• Cartoon and Animation Studies
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• s.33
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• pp.247-270
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• 2013

Kim, Yong-Hwan is a one of the South Korean major cartoonists between 1940s and 1960s. Kim, Yong-Hwan drew a variety of genres from children's cartoon to current-affair cartoon. Furthermore, Kim, Yong-Hwan took the lead in publishing cartoon magazine and newspaper after the Independence, and has been highly appreciated as a pioneer of Korean cartoon. Kim, Yong-Hwan created many works in the fields of illustrations, Oriental painting, history painting, caricature, etc. After going study for painting to Japan, Kim, Yong-Hwan made his debut as an illustrator called Kita Koji in Japan. However, not much is known about his works in Japan, only there is a simple data about his Japan period and some pieces of illustration during Japan years. In this paper, I examined in detail about Kim, Yong-Hwan's work activity in Japan which has been little known in Korea for a long time. I studied on illustrations in magazines and books which he drew in the name of Kita Koji, on the basis of the data of the National Diet Library of Japan. I could know that Kim, Yong-Hwan worked actively in a diversity of publishers and magazines. In addition, I could realize that many magazines in which Kim, Yong-Hwan drew illustrations were very popular ones. This demonstrates that Kim, Yong-Hwan was much recognized in Japan for his talent. However, a large number of Kim, Yong-Hwan's illustrations were published from late 1930s to mid-1940s. This period was the years that Japan concentrated all her energy for World War II. All the publishing were severely censored during this period. A majority of publishing in this period supported Japanese militarism, and glorified Japan's war policy. Kim, Yong-Hwan's illustrations were no exception, too. It was really sorry about his activity during his Japan period. This essay means a lot to a field of cartoon studies in terms of a collection of materials during Kim, Yong-Hwan's Japan period. Besides, I think that henceforth, this paper can contribute to a follow-up study on Kim, Yong-Hwan' work and his broad background.

• Sijohaknonchong
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• v.21
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• pp.77-110
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• 2004

This study is an exploration of a Korean-American writer, Hong-Eun's Mong-yu siga. Hong-Eun immigrated to the United States during the colonial rule of the Japanese government. He was a publisher of The New Korea Times, and contributed various literary works to it. The purpose of this study is to analyze his two Mong-yu sigas published in 1935 and 1947 and elucidate their meanings. Using dream as a primary motif, the intention of Mong-yu mode is to achieve desire which is impossible to reach in reality. While his staying in the United States, Hong-Eun could not return his home country for two reasons, that is, political and financial ones. To return Korea desperately, he wrote sigas by adopting Mong-yu mode. His first attempt was reflected as eight pieces of consecutive poetries titled This Mountain In My Dream, I am Home. This Mountain was published on the 25th of April, 1935 and In My Dream, I am Home was contributed from May the 9th of 1935 to July the fourth of the same year. These works were published in the The New Korea Times' poetry column under the pen name of Donghae-soboo , Representing gasa of the enlightenment era, this poetry depicts historical identity of Chosun dynasty, especially focusing on before and after the 1900s. As a result of it, the poetry sketches the ideology of the Middle Ages. His second attempt was A Country and Hometown written as a form of prelude on the 25th of September, 1947. In addition, A Country in My Dream was published as a form of six pieces of consecutive poetry from October the second to November the sixth of 1947. He chose sijo as a major form of poetry, and the image of the poetry seemed to be the continuation of his first attempt. Confronting the reality of the his own country which is divided, the writer expresses his antagonism toward America and Russia. Although he could eventually return his country later, he rationalized himself by saying that his it is not the ideal place to go. Mong-yu mode is a traditional poetic technique which the intellectuals of the Middle Age used to use as one pattern of allegory. In addition to this, in the period of the enlightenment of Korea, Mong-yu was used to avoid the Japanese censorship and experiment on the diverse ways of writing. In terms of literary history, the significance of Hong-Eun's creation of Mong-yu sigas is that Hong-Eun shares the same intention with Korean intellectuals of the enlightenment period.

