2019, Vol., No.30

On the Possibility of Convergence in the First-Person and Third-Person Approaches to Consciousness

Youngjin Kiem | 2019, (30) | pp.1~21 | number of Cited : 4

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Light as Cognition Principle -Focused on Anselmus and Bonaventura-

Kim Youngchul | 2019, (30) | pp.22~36 | number of Cited : 0

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A study on the discussion of Buddhist rejection of Confucian scholars in the Six Dynasties period

kim, Hyo Sung , Yoo, Heun-Woo | 2019, (30) | pp.37~67 | number of Cited : 2

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Since the introduction of Buddhism to China, Confucianism and Buddhism have undergone a number of theoretical changes in the course of debating and turning each other. The controversy and convergence between Confucianism and Buddhism begins at the end of the East Han and ends in the Song(宋)·Meyng(明) Dynasty through the Wei(魏)-Chin(晉), North and South(南北) Dynasties, Sui(隋) and Tang(唐) Dynasties. This paper examines the controversial dispute of the East Chin and North and South Dynasty era, the first major debate between Confucianism and Buddhism, focusing on the discussion of Confucianism. The first issue of the Confucian debate was various, but what was noticed in this paper is that the Buddhist saṃsāra(reincarnation)·retribution, and it is a critique of Confucianism on the theory of immortality. These are the three core doctrines of Chinese Buddhism, and the confrontation between Confucianism and Buddhism surrounding it is presumed to be the opposite difference between the world view and human view of India, represented by Buddhism, and the worldview and human view of Chinese tradition. And these problems include the problems of philosophical theories such as substantiation and epistemology. This paper focuses on Héchéngtiān's(何承天) and Fànjìn's(范縝) Buddhist rejection of Confucians(排佛論), whose Buddhist rejection of Confucians criticizes religious theology as a philosophical theory. The more thorough was Shenmielun(the theory of divine destruction, 神滅論) of Fànjìn's. After Héchéngtiān and Fànjìn, Confucianism and Buddhism enter into a convergence stage, and India's view of the world and humanity are absorbed by theology. The three core tenets of Buddhism persisted in Chinese Buddhism but existed only as a part of religious theology. Based on this fact, I would like to argue that the impact of the India view of the world and humanity on Chinese thought was not so great. This is a preliminary consideration when discussing the mutual influence of Confucianism and Buddhism.

Yangpyeong Yongmunsan Buddhist Translation and Acceptance

Hwang, InGyu | 2019, (30) | pp.68~88 | number of Cited : 3

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Image Schema Analysis of Korean Aspect -Focused on the ‘-eo issda’ and ‘-go issda’-

Li, Lin Rong , Han, Yong Su | 2019, (30) | pp.89~106 | number of Cited : 1

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A Study on the Visuality of the Local Propaganda Media <Buseilban> during the Japanese Colonial Period

Yoo ,Choon Dong , Hye-Eun Lee | 2019, (30) | pp.107~121 | number of Cited : 5

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A Study on the Story of Hong Gil-dong as the Kino Drama Produced by Shinmoodae in the 1930s

kim nam-seok | 2019, (30) | pp.122~141 | number of Cited : 1

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A Study on the Variations of the Learning Cartoon in <Samkukyusa>

kim dae beom , Ko Hoon | 2019, (30) | pp.142~160 | number of Cited : 1

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An Abused Boy and a Rebel: Two Representations of Hong Kiltong by Allen and Hosoi

