2014, Vol.71, No.3

Some Aspects of Laughter in the Autobiographical Writing of J.-J. Rousseau - How to Overcome the Fear of Ridicule

leeyongcheol | 2014, 71(3) | pp.9~44 | number of Cited : 3

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Acts and Events - Ethics and the Architectonics of Life in M. Bakhtin’s Thoughts

CHOI Jin Seok | 2014, 71(3) | pp.45~75 | number of Cited : 10

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Korean Appropriation of Avant-garde Art (1) - Jean Cocteau and Yi Sang

Song Minho | 2014, 71(3) | pp.77~115 | number of Cited : 3

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This paper is the first article of a sequential project that aims to investigatehow the artistic practices of the Western Avant-garde influencedKorean artists. This article investigates, in particular, the issue of how anessential part of modernist thought in Yi Sang’s works was affected byJean Cocteau’s cubism art. Literary writers in colonial Joseon, includingYi Sang, Jung Ji-yong, Kim Ki-rim and Park Tae-won, could read almostall documents and books on Western literature and art, including theworks of Jean Cocteau, through their Japanese translations. Through theseJapanese translations, they could also participate in the artistic universalityand modernity. The translation of Jean Cocteau’s works published inJapan in the 1930’s was obtained and it was confirmed that the words ofJean Cocteau cited by Yi Sang were mostly quoted from the Japanesetranslation. Finally, attempts were made to pinpoint the exact point atwhich Yi Sang’s intervention into modernist thought, through JeanCocteau, took place. The idea of avant-garde art that Jean Cocteau had advocated at the timegained concrete form through the Cubist artistic practices of Picasso inpainting and Eric Satie in music, etc. The artistic philosophy of Cubismwas derived from Einstein's theory of relativity which produced the perspectiveof a scientific understanding of the dimensional structure of theworld. Thus, Cubism was an artistic practice based on rigorous scientifictheory, which was the reason why it could be an international thought. Yi Sang also participated in the avant-garde stream of thought throughthe early series poems, “3 dimension/angle blueprint.” Furthermore, inadopting a variety of poetic images from Jean Cocteau’s poems, in theprocess of understanding and accepting his overall art world, Yi Sang createdhis own artistic world. In particular, the fact that the images of the‘angel’, ‘Venus’ and ‘arm stump’ etc. present in Yi Sang’s early poemsreveal the influence of Jean Cocteau, and the way in which Yi San consideredthis impact as an opportunity for new creation is identified in thispaper.

The Re-examination of Coordination and Subordination

Kim keonhee | 2014, 71(3) | pp.117~157 | number of Cited : 8

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A Study on Derivational Root Analysis in Korean Color Adjectives

HONG SEOK JUN | 2014, 71(3) | pp.159~197 | number of Cited : 1

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The purpose of this article is to examine the root derivational suffixesthat have been identified as thus in previous analyses of Korean color adjectives,and to determine whether they are roots or root derivationalsuffixes. Word forms that combine a derivational root with the adjective-derivational suffix ‘-hada’ (for example, geomus-hada, geomuseuleum-hada), account for most of the Korean color adjectives. Theinvestigation of these root derivational suffixes began by compiling a listof root derivational suffixes based on previous studies. The concept of theroot derivational suffix, along with the criteria for distinguishing roots androot derivational suffixes, was then established. The latter consists of thefollowing: 1) the root derivational suffix must be a root formational element,2) the root derivational suffix is not a lexical morpheme but agrammatical morpheme, 3) the root derivational suffix must have its originalmeaning and constrain the meaning of the front element of complexroot. As a result, it is proposed that most of the previously identified one-syllable-repeating root derivational suffixes, such as -(eu)dede,-(eu)daengdaeng, -(eu)jabjab, -(eu)sugsug, -(eu)jogjog, -(eu)chugchug,-(eu)chungchung, -(eu)tete, -(eu)twitwi, -(eu)tungtung, -cheugcheug,-(eu)chigchig, are in fact roots and not root derivational suffixes. The mostimportant basis for this is the fact that roots having the same form andmeaning as that of the one-syllable-repeating root derivational suffixes alsoexist in words such as dede-hada, chungchung-hada, twitwi-hada andthe like. Root derivational suffixes such as -sung, -sil, -jag, -(eo)muteuleum,-ggeum, -ggeus, -ddeug, -ggeule, -ggeumule, -(eu)ggeuleum whichwere combined with less than two stems were also examined and it wasdetermined that they too were closer to roots than root derivational suffixes,as they had enough lexical meaning.

Park Hwaseong’s Novel, Baekhwa

ROH YEON SOOK | 2014, 71(3) | pp.199~243 | number of Cited : 5

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The City Image in Yeom Sang Seob’s Novels

Yu Inhyeok | 2014, 71(3) | pp.245~283 | number of Cited : 3

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A Study on the Formation Process and Features of the Surrealism Poetics of Jo Hyang

Hong Rae-seong | 2014, 71(3) | pp.285~321 | number of Cited : 11

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This study examines Jo Hyang’s initial activity, from the Nangmanpaperiod to the end of the 1950s, in order to consider the formation processand features of Jo Hyang’s surrealism poetics. Nangmanpa, a publicationthat Jo Hyang played a lead role in, may appear to be unrelated to surrealismbut an analysis of Jo Hyang’s comments in Nangmanpa suggestsotherwise. The romance that Jo Hyang supported differed from the existingromance and is likely to have been connected to surrealism. Therefore,Jo Hyang’s surrealism from the 1950s appears to have originated not asa result of the conversion of literary trends but from the gradual manifestationof his internal consciousness. Criticism against the literary circles ofthe metropolis also played an important role in making concrete JoHyang’s surrealism. Jo Hyang did not produce any visible results during the ‘Hubangi’ circleperiod. Jo Hyang’s activities at the time can only be observed throughhis writings in Jugan Kukje and the ‘College Korean Language Series’. It is from this ‘Hubangi’ period that he constantly published surrealism relatedwritings and it can be said that Jo Hyang’s surrealism poetics wereestablished by the end of the 1950s. Unlike the surrealism of Western European, which focused on image itself,Jo Hyang’s surrealism poetics was not only limited to image; he didnot give up the world of values. In other words, Jo Hyang pursued notonly images but also values. Jo Hyang first made rough drawings throughautomatism and then attempted to produce surrealism poems by using themontage technique. The montage technique consisted of the following twokinds: one which combined rough drawings with probability to give specificvalue, and the other did so without probability to disclose the imageitself. As such, Jo Hyang’s surrealism poetics involved the production ofpoems of two different kinds of systems.

The Epigraphic Materials Transmitted to Qing China

Herin Jung | 2014, 71(3) | pp.323~357 | number of Cited : 2

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Two Translated Annals – The Annals of King Taejo and the Manchu Veritable Records

Kim, Juwon | 2014, 71(3) | pp.361~378 | number of Cited : 1

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The Humanities’s Turning toward the Abyss

Youn-ho Oh | 2014, 71(3) | pp.379~390 | number of Cited : 0

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KJCKorea
Journal Central

Journal of Humanities, Seoul National University 2023 KCI Impact Factor : 0.89

2014, Vol.71, No.3