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2018, Vol.75, No.4

  • 1.

    Textual Encounters’: The Sabians in Qur’aˉnic Exegesis

    Alena Kulinich | 2018, 75(4) | pp.13~50 | number of Cited : 0
    Abstract PDF
    Three verses of the Qur’ān (2:62; 5:69; 22:17) refer to the enigmatic religious community called the Sabians (al-ṣābi’ūn). Mentioned alongside the Jews, Christians and Zoroastrians, their identity has been a matter of disagreement for medieval Muslim authors and modern scholars alike. Muslim exegetes, when commenting on these verses, were obliged to discuss the Sabians too. This article explores the exegetes’ engagement with the Qur’ānic Sabians, focusing on the questions they addressed regarding them and the answers they offered. In the process, the article highlights various factors that shaped the discussion on the Sabians in Qur’ānic exegesis, including consideration of the literal meaning of the verses in question, the conventions of the tafsīr genre, uncertainty about the historical identity of the Sabians, but also the presence of historical communities who self-identified or were referred to as Sabians, and the implications of the ‘Sabian verses’ for the question of salvation for non-Muslims.
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    The Question of Janissaries’ Identity in the Post-Classsical Period (17th to 19th Century): Origins, Spirituality, and Networks

    Yi, Eunjeong | 2018, 75(4) | pp.51~84 | number of Cited : 2
    Abstract PDF
    This article intends to explore the identity of janissaries, which has been popularly assumed as being firmly Sunni Muslim, by looking into the religious backgrounds of recruits in the post-Classical Age, the eclectic beliefs of the Bektashis that were associated with janissaries, and the social networks that they developed. Court records attest to the continuous existence of Christian-turned janissaries some of whom were promoted to important positions in the regiments even as devshirme was reduced and eventually abandoned; records also attest to the janissaries’ close cooperation with the Christian clergy and merchants in their attempts to expand their influence through financial and commercial activities. In short, the identity of janissaries was much more complex than to be simply defined as a Sunni Muslim force; they were rather an Ottoman force, reflecting the mixed nature of post-Classical Ottoman society where most of the pre-existing boundaries were destroyed.
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    Oscillating between ‘East’ and ‘West’: Muhammad Iqbal and an Islamic Recasting of Modernity

    Saffari, Siavash | 2018, 75(4) | pp.85~126 | number of Cited : 0
    Abstract PDF
    This article examines the writings of Muhammad Iqbal as the site of an encounter between Islamic and Western thoughts. It argues that the encounter takes place on two distinct levels. First, critical of what he deems to be the intellectual and material stagnation of Muslim societies, Iqbal draws on modern European philosophies to develop a theory of Islamic modernity and civilizational renewal. Second, alarmed by a supposed moral depletion of European modernity, Iqbal draws on the teachings of Islam’s mystical tradition to negotiate an alternative epistemological and ontological foundation for his theory of modernity to that of European Enlightenment. Highlighting on the one hand the colonial context and on the other the cosmopolitan horizon within which Iqbal’s thinking takes shape, the article offers an account of Iqbal’s creative oscillation between two traditions of knowledge production which he designates East and West.
  • 4.

    The Juxtaposition of “Empire and Colony” and “the Capital and the Provinces” in the Styles of the Exhibition Halls of the Joseon Exposition in 1929

    Yum Bok Kyu | 2018, 75(4) | pp.129~162 | number of Cited : 2
    Abstract PDF
    This research aims to analyse the styles of exhibit halls at the Joseon Exposition in 1929 by the codes of “empire vs colony” and “the capital vs the provinces.” The Joseon Exhibition, held in the middle of colonial period, was characterized by adopting a “Joseon color,” which, in effect, reflected localized colonial governance. The Joseon color stood out especially with traditional Korean features of architecture that adorned the Government-General’s own exhibit hall. Also, the exhibits were displayed along with easily understandable explanations to colonists. On the other hand, special halls of varied local groups or other organizations were built in largely three styles: universal and modern, of strong local color, and of exoticism with no specific origin. In most cases, local communities with abundance in produces and character preferred modernity, while those with less prosperity stressed local color in styles of their exhibition halls. The rest adopted more unidentifiable exotic styles. These juxtapositions of conflicted codes shown at the Joseon Expo reflected the multifaceted status of colonial Joseon within the boundaries of the Japan Empire as well as the unstable status of the colonial capital Gyeongseong in the hierarchy of Japanese imperial cities.
  • 5.

