• Journal of English Language & Literature
• /
• v.55 no.5
• /
• pp.793-820
• /
• 2009

The studies of correspondence between novel and nation-state, among which The Rise of the Novel by Ian Watt is supposed to be the first book, have flourished for more than twenty years, encouraged by Benedict Anderson's and Cathy Davidson's works. According to them, the novel should come simultaneously with, or after the foundation of the nation-state, and testify to its production or the emergence of its subject/citizen. This paper questions about these prepositions, trying to introduce a new paradigmatical approach, "between global and transnational historical approach," to first novels in transatlantic areas including England and atlantic coastal areas. In its complex relation to a variety of colonial, post-colonial, and transnational geopolitics, various cultural practices such as history, traveler's tales and epistolary novels can be included in the genre of the novel. The idea of the sexual contract by Carole Pateman is very useful because it helps more clearly understand the nature of relation between men and women in the capitalist reproduction, while the social contract tells about the relation between men as citizens. Unlike Freud in Totem and Taboo, Zilboorg argues that there were primordial and violent scenes such as rape before the first sexual contract. This paper will illuminate that "the rise of the novel" corresponded with the emergence of the sexual contract. In the so-called first novel Pamela, the heroine Pamela was threatened to be violated by Mr. B., and was really even confined in his cottage. Mary Rowlandson's The Captive Narrative shows that her body was confined as an English female captive, and troubled with imaginary rape by Indians which resulted in the unequal sexual contract between her and her puritan community in America. However, Leonora Sansay's Secret History in an alternative communality, which was not a nation-state, was different from both novels mentioned above, in that it shows the possibility of emancipation from their unequal marriage, the sexual contract. Therefore, it can be argued that "between global and transnational historical approach" has a possibility to provide a new vision of global sisterhood and solidarity to recognize globalized women's violence, and free themselves from the unequal sexual contract.

• Journal of Popular Narrative
• /
• v.26 no.3
• /
• pp.161-188
• /
• 2020

This paper seeks to expand the scale of literary history by restoring and analyzing the whole aspect of Kwak Hashin's works, which has so far been studied little. For this purpose, I notice the rupture of discontinuity of his works which is greatly divided into the colonial period and post Korean war period. And the characteristics of each works can be analyzed based on the three axis, local(colonial period), jobless person(post-war period), and Homo Economicus(some short stories, and popular novels in post-war period). In Chapter 2, 'Local-the world of Munjang', I evaluated that Kwak Hashin's novel, which had been published in the late 1930s in the Journal of Munjang, embodied anti-modern aesthetic consciousness, as clearly revealing the sorrow for disappearing things, the pre-modern sense of time, and the preference for local. In Chapter 3, 'Jobless Person' and Chapter 4, 'The State of All People's Struggle against All People, The Appearance of Homo Economicus', the Korean society in late 1950s, which entered underdeveloped capitalist countries after Korean war, can be characterized by two contrasting male-gender, one is the jobless, incompetent male, and the economic man on the other hand. In the late '50s, Lumpen(=Jobless Person) novels showed the problems of the Korean economy through incompetent male character. The intelligent men took the path to survival rather than morality or intimacy, projecting their own incompetence and anxiety to women/wives. In the popular novels Women's Song and The Shadow of the Fig Tree, achievement-oriented male figures who betrayed their colleagues, and exploited women's sex by using love relationships to rise to the top appeared. They can be defined as the Homo Economicus who embody the state of universal struggle against all people. These novels showed the formation of the masculinity in post Korean war period, which pursued the survival of the fittest, borrowing form of popular novel. As we have seen so far, Kwak Hashin needs to be re-evaluated as an writer who expanded the modern literary history in the outside of literature. He was the last generation writer written in Korean late colonial period, and provided the model of postwar literature by borrowing the form of journalism and popular novels.

• Journal of architectural history
• /
• v.23 no.6
• /
• pp.27-37
• /
• 2014

Early 20th century Singapore was faced with the problem of overcrowding. The attendant problems of a rapid increase in population density, namely the lack of proper housing and sanitation, resulted in the issue of an appropriate residential environment emerging as an important task in urban planning. It was necessary to construct housing estates in order to solve this issue. At that time, the British colonial government attempted to transplant modern technology into the construction process of a residential complex system. However, Singapore's climate and traditional lifestyle made it impossible to apply the British modern system in a straightforward manner, and in the process, a number of transformations emerged. With a specific focus on the Tiong Bahru estate, one of Singapore's representative public housing projects, from the 1930s through the 1950s, this study intends to look at the way in which such residential estates were assimilated into local surroundings, and the effect of the transplantation of British concepts of modern housing theory. Therefore, the study is divided into an examination of the estate both before and after the turning point of World War II. This study confirms that the difference between the pre-war and post-war planning strategies for the Tiong Bahru estate were made according to the concept of 'open space.'

