• The Journal of Korean Philosophical History
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• no.43
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• pp.9-32
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• 2014

Until now, the studies researching the Taoism theories of Joseon Dynasty have mainly dealt around the latter half of Joseon Dynasty. The reason for that was because the 5 cribs of a book Lao Tzu and the 2 crib of a book Changzi were produced after the Imjin-Year Korean-Japanese War(壬辰倭亂,Imjin Waeran). Therefore this thesis extracted the mentions about Taoism from about 200-year history records from Jeong Do-Jeon's Theory, which was the theoretical foundation for early days of Joseon's foundation and the history book King Taejong's Annals(太宗實錄) contained in The Annals of Joseon Dynasty(朝鮮王朝實 錄) and analyzed the extracted historic data as the first work contemplating how the Taoism theories were developed during the first half of Joseon Dynasty. From the analysis, this study drew out the findings as follows. Jeong Do-Jeon and Gwon Geun sharply criticized the Taoism for that it pursued for the techniques of longevity for oneself without moral. They tried to establish the identity of neo-Confucianism on the foundation criticizing the Taoism and the Buddhism. Since then, the Taoism was transformed through the 3 stages in The Annals of Joseon Dynasty. The first stage was the stage transformed 'Lao Tzu' as the witchcraft master of long-live, the technique of the taoist hermit and the super god in Taoism, and regarded the Taoism as heresy and excluded the Taoism. Second stage was the stage trying to see the book Lao Tzu as the core of Taoism theory separately from the 'Hermit Witchcraft' and the 'Taoist gods' the target of fortune-pursue religion beyond from the primary discussion of exclusion. Third stage was revealed as the respects on the art of politics and the art of living described in the book Lao Tzu. That is, the Taoism theories in the first half of Joseon Dynasty was developed with various spectrums from the early days of Joseon's foundation to 15~16 centuries beyond Joseon's strong suppression against the Taoism and the Buddhism in early days. That is the point that the Taoism in the first half of Joseon Dynasty can't be simply interpreted in the neo-Confucianism. During the firs half of Joseon Dynasty, the warm attitude toward the Taoism was created differently from the attitude against suppressing it as a cult, which had been created in the early days of Josen's foundation, and there appeared the changes accepting the art of living and the art of politics theoretically integrating with the Confucianism theories. That is, the book 'Lao Tus' became accepted as the Confucian country's arts of living and politics from a cult book pursuing for immoral log and immortal life. Such acception is revealed as the appearance actively interpreting the books about Laoism in the latter half o Joseon Dynasty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.3
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• pp.10-19
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• 2022

In this study, historical and cultural landscapes were reviewed focusing on Mangjinsan Mountain in Jinju, Gyeongsangnam-do, and the scenic value was examined through this. First, Mangjinsan Mountain was noted in history, as Ansan(案山, a mountain on the opposite side of a housing/grave site) in Jinju, where Bongsu(烽燧, the beacon fire station) is located. Information on Mangjinsan Mountain was gradually doubled due to its status, and the beacon fire station of Mangjinsan Mountain was in charge of defending the Jinju area. Mangjinsan Mountain was described as a symbolic landscape of Jinju. Regarding the etymology of Mangjinsan Mountain, Sung Yeo-Sin(成汝信) analyzed the geography of Jinju and suggested that it was a place name originating from the phoenix. However, looking at various records, it is confirmed that the name of Mangjinsan Mountain is maintained uniformly, but the inscription is not unified. Second, Mangjinsan Mountain became one of the major stage for the Japanese Invasion of Korea in 1592, and in 1597. It is confirmed to be a place which has joys and sorrows, for that it provided an opportunity to win the Siege of Jinju in 1592, but many casualties occurred in 1597. On the other hand, in the area of Mangjinsan Mountain Byeolseo(別墅), temples, and administrative facilities were located to establish cultural history of the time, and in the 19th century, Manggyeongdae Pavilion was built due to the scenic value of viewing Jinju Castle. These are examples of testimony how Mangjinsan Mountain has an important meaning in Jinju's history and culture. Third, in the late Joseon Dynasty, a poem reciting Mangjinsan Mountain appears, which shows that the Mountain has established itself as a scenic site in Jinju. The description of Mangjinsan Mountain is confirmed in the literature that lists the scenic sites of Jinju. On the other hand, writers who lived in Jinju paid attention to the beacon fire station, singing about the peaceful world without war and looking back the history. In the 19th century, Jeonbyeolyeon(a farewell party) was held, which seems to be the result of the beauty of viewing Jinju and overviewing the area. Through the facts, the symbolism and scenic value of Mangjinsan Mountain in Jinju were confirmed.

