This article analyses the Akjang of the Eulogistic Title Offering Ritual for the Three Queen Dowa... more This article analyses the Akjang of the Eulogistic Title Offering Ritual for the Three Queen Dowagers, at King Seongjong’s reign in Joseon Dynasty. This three-verses Akjang and the ritual were intended to justify the legitimacy of King Seongjong, who had been the second son of former Crown Prince Uigyeong, and adopted as the successor of the late King Yejong. The Regents of the new king, such as the Grand queen dowager Jaseong and the group of old meritorious ministers, wanted to reinforce the king’s proper right of succession, because the nomination of King Seongjong to be a successor was based on their sense of crisis against the potential opposite faction, represented by a war hero, Prince Lee Jun. For this reason, the regents wanted to promote the official status of King’s biological parents, the former Crown Prince Uigyeong and the former Crown Princess, to the equivalent position of proper King and Queen. By the Eulogistic Title Offering Ritual for the Three Queen Dowagers, the former Crown Princess who gave birth to the King Seongjong, was officially announced as ‘the Queen Insu’ and became treated as a proper queen like two other queen dowagers, the grand queen dowager Jaseong, and the queen dowager Inhye. In this context, an bidirectional message was implied in the expressions and metaphors of this three-verses Akjang, dedicated for three queen dowagers. The second verse of the Akjang dedicated for the queen dowager Inhye, encouraged and emphasized the traditional virtue of feminine humbleness. This message was attributed to her ambivalent status, because she was the biological mother of Prince Je-an—the biological son of the late King Yejong—as well as the legitimate mother of King Seongjong. That meant she and her own son could be a potential risk of Seongjong’s legitimacy. On the other hand, the third verse of the Akjang dedicated for the queen Insu, praised her maternal wiseness, and described her as a messenger of the Mandate of Heaven for proper king, from the Royal family’s paternal line to her own son. That was a series of genealogical justification for the new king, totally based on the Confucian ideology of lǐyuè(禮樂) and zōng fǎ(宗法).
This article analyzes Yang Ju-dong(1903~1977)’s research on the Korean classical poetry, focusing... more This article analyzes Yang Ju-dong(1903~1977)’s research on the Korean classical poetry, focusing on its contexts of the ‘Republic of Letters’ in the late Japanese colonial period of Korea, from the late 1930s to the early 1940s. At the time of the second Sino-Japanese war, writers of “Munjang”, a popular coterie magazine founded in 1939, tried to ‘invent’ the language and literature of Joseon(Korea). Yang Ju-dong’s research on the Korean classical poetry, particularly interested in lexicology of ancient Korean language and literature, were related to such tendency of Korean ‘Republic of letters’ at that time. With regard to the discourse of the ‘Korean classical literature’, Yang ju-dong established two boundaries of the Korean classical literature, the diachronic ‘past’ and the spatial ‘Korean=Oriental.’ By fusing these two concepts, he organized a ‘function’ of the Korean literature, that the Korean classical literature was valuable because it came from the past(classical antiquity), which meant it preserved Korean=Oriental aesthetics well. These imagined boundaries and their function relied on the twin inventions. The first was the invention of the continuity of Korean language, from the language of Silla dynasty to the modern Korean. The second was the invention of the genealogical extension of Korean language toward Manchurian or Mongolian, based on the hypothesis of ‘Ural-Altaic language family.’ In a way, it seems that Yang ju-dong’s research internalized the logic of Japanese Imperialism, especially on its Orientalism or ‘post/anti-westernization.’ To quote Homi Bhabha’s words, however, the twin inventions of Yang ju-dong’s research can be analyzed as ‘resistance’, because it (re)interpellated Joseon(Korea), which was completely erased, into the Japanese initiative of ‘Greater East Asia’, and therefore, implied the signs of cultural difference and reimplicate them within the ‘deferential relations’ of colonial power.
