• Title/Summary/Keyword: gentleman

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Science, Commerce, and Imperial Expansion in British Travel Literature: Hugh Clifford's and Joseph Conrad's Malay Fiction

  • Kil, Hye Ryoung
    • Journal of English Language & Literature
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    • v.57 no.6
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    • pp.1151-1171
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    • 2011
  • Conrad's novels, specifically the Lingard Trilogy-Almayer's Folly, An Outcast of the Islands, and The Rescue-and Lord Jim, set in the Southeast Asian or Malay Archipelago can be considered travel literature that played a significant role in British imperial expansion. Conrad's Malay novels were based not only on his experience in the region during his commercial journey but also on information from earlier travel writings about the Malays and their customs, including James Brooke's journals. The English traders in Conrad's novels, namely Lingard and Jim, were partly modeled on Brooke, the White Rajah, who founded and ruled the English colony on the northwest of Borneo in the 1840s. The white traders in Conrad's novels, who act as enlightened rulers, represent the British commercial expansionism, which was obscured by the phenomenon of the civilizing mission in the late nineteenth century. On the other hand, the colonial official Clifford's tales and novels about British Malaya demonstrate the typical travel accounts of the late nineteenth century that stress the civilizing mission over commercial exploitation. The concept of the enlightening mission was rooted in evolutionary anthropological thinking, which developed as part of the natural history in the early nineteenth century. In fact, the development of natural history, stimulating British expansion in search of commercially exploitable resources and lands, enabled travel writing as the collection of natural knowledge to become a profitable business. In Conrad, the white characters are mainly traders acting as colonial rulers, while in Clifford, they are scientific rulers with their commercial interests rarely apparent. In sum, Conrad's novels reveal that the new imperialism of the civilizing mission is still a commercial one, which disturbs rather than contributes to the imperial expansion-in contrast to other travel literature such as Clifford's.

Confucius's reflections in the Analects of Confucius - Consideration on overall implications and modern values (논어에 나타난 공자의 성찰-총체적 함의와 현대적 가치에 대한 고찰)

  • Jeum-Nam, Kim
    • The Journal of the Convergence on Culture Technology
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    • v.9 no.6
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    • pp.105-111
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    • 2023
  • The purpose of this study is to find out what self-reflection, relationship reflection, gratitude and happiness reflection, and social reflection among the sayings of Confucius in the Analects of Confucius are reinterpreted in various ways depending on the times and what meaning they contain today. Self-reflection is the process of considering one's identity, values, emotions, thoughts, and actions. Humans grow through reflection because they can identify their own problems, acknowledge their mistakes, find opportunities for improvement, and set a direction for the future. Confucius pursued the life of a gentleman as a person who constantly reflects on his life and grows. We classified it into the four categories presented above and examined them. In an era of coexistence with generative AI, Confucius' reflective life and teachings are recognized as important values in modern society in terms of human-centered value orientation, mature human relationships, and continuous social value realization, and reflection on happiness is the best attitude to life.

A Study on Symbolism and Appreciation of Plants through 'Xianqingouji Zhongzhibu' (『한정우기(閑情偶寄)』 「종식부(種植部)」를 통해 본 식물의 상징성과 완상(玩賞) 방식)