• Cartoon and Animation Studies
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• s.36
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• pp.281-302
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• 2014

Human beings have advanced to release instinctive desire. Among the human desires, sexual desire is classed as a basic desire with appetite and has been expressed in many ways from prehistoric times to present. Despite the social and ethical restriction, expression of sexual image has been evolved with change of time and medium's development. Thanks to inventing the photograph technique, Change of pornographic image has showed a dramatic aspect since early 20th century. The video which delivers message more directly than the picture boosted this change, and the animation has experimented the expression methods and techniques numerously exceeding the limit of realistic image which reappeared by the device. In this thesis, I want to discuss how human beings express sexual desire in animation based on society's sex culture, and analyzed Japanese pornographic animation as its obvious cases. Japanese pornographic animation should be interpreted as the result of culture and society system's history. Through Heian, Edo and early Meiji period, Japanese sex culture has been kept very openly and preposterously. Transformation, metamorphosis, pedophilia, tentacle sex and exposure of specific body parts that are frequently appear in Japanese animation can be interpreted by ancient Japanese open sex culture like Wakashu, polygamy, sleeping in mixed sex group and pederasty. These Japanese odd sex culture is hard to find elsewhere and settled as intrinsic sexual expression in Japanese animation. This situation was institutionally severed by European Modernization's force at the end of World War II in 20th century. However, it seems they have been keeping their influence in a proper form until now. In this study, I discussed that pornographic animation should be interpreted in a frame of cultural phenomenon by researching the series of procedure that ancient Japanese open sex culture has been changed by the system. Sexuality which is found in general Japanese animation was started from their history, and the dichotomous expression about women can be understood that it is bent by institutionally regulated sexual opinion. Japanese history and culture can be understood that it is transformed to the dichotomy that are simultaneously according freedom of eroticism to the pornographic animation, and the fear and irresistible temptation about the woman's body as the other.

• The Korean Journal of Archival Studies
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• no.23
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• pp.227-256
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• 2010

This paper has two aims (1) to address the common European past by way of considering the development of the official archives of the European Union; and (2) to give specific attention to the activities of archivists in Germany. The EU archives contain the all the documents officially recording the common history of European integration from the establishment of the European Coal and Steel Community in 1951. It was at the beginning of the 1980s, thirty years after the production of these documents, however, that the Archives of the European Community (EC) began to be systematized for public use when the European University Institute in Florence in Italy was chosen as the deposit location for the archive. After the coming into effect of the Maastricht Treaty in 1993, the EC Archives were renamed as the EU Archives. Through the cooperation of the national archives of the each Member State of the EU with this EC Archives common norms regarding deposit were developed. This archives is a veritable gold mine for serious research into all and any official aspect of the institutional and policy history of today's EU, so for the formation of common European identity. The denazification process using the evidence of the archives contributed to the orientation of the New Germany towards Europe. The German archives then have been contributing to the redressing the past to a significant degree since after the Second World War. More recently, the establishment of the "Memory, Responsibility, and Future" Foundation in 2000 in Germany made possible cooperations with the archives of the East European countries and especially for the purpose of the providing evidence about former enforced workers under the Nazi regime. There has thus been developed European-wide networks among archives. These developments have furthered the common redressing of the European past and this process in turn has been contributing the enhancing the European spirit and identity. The thesis of this paper then is that historical research based on the EU archives and individual Member States can not only illuminate in great detail the stages of the history of European integration to date. The dissemination of such research can itself contribute to the process of the spreading of supranational ideas beyond Europe to other regions of the world.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.38-61
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• 2019

