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Assumption and Method in Hegel’s Description of History Byung tai Yoon (Yonsei University) The essence of Hegel’s thinking lies in the spirit. If reason is the subject of the spirit, life might be regarded as its object in his thinking. The spirit should be understood as the spirit only if it acts and moves. To act means to draw the trajectory of life which is nothing other than the historical. Thus the spirit must be historical. Hegel was always concerned with the historical, and separated freedom from the objective law of nature and history. That is why he parted company with Kant or Fichte. Reason must be the principle of history in Hegel’s account in so far as there is nothing that is able to determine the reasonable within history except for reason. The main thrust of Hegel's philosophical history and historical philosophy is that the spiritual and the rational are historical, and historical is and has to be rational. This paper does not aim to propose a new interpretation of Hegel's philosophy of history. Rather I wish to comment on his main ideas in detail in order to indirectly warn readers that the more secondary literatures on Hegel’s philosophy of history have attempted to reveal his originality, the more they have distorted and hidden his main ideas. To do so, I plan to raise and answer two questions which, I believe, play a role as a preliminary to leading Hegel’s philosophy of history: What is his assumption in describing the philosophical history?; What is his method in doing so? These two questions might be resolved not in consecutive order but in mutually circular order in Hegel since the method is determined by the assumption, and vice versa.

The Continuous Rebirth of Life : A Study of Hesse’s Siddharta Seung-Chong Lee (Yonsei University) Hesse’s Siddharta is a philosophical novel on the life of Siddharta, his awakening, and teaching. Siddharta’s thinking is expressed by the monologues or the dialogues in the concrete contexts to which Siddharta belongs. Even though the themes and theses of his thoughts are philosophical, they neither make arguments, nor theories but are merely scattered and fragmentary remarks on the various states of affairs encountered during human life. His remarks constitute a working notebook or albums full of trials, errors, revisions, and sketches made in the course of journey called life. There is no such thing as nirvana according to Siddharta. There is only a continuous rebirth of life. Achieving nirvana is not the aim of Siddharta. In the course of a continuous rebirth of life, the past does not remain as traces or shadows in the present. Rather, as it is exhausted or knotted by deconstruction, overcoming, or oblivion, the past prepares a new departure. The rupture and the discontinuity that a new departure entails are balanced in the text by the macro plot of return. The life of Siddharta proceeds with the dual flow of difference and repetition. The touching ending of Siddharta is to be understood neither as the final conclusion of his inquiry nor as his attaining of eternal truth or nirvana. It merely represents the tentative path mark that is reached by a finite being, i.e., Siddharta. After the text of Siddharta is over, the life of Siddharta will continue. Even though there may be no more awakening, he will devote himself to the keeping and practicing of what he has learnt.

Consilient Thinking and Humanistic Imagination : Towards a Broader Horizon of Maritime Literature Youngho Choi (Korea Naval Academy) Looking into maritime literature through consilient thinking and humanistic imagination enables the reader to question the uniform discussions regarding it. By drawing in a variety of literary qualities evident in maritime literature, new possibilities of creation in literature are set forth. If the creation of maritime literature is what writers are solely responsible for, the literary world as a whole is able to answer for the denial and criticism arising from the limited understanding that considers the sea a mere storage of the material world. It is believed that there will be a colorful burst of new literary possibilities, if such a critical view is well accepted to make contributions to authorial creativity. This study lays its purpose on a critical understanding of the reality in which discussions on maritime literature have so far ruled out any thinking, sensibility, and ideas different from the prevailing view that maritime literature is nothing buta portrayer of a material sea. The sea reflected in and represented by literature should not be denied its identity just because it lies beyond the physical boundaries defined by oceanography. This research is designed to create an opportunity to review and rethink materialism that has been haunting maritime literature, with a new approach grounded on consilience tearing down the boundaries of knowledge and imagination valuing but not confined to material itself. It also aims to bring new attention to a maritime literature featuring human beings and their lives along with a variety of human needs and desires emerging from them. All these efforts to overcome the framework of the existing literary trend are expected not to deconstruct maritime literature but instead to help restore, and strengthen, its productive creativity. After all, it is the cultivation of a good literature, be it rooted in materialistic spatiality or in organistic placeness, that we are working for in order to make the world a better place to live in. In this regard, it is believed that renewing approaches to studying maritime literature with the new tools of consilient thinking and humanistic imagination has a direct link not only to expanding the boundaries of Korean literature but also to unveiling the veil of human life.

