• (The) Research of the performance art and culture
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• no.37
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• pp.61-94
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• 2018

This article examined that the historical changes and current significance of the Jaedam(재담) and the Xiangsheng(相聲), one of the traditional Korean and Chinese language games. Both Korean Jaedam and Chinese Xiangsheng are representative language games and traditional performing arts for laughing. The origin of the Jaedam can be traced back to Uheui(우희). Uheui has been called Changyouxi in China, Bae Woo-hee, and Jo Hee in Korea. Uheui is the most traditional language game and a variety of performances were derived from its spreading and inheriting process. Among them, Korean Jaedam and Chinese Xiangsheng can be said to be a piece of art that has successfully inherited Uheui tradition. From the late 18th century, Korean Jaedam were established as independent performance arts, and became highly active in many performance by professional joker Park Chun-jae and other performers. With the development of gramophone record in the early 20th century, the Jaedam was mainly made on the theater stage and radio. At this time, the new performance art of 'Mandam(만담)' was derived from the Jaedam, which focused more on satire current events and criticizing the social situation. Mandam has been popular for a long time and then extinct in the 21st century. The jaedam have been handed down only in the Korean traditional performance so far. Meanwhile, Chinese Xiangsheng, which was built in the mid-19th century, a bit later than Korean Jaedam, was initially considered to be a vulgar art of the lower class, but finally became popular in the early 20th century. In the mid-20th century, Xiangsheng was transformed into a new character, which mainly deals with social praise and edification of the masses. But since 'New Xiangsheng' does not focous on a satire on social conditions, the humor has been reduced. In the early 21st century, Xiangsheng was on the verge of extinction just like Mandam, but through the efforts of young actors to revive tradition, another reformation of this art was made to return to tradition and small theater. Currently, the 'traditional Xiangsheng', which has returned to tradition, is once again receiving the love and support of the Chinese audience. Korean Jaedam and Chinese Xiangsheng have many similarities in terms of history and recruitment, but they are now in different fates. There is also a great deal in common ground in terms of the content and form of the two arts. In the case of Xiangsheng, it is one of the traditional folk art forms which is still loved by the Chinese people and has become one of the most important traditional performances. On the other hand, in Korea, Jaedam as independent performance arts has disappeared and now only can be seen in traditional performances such as 'Korean mask theater'. The fact that Korean Jaedam and Chinese Xiangsheng have undergone similar changes in their spreading and inheriting process, while Korean Jaedam have disappeared and Chinese Xiangsheng is well preserved. The reason can be confirmed through the main idea of this article.

• (The) Research of the performance art and culture
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• no.37
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• pp.391-435
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• 2018

This is the first study in Musicology that discusses the features of Kangwon Sangkangrye(the pre-lecture ritual in Buddhism). In this thesis, I reviewed and compared the similarity and uniqueness between Kangwon Sangkangrye in "Seokmunuibom" and the one being performed these days. The musical relation between the performance shown in the historical record and the one in contemporary ritual was illustrated here based on the findings derived from the anlaysis on its bell(小鐘) performance. The analysis made upon musical sources recorded on-site shows the characteristics of contemporary Kangwon Sangkangrye. Following is a brief summary of this study. The review and comparison between Kangwon Sangkangrae in "Seokmunuibom" and the one being performed these days showed that the second type, which was significantly different from the first type, was closer to that of the historical record. The performers at Unmunsa Temple and Chungamsa Temple seemed to be following the tradition bell(小鐘) performance style which was found in the text of the historical record. Through the analysis on Kangwon Sangkangrae, I found that it has musical characteristics as follows. The vocal range of type 1 and type 2 was mostly performed within Minor 7th and didn't exceed the perfect 8th. The melodic structure of type 1 starts with do'-la of naedeureum and ended with the melody which downscaled from do' and finalized from mi to la. Usually the mode was in menari-tori but at some lecture halls a few cases found to be upscaled from sol to la which differentiates it from the typical menari-tori of folk songs. Like the typical way of traditional rites, the singing was divided into two parts: the leading call and the following choral response. Most were sung to be one syllable on one or two tones or one syllable lasting for several tones and the musical forms were varied by musical pieces. Meantime, Sangkangrae at Haeinsa Temple was differed from that of the other temples in terms of ritual procedure and vocal style. It added Korean version of and the lead vocal skipped the first phrase of the Sasul. The melodic structure of Type 2 started with do'-la of naedeureum and was finalized as the same way of Type 1. The mode of was not the same as typical menari-tori but the Jeongrye(prostration) and Balweon(a great vow) were identical to the menari-tori of folk songs. The singing was done in two forms, solo and unison, and the lyric-attachment of Gesong was one syllable for one or two tones and that of Jeongrye and Balweon were one syllable for one or two tones + one syllable for several tones. The musical form of Jeongrye is A-B-C and A-C. Balweon didn't display a certain periodicity but still maintained sense of unity and formality through repetition of the finalizing melody.