    Imports of Japanese Patent Medicine and the Formation of Medicine Advertisement in Modern Korea: Focusing on Medicine Regulation and Information Presentation Format for Medicine in Modern Japan

    YOUNGSOO KIM | 2018, 75(4) | pp.163~193 | number of Cited : 4
    Abstract PDF
    After the opening of Korean ports in the late 19th century, the movement of goods and passengers became more frequent, which meant that people in Korea were threatened by infectious diseases. Preventive measures against infectious diseases were made, and in this process, many medicines, including westernized drugs, were imported. This article examines the process of regulating medicines and regulatory measures in modern Japan and also explores how Japanese patent medicines had an influence on the expansion of the pharmaceutical market in modern Korea. I will look into the establishment of regulations for medicine, including the situation of the Japanese pharmaceutical market in Meiji Japan. According to the regulation, patent medicines had to provide certain information, such as the manufacturer, ingredients, etc. on the package or container. Although regulations for medicine were promulgated at the time of the Korean Empire, they were for controlling drug sellers, not for supporting for the growing market. At that time, wholesale and retail dealers for Japanese medications and medical supplies, such as Arai Shokai and Yamagishi Shokai, opened their stores in Incheon and they actively advertised their sales items through the Incheon-published newspaper Chosensimpo (renamed as Chosensimbun after 1908). In their advertisements, it is possible to observe a certain format for promoting patent medicines. It is shown in a formal, unified way, and contains information on ingredients, manufacturer, price, etc. The way of presenting information for Japanese patent medicines influenced the advertisement format of Korean patent medicines and the growing Korean pharmaceutical market. The format was borrowed by the Korean drug sellers who actively manufactured new types of patent medicines, which combined traditional and westernized medicinal ingredients. The Governor-General of Korea applied the Japanese regulations on the manufacturing and sales of medicines to colonial Korea in 1912, and the format of presenting information on medicine continued in the colonial Korea.
  • 6.

    The Newspaper Serial Editions and Different Editions of Lee Kwang-soo’s Novel, Yujeong: Restoration of Missing Serials and Revision of Bibliographic Errors

    Joung, Ju A | 2018, 75(4) | pp.195~227 | number of Cited : 2
    Abstract PDF
    This paper is a bibliographic study of Yujeong. The novel was serialized in the newspaper Chosun Ilbo in 1933. Firstly this paper revises basic bibliographic data such as the period and the number of times of the serial publication. In addition, the words and sentences that were changed in the process of publishing the newspaper series into a book are examined. Secondly this paper focuses upon explaining the differences in content between two versions of the Chosun Ilbo series and the book format published by the Samjoongdang company after liberation in 1962. It intends to explain why, in the process of being printed to a book form, the content of the 43rd serial of the Newspaper edition (November 25, 1933) was replaced with different content. For the restoration the missing serial, this paper reviews all the editions of Yujeong that were published under Japanese rule, including the edition published in Japanese. In the process of correcting the mistakes that occurred during the printing of the book, the 43rd serial story of the newspaper and the book resulted in different contents, revealing how different versions of Yujeong were then created. The contents of the newspaper series, the Korean book form, the Japanese book form, and the Samjoongdang book form all differ from one another. Therefore it is possible to identify one original version and three different versions of Yujeong.
  • 7.

    The Recent Cinematic Depiction of Comfort Women and Its Cultural Significance in Korean Society: Examined through “Post-Memory Generation” Discourse

    Kyoung-Lae kang | 2018, 75(4) | pp.229~262 | number of Cited : 2
    Abstract PDF
    This essay examines the recent changes in Korean cinema representing former comfort women. Discourses on comfort women have grown since the early 1990s — the time in which the first testimony of a former comfort woman came out. Early Korean cinematic representations on comfort women were invested in recording the colonial victims’ testimonies in a documentary mode, in the hope of maintaining an ethical distance from the victims’ undescribable experiences. Recent Korean films, such as Snowy Road (Najeong Lee, 2015) and I Can Speak (Hyunseok Kim, 2017), however, mark a deviation from the early mode of cinematic depiction. While dramatizing the traumatic history of comfort women, these films highlight a certain solidarity between two protagonists, often portrayed as two female friends suffering together at a comfort station, or the convoluted relationship between the colonial victims and contemporary Korean people. This essay seeks to understand this newly-conspicuous relationship depicted in these films ― particularly through a theoretical lens of “post-memory generation“ discourse, and in so doing, hopes to disclose how this new cinematic representation of comfort women contributes to establishing a close and family-like relationship between the colonial victims and the young generation in our society, thereby helping to redraw the boundary of contemporary Korean society.
  • 8.

