• The Journal of Korean Philosophical History
• /
• no.30
• /
• pp.87-121
• /
• 2010

Soang excavates the idea of equality in our national indigenous thoughts and the theoretical structure of threefold egalitarianism in our traditional Confucianism. He also digests diverse Western thoughts and introduces some of them into his theory. At first sight, his theory looks like an assembly of diverse Western thoughts. However, he always justifies it with our traditions. Even if his theory and political position fails in his time, it gives us valuable instructions. First, if the failure of his political center position means an opening road toward Korean division, his political position must be a future guide for the reunification of Korean peninsula. Second, if the bi-polarization is a serious disease of our society, then his view of egalitarianism must be a efficient guide for curing our society. Third, as European Union shows us, the kingly view of world family is a feasible guide for realizing world peace in future.

• Journal of East-Asian Urban History
• /
• v.3 no.1
• /
• pp.121-138
• /
• 2021

The Dutch arrived in the islands that now compose Indonesia in the 17^th century, settling first in Banten (1600) and Ambon (1605) before establishing Batavia (1619) and taking over Malacca (1641) from the Portuguese. Referring to this network of strategic bases throughout the Nusantara region, this paper uses the element of urban cultural heritage to examine these four major trade hubs experienced very different destinies as a result of Dutch decisions. It also explores how shifts in political power after Indonesia's independence influenced Jakarta's dominance in modern-day Indonesia. The paper suggests that Dutch opportunism and strategic visions underpinned the decision to make Jakarta the center of colonial power in the 17^th century century. It also concludes that Jakarta's continued importance in political control and policies explains why it retained its position after Indonesia's independence, and these have been supported by recent policy measures. Finally, this paper concludes that, despite its Dutch origins, urban cultural heritage has been embraced by Indonesians.

• THE INTERNATIONAL COMMERCE & LAW REVIEW
• /
• v.64
• /
• pp.187-210
• /
• 2014

As port functions change to act as an economic catalyst and take on a central position in industries engaged in international trade, port hinterland has become a significant component in international shipping. The success of port hinterland as a strategic base of logistic activities critically depends on location selection factor for international distribution center that links elements of global supply chain management. By examining multi-measurement items empirically, this paper analyzed location selection factor for international logistics distribution center in port hinterland, and evaluated Busan new port hinterland from the user's perspective. Employing exploratory factor analysis, the results revealed that the model structured around five factors incorporating geo-location and accessibility, availability, political supports, cost factors, and quality of business environment is valid and reliable in the context of the location selection factors for logistics distribution center in the context of port hinterland operations. The evaluation of Busan new port hinterland provides useful insights for strategic improvement to accommodate the users' expectation. Further, the model offers both a descriptive and diagnostic strategic management tool for port hinterland development and operations, to guide future improvement.

• Informatization Policy
• /
• v.28 no.3
• /
• pp.73-94
• /
• 2021

This study aimed to analyze the minutes of the Legislation and Judiciary Committee, one of the standing committees of the Korean National Assembly, by applying the WORDFISH algorithm of automated text analysis to estimate the pattern of changes in the ideological orientation of the members of Korea's political elite. The results of the analysis showed that the Legislation and Judiciary Committee generally undergoes changes in ideological orientation around the time of a major administrative change, especially during the period preceding a change up to the time of its implementation. Compared with the United States, where changes in the ideological orientation of the political elite occur simultaneously based on parties, changes in that of the political elite at the Korean National Assembly tend to occur in response to a certain transitional point in time or a change in the ruling government. What is especially noteworthy in terms of the ideological orientation reflected in the minutes of the Legislative Judiciary Committee is that the microscopic effect tends to disappear when the macroscopic effect occurs and, conversely, that the microscopic effect emerges once the macroscopic effect has disappeared. In other words, changes in the ideological orientation of the political elite appear to indicate the effect of a particular legislator's individual characteristics when no effect is observed during a given term or year of the National Assembly, whereas they revealed the effect of a given time itself when no effects related with the individual characteristics of a legislator are discerned.

