Aims & Scope
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The Journal of Humanities published by the Institute for the Humanities at Sungkyunkwan University has devoted itself to promoting research in various academic fields encompassing those of the East and the East—all based on diverse studies conducted at the College of Liberal Arts. Since its inception in 1971, the Journal of Humanities has introduced the outcomes of vigorous research activities in the fields of humanities—including modern history, modern literature, and modern philosophy—based on which it has set the target of reestablishing humanities harmonizing the culture of the East with the Western one and has attempted to conduct in-depth studies of humanities in general and to amalgamate them with other studies—all aimed at re-illuminating humanities as the convergence of the related studies. Having reflected on the limitation of the conventional binary structure in academic history, the Institute for the Humanities aims suggest a new direction for humanities that can overcome the center-periphery model by applying to it the imagination of “access and changes” as well as “cross-cultural research.” The Journal of Humanities has thus functioned as a comprehensive academic publication that can help pursue such a goal of the Institute for the Humanities. Unlike its fellow journals that mainly focus on particular and specified academic fields for publication, the Journal of Humanities not only deals with the whole academic fields of humanities but also covers almost all the areas of profound sciences in order to examine better the universal characteristics of humans and humanities. It has thus not only covered lots of research papers in the fields of humanities—including literature, philosophy, history, cultural studies, and linguistics—but also offered a chance to examine the general trend of humanities in the East and the West by dealing with the papers on the comparative analysis of the East and the West as well as of the regional studies, thereby coping with the ever changing global academic trends of humanities where interdisciplinary communications and exchanges are more needed than ever. The Journal of Humanities also welcomes the contributions of papers in a variety of academic areas including social, natural, and medical sciences if and when they adopt the perspectives—as well as the methodologies—of humanities. This is aimed at promoting research that can overcome the boundaries of academic disciplines, nations, and differences of understanding by focusing on the interdisciplinary communications among different branches of learning as a core value. The Journal of Humanities is actively coping with the changes of the academic trends both at home and abroad in order to play a pivotal role of a leading journal integrating academic disciplines by expanding the horizons of humanities studies.
Current Issue : 2023, Vol., No.90
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The Transmission and Dissemination Method of “Hunminga (訓民歌)” as Hierarchical Discourse
Kim, Tae-woong | 2023, (90) | pp.5~33 | number of Cited : 0AbstractThis article examines the transmission and dissemination of the 16 pieces of “Hunminga (訓民歌),” a stanzaic sijo (three-line verse) written by Jeong Cheol (鄭澈) whose pen-name is Songgang (松江). The results show that the 10 pieces were mainly transmitted in anthologies and were not widely popular in performance spaces until the 20th century when they started to be transmitted and disseminated again. Considering that the majority of the remaining 6 pieces were well represented in various collections, it can be said that transmission and dissemination were made effectively in performance spaces. In particular, the fact that a single siJo text was transmitted in many collections implies that it underwent transformations and was sung as different works by those who newly enjoyed and appreciated them, highlighting the significance of such transmission and dissemination. “Hunminga (訓民歌)” has been performed on actual performance stages, with changes in lyrics and variations in musical compositions, and it has been transmitted to future generations, while at times the transmission has been interrupted. Furthermore, if Songgang Jeong Cheol wrote “Hunminga (訓民歌)” not simply as a creation but from the perspective of hierarchical theory, the significance of this siJo genre is immense. When Songgang Jeong Cheol composed “Hunminga (訓民歌),” he did not aim for the hierarchical perspective of oppressive conversion imposed by the state on the people in the Gangwon Province, but rather wished to help the people to undergo self-conversion through singing “Hunminga (訓民歌).” This is why despite being a didactic siJo genre, it continued to be transmitted in later collections as a song. In later records related to “Hunminga (訓民歌),” it is highly valued to the extent that it is consistently recited to rural children and their mothers, even to the point of teaching