• Journal of English Language & Literature
• /
• v.55 no.5
• /
• pp.907-936
• /
• 2009

Quite arguably, W. E. B. Du Bois is the first figure in the history of black nationalism who engaged most persistently and systematically with the dominant ideology of racism and white supremacy. It is not too much to say that, by contending with the Eurocentric but taken-for-granted concept of the 'Negro' in the turn of the century, Du bois has laid the theoretical and ideological cornerstone of postcolonialism today. But his concept of race varied over time and was even contradictory in the same writings. The early Du Bois defined race as something historically made rather than biologically given and determined. Yet he didn't utterly deny the significance of physical traits and skin color in constructing racial identity. His notion of the 'Negro' was not unambiguous, either. While drawing on the 'soul' of 'black folk' to undermine the Eurocentric dichotomy of white/mind and black/body, Du Bois argued that there is some kind of 'spiritual' differences between whites and blacks, differences that are essentially inherent and hereditary in the 'Negro.' Such essentialist notion of race and the 'Negro' was on the wane in the later Du Bois, especially after his encounter with Marxism. He came to think of race merely as a discourse of racism that can be subverted and even appropriated for anti-racist practices. Following the Marxist assumption that 'the color line' is a class conflict on the international level, Du Bois contended that the 'Negro' is an outcome of slavery which is in turn a subsystem of Western capitalism. He also argued that, since the 'Negro' is not a biological essence but a sociocultural formation, the identity of the 'Negro' can and must be reconstructed according to historical change. For Du Bois, therefore, the resistance against colonialism and capitalism became a resistance against racism. This is why his Pan-African movement shifted its gear from the American program in the initial phase to a truly 'Afrocentric' and socialist one.

• SUVANNABHUMI
• /
• v.6 no.1
• /
• pp.193-221
• /
• 2014

Archipeligiality, a concept continuously being developed by the scholar, is one that attempts to articulate the Filipino sense of place as discoursed in/through its literatures. As a country composed of 7,107 islands, the very fragmentation and division of the country, as well as its multiculturality and multilinguality, have become the very means by which Filipino writers have "imagined" so to speak-that is, also, constructed, into a singular, united frame-the "nation." This, the author supposes, is an important aspect to explore when it comes to discoursing the larger Southeast Asian imagination, or poetic, as similar situations (i.e. Indonesia, Malaysia, and Singapore), may soon compel for a comparative critico-literary perspective. This paper continues this exploratory "geoliterary" discourse by looking at a Filipino canonical work in English by Cirilo F. Bautista, the epic The Trilogy of Saint Lazarus, the title of which already signals a geographic allusion to the first map-name granted by the Spanish colonizer to the Philippines in the region, and consequently the first signification of the country's subjected existence in the colonial imagination. The work, published between 1970 and 1998, is composed of three parts: The Archipelago, Telex Moon, and Sunlight on Broken Stones, which won the 1998 Philippine Independence Centennial Literary Prize. In these epics, notions of Philippine history and situation were discoursed, and Filipino historical figures were engaged in dialogue by the poet/the poet's voice, with the end of locating the place [where history and time had brought it; or its direction or trajectory as a nation, being true to the Filipino maxim of ang di lumingon sa pinanggalingan, di makararating sa paroroonan (the one who does not look back to his origins would not reach his destination)]. of the Philippines not only in the national imagination, but in this paper, in the wider regional consciousness. The paper proposes that the archipelagic concept is an important and unique characteristic of the Southeast Asian situation, and thus, may be a means to explicate the clearly connected landscapes of the region's imagination through literature. This paper focuses on Sunlight on Broken Stones.

• The Journal of Art Theory & Practice
• /
• no.14
• /
• pp.125-158
• /
• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• Journal of the Daesoon Academy of Sciences
• /
• v.48
• /
• pp.41-155
• /
• 2024