The Reason for the Popularity of Tang Society Music and Dance of the Central Asia Hae Won Lee (Korea University) Poetry, music and dance in the Tang reached a peak and was brilliantly successful. It was the golden age for dance in ancient China. From the mid-Tang a lot of minority nationality and foreign music and dance was gradually incorporated into the Han music and dance form. A dazzling new form of dance took shape under the Tang. The overwhelming majority of song and dance is divided in to the two main categories of Tang court music and dance - the “Zuobu Arts( )” and “Libu Arts( )”. Music and dance were the main forms of performing arts under the Tang. Thanks to accounts in poetry a wealth of written data has been preserved, and the murals in caves as well as dancing figurines and pictures uncovered in tombs have also provided us with valuable figurative material. The latter are particularly close to life so all the more realistic and reliable. The richness and variety of Tang dance is fully brought out in the particularities of style of each figurine's dress and dance pose which are all quite distinct. Evidently there was frequent exchange of dance between the Han people and Central Asians. Their influence on and assimilation of things from each other are borne out by history. Though based on tradition, dance in the Tang was boldly innovative, embracing many national folk dances and those brought from abroad. The reason why the central music and dances were more popular in the Tang society is their exotic and gala costumes, various and speedy movements of performances. And we can find out the evidences in the Tang poetry.

A Study on the Identity of French Culture Kim Nam Youn (Kangwon National University) The paper develops the various liaisons that may be established between the words ‘culture’ and ‘identity’ and through this interaction define as to what may actually constitute as being the dynamics behind cultural understanding. Most of the studies relating to culture and societal environments in the past were largely based on nationalistic movements which were quite frequently influenced by political landscapes of the concerned society. To surmount this obstacle and misunderstandings the paper proposes to delimit the subject of research to, and only to, outstanding cultural aspects. The research will limit and focus on France today, which is a multi-cultural society. The decision to limit the boundaries thus to France was made, in that France had already gone through the turbulence of establishing a multi-cultural society. The cultural superiority theory in France of the ethnic group Gaul, which is an union of German and Frank ethnic societies, is only a nationalistic outburst and has no basis and should not be taken seriously. The historical religious denomination also should be discarded. Even though the Roman Catholics and the Protestants both make up a large part of the population, the French today identify more with laïcité rather then with the traditional religions. The French language should also be taken out of the equation because French as a language only began to be used widely across the country in the latter half of the 19th century. In short, what we mean by French today is rather difficult to discern. And to this end the cultural means may be the last objectival solution as to identify what truly refers to being ‘French.’ The cultural identities of the past and the present that one identifies may give us an insight as to how cultural identity of a society will evolve in the future. To maintain objectivity of the research, words ethnically incorrect will also be addressed. It is to limit general prejudice and occasional stereotyping that one might have to answer to in order for the research to conclude with a satisfying result. Finally, it is necessary not to be satisfied with just a proclamatory result but to see it as an ‘activer’ of cultural circumstances.

Reading Ulysses as a Journal Kiheon Nam (Seoul National University of Science and Technology) Joyce's setting of the clock of Ulysses on June, 16, 1904, has raised a lot of suspicion about his lack of history and surmises about any special significance of that day. Of the two different perspectives on history, the “historiographical” is preferred in this approach to Ulysses, since the “historicist” valorizes grand narratives of historic significance, which means the exclusion of petit récits. By adopting a journal form, Joyce strategically blurs the complacent distinctions between private and public, history and journal. Many critics have attempted to contextualize the date, June 16, 1904, but no plausible, satisfying answer has ever been given. I argue that this dissatisfaction must be readdressed in terms of Joyce's interest in journalism and popular culture. Long before the “Aeolus” episode, whose location is the newspaper office, and whose page format is similar to newspapers, Joyce has employed a personal journal at the end of A Portrait. The itemization of experience is similar to interior monologue technique, in that it adopts the Bergsonian concept of durée, a psychological concept of time. So Joyce's organizing of Ulysses as a journal is a strategy to incorporate encyclopedic desire into a limited form. As a result, many anachronic references were pointed out by many critics, some of whom blame Joyce's Ulysses for being an ahistoric, apolitical text. But Joyce questions the linearity of historical narrative by deploying many historical events in a fragmented, synchronic way. Joyce must have used some anachronic references to the effect that the complacent juxtaposition between unrelated, conflicting discourses is questioned. Joyce's use of a journal form articulates his preoccupation with history. In “Nestor,” Stephen's retort to Mr. Deasy's remark of teleological historicism encapsulates Joyce's critique of the unilinear, monocausal concept of historical progressism. Joyce's yoked condensation of many concepts of time - diachronic, synchronic, transchronic, etc. - blurs our sense of history as telos, like Mr. Deasy's goal. Instead, Joyce embraces the trivial events, fragments of history in a journal, thus incessantly interrogating the history as the victor's recordings. Joyce must have resisted the justification of the British domination over Ireland as a historical “fact.”