• (The) Research of the performance art and culture
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• no.36
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• pp.693-724
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• 2018

This article was started to find a way for creating a performance out of Gut. In order to find such way, the first thing that had to be done was to organize the Gut performances that had been made until now. It was to organize the existing study on the performances and to seek a different way from it, believing that the virtue of a performance is to 'create diversity'. However, it was not easy to organize the Gut performances, which became full-scale in the 1980s, because they were never organized before. Therefore, based on my direct and indirect experience, I have organized the most important performances in chronological order. Most importantly, as the planners of the performances (can sometimes be a group or an organization instead of an individual) are the ones who make the show possible, I have noted on them with keen interest. The National Folk Art Performance Contests in Korea, Theater 'Space Sarang', The Association of Gut, Theater 'Madangsesil', Seoul Nori Madang, and National Gugak center were the center space and planning body of the Gut performances. Recording the history of Gut is a worthwhile work of its own. However, it is a substantial amount of task to be done with individual effort, and it has to be progressed as a public project in order to promote and spread its value. Therefore, this article raises the need for it. Meanwhile, as stated earlier, this article has recorded the history of Gut performances as a precondition to finding a way to create a performance out of Gut. From the experimental organization of the Gut performances history, I could find out that most of the performances had the people who did Gut as the main body and the method of the Gut performance did not significantly deviate from just reenacting the original Gut at the time of when it was performed. Therefore, I have introduced Shinmyeong, the Nori-Pae (troupe), and TheGwangdae, the Korean Traditional Performance troupe, who create Madangguk from various Gut materials. By refining the wholly complicated performance elements of the Gut, it could escape from the 'reenacting' performance to becoming a material or a metaphor for a whole new performance.

• Journal of Korean Philosophical Society
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• v.116
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• pp.389-410
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• 2010

