• Korean Medical Education Review
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• v.13 no.1
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• pp.25-34
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• 2011

Modern medicine has early experienced the absence of mimesis and has been trying to replace the absence with objective grounds and experimental data. However, as medicine became science, the crisis of medicine spread more widely. Microscopic powers and violences are invisible, but individuals are powerless and vainly unable to resist. The anguish or introspection about the situation is sometimes described in stories such as An Engagement by Lee Eung Jun. An Engagement is mentioned in this article due to the writer's attitude, which shows his introspection and desire for harmony through the wounds of each trivial character. The writer is unceasingly talking about suffering people in his story and his seriousness enables readers to find his stronger sympathy over life and death than in any other medical stories. In fact, it is impossible for readers to comprehend the confusing propositions which the writer pours out, and even uncomfortable to read the story. Nevertheless, the propositions are always in contact with reality. Perhaps it is not the writer's confusing propositions that make us uncomfortable. It might be ourselves who are always alienated and starved. We can say that the characters' pains and wounds are phantom pains caused by the absence of mimesis. Since there is no affected area, their pains cannot be measured by only scientific medicine. However, the current medical profession regards objective research evidences as absolute truth and allows them to be the sole criterion. Although scientific skills such as DNA analysis and MRI scan can be the substitutes for doctors' judgment, so much of medicine is still interpersonal relationships. An Engagement. As a person promises to marry another, as all beings together in the world promise to subordinate to one another, every subject is consistently a valuable part of each other for the writer's eyes. He is aware that it is originally impossible to get engaged to the world, but he does not give up the possibility of genuine communication. In today's post-modernism society, where a large number of pathological views define the members and the world itself, endless questioning of existence and digging into pathology will be the only way to reduce the gap between individuals and their world. This article does not say that a literary work will lead the change of medical paradigm. It sprang from a desire for medical humanities to gain more interest of the medical field, where the encounter between literature and medicine is still unfamiliar, and to make medical education recognize the importance of humanities. Starting with this work, I believe that the humanities will help us to find the solution to the age of absence of mimesis and to the crisis of medicine.

• Cross-Cultural Studies
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• v.46
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• pp.173-197
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• 2017

The present work aims to analyze the concept of space in $Jes{\acute{u}}s$ $Fern{\acute{a}}ndez$ Santos' work Los bravos. Throughout its pages, one can observe the multidimensional possibilities of space in literature. Throughout time, the concept of literary space has developed and it has been modified constantly in order to meet the needs required for the evolution of narratology. In the past, Aristotle stated that space is the place where characters and physical objects happen to exist. This remained almost unchanged until the Renaissance. In the $19^{th}$ century, space stopped being considered just a mere scene where the action takes place as it was given more importance by romantic authors in their works. Realism intensified the spaces as the interior of the house. In fact, the descriptions of space became more important. In this article, I focus on the various meanings of space in the novel Los bravos. First, I analyze the dichotomy between real and ideal spaces, and continue with the cathartic dimension of the fictional space. Then, I present and analyze the opposition between urban and rustic spaces in this novel, and, finally, I show the confrontation between the spaces of men and women. Through this analysis, we can observe that characters have a space where they feel more comfortable and how, occasionally, they leave their "usual space of action" to reach their "ideal place". Women want to stay in their kitchen to chat with each other, while men prefer to leave the house to visit a cafe with their colleagues. The door and the window divide the border of the worlds of men and women. However, that line is not only dividing the structure of the house, but it is also of a psychological house.

• The Southeast Asian review
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• v.21 no.2
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• pp.43-75
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• 2011