  • Zhang, Lin;Yang, Yoo-Sun;Sung, Jong-Sang
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.37 no.2
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    • pp.30-39
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    • 2019
  • In this study, 27 representative plants with symbolism and appreciation were extracted from 68 plants collected in Li Yu (1611-1680)'s monograph named 'Xianqingouji Zhongzhibu'. The interpretations were as follows. First, symbolism of plants could be summarized as 1) Li Yu thought that Paeonia suffruticosa was called 'the king of flowers', not only because of its beauty, but also because of its upright character. The only flower that could compete against Paeonia suffruticosa was Paeonia lactiflora Pall.. This flower was called 'the flower prime minister' by common people. But Li Yu thought that Paeonia lactiflora Pall. should also be included in the feudal princes. 2) Prunus persica and Camellia japonica were compared to 'beautiful cheeks', and Malus spectabilis (Ait.)Borkh, Jasminum sambac, Rosa multiflora var. platyphylla, Narcissus tazetta, Papaver rhoeas were compared to 'beautiful women', expressing his love for flowers. 3) Li Yu called Nelumbo nucifera a 'gentleman in flowers' and Buxus sinica Rehd. et Wils. Cheng a 'gentleman in trees'. On the contrary, Daphne odora was compared to 'villain in flowers'. 4) Ilex integra was compared to a hermit, and Campsis grandiflora was compared to an immortal. Second, appreciation of plants could be organized by 1) Appreciation of plants required assistive tools. When going to suburb to enjoy the scenery, tents needed to be prepared. Paper screens should be used to appreciate Prunus mume in the courtyard so as to gain more elegant. Li Yu also proposed that ornamental objects should be properly placed near Orchidaceae so as to gain more elegant. 2)Li Yu took Lagerstroemia indica and Prunus armeniaca L. as examples to interpret that plants were as perceptive as animals and human beings. 3) Li Yu took Salix pierotii and Albizia julibrissin as examples to interpret that people should communicate with plants through five senses to produce resonance. And took Nelumbo nucifera and Rosa rugosa to emphasize the ornamental and practical value of plants. 4) Plants were metaphored sth. similar to them. An interesting example was Celosia cristata L. which was more like an auspicious cloud in the sky than the crest on the cock's head. To sum up, Li Yu personified plants and thought that people should communicate with plants by multi-sensory world when appreciating plants. Through this, it fully showed his love for plants. Meanwhile, Li Yu's symbolism and appreciation of plants, to some extent, reflected the elegant life of literati in the early Qing Dynasty.

A Study on the Ideal Leadership whole person of Confucian philosophy (유가(儒家)의 전인적(全人的) 지도자상(指導者像) 고찰(考察))

  • Kim, Kyeong-Mi
    • (The)Study of the Eastern Classic
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    • no.62
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    • pp.145-176
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    • 2016
  • This paper aims to define the leadership of Gunja (君子, translated into prince, gentleman, or ideal man) based on Confucian Classics which offer the general values and norms of individuals' virtue and social virtuous acts. Thus, humanitarianism is regarded as true value, and the values of a virtuous person who properly practices social human relationships are discussed. The real worth of Gunja image is discussed as a true human image of "self-completion and completion of all things" (成己成物) which involves the convergence of truth, good and beauty where there is a sense of harmony and balance, where there is stern self discipline and self cultivation and where win-win values of human relationships are created. Confucian saint (聖人), wise man (賢人), great man (大人), and gentleman (君子) mean social leaders. They practice human morals, enlighten and beautify society with teachings, and are indicated as equipped with mental and material harmony, good character and competence, and economic power and morality. People today pursue their own personal growth according to their material preferences rather than pure intellectual cultural values, and are engrossed in visually beautiful external unlimited competition. In this digital age, we are supposed to demonstrate our individuality, but many people are obsessed with appearance, go on severe diet, and lose their health beauty, and consequently suffer mental stress. This trend fuels obsession with appearance and the sick practice of valuing appearance. As an alternative method to overcome this phenomenon, we need a leader image with the convergence of truth, good and beauty, which is characterized by internal self cultivation, external professionalism, and handsome and solid character. Confucian thoughts consist in practicing the Way of disciplining oneself for governing others (修己治人). Self discipline involves developing personal virtuous ability for cultivating a virtuous character, and governing others involves interacting to work together in society and to have right human relationships. Thus, leaders should impress not only themselves but also others. Self discipline for governing others means cultivating virtue for oneself and leading others. A true leader has self introspection and establishes himself through self discipline so that he can govern others or reach the realm of settling others where people live together. As all things have a value and a virtue, humans endeavor to cultivate character and virtue by learning and studying for securing their professionalism, reliability, character and ability, so as to create their own brand value. Personal character does not come from a high position, wealth and power. Character is a personal virtue, and is cultivated as immaculate and fresh through self discipline. As such, it well matches with a clean and clear spirit. This offers the ideal leader as the Guja image who has an extremely humane character, as well as being equipped with inherent virtues of intellect, benevolence and courage. Self development can foster virtue and self management through self leadership and self discipline. The leader in the relationship area can practice his virtue through virtuous acts, in other words, even think from another person's perspective. Such leader is mentioned as the principle of measuring square in the Great Learning. In our viewpoint, the beauty of character can breed the seed of virtue through intellect, benevolence and courage, the beauty of win-win can realize the right virtue by showing exemplary acts to others through considerateness, and the beauty of harmony can love and care for others like me through the principle of measuring square, thereby realizing the universal principle of virtue and harmony, which is like my mind. As such, the ideal leader, when his virtue and mind of being considerate of others all blending well, can exercise his ability to the full, can live together and coexist with many people, and can grow again into a triumphant relationship.

