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2010, Vol., No.64

  • 1.

    A Study on the Acceptance Phase of German Cinema in the Colonial Joseon - with 1920s' films as the center

    kim seung goo | 2010, (64) | pp.3~49 | number of Cited : 9
    Abstract PDF
    In this paper, I investigated how the colonial Joseon audience in the days of Japanese imperialism accommodated foreign films, especially German films. The fact that the foreign films were recognized as the symbol of the western modern culture in those days is well known. However, we do not know how they accommodated what kind of films in concrete. Generally, we would associate foreign films as hollywood films, but it is also true that in those days, colonial intellectuals would prefer hollywood films to the Germans. The Germans were inferior in entertaining characteristics but they were superior in artistry. They gave spectators the other dimensional film experiences that hollywood could never did. At first, I examined the circumstances of the German film world in those days to understand the detailed accommodation circumstances of the German films. The movies which made them to feel an artistic fragrance were produced mainly before Nazis came to power. If consideration for the German film world circumstances is the side of the production, the consideration for the circumstances of the domestic foreign films distribution world can be said to be the side of the circulation. The delivery system of the foreign films was constructed in the center of hollywood films, but there were a few companies which handled German films. Based on these considerations, I examined what kind of movies were really released at that time, and investigated several kinds of characteristic points accompanied by these documents.
  • 2.

    On a Name of Jurchen Chieftain in the Annals of the Joseon Dynasty

    Kim, JuWon | 2010, (64) | pp.51~74 | number of Cited : 3
    Abstract PDF
    In this paper a transcription of the name of a Jurchen chieftain is discussed. All proper names of the Jurchens including personal names are recorded in Chinese characters in the Annals of the Joseon Dynasty. Most of them are written using sound of the Chinese characters. But the name of one chieftain was written using semantic value of the Chinese characters. At the first time his identity was confusing to Korean as his name was called differently. Among these names there were 何叱耳 <ha-jil-i>. These Chinese characters represents ‘hashu¯’, the meaning of which is “left handed” in Jurchen(Manchu).
  • 3.

    Reflexiones de la Crítica del Quijote - para una nueva perspectiva intelectual -

    Kim,Choon-Jin | 2010, (64) | pp.75~101 | number of Cited : 1
    Abstract PDF
    Este trabajo trata de reflexionar sobre la crí tica del Quijote para repasar la definicioˊ n de la novela. Todos los esfuerzos por definir el geˊ nero ‘novela’ fallaron porque su caracterí stica consistía principalmente en un montaje de heterogeneidad; a pesar de ello, otra cara de esta heterogeneidad la fuerza renovadora de lo antíguo y establecido. Lo prueba significativamente el mismo origen etimoloˊ gico de la novela, que se deriva de ‘lo nuevo.’ En el momento de su nacimiento de la novela, a manos de Cervantes, se manifestaba sus principales característcas, entre otras, el entretenimiento de contar y leer historias y la teˊ cnica de narrarlas de manera imprevista con un final revertida e iroˊ nica. Las cuales quedan resumidas en los cuentos de dos episodios, el de ‘propone algo y no concluye nada’, y el del pastor Torralba. La crítica del Quijote diverge a lo largo del tiempo. La tradicioˊ n idealista alemaˊ n, romanticista y Hegeliana, intentaba definir la novela remarcando la forma iroˊ nica de contrar historias; el empricismo anglosajon consideraba maˊ s la ideología individualista, es decir, la de los consumidores de la novela, a la hora de definir este geˊ nero. “Aquella tiende a la visioˊ n traˊ gica del Humanismo cervantino, y eˊ ste se acerca maˊ s a la funcioˊ n coˊ mica del divertimiento del Quijote. Unos y otros divergen en definir el origen de la novela moderna europea. Son esfuerzos teoreˊ ticos, que han valido para ampliar las perspectivas de entender el geˊ nero ‘novela’, pero que se han distanciado bastante del aspecto original de la novela en su momento de nacer. Es decir, la divergenca por una parte y el distanciamiento por otra es el destino inevitable de la crítica del Quijote. Para buscar equilibro entre la divergencia histoˊ rica y la esencia pristina del geˊ nero hay que indagar maˊ s en el espíritu renovador que Cervantes compartiría con nosotros en esta era revolucionaria posthumanista.
  • 4.

