging garden art was the most significant contribution in his theory. He emphasized that garden art was the most advanced art form among all art genres. Second, garden art was grounded on the mimesis of nature. The ambiguous relationship between nature and art still existed in garden making. However, garden art can be flourished when utilizing the potency of nature in itself. Third, there was the association between the image and the idea in experiencing the garden. Some garden scenes stimulated the related emotional responses such as cheerful and merry, softly melancholic, romantic, solemn etc. Fourth, the movement was the essential aspect of garden art. Motion and emotion are come together in garden experience. To represent the landscape garden style in suitable way, the sketch or image seems to be preferable than the plans and views. Finally, garden art was composing of not only the physical space but also the spirit of place. He maintained the garden art as hortus moralis should be a social metaphor. Hirschfeldian garden theory has often been criticized as the lack of practical power and the old fashioned idea. However, his theory influenced on formulating the idea of public park in $19^{th}$ century. Moreover, there are still some visionary aspects of his theory such as the reevaluation of garden art, the emphasis of locality and the introduction of Mittelweg idea. Recently, gardening culture are prevalent in various realms of art and life. Hirschfeld's garden theory as humanistic landscape theory can provide us some insights in the contemporary practices.