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2008, Vol., No.41

  • 1.

    The Characteristic of Taoist-Immortal and its System in Korean Sino-Poetry

    Kyoung mi Kim | 2008, (41) | pp.1~26 | number of Cited : 3
    Abstract
    This is a study on the Korean Sino-poetry which characterizes taoist-immortal and deduce its lineage systematically. It aims at defining the intrinsic qualities of these poetry and clarifying the invaluable position the literary works holds in the history of Sino-Korean literature by examining and analysing these poetic works and transcendentalism which reflected on them. These works implies the desire for the immortal world which exists over the spiritual point of the real world and the creative-imaginative solution about contradictions which can be found in the real world. The taoistic world which described in these literary works is enchanting and there is the most ideal, fantastic and liberal place. No small number of poets in Korean classics uses a fantasy for trying to escape to the world where is no real world's alienation's frustration and psychological/emotional conflicts. This paper concludes that the characteristic of taoist-immortal contributes to make Korean Sino-poetry to the product of a fertile imagination, enrich the contents and inspirational ideas.
  • 2.

    On the Intention of the Edition of Chang-ga-ru-oi-sa and Its Contents

    Kyoung-Jin Hur | 2008, (41) | pp.27~54 | number of Cited : 4
    Abstract
    Though Chang-ga-ru-oi-sa, edited by Kim Ryeo, is one of the representative collections among other unofficial history collections, which were popular in the late Chosun, it has not been evaluated appropriately for its values as it has not been known well due to the fact that its only copy is kept in the Library at Yonsei University. Different from most unofficial history collections, which collected and transcribed individual episodes from unofficial history beyond political factions, Chang-ga-ru-oi-sa was interested in vindicating Kim Je-nam, who died under a false accusation at the time of high treason administration in the year of Gyechuk, and recovering the status of his family. As such, it included ‘Dong-gak-san-rok’ by Kim Gun-seok, the fifth grandfather in its initial part, ‘I-sang-guk dairy’ by Lee Won-ik, who advocated Queen Inmok in the course of the arguments about her dethronement, and Yul-gok Yi I’s ‘Seok-dam-il-gi’ the origin of ‘Study of family.’ Chang-ga-ru-oi-sa had influence on Pae-rim through Dae-dong-pae-rim.
  • 3.

    A Study on the love of ManHae's poetry as its poetics

    Jin SoonAe | 2008, (41) | pp.55~76 | number of Cited : 0
    Abstract
    This paper shows a study on the love of Manhae's poetry as its poetics. They say that the 'lover' signifiant has been representative of Manhae's poetry. But this paper shows Manhae's poetry is characteristic of "what the principle of 'love' is" better than "who the 'lover' is". Manhae opposed Japanese colonialism through the politics of 'love'. Because the love is included in the postmodernistic category. The principle of love of Manhae's poetry consisted of those of three styles. The first is that of eroticism by the personal subject, the second is that of religious and philosophical love by the philosophical subject, the third is that of love having political intention by the social subject. After all, the love of Manhae's poetry stands for the eroticism, agape, religious charity, ideal world, life, truth, philosophical enlightening, and so on. Ultimately, Manhae's poetry is composed of the purpose of postmodernistic poetry, philosophical enlightening, and political resistance through the poetics of love.
  • 4.

    Remembering the Past through Imjin War

    Sungtae Park | 2008, (41) | pp.77~102 | number of Cited : 5
    Abstract
    The sixteenth century Imjin War was a historical moment, which had significantly altered the images and the diplomatic relations of the three countries of East Asia. In particular, this war, which broke out at the Korean Peninsula(formerly called Joseon), was an inevitably tragic moment for Koreans. Thus, the wretched state of Imjin and the process of overcoming the war have remained etched in the mind of various people. There are differences in the remembrance of the Imjin War by each countries involved in the war (China and Japan). The images held by the countries prior to the occurrence had experience a new and different consciousness when they directly encountered the military of the opposing country at the spot where the war broke out. Or perhaps the images concerning China and Japan, whose consciousness of the war, were different among each class although the war broke out in Korean land and accepted, although modified and expanded at the war situation. The focus of this paper is on the differences in the historical remembrance of each class. In particular, this paper pays attention to the differences in the memory of the war concerning reflection and critique, and pride in victory, based on the experiences of each individual. The experience of the general populace through cultural memory can reveal the experience of the war more distinctly than the Historical Records of Imjin War(“Imjin-rok”). The main objects recorded in Imjin-rok are historical imagination and pride in overcoming the suffering of the war, and various cultural memories of Joseon’s elite class.
  • 5.