    Intertextuality in Yeom Sang-seop’s “Imported Cat”

    Chang, Du-Yeong | 2018, 75(4) | pp.263~296 | number of Cited : 0
    Abstract PDF
    This paper examined the intertextuality of “Imported Cat” (Baklaemyo), the first piece of fiction written by Yeom Sang-seop. “Imported Cat” is an unfinished work, so comparisons with other works supplement analytical deficiencies and help to understand the meaning of the work. This paper focuses on the fact that “Imported Cat” is a parody of I am a Cat (吾輩は猫である)(1905), and tries to understand the subject and technique of “Imported Cat” by analyzing the mutual textual relationship between two works. This paper also attempts to examine the continuity and development of the Yeom’s interest revealed in “Imported Cat”. In analyzing parody, Linda Hutcheon’s theory that regards parody as a repetition with critical distance was mainly used. As a result, it is confirmed that Yeom consciously parodied the original text and that the reader is required to be conscious of the distance between texts. This parody technique leads to the production of new meanings and contexts. “Imported Cat” criticizes colonial rule and calls for autonomous modernization by appropriating satire and Natsume Soseki’s individualism. The textual relationship with the other of Yeom’s works is also noted. The unique material and idea of “Imported Cat” are repeated in other works. Especially in Before Hurrah (Mansaejeon), the theme of “Observation and Satire During Travel” is repeated. In this sense, “Imported Cat” is an important medium through which Yeom’s literary interests in the early 1920s can be measured.
  • 9.

    Uighur Word Materials in a Manuscript of Huá-yí-yì-yǔ (華夷譯語) in the Library of Seoul National University (VII): yī-fu-mén ‘the Category of Clothing’

    Yong-Song LI | 2018, 75(4) | pp.297~334 | number of Cited : 1
    Abstract PDF
    The Huá-yí-yì-yǔ (華夷譯語) is a general name for the various wordbooks between the Chinese language and its neighboring languages compiled from the beginning of the Ming (明) dynasty (1368~1644). It broadly has four different classes. In the wordbooks of the third class, the words of each foreign language were transliterated only into Chinese characters and the script of the language in question was not used. To this third class belongs the manuscript in the collection of the library of Seoul National University. Its seventh volume is for the Uighur language. It contains 19 categories. Its tenth category is 衣服門 yī-fu-mén ‘the category of clothing’ with 22 entries. In this paper, the tenth category, 衣服門 yī-fu-mén, will be examined.
  • 10.

    A Mephistophelian Betrayal in Gertrude Stein’s Doctor Faustus Lights the Lights

    Byun, ChangKu | 2018, 75(4) | pp.335~375 | number of Cited : 0
    Abstract PDF
    This paper examines how the conflict between the source (the Faust legend) and the style (an avant-gardist) affects Gertrude Stein’s play Doctor Faustus Lights the Lights. To order to present the play in a static, and not dynamic, way, she excludes elements causing dramatic tension. By eliminating conflict and confusion in crucial moments of the plot, and then by repeating simple and uncharacteristic expressions, she invites the readers to pay attention to the present state of the characters. There is a constant movement in the play, but it is only movement for its own sake. As monologic rather than dialogic, speeches are not expressions of personal thoughts. She shocks the readers by betraying their general anticipation of the development of the play. The expectation of the traditional dramatic flow from the well-known legendary sources is disappointed by the language which only exhibits self-referentiality, repeatability and playfulness. It lacks dramatic conflict or suspense, for it excludes dramatic tension. Stein has always argued that good writing should have an entity that is without limit of identity and time. She, like Mephistopheles, hides her intentions and tempts the readers to pursue meaning by themselves from the Faust legend, the western society in the early 20th century, and the ideas of herself. As an avant-gardist drama, the play deceives the readers by presenting the traditional elements in a non-traditional fashion. It is a paradoxical conspiracy to make the readers concern to achieve more productive reception.
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