Yu Kil-chun (1856–1914) was a pioneering theorist in Korea’s Patriotic Enlightenment Movement. Through works such as Sŏyu kyŏnmun, he proposed a new path for the development of Korean civilization. Yu’s encounter with Pak Kyu-su in his early years prompted his interest in Western civilization. He soon decided to study abroad and experience the Japanese and American civilizations first-hand. Based on his experiences, Yu proposed a general blueprint for political reform during the Kabo Reform of 1894. In 1908, he initiated (...) a political reform movement at the provincial level by organizing two groups named Hŭngsadan and Hansŏng Puminhoe. Subsequently, Yu Kil-chun’s enlightenment theory and writings on reform were regarded as a classical model that helped to initiate the modernization of Korea. However, the existing literature concerning Yu’s work exaggerates the progressive role he played and overlooks the logical contradictions and limitations inherent in his ideas. In this article, I conclude that the contradictions in Yu Kil-chun’s enlightenment theory stem from his moral understanding of civilization and the rights of the people. As a result, the project he envisioned ‘to make all people gentlemen’ ultimately focused on how to raise Confucian subjects of an empire rather than how to cultivate modern citizens. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art as a Political Act:Expression of Cultural Identity, Self-Identity, and Gender by Suk Nam Yun and Yong Soon MinHwa Young Choi Caruso (bio)IntroductionA number of artists of color, including Asian American women, are creating art from the basis of their lived experiences. Within minority groups searching for their cultural identity, establishing self-identity is an important process. For various psychological and sociological reasons, artists seem inspired to seek (...) deeper meaning and a broader participation in cultural work.1 Asian American women artists, in particular, are currently making art as a means of exploring self-identity, cultural identity, and gender issues. Korean/Korean American minority women artists are creating art as a reaction to their cultural upbringing, which questions issues of identity, gender, ethnicity, politics, cultural, and socioeconomic status. These contemporary artists are breaking away from traditional cultural expectations and overcoming social barriers as artists, women, and Koreans/Korean Americans. With the growing public awareness of women's consciousness and sense of self as women in Korea and as an ethnic minority in America, these artists are redefining their identity. Despite the traditional patriarchal Confucian hierarchy; lack of social, institutional, and political support; and stereotypic gender, cultural, and socioeconomic status expectations for women, a few have stepped out of their traditional roles as women and have become successful artists in Korea and America.The artworks of these artists are worthy of investigation because they appear to be a culturally, socially, and politically motivated artistic expression of the complex multifaceted Korean/Korean American life experiences as women and as Korean immigrant members of a cultural (ethnic) minority in American society. Therefore, two main research questions can be posed: [End Page 71]• Given that art can be constructed out of layers of different experiences and influences, to what extent do the dimensions of cultural identity, self-identity, and gender interweave and contribute to the function of art as a political act for Korean/Korean American women artists?• How do Korean/Korean American cultural, social, and female experiences influence the artistic expression of Korean/Korean American women artists?In order to answer these questions, I selected case study methodology2 and adapted elements of interpretive biography,3 and narrative approaches as developed by Wallace and Gruber.4 According to Denzin,5 interpretive biography involves the collection and analysis of personal experiences, life documents, stories, accounts, and narratives that describe turning-point moments in individuals' lives. Denzin argues that personal experiences and personal stories are derived from a larger cultural, ideological, and historical context. The intent of the biographical project is to problematize the social, economic, cultural, structural, and historical forces that shape, distort, and otherwise alter lived experiences.By using narrative case study methods, I explore elements of self-identity formation, cultural identity, gender issues, personal thoughts, artistic expression, meaning of artworks, professional achievement, and life circumstances. I examine each participant's life in the Korean and American historical, cultural, social, and political environments. I interpret participants' outer lives (what they do) and inner lives (feelings, thoughts, inner self) to capture their deep, profound life experiences. I examine salient themes of their art expression and how the role of art and artistic activity is a part of political, cultural, social, and feminist activism. I further investigate their professional activities in order to identify the multiple roles that contribute to personal and professional identity formation.For the purpose of this study, I selected the contemporary Korean woman artist Suk Nam Yun and the contemporary Korean American woman artist Yong Soon Min as primary participants. These two women artists, despite many social and cultural barriers, chose to become artists; feminists; and social, cultural, and political activists; in addition to fulfilling traditional Korean family and domestic roles. Yun and Min are regarded as the leading contemporary Korean/Korean American women artists whose artworks deal with issues of cultural, social, feminist, political, and hybrid identity and art as political activism.Lippard acknowledges that visual images play an increasingly important role in society.6 Art that connects everyday experience with social critique and creative expression becomes a vital means of reflecting upon the nature of society and social existence.7 Artworks can function as... (shrink)