This paper analyzes Yang Ju-dong(1903~1977)’s research on the Korean
classical poetry, focusing o... more This paper analyzes Yang Ju-dong(1903~1977)’s research on the Korean classical poetry, focusing on its contexts of the ‘Korean Parnassus’ group in the late Japanese colonial period of Korea, from the late 1930s to the early 1940s. At the time of the second Sino-Japanese war, writers of “Munjang”, a popular coterie magazine founded in 1939, tried to ‘invent’ the language and literature of Joseon(Korea). Yang Ju-dong’s research on the Korean classical poetry, particularly interested in lexicology of ancient Korean language and literature, were related to such tendency of Munjang and its writers at that time. Concerning the discourse of ‘Korean classical literature’, Yang ju-dong conceived double boundaries of the Korean classical literature, the diachronic ‘past’ and the spatial ‘Korea=Orient.’ By fusing these concepts of time and space, he organized a singular ‘function’ of space-time of the Korean literature, that the Korean classical literature was valuable because it came from the past(classical antiquity), which meant it preserved Korean=Oriental aesthetics very well. These imagined boundaries and their function relied on two inventions. The first was the invention of the continuity of Korean language, from the language of Silla dynasty to the modern Korean. The second was the invention of the genealogical extension of Korean language toward Manchurian or Mongolian, based on the hypothesis of ‘Ural-Altaic language family.’ It seems that Yang ju-dong’s research internalized, to a certain degree, the logic of Japanese Imperialism, especially on its Orientalism or direction of ‘post/anti-westernization.’ To quote Homi Bhabha’s words, however, the invention of Yang ju-dong’s research can be analyzed as ‘resistance,’ because it interpellated Joseon(Korea), which was completely eliminated, into the Japanese imperialistic initiative of ‘Greater East Asia’, and therefore, implied “the signs of cultural difference and reimplicate them within the ‘deferential relations’ of colonial power.”
This article analyses the Akjang of the Eulogistic Title Offering Ritual for the Three Queen Dowa... more This article analyses the Akjang of the Eulogistic Title Offering Ritual for the Three Queen Dowagers, at King Seongjong’s reign in Joseon Dynasty. This three-verses Akjang and the ritual were intended to justify the legitimacy of King Seongjong, who had been the second son of former Crown Prince Uigyeong, and adopted as the successor of the late King Yejong. The Regents of the new king, such as the Grand queen dowager Jaseong and the group of old meritorious ministers, wanted to reinforce the king’s proper right of succession, because the nomination of King Seongjong to be a successor was based on their sense of crisis against the potential opposite faction, represented by a war hero, Prince Lee Jun. For this reason, the regents wanted to promote the official status of King’s biological parents, the former Crown Prince Uigyeong and the former Crown Princess, to the equivalent position of proper King and Queen. By the Eulogistic Title Offering Ritual for the Three Queen Dowagers, the former Crown Princess who gave birth to the King Seongjong, was officially announced as ‘the Queen Insu’ and became treated as a proper queen like two other queen dowagers, the grand queen dowager Jaseong, and the queen dowager Inhye. In this context, an bidirectional message was implied in the expressions and metaphors of this three-verses Akjang, dedicated for three queen dowagers. The second verse of the Akjang dedicated for the queen dowager Inhye, encouraged and emphasized the traditional virtue of feminine humbleness. This message was attributed to her ambivalent status, because she was the biological mother of Prince Je-an—the biological son of the late King Yejong—as well as the legitimate mother of King Seongjong. That meant she and her own son could be a potential risk of Seongjong’s legitimacy. On the other hand, the third verse of the Akjang dedicated for the queen Insu, praised her maternal wiseness, and described her as a messenger of the Mandate of Heaven for proper king, from the Royal family’s paternal line to her own son. That was a series of genealogical justification for the new king, totally based on the Confucian ideology of lǐyuè(禮樂) and zōng fǎ(宗法).