Augustin wurde sozusagen von der Rhetorik zum Christentum bekehrt. Der einstmalige Rhetorikprofessor (bis 386) distanziert sich von seiner $fr{\ddot{u}}heren$ Kunst. Aber er $kn{\ddot{u}}pft$ als Bischof im vierten Buch seiner weniger bekannten Schrift "De doctrina Christiana" (DDC; abgef. 427) wieder an die antike Rhetorik, speziell an Cicero, an. So wird die augustinische $Sp{\ddot{a}}tschrift$ $f{\ddot{u}}r$ eine antike Rhetorik in christlicher Verwendung gehalten. Es stellt nun die Frage, was Augustin zur $R{\ddot{u}}ckkehr$ zu seiner $fr{\ddot{u}}heren$ Kunst bewegte. Neuere Forschungen sehen in Augustins Werk eine Grundlage der mittelalterlichen Predigttheorie oder einen $blo{\ss}en$ Versuch, die Rhetorik vom Makel des Sophistischen zu befreien. Gewiss ist seine Einstellung zur "leeren Beredsamkeit" der Sophistik eindeutig, aber dies war eine Haltung, die letztlich von allen seinen christlichen Zeitgenossen geteilt wurde und folglich eines geringen Beweises bedurfte. Die Aufmerksamkeit, die Augustins $sp{\ddot{a}}terem$ Einfluss und seiner Ablehnung der Zweiten Sophistik geschenkt wird, kann den Blick $tr{\ddot{u}}ben$ $f{\ddot{u}}r$ seine Rolle bei der $L{\ddot{o}}sung$ eines christlichen Dilemmas aus dem vierten Jahrhundert. Augustin sah die Gefahren einer entgegengesetzten rhetorischen $H{\ddot{a}}resie$. Die $S{\ddot{u}}nde$ des Sophisten besteht darin, dass er die Notwendigkeit des Inhalts verneint und glaubt, nur die forma alleine sei $w{\ddot{u}}nschenswert$. Der gegenteilige Fehler, dem Geschichtsschreiber der Rhetorik niemals einen Namen gegeben haben, beruht auf dem Glauben, dass derjenige, der im Besitz der Wahrheit ist, auch ipso facto in der Lage ist, die Wahrheit anderen zu ${\ddot{u}}bermitteln$. Es handelt sich um eine $ausschlie{\ss}liche$ $Abh{\ddot{a}}ngigkeit$ von der materia. Augustin erkannte eine Gefahr und benutzte DDC dazu, eine Verbindung von Inhalt und Form in der christlichen Predigt voranzutreiben. Nur wenn man daher das Buch als einen Teil der $gro{\ss}en$ Debatte des vierten Jahrhunderts ansieht, tritt seine historische Bedeutung klar hervor. Der Leser ist beeindruckt davon, dass der Autor darauf insistiert, es sei eine Torheit, dem Feind ein $n{\ddot{u}}tzliches$ Instrument zu ${\ddot{u}}berlassen$. Augustin $erkl{\ddot{a}}rt$, dass die Kunst der Beredsamkeit rege in Gebrauch genommen und nicht kurzerhand abgelehnt werden solle, weil sie mit dem Makel des Heidentums behaftet sei. Kurz gesagt, geplant ist das vierte Buch von DDC als eine ratio eloquentiae Christianae.

• Journal of Korean Philosophical Society
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• v.148
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• pp.213-238
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• 2018

The purpose of this paper is to study logical status and meaning of '$l{\grave{e}}i$[類]' in integrated concept system of 'míng[名]'. The subordinate relationships and integrated systems between genus and species are made up 'míng[名]' in pre-Chin's logical arguments. And '$l{\grave{e}}i$[類]' is a concept that designate what kind of category in all names of sorts and kinds in early China. The logical argumentations of early Chinese philosophers reflect subordinate relationship and integrated system of 'míng[名]'. And then early Chinese philosophers use the 'míng[名]' in other to denote a general concept that totally indicate meanings of genus and species like as Confucius' '$zh{\grave{e}}ng$ míng[正名]'. However early Chinese philosophers make philosophical issues of correspondence between míng[名] and shí[實], not subordinate relationships between genus and species. And then they use the 'míng[名]' in other to denotes not a general concept but a kind of category. Therefore the concept of 'míng[名]' used as a meaning of general concept and sorted out integrated concept system of 'míng[名]' as two categories of míng[名] and shí[實] at the same time in logical argumentations of early Chinese philosophers. The '$l{\grave{e}}i$[類]' of pre-Chin difference from genus of Aristotle spontaneously and conceptually. It is not a concept that in other to compose subordinate relationships and integrated systems. It is not a kind of genus. It divide a kind of denotation that means some kind of aggregations into existence and nonexistence. And it divide a kind of connotation that means some kind of attributes into same and difference. When early Chinese philosophers make distinction and demonstration the correspondence between míng[名] and shí[實], so to speak distinction mean to divide and classify into correspondence or non-correspondence, and demonstration mean to argue about the division and classification. Therefore the concept of '$l{\grave{e}}i$[類]' is a criteria that is to divide and classify the correspondence between míng[名] and shí[實] in integrated concept system of 'míng[名]'.