A Study on Lee, Man-Bu's Thought of Space and Siksanjeongsa with Special Reference of Prototype Landscape Analyzing Nuhangdo(陋巷圖) and Nuhangnok(陋巷錄) (누항도(陋巷圖)와 누항록(陋巷錄)을 통해 본 이만부의 공간철학과 식산정사의 원형경관)

  • Kahng, Byung-Seon;Lee, Seung-Yeon;Shin, Sang-Sup;Rho, Jae-Hyun
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.39 no.2
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    • pp.15-28
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    • 2021
  • 'Cheonunjeongsa (天雲精舍)', designated as Gyeongsangbukdo Folklore Cultural Property No. 76, is a Siksanjeongsa built in 1700 by Manbu Lee Shiksan. In this study, we investigate the life and perspective of Manbu Lee in relation to Siksanjeongsa, and estimate the feng shui location, territoriality, and original landscape by analyzing 「Nuhangnok」 and 「Nuhando」, the results of his political management. The following results were derived by examining the philosophy that the scholar wanted to include in his space. First, Manbu Lee Shiksan was a representative hermit-type confucian scholar in the late Joseon Dynasty. 'Siksan', the name of the government official and the nickname of Manbu Lee, is derived from the mountain behind the village, and he wanted to rest in the four areas of thought(思), body(躬), speech(言), and friendship(交). During the difficult years of King Sukjong, Lee Manbu of a Namin family expressed his will to seclude through the title 'Siksan'. Second, There is a high possibility of restoration close to the original. Manbu Lee recorded the location of Siksanjeongsa, spatial structure, buildings and landscape facilities, trees, surrounding landscape, and usage behaviors in 「Nuhangnok」, and left a book of 《Nuhangdo》. Third, Manbu Lee refers to the feng shui geography view that Oenogok is closed in two when viewed from the outside, but is cozy and deep and can be seen from a far when entering inside. The whole village of Nogok was called Siksanjeongsa, which means through the name. It can be seen that the area was formed and expanded. Fourth, the spatial composition of Siksanjeongsa can be divided into a banquet space, an education space, a support space, a rest space, a vegetable and an herbal garden. The banquet space composed of Dang, Lu, and Yeonji is a personal space where Manbu Lee, who thinks about the unity of the heavenly people, the virtue of the gentleman, and humanity, is a place for lectures and a place to live. Fifth, Yangjeongjae area is an educational space, and Yangjeongjae is a name taken from the main character Monggwa, and it is a name that prayed for young students to grow brightly and academically. Sixth, the support space composed of Ganjijeong, Gobandae, and Sehandan is a place where the forested areas in the innermost part of Siksanjeongsa are cleared and a small pavilion is built using natural standing stones and pine trees as a folding screen. The virtue and grace of stopping. It contains the meaning of leisure and the wisdom of a gentleman. Seventh, outside the wall of Siksanjeongsa, across the eastern stream, an altar was built in a place with many old trees, called Yeonggwisa, and a place of rest was made by piling up an oddly shaped stone and planting flowers. Eighth, Manbu Lee, who knew the effects of vegetables and medicinal herbs in detail like the scholars of the Joseon Dynasty, cultivated a vegetable garden and an herbal garden in Jeongsa. Ninth, it can be seen that Lee Manbu realized the Neo-Confucian utopia in his political life by giving meaning to each space of Siksanjeongsa by naming buildings and landscaping facilities and planting them according to ancient events.