Up until the early twentieth century in Germany, there were two research trends: 1) emphasizing objectives and making detailed observations of archaeological artifacts and sites, 2) tracing the remains of specific nations or ethnic groups and defining their temporal-spatial boundaries by conducting research on material culture in terms of nationalism or ethnocentrism. After the Second World War ended and Germany was divided, West German archaeology focused on observations of artifacts and sites, cataloging them, and doing research on chronology and distribution following their own traditional methodologies. East German archaeology attempted to prove the developing process of history and its Marxist principles based upon material culture and to examine the historic value of inherent specific cultural heritage based on criteria regarding how it corresponded to socialism and contributed to the development of socialism. Nevertheless, East and West German archaeology shared traditional archaeological methods inherited from German archaeology since the nineteenth century, and contact between archaeologists in West and East Germany continued to a degree. Furthermore, East German archaeology produced significant archaeological achievements acknowledged by West German and European archaeologists. These facts provided the momentum to complete rapid incorporation of the archaeologies of West and East Germany in spite of a one-sided process imposed by West German archaeology. In the case of Korea, it seems necessary to make an effort to share common research history and traditions and to encourage mutual academic exchange (e.g. joint excavation and archaeological research). Furthermore, it is also imperative to have open-minded attitudes toward accepting substantial results and interpretations achieved by North Korean archaeologists under scrutiny when and where necessary, despite seeming to have been fossilized by Marxism and Juche ideology. Any efforts to narrow the gap in archaeological research and conservation of cultural heritage between the archaeologies of South and North Korea should be made immediately. The case of Germany demonstrates how such a project could proceed efficaciously.

• Journal of Ginseng Culture
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• v.4
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• pp.38-58
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• 2022

Park Wan-seo's novels deal with realistic topics of society, such as women's issues, the capitalist system, and the problems that come with old age. Assuch, her work is used as a tool to analyze social phenomena in various fields, such as women's studies, sociology, and literature. A characteristic style of Park Wan-seo's novels is that she bases them on her own experiences. However, among her novels, the novel Mimang is exceptional. The plot is based on stories that have been passed down from generation to generation. This is to show the spirit of the times through the unforgettable story of her hometown, Gaesong. Mimang is the story of a family chronology that spans four generations centered on Chun Cheu-Man and his family, who became powerful capitalists through the cultivation and commerce of ginseng cultivation. Set in the late 19th century until the end of the Korean War, the novel unravels the essence of the times symbolized by merchants of ginseng and Gaeseong, focusing on the actions of people living in a period of historical turbulence. Gaeseong is the mecca of Korean ginseng, and Gaeseong cannot be portrayed without the story of ginseng and its merchants. Therefore, Mimang, a fictionalized story based on real facts, contains valuable testimony of the history of ginseng, not only as historical values of modern history and personal customs but also as microhistory. In the novel, traces of the times of Gaeseong and the spirit of ginseng merchants, as shown in the Japanese sacking of ginseng during the colonial period, the resistance of ginseng merchants, and the conversion of ginseng capitalism to modern capitalism, are imprinted like fossils. What is especially meaningful is that the stories in the novel correspond to historical facts and constitute a chapter in the history of ginseng. The symbolism of ginseng in the novel can be explained in three main ways. First, it shows the essence of Korean ginseng. It reveals the soul of ginseng through the sincerity and rigor of ginseng farming, as well as the spirit and pride of ginseng. Second, it symbolizes the exploitation of ginseng in Japan as a national issue. The efforts of ginseng merchants to protect this and support the independence movement are presented as important themes to express nationalism. Third, it shows the modern capitalist progressiveness of Gaeseong ginseng merchants, who do not stay in landownership and commercial capital, but convert them to productive capital and contribute to society by modernizing them. The three symbolisms show the spirit of the times of the Gaeseong ginseng merchants, clearly revealing the meaningful relationship between the Korean people and ginseng.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.80-100
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• 2024

This paper investigated the major history and reality of iconological composition for Jagyeongjeon Hall's flowered wall in Gyeongbokgung Palace, which was controversial in terms of preservation and management of cultural heritage. While analyzing the moment and cause of the flowered wall's renovation as it is now, modified or disappeared patterns were identified, and meaningfully misinterpreted congratulatory phrases were reviewed. The research results can be used as meaningful basic data when discussions are made for the restoration of the wall in the future. Jagyeongjeon Hall's flowered wall has reached the present day with large and small changes, but the inflection point that had a significant impact was the Joseon Expo (朝鮮博覽會) held at Gyeongbokgung Palace in 1929. This is because the wall that remained in the Jagyeongjeon Hall area was demolished to build an exhibition hall while preparing for the expo, and it was restored after the end of the event. It is highly likely that the modification or disappearance of the patterns constituting Jagyeongjeon Hall's flowered wall was also due to the restoration process carried out after the expo. There is a view that was transformed into its current state in the process of repair work carried out after the Korean War, but it is difficult to find any meaningful circumstances and evidence. Currently, character patterns known as 'Seongnidori(聖人道理)' are arranged on the inner wall of the section from Gyeongdomun Gate(擎桃門) to Yeogangmun Gate(如岡門), but considering the design form and example, it can be read as 'Seongjasinson(聖子神孫)'. The inner wall of the section from Yeogangmun Gate to Yeonsumun Gate(燕壽門) was originally made in the form of a flowered wall, and the phrases presumed to be 'Gyegyeseungseung(繼繼繩繩)' and 'Cheonse(千世)' were arranged. In the case of the section from Yeonsumun Gate to Hamgyumun Gate(含奎門), the inner wall where the pattern has disappeared is originally composed of geometric and character patterns, and there were also phrases specified as 'Cheonsu(千壽)' and 'Mansemansu(萬世萬壽)'. On the outer wall of the section from Yeonsumun Gate to Hamgyumun Gate, there is a possibility that the phrase known as 'Nakgangmanse(樂彊萬歲)' can be read as 'Cheonsemanse(千歲萬歲)'. In addition, the current outer wall was composed of one drawing board, but in the past, two drawing boards were composed separately.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.278-305
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• 2024