Zenpen Kyūsō Sensei bunshū -- Hoi Kyūsō Sensei bunshū -- Kōhen Kyūsō Sensei bunshū -- Furoku Kyūsō ikkō.

1. Han'guk Sinhak kwa Tasŏk Yu Yŏng-mo -- 2. Segye wa habil hanŭn hana (il) ŭi Sin -- 3. 'Kŭrisŭdorok', minnŭn chadŭl ŭi chŏngch'e rosŏ Kŭrisŭdo -- 4. 〓, sum, kim -- 5. Tasŏk ŭi samjaeronjŏk samwi ilch'eron -- 6. Tasŏk ŭi suhaeng : mihakchŏk in'gannon -- 7. Hugi-Kŭrisŭdogyo sidae ŭi Tasŏk sinhak -- 8. Kyŏllon : Tasŏk Sinhak yŏn'gu e taehan p'yŏngka wa chŏnmang.

Hannah Arendt’s conception of violence in On Violence ignores cases in which violence becomes an expression of power. Through my discussion of a government’s use of violence to control criminal violence and the Algerian Revolution, I argue that an Arendtian communicative relationship between power and violence is unrealistic; a decision to use violence can arise within a government bureaucracy or between an anti-colonial group and their supporters, but not between a colonial oppressor and the oppressed. The decision to use violence (...) is a product of power and cannot actually expect a literal public support. Since the decision arises from the power an entity has over others and the need to maintain power, it is unrealistic for power to rule absolutely or for violence to disappear because there is absolute power. Arendt’s central claim is insufficient because it does not consider how using violence is a decision arising from power. (shrink)

This paper examines an aspect of the grammar-interaction interface with respect to how participants orient to intra-turn phrasal unit boundaries as a locus that has interactional import for turn and sequence organization in Korean conversation. Phrasal unit boundaries in Korean serve as a space within a turn in which the speaker of the turn in-progress invites the recipient to acknowledge the speaker's point expressed up-to-that-point and collaboratively display his/her understanding thereof. In a sequentially and topically 'ripe' context, such unit boundaries (...) often constitute places where more active participation on the part of the recipient is invited in the form of collaborative completion in which the recipient co-constructs the primary speaker's on-going turn. Phrasal unit boundaries also provide interactional resources which the speaker may exploit to sequentially delete out a problem in talk, e.g., by a sort of tying operation in which a subsequently added phrasal unit ties back to the speaker's previous utterance to the effect that the intervening talk containing a problem is canceled out by way of being shown to have been an interruption of the speaker's turn in-progress. This practice points to an aspect of the way in which the 'agglutinative' grammatical process involving the use of phrasal units shapes interactional patterns as observed in the course of organizing turns/sequences and managing problems in talk. (shrink)

Recent scholars focus mainly on Paul’s use of ‘brothers (and sisters)’ or ‘brother (and sister)’ in Greco-Roman epistolary conventions and cultural backdrops. However, Jewish dimensions (particularly ethnic dimensions) of Paul’s sibling language still remain unexplored in current scholarship. Furthermore, scholars have not drawn much attention to how Jewish letter writers use sibling terms in their letters. This article offers a new interpretation on Paul’s sibling language in light of its Jewish usage. We should note that Jewish letter writers did not (...) address their Gentile letter recipients as ‘brother(s)’. However, Paul did call his recipients ‘brothers’. It is unlikely that Paul employed sibling language without being aware of its common Jewish usage. The author proposes that Paul’s sibling language is used in the context of an ethnic insider designation (shared ethnicity), and that ascribing the title of brother to believers including Gentiles signals the re-definition of the family of Abraham. (shrink)

우리 시대 시사토론의 명사회자 김규칠이 21세기의 새로운 희망을 제시한 책. 본격적인 개혁시대로 도래한 현시점에 있어서 신문화 운동과 문화력 구축 운동 등에 관한 글들을 모아 엮었다. 또한 동양고전들 중에서 공직자에게 본보기가 될 만한 인물들을 가려 뽑았다.