Analysis on the Character shown in Frame Position (프레임 위치에서 나타난 등장인물 분석)

A Study on Cultural Interpretation of the Plants in "The Book of Songs" - Based on Symbolic Elements and Landscape Elements - (시경(詩經)에 나타난 식물 소재의 문화적 해석 - 상징요소와 경관조성요소의 관점에서 -)

  • Yun, Jia-Yan;Son, Yong-Hoon
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.32 no.3
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    • pp.96-109
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    • 2014
  • The purpose of this study is to sort out the plants in "The Book of Songs", and to analyze the cultural significance of plants from the viewpoint of the symbolic elements and the landscape elements in the 3~11 century BC. The conclusions are as follows. First, there were 147 plant names and 136 plant species in "The Book of Songs", and these results can confirm that the plants were existed in the 3~11 century BC. Second, through analyzing the cultural significance of the plants, cattail, lotus, etc. are the symbol of lovers; peony and willow are the symbol of farewell; bamboo is the symbol of gentleman; and Japanese pepper is the symbol of fecundity. Third, at the viewpoint of the landscape elements, the poplar, dwarf elm, etc. can be used as a place of affection; reed and nepenthe can make a place of melancholy, hazel and chestnut tree, etc. can make a place of power and position, celery and water shield etc. can be used as a place of knowledge. Based on the research of "The Book of Songs", it can help to understand the plants culture in 3~11 century BC, and it will be a useful information for the plant design.

A Study on the Utilization and Symbolizes of the Joseon Dynasty Flowering Plant (조선시대 화훼식물의 이용과 상징성에 관한 연구)

  • Kim, Seung-Min
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.32 no.2
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    • pp.134-147
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    • 2014
  • The purpose of this study is, focusing on the ancient paintings and literatures, by examining Flowering Plants and drawing their cultivating methods, to provide a ground of utilizing them on the modern landscaping. In the scope and method of this study, 766 pieces of ancient paintings(6 garden paintings and 760 folk paintings) which were available and had value as literatures, and 8 of ancient literatures were intensively examined. Main results extracted from them are as follows. First, the most frequently used Flowering Plants in Joseon Dynasty were Prunus mume, pbyllostachys, Nelumbo nucifera, Chrysanthemum morifolium, Musa basjoo, Rosa spp., Rhododendron mucronulatum, Paeonia lactiflora, which appeared 11 times to 16 times in total. Next frequently(4 times to 8 times) used Flowering Plants were Gardenia jasminoides, Punica granatum(8 times), Dianthus chinensis, Vitis vinifera(7 times), Orchidaceae, Syringa velutina, Impatiens balsamina, Hemerocallis fulva, Celosia cristata, Hibiscus Syriacus, Rhododendron indicum(6 times), Rhododendron, Rhododendron obutusum, Acorus calamus, Althaea rosea, Kerria japonica, Citrus junos(5 times), Hibiscus mutabilis, Lychnis cognata, Calendula officnalis, Begonia rex., Helianthus annuus, Papaver spp., Narcissus tazetta, Daphne odora, Hosta plantaginea(4 times). Second, usage of the Flowering Plants in Joseon Dynasty can be divided into character building and horticulture for pleasure through positive, scientific approach attempt. It suggests that there might have been classes in the use of them and we can estimate which plants were particularly preferred. Third, in the symbolicity of the usage of Flowering Plants, it can be divided into three parts: The case of representing integrity, gentleman, honesty and nobility and the thought of loyalty and filial piety under the influence of Confucianism. The case of representing Taoism's thought of hermit and perennial youth and long life. The case of representing wish on wealth and prosperity. So if we make a good use of it, we may draw a meaning of cultivation of Flowering Plants from it. This is your target audience or the good luck to all he plants is aimed at, you can see the occurred. Fourth, the Joseon Dynasty was the use of flowering plants are the line of rain wanted to be more consistent with the spirit world. This is shown as a symbol of their ancestors. Joseon Dynasty was used, resulting in a kind of flowering plant and is not a subjective judgement criteria A psychological approach to the side when interpreting the Joseon Dynasty flowering plants to take advantage of the landscape of the area will widen in scope.

Rational Spirit for Painting Theory of the Song Dynasty (宋代画论中的理性精神)

