• Cross-Cultural Studies
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• v.42
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• pp.69-106
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• 2016

Early marriage in contemporary society has brought about many problems. The practice is encouraged by gender inequality, poverty and social norms. It reproduces social power imbalances including increased economic vulnerability of women, low educational attainment of girls, gender inequality at home and in the labor market, physical and sexual violence against women and their health problems. The Ethiopian government increased the minimum legal age of marriage for women from 15 to 18 years, by revising its family code in 2000 and newly adopting a criminal law in 2005 that includes punishment against any harmful tradition. Nonetheless, early marriage is still widely practiced in many parts of rural Ethiopia. This is because the practice has long been embedded and deeply rooted in the lives of the people. Earlier literature on early marriage in Ethiopia tends to focus only on women's experiences and regard that all early-married people, particularly women, are unhappy with their lives. This paper attempts to explore the issue of early marriage through voices of people with diverse socioeconomic backgrounds, in order to address the limitations of the previous literature. This article aims at examining why early marriage has occurred in Ethiopia and how it has affected family life and women's educational attainment, focusing on the case of Meki town. As seen from this study, it is true that early marriage generally had negative influences on the lives of women. However, it is equally true that some men are also victims of the practice while some women have improved their lives by means of it. This implies that we need to listen to the voices of diverse people when we examine early marriage.

• Cross-Cultural Studies
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• v.52
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• pp.223-251
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• 2018

This paper comparatively considered how Korea and Japan address the concept of 'postwar' in descriptions of their literary history. In Japan, 'postwar' refers to the period after World War II (Asia-Pacific War). This word implies a variety of contexts such as collapse, poverty, confusion, calendar reform, reconstruction and restoration as well as a series of historical events such as war, war defeat, and American occupation; and so it has been treated in Japanese society a significant period. In the history of Korean literature, it is after national liberation that the word 'postwar' appeared; however, it has usually indicated 'the period after the Korean War.' The question is that although the term of postwar refers to periods after different wars, Koreans used the term of postwar also in the same way as Japan, and their concept of postwar overlaps with the concept of prewar or postwar used in Japan, and accordingly, side effects are produced that fail to grasp properly the independent characteristics and significance of the Korean War. In conclusion, the Korean War brought about contrasting effects on the history of Korean and Japanese literature. While the Korean War meant a start after the war in Korean literature, it became a turning point marking the end of postwar in Japanese literature. Such different perceptions on postwar also have major implications in that perceptions represent postwar discourses in today's Korea and Japan.

• Cross-Cultural Studies
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• v.43
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• pp.171-206
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• 2016

Russian anarchist thinker P. A. Kropotkin had a significant impact on the school of thought, the literary field and the anarchist movement in East Asia in the early 20th century. This paper examines the history of the translation of Kropotkin in terms of the routes and paths of translation in colonial Korea in comparison with those in Japan and China. It is a known fact that the acceptance of Kropotkin in colonial Korea is owed to pioneering translation works in Japan, but it appears that there have been various transformations and magnetizations in the process of translating the texts into the Korean language. Despite a disturbing censorship, the works of Kropotkin, such as "I appeal to the youth ("Aux Jeunes Gens" in French)", were imported, translated and distributed by various routes throughout the 1920s and there were various versions of translated Korean texts. At this point, it is noteworthy that there are works which were translated from Chinese texts about Kropotkin, such as the works of Yu Seo (柳絮), and it can be said that there is a relationship between Korean translations and Chinese original texts. Since the 1930s, the phenomenon of the appropriation of Kropotkin as a litterateur and critic rather than an anarchist thinker is particularly apparent, and this allows us to understand that Kropotkin became a major pathway to interpret Russian literature in East Asia. In colonial Korea, translations of Kropotkin were generally via Japan and China, but the process of translation also showed the struggle to accept and adapt 'the foreign text' into the Korean language.

• (The) Research of the performance art and culture
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• no.20
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• pp.213-249
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• 2010

