• 한국수학사학회지
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• 제20권2호
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• pp.33-46
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• 2007

본고에서는 1970년대 이후로 전개된 수학사 연구의 기본 방향의 변화를 다룬다. 그 가운데서도 유클리드 <원론> II권의 내용인 이른바 '기하학적 대수학'에 대한 해석을 둘러싸고 벌어진 일련의 논쟁이 어떻게 전개되었는지를 소개하고, 그 논쟁이 수학사 연구의 방향 전환과 어떤 관련성을 띠는지를 밝히도록 한다.

• 미술이론과 현장
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• 제16호
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• pp.7-40
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• 2013

Historian Eric J. Hobsbawm once said "the task that historians have is to analyze the meanings of the past within the context of society and to track the changes and implementation." It would not be too far of a stretch to apply Hobsbawm's quote to art historian since art history, although quite specific, is still history. In addition, Hobsbaum also asserted that, "a mold called the past continuously forms the present or at least thought to be." It is my recognition that the major westernization of the last century took place under the Japanese colonization which served as the channel to usher in western art; however, the current 20thcentury Korean art history fails to recognize that the mold of the past, namely western art in this case, has formed the modern art of the present. Based on this recognition, attention was given to what lacked in the analysis of the current 20th-century Korean art history in terms of "Informel" which was identified as the turning point towards "modern art" in the Korean art history as well as the following "experimental art." My belief is that the art history of Korea has to be reassessed from, a socio-cultural perspective as well as adopting multi-level and diachronic understanding. However, the existing Korean art, especially the one between the end of 1950s to the 1970s was based on the perspective of "severance"; thus, raising the needs for the starting point of a new perspective. It is my conviction that meta perspective on writing is most essential in order to lay a solid basis for the Korean art scene to have a productive discussion. I feel the utmost necessity to reinterpret the typified history analysis and criticism which stemmed from the trauma under the Japanese colonization. The most urgent task is to avoid academic closeness and to share the research. Painting is an individual expression of the artist, but the act of expression is not free from the cultural and societal influence to which the artist belongs.

• 기록학연구
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• 제3호
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• pp.115-137
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• 2001

The Museum of Chosen General Government(MCGG) was a supreme organ to take charge of business affairs of historical remains Japanese imperial rule. The MCGG was established in Kyongbok Palace in 1915. The MCGG was changed the reorganization of the Chosen General Government(CGG) setups, the MCGG was to maintain the cultural assets, to excavate the ruins and to put on display the remains. However, the Japanese colonist took advantage of the MCGG for political purposes. They didn't use the MCGG to promote the research of Korea culture. Therefore, the MCGG was an organization to belong to the Department of Education of the CGG. In this reason, the MCGG produced the amount of public document to business affairs. Now, This document left in the Museum of Korea. We have seen the document to study the cultural policies and the cultural assets of the CGG. This document includes the abundant information for the historical remains and ruins at that time. Accordingly, this document will help to survey the archaeological research and historical research. In addition, this document will help to manage the cultural assets. What then is the advantage of this document? The first is to see the cultural policies of the CGG through this document. The Japanese colonist took advantage of Korea history, which was low-grade culture, to justify rule of the colony. Therefore, they needed collect Korean assets to verity their theory. The second is to see the administration system of the MCGG. Indeed, this document includes information of organization of the MCGG, the policies and the process of the MCGG. In substance, we can see the systemic proceedings of the MCGG. The third is to provide historical materials to the historian. This document has the persons to plan the colonial culture policy of the MCGG, and events to rule the Korea culture. Moreover, the document of the MCGG would help to inquire into the truthfulness of history and to get the national identity.