• STI Policy Review
• /
• v.2 no.1
• /
• pp.1-12
• /
• 2011

Korea is examining how to coordinate its S&T policies and solidify its position as a leader of infrastructure innovation policy that forms the foundation for many different policies. A number of questions have been raised, such as whether to install a superior coordinating body like the National Science and Technology Council (NSTC) or separate the budget allocation and coordination authority from the budget-planning ministry. Korea has tried using various institutional coordination devices and functions such as reorganizing its administrative ministries based on related functions and installing or reinforcing a superior coordinating body. In line with these discussions, the strengthening of the S&T policy coordination function through the NSTC is currently under review. In order to design an effective S&T coordination system in step with changing political and social demands, it is important to have a clear recognition of the current context as well as the unique institutional characteristics of Korea. This study examines the evolution of Korea's S&T policy coordination systems and analyzes its features.

• The Journal of Art Theory & Practice
• /
• no.1
• /
• pp.109-144
• /
• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Cross-Cultural Studies
• /
• v.35
• /
• pp.35-58
• /
• 2014

This article aims to explain the 'people-image' of Bakhtin's works in the light of "Transgredience" and "Transition." According to Bakhtin, the real core of every culture is the people. But he did try to answer the question "what is the people?" I think, the secret of Bakhtinian thought is located in the people-image, because it is the one of the territories that have not been explained. For this purpose, we have to examine four images represented by Bakhtin, - rogue, clown, fool, thief. These images are the concrete and individualized images of people, who can characterize the power of transgredience and transition. They commonly act for changing ordinary borders of identities formulated with nationality, property, status, classes, sex and so forth. In this sense, Bakhtin thinks that the masks are the real nature which can show the mutational power of Being. That is the kernel of Bakhtin's people-image that makes and changes every cultural world. When we accept and practise this perspective positively, we will realize that Bakhtin's position is close to the cultural politics, because a practical power of thought cannot help but being political. That's why we have to investigate Bakhtin's people-image from a vantage point of "Transgredience" and "Transition."

• Korean Journal of Heritage: History & Science
• /
• v.45 no.4
• /
• pp.22-37
• /
• 2012

Storage facility of the pre-historic Korea is classified into the subterranean, ground and overground types. The rectangular-shaped subterranean Storage facilities have been identified in the Pungnaptoseong, the Gong mountain fortress site and the Gwanbukri site. Feature no. 196 at Gyeongdang District in Pungnaptoseong yielded a large quantity of glazed potteries, and a wooden storage at the Gwanbukri site contained a large amount of fruit seeds. These storage facilities might be functioned as the warehouse for the highest group rather than the storage for the emergency such as war and flooding and stipend of government officials. This article subdivided into "state storage" on the concept of the former that "royal storage" on the concept of the latter. If it look on the state storage at large, this include the royal storage too. But it subdivided to help article understand because Baekjae changed from state storage to royal storage by change and specialization of system after 4th. The reason why the diversification of storage pits was closely related to the unification of local polities and the concentration of political power in the state-level. Therefore, it might reflect the political circumstances the ruling elites attempted to heighten their authority in terms of the organizing tax collecting system. And divided the time of storage is confirmed separative storage pits in the suburbs of capital city. There is hight probability of top local polities or nation that have possessional a role. This is to cover on frequent war in the Three States. On the other hand, state storage is located around ancent road that linked castle gate that is divided into center and periphery depending on function and position of storage. Center is located royal storage focusing in the presumed royal palace that periphery is located state storage to provide service to the public. It is presumed that located with the government office.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.1
• /
• pp.238-259
• /
• 2021

