Acta Koreana

For the first three months of the East Asian War, Chosŏn commanders learned how fleetly the Japanese armies, equipped with keen swords for close combat and dreadful muskets for long-range shooting, marched due to their adroit maneuvers. This article examines the way the Chosŏn armies made tactical adjustments during the East Asian War, especially from the third quarter of 1592 to the first quarter of 1593, while at the same time avoiding a direct confrontation with the Japanese armies. One focus of this paper is upon how the Chosŏn armies opted for defensive fortifications, depended on infantry-centered operations, and achieved some meaningful victories. The other focus is upon how the tactical changes had a bearing on Sino-Korean military collaboration and the resumption of Sino-Japanese negotiations. This two-tiered approach will place Chosŏn perspectives in line with recent research on the interstate scale of the war, where infantry warfare and firearms became one major strategy of Chosŏn and Ming against “the northern caitiffs (the Mongols/Jurchens) and the southern dwarves (Japan) 北虜南倭” in the sixteenth century and beyond, and illuminate the complex interstate relations among the East Asian countries that couched Ming-centered regional hegemony in terms of their own security.

Jeong-Il Lee

Tactical Changes of the Chosŏn Military in the First Year of the East Asian War

东亚战争第一年朝鲜军队的战术变化

This paper examines a seemingly insignificant subject – a withered tree in a Chinese county. From 1712, it became a persistent subject in Chosŏn travelogues, or yŏnhaengnok 燕行錄. It loomed large in Chosŏn travelogues because, as an outlet of Chosŏn anti-Qing sentiment, the tree was believed to prophesize the predestined downfall of Qing rule. The case of this ordinary object shows that Chosŏn writers’ perception of the Qing landscape was not restricted to their immediate observations but was deeply entwined with beliefs that were prevalent in Chosŏn. The withered tree, a ubiquitous subject in yŏnhaengnok, was completely omitted from the Qing imperial narrative, which was compiled in the comprehensive gazetteers of the empire and local gazetteers. How Chosŏn writers chose to write on Qing localities and landscapes was independent from the imperatives of the Qing imperial narrative, which was sponsored by and in turn endorsed the Qing empire-building process. The parallel relationship between the two narratives allows us to see yŏnhaengnok as fitting into a broader production of narratives in early modern East Asia.

Zhijun Ren

Rethinking Yŏnhaengnok as Parallel Narrative : From a Withered Tree to the Qing Imperial Narrative

重思《燕行录》作为平行叙事：从枯树到清朝帝国叙事

By late Chosŏn times, the ideas of hell, punishment, and possible ways of salvation expressed in the Kṣitigarbha and the Ten Kings of Hell belief (chijang siwang sinang 地藏十王信仰) had not only deeply penetrated popular consciousness, but also gained so much popularity that they influenced other worldviews, including shamanism. Accordingly, Korean shamans started to adopt motifs derived from the belief into their mythology and ritual, something which is still visible today. The way Korean shamans adopted and applied motifs derived from the belief in Kṣitigarbha and the Ten Kings of Hell to death rituals like chinogi kut 진오기굿or ssikkim kut 씻김굿 varies from ritual to ritual but they serve as a medium that connects the present (isŭng 이승) and the otherworld (chŏsŭng 저승). Korean shamans use this medium, along with other symbols and deities such as Princess Pari, not only to explain and secure the ontological transformation of the deceased from worldly to otherworldly beings during the liminal process of the ritual, but also to meet the needs of their clients and make the ritual more persuasive. This amalgamation of Buddhist and shamanistic elements, a kind of bricolage, should be considered a creation of the specific mythical thought pattern of Korean shamans.

Dominik Rutana

The Adoption of Kṣitigarbha and the Ten Kings of Hell in Shamanic Death Rituals in Korea

韩国萨满教死亡仪式中地藏菩萨与十王信仰的采纳

A significant number of South Korean television dramas from the late 2000s and early 2010s feature a creative youth gourmet who develops their taste (immat 입맛) for their self-development and for national honor. This article examines three such dramas—Coffee Prince (K’ŏp’i p'ŭrinsŭ il-ho chŏm 커피프린스 1호점, 2007), Bread, Love and Dreams (Cheppang wang Kim T’akku 제빵왕 김탁구, 2010), and Cinderella’s Sister (Sinderella ŏnni 신데렐라 언니, 2010). While by the mid-2010s reality and variety programs were more likely to feature young cooks and tastemakers than television dramas, youth on screen in the rapidly globalizing 2000s and early 2010s grappled with tensions between cosmopolitan and national consumption. The article further explores the dichotomy between rote learning and duty on the one hand, and creativity on the other, arguing that the focus on creativity connects to educational reforms and broader social policies of the time.