This article analyzes Yang Ju-dong(1903~1977)’s research on the Korean classical poetry, focusing... more This article analyzes Yang Ju-dong(1903~1977)’s research on the Korean classical poetry, focusing on its contexts of the ‘Republic of Letters’ in the late Japanese colonial period of Korea, from the late 1930s to the early 1940s. At the time of the second Sino-Japanese war, writers of “Munjang”, a popular coterie magazine founded in 1939, tried to ‘invent’ the language and literature of Joseon(Korea). Yang Ju-dong’s research on the Korean classical poetry, particularly interested in lexicology of ancient Korean language and literature, were related to such tendency of Korean ‘Republic of letters’ at that time. With regard to the discourse of the ‘Korean classical literature’, Yang ju-dong established two boundaries of the Korean classical literature, the diachronic ‘past’ and the spatial ‘Korean=Oriental.’ By fusing these two concepts, he organized a ‘function’ of the Korean literature, that the Korean classical literature was valuable because it came from the past(classical antiquity), which meant it preserved Korean=Oriental aesthetics well. These imagined boundaries and their function relied on the twin inventions. The first was the invention of the continuity of Korean language, from the language of Silla dynasty to the modern Korean. The second was the invention of the genealogical extension of Korean language toward Manchurian or Mongolian, based on the hypothesis of ‘Ural-Altaic language family.’ In a way, it seems that Yang ju-dong’s research internalized the logic of Japanese Imperialism, especially on its Orientalism or ‘post/anti-westernization.’ To quote Homi Bhabha’s words, however, the twin inventions of Yang ju-dong’s research can be analyzed as ‘resistance’, because it (re)interpellated Joseon(Korea), which was completely erased, into the Japanese initiative of ‘Greater East Asia’, and therefore, implied the signs of cultural difference and reimplicate them within the ‘deferential relations’ of colonial power.
This paper analyzes Yang Ju-dong(1903~1977)’s research on the Korean
classical poetry, focusing o... more This paper analyzes Yang Ju-dong(1903~1977)’s research on the Korean classical poetry, focusing on its contexts of the ‘Korean Parnassus’ group in the late Japanese colonial period of Korea, from the late 1930s to the early 1940s. At the time of the second Sino-Japanese war, writers of “Munjang”, a popular coterie magazine founded in 1939, tried to ‘invent’ the language and literature of Joseon(Korea). Yang Ju-dong’s research on the Korean classical poetry, particularly interested in lexicology of ancient Korean language and literature, were related to such tendency of Munjang and its writers at that time. Concerning the discourse of ‘Korean classical literature’, Yang ju-dong conceived double boundaries of the Korean classical literature, the diachronic ‘past’ and the spatial ‘Korea=Orient.’ By fusing these concepts of time and space, he organized a singular ‘function’ of space-time of the Korean literature, that the Korean classical literature was valuable because it came from the past(classical antiquity), which meant it preserved Korean=Oriental aesthetics very well. These imagined boundaries and their function relied on two inventions. The first was the invention of the continuity of Korean language, from the language of Silla dynasty to the modern Korean. The second was the invention of the genealogical extension of Korean language toward Manchurian or Mongolian, based on the hypothesis of ‘Ural-Altaic language family.’ It seems that Yang ju-dong’s research internalized, to a certain degree, the logic of Japanese Imperialism, especially on its Orientalism or direction of ‘post/anti-westernization.’ To quote Homi Bhabha’s words, however, the invention of Yang ju-dong’s research can be analyzed as ‘resistance,’ because it interpellated Joseon(Korea), which was completely eliminated, into the Japanese imperialistic initiative of ‘Greater East Asia’, and therefore, implied “the signs of cultural difference and reimplicate them within the ‘deferential relations’ of colonial power.”
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The Regents of the new king, such as the Grand queen dowager Jaseong and the group of old meritorious ministers, wanted to reinforce the king’s proper right of succession, because the nomination of King Seongjong to be a successor was based on their sense of crisis against the potential opposite faction, represented by a war hero, Prince Lee Jun. For this reason, the regents wanted to promote the official status of King’s biological parents, the former Crown Prince Uigyeong and the former Crown Princess, to the equivalent position of proper King and Queen.