    Comparative Study on the Heungbu Story of Korea and the Tongue-cut Sparrow of Japan, and Cultural Education

    김응교 | 2008, (41) | pp.103~134 | number of Cited : 7
    Abstract
    This article discusses ways in which we can use premodern tales as educational tools to teach and compare different cultures. In particular, I compare the comparative cultural study on Korea’s premodern Korean tale called, "The Story of Heungbu story" with and Japan’s "The Tongue-cut Sparrows" with analyzing how the cultural education can be teach. The authors of these two stories are unknown and they have been remade and recreated by numerous people throughout time. As popular literature, they were enjoyed by the common people and are still widely read even today. The Japanese mukasibanasi(昔話) like "The Tongue-cut Sparrow" was used for mental training and to indoctrinate the so called, “Japanese Spirit” at the time of the Pacific War. "The Story of Heungbu story" was also printed in textbooks for Naisen Ittai (内鮮一体, The Oneness of Home-Japan and Korea) around the same time. Furthermore I examine changes in the symbolic meaning of the sparrow and swallow which in the two stories. By doing so, I compare the differences and similarities between Japanese and Korean cultures that have cultural roots in shamanism. Specifically, by comparing the symbolic meaning of the paste, gourd, cow, and horse, we could see the cultural differencese between Korea and Japan. By describing the overall structure of resembled various characteristics of Korean drama, namely Hallyu(韓流), which tend to focus on melodrama and stress to the tears and feeling(情). Thus by comparing the symbol of two works, we can better understand the culture of Korea and Japan and even compare them to the current Korean capitalistic society which harbors desire to be like Nolbu.
  • 6.

    A duet of chora: différance in Derrida and (personal) identity in Whitehead: from a perspective of betweenness

    Iljoon Park | 2008, (41) | pp.135~164 | number of Cited : 11
    Abstract
    Chora is a nameless name, which points to "the third" in Plato's Timaeus, along with the so-called form and the so-called matter. After explaining the cosmo-genesis, Timaeus, the protagonist in the story, returns to a point where the story was begun and starts to retell it with what is missing in his first narration, with the third which has necessarily to be mentioned and yet which can be referred to neither as form nor as matter. This is chora which is the foster mother of all things in the world. By interpreting chora as différance, which means the structural movement of differing and deferring, Derrida turns upside down the hierarchy of identity, which derives from the auto-affection. The signified, which has seemed to support the order of identity, in fact derives from the play of differing and deferring, and not vice versa. The origin of the myth of the same lies in the auto-affection of organism generating violence and discrimination to the other, because the other the auto-affection constructs is not the other as existing out there but that as deported from the boundary of the self. However, both the self and the other are the children given birth to by the play of differing and deferring. Also, any identity can gain a meaning because there is difference between the self and the other. Instead of seeing it as 'the locus of differing and deferring,' Whitehead interprets chora as a general guiding principle that imposes a harmonious unity upon nature and personal identity. He develops the passive chora into his own notion of creativity by adding the dynamic of the divine eros to it. Here, Plato's chora is no longer a passive place where things incoming are merely combined with the so-called forms. It becomes a place where a new universe or a new personal identity is born each time by the creative and harmonious unity of chora-tic force and where, rather than being an one-time event, all the births secure their own continuity in the unity and/or identity chora imposes upon them. The point of argument in this paper is that the seemingly contradictory opposition between Derrida's and Whitehead's interpretations of chora is in fact complementary to each other. For Whitehead, the universe does not independently exist out there, but it is rather creatively actualized through the concrescence of each actuality. This from the beginning presumes pluri-verses rather than a uni-verse. That is, the identity of chora Whitehead puts forth is not an identity excluding any difference but rather that being based upon differences. The creativity of chora is nothing but a general guiding principle that supports all the processes in the world between difference and identity. This paper suggests that the word 'between' here is apt to describing a place where chora should be. Given that difference between the self and the other derives from the auto-affection, there is no difference between them at the beginning but a 'between'(or betweenness or das Zwischen in Heidegger's terms), which can be defined neither as the self nor as the other. In this vein, this paper tries to weave the two different melodies of difference and identity into a harmony of betweenness, attempting to reinterpret the originally natural force of life not as any substance but as 'between.'
  • 7.