The article focuses on the impact and Acceptance of Hindu culture in Modern Southeast Asian Buddhism. The purpose of this study is to examine critically the influential epic Ramayana on Siam culture, Thai Ramayana version 'Ramakien', reveal instances of Buddhist Modification. The Ramayana by the great sage Valmiki is considered by Indians to be the first great literary work to be produced in India. The influence of this work is to be seen not only through centuries but even in other countries, such as Thailand where there are modified modern versions. In this paper, I have three objectives : (1) I may discuss the epic Ramayana of India gave birth to the Ramakien of Thailand. In modern times Valmiki's epic was made to fit the spiritual trends current in the new Chakri dynasty, which were themselves based on Brahmanic tradition and Theravada buddhism. With regarding to the structure of the Traibhumi cosmography, and the relationship between merit and power implied by this cosmography ranks all beings from demons to deities in a hierarchy of merit which accrues according to karma the actions of past lives. (2) I analyze how to have attempted to dissect the Hindi and Thai version of the Ramayana. The Hindu concept of kingship is also depicted in the life of Rama. The Hindus see in Rama the norm of a true Hindu life characterized by the Caste and Dharma. In Thai transformed version, it does not preach Hindu values of personal or social life. The Ramakien emphasized that the Buddhism were higher than all other laws, and that the King is regarded as the incarnation of Phra Ram, and thus is also the narration of the righteous buddhist ruler. (3) I discuss how cultural or social contexts can influence the structure of the royal Wat. The whole epic was painted by the order of Rama I in the galleries of the Wat Phra Keo. In other words, it is the very centre of the dynastic cult enshrining the Emerald Buddha, the most iconic expression of the Ramakien tradition were officially amalgamated. Rama I was continued the process of elaborating and stabilizing the complex religious pattern, with Buddhism at the pinnacle. My finding will support the idea that the Ramakien is particularly appealing to the Thai people because it presents the image of an ideal king, Rama, who symbolizes the force of virtue or dharma while Thotsakan represents the force of evil. Eventually the force of good prevails. Being Buddhists, the Thai poets bring into the story the Buddhist philosophy(especially, the law of cause and effect, karma). This paper examines the role of the Hindu epic Ramayana in the historical and cultural contact between Hindu India and Buddhist Southeast Asia. It should now be possible to evaluate what elements of Hindu culture were transmitted into Thai through the Rama story.

• (The)Study of the Eastern Classic
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• no.43
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• pp.93-123
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• 2011

is a work of art that was composed through fluid and laminating by being passed down orally for a long time like other ancient songs. As well as, it is given a history of literature's value in the point that it is a Korea's first poetry work, it is considered it casts a long shadow to establishing traditionality of our country's poetry. Even today, has been transformed and recreated into a variety of genres because its literary subject carry the universal emotions and win the sympathy. This manuscript examines modern poetry, modern novel and modern songs that consist of changed ancient song and looks modern writers' perspective about through characteristic that each of works has and then aims checking special situation and meaning that is implicit and recognizing the value of the original. As the has been recreated as modern poetry, it shows the current chaotic situation specifically by embodying it and actively seeks expressing human character, agony and longing, etc, by excluding factor of the original mythical interpretation. Also it rouses situation of reality as detained and repressed. , recreated as modern novel, expands narrative structure and shows portrait of various characters and speaks diverse human condition about reality and suggests plan for dealing with that. Basic emotions of the original is strongly passed to modern popular song . It makes us know that universal emotions which human has across generations can touch people transcending time and space and it is a fresh discovery and possibility that reaffirms the emotion of our people. Ancient song has been studied with emphasis on resignation and grief by focusing on the subject, simply parting and death. But recently, through transformation between a wide range of genres. it carries the spirit of the times that author toward, showing realistic and specific situations. Flexibility of ancient song is expected to continue its vitality transcending generations. Ancient song is assured that it can lead various aspects through active groping in era of change with a various possibility, that the original has, through communication between genres.

• Cartoon and Animation Studies
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• s.39
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• pp.451-472
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• 2015

Lian Huan Hua(連環畵) has occurred in the history of China Cartoon was initially developed as a unique literary style of Chinese painting and narrative combined. Also Lian Huan Hua are also tend to form once the fusion 1920s was also a very creative fashion cartoon style. This is also referred to as chain cartoon. In 1950-1960, China 's Lian Huan Hua also mature a 'golden age' legal group reaches to indicate the unique formal features developed independently. This work is a dramatic expression of Lian Huan Hua narrative, shows a more realistic representation techniques and art forms such as portraiture is a very big breakthrough was achieved artistic maturity of the work increased significantly. by He You Zhi(賀友直) and by Hau San Chuan(華三川) is a masterpiece of artistry and maturity in the period leading side. Chapter 2 looked at the origin and development of Chinese Lian Huan Hua, it was seen by the fact that China achieved new progress in Lian Huan Hua upset every time the combination of content and form, In addition, the work of 1950-1960 in the development process of China's Lian Huan Hua confirmed the fact that they won the biggest achievement in artistry and maturity surface. Therefore, Chapter 3 how 'golden age' masterpiece of and the dramatic narrative of expression by analyzing a specific angle in the multifaceted image of the , realistic portraiture, such as the acquisition of Chinese concrete artistry Lian Huan Hua I want to show. Analysis of the figures depicting nature, landscape screens. consisted of highlights and background and techniques of utilization, production methods. The purpose of this research work is to identify two conditions of great Lian Huan Hua through analysis of concrete work and painting techniques such as framing and directing the Lian Huan Hua's artistic achievements is to investigate the influence of China in the early comics. These two works are focused on a realistic view of life and put out was to create a more effective representation of information it attempts to pass a new production techniques and will have the significance. Also completed was a new style absorbed throughout the aesthetic advantages are compelling own personality writers of Eastern and Western paintings are remarkable in that its performance. But the difference in the two works represent all types and painting techniques has a the mood of common China's lives.

