South Korea has experienced many socio-political milestones since 1945 and one of these was the April 19th Revolution of 1960 (4.19 Revolution). Through analysis of sites of memory, commemorative practices and images in school textbooks, this paper demonstrates the integration of the historical memory of the 4.19 Revolution into the political nexus. The paper considers memory of the 4.19 Revolution and other moments of South Korean struggle and transformation as ‘postmemory.’ The author concludes that the 4.19 Revolution’s memory is cherished now because it helps to form South Korean national self-identity as progressive and democratic contributing to sustaining participatory civic culture.
The present paper focuses on the political processes in South Korea after the liberation from Japanese colonialism in August 1945 and before the establishment of the Republic of Korea in August 1948. Due to the division of Korea along the 38 parallel and dislocation of the US and USSR’s occupation forces in South and North Korea respectively the US with support of UN contributed a lot to the establishment of an independent South Korean state but didn’t prejudge the political situation completely. South Korean newspapers, documents on the American and Soviet foreign policy were used to determine a shift of the US strategy toward Korea and a political tactic of South Korean nationalists during transitional period (1945-1948). The preliminary results of the research show that the shift of the US strategy toward establishment a separatist government in South Korea coincided with the separatist tactic of South Korean right wing political groups. South Korean moderates developed a political movement for keeping national unity thus opposing to the rightists. The establishment of an independent South Korean state was a result of the joint efforts of the US and South Korean rightists and extreme right political groups.
Question of influence and interaction is one of the most fundamental and fascinating subject in the history of art. It shows how different civilizations and nations communicated and understood each other. In this article through the example of portraits of Chae Yong Shin who is recognized as the most significant portrait-painter of the end of Choson dynasty, we attempt to describe how art of European portrait with its main principles of linear perspective and chiaroscuro influenced national tradition of portrait in the end of Choson dynasty.
This study is to show how understanding of Joseon painting’s history was formed and developed in Korea in the 20th century. This has been done by examining primary researches published over the century. Upon examination it becomes clear that for a long time researchers’ views were influenced by political situation and were largely ideological, often dominated not by objectivity but emotion.
The scholar works of Nikolai Vasilievich Kyuner (1877-1955), one of the first Russian Koreanists, open the veil over the history and culture of Korea in the late 19th - early 20th centuries. Written on the basis of primary sources and the first publications of foreign missionaries, they represent a valuable source of information about the late Chosǒn, the Korean empire and the Colonial period.
The purpose of our article is to introduce to Russian Koreanology a typescript by N.V. Kyuner's "Korea in the second half of the 18th century”, that was unpublished until the present time. This documents is currently stored in the Archive of the Institute of Oriental Manuscripts of the Russian Academy of Sciences (St. Petersburg). The date of its creation is not specified, but we date it to the period of 1931-1940. The article presents a brief biography of Nikolai Vasilievich Kyuner, as well as the typescript reprinted by me, with N.V. Kyuner’s biography and brief comments related to the text of the typescript.
In the last decade in the Republic of Korea is growing interest in the study of Na Hye-sok’s art who is the first professional Korean artist. Despite the fact that Na Hye-sok failed to develop her individual artistic language, she rightfully took a special place in the history of Korean art of the XXth century. The artist has played an important role in establishing the tradition of oil painting in Korea and spreading among the general public knowledge about the nature of Western painting, both classical and more experimental. The article gives a brief description Na Hye-sok’s life and art.