• 수완나부미
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• 제10권2호
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• pp.121-142
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• 2018

Area studies are sometimes framed as focused on specific localities, rooted in deep linguistic, cultural and historical knowledge, and hence empirically rich but, as a result, as yielding non-transferable/non-translatable findings and hence as theoretically poor. In Europe and North America some social science disciplines like sociology, economics and political science routinely dismiss any reference to local specifics as parochial "noise" interfering with their universalizing pretensions which in reality obscure their own Euro-American parochialism. For more qualitatively oriented disciplines like history, anthropology and cultural studies the inherent non-universality of (geographically constricted) area studies presents a predicament which is increasingly fought out by resorting to philosophical concepts which usually have a Eurocentric pedigree. In this paper, however, I argue that concepts with arguably European pedigree - like religion, culture, identity, heritage and art - travel around the world and are adopted through vernacular discourses that are specific to locally inflected histories and cultural contexts by annexing existing vocabularies as linguistic vehicles. In the process, these vernacularized "universal" concepts acquire different meanings or connotations, and can be used as powerful devices in local discursive fields. The study of these processes offer at once a powerful antidote against simplistic notions of "global"/"universal" and "local," and a potential corrective to localizing parochialism and blindly Eurocentric universalism. I develop this substantive argument with reference to my own professional, disciplinary and theoretical trajectory as an anthropologist and historian focusing on Vietnam, who used that experience - and the empirical puzzles and wonder encountered - in order to develop theoretical interests and questions that became the basis for larger-scale, comparative research projects in Japan, China, India, South Africa, Brazil and Europe. The subsequent challenge is to bring the results of such larger, comparative research "home" to Vietnam in a meaningful way, and thus overcome the limitations of both area studies and Eurocentric disciplines.

• 동의생리병리학회지
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• 제18권1호
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• pp.39-49
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• 2004

This article will introduce the changes of the historiography of the Chinese medicine which have been made during the last several decades. These will be described with the changes in the image of the Chinese medicine that has been occupied in our mind. We regard Chinese medicine as a rational knowledge system which is based on the theory of Yin-Yang and Five phases. Therefore we draw a dear line of demarcation between Chinese medicine and irrational cure means such as religious prayer, charms and folk remedies which have no theoretical background. We also think the medical lineages continue virtually uninterrupted over the whole time of the history of Chinese medicine that began from Huangdineijing(皇帝內徑) and Shanghanlun(傷寒論). And we consider Chinese medicine as a sort of science, and suppose there has been one universal and homogeneous medical system in the mainland China. This image, however, has been changing rapidly. These changes come from the join of externalists who were trained as historian not physician, for studying the history of Chinese medicine, and the methodological innovations of historiography which was influenced by the methodologies of anthropology, social history, cultural history and the discourse of postmodemism.

• 건축역사연구
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• 제25권6호
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• pp.73-80
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• 2016

A discourse on the Independence Hall of Korea, a representative cultural project of the 1980s, has been understood as a repetition of the traditional debate of the 1960s. It was considered as a petrified propaganda aimed at ensuring the fragile legitimacy of the military regime, and the architect as a sympathizer. Even if all these facts are true, it does not give any explanation for the architecture. Scrutinizing the building process and the change of discourse in the Independence Hall of Korea, this paper tries to explore a section of contemporary Korean architecture in the 1980s. The architect who designed the Independence Hall of Korea is Kim Kiwoong, however, it was Kim Won who took charge of overall scheme for it. Kim Won replaced the role of a technocrat in the 1960s, who deprived architects of his autonomy. Against this backdrop, Kim Kiwoong attempted to explain his own building via various concept like postmodernism, which gave him very proper context. But, later, he appropriated words like void and madang. These derived from some architectural historian's researches in 1970s, and were to predict the architecture of the 1990s.