Lee Sang-Hyun | 2019, (30) | pp.161~187 | number of Cited : 8

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The paper aims to reveal two representations in the translations of Hong Kildong Jeon(<洪吉童傳>). One is N. H. Allen's English translation, "Hong Kil　Tong; or, The Adventures of an Abused Boy," in 1889. The other is Hong Kiltong Jeon by Hosoi Hajime(細井肇) in the early 1910s as a part of Japanese Translation Project. Allen was a diplomat while Hosoi was a journalist. Though their careers are different, they share the view that 'the Story of Hong Kiltong' does not deserve to be known around the world and Hong Kiltong is neither a national hero nor a righteous Robin Hood. Allen's original text is Hong Kiltong Jeon printed from wood-blocks in Seoul. Allen changes Kiltong's birth and runaway episode considerably and dichotomizes Kiltong's family into good and evil. Therefore, Kingtong's sufferings from his family members are more highlighted than the original text. It can be said that Kiltong's character is changed into as an abused boy. On the other hand, Hosoi's portrayal has a different aspect. Hosoi belonged to the Japanese Translation Project arranged by a Japanese Civilian Group in Korea under Japan's rule. It is difficult to define which edition Hosoi uses as an original text because he seems to use both Hong Kiltong Jeon of Seoul wood-block print and a handwritten Hong Kiltong Jeon version. The handwritten text contains more detailed narration in some episodes than the wood-block edition. Hosoi highlights Kiltong's actions as a boss of Hwalbindang(活貧黨: Save-the Poor) while he reduces Kingtong's birth and runaway episode and the abroad idealized state foundation episode. Hosoi's deliberate portray reveals that the Japanese Group intends to make readers view Hong Kintong as a rebel to the state and government. In short, Allen portrays Hong Kiltong as an abused boy and Hosoi as a rebel respectively.

The Novels of Kim Dong-in after the Liberation and Self-rationalization for eradication of Pro-Japanese Collaboration

HA SANG IL | 2019, (30) | pp.188~204 | number of Cited : 4

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The pro-Japan literary men at the end of the Japanese colonial period assert that there is a greater heteronomy aspect than the autonomy aspect since their pro-Japan activities during the colonial period were a inevitable choice attributable to the oppression of the Japanese rulers and deed for people. However, the cooperative writings in favor of Japan before the liberation and the task of eradication of pro-Japanese collaboration after the liberation have the same implication in fact. Thus considered, it was the outcome of the voluntary survival strategy to protect their own interests from the realistic crisis that they were encountered with. In this point, bringing the critical issue on the pro-Japanese collaboration at the end of the Japanese colonial period may approach to the empirical truth by paying attention to the narratives of oblivion and distortion appeared in the writings of those pro-Japanese writers after the liberation. In the novel of Kim Dong-in, 「The Traitor」released after the liberation, Kim Dong-in made Lee Gwang-soo who was at the center of the criticism of the pro-Japanese writers as the main character to emphasize that his record was completely irrelevant to pro-Japanese collaboration at the end of the Japanese colonial period. In addition, Kim Dong-in released 「Manggukingi (Story of Man from Fallen Country)」 and 「Sok- Manggukingi (Sequel to Story of Man from Fallen Country)」, and through these two novels, he asserted that he devoted his life to keep the innocence in literature far from anything in political sector. Especially, he emphasized more than anything else that he was the man of literature who dedicated his full endeavors in using the language of Joseon to demonstrate his national spirit without complying with the Japanese Rulers, and this is attributable to the fact that the novel writing of Kim Dong-in based on such self-rationalization comes from his detailed calculation to place the highest priority in fending off the criticism on his pro-Japanese collaboration activities at the end of the Japanese colonial period. With the focus on these issues, this article analyzes the narratives of oblivion and distortion appearing in the novel of Kim Dong-in, and through this effort, it intends to take a look at the critical view on the attitude of self-rationalization displayed in the process of executing the encountered issue of the eradication of pro-Japanese collaboration.

Universalism in History and Ethics -in View of Hans Graeves Phenomenological investigation into Realgeschichte or Reale Weltgeschichte-

Cho,Kwan-Sung | 2019, (30) | pp.205~222 | number of Cited : 0

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Chinese Neologisms in the Era of New Media

Zuo Simin | 2019, (30) | pp.223~242 | number of Cited : 0

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PHILOSOPHY·THOUGHT·CULTURE 2023 KCI Impact Factor : 0.5

2019, Vol., No.30