• Sijohaknonchong
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• v.26
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• pp.151-185
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• 2007

The main industry of the Chosun dynasty was farming, which was related to the people's lives in every respect. By the end of the Chosun dynasty commerce was a new industry becoming increasingly more beneficial. I study how these two industries were being expressed in the classic Sijo. The classic Sijo is a main literary genre created by the upper-class. Even though industry was very important for sustaining the Chosun dynasty, Confucian scholars and government officials(members of the upper class) didn't actually work in the industries of farming and commerce. But sometimes they returned to their rural hometowns, because they owed large amounts of land which they let the servants farm for themselves. As the main composers of Sijo were these Confucian scholars and government officials, I study a collection of their Sijo which expresses the life of industry. In order to achieve this goal, I analyze several sides of the classic Sijo : for example, its writers(along with their personalities) throughout different periods: the point of view of persona; and the specific life of industry and the way it is expressed in the Sijo. First, I look at the writers of the different periods and their personalities. During the fourteenth century to the seventeenth century, the main writers of Sijo on the life of farming were Confucian scholars and government officials. During the eighteenth century to the nineteenth century, the main writers of Sijo on the life of farming were Confucian scholars, government officials, and also commoner singers-the unnamed writers. Second, I look at the point of view of persona. During the fourteenth century to the seventeenth century, the personas were the country man(one's lord and master) and the farmer, who was of two kinds of people : i.e., those trying to work together and those really working together. During the eighteenth century to the nineteenth century, the personas were the country man, who was satisfied with his rural life as overseer to farming, and two kinds of farmers : those who farmed very hard by themselves, or those who criticized the failed tax system. Third, I discuss the specific life of industry and the way it is expressed in the Sijo. During the fourteenth century to the seventeenth century, the writers of Sijo expressed, in a general way together in one Sijo, different kinds of work for example, plowing a dry field and a rice field, picking wild vegetables, and cutting rice and weed. During the eighteenth century to the nineteenth century, the writer of Sijo expressed different kinds of work in a more specific way, each in its own Sijo : for example, buying and selling, bringing land under cultivation for farming. weaving, digging for water, and heavy taxation. I look at three aspects of Sijo concerning industry, but there still remain several aspects of Sijo to study, such as those concerning worship of the king, and those concerning high officials, the common people, and the being of things.

• Journal of the Korean Society for Library and Information Science
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• v.25
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• pp.445-476
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• 1993