  • Chen, Gu Xiang
    • (The)Study of the Eastern Classic
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    • no.59
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    • pp.405-428
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    • 2015
  • Painting theorists in Song dynasty often spoke 'Li' when they talked about paintings. But 'Li' of the song dynasty is not limited to the 'ethics'. First, it includes visible 'natural's truth', such as the differences of 'geography' and 'physics' between the depicted objects. Second, it also includes 'common sense' which was based on both the observation and the thinking. The theorists thought if the 'common sense' was improper in the painting, the whole work was invalid. Thirdly, it also includes 'the reasonable sense in special situation', which requires great imagination ability and elaborative faculty. For example, when playing wind instruments and stringed instruments in the same time at the same concert, the painter should accurately draw the different gestures of musicians according to that the wind instrument is 'sound when the finger lift' and the stringed instrument is 'sound after the finger have left' in that moment. Fourthly, it includes 'art reason', theorists call it as 'ShenLi' or 'MiaoLi'. 'ShenLi' or 'MiaoLi' require the creator to join the spiritual concept besides his observation and thinking. For example, 'banana in snow' is neither observed available nor thought of available, but is the result of spiritual concept of creators for seeking everlasting. And at last, it certainly includes 'the principle of ethics'. Painters often highlighted the ethical relations of the feudal nation and the value of individual gentleman through the allegory story of figure painting and even the sudden composition in the landscape painting. 'Geography', 'physical', and 'common sense' are required the meticulous observation and the rational thinking for the painted object. And 'the reasonable sense in special situation', 'the art reason', 'the principle of ethics' are required enhancing painting style in the painting artistic conception and realm of life based on the nuanced observation, making 'technology' into the 'Tao'. This is the six reasonable increasing requirements for the painting work. Therefore, 'seeking the final reason' is the fundamental spirit of painting theory of Song Dynasty.

A problem of authenticity in the chapter 'Confucius became aged, and liked "The Book of Changes"' of yao 要, "essentials," seen throughout 『帛書周易』 the Mawangdui Boshu Zhouyi Manuscript. -in relation to Confucius and 『易』"The Changes"- (『백서주역(帛書周易)』 「요(要)」의 '부자노이호역(夫子老而好易)'장의 진위(眞僞) 문제 -공자와 『역』의 관계를 중심으로-)

  • Kim, Sang-sup
    • Journal of Korean Philosophical Society
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    • v.129
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    • pp.1-22
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    • 2014
  • Columns 12-18 record a conversation between an aged Confucius and his disciple Zi Gong concerning the Changes and especially the role of divination in its use. The last section, from the bottom of column 24, concerns the hexagrams Sun損, "Decrease," and Yi益, "Increase," which Confucius is here made to regard as the culmination of wisdom in the Zhouyi. The conversation between Confucius and Zi Gong, and especially Zi Gong's apparent misunderstanding of Confucius's interest in the text, has already attracted considerable scholarly interest. Zi Gong criticizes Confucius for changing his teaching about the importance of the Zhouyi and for performing divinations. Confucius responds that while he does indeed perform divinations. there is a major difference between his use of the text and that of others: he regards the I Ching as a repository of an ancient wisdom. This would seem to signal recognition of a dramatic change in the function and status of the text. Zi Gong said: "Does the Master also believe in milfoil divination?" The Master said: "I am right in only seventy out of one hundred prognostications. Even with the prognostications of Liangshan of Zhou one necessarily follows it most of the time and no more." The Master said: "As for the Changes, I do indeed put its prayers and divinations last, only observing its virtue and property. Intuiting the commendations to reach the number, and understanding the number to reach virtue, is to have humaneness and to put it into motion properly. If the commendation do not lead to the number, then merely acts as a magician; if the number does not lead to virtue, then one merely acts as a scribe. The divinations of scribes and magicians tend toward it but are not yet there; delight in it but are not correct. Perhaps it will be because of the Changes that sires of later generations will doubt me. I seek its virtue and nothing more. I am on the same road as the scribes and magicians but end up differently. The conduct of the gentleman's virtue is to seek blessings; that is why he sacrifices, but little; the righteousness of his humaneness is to seek auspiciousness; that is why he divines, but rarely. Do not the divinations of priest and magicians come last!" Although Confucius says two ways of the symbolic numbers and virtue-property, he emphasizes his way of virtue and property more important. In fact he who wrote in Yao 要, "essentials," Confucius's saying describes his own viewpoints of the Changes throughout the conversations between Confucius and his disciple Zi Gong, and is only to borrow the name of Confucius. Furthermore, quoting the original text in Yao 要, "essentials," in sequence, also comparing the materials of "the Analects of Confucius論語," with "the Shih chi史記," this thesis will be centered to a great extent on the relative similarity and differences between the Mawangdui Boshu Zhouyi Manuscript and the received text, and discussed the authencity of Yao 要, "essentials," of the contents shown in the chapter of 'Confucius became aged, and liked "The Book of Changes."' the relation of Confucius and the Changes will be clarified naturally through this progress.