    일본의 ‘공자묘 대중화’ 정책과 조선 내 공자묘 인식의 변화 -총독부의 공자묘 개방정책과 그 영향을 중심으로

    Rhyu Mina | 2010, (64) | pp.103~130 | number of Cited : 9
    Abstract PDF
    本稿は、日本帝国主義の植民地政策が前近代時期の文化様式を変形させ、変容した事例を朝鮮の孔子廟をとおして分析したものである。1911年6月、朝鮮総督府は朝鮮王朝時代の孔子廟を開放し、一般大衆の 「公共の場」として用いた。孔子廟は、朝鮮王朝時代において支配集団で あった両班・儒林らの専有物であったが、植民地期になってから総督府に よって「大衆化」され、支配政策の宣伝の場所へと変わっていく。総督府は この政策を「儒教の普及」と「身分差別撤廃の象徴」であると宣伝し、孔子廟 運営に恩赦金を出した明治天皇をたたえた。ところで、実際こうして「大衆化」された植民地期朝鮮の孔子廟は一般大衆のよい「見物」になっていく。また、両班・儒林以外の集団でも孔子廟を利用するケースが登場した。しかし、こうした動きは孔子廟に対する大衆の認識を変えた分、孔子廟を前近代の秩序から維持しようとしていた集団との葛藤をもたらした。総督府は孔子廟を開放し、儒教の普及を完成したと宣伝したが、実際、朝鮮社会においては孔子廟を「外来のもの」として認識したことも多かった。また、総督府は直接管掌した孔子廟のみ運営を許可 していて、個人的な孔子廟の建立や運営は徹底的に防いだ。結局、総督府の 孔子廟開放とは画一的な孔子廟イメージを強いるものに過ぎなかった。戦後、孔子廟は総督府の大衆化政策を真似をし、大衆を包摂していく。今や韓国社会において「韓国精神を代表する儒教文化の伝統」として市民権を得た。植民地支配を経験した東アジアにおいてこうした孔子廟の事例を探すのはそれほど難しくないであろう。筆者は今後もこぅした事例を検討し、植民地経験を多核的な視点から取り上げたい。
  • 5.

    The Perception of 'Depth' in the Phenomenological Constitution of Space : Husserl's 'affective relief' and Merleau-Ponty's 'perceptive itinerary'

    Shin, Ho-Jae | 2010, (64) | pp.131~162 | number of Cited : 13
    Abstract PDF
    Criticizing the classical conception of sensation in empiricism and intellectualism, Merleau-Ponty calls attention to the concrete and vivid experience of sensation and perception in life. Blinded by the prejudice of objectivistic reflection, which regards the visual world as vertically flat and even, both theories above could not explain the phenomenon of ‘depth’ which means no other than the perception of distance. Merleau-Ponty shows that only by the ‘depth’ as inseparable moment of perception, three dimensions of space can open and unfold before our eyes, so that the sens of a materially presented thing is provided for the first time. According to Husserl’ s analysis of kinesthetic sensation, the spatiality of perception has its ground on the transition of thing’ s appearances corresponding to the body’ s movement. The functional cooperation between kinesthetic sensation and the way of thing’ s manifestation works reciprocally in such a way that the motivating and the motivated correlate circularly as two moments within one circumstance of perception. This means that perception has a structure of visual field, which reorganizes itself continuously in regaining stability as soon as it lost equilibrium by transition of sensorial content. A perceived thing obtains its spatial depth in being brought into relief with re-stabilization of this floating field of consciousness. Affection is defined as the propagation of intentional vision, which becomes generated in such a way that consciousness responses to the stimulant exerted by object and world. In this sense, Husserl’ s phenomenological analysis of ‘affective relief’ have something in common with Merleau-Ponty’ s description of depth. For according to Husserl and Merleau-Ponty, the world has its own structural field formed by various levels of protrude and dent, front and background. This means that the world has its own prescribed ‘itinerary of perception’ to be apprehended, after which the intentional vision of subject need to follow in being affected and motivated by the Gestalt of world.
  • 6.

    A Study on Sexuality in Late Chosun Period

    Jung, Byung Sul | 2010, (64) | pp.163~202 | number of Cited : 7
    Abstract PDF
    A purpose of the article is an investigation of sexuality in late Chosun period. I studied three category of sex, knowledge, power and subject. The knowledge about sex was studied through the most famous medical book in Chosun, Donguibogam東醫寶鑑(compiled by Huh Jun in 1613), and the response of political power to sex was investigated through the basic law books used in Chosun, Daejonhoetong大典會通(published in 1865) and Daminglu大明律(the criminal law of Ming Dynasty, China), and the status of sexual subject was through Giijaesangdam紀伊齋常談. Giijaesangdam is a story book mostly about sex, edited in 19th century Chosun. The book was first introduced by me this year. It is a very interesting book showing the sexuality of Chosun people. All the persons in the book are vivid and energetic. Giijaesangdam shows the bright sexual world of Chosun people, that Prof. Someya said. Most of all the Korean think the sexuality was oppressed in Chosun dynasty. But that is not true. Basically Chosun had the sexual openness. The men of upper class had their concubines usually, and the men and women of lower class also had their second spouses to some degree. Only women of upper class had to have a husband, and no divorce was permitted. Sexual oppressions to women of upper class were not real oppression, the purpose of the oppression was not the oppression of sex, but for the Confusianism social order.
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