By the Eulogistic Title Offering Ritual for the Three Queen Dowagers, the former Crown Princess who gave birth to the King Seongjong, was officially announced as ‘the Queen Insu’ and became treated as a proper queen like two other queen dowagers, the grand queen dowager Jaseong, and the queen dowager Inhye.
In this context, an bidirectional message was implied in the expressions and metaphors of this three-verses Akjang, dedicated for three queen dowagers. The second verse of the Akjang dedicated for the queen dowager Inhye, encouraged and emphasized the traditional virtue of feminine humbleness. This message was attributed to her ambivalent status, because she was the biological mother of Prince Je-an—the biological son of the late King Yejong—as well as the legitimate mother of King Seongjong. That meant she and her own son could be a potential risk of Seongjong’s legitimacy. On the other hand, the third verse of the Akjang dedicated for the queen Insu, praised her maternal wiseness, and described her as a messenger of the Mandate of Heaven for proper king, from the Royal family’s paternal line to her own son. That was a series of genealogical justification for the new king, totally based on the Confucian ideology of lǐyuè(禮樂) and zōng fǎ(宗法).
By fusing these two concepts, he organized a ‘function’ of the Korean literature, that the Korean classical literature was valuable because it came from the past(classical antiquity), which meant it preserved Korean=Oriental aesthetics well. These imagined boundaries and their function relied on the twin inventions. The first was the invention of the continuity of Korean language, from the language of Silla dynasty to the modern Korean. The second was the invention of the genealogical extension of Korean language toward Manchurian or Mongolian, based on the hypothesis of ‘Ural-Altaic language family.’ In a way, it seems that Yang ju-dong’s research internalized the logic of Japanese Imperialism, especially on its Orientalism or ‘post/anti-westernization.’ To quote Homi Bhabha’s words, however, the twin inventions of Yang ju-dong’s research can be analyzed as ‘resistance’, because it (re)interpellated Joseon(Korea), which was completely erased, into the Japanese initiative of ‘Greater East Asia’, and therefore, implied the signs of cultural difference and reimplicate them within the ‘deferential relations’ of colonial power.
classical poetry, focusing on its contexts of the ‘Korean Parnassus’ group in
the late Japanese colonial period of Korea, from the late 1930s to the early
1940s. At the time of the second Sino-Japanese war, writers of “Munjang”,
a popular coterie magazine founded in 1939, tried to ‘invent’ the language
and literature of Joseon(Korea). Yang Ju-dong’s research on the Korean
classical poetry, particularly interested in lexicology of ancient Korean
language and literature, were related to such tendency of Munjang and its
writers at that time.
Concerning the discourse of ‘Korean classical literature’, Yang ju-dong
conceived double boundaries of the Korean classical literature, the
diachronic ‘past’ and the spatial ‘Korea=Orient.’ By fusing these concepts
of time and space, he organized a singular ‘function’ of space-time of the
Korean literature, that the Korean classical literature was valuable
because it came from the past(classical antiquity), which meant it
preserved Korean=Oriental aesthetics very well.
These imagined boundaries and their function relied on two inventions.
The first was the invention of the continuity of Korean language, from the
language of Silla dynasty to the modern Korean. The second was the
invention of the genealogical extension of Korean language toward
Manchurian or Mongolian, based on the hypothesis of ‘Ural-Altaic language
family.’ It seems that Yang ju-dong’s research internalized, to a certain degree, the logic of Japanese Imperialism, especially on its Orientalism or
direction of ‘post/anti-westernization.’ To quote Homi Bhabha’s words,
however, the invention of Yang ju-dong’s research can be analyzed as
‘resistance,’ because it interpellated Joseon(Korea), which was completely
eliminated, into the Japanese imperialistic initiative of ‘Greater East Asia’,
and therefore, implied “the signs of cultural difference and reimplicate
them within the ‘deferential relations’ of colonial power.”
The Regents of the new king, such as the Grand queen dowager Jaseong and the group of old meritorious ministers, wanted to reinforce the king’s proper right of succession, because the nomination of King Seongjong to be a successor was based on their sense of crisis against the potential opposite faction, represented by a war hero, Prince Lee Jun. For this reason, the regents wanted to promote the official status of King’s biological parents, the former Crown Prince Uigyeong and the former Crown Princess, to the equivalent position of proper King and Queen.