• 비교문화연구
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• 제30권
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• pp.7-29
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• 2013

A movie which brought its material from a historical character or incidents in the past was produced by a story suggestion through a historical fact. It is because Shakespeare created a story based on a mythical element related with his life in the plot which was written from the script of the play and was on the show in the cinemas of London. It is an obvious fact that the historical drama of this movie was intentionally modified and the fictional story was added to episodes in order to create a dramatic effect. However, reflecting historical backgrounds and cultural aspects accurately through a historical study would also be an important factor. Therefore, the backgrounds and aspects presented in this movie are a kind of storytelling which was reconstructed as if a historian added his opinion to historical facts like a discourse. A historical background in was a story about Shakespeare who worked at the theater in London as a writer in 1593 the period of England Reneissance. The movie included the working and playwriting of Shakespeare who is a main character. This indicated not only the environment of the theater and literature during the reign of Queen Elizabeth I but also historical aspect in the early modern industrial society in England. This movie, that is, described that time as a recreation such as a cultural acceptance and an achievement of an initial capitalism in Renaissance in the life of characters. In particular, the factor of theaters flourishing during the Renaissance was because a newly emerging class, bourgeoisie, who held the capital emerging from a policy for middle class led to a box office hit through founding theaters and drama company and selling tickets and performing plays by themselves. Like this, the movie depicted the time led by plays to a industrialization. Moreover, Social aspects in the late 1500s were revealed in this movie through a depiction of the cinemas and the city of London. The depiction of the city of London reflected a social situation of an initial capitalism rapidly developed in trade and commerce. The social aspects such as conflicts between social classes based on getting richer and poorer, mammonism, a corrupted love between the male and the female, a immortality with growing brothels, religious and political conflicts with the foundation of the church in England were closely linked with characters' daily routine at that time in London and were reflected in this work overall. The reason why we highlight characters' job and custom like this in the movie is that these are ideationally inherent in a critical mind from people at that moment. The historical background and reproduction of the image depicted in the movie were focused on characters' daily routine and indicated the problem mentally and independently exposed in the form of initial capitalism.

• 동양고전연구
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• 제50호
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• pp.29-54
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• 2013

호암(湖岩) 문일평(文一平)(1888-1939)은 민중을 계몽하고 역사를 대중화하는 데 앞장선 민족주의 사가로서 잘 알려져 있다. 이 글은 기존의 연구성과를 바탕으로 하여 문일평 사학의 특징과 본령을 종합적 관점에서 언급하고자 하였다. 문일평 사학의 특징은 계급투쟁을 의식하는 사회과학적 민중주의의 경향을 띠게 되었다. 또 역사의 주체인 민중 계몽을 위한 역사 서술 방법으로서 통속화와 과학화를 주장하게 되었다. 또 민족주의사학과 실증사학의 결합을 주장한 발전적인 모습을 보여주었다. 문일평 사학의 또 다른 특징은 그가 문화사를 강조하였다는 점에 있다. 정치사적 측면에서의 정체성을 문화적 측면에서 발전적으로 극복하고자 한 것이다. 이러한 시각에서 조선 문명은 굴종의 역사가 아니라 찬란한 전통으로 재탄생하였다. 또한 종래 지배계급 중심의 역사의식을 극복하였을 뿐만 아니라, 민족주의를 추구하면서도 국수주의를 극복하여 세계와의 소통을 강조하는 열린 민족주의를 추구하였다. 본고에서 주목한 것은 문일평 사학의 본령에 관한 것이었다. 문일평은 근대사나 외교사 분야에서 두드러진 성과를 낸 것으로 평가받고 있다. 하지만, 저술의 양보다 그 사학사적 의미로 미루어 볼 때 필자는 문일평의 조선후기 실학 연구가 그의 학문적 본령에 해당하지 않나 진단하였다. 유학 이전부터 근대주의를 지향했던 문일평의 가치관은 조선후기 문화의 근대지향적 성격을 규명하려던 조선후기 실학 연구의 사조와 잘 어울리는 것이었다. 1934년 정약용 서거 99주기를 맞이하여 발표한 문일평의 논설은 당시 한국학의 지형을 뒤흔든 조선학운동의 일 요소가 되었을 뿐만 아니라, 앞으로 한국의 사학이 나아가야 할 방향을 제시하고 있다는 점에서 문일평 사학의 정수가 아닌가 한다.

