• English Language & Literature Teaching
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• v.11 no.2
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• pp.171-194
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• 2005

The essay attempts at a critical reading of Thomas Hardy's The Mayor of Casterbridge (1886) in terms of character and socio-cultural change. Juxtaposing the story of Michael Henchard's career with the social and economic changes in the agricultural town, it attempts to elaborate on the complex ways in which Hardy relates the old modes of life and thinking to the material culture. Though the novel is centered on the story of Henchard, the Henchard-Farfrae clash represents the conflict of "old" and "new" modes of socio-economic organization and consciousness. The story of the rustic man of character struggling with his contradictory traits of strong will-power and emotional collapse suggests that Hardy's literary representation of the rural community and the rustic protagonist is deeply rooted in historical reality. However, while there is the interlocking of the changes in personal fate and social change, the representation is a "reinvented" literary construction with complex mediation. Despite the narrator's emphasis on Henchard's immutability, peculiarity, and resilience, his character is, in a complex, mediated way, shaped by the material conditions of English rural community in the late 19th century. The mediating role of Elizabeth-Jane as a narrative resolution embodies Hardy's ambivalent historical position concerning the period undergoing change and conflict.

• Cross-Cultural Studies
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• v.29
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• pp.201-232
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• 2012

In the world history in the rein of totalitarianism cultural project of government had been activated, and consequently of it official culture had been organized. But at the same time on the other side of it people('narod'), who didn't have cultural means for active expression of own opinion on the reality, had expressed world-view and judgement informally in everyday language. In the literature of autocracy, subjected to censorship, had been expressed and fixed mythically idealized image of sovereign and his works. But in the folklore the image of ruler had been created by liberal fantasy of people. This article examined russian literature and folklore texts of 18 century, when russian people suffered from rapid and dramatic changes, caused by Peter I. Although russian literature of 18 century had gone over to the new literary regime, it still accepted political mechanism as dominant of age, and consequently in the literary texts of this century Peter I was represented as ideal person and great monarch. But various images in folklore texts show that people's opinion on ruler and his activities couldn't be controlled. In other worlds, diverse images of Peter I in folklore texts reflect clear and plain historical consciousness of people. This analysis reveals not only difference between mechanism of idealization of government and historical consciousness of people, but also meaning of cultural memory as indicator of historical reality.

• Journal of English Language & Literature
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• v.60 no.2
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• pp.339-363
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• 2014

This essay reconsiders the subject of Romantic self-consciousness in a post-de Manian perspective. Self-consciousness is an attribute of Romantic lyricism whereby the poetic speaker I remains conscious of how (s)he feels or lives here and now. This self-reflective feature of Romantic poetry has been controversially interpreted either as self-centered solipsism or as self-expressive objectivism. The question is stirring more disputes among Romantic critics after the advent of New Historicism and Feminism. These two historicistic approaches reprove Romantic poetry for a lack of the sense of history and ascribes it to Romantic self-consciousness. They argue that Romantic poets in general displace historical materiality into an object of internal consciousness, so negating absurd social realities "merely to gain their own immortal soul." This essay targets to overcome this negative stance on Romantic self-consciousness with a "subversive" return to Paul de Man's criticism of Romantic internality.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• no.1
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• pp.136-142
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• 2001

Beijing Chuan Di Xia can be traced back to Ming and Qing Dynasties. It is located beside the old post way in the west of Beijing. At present, there are more than seventy units of traditional courtyard houses of Ming and Qing Dynasties and the antique features of the surroundings still survive. The dwelling suited to the historical and regional context and the profound cultural values accumulations etc., have precious historic and cultural values. Associated with the investigation of Chuan Di Xia, the paper explores the site selection, the layout, the spatial constructiveness and the underlying consciousness of Chinese traditional dwellings, unveils the common philosophic basis of traditional dwellings and offers new though for sustainable human settlements.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.463-499
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• 2008

This paper aims at investigating the characterization and author's consciousness of Okhwangibong written in about 18th century in Korea. Okhwangibong deals with the historical event in the Later Han of ancient China, that is to say the Empress Gwak's banishment and the royal harem Eum's accession to the queen consort. The author of this work created the focal characters freshly. Particularly Gwak is characterized as the vivid woman who desires the Emperor Kwangmu's love, reproaches his negative attitude toward her wants, and feels pains by reason of his affection to Eum. The author intended to justify Eum's accession to the queen consort through emphasizing Providence and her virtue. But the author's intention could not be realized fully. Because what is called Providence was lost persuasive power, and Gwak was characterized very affirmatively. Therefore it can be said that this work represents Gwak's trials and pains caused by Kwangmu. And the discord of the author's intent and the real meaning of the work occurred the dispute about affection and faithfulness between man and wife in following novels. Consequently the historical meaning of Okhwangibong in Korean Novel can be founded in successful characterization and occurring the dispute in following novels.