    Die Kunst - Abhandlung Heideggers'

    Sang-Hie Shin | 2008, (41) | pp.165~190 | number of Cited : 6
    Abstract
    In der Reclam-Ausgabe(1960) weist Heidegger darauf hin, daß das Nachdenken über das Wesen der Kunst nur im Horizont des Ereignis-Denkens zu verstehen ist, weil die ganze Ausarbeitung zur Kunst im “Ursprung des Kunstwerkes" unterwegs zur Frage nach dem Wesen des Seins als Ereignisses entfaltet wird. Aber in der erst im Jahr 1935-36 veröffentlichten Kunst-Abhandlung kommt der Horizont des Ereignis-Denkens nicht zum Vorschein, sondern verbirgt sich im Hintergrund der Ausarbeitung. Daher versuche der Verfasser an seine Ausarbeitung zu denken, indem seine Kunstabhandlung im Horizont des Ereignis-Denkens gemäß seinem Hinweis herauszuheben und hermeneutisch wieder zu konstituieren ist. Das ist mein Absicht, diesen Aufsatz zu schreiben. Für Heidegger ist die Kunst der Bereich der Unverborgenheit(Aletheia), wo das Scheinen des Seins des Seienden sich ereignet, und als diese Wahrheit west die Kunst im Werk. Also ist die Schönheit der Kunst eine auszeichnete Weise, in der die Dinge und die Menschen in ihre Unverborgenheit des Seins hineinkommt. Das Kunstwerk gründet sich ursprünglich im Bereich der Kunst, wo die Wahrheit als Unverborgenheit sich ereignet und west. Die Kunst als der Ursprung des Kunstwerkes geschieht ursprünglich in Wahrheit denn nur aus diesem und in diesem Wesensbereich, wann die Wahrheit des Seienden sich ereignet. Außerdem ist dieser Ursprung des Kunstwerkes der Ursprung des dichtenden Künstlers, nämlich des Schaffenden und Bewahrenden und zugleich des geschichtlichen Da-seins. Gerade dieser Ursprung ist die Kunst, denn sie wesentlich jene auszeichnete Weise ist, darin die Wahrheit des Seins geschichtlich sich ereignet und west.
  • 8.

    Study on the Level of Inquiry in Theory of Perception and Ethics - Based on the Critical Examination of the Point of View of Bernard Williams

    Hong, Kyung-Nam | 2008, (41) | pp.191~216 | number of Cited : 0
    Abstract
    Knowledge of perceptions, claims Bernard Williams, is a quasi-objective knowledge capable of approximating but not reaching the objectivity of natural sciences through reflection, whereas knowledge of ethics is a non-objective knowledge escaping the reflection for verification. However, it may be argued against such a claim that the ethical knowledge as well as the perceptual knowledge should bear an indicator of objectivity equal to that of the scientific knowledge in its fullest sense. On the proper level of inquiry in which perceptions and evaluations are made, we reasonably present objective standards for judging those in hand to be true or false, or right or wrong.
  • 9.

    The Study of Communication and Possibility on the Cultural Contents and Humanism

    Sanghwan Bak | 2008, (41) | pp.217~236 | number of Cited : 13
    Abstract
    For the philosophical accommodation of cultural contents, we must understand the character of the changed capitalist society and need to introspect about the subject that promotes project of cultural contents. The philosophical analysis about the nation-led strategy like now is the criticism about the korean modernization. The role of technique is important in cultural contents, therefore, the technical sociological analysis and the social constructive analysis must be researched together with the critical mind of 'the cultural studies'. When the work of excavating the cultural original from, which is an main subject of humanism contents, has intention on the past only, multi-cultural value that 'culture', 'cultural studies', and 'cultural contents' are aiming at, and the aim of social diversity can be damaged by 'cultural essentialism interpretation' that is pursuing the cultural fixed form. Because essentialism interpretation of the transmission against the culture takes the antagonistic position that asserts 'collision of civilization' rather than inevitably different democratic communication. The necessity that humanism/philosophy/art must communicate with culture/cultural contents is on this point. Finally the ontological and epistemological request about the others will be caused from the thorough reflection of the critical social consciousness. With the critical mind as stated above, the relation between the cultural contents and the humanism will be analyzed from 2 viewpoints on the present study. One is the current aspect that the nation leads the development of cultural contents, and the other is about humanism contents and this is the past-recurrent tendency of excavating the cultural original form. The interpretation of goods and capitalism, and self-reflection about the idea of humanism, specially philosophy, are necessary. At the bottom, the communication between study, humanism, and philosophy and the literature, art, and society is not only the life aiming at pursuit of profits, but also boosts the quality of daily life or this is caused from the desire of democratic society that pursues to be like human. The question is what shape and what character of bowl the contents of cultural contents will be put in.
  • 10.