Aside from the Kangryung masked dance, a masque dance in the near of Ongjin county in Hwanghae province has been transmitted. This article was written by two researchers to investigate this fact in a new way. Inwoo Song had conducted a focus interview aimed at persons who came from Ongjin to South Korea and Hyungho Chung had been responsible for summarizing and analyzing the interview. Bonyoung and Suyoung were a place in which a navy admiral stayed and a very rich area. These two places and Kangryung invited and perfomed each other. They kept a competition relationship for the performance. For this reason, the masque dance had advanced in this area. Compared to Kangryung masked dance, this masked dance had a difference in the performance order including a lion dance. Malddukyi dance was expressed in detail in the first part and Hanryang dance was performed independently in the middle of the dance. Sangjwa dance among dances was considered important. Also a lively Malddukyi dance was a scale which measured the skill of the dance. Chwiballyi starred in the dance. The mask was made from a paper and had a grotesque ghost face. This dance was played around Dan-oh. The music accompaniment was conducted by professional musician group, "Kyungjanpae", who lived in the vicinity. They had talents such as masked dance, tightrope dancing, tumbling in addition to music accompaniment. Especially, a local shaman took part in the Bonyoung masked dance and leaded an excorcism after the death of Halmi. Also, in the part of the Kwangdaedaegam gut, the shaman and village people put on the mask and danced together. Therefore, a shaman was closely connected with a local masked dance. After the Korean war, Kangryung masked dance was restored but Bongyoung and Sogang masked dance was not transmitted at all. This article will be helpful for completing the script and restoring the Bongyoung and Sogang masked dance.

• (The) Research of the performance art and culture
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• no.36
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• pp.649-691
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• 2018

A number of studies on the educational influence of drama and theatre have increased since the 1990s in South Korea. These days, more Korean researchers seem to have recognised the educational influence of drama and theatre than before. At this time, it is meaningful to look into how the domestic trend of studies has changed and developed over the past thirty years. This paper especially adopted a bibliometric method to analyse the trend by time of studies from the late 1990s to 2017. In addition, target age, research topic and research approach of each study were investigated. Some of terminologies particularly used in South Korea were also defined to help young researchers' understanding in this paper. In detail, the total number of studies for the last thirty years is 225 and the first domestic study on the educational power of drama and theatre was published in 1994. In the 2000s, there was quantitative expansion in terms of the number of studies and topics. Eventually pragmatic and integrated features of the studies were found in the 2010s. It is anticipated that the pragmatic and integrated features of the studies will be stimulated to fit into the need of the time. Until now, the most fevered research target age was mainly primary school students. However, it would be possible to widen a target age range in the future. It should be considered having collaboration among researchers who have different expertises for conducting higher quality studies.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.140-159
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• 2013

The wooden stupa of Hwangyongsa temple - which was designed and constructed by master craftsman Abigi of the Baekje Dynasty during the Silla Dynasty between the 12th year of Queen Seondeok (AD 643) and AD 646 - can be regarded as a typical Korean wooden stupa. However, it was destroyed by fire during an invasion by the Mongolians in AD 1238 during the Koryo Dynasty. In spite of progress in research for the restoration of the wooden stupa, there are some remains to be re-considered in regard to ruins, relics and literature previously discovered. In particular, research conducted on frame construction and structure can be considered an important basis for restoration. However, previous studies seem to have not attempted to establish structural and formative characteristics of the wooden stupa based on the indigenous techniques and styles of traditional Korea, but general characteristics of the wooden stupa biased toward cultural interchange with neighbouring countries. As such, in this study the frame construction and structure of the wooden stupa of Hwangyongsa temple were analysed and considered in detail based on the re-interpretation of literature which can be a clue about the structure of the stupa, related ruins of the 7th century period, and previous studies. As a result, this paper supposed and presented a model picture for the plane arrangement of pillars, structural methods for Dwibburi (뒤뿌리) of Haangjae (하앙재), Shimju (심주), and other key areas. The author hopes that this study contributes substantially to research on the wooden stupa of ancient Korea and to the establishment of construction and structural methods.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.209-214
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• 2019

The study is a hypothetical one about how to cut out a single emotion and activate it positively. The study could be used to treat literary therapy through AI. In this study, Hwang Jin-yi's Sijo "Long and Long Night of Winter Solstice Month" was studied. Because this work is very appropriate for the study of emotional cutting and interlinking. This counting method of treatment was used in this Sijo. Hwang Jin-yi's work cuts out "Long and Long Night of Winter Solstice Month" from the beginning. And they dream of regenerating their emotions by putting the time of their cut-off under the 'blanket of the spring breeze.' And in the end, the time of yearning unfolds to infinity, very finely. The extended hours of longing were added to the 'blanket of the spring breeze.' Spread out the times of yearning, it dreams of eternal love, the yearning for everlasting love. These literary acts are expected to lead to many changes in the human nervous system. This is the method of love that dreams of healing emotions in literature. Lover was left but not sent, lover's love amplifies feelings of joy. This method of emotional counting is believed to be very useful in the upcoming literary treatment by AI.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.162-177
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• 2014