Gelatin dry plate photographs dating to the Japanese colonial era and the official documents from the Japanese Government-General of Korea Museum in the collection of the National Museum of Korea are significant materials documenting cultural heritage in North Korea before it was severely damaged in 1950 during the Korean War. There has been an increase in recent years in studies of Buddhist sculptures in North Korea based on these photographs and documents. This paper presents some new comments on the Buddhist sculptures at Seongbulsa Temple in Hwangju, one of the most famous temples in Hwanghae-do Province, based on the related existing research outcomes. This paper aims to facilitate a more comprehensive understanding of the Buddhist sculptures at Seongbulsa Temple by chronicling its history based on historical records, examining its current status, and exploring in detail the production dates and backgrounds of the Buddhist sculptures featured on gelatin dry plates. Prior to Korea's liberation from Japan in 1945, Seongbulsa housed at least seven sculptural items: two Bodhisattva statues, four Buddha statues, and a triad. Two items are from the early Goryeo period, one is from the late Goryeo period, three are from the early Joseon period, and one is from the late Joseon period. Among them, two surviving items are noteworthy. One is the early Goryeo-era Stone Seated Bhaishajyaguru Buddha photographed in Eungjinjeon Hall at Seongbulsa Temple. A close examination of a schematic drawing of the sculpture's pedestal made at the time it was photographed reveals that its material accords with the materials used for the headless Stone Seated Bhaishajyaguru Buddha and pedestal currently found in the old Sangwonam Hermitage site in the Inner Geumgang Valley of Jeongbangsan Mountain. This accordance could mean that the statue is a new significant example of early Goryeo Buddhist sculpture in North Korea. The other notable sculpture is the Gilt-bronze Seated Amitabha Buddha Triad created in 1454 (the second year of the reign of King Danjong) and discovered in Geungnakjeon Hall at Seongbulsa. This statue is currently in the collection of the Sariwon History Museum in Hwanghae-do Province. It is an important example of a dated small gilt-bronze Buddhist statue from the early Joseon period found in North Korea. This paper is a case study of Buddhist sculptures in North Korea, focusing on Seongbulsa Temple. Further utilization of the National Museum of Korea's gelatin dry plates will contribute to developing the study of the history of Korean Buddhist sculpture.

• The Journal of Korean Philosophical History
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• no.36
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• pp.101-133
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• 2013