Untold Stories of Desert : Mary Austin's The Land of Little Rain Eunseong Kim (Korea University) Mary Austin is regarded as the first writer who mapped the western desert of America as an ecocultural region. She explored and celebrated the desert when it was considered to be a desolate and hostile place. However, her main work, The Land of Little Rain, which consists of 14 sketches about the wilderness, and animals, plants and cultures of Native American and Hispanic people who lived there, roused a new awareness of an arid place where all its members live in harmony with the demanding environment of the desert. For Austin, the desert is not just a vast space which is silent and barren. Rather, she values all life in the desert and attempts to indicate that each member consists of and constitutes the process and flux of energy, which anticipates our contemporary ecological vision. Therefore, the wilderness of desert comes to Austin as a site of inspiration and creativity. Although the desert is blamed for its lack of culture or civilization, Austin finds an alternative culture in Native and Hispanic communities which already resolved the conflict between civilization and nature. Native American and Hispanic figures appear as a model of endurance, self-sufficiency, and graceful adaptation to their severe environment, which, Austin believes, will reinvigorate American culture which has become stereotyped. After keen and patient observations, Austin comes to know that the desert and all its members are fulfilling their lives with their own stories. She tries to tell us about the stories which have been neglected and mispresented for a long time.

A Comparison of the Storytelling in the Woodcut Drawing Plate of Samganghaengsildo and Oryunhaengsildo Jungran Oh (Kwangwoon University) This paper provides a comparative analysis on the storytelling between cartoons of Samganghaengsildo, Dongguksinsok-samganghaengsildo and paintings of Oryunhaengsildo in Woodcut Drawing Plates of these Confucianism textbooks. Pictures on Samganghaengsildo and Dongguksinsok-samganghaengsildo used a narrative-cartoon approach with strong storytelling to effectively deliver Samgang-Ideology. In Oryunhaengsildo, an aesthetic impression was sought via a painting technique. Such changes in the painting technique of these Haengsildo books were in demand at the time. When the distribution of Samganghaengsildo and the education of people were urgently required, a steady development on the cartoon techniques and animative ideas was made. Also, the role of cartoon in the Samganghaengsildo and Dongguksinsok-samganghaengsildo was as equally important as that of the text, consisting the body of the book. But as the distribution of Samganghaengsildo showed a decent success through a consistent national policy and certain internal-external factors of Samganghaengsildo, the burden of distributing Samgang-Ideology through narrative-cartoon must naturally had reduced. As a result, the pictures of Oryunhaengsildo had given up the function of ideology distribution. Instead, they were converted into beautiful paintings aimed at providing an aesthetic impression. This change in trend, which turned the painting into mere illustration with no narrative function, must have subordinated the role of the painting to the role of the text book.

Persépolis of Marjane Satrapi : From a Graphic Novel to an Animation Film Young-Soon Ahn (Soonchunhyang University) “Persépolis” is a 2007 French animated film based on Marjane Satrapi's autobiographical graphic novel of the same name. The film was written and directed by Satrapi with Vincent Paronnaud. The story follows a young girl as she comes of age against the backdrop of the Iranian Revolution. The story ends with Marjane as a 24-year-old expatriate. The title is a reference to the historic city of Persepolis. “Persépolis” follows the story of young Marjane Satrapi, the only daughter of an educated Teheran couple who travels through an epic journey of political struggle, Western idealization, religious fanaticism, teenage angst, alienation and depression, and ultimately self-discovery. This animation film is a very true and affectionate adaption of the original comic also drawn by Satrapi who directed the film. The purpose of this article is to study the aspects of adaptation from a graphic novel to an animation film: the transformation of dramatic structure and the mise-en-scène techniques that the directors use to express the process of overcoming Marjane's state of the Otherness. The story is done in flashbacks and most of the animation is in black and white except at the beginning and the end of the film when the narrator is speaking in the present. By reconstituting the narrative structure of the original, the film is split rigidly into three acts and there are certain problems with its structure. Divided in three acts, the film follows Marjane Satrapi as she navigates through an oppressive environment, in both Iran and Austria, while on the lookout for her identity and self worth. Marjane's struggle for establishing her own subjectivity and identity is the film's driving force. And using various mise-en-scène techniques, the directors succeed in describing exquisitely Marjane's inner state of mind as the Other or a marginal man. To contrast the film and its graphic novel roots is made redundant by its production, as it's making a conscious effort to steer clear from recreating the panels as is. Film is more cinematic in approach and fully takes advantage of its use of music and color. As opposed to the novel's more linear story telling, “Persépolis” follows a mainly flashback- driven narrative which further emphasizes main protagonist's faint sense of nostalgia. Music is also used to much effect, as sequences involving popular music will be marked as a highlight, clearly in absentia from the novel. The overall effect is interesting: both mediums become more complementary rather than a substitute.