the essence of righteousness. Considering that anyone could easily sing and understand the genre of poetry when understanding it as a song, it becomes evident why Jeong Cheol chose the genre of siJo composition for “Hunminga (訓民歌),” given the propagating power of songs. If it were simply written from a hierarchical perspective in a top-down style, it would have been easier for Jeong Cheol to issue instructions to the people for conversion rather than composing “Hunminga (訓民歌).” Nevertheless, he must have considered that using the genre of poetry and allowing the people to realize something on their own would lead to their self-conversion. Therefore, even later literati believed that by continuing to recite it to "women, children, and everyone," they would undergo self-conversion. Through this article, I hope that new and more valuable research on “Hunminga (訓民歌)” will be made. -
Daily Predicament under the Hierarchy -With Focus on Sohyŏnsŏngnok and Hyŏnmongssangnyonggi-
황지현 | 2023, (90) | pp.35~58 | number of Cited : 0AbstractHierarchical violence imposes various physical·emotional violence and disadvantages. However, the mastery lies not in dramatized events, but in tying one's daily life down by reading another's countenance. This study was conducted on Korea’s two classic novels Sohyŏnsŏngnok and Hyŏnmongssangnyonggi and focused on the daily predicaments faced by Sino, Changdu, Gungno, and Seo-dong, whose names were not mentioned, and attempted to understand the violence and meaning of the hierarchy. In the meantime, various approaches to assistant-characters have been made in the history of research, but the number of studies on unnamed people has been comparatively counted. Therefore, this study aims to pay attention to the daily predicaments they faced and reveal the meaning of each event. First, I explored the case of receiving inconsistent orders with a time difference and receiving different demands at the same time. After that, I revealed that they were punished even though they wanted to obey the order, and that the punishment took on the character of example as warning and venting one's anger. Furthermore, I confirmed that the violence of such a hierarchy is linked to domestic political dynamics, and that the linear hierarchy is not actually a vertically arranged series of hierarchies, while conflicting orders can cause greater hardship to the weak. However, it was also examined that they were not entirely passive, but on the other hand, they were responding by selectively carrying out orders with their own survival strategies. Through the analysis of the case that those at the bottom of the family were caught up in the conflict of order and tried to come up with self-rescue measures, this study has examined the violence and vulnerability of the hierarchy and the antagonism of the subjects participating in it. -
Cho, Myung-Ki
| 2023, (90)
| pp.59~90
| number of Cited : 0
AbstractThis paper begins with a question about differences in footing points between outsiders’ and insiders’ gaze. It compares how the structure and the desire, which are embedded in the mode of local imagination, are embodied by analyzing two novels ― Novel Busan and Writing Busan ― as the texts for this study. Novel Busan imagines Busan from the gaze of an outsider. The gazing subject recognizes that his/her gaze is ultimately directed toward his/her desire to consume an unknown and lost object, rather than the object itself, by perceiving its fallacy and his/her desire that operates by depending on it, as he/she witnesses the paradox of melancholy in Seoul in which the position of the gazing subject is fixed. Although Busan is described as the object of gaze, as the space structure still operates, the signified including identity is omitted, so it only remains as the space that is replaceable and abstracted, the signifier without the signified, in other words, a kind of trace. On the other hand, Writing Busan formalizes the insiders’ gaze. The short stories introduced in Writing Busan attribute trace to the past by misunderstanding it as an aura, while they prescribe the present as the time of loss/damage, as if we can claim for the possession of the object, by misunderstanding a lack as a loss. The stories, therefore, can argue that the present and the future should possess the past sublime value that they already once possessed by recovering and restoring it. Writing Busan’s misunderstanding, which means to regard things that it cannot possess as its possession, has the form isolated and solidified through the paradox of deceptive spectacle, so it has an effect on the process in which the place identity of the present Busan is organized. The outsider’s gaze which repeatedly otherizes Busan for the melancholy of Seoul is homologous with the insider’s gaze intending to prescribe the place identity by misunderstanding the trace as an aura. It is, however, possible to find the attempts to refuse to copy the outsider’s gaze in Writing Busan. Key