By the Eulogistic Title Offering Ritual for the Three Queen Dowagers, the former Crown Princess who gave birth to the King Seongjong, was officially announced as ‘the Queen Insu’ and became treated as a proper queen like two other queen dowagers, the grand queen dowager Jaseong, and the queen dowager Inhye.
In this context, an bidirectional message was implied in the expressions and metaphors of this three-verses Akjang, dedicated for three queen dowagers. The second verse of the Akjang dedicated for the queen dowager Inhye, encouraged and emphasized the traditional virtue of feminine humbleness. This message was attributed to her ambivalent status, because she was the biological mother of Prince Je-an—the biological son of the late King Yejong—as well as the legitimate mother of King Seongjong. That meant she and her own son could be a potential risk of Seongjong’s legitimacy. On the other hand, the third verse of the Akjang dedicated for the queen Insu, praised her maternal wiseness, and described her as a messenger of the Mandate of Heaven for proper king, from the Royal family’s paternal line to her own son. That was a series of genealogical justification for the new king, totally based on the Confucian ideology of lǐyuè(禮樂) and zōng fǎ(宗法).
By fusing these two concepts, he organized a ‘function’ of the Korean literature, that the Korean classical literature was valuable because it came from the past(classical antiquity), which meant it preserved Korean=Oriental aesthetics well. These imagined boundaries and their function relied on the twin inventions. The first was the invention of the continuity of Korean language, from the language of Silla dynasty to the modern Korean. The second was the invention of the genealogical extension of Korean language toward Manchurian or Mongolian, based on the hypothesis of ‘Ural-Altaic language family.’ In a way, it seems that Yang ju-dong’s research internalized the logic of Japanese Imperialism, especially on its Orientalism or ‘post/anti-westernization.’ To quote Homi Bhabha’s words, however, the twin inventions of Yang ju-dong’s research can be analyzed as ‘resistance’, because it (re)interpellated Joseon(Korea), which was completely erased, into the Japanese initiative of ‘Greater East Asia’, and therefore, implied the signs of cultural difference and reimplicate them within the ‘deferential relations’ of colonial power.
classical poetry, focusing on its contexts of the ‘Korean Parnassus’ group in
the late Japanese colonial period of Korea, from the late 1930s to the early
1940s. At the time of the second Sino-Japanese war, writers of “Munjang”,
a popular coterie magazine founded in 1939, tried to ‘invent’ the language
and literature of Joseon(Korea). Yang Ju-dong’s research on the Korean
classical poetry, particularly interested in lexicology of ancient Korean
language and literature, were related to such tendency of Munjang and its
writers at that time.
Concerning the discourse of ‘Korean classical literature’, Yang ju-dong
conceived double boundaries of the Korean classical literature, the
diachronic ‘past’ and the spatial ‘Korea=Orient.’ By fusing these concepts
of time and space, he organized a singular ‘function’ of space-time of the
Korean literature, that the Korean classical literature was valuable
because it came from the past(classical antiquity), which meant it
preserved Korean=Oriental aesthetics very well.
These imagined boundaries and their function relied on two inventions.
The first was the invention of the continuity of Korean language, from the
language of Silla dynasty to the modern Korean. The second was the
invention of the genealogical extension of Korean language toward
Manchurian or Mongolian, based on the hypothesis of ‘Ural-Altaic language
family.’ It seems that Yang ju-dong’s research internalized, to a certain degree, the logic of Japanese Imperialism, especially on its Orientalism or
direction of ‘post/anti-westernization.’ To quote Homi Bhabha’s words,
however, the invention of Yang ju-dong’s research can be analyzed as
‘resistance,’ because it interpellated Joseon(Korea), which was completely
eliminated, into the Japanese imperialistic initiative of ‘Greater East Asia’,
and therefore, implied “the signs of cultural difference and reimplicate
them within the ‘deferential relations’ of colonial power.”