This paper is written to clarify the specific details of the Sabu-Songyu­Mongnok(사부송유목록). which is a reading list for recitation and appreciation of Chinese classics edited by Hong Suk-Chu(1774-1842) when he was 56 years old for the stimulation of his younger brother Hyun-Ju (1793-1865)'s reading life. In this study the catalogue's title interpretation. the time of the editing, the motive for the editing and the analysis of the contents are revealed as what they actually are. The main details are as followings. There is no date written on the Sabu-Songyu-Mongnok but the writer estimate it to be around 1829. After Hong Suk-Chu recognized the fact that although his younger brother Hyun-Ju was interested in reading but felt that he was a little too old to begin to read all the books of the whole classes. he selected the classic works from whole subjects, i.e. history, philosophy and anthology, that he thought which would best represent each subject. From these selected works he then picked out the most important chapters or parts of the works. Another motivation of the editing was for the stimulation of the reading life for Hong Suk-chu himself and for people like himself who were getting old and losing their vitality. The Sabu-Songyu-Mongnok consists of four categories. i.e. classics category, history category, philosophy category and anthology category, and in the catalogue, 26 different works are entered. The classics category has ten, the history category has six, the philosophy category has six and the anthology category has four. Each of the works are entered under the title of the book, and hen the chapter heading. The Sabu-Songyu-Mongnok was edited 19 years later than Hong-ssi toksorok(홍씨독서록) or an Annotated Bibliography of Korean and Chinese Books. Comparing each category of the catalogue with the Hong-ssi toksorok, the writer could catch the following characteristics. 1. Although there was no indication of the class heading, the sequence of the arrangement of the entries in the classics categories was the same as the sequence of the classes in the Hong-ssi toksorok. 2. The Zuo-shi Chun-qiu-zhuan(좌씨춘추전) is recorded in the class of Chunqiu of the classics category in the Hong-ssi toksorok, but in the Sabu-Songyu­Mongnok, it belongs to the history category. 3. In the philosophy category of the catalogue, Chuangtzu(장자) writings are included because it is so well written. 4. Unlike the categories of classics, history and anthology, the philosophy category is recorded under the author's name. This is fascinating because it unites with the conventional cataloguing practice of the west. 5. In the anthology category, the writings with the best styles from the Chuci(초사) or the poems of Chou, Wen-xuan(문선), wen-yuan-ying-hua(문여영화) are selected and classified into four parts: (1) poems, (2) proses of Han, Wei and Pre-Qin dynasties. (3) Si-liu-pian-li-wen(사육병려문), (4) classic style of writings of Tang and Song dynasties (당송고문). 6. There was an unusually large number of Han Yu's writings selected from the great eight poets of Tang and Song dynasty writings. (20 categories out of $43: 47\%)$ After comparing the entries of the Sabu-Songyu-Mongnok, it can be concluded that all the entries were also included in the Hong-ssi tokrorok. The fact that the sequence of the entries in the classics category and that the literary works were sequenced under the same subject by the year of editing or writing like as the Hong-ssi toksorok Also it is unusual that there was not even one literary work of a Korean in the catalogue. Anyhow this catalogue is the first recitation catalogue in our country that was edited for the people in the prime of life as well as for old people and is the only one existing today.

• Journal of Korean Classical Literature and Education
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• no.34
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• pp.115-147
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• 2017

This paper compared and reviewed the poetic theories and Chinese poems of the Korean author Kim Chang Heup and his Japanese counterpart, Kan Chazan. Kim Chang Heup and Kan Chazan shared largely the same opinions on poetry, and both rejected archaism. First, they did not just copy High Tang poetry. Instead, they focused on the (sometimes trivial) scenery right in front of them, and described the calm feelings evoked by what they had seen. They also adopted a sincere tone, instead of an exaggerated one, because both believed that poetry should be realistic. However the differences between the two poets are also noteworthy. Kim Chang Heup claimed that feelings and scenery meet each other within a literary work through Natural Law, and the linguistic expressions that mediate the two are philosophical in nature. However, Kan Chazan did not use Natural Law as a medium between feelings and scenery. Instead the Japanese writer said the ideal poetical composition comes from a close observation and detailed description of scenery. In sum, while Kim Chang Heup continued to express reason through scenery, Kan Chazan did not go further than depicting the scenery itself. In addition, Kim Chang Heup believed poetry was not only a representation of Natural Law, but also a high-level linguistic activity that conveys a poetic concern about national politics. As a sadaebu (scholar-gentry), he held literature in high esteem because he thought that literature could achieve important outcomes. On the other hand, Kan Chazan regarded it as a form of entertainment, thereby insisting literature had its own territory that is separate from that of philosophy or politics. In other words, whereas Kim Chang Heup considered literature as something close to a form of learning, Kan Chazan viewed it as art. One might wonder whether the poetics of Kim Chang Heup and Kan Chazan reflect their individual accomplishments, or if the characteristics of Chinese poetry that Korean and Japanese poets had long sought after had finally surfaced in these two writers. This paper argued that the two authors' poetics represent characteristics of Chinese poetry in Korea and Japan, or general characteristics of Korean and Japanese literatures in a wider sense. Their request to depict actual scenery in a unique way, free from the ideal model of literature, must have facilitated an outward materialization of Korean and Japanese literary characteristics that had developed over a long time.