Among the records that attest to the period from July to August of 1863, when Suwun was believed to have transmitted the orthodox lineage to Haewol, the oldest documents are The Collection of Suwun's Literary Works (水雲文集), The Collection of Great Master Lord's Literary Works (大先生主文集), and The Records of Dao Origin of Master Choe's Literary Collection (崔先生文集道源記書, hereafter referred to as The Records of Dao Origin). The records regarding Suwun in these three documents are considered to have originated from the same context. The variances embedded in the three documents have led to arguments about which documents accurately reflect the fact of orthodox lineage transmission. Additionally, these variances highlight the necessity of a review regarding the characteristics of early Eastern Learning, such as its faith and organizational systems. Accordingly, by thoroughly examining these three documents, it is possible to elucidate the chronological order, establishment-date, accuracy, descriptive direction, and characteristics of the faith system of early Eastern Learning as these are reflected in each document. If successful, this examination would provide a clearer description of the developmental process of Eastern Learning from 1860 to 1880, facilitating a more in-depth analysis of the significance embedded in various forms of discourse on the movement's orthodox lineage transmission. In comparing the three documents and contrasting them with related sources, the results of the textual examination assert that the documents within the lineage of The Collection of Suwun's Literary Works, given they lack a clear record of the event regarding Haewol's orthodox lineage succession, may be the first draft of The Collection of Great Master Lord's Literary Works and The Records of Dao Origin, as these texts distinctly include that record. This reflects that Haewol's succession was not precisely recognized within and outside of the Eastern Learning order until the time when The Collection of Great Master Lord's Literary Works and The Records of Dao Origin were published. This is further attested to by the fact that during the late 1870s, when various Yeonwon (fountainhead) factions of Eastern Learning began to converge around Haewol, and his Yeonwon became the largest organization within Eastern Learning. At that point, the order's doctrine was reinterpreted, and its organization was reestablished. In this regard, it is necessary to view Eastern Learning after Suwun-especially the orthodox lineage transmission to Haewol-from a perspective that considers it more as competing forms of discourse than as a historical fact. This view enables a new perspective on Haewol's Eastern Learning, which forms a distinct layer from Suwun's, shedding light on the relationship between Haewol and the new religious movements in modern-day Korea.

• The Korean Journal of Archival Studies
• /
• no.74
• /
• pp.45-78
• /
• 2022

South Africa implemented apartheid from 1948 to 1994. The main content of this policy was to classify races such as whites, Indians, mixed-race people, and blacks, and to limit all social activities, including residence, personal property ownership, and economic activities, depending on the class. All races except white people were discriminated against and suppressed for having different skin colors. South African citizens resisted the government's indiscriminate violence, and public opinion criticizing them expanded beyond the local community to various parts of the world. One of the things that made this possible was photographs detailing the scene of the violence. Foreign journalists who captured popular oppression as well as photographers from South Africa were immersed in recording the lives of those who were marginalized and suffered on an individual level. If they had not been willing to inform the reality and did not actually record it as a photo, many people would not have known the horrors of the situation caused by racial discrimination. Therefore, this paper focuses on Rise and Fall of Apartheid: Photography and the Bureau of Everyday Life, which captures various aspects of apartheid and displays related records, and examines the aspects of racism committed in South Africa described in the photo. The exhibition covers the period from 1948 when apartheid began until 1995, when Nelson Mandela was elected president and the Truth and Reconciliation Commission was launched to correct the wrong view of history. Many of the photos on display were taken by Peter Magubane, Ian Berry, David Goldblatt, and Santu Mofoken, a collection of museums, art galleries and media, including various archives. The photographs on display are primarily the work of photographers. It is both a photographic work and a media that proves South Africa's past since the 1960s, but it has been mainly dealt with in the field of photography and art history rather than from a historical or archival point of view. However, the photos have characteristics as records, and the contextual information contained in them is characterized by being able to look back on history from various perspectives. Therefore, it is very important to expand in the previously studied area to examine the time from various perspectives and interpret it anew. The photographs presented in the exhibition prove and describe events and people that are not included in South Africa's official records. This is significant in that it incorporates socially marginalized people and events into historical gaps through ordinary people's memories and personal records, and is reproduced in various media to strengthen and spread the context of record production.

• Journal of Popular Narrative
• /
• v.26 no.1
• /
• pp.175-209
• /
• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.

• The Journal of Art Theory & Practice
• /
• no.2
• /
• pp.27-48
• /
• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.

• Journal of the Daesoon Academy of Sciences
• /
• v.28
• /
• pp.207-241
• /
• 2017

In the scripture of Daesoon Jinrihoe, the expression 'Dosu (度數)' is frequently used and Jeungsan, Jeongsan, and Wudang also left behind many teachings related to Dosu. In this paper, the concept of Dosu is analyzed in detail and the achievement of an in-depth understanding of the concept of Dosu is attempted. The term Dosu is often used in traditional literature. In the classics, Dosu was used to mean institutions, standards, rules, law, figures, and the laws of heavenly bodies. In other words, Dosu is used to mean the laws of astronomy and the norms of human society. This meaning is expanded and used as the principle of the universe and nature. This concept of Dosu is related to the mathematical cosmological understanding of numbers as the principle of the universe. This type of mathematical cosmology was systematized by Shao Yong (邵雍). In the Joseon Dynasty, Seo Gyungduk (徐敬德) accepted it positively, and it thereby became an influential trend in Korean thought. In the world view of Daesoon thought, there exists the view that numbers as a principle of the universe, and of course this world view is connected to mathematical cosmology. In Daesoon thought, the concept of Dosu is based on the concept of traditional Dosu and adds an additional meaning which connects it to the Reordering of the Universe (Cheonjigongsa). Also, Dosu is used to mean the process of changing the principles and laws of cosmos through Jeungsan's Reordering of the Universe. It is especially the case that discourse about Dosu is widely used when describing the Reordering of the Universe. Jeungsan corrected, reorganized, and adjusted Dosu, as well as establishing new Dosu. Jeongsan, who succeeded Jeungsan, followed the Reordering of the Universe by Jeungsan, and also realized Dosu. In other words, Jeongsan acted and practiced according to the Dosu that had been enacted by Jeungsan. Also, Dosu means the process of the transformation of principle according to the Reordering of the Universe, and Wudang used the concept of Dosu to describe the historical process of Daesoon Jinrihoe. This means that the foundation of Mugeukdo, the change to Taegukdo, the establishment of Daesoon Jinrihoe, and the contruction of Yeoju headquarters are episodes in a divine history carried out through Dosu. Through this discourse, Daesoon Jinrihoe asserts a legitimacy that distinguishes itself from other sects, and believers can be inspired by the sacred meaning that they are participating in the Dosu of heaven and earth. This empowers their devotion and sincerity.