• English & American cultural studies
• /
• v.9 no.1
• /
• pp.239-272
• /
• 2009

Our investigation of the intricate relationship among nationalism, humanism, and imperialism begins from reading Song of Ariran, the auto/biography of Kim San recorded by Nym Wales, together with Margaret Drabble's fictional adaptation of Lady Hong's autobiography, The Memoirs of Lady $Hyegy{\breve{o}}ng$, in her novel The Red Queen, in which the story of Barbara Halliwell, a modern female envoy of Lady Hong, is interweaved with Lady Hong's narrative. In spite of their being seemingly disparate texts, Song of Ariran and The Red Queen are comparable: they are written by Western female writers who deal with Koreans, along with the Korean history and culture. Accordingly, both works cut across the boundary of fiction and fact, imagination and history, and the East and the West. In the age of globalization, Western women writing (about) Korea and Koreans traversing the historical and cultural limits inevitably engage us in post-colonial discussions. Despite the temporal differences--If Song of Ariran handles with the historical turmoils of the 1930s Asia, mostly surrounding Kim San's activities as a nationalist, The Red Queen is written by a twenty-first century British woman writer whose international interest grapples with the eighteenth-century Korean Crown Princess' spirit in order to reinscribe a story of Korean woman's within the contemporary culture--, both works appeal to the humanistic perspective, advocating the universal human beings' values transcending the historical and national limitations. While this sort of humanistic approach can provide sympathy transcending time and space, this 'idealistic' process can be problematic because the Western writers's appropriation of Korean culture and its history can easily reduce its particularities to comprehensive generalization, without giving proper names to the Korean history and culture. Nonetheless, the Western female writers' attempt to find a place of 'contact' is valuable since it opens a possibility of having meaningful communications between minor culture and dominating culture. Yet, these female writers do not seem to absolutely cross the border of race, gender, and culture, which leaves us to realize how difficult it is to reach a genuine understanding with what is different from mine even in these 'universal' narratives.

• Korean Journal of Heritage: History & Science
• /
• v.49 no.1
• /
• pp.84-97
• /
• 2016

One of the assimilation policies of Japanese imperialism for the permanent domination in the colonial Joseon is the theory of integration of Japan and Joseon. The theory of integration of Japan and Joseon is a logic that Joseon (Korea) and Japan (Wae) were connected to the same ancestor on the basis of ancient myths. Also it is the assimilation ideology to justify the Colonial rule of those days through the objectification of historical identity or affinity of political and cultural relations of ancient Korean peninsula and Japan (Wae). Japan reorganized our history to meet the colonial point of view, as part of the assimilation policies based on the theory of integration of Japan and Joseon. On the other hand Japan attempted to objectify them through archaeological research and the reinterpretation of the historical remains. The survey, reinterpretation and tourist of the historic sites in historic cities such as Gyeongju and Buyeo were promoted in this context. In particular, the Buyeo, a capital of Baekje, was emphasized upon the close relevance and affinity between Sabi, Baekje and ancient Asuka (飛鳥) in Japan through research and reinterpretation on the Historic Sites. Based on them, Historic Sites Tourism was conducted by reconstructed historic sites toward the colonial Korean. In addition, after the Sino-Japanese war in 1937, Japan tried to realize the politics of space by upgrading and idealizing Buyeo as homeland or Shinto (神都) related to Japanese ancient mythology of the Asuka culture. This paper investigated in what context research, reinterpret and tourist of the historic sites progressed on Buyeo area and how it had soaked through the general public in the Japanese colonial era. First, it is on historic sites. Historic sites research on Buyeo area made an attempt by Sekino Tadashi in 1909 for the first time and the re-excavation of the old burial mounds and temple sites during the Japanese colonial period. Sekino set up a cultural relationship and influences between the ancient China (梁), Korea (百濟) and Japan (倭). Also, he emphasized that Sabi, Baekje largely received influence of Chinese culture and Baekje and Japan Asuka culture had closely relations and affinity. These views had been consistent during the Japanese colonial period. Second, it is the reinterpretation on Historic sites. Buyeo Historic Sites Preservation Society (Buyeo Gojeok Bojonhoe) was established in 1915 and Osaka Kintaro, curator of Baekje exhibition hall redefined the relationship between ancient Japan and Baekje as perspective of the assimilation ideology through the post contextual interpretation. In particular, they emphasized on the close relevance between Baekje's Historic sites and Japan, through the reinterpretation of Nakhwaam, Goransa and Cheongmasanseong. Third, it is the tourist on Historic sites. Buyeo Historic Sites Preservation Society played a leading role in Tourist on Historic sites at the Buyeo region. The main tourist destinations and course were restructured through a reinterpretation on the historic sites. Japan would like to show Buyeo as ideology area, homeland of ancient Japanese culture, toward the Koreans under Japanese colonial era. Thus, research, reinterpretation, and tourism on Historic sites were promoted while they were closely related to each other. The promoting body was Joseon Chongdokbu and pro-Japanese interest group. It's point was 'made' and 'shown' by the eyes of others and a rediscovery of Buyeo as representational space of colony.