• Journal of the Korean Home Economics Association
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• v.37 no.1
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• pp.1-13
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• 1999

The purpose of this study is to find how the mate selection and sex consciousness reflected in Samhuk Yusa. We set up the following two questions for aim of this study. First, how are the real aspects and specific characters of mate selection reflected in Samguk Yusa? Second, how are the real aspects and specific characters of sex consciousness reflected in Samguk Yusa? The results can be summarized as follows; 1. Mate selection reflected in Samguk Yusa discussed into two major domains, one is spouse conditions and the other is marriage form. Men and Women are married at teenages, but the greater part of case is unidentified, so in order to approach this we need to analyse other historical documents. In men and women, standard of appearance and personality is difference. Analyzed case about appearance is a few, also we need to analyse other historical materials. More valued personality is wisdom in men, and in women more valued personality is virtue, brightness, graceful and mild. Through in case of to overcome the cultural gabs, the society must be open in every area. The marriage form is diversity, examples, free marriage, a marriage of convenience type, etc. Especially in aspects remarriage of man and woman is free in every class. 2. Sex consciousness reflected in Samguk Yusa discussed into three major domains, first is discussion about sex, second is premarital sexual behavior, third is extramarital. Through the case of discussion about sex is opened so there is not existence double blinded in sexual norms. Also through the case of premarital sexual behavior and extramarital, fidelity ideology does not yet come into existence.

• The Journal of Korean Philosophical History
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• no.23
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• pp.181-216
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• 2008

This thesis is based on two points in Min-yisheng's idea: 1, knowing, consciousness, and differentiation of mind, according to which 2, Zheng-jidou's dividually observe to the same and different points of liangzhi and consciousness. Min-yisheng and the scholar on Yangming Theory named Zheng-jidou are arguing about the rights and wrongs of the Yangming Theory, the key concept of which is the same and different points of liangzhi and consciousness. At the extension of this argument, Min-yisheng also argues with Jin-chagnxie about the same and different points of knowing and consciousness. When argue with Zheng-jidou about Yangming Theory, Min-yisheng disproves the saying of "mind is principle" and "syncretism of consciousness and behavior" as well as defines liangzhi, which is the key concept of Yangming Theory, as a consciousness different from the natural principle. While disputing with Zheng-jidou about the relation between liangzhi and consciousness, Min-yisheng begins to pay attention to the relation between knowing and consciousness focused in the academy at that time. And as a result of that he also has a dispute with Jin-chagnxie about the same and different points of knowing and consciousness. The dispute between Min-yisheng and Jin-chagnxie is actually about how to look at the relation of knowing and consciousness, from the point of "non-mixed" or the point of "inseparable". Jin-chagnxie emphasizes on the un-mixed of knowing and consciousness while Min-yisheng, from the point of "inseparable", sees the consistency of the two. This thesis focuses on the argumentation of "the same and different points of liangzhi and consciousness" and "the same and different points of knowing and consciousness", the difference of the two positions and the historical meaning of this argument in ideologies.

• The Journal of Korean Philosophical History
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• no.35
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• pp.165-188
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• 2012

The purpose of this study is to examine the historical consciousness and view of the three religions (Buddhism, Taoism, and Confucianism) of Won Cheon Seok who lived a period of historical transition from the end of the Goryeo Dynasty to the early Joseon Dynasty. Actively speaking for the public in his time and having the same attitude as the Neo-Confucian scholars in the end of Goryeo Dynasty, he kept criticizing the abuse of the power by powerful families who made the people fall into a state of distress and misery. He believed the dispatch of troops to conquer the Yodong region as a great opportunity to boost the valiant spirit of his country; however, the reality was quite opposite to his expectation as Lee Seong Gye had withdrawn the army troops at the Wihwado causing a great risk to his country. He took a very hard line stance against what Lee Seong Gye did. Although he was a Confucian scholar, he did not ignore Buddhism and Taoism and understood that after all the three religions were based on the same principle. His deep understanding of Buddhism and Taoism as well as Confucianism helped him to make sense of Confucianism even further. He was able to sublimate the worldly anguish coming from the Confucian thinking system by indulging himself deeply into the world view of Buddhism and Taoism. In the end, his view on the three religions was based on the idea that they taught the same principle. His view of the three religions with transactional features has a huge implication for the contemporary society in which various values and multiple cultures coexist and have more common grounds.

• Cross-Cultural Studies
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• v.25
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• pp.267-290
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• 2011

The purpose of this study is examining a circulation and conflict of concepts and logics of the $Chos{\check{o}}n$-ness by analysing the $Chos{\check{o}}n$ national character and $Chos{\check{o}}n$ aesthetic consciousness. As entering the modern period, we understood the nations as a unit of the artistic awareness. So, national art is defined as a national character expression from this period. The $Chos{\check{o}}n$ aesthetic consciousness by raising in this period, which is connected with the discourse of national character, carry out a discussional practice defining the Korean originality. However, there is a circulation and conflict of concepts and logics about the $Chos{\check{o}}n$ aesthetic consciousness in the process of a discussion. For the most representative examples are 'the white-clad folk' and 'the beauty of sorrow'. An Hwak and Yanagi Muneyoshi are representative debaters who try to establish the $Chos{\check{o}}n$-ness and their discussion supports these facts. As An Hwak regressing of the respect for high antiquity, he demolished the historical character from the $Chos{\check{o}}n$-ness and overlooked aesthetic differences by a periodical change. Yanagi Muneyoshi totally separates arts from politics and disposes of Korean arts in an abstract timeless-space. The function of such an early-modern period's discourse about $Chos{\check{o}}n$ aesthetic consciousness is that $Chos{\check{o}}n$ national character makes the dehistoricization and depoliticization.

• Journal of the Korea Furniture Society
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• v.23 no.4
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• pp.440-448
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• 2012

The historical consciousness of furniture is one of the crucial elements that become the medium for initiating design. Also, it is an important task of the science to figure out the headstream of furniture being used these days. From this purpose, this study intends to understand the bureau that has not been studied much in terms of the headstream and changes based on historical facts centering around England, France, or America regarding the forms or terms. These points are expected to be used as the foundational research data to develop the science and products.