• (The)Study of the Eastern Classic
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• no.48
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• pp.91-116
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• 2012

Writing is a process and work of expressing one's own feelings and thoughts that are not contained in rigid forms; however, the literary trend and environment during the Late Joseon was not so tolerant. A revivalist approach to writing was dominant during this period, which was summarized in the expression that "Prose must be written in the style of Qin and Han; and Poetry in that of High Tang. "Hence, it was practically a taboo to express one's raw emotions and disregard the custom and regulations of writing. Nevertheless, literati, who got tired of the dogmatic rule of Neo-Confucianism at the time that refused to see the changing world and the pseudo-archaic writing that merely imitated the outside and was empty inside, attempted new styles of writing to escape from the model or example and what was familiar. Lee Yong-hyu, who was in the middle of such transformations, learned the trends of Late Ming and Early Qing through the newly imported Chinese books and created his own style that reflected his personality. His writings refused the Neo-Confucian system of thoughts, which was a dominant ideology of the time, paid attention to the human nature and emphasized the restoration of the self. His writing could be described as being anti-pseudo-archaic and criticized the pretentious trend of the time. He argued that in order to restore the true self, one must recover the innocent mind that was bestowed on human by heaven/nature (cheon-li, 天理), and for this purpose, one must straighten out one's mind (sim, 心). His argument is similar to that of "Yangming School of Mind," which could be represented by the phrase, "Mind is the Principle (心卽理)." Yangming School claimed that moral principle existed within one's mind; and this was in stark contrast with the Neo-Confucian idea that "principle (li)"was external and transcendent, and was spoken by the great Confucian masters and written down in Confucian Classics. By denying the externality of the principle and underscoring its immanence, the idea that centralized Confucian Classics and canons was dismantled. Lee Yong-hyu's writing styles that denied the model and emphasized the restoration of the self was influenced by such thoughts. However, one must neither hastily judge that he is an advocate of Yangming School of Mind, nor determine the anti-pseudo-archaic writers' ideological basis as the philosophy of Yangming School. Once it is rigidly defined, be it Zhu Xi's philosophy or Wang Yangming's philosophy, it becomes another model that one must abide by, and again the self disappears. Thus, Lee Yong-hyu defied any kind of model that claimed authenticity or precedence and wished that people would live independently as oneself, and left such claims and wishes in writing. That is the reason, after more than two hundred years later, we still read his writings.

• (The)Study of the Eastern Classic
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• no.34
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• pp.207-224
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• 2009

This research is a quest of theories of poetry of Wang Yak-heo who was a literary critic during Chin(金) dynasty in ancient China. Wang Yak-heo left a fine piece of work, dubbed ${\ll}$Honam Yuro Jib${\gg}$ and, in this paper, the author closely reviewed the theories of poetry that is appeared, especially, in the three volumes of ${\ll}$Talks on Chinese Poetry${\gg}$ among the collections of Wang's poetry criticism. In particular, the author investigated the positive and negative aspects of Honam's commentaries on the works by Chinese poets, including his principles of poetics, creative skills, and practical criticism, etc. Wang Yak-heo has not been known much in the history of Chinese literary thoughts, however, his theory of criticism, especially, among the talks on Chinese the works by Chinese poets, his literature criticisms establish unique and distinctive point of views. Wang Yak-heo's poetics, more than anything else, valued nature, meanings, truth, and contents therein. He exhibited realistic view of literature. Meanwhile, he analyzed the methods of expression by Du Bo(杜甫, pronounced, "Du Fu" in Chinese), So Sik, also known as So Dong Pa (蘇軾, Su Shi or 蘇東坡, Su Dong Po in Chinese), and Hwang Jeong-gyeon(黃庭堅, Huang T'ing-chien), and highly evaluated the realistic poems written by Du Bo, Baek Geo-I (白居易, pronounced, "Bai Juyi" in Chinese), and So Sik. Also, he opposed to formalism or externality, however, he never made light of formality of poetry. In his comments on the works by Chinese poets, he highly evaluated the poems sung by So Sik and Beek Geo-I, in the mean time, however, he criticized their works without hesitation. Having set up his own unique criteria for critique, Wang didn't accept other opinions in a seemingly illogical manner, and he presented what he thoughts and other different points of view from others. Specifically, he attached great importance to whether or not modification of words and phrases, grammar, and whole context were congruent to one another and had been well harmonized. However, in his poetics, Wang was so wrapped himself in reasonableness or rationality, he analyzed each and every word in great detailed manner, as the result, he sometimes didn't read the sentiment or mood that the writers intended to express through poems. He excessively restricted himself to the words and phrases, so that he was not able to realize natural emotions and joy of imagination that were presented in the poems, and, in the end, this brought about adverse effects to the poet's thought.