• Architectural research
• /
• v.21 no.3
• /
• pp.79-90
• /
• 2019

The ephemeral and temporal nature of pavilions is the underlying motivation that led to the development of this paper. From the beginning of the industrial era through contemporary history, there have been many instances of architects attempting to rethink architectural design in the context of modern social, cultural, and technical imperatives. Today, the leading changes in humanity are accompanied by a revolutionary electronic digital medium. The pavilion has been in an amalgamation of architectural integration since the beginning of human history. World's Fairs/Expos have, since their establishment, served as international presentations of goods and achievements of particular nations. They became a popular stage wherein potential architectural achievements were showcased through the evocative architecture of pavilions. Due to the pavilion's "temporary nature," its coverage includes various perspectives: social, historical, geographical, post-colonial, iconographical, temporal, and ephemeral. It has also served as a receptacle due to its representational value at a given time. The pavilion has offered architectural designers, clients, and visitors a place to use their imaginations. Moreover, the architect's role in creating pavilions cannot be overestimated. Due to fact that they abound in symbolism, contemporary designs, and innovative solutions, pavilions often mirror modern mankind and plan for the next aesthetic revolutions and ideological architectural theories. To understand and appreciate architects' original intentions with their pavilions, this paper focuses on noteworthy pavilions that were created from the beginning of industrialization through the present. It explores and discusses the pavilion's characteristics, highlights the significance of its physical form as generated by a specific theme.

• Women's Studies Review
• /
• v.28 no.1
• /
• pp.79-120
• /
• 2011

The purpose of this paper is to illuminate the implication of feminist oral history from a postcolonial feminist perspective as critically reexamining the relationship between hearer and speaker, representer and narrator, the said and the unsaid, and secrecy and silence. Based upon oral (life) history of a U.S. military prostitute (yanggongju), I tried to show the experiences of a historically-excluded and marginalized 'Other,' and then critically reevaluate the meaning of encountering 'Other', not just through the research process but also in the post/colonial society in Korea. The narrative of an old woman in the "kijichon" (a formal prostitute in U.S. military base) shows how woman has navigated the boundaries between inevitability/coincidence, the enforced/the voluntary, prostitution/intimacy, and military prostitute/military bride while continually negotiating as well as having conflict with various myths and ideologies of the 'normative woman,' 'nationhood,' and 'normal family.' In addition, her narrative which causes the rupture of our own stereotypical images of a military prostitute not only proves the possibility of reconstructing the self-identity of a subaltern woman, but also redirects the research focus from the research object to the research subject (ourselves). Consequently, the implication in feminist oral history is that feminist researchers who whish to represent the experiences of other should first inquire 'what/how we can hear,' 'why we want to know others,' and 'who we are,' while simultaneously asking if subaltern woman can speak.

• The Journal of Art Theory & Practice
• /
• no.3
• /
• pp.135-154
• /
• 2005

In the late decade of 1930, under the Japanese Imperialism, the Korean abstract art which was formed with affection by Japan and Europe. They say the early Korean abstract art is colonized, from a point that it derives from exterior impact. And they say also it is colonized not to be related to the representation of their own life world. On the other hand, the early Korean abstract art in 1930s is told as the prehistory of 'Korean Modernism in Art', which flourished in 1970s followed 'Informal Art Movement' in the late 1950s. Because the status of abstract art in 1930s was not more than a germ of 'Korean Modernism in Art', while they understand until 1950s as a period dominated by representational art based on Chosun Exhibition or Korean National Exhibition, the period until 1970s as a period ruled by abstract art which was accepted as 'Korean Modernism in Art', and the period after 1980s as a period by Min-jung Art and Post-Modernism Art. However, the historical value of Korean Abstract Art in 1930s cannot be passed over, if not trying to understand the development of 'Korean Modernism in Art' especially focusing on not their own history but the impact of Western and Japanese art. In the late colonial period, the Korean early abstract art was the strongest utterance of the time paradoxically, even if not related much to optical representation of the Korean subjectivity. Therefore the existing viewpoints about the early Korean abstract art should be changed.