This article examined the burial type, wooden coffin and its historical significance of Iksan Ssangneung, the royal tombs of Baekje. Ssangneung was found to be the royal tombs of King Mu(武王) and queen through the burial type, wooden coffin, articles such as chinese jade ornaments and the deep relationship between King Mu and Iksan region. The reason of constructing Baekje royal tombs in Iksan region can be examined at many aspects. First, Iksan was a very important place for King Mu. Because Iksan was the basis of his political growth. Also, Iksan was a important geopolitical location in relation with Silla(新羅). For this reason, Iksan was developed in earnest. The construction of major facilities such as royal palace and temples in Iksan suggest the transfer of the capital from Sabi(泗?) or the preparation and partial execution at least. However, the transfer of the capital was not completed. It can be seen as the incomplete city. However, even after King Mu Iksan was maintained as the important region by King Euja(義慈王). It can be seen through the maintenance of great temples such as Jeseoksa(帝釋寺) and Mireuksa(彌勒寺) built at later period of King Mu and royal palace area, even though royal palace had turned into the temple. These inherited consciousness may have been embodied in the act of building royal tombs of King Mu and queen.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.46-65
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• 2014

This study, under the title of Daeungbojeon Hall of Bulyeongsa Temple, Uljin and the architectural technique of the architect, aimed to make a comprehensive speculation on Daeungbojeon Hall of Bulyeongsa Temple whose accurate construction year was confirmed in 1725. While existing studies dealt with it separately between construction and Buddhist art history this study attempted to sort out it in one perspective by means of comparison with compatible objects in the area. The results are as follows. 1st, by means of comparison of wall painting of Daeungbojeon Hall of Bulyeongsa Temple and other wall paintings of Gyeongsang-do Province, it was estimated to be created before and after 1725, the founding year of the building. 2nd, the stylobate of Daeungbojeon Hall is the only and unique case that Guibu was supported by the bottom. Such stylobate was estimated to be built in the early period of Goryeo stylobate of PostLintel Construction which was more simplified than that of the traditional unified Silla period considering specific techniques. Lastly, by means of comparison of the architectural technique of Daeungbojeon Hall of Bulyeongsa Temple with other temples in Gyeongsang-do Province, the characteristics of the building were found. In particular, the same architectural technique was confirmed by direct comparison of style with Yeongsanjeon Hall of Tongdosa Temple in 1714 which was constructed by the same architect.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.162-181
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• 2000

This paper investigates sixteen rock-cut arhat images of the Koryo period at Sungbul-sa (成佛寺) in Chunan (天安), South Chungchung Province. These images, together with a Buddha triad in the center, are carved in thin relief on the large granite wall ($375cm{\times}248cm$), and below them is engraved a huge lotus petal which looks to be supporting all the images above. According to extant textual sources, arhats were popularly worshipped in the Koryo period. The Painting of Five Hundred Arhat Images was brought to Koryo from Later Liang (後梁) of the Five Dynasties (五代) in 923. From that time on, the cult of arhat had become gradually known in Koryo. More than thirty ceremonies worshipping arhats (羅漢齊) were officially held in Koryo court. The Sixteen Arhat images (十六羅漢像) were enshrined in many temples. In Boje-sa (普濟寺), which kings and aristocrats often visited for ritual ceremonies, had its main hall dominated by the Five Hundred Arhats, called Nahan-pocheon (羅漢寶殿). However, a limited number of arhat images of the Koryo period, originally made as sets of sixteen or five hundred arhats, are now extant. The Sixteen Arhat images at Sungbul-sa are unique examples that show all sixteen images in situ. The Sixteen Arhat images, though some of them are abraded, show various postures and gesture. One of them sits with his knee bent, and one arhat is sitting on a chair with his hand held upward. Each image is carved in a niche, just as the arhat images of Northern Song China are normally represented in niches of a cave, and are quite similar in style to the arhat images of the Northern Song period at Qinglindong (靑林洞) cave, Feilaifeng (飛來峰), Zejiang province (浙江省). This similarity between the arhat images of Sungbul-sa and those of Qinglindong certifies the strong impact of Song Buddhist art on Koryo frequently mentioned in texts. The Sixteen Arhat images surround the central Buddha raising his hand up to his chest. This Buddha triad could be ascribed to be either the Maitreya Buddha triad or the Sakyamuni Buddha triad based on the Lotus Sutra (妙法蓮華經). Still, the Sakyamuni Buddha triad was more often represented with sixteen or five hundred arhats in the Koryo period, as was seen in the record of Boje-sa where the Sakyamuni triad was enshrined with five hundred arhat images. The Sixteen Arhat images of Sungbul-sa arc most likely to be a rare example of Koryo Arhat images showing the Sakyamuni Buddha triad and the Sixteen Arhats who were predicted to be Buddhas by Sakyamuni in the Lotus Sutra.