Bonnie Tilland

Baker Kings, Rice Liquor Princesses, and the Coffee Elite: Food Nationalism and Youth Creativity in the Construction of Korean “Taste” in Late 2000s and Early 2010s Television Dramas

面包王、米酒公主与咖啡精英：2000年代末至2010年代初韩国电视剧中食物民族主义与青年创造力构建的“味道”

This study focuses on the cultural and social context of A Dream Journey to Peach Blossom Spring (Mongyu towŏn to 夢遊桃源圖) the only extant work by An Kyŏn 安堅, the best-known painter of early Chosŏn, to show the manner of its production and function. The painting was a pictorial addition to the sich’uk 詩軸, a mounted scroll of poems, created to praise Prince Anp’yŏng (安平大君) and interpret the significance of his dream in which he visited Peach Blossom Spring, a legendary place invented by the Chinese poet Tao Qian 陶潛. The prince presented a dream record, an accepted literary form at a time when there was a general belief in the prophetic meaning of dreams, and required twenty-one celebrated writers to compose eulogistic poems to accompany the painting, which served as a visual description of his dream. The poets wrote in such a way as to allow the viewer to repeatedly imagine the Peach Blossom Spring. As such, the painting functioned as visual inspiration for the twenty-one writers and became an ornament for their poems. By revealing the process of making the sich’uk and the effect of the dream record, this study re-evaluates the content, style, and composition of A Dream Journey to Peach Blossom Spring.

Kho Youenhee

A Mid-Spring Night’s Dream: Collecting Poems for A Dream Journey to Peach Blossom Spring

《中春夜梦：为梦游桃花源集诗》

This article explores the historical and educational background of Takahashi Toru (1868–1967), a pioneering scholar in the history of Chosŏn Confucianism. Previous research on Takahashi's colonial historiography has focused mainly on his personal characteristics, whereas this article looks at the period in his life which most influenced his worldview and subsequent scholarship. To do this, it focuses on two articles he published in the year he graduated from the Department of Chinese Studies at Tokyo Imperial University. By looking at the professors who influenced him and their scholarly orientations, it is possible to identify the origins of his intellectual outlook. Shigeno Yasutsugu, a textual critic, taught him positivistic source critique, while Ludwig Riess, a Rankean, inspired Takahashi's tendency to view nations as the main actors in history and to describe them in terms of national characteristics. In addition, Inoue Tetsujiro, an Orientalist scholar, implanted in Takahashi his own understanding of the history of Chinese philosophy. This viewpoint prioritizes philosophy over Chineses exegesis, and endorses the superiority of socially engaged Confucianism. This article shows that Takahashi's later view that "Zhuzixue is monotonous" is a result of his acceptance of Inoue's Orientalist approach to Chinese philosophy. I argue that the scholarly framework on the history of philosophy presented in the two Takahashi articles was the foundation for this later research on the history of Chosŏn Confucianism. He adopted a positivistic research approach based on the preconception that Zhuzixue was simplistic. At the same time, he endeavored to uncover distinctive national characteristics of the Chosŏn people.

Hye-Gyung YI

The Early Intellectual Orientation of Takahashi Toru: The Pre-Chosun Period

高桥亨的早期思想倾向：朝鲜前期

The Confucian concept of shu (恕) (reciprocity) is a leitmotif which is continuously interpreted and reinterpreted in response to changing circumstances. The purpose of this paper is to determine the features of shu in t he Analects (Lunyu 論語) and the Great Learning (Daxue 大學), as interpreted by Chŏng Yagyong 丁若鏞 (1762-1836), widely regarded as one of the greatest and most original Korean thinkers, by comparing his interpretations with those of Zhu Xi 朱熹 (1130-1200), whose brand of Neo-Confucianism in Chosŏn constituted an almost unassailable orthodoxy. Both placed great emphasis on shu, but there are important differences in their interpretations. This paper thus contributes to an understanding of the dynamics of the Confucian concept of shu in East Asia.

Min-Jung YOU

The Leitmotif of the Confucian Concept of Shu: Interpretations of Chong Yagyong and Zhu Xi

儒家恕概念的主导主题：丁若镛与朱熹的诠释

Joshua VAN LIEU

Four Memorials on the Enthronement of Consort Om: An Annotated Translation

《四篇关于大妃阿姆即位的奏折：注释翻译》

This article explores the widowed mother figures in So Hyŏnsŏng rok 蘇賢聖錄 (The Record of So Hyŏnsŏng), particularly how a widowed mother successfully distinguishes herself as the head of the household through her relationship with her son. The story deals with the aspirations of mothers of elite yangban families who dream of achieving power despite the social limitations placed upon them. The Record presents the ideal mother–son relationship as both close and hierarchical. The closeness of their relationship enables the mother and son to achieve emotional unity when the boy is young. However, by demonstrating that she is more capable and has better judgment than her son, the mother ensures that their relationship remains hierarchical, enabling her to retain a superior position in the relationship into the boy's adulthood. The story portrays the complicated relationship between a controlling mother and submissive son in a positive light, despite it being in sharp contrast to the compassionate mother and heroic son of earlier literary works. This article argues that Madame Yang, the widowed mother and main protagonist, reflects both the anxiety and aspirations of contemporaneous Korean women facing the major social changes of the 17th century.

短名
Journal Impact	0.04
期刊索引	中科院 4 区

ISSN	1520-7412, 2092-1357, 2733-5348
h-index	8
国内分区	社会学(4区)社会学亚洲研究(4区)

涉及主题	哲学历史政治学法学艺术地理考古社会学文学类语言学神学政治认识论计算机科学心理学生物古代史美学物理
出版信息	出版商: Keimyung University, Academia Koreana，出版周期: ，期刊类型: journal，开源期刊: 否
基本数据	创刊年份: 2009，原创研究文献占比: 100.00%，自引率:50.00%， Gold OA占比: 32.43%

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