• Journal of Korean Philosophical Society
• /
• v.143
• /
• pp.119-140
• /
• 2017

After the collapse of the Cold War, there was a shift in perception at two points in discussions on Korean unification. The real core issue of unification is first, that it is a shift in perception that the real problem of unification is not the integration of systems, but the integration of people. Second, there is a shift in perception that there are many Koreans in the four major powers related to the Korean division and their distribution is associated with the tragic history of the Korean Peninsula. The historical trauma of Korean people resulted from the oppression of the collective libido of Koreans, stemming from the pain of modern history of the Korean Peninsula. In addition, the trauma of colonization, diaspora, and division all share the structure of suppression as the '$nation{\neq}states$'. Thus, unification aims to overcome the notion that '$nation{\neq}state$' can not be separated from the process of healing the historical trauma of Koreans. First of all, this article argues that in order to achieve unification on the Korean peninsula, it requires the process of healing the traumas of colonization, diaspora, and division. Second, this paper claims that Korean unification is not only a matter of two countries, but also of making peace by healing historical trauma in Northeast Asia. Third, this paper argues that the healing of Korean's historical trauma should begin with 'sympathy' for pain and proceed to the production of a 'national commonality' through 'communication of difference', which will create a unified peninsula.

• English Language & Literature Teaching
• /
• v.11 no.4
• /
• pp.167-187
• /
• 2005

This paper tries to follow Toni Morrison's postcolonial courses in her novels. In The Bluest Eye, Morrison examines the situation in which the white's values are the standard for the whole society through two little black girls, Pecola and Claudia. In Song of Solomon she recommends emulating Pilate's love and good attitude towards tradition to shape a positive identity for Afro-Americans, which Milkman comes to accept. In Tar Baby, Morrison suggests that Son's and Jadine's ideas, traditional and modern, should be combined. In Beloved, Morrison illustrates one of the ways in which all blacks can escape from their own trauma through Sethe's process of finding her self-worth. In Paradise Morrison shows that the real de-colonial way to overcome the effects of colonization is to create a new paradigm in which everyone is respected regardless of race. In her works, Morrison insists that by remembering and regretting slavery in America, people can overcome its aftereffects and trauma. Racial oppression still exists today, so Morrison will continue her beautiful, powerful and eye-opening work.

• The Journal of Art Theory & Practice
• /
• no.16
• /
• pp.7-40
• /
• 2013

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