• (The) Research of the performance art and culture
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• no.20
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• pp.31-61
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• 2010

This thesis proposes to explore the theatre aesthetics of North-Korea during after the Liberation. From now South-Korean theorists have provided the theatre aesthetics of North-Korea to South-Korea, so we can say that it lacks of an equity. For example, South-theorists have said that North-Korean theatre only emphasized politics and propaganda, they have had not any aesthetics in performance. So this study focused on North-Korean critics and records for fairness and as a result something new is founded. The best theatres in North-Korea were some works which contains natural and proper lines to character, well-expressed inner desires of characters, realistic acting and stage design, and realistic life of working class. Of course they should reflect communist ideology and policy, but more important is that it did not mean everything in North-Korea. So we can say that it is fact that North-Korea should reflect their policy, which does not mean lack of aesthetics of performance. North-Korea had an obvious point of view for theatre, and they made an effort to realistic lines, movements and stage. During right after the Liberation, North Korea sought to find an answer for 'realization of true life', and sought to eliminate Japanese acting style in theatre. Concluded theatre aesthetics of North-Korea during right after the Liberation is realistic acting and directing style.

• Journal of Korean Philosophical Society
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• v.137
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• pp.57-79
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• 2016

The purpose of this paper is to explain MacIntyre's critique of moral pluralism of modern society and reveal the limits of his critique of liberalism. It is a distinctive feature of the social and cultural order that we inhabit that disagreements over central moral issues are peculiarly unsettleable. Debates concerned with the value of human life such as those over abortion and euthanasia, or about distributive justice and property rights, or about war and peace degenerate into confrontations of assertion and counter-assertion because the protagonists of rival positions invoke incommensurable forms of moral assertion against each other. We usually call this situation 'modern moral pluralism' and concede as the natural outcome of the activities of human reason under free institution. But in After Virtue, MacIntyre vigorously criticizes modern moral pluralism. The main cause he took which brought about this state of affairs was the failure of 'the Enlightenment project'. According to MacIntyre, the Enlightenment project which has dominated philosophy for the past three hundred years promised a conception of rationality independent of historical and social context, and independent of any specific understanding of man's nature or purpose. But not only has that promise in fact been unfulfilled, the project is itself fundamentally flawed and the promise could never be fulfilled. In consequence, modern moral and political thought are in a state of disarray from which they can be rescued only if we revert to an Aristotelian paradigm, with its essential commitment, and construct an account of practical reason premised on that commitment. But one of the deepest difficulties with the argument of After Virtue is that the very extent of its critique of the modern world seems to cast doubt on the possibility of any realistic revival under the conditions of modernity of the Aristotelianism which MacIntyre advocates. Especially when we consider we are not only the characters found in our narratives but also we ourselves are the author of our own narratives. Moral pluralism is not seen as disaster but rather as the natural outcome of the activities of human reason under enduring free institutions.

• Korean Journal of Labor Studies
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• v.24 no.1
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• pp.107-156
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• 2018

This article examines the history of the in - house subcontracting and the stabilization of labor - management relations in the steel industry in Japan. The ratio of in-house subcontract workers among steel workers has increased steadily until the mid-2000s, and about 70% in case of the largest company. In-house subcontracting was used as a strategy of the company to increase the quantity flexibility of employment and to save labor costs. The in-house subcontracting company needed company-specialized skills, and the internal labor market was formed because the rate of full-time workers was high and the turnover rate was low. The in-house subcontractor introduced long-term business relationship with the steel factory by introducing the equipment and materials necessary for the performance of the work, and the factory implemented the productivity improvement policy of the in-house subcontractor, and the win-win relationship between the factory and in-house subcontractor was developed. The trade union did not oppose the idea that the expansion of in-house subcontracting contributed to corporate profits, the stability of employment of the members and maintenance of their working conditions. Since 2000, the steel factory has pursued the transformation of in - house subcontractors into subsidiaries, which has been supported by capital relations. By the way, since the mid-2000s, there has been an increase in the number of regular workers' employment. The major factors are as follows: more strengthened compliance with laws and regulations, the higher quality request of customers, stricter keeping of deadlines, and problem in recruiting of workers at in-house subcontract companies. The wage gap between the factory and in - house subcontracting was less at company B than at company S, and the wage level of in - house subcontracting was about 90% of the factory at company B. The relatively small gap at company B seems to be due to the union's movement of narrowing the gap, low market dominance and unfavorable labor market. The internal labor market has been formed in the in-house subcontracting, and the wage gap is not large, and the possibility of labor disputes is low. Industrial relations are stable in the in-house subcontract company as well as the factory. The stabilization of labor-management relations in the steel industry in Korea is required to reduce the wage gap between the factory and in-house subcontract enterprises by raising productivity and expanding the internal labor market at in-house subcontract enterprises.