• The Journal of Art Theory & Practice
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• no.4
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• pp.33-56
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• 2006

The cultural debates between conservatives and liberals at the end of the 1980s and in the early 1990s were termed as "culture wars." The "culture wars" involved a diverse range of controversial issues, such as the introduction of multicultural curricula in educational institutions, prayers in schools, whether to allow gays to serve openly in the military, and whether abortion should be permitted. The most heated debates of the "culture wars" regarding art raged over the NEA and the question of whether Andres Serrano's works should have been publicly funded, in addition to the exhibition "Robert Mapplethorpe: The Perfect Moment" which were charged as projecting "obscene" or "blasphemous" images. This paper examines the development of culture wars in art and focuses on several issues invoked by the NEA debates. However, it is not a detailed chronological investigation. Rather it pays attention to the several phases of the debates, analyzing and criticizing the clashes of the political and esthetical points of views between conservatives and liberals. How could NEA funding, a mere fraction of the federal budget, have become so critical for both sides(conservative and liberal), for politicians and artists' groups, and for academics and the general public? The art community was astounded by this chain of events; artists personally reviled, exhibitions withdrawn and under attack, the NEA budget threatened, all because of a few images. For conservative politicians, the NEA debate was not only a battle over the public funding of art, but a war over a larger social agenda, a war for "American values and cultures"based on the family, Christianity, the English language, and patriarchy. Conservative politicians argued the question was not one of "censorship" but of "sponsorship," since the NEA charter committed it to "helping museums better serve the citizens of the United States."Liberals and art communities argued that the attempt to restrict NEA funding violated the First Amendment rights of artists, namely "free speeches." "No matter how divided individuals are on matters of taste," Arthur C. Danto wrote, "freedom is in the interest of every citizen." The interesting phase is that both sides are actually borrowing one another's point of view when they are accompanied by art criticism. Kramer, representative of conservative art critic, objected the invasion of political contents or values in art, and struggled to keep art's own realm by promoting pure aesthetic values such as quality and beauty. But, when he talked about Mapplethorpe's works, he advocated political and ethical values. By contrast, art experts who argued for Mapplethorpe's works in the Cincinnati trial defended his work, ironically by ignoring its manifest sexual metaphor or content although they believed that the issues of AIDS and homosexuality in his work were to be freely expressed in the art form. They adopted a formalistic approach, for example, by comparing a child nude with putti, a traditional child-angel icon. For a while, NEA debates made art institutions, whether consciously or unconsciously, exert self-censorship, yet at the same time they were also producing positive aspects. To the majority of people, art was still regarded as belonging to the pure aesthetic realm away from political, economical, and social ones. These debates, however, were expanding the very perspective on the notion of what is art and of how art is produced, raising questions on art appreciation, representation, and power. The interesting fact remains: had the works not been swiped in NEA debates, could the Serrano's or Mapplethorpe's images gain the extent of power and acceptance that it has today?

• Journal of The Korean Association For Science Education
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• v.18 no.1
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• pp.93-108
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• 1998

This study investigated science textbooks used from 1906 to 1915 in Korea, which is often neglected in previous researches. By doing so, more practical and specific understanding of the science education during that period can be made. It was based on the historical achieves "School Textbook List"(Vol. $4{\sim}9$) which was published by the Ministry of Education and the Government General of Chosen and other sources. The results and conclusions of the research are as follow; (1) The science textbooks which have been used from 1906 to 1915 in Korea can be categorized into three different tapes of books, either written in Chinese, or in Japanese, or in Korean. The names of science textbooks were Nature Study, Physics, Chemistry, Natural History, Hygienics, Physiology, Zoology, Botany, Astronomy, Physiography, Mineralogy, Geology. These names were much broader than those in curriculum settled by the government and rather correspond to the names of science textbooks in curriculum which settled by private schools. Therefore those science textbooks had been mainly used in private schools. Moreover almost all of the science textbooks published in Korea have started to appear after 1906. Since then many schools were newly opened and the number of students increased. It is possible to say that substantial science education in Korea established after 1906. (2) Science textbooks from 1906 to 1915 printed in Korea were controlled in their use by the Ministry of Education and the Government General of Chosen. They were the main means of government regulations, supported by Private School Ordinance, Regulations for Official Examination of textbooks in 1908 and Law of Publication in 1909. According to the result of official examination, as the time went by under the Japanese ruling of Korea, the increasing number of science textbooks were getting banned. While the science textbooks had enjoyed more freedom than the other textbooks from the control by inspection of the Government General of Chosen, the situation has been significantly changed as Japan started to intensity the control of all kinds of textbooks in Korea. Although there were a lot of copied science textbooks, 62 science textbooks printed in Korea, 72 Japanese science textbooks were used in Korea, and 40 Korean were to be engaged in science education compiling and copying science textbooks. There developments in science textbooks alone suggest that there were enormous amount of potentials in Korean science education at that time. However, all of these effects and progresses were destroyed when the sovereign authority of Korea was lost to Japan in 1910.