• Journal of the Daesoon Academy of Sciences
• /
• v.41
• /
• pp.1-25
• /
• 2022

This paper examines whether the dynamic and practical nature of Daoism has a significant relationship with the messianic figure Kang Jeungsan (姜甑山) via Honam (湖南) Daoism's Jinindaemangron (眞人待望論, discourse on awaiting an immortal). To this end, the historical implementation of Daoism's social transformation of consciousness in China and Korea is explored, and then the circumstances of Honam Daoism, in particular, are considered. Following that, analysis turns to the 'Jinindaemangron' in the late Joseon Dynasty that developed in Honam. As a result of the discussion, Daoism's social transformation of consciousness was expressed in China through the anti-establishment activities of the early Daoist groups such as Wudoumidao (五斗米道) and Taipingdao (太平道), movements that sought to build utopias. Throughout this process, the term, zhenren (眞人, 'jinin' in Korean), that originally meant 'master,' was transformed into the idea of a future savior. In the case of Korea, the dynamic and practical nature of Daoism can be found in the preface of Nanrang tombstone (鸞郎碑序) written by Choi Chi-won (崔致遠) which was later inherited by the Danhak sect (丹學派) practitioners who struggled against Buddhist monastics. Additionally, examined is the Docham theory of geomancy (圖讖說) that rose after Goryeo, the prophecy of 'Mokjadeuksul (木子得國說 a Lee clansman shall attain the kingdom)' that appeared thereafter, and the Prophecies of Jeong Gam (鄭鑑錄)'s 'Jinindaemangron' in the Joseon Dynasty. Next, the circumstances of Honam Daoism can be considered with regards ti Choi Chi-won and Doseon (道詵) in ancient times, and it can be confirmed that Nam Gung-du (南宮斗) and Kwon Geuk-jung (權克中) were entangled behind Kang Jeungsan. The close relationship among the Daoist Jeong family of Onyang (溫陽鄭氏), the Koh family of Jangheung (長興 高氏), and Kwon Geuk-jung was also confirmed in this study. Finally, in dealing with the 'Jinindaemangron' of Honam in the late Joseon Dynasty and the birth of Kang Jeungsan, Honam Daoism's intense consciousness of social transformation receives first focus, and this is expressed through Prophecies of Jeong Gam, and the religious ideologies of Donghak (東學) and Namhak (南學). These expressions are analyzed through Song of Gungeul (弓乙歌), composed by Jeongryeom (鄭磏), and through Daesoon Jinrihoe's The Canonical Scripture (典經). As a result, it can be confirmed that the messianic significance of the Kang Jeungsan's advent lay on the basis of the people's desire for an ideal future, which is a notion that had been ripening for several centuries.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.48 no.1
• /
• pp.46-56
• /
• 2020

The 88 Olympic Park is a monumental urban park in Seoul, developed to commemorate South Korea's hosting of the 1988 Seoul Olympic Games. Initially conceived to emphasize the event slogan, 'Cultural Olympics,' which was driven by the Korean government, the park, already designed and constructed by 1986, was reconfigured into a sculpture park following two international outdoor sculpture Olympiads and an invitational sculpture exhibition. This study takes a look at the process of redesigning the park into sculpture park and the socio-political discussions surrounding such a process, in order to reconsider the significance of the 88 Seoul Olympic Park with regards to Korean landscape architectural history. Several discussions within Korean society arose during the redesign process. First, there were critiques on the artwork selection during the early phase of the project. Second, issues regarding the conservation of the national heritage site, Mongchon-tosung, located within the park, gave rise to a larger discourse on heritage preservation in Seoul. Third, discussions regarding the formation of the park identity, or lack thereof, prevalent. Through this study, the 88 Seoul Olympic Park presents itself as an example where large park construction in Seoul caused discussions regarding globalization, nationalism, publicness and art to be brought forth. This paper concludes that the 88 Seoul Olympic Park is a cultural landscape that requires further examination and exploration as it provides rich historical context for understanding the history of cultural and artistic practices in Korean urban landscapes.