Gameunsa Temple is a Buddhist temple from the mid-Silla period. Construction began during the reign of King Munmu and was completed during the second year of King Sinmun's reign (682). This study is based on the results of excavations at the Gameunsa Temple site, exploring the findings presented in the literature in the field of history. This study also investigates the characteristics of the construction plan of Gameunsa Temple and its correlation with the political, social, and religious environment of the time. The results of the study are as follows: (1) First, it is confirmed that all of the buildings in the central block of Gameunsa Temple, such as the pagoda and corridor, the central gate, and the auditorium, fit within 216 cheoks by 216 cheoks (Goguryeo unit of measurement, estimated dimensions 353.30 mm), in terms of the base structure. This fact is highly significant considering the intent of the King in the mid-Silla period to advocate Confucian political ideals at the Donghaegu sites (Daewangam, Igyeondae Pavilion, and Gameunsa Temple), as confirmed by the relationship between the 'Manpasikjeok legend' and the Confucianism of the etiquette and the music; the relationship between the name of the 'Igyeondae Pavilion' and the 'I Ching'; and the relationship between the 'Taegeuk stones excavated from the Gameunsa Temple site' and the 'I Ching.' Additionally, it may be presumed that the number in the "Qian 216" on the Xici shang of 'I Ching' was used as a basis for determining the size of the central block in the early stages of the design of Gameunsa Temple. The layout of the halls and pagodas of Gameunsa Temple was planned to be within a 216-cheok-by-216-cheok area, from the edge to the center, i.e., on the central axis of the temple, in the following order: the central gate and auditorium, the north-south position of Geumdang Hall, the south corridor, the east-west buildings of the auditorium and the winged corridor, the east-west corridor, and the central position of the east-west stone pagoda. (2) Second, the coexistence of Confucianism and Buddhism in the architecture of Gameunsa Temple is based on the understanding of the Golden Light Sutra, originating from the aspirations of King Munmu to obtain the immeasurable merits (陰陽調和時不越序 日月星宿不失常度 風雨隨時無諸災横) and the light of the Buddha, which is metaphorically represented by the sun and the moon illuminating the whole world of Silla, a new nation with a Confucian political ideology, for a long time by "circumambulating the Buddha (旋繞)". It is also presumed that Gyeongheung, who was appointed by King Munmu to be the Guksa in his will and appointed as the Gukro after the enthronement of King Sinmun, was deeply involved in the conception and realization of the syncretism of Confucianism and Buddhism.

• Journal of English Language & Literature
• /
• v.54 no.2
• /
• pp.301-322
• /
• 2008

Pauline Hopkins's Of One Blood; Or, the Hidden Self was published in the Colored American Magazine during 1902-03. As a literary experimentalist and a political protester, Hopkins uses her fiction as a medium to overcome and ameliorate the violently racialized surroundings of the turn-of-the-century America. Having been faced with racist rhetorics and theories growing on biological differences between races, Hopkins must have felt an overwhelming urgency to challenge the heritage of slavery in American history. In order to speak out her political agenda in such a milieu, she needed a new setting as well as new narrative materials for the new era. She had to move the setting from America to Africa, the ancient utopian Ethiopia; her interest in the ancient African civilization reflects both a popular African-American vision of Africa and the movement of "black nationalism" of the time. She also needed materials from nineteenthcentury sciences, the newly evolving theories of psychology and mysticism (spiritualism/mesmerism), to explore the meaning of "the hidden self" which unfolds the complex nature of Hopkin's position on race, "blood," and African-American racial subjectivity. Hopkins in the novel explores not the color line but the bloodline. Tracing the horrific legacy of incest in the history of slavery, she attempts to redefine the true racial identity of African-Americans in America and to reconstruct their past, both family and race history. At the very center of her major tropes in the novel-such as "of one blood," "the hidden self," and incest-exists female body. Black female body, though it represents the violent site of sexual body (rape and incest) in slavery, ultimately becomes a vehicle to convey and preserve the truth of racial memory/past/history for African-Americans. As a conveyor of the past, black women not just connect the past and the present but also reawaken AfricanAmericans with the legacy of the African 'pure' bloodline. Hopkins's vision here necessitates the reevaluation of black women's role in family and history, heralding the 20th-century black feminine writing. With the major tropes, Hopkins clearly suggests that the blood of (African-)Americans is unrecognizably intermixed. Although the novel ends with ambivalence and without resolution on what Africa signifies, those tropes certainly offer her a vehicle for criticizing as well as for challenging the racial reality of America.