    Medical Practices and its Cultural Meanings of The Elder Doctors of Oriental Medicine

    Bak Gyung Yong | 2008, (41) | pp.237~270 | number of Cited : 5
    Abstract PDF
    The aim of this article is to investigate medical practices and its cultural meanings of the elder doctors of oriental medicine(元老 韓醫師). For this, I have applied to a few anthropological fieldwork methods at thirteen herb clinics(韓醫 院), deep-interviews and observations, collections of private documents and everyday lives' things, photographs etcs.. Medical practices of the elder doctors of oriental medicine comprise illness diagnoses, writing prescriptions and preparing Hanyak(韓藥) according to it and medical care actions(ChimㆍDumㆍBuhwang). These medical practices contain many cultural aspects of 'doctors-patients' relations, embodiments of the basic principles in oriental medicine, social verifications of remedy effects and its dilemmas for scientific tests, productions of new experimental recipe knowledge (秘方) and utilizations, successions and changes of ‘tradition' etcs.. The basic principle of Umyangohhaeng(陰陽五行) have been passed through all medical practices of the elder doctors of oriental medicine. The point of it is focused on maintenances for harmony and balance of Umyang(陰陽) in bio-situation through medical care actions. The elder doctors of oriental medicine have cared many patients and accumulated new experimental recipe knowledge by their clinic experiences, but there have been dilemmas for scientific tests. Though various apparatuses for diagnosis and remedy have been enlarged at many herb clinics, the elder doctors of oriental medicine adhere traditional methods in almost medical practices. The integral and detailed diagnosis(執症), including four methods of seeing(望)ㆍquestioning(問)ㆍhearing(聞)ㆍtouching (切), is based on feeling and reaction(感應) through five sense organs. Their almost medical care actions have been practiced according to traditional ways and category also, not using medical machines. In resent situation of radical changes in medical circumstances, it is worthwhile we pay attention to their medical practices for preservation and transmission of 'cultural tradition' in oriental medicine.
  • 11.

    Évaluation qualitative des traductions en coréen du Plaidoyer pour les intellectuels de Sartre

    YI, Yeong-Houn | Daeyoung KIM | 2008, (41) | pp.271~303 | number of Cited : 2
    Abstract
    Très largement inspirée du modèle d'évaluation élaboré par Malcolm Williams, l'approche argumentative de l'évaluation de la traduction repose sur trois principes. D'abord, nous proposons une évaluation qualitative de la traduction reposant sur le schéma de l'argumentation. Celle-ci permet d'évaluer le réseau du sens sur l'ensemble du texte. Toutefois, cette évaluation ne parvient pas à cerner les plus petits réseaux du sens, tels que le paragraphe et la phrase. Pour cette raison, nous proposons deux évaluations de la traduction fondée sur l'argument et la figure pour remédier à ce problème. Nous avons evalué quatre traductions en coréen différentes du Plaidoyer pour les intellectuels de Sartre par cette approche argumentative de l'évaluation. Plaidoyer pour les intellectuels de Sartre est un discours, mais aussi un texte persuasif qui se compose donc d'éléments de persuasion : les arguments et le schéma de l'argumentation. Par conséquent, le schéma de l'argumentation appartient à l'ensemble du texte. En conclusion, le nombre d'erreurs sur l'évaluation de la traduction, reposant sur le schéma de l'argumentation et sur l'évaluation de la traduction basée sur l'argument et la figure, ordonne les textes traduits ainsi : Park, Min, Bang, Jo. Nous pensons donc que ces trois évaluations sont corrélationnelles. En outre, le texte traduit par Jo est le mieux traduit, parce qu'il contient de très petites erreurs par rapport aux autres. Il serait également intéressant d'approfondir cette étude en évaluant l'approche de la culture entre le texte-source et le texte traduit.