• 중국학논총
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• no.64
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• pp.99-117
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• 2019

This study examines the themes the two authors shared - anti-colonialism, anti-imperialism, anti-imperialism, and anti-ideology - 《The Myth of the 20th Century》 and 《The Age of Passion》, 《Waiting for the Barbarians》 and 《Disgrace》. Both pieces opposed imperialist aggression and oppression and rejected colonial rule with the issue of their identity as strangers, and stood up against huge powers, including the fictionalization of ideology, racism, and despotism. Kim Hak-chul understood communism as a humanitarian, not a personal cult or individual dictatorship. Most of his work is autobiographical novels that he has experienced and are based on realism. Kim Hak-chul voluntarily chose China to actively fight against reality and showed the reality as it is to change history and politics, but Coetzee did not directly reveal the relationship between the perpetrator and victim, the ruler and the one being ruled, but maintained a certain distance from politics, revealing the reality of society and its system.

• The Critical Review of Religion and Culture
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• no.29
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• pp.101-133
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• 2016

The term 'myth' is modern terminology. It was introduced to the East Asia from late 19th century to early 20th century. Under the rule of Japanese imperialism, some Japanese historians insisted that Dangun(檀君) has no relation with Kochoson(古朝鮮). Some Korean historians have refuted their conjecture. The arguments between Japanese and Korean historians bring about the motives of making the concept of Shinwa(神話) The purpose of this study is to investigate the historical procedures of making myth of Homogeneous Korean as a case study of "teaching religion". For the scholar the historic beginning is to be distinguished from later myths of origins. The scholars, particularly among the historians of China, Japan and Korea take it as the beginning of the history to investigate myths, for the ending parts of narratives are in themselves involved in a social constructs in order to give legitimacy to the story. It is apparent to satisfy for the current social demands of the nation-states building. It is also an act of casting and projecting their national values into the far distant past which is considered to be authentic and authorative. The western term 'myth' had been made up in Japanese historical context in order to build "nation-state concept". In Korea, the myth of homogeneous ethnicity of Koreans had been also reconstructed as modern myth during the late 19th and the early 20th century. We can call it the invention of the tradition accordingly.

• Journal of the Korean Society of Costume
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• v.40
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• pp.5-23
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• 1998

The main purpose of this study was intended to analyze the image of N대-Expressionism represented in the late of 20th century fashion design. By the late 1960s and the early 1970s. the prevailing notion of modernity, which had pushed the limits of art beyond previous boundaries, had begun to lose its urgency. Critics called the new pluralistic era which the West was entering Post-Modern. Furthermore, the predominance of America and the New York scene is diminishing, and artistic leadership is now international. Post-Modernism dialectcally made denial of Modernism as likely as New Image Painting and Decorative Pattern Painting Art in 1970's and it was availed as a dialectcal means for the pre-diction of new comings that would be appeared at painting art in 1980's. New Image Painting has been called as Neo-Expressionism. The N대-Expressionists selected human's feature because appeared flankly, directly irregular agitation in the visual effect and they believed human's destructive and amputate body was cruelty. So they express it on the surface canvas. Under the these background, the image of Neo-Expressionism was represented in the late of 20th century fashion design such as the upside-down image of human feature, the image as ameditation on German myth and history, culture, the ecletic image is made of use a mixture of material. The properties of composition, line, color, texture, and form, common to all plastic art, are now more readily recognized and historically valued in every work. That is, individuality, humanity, and the human condition have been at the core of most Western art and Fashion design. Especially Fashion design has been one of the principal instruments used to examine our nature and to promote the notion of growth, self-understanding, and change.

• Journal of architectural history
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• v.20 no.4
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• pp.45-60
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• 2011

The purpose of this paper is to research Gunnar Asplund's Woodland Chapel (1918-20) in terms of the revernacularization of classicism and to investigate into the matter of the constructional logic. The term 'revernacularization of classicism' was used by Alan Colquhoun to explain the process to return to the pure sources of classical architecture, and the case of a successful fusion of classicism and vernacular traditions was suggested by Demetri Porphyrios through Scandinavian Doricist sensibility in the early 20th century. Porphyrios's classicism, not as style but as sensibility, is premised on a constructional logic of vernacular, and is to achieve an aesthetic quality by its mythical elaboration. Woodland Chapel, a representative of the Scandinavian Doricism according to him, illustrates characteristics of the revernacularized classicism as in the fact that it thickly displays vernacular images at the same time as relying on classicism; in the return to primitive simplicity; and in the mythopoeic power. However, the constructional logic of this building was obscured in the capital of the portico columns, the interior dome, and the whole structure of the roof. Confronting this paradox, we have to remember that although Porphyrios emphasized the constructional logic he opened an aesthetic exit of the mythical elaboration, which is in accord with the concept of the tectonic as the poetics of construction. Woodland Chapel assumes atectonic features but is never anti-tectonic. Asplund intensified a poetic effect by setting the myth over construction in the chapel, and so it can be seen as a key example of the revernacularized classicism with the Doricist sensibility.