A Comparative Study of Narrative Structure in Novel and TV Drama Nam-Il An (Korea University) Today, the recognition of the effects of mass media being magnified in all areas of our society is becoming important. This means that eventually it is inevitable to understand and use all sorts of media in order to access, analyze and assess the overflowing knowledge and informations in the change and development of rapidly changing media environment. In this research, with literature text, we have chosen a drama out of KBS HDTV literature museum. We think the goal of the drama is to realize high quality picture suitable for digital era and at the same time, to reinterpret the past literature from a modern viewpoint. In this sense, the focus of the discussion about this research is on the visual function of TV drama and the literature about “A Buckwheat Flower Season” written by Lee, Hyo-Seok. In other words, having a purpose on checking the relation between traditional literature reading and visualization, we will try to translate the meaning of correlation between “A Buckwheat Flower Season” written by Lee, Hyo-Seok and the same of KBS HDTV literature museum.

Film Representations of Lord Yeonsan's Persona and Their Modern Meanings Gi-Dae Lee (Korea University) This paper examines modern film reinterpretations of Lord Yeonsan. who is notorious for his immoral and tyrannical behaviors. Modern films have tended to treat him from a compassionate perspective on the grounds that his behaviors might have been affected by the tragic death of his mother, the deposed Queen Yoon, who took poison bestowed on her as a death penalty by her husband, King Seongjong. Films of this vein make it a rule to describe in detail how much Lord Yeonsan missed his mother while young. In the light of historical recordings, however, the relationship between Lord Yeonsan and the deposed queen depicted by the films is just a fiction, and there are quite a few gaps in their visualization of the cast of characters. Earlier films dealing with Lord Yeonsan portrayed his evil deeds as being provoked by Jang Nok-soo, or by the political conflicts surrounding her. A recent movie entitled “the King's Man” revealed that there was something lacking about his persona and the people around him. It is highly likely that Lord Yeonsan will continue to be portrayed as a wounded tragic man as far as people feel compassionate about him, calling for historical reinterpretations of him as a person.

The ‘Liveness’ of Performance in the Age of Media Technology Rora Paek (Soongsil University) This research aims to investigate liveness discourse of media performances and explore the production and reception of recent experimental performances. These aims are based on the fact that ‘liveness’ has become a problematic issue in the areas of both performance studies and performance staging. The purpose of this research is drawn from the following two premises. First, it is inevitable to apply media or digital forms to contemporary performances. Second, our life experiences have been penetrated both implicitly and explicitly by mediatizations, for example media performances, documented performance productions, live broadcast programs, and live TV talk shows, all of which are forms of mixed media. These two assumptions are significant in the liveness theory of Philip Auslander, who first called attention to the ‘liveness’ of media forms in the field of performance discourse. While this research starts from the same assumptions, it raises questions about the liveness of media performances, and it also discusses the limitations that emerge in the production and reception of liveness. Over the course of a detailed exploration, the following three questions will be pursued: How can liveness be produced in relation to the audience’s life experience? Is it real liveness, or is it a simulacrum of liveness? Where can liveness be found if the liveness of performance is the audience’s desire and ideology? For specific investigation, this research will explore how liveness is produced and how the experiences and perceptions of the audience are presented in recently performed experimental productions such as <Dead Cat Bounce>, <Domini Públic>, and <Tagfish>. Eventually, it is expected that this exploration will find another direction that establishes the ontology of performance and represents the diverse discourses of contemporary performances.

A Study of English Reading Education through the Smart-Phone App practical use: Focusing on Communicative Competence Na-Young Kim, Hyung-youb Kim (Korea University) The purpose of this article is to examine how the communicative competence elements, grammatical, social-linguistic, discourse, strategic competence, proposed by Canale & Swain, are connected with smart phone Apps for English reading. In order to achieve this goal, several linguistic theories associated with communicative competence and background knowledge needed for English reading learning were reviewed. Then 48 English reading Apps were chosen to be investigated. As a result, the above-mentioned elements were found in the Apps. The reviewed Apps were classified into three categories, good, fair, and poor, according to the extent to which the Apps were likely to offer communicative learning activities. As one of the most advanced technology media, smart phones are being used in various areas including ESL or EFL learning lately. Thus, smart phone Apps can also be considered a new type of useful tool for improving L2 learners' English proficiency. In this sense, this paper perceives the pedagogical potential of App contents for facilitating other skills, such as speaking, listening, and writing. Based on this paper's discussions, it is suggested that language practitioners form a pedagogical consensus with App developers to produce Apps which are more communicativecompetence oriented.