• The Critical Review of Religion and Culture
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• no.29
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• pp.134-167
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• 2016

This paper aims at exploring the characteristics and meanings of religious freedom controversy surrounding religious education, with special reference to proselytism, in protestant mission school in recent Korea. Most of protestant mission schools have been providing students compulsory religion class and chapel service in the name of religious education. According to the school authorities, religious education should be provided for the realization of founding philosophy, and they say that mission school has the right to religious education. On the contrary, many non-christian students argue that their religious liberty is seriously violated by required religious education especially compulsory chapel worship. So serious conflicts broke between mission school authorities and students. Supreme Court decided that Soongsil University has the right to maintain compulsory chapel service, ruling that Daegwang High School should not maintain required chapel worship. It seems that Supreme Court gave different decisions to high school and university respectively, considering the differences between high school and university in application for admission to a school, students' critical consciousness, school's autonomous rights, etc. However, these precedents are being challenged by many peoples and groups. There are three agents which are involved in religious freedom controversy in mission school. The first are mission school authorities supported by religious groups, the second government supported by political parties, and the third mission school students guided by NGO. Among them protestant groups are playing the major role in making religious freedom problems in mission school. Protestant groups try to convert mission school students to protestantism by compulsory chapel service and religion class. Such a protestant proselytism becomes a cause of oppressing students' human rights and religious liberty. In this situation government has a responsibility to protect the students' rights to religious freedom. But government seldom impose sanctions on the protestant mission schools' compulsory programs. The reason why government does not restrict mission school's unlawful religious education is because protestant groups have strong influence in voting. Eventually civil movements organizations involved in religious freedom controversy for the sake of students's human rights. In conclusion, the assailment is protestant proselytism, the accessory is government, the victim is students in the religious education in mission school in recent Korea.

• Journal of Korean Philosophical Society
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• no.116
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• pp.251-281
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• 2017

The Parmenidean tradition of logos which previous researches fail to fully appreciate has three dimensions of reality-knowledge-discourse. Parmenides is not just an ontologist, as the traditional view emphasizes, but also an epistemologist, as the revisionist view begins to emphasize, and, at the same time, a meta-discourser, as those two established views fail to embrace. In order to reach the third view which fully grasps such a dynamic and integrated feature of Parmenides, we should closely pay attention to the organic interconnectedness of three discourse parts of truth-doxa-proem, especially the significance of proem and meta-discourse. In the Eleatic tradition of discourse, the figure who clearly appreciated and further developed such an authentic feature of Parmenides' discourse is not, as one might easily expect, one of the second-generation Eleatics, but Gorgias who has commonly been positioned at the opposite side of Eleatism. This paper investigates how he actually both innovated and succeeded the Parmenidean tradition of logos; especially, it characterizes his discourse as an antilogy(antilogia) from within the tradition: as a 'devil' advocate' who complemented and completed Parmenidean persuasion by positing the Parmenidean tradition of logos as an arena of a huge intellectual discipline and cultivation, offering himself as a sparring partner to it, and bringing up an antilogy. In the process of this antilogy he performed in his rhetorical speeches such as the Encomium of Helen and the Defense of Palamedes he experimented and examined a possibility of persuasion operating independently from truth, which, however, is not merely sacrificing truth in favor of persuasiveness and probability (to eikos) as Plato criticized mainly focussing on his 'philosophical' writing On not-being. Rather, it was an 'opposition for opposition's sake' and serious play which purported to provide balance and flexibility to contemporary intellectual society which had too much inclined towards truth and knowledge and become stiff and to put weight on the opposite side of mainstream. It is wholly our eranos (i.e. our share of contribution) to summon and examine such sophistic tradition for the sake of the task of our times, not for the sake of Plato's task, that we should build up a healthy culture of discourse where we can share serious play.