- P-ISSN0023-3900
- E-ISSN2733-9343
- A&HCI, SCOPUS, KCI
Vol.66 No.3
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The gendered market of the Joseon dynasty reflected the profound influence of Confucian gender norms on commercial spaces. However, practical economic needs and livelihood pressures continually challenged this order, leading to frequent breaches in practice. Women from various social strata—including the yangban (elite class), commoners, and even the mean people—entered the market by leveraging household production skills. Centered on goods such as vegetables, fermented sauces, and other food and beverages, they drove the market-oriented transformation of the kitchen economy. At the ideological level of Confucianism, the participation of women’s shops was consistently stigmatized and restricted. Yet, at the practical economic level, as long as it met livelihood demands and generated profit, gender segregation policies often had to yield or were even temporarily suspended. The commercial activities of women across Joseon’s social classes not only facilitated the circulation of goods but also undermined the “men outside, women inside” gender order, continually reshaping gender identities within commercial spaces. This phenomenon highlights the structural tension between economic rationality and Confucian gender norms during Joseon’s transition from a subsistence agricultural society to one characterized by commodity circulation. While the court and the yangban class endeavored to uphold Confucian gender norms, women’s economic practices persistently disrupted this order, fostering a new dynamic equilibrium between tradition and transformation in Joseon society.
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Founded in 2004, the New Right unraveled after just four years. Explanations for this point to a failure to attract public support. I discuss this failure in terms of what I call the problem of differentiation. Two visions of a rupture with the old right were articulated after 1987, for which historiography was central. The first is traceable to Yang Dong-an’s call in 1988 for a “new right” uniting regime and opposition conservatives to manage the transition to democracy without substantively changing the old regime. Jo Gap-je endowed this movement with a unifying historical narrative in 1993. The second is traceable to Kim Ilyeong’s call in 1995 for separating a positive historical narrative from support for the conservative establishment. These are two distinct visions of rupture with the old right, but the latter is burdened with the problem of differentiating itself from the former. As a case in point, Kim’s historiography was coopted by the very conservative establishment he sought to resist. Drawing on elite theory, I argue he did not adequately address the problem of differentiation. This has implications for understanding the failure of the New Right and other efforts to break with the old right.
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In the agricultural sector, the Japanese Ministry of Colonial Affairs prioritized expanding Korean rice production as a medium to long-term strategic reserve for Japan’s food security under quasi-wartime conditions. The Ministry of Colonial Affairs basically sought to purchase surplus Korean rice or store it in agricultural warehouses, which led to conflicts with the Ministry of Agriculture and Forestry. Also, since the establishment of the Ministry of Colonial Affairs, most communications between the Government-General of Korea and the Japanese central government were conducted through the Ministry of Colonial Affairs. Although, under the formal administrative system, the governorgeneral of Korea was not supposed to be under the direction of the minister of colonial affairs, the minister nevertheless intervened in the affairs of the Government-General of Korea.
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This study reexamines the relationship among art, technics, and collective practice in Korean art history, proposing a new historiographical framework grounded in the concept of giye 技藝, or “technics‑art.” By tracing a longue durée genealogy from premodern copy-makers and craftsmen to late 20th‑century experimental groups such as the Art Tech Group, this study reveals how collective technical artistry has persistently shaped Korean aesthetic and cultural production. It argues that practices traditionally dismissed as technical or mechanical embody an alternative epistemology in which art and technics are mutually constitutive, reflecting the relational worldview of Korean cosmotechnics. Premodern practices such as copy-making and apprenticeship sustained networks of embodied and collective knowledge, which later rearticulated through 1990s media experiments that reconceived collaboration and technics within digital contexts. Through the lens of cosmotechnics, the trajectories explored in this study reveal collective technical artistry not as stages in a linear modernization but as recurring reconfigurations of collective making in which human, material, and technical processes intertwine. This study thus challenges Eurocentric and individualist art histories and situates Korean art within a broader philosophical discourse that understands technics as a living, collective practice in the postdigital horizon.
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This study presents a comparative analysis of how Korean, Vietnamese, and American authors who experienced the Vietnam War portray religious perceptions and the oppressive nature of war in their narratives. The works analyzed include Bảo Ninh’s The Sorrow of War (1991) and “White Clouds Flying” (1997), Tim O’Brien’s Going After Cacciato (1978) and “Church” (1990), and Hwang Sok-yong’s “Tap” (The Pagoda) (1970) and The Shadow of Arms (1988). Drawing from recurring religious motifs in these stories, this study identifies key themes, such as the challenges of translating faith in the context of war, the symbolic significance of demolished religious sites, and the potential for mourning war victims. As the first comparative analysis of war novels from these three countries with a focus on religious themes, this study offers valuable insights into how human faith can be used as a lens to examine political realities or challenge prevailing political beliefs within fictional narratives.
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This article revisits the history of rural community health projects in 1970s South Korea through the biography of Dorothea Sich (1933–2017), a German physician whose career trajectory led her from medical mission work to preventive medicine and ultimately to medical anthropology. The study examines Sich’s engagement with community-based health initiatives in rural Korea and situates her work within the broader context of international health and development. By tracing Sich’s shifting roles—from missionary physician to public health expert and anthropologist—this article highlights how cultural encounters, medical pluralism, and development agendas intersected in Korea’s rural health programs. Through this biographical lens, the study not only sheds new light on the transnational dimensions of Korea’s community health history but also demonstrates how individual actors contributed to shaping both local health practices and the emerging field of medical anthropology.
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