• Cartoon and Animation Studies
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• s.48
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• pp.311-332
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• 2017

Currently, the world is making efforts to develop cultural industries around more refined parts of the world. The development of cultural industries has far-reaching implications for promoting national brands and national image promotion as well as economic benefits. In particular, China hopes to advance into its own animation market because it has an extensive animation market. In 2005 The Chinese government, however, banned foreign animation market from entering the Chinese animation market. However, at that time, Chinese animation firms also saw considerable economic losses because they had to undergo almost everything from animation to distribution to rationing. In fact, the policy was designed to protect Chinese animations, but instead of preventing Chinese animations from developing original contents, it caused various problems such as China's animations, or the development of Chinese animation industries. In this thesis, we will explore the policy related to animation industry in China, research and development of animation industry, and establish the direction of development of Chinese animation industry through suggestion of improvement in Chinese animation industry. For starters, we have diversified the contents of the Chinese animation industry by adapting the contents of the Chinese animation to the global market through the globalization of contents, stories and materials. Currently, animation is developing beyond 3D,4D and VR but there is no shortage of animation experts in China, so it is necessary to nurture specialized professionals by opening a related department in China. Also, the government will establish a National Animation Industry complex to work in various animation companies. We expect to develop cultural contents through mutual cooperation between animation companies in China and the sharing of information sharing and collaborative research.

• (The)Study of the Eastern Classic
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• no.59
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• pp.121-156
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• 2015

Memorials in Joseon Dynasty created a arena where the intellectual and political power met. This thesis traces the process of a certain political faction's rebuilding of the political structure of the elite groups by leading the intellectual controversies through memorials, especially those about the evaluations of Pak Setang(朴世堂) and I Gyeongseok(李景奭). This is what happened: Song Siyeol(宋時烈) submitted a memorial which disputed I Gyeongseok's petition, which provoked complete controversies around the memorials between Noron(老論) and Soron(少論). This led to the academic censorship against Sabyeonrok written by Pak Setang. The analysis of act of writing and submission of memorials by Noron and the role of the Kim Family of An-dong(安東 金門) specifically is the main topic here. The members of Soron ceaselessly criticized Song Siyeol, while the Kim Family strongly defended him. The trigger of the strife was a letter written by Kim Chang-Heup(金昌翕), a member of the Kim Family and the Kims played a significant role in the background during the process of political fights using memorials. The series of memorials criticized or supported certain political figure or his writings, but the opinions of Noron and Soron were directly opposite to each other. Even though the expressed difference was the result of the existing political factions, however, it also caused the new power structure of elite groups. The expressions and logics used in the arguments also have its significance. The Noron's memorials evaluated the contemporary people and their writings based on Chu-Hsi and Song Siyeol, who was regarded as a identical figure of Chu-Hsi. The arguments and writing strategies in this regard gained political strength enough to reorganize the intellectual society by changing alignment of political parties, and this led to the rebuilding of academic environment afterward.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.87-122
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• 2020

This study explores the method of representation of traumatic history in 2D horror game Detention developed by Taiwan game production company Red Candle through an analysis of its method of storytelling. Unlike conventional public media, video/digital games are based on interactivity, in which game players engage in the narratives. Thus, the relationship between players and the history in the game world may also change. This research investigates how the players build their way of remembering and recognizing the past in a different relationship. Detention, which was well received, not only in Taiwan but also around the world upon its launch in 2017, is set in a middle school during the martial law era in Taiwan in the 1960s. In the game, the main character encounters her lost memories in the process of following clues and game rules, and finally realizes she is implicated in the 1960s' event. Detention was cinematized after the success of the game. The film achieved enormous popularity both in terms of box office success and criticism. In this paper, the strategy of the game's storytelling is introduced in comparison to the film's approach in the representation of historical events. In particular, the paper explores elements such as the interactivity of the game medium, narrative fragmentation, quests, hints and cues, and the horror genre, that asks users to understand history beyond the game world differently from the point of view of other media. Though this study, it can be considered that the digital game is a medium exploring history in a serious manner. In particular, Detention invokes the matter of game-mnemonics as well as cine-mnemonics. Compared to plentiful research in cine-mnemonics, game-mnemonics has not been extensively studied to date. Therefore, through the analysis of Detention, this paper explores the relationship between digital games, history and memory.