In this paper, the writer investigated the thoughts on military art and science with a focus on the typical books on military art and science, which was published in the latter period of Joseon, and the discussion of literati in that time. Joseon had been happy to enjoy the piping times of peace for about 200 years ever since the establishment of the dynasty. However, having had to gone through two major wars, the Joseon Dynasty, revolving around scholarly people, had awakened the limits of military art and science of Joseon. It can be said that the countermeasure against Japanese pirates, which were reflected in the "Jingbirok" (懲毖錄 - Records of the 1592 Japanese Invasion) written by Yu Seong-ryong, and the experiences of war had formed the basis of the thoughts on military art and science in the latter period. Regrettably, there were no suggestions or proposals of preparing countermeasure against Japanese raiders in the books of military art and science in the early period of the Joseon Dynasty. Meanwhile, as the argument about the battle formation in the early period of Joseon, the process of establishing the military science had not gone smoothly in the latter period of Joseon. Right after the Japanese invasion of 1592, "Gihyo-Sinseo" (紀效新書 - New Text of Practical Tactics written by Cheok Gye-gwang) was brought into the country by the army of Ming (明) Dynasty. At first, this was used in the form of its original edition, or of abstract version in the military drill. But, later, it was published under the title of "Byeonghak-jinam" (兵學指南 - Military Training Manual about Action Rules by combat situation). This book, same as in Zhejian (浙江) province in China, had achieved a positive effect on counteracting the Japanese raiders in our country. However, these military tactics were conflicted with "Owi Jinbeop" - Rules of Deployment of the Five Military Commands, which had been handed down ever since the early period of the Joseon Dynasty, and, at the same time, it was pointed out that those tactics would not be able to apply to the situation uniformly, since Korea and China were geographically different. Furthermore, having gone through Manchu Invasion of 1636 (丙子胡亂, Byeongja horan) Joseon had used "Yeonbyeongsilgi" (練兵實記 - the Actual Records of Training Army), which was compiled in China on the basis of the experiences of wars against the nomad, including Mongolia and so on. And, this had become a typical training manual together with "Byeonghak-jinam". King Yeong Jo and King Jeong Jo of the Joseon Dynasty had tried to establish uniformity in military training by publishing the books of military science representing the latter period of Joseon such as "Sokbyeongjangdoseol" (續兵將圖說- Revision of the Illustrated Manual of Military Training and Tactics,) "Byeonghaktong" (兵學通 Book on Military Art and Science,) "Byeonghakjinamyeonui" (兵學指南演義 - Commentary on 'Byeonghak-jinam') and "Muyedobotongji"(武藝圖譜通志 - Comprehensive Illustrated Manual of Martial Arts,) and so on. King Jeong Jo had actively participated in the arguments in those days. So then the arguments that had been continued for about 200 years, ever since King Seon Jo, put to an end. To sum up the distinctive features of military art and science in both former and latter period of the Joseon Dynasty, in the former period of Joseon, the reasoning military science was proceeded with the initiative of civic official based on "Mugyeongchilseo"(武經七書- the Seven Military Classics). However, in the latter period of Joseon, "Gihyo-Sinseo"(紀效新書 - New Text of Practical Tactics written by Cheok Gye-gwang) had served as a momentum, and also comparatively a large numbers of military official had participated in arguments, so then such an occasion had made the military science turn into the Practical Theory. Meanwhile, King Sejo and King Jeong Jo had played a leading role in the process of establishing the theory of military science of Joseon, however, there are something in common that their succession to the throne was not smooth. This is the part that reminds us "War is an extension of politics," the thesis of Clausewitz

• Cartoon and Animation Studies
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• s.33
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• pp.247-270
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• 2013

Kim, Yong-Hwan is a one of the South Korean major cartoonists between 1940s and 1960s. Kim, Yong-Hwan drew a variety of genres from children's cartoon to current-affair cartoon. Furthermore, Kim, Yong-Hwan took the lead in publishing cartoon magazine and newspaper after the Independence, and has been highly appreciated as a pioneer of Korean cartoon. Kim, Yong-Hwan created many works in the fields of illustrations, Oriental painting, history painting, caricature, etc. After going study for painting to Japan, Kim, Yong-Hwan made his debut as an illustrator called Kita Koji in Japan. However, not much is known about his works in Japan, only there is a simple data about his Japan period and some pieces of illustration during Japan years. In this paper, I examined in detail about Kim, Yong-Hwan's work activity in Japan which has been little known in Korea for a long time. I studied on illustrations in magazines and books which he drew in the name of Kita Koji, on the basis of the data of the National Diet Library of Japan. I could know that Kim, Yong-Hwan worked actively in a diversity of publishers and magazines. In addition, I could realize that many magazines in which Kim, Yong-Hwan drew illustrations were very popular ones. This demonstrates that Kim, Yong-Hwan was much recognized in Japan for his talent. However, a large number of Kim, Yong-Hwan's illustrations were published from late 1930s to mid-1940s. This period was the years that Japan concentrated all her energy for World War II. All the publishing were severely censored during this period. A majority of publishing in this period supported Japanese militarism, and glorified Japan's war policy. Kim, Yong-Hwan's illustrations were no exception, too. It was really sorry about his activity during his Japan period. This essay means a lot to a field of cartoon studies in terms of a collection of materials during Kim, Yong-Hwan's Japan period. Besides, I think that henceforth, this paper can contribute to a follow-up study on Kim, Yong-Hwan' work and his broad background.