• Journal of the Daesoon Academy of Sciences
• /
• v.41
• /
• pp.27-61
• /
• 2022

Documentation related to Mugeuk-do (Limitless Dao) is rare in comparison to other Korean new religions given that it has been open to the public and translated since the 1970s. Due to its rarity, the documentation has been used uncritically, without there being any comparative study or historical research. It is undeniable that distortions and fallacies are embedded in these documents, and this has resulted in quite a few problems in precisely understanding Mugeuk-do and Daesoon Jinrihoe (The Fellowship of Daesoon Truth), an order that has inherited the legacy of Mugeuk-do. In this regard, this study aims to critically define the characteristics and limitations of the major documents related to Mugeuk-do that were published by the colonial government in the 1920s~1930s and recorded by multiple orders in the 1970s-1980s through comparisons. An attempt to conduct this research allows for the discovery of a solution to the problem of uncritical usage of those materials. The documents produced by the colonial government that can be used as basic texts to study Mugeuk-do are The General Conditions of the Religion Mugeuk-do (無極大道敎槪況) and Unofficial Religions of the Korea (朝鮮の類似宗敎). These can be found through bibliography, comparison, and historical research. Chapters 6, 7, and 8 of The General Conditions of the Religion Mugeuk-do are a possible source on the order that reflects the circumstances of Mugeuk-do until 1925. In the case of Unofficial Religions of the Korea, if the descriptive perspective on unofficial religions is excluded, the articles written about the circumstances post 1925 have credibility. Another document that describes multiple orders and can be used as a basic text is chapter 2 of 'Progress of the Order' in Daesoon Jinrihoe's The Canonical Scripture. This is because its record precisely reflects the conditions of the era, with regard to the fact that it is the freest from distortions caused by changes in the belief system and it is less biased towards certain sects or denominations. Furthermore, the collection period of the articles is the earliest. Accordingly, as basic texts, Chapters 6, 7, and 8 of The General Conditions of the Religion Mugeuk-do and the articles from Unofficial Religions of the Korea after 1925, as well as chapter 2 of 'Progress of the Order' in The Canonical Scripture are appropriate for studying Mugeuk-do. In addition, Overview of Bocheonism, History of Jeungsan-gyo, and The True Scripture of the Great Ultimate can be utilized as references after removing distortions and fallacies through comparative study. Henceforth, relevant documents should be utilized to establish comprehensive data on Mugeuk-do through comparative and historical research.

• Cross-Cultural Studies
• /
• v.45
• /
• pp.85-107
• /
• 2016

Cho Ji-hoon was a leading figure on the discussion of recognition on Han Yong-un, particularly the post-liberation period. During the Japanese colonial era, he addressed Han Yong-un as the representative of national poet, and evaluated Han's poems as the models of rebellious nationalistic poetry. Such evaluation by Cho set the precedent of basic perspectives and methodologies on how to recognize Han Yong-un in the present day. This paper analyzes three studies on Han Yong-un, conducted by Cho ji-hoon. We also examine how Cho created his logic of recognizing Han as a national poet, and his poems as nationalistic poetry. Accordingly, this paper has separated recognitions on poet studies and work studies, and further explored how each recognition has consistency with Cho ji-hoon's historical and literary perception. As a result, the following has been concluded: the basis of Cho ji-hoon's recognition on the life and works of Han Yong-un was premised on Cho's understanding of the world from a standpoint of history of ideas, the concept of nation was regarded as an absolute value that binds disparate ideas together, and the combination of nationalism and poetry has been expressed through the logic of nationalistic poetry and the notion which equalizes the poet to a classical scholar. It was further concluded that such equalizing logic contains some logical contradictions derived from integration between universal rights and national sovereignty, and nation and Buddhism. Therefore, it can be said that other possible interpretations on the role of a poet were not fully discussed, but remain bounded. Last but not the least, this paper critically tries to perceive Cho's recognition on Han Yong-un, and accentuates the necessity of new interpretations of Han's poems, apart from those based on nationalism.