Volume 26, Issue 2, June 2019, Page 163-167.

피론주의를 부활시켰던 아이네시데모스는 고대 회의주의 역사에서 독특한 위치를 차지하고 있다. 처음에는 아카데미 학파의 일원이었으나, 독단주의로 경도된 아카데미학파를 떠나 회의주의자인 피론에게서 새로운 철학의 가능성을 찾았기 때문이다. 그가 부활시킨 피론주의는 크게 다음 3가지 특징을 가진다.BR 첫째, 아이네시데모스의 주저는 『피론의 담화』이나 현존하지는 않는다. 그 대신, 디오게네스 라에르티오스의 『철학자 열전』, 섹스투스의 『피론주의 개요』, 에우세비오스의 『복음의 준비』에 등장하는 아리스토클레스의 언급 그리고 포티우스의 『도서관』등에 이 책의 단편적인 내용들이 존재한다. 섹스투스와 라에르티오스의 보고는 정당하나, 아리스토클레스와 포티우스의 보고는 많은 문제점을 안고 있다. 특히, 후자들은 그의 회의주의를 소개하면서 그의 철학적 (...) 목적을 인식론적 토대의 부재성에 찾고 있으나, 그의 철학을 인식론적인 것으로 한정하고, 그의 회의주의적 태도를 자기모순적인 것으로 이해하는 오류를 범하였다. 그러기에, 아이네시데모스의 회의주의에 대한 논의는 라에르티오스와 섹스투스의 기록에 힘입어 재구성되어야 한다.BR 둘째, 아이네시데모스의 회의주의에는 “이소스테네이아(isostheneia)”에 근거한 양립화의 기술이 있다. 이 기술을 통하여, 그는 모든 문제에 있어서 긍정적인 논증과 부정적인 논증이 동시적으로 성립될 수 있는 가능성을 보여준다. 하나의 이슈에 동일한 힘을 가지고 있는 대립항을 성립시키고 인식론적 판단유보를 이끌어냄으로써, 그는 사물의 한쪽 면만을 절대시하는 인식론적 독단주의로부터 자유로워지고, 마음의 평안(ataraxia)을 획득할 것을 강조하였다.BR 셋째, 아이네시데모스 회의주의의 중심에는 10개의 논증방식들(tropen)이 있다. 10개의 논증방식들은 ‘주체에 기인한 논증방식’, ‘판단되는 대상에 기인한 논증방식’ 그리고 ‘주체와 객체 양자에 기인한 논증방식’이 있으며, 3개의 상위 논증방식들은 다시 1개의 최상위 논증방식인 ‘상대성에 기인한 논증방식’으로 수렴된다. 그의 논증방식들은 딜레마적인 형태를 갖춘 10가지 파괴적인 논증방식으로, 판단의 가능성에 대한 그의 논증의 형태이자 체계적인 이해의 산물이다. 아이네시데모스는 이 파괴적인 논증방식들을 사용함으로써, 그는 인식론적 독단주의를 제거하고, 마음의 혼란을 잠재우고자 하였다.BR 결론적으로, 아이네시데모스는 새롭게 부활한 피론주의에 최고의 논증방식을 제공한 최초의 피론주의자였다. 물론, 그의 철학에 대한 많은 오해가 있음에도 불구하고, 그는 초기 피론주의를 확립하는데 부족함이 없었다. 이후, 섹스투스는 이러한 아이네시데모스의 성과에 힙 입어 성숙한 피론주의를 완성한다. (shrink)