• 비교문화연구
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• 제48권
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• pp.325-359
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• 2017

영문학자 프랑코 모레티(Franco Moretti)의 연구는 문학의 여러 방면에서 두드러진다. 교양소설 혹은 성장소설에 관한 독특한 해석, 세계문학을 보는 새로운 시각, 디지털 아카이브를 구축하여 문학사를 다시 읽는 방법, 또한 그러한 거시적인 방법을 통해 던지는 사회비평 등등, 폭 넓은 시야와 심도 있는 분석으로 다방면에 족적을 남겼다. 본 논문은 모레티의 세계문학론을, 그가 제안한 '멀리서 읽기'(distant reading)라는 거시적 방법론과 그 사례들을 살피며 타진해보고자 한다. 그의 방법론은 문학사에서 잊힌 비정전을 포함하여 거시적인 아카이브를 구성하고, 그 안에서 반복적으로 등장하는 현상을 하나의 계열로 묶어, 그 패턴의 형태적 의미를 파악하는 방식이다. 이 방법이 구체적으로 적용된 사례가 "그래프, 지도, 나무"(Graphs, Maps, Trees)라는 책이다. 이에 본 논문은 그 책에 초점을 맞추어 그가 제시한 형태론적 세계문학을 비판적으로 이해한다. 비판의 시각은 매체론, 특히 한국문학의 매체론적 관점이다. 신문과 잡지와 같은 매체에 대한 관심은 괴테가 세계문학론을 제창했을 때부터 있었고, 특히 미국의 영문학에서는 최근 정기간행물 연구(periodical studies)라는 영역이 새롭게 개척되어 다시금 주목받고 있다. 또한 한국문학에서는 서구 문예 수입, 장르의 형성, 문학의 사상화(思想化), 출판시장의 분화, 작가 등단 제도 등 근대문학 형성에 있어서 신문과 잡지와 같은 정기간행물, 혹은 매체의 역할은 따로 떼어놓고 생각할 수 없다. 따라서 본 논문은 모레티의 세계문학론과 세계문학 연구를 위한 방법으로 제시된 '멀리서 읽기'를, 매체론의 한 사례인 한국 근대문학의 입장에서 바라보고, 그가 간과하고 있는 측면(문학지식의 계열화에 수반되는 물적 토대)에 근거하여 몇 가지 문제제기를 하려 한다.

• 비교문화연구
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• 제23권
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• pp.33-55
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• 2011

In the late Japanese colonial period, from the Sino-Japanese War until the Pacific War, critical discourses on the modern were prevalent in Japan and the Joseon. Despite the absence of a consensus about the specific definition of the modern, most thinkers agreed that the modern was something to be overcome. While some regarded naturalism and capitalism of the West as the essence of the modern, some others named scientism and humanism as the nature of the western modernity. Additionally, some criticized the temporal concept of historicism and brought new meanings of 'tradition' into relief, and some others advocated overcoming 'the West inherent in us'. This study is to consider the temporality of the theory of overcoming the modern focusing on the following three notions-world history, tradition, and emergency-, and examines the antinomy of them. The first notion to consider is 'world history'. The theorists of overcoming the modern, including the Kyoto school, discarded the progressive ideology that had led the Western modern history, and instead introduced 'world history' as a new notion. Although this resulted from the imperialistic embracement of the theories of Ranke, a major positivist historian from Germany, it contained antinomy of remaining in 'history' which was the modern temporal view. The second notion is 'tradition'. While the critical mind of 'world history' brought 'time of world' into question in the context of temporal realization, the notion of 'tradition' was to understand 'time of history' itself as the modern and overcome it. The critical mind of the notion involves the attempts to criticize regarding history as a 'progressive' process and to discover tradition as 'the present past' or 'the eternal present'. However, it also contained antinomy; the 'tradition' here was a notion that was created in the modern times, not passed down from ancient times. The third notion to consider is 'emergency', which was a method to define the present time as a transition period toward a new era, relating to states of war. However, the theorists of overcoming the modern did not regard 'emergency' as a particular time that strayed from normal states, instead they thought is as 'a regularized exceptional state', namely 'a state in which exceptions have become regulations'. However, the notion also contained antinomy since the word 'emergency' connotes abnormality.