Michael A. Petersa and Fazal Rizvib aBeijing Normal University, Beijing, PR China; bMelbourne University, Melbourne, Australia Our minds are still racing back and forth, longing for a return to ‘no...

v. 1. ttŭt ŭl sewŏra -- v. 2. Kukpŏp ŭn chiŏmhan kŏt ida -- v. 3. Punsu nŭl nŏmji mara.

This article explores the unusually high levels of cosmetic surgery in South Korea – for both women and men. We argue that existing explanations, which draw on feminist and postcolonial positions, presenting cosmetic surgery as pertinent only to female and non-western bodies found lacking by patriarchal and racist/imperialist economies, miss important cultural influences. In particular, focus on western cultural hegemony misses the influence in Korea of national identity discourses and traditional Korean beliefs and practices such as physiognomy. We show how (...) these beliefs provide a more ‘gendered’ as opposed to feminist analysis, which allows space for discussion of men’s surgeries. Finally, we critique the accepted notion of the ‘western body’, especially its position in some literature as a more unobtainable ideal for non-western than for western women. We argue that this body has little in common with actual western women’s bodies, and more in common with a globalized image, embodying idealized elements from many different cultures. (shrink)

v. 1. T'oegye, Kobong Yulgok, Ugye ŭi Sadan ch'ilchŏng nonjaeng ŭl chungsim ŭro -- v. 2. Sach'il nonbyŏng ihu Chŏng Kae-ch'ŏng esŏ Chŏng Yag-yŏng kkaji.

Yi Hwang (1501–1570)—best known by his literary name, T’oegye—is one of the most eminent thinkers in the history of East Asian philosophy and religion. His Chasŏngnok (Record of self-reflection) is a superb Korean Neo-Confucian text: an eloquent collection of twenty-two scholarly letters and four essays written to his close disciples and junior colleagues. These were carefully selected by T’oegye himself after self-reflecting (chasŏng) on his practice of personal cultivation. The Chasŏngnok continuously guided T’oegye and inspired others on the true (...) Confucian way (including leading Neo-Confucians in Tokugawa Japan) while it criticized Buddhism and Daoism. Its philosophical merit rivals T’oegye’s monumental Sŏnghak sipto (Ten diagrams on sage learning) and “Four-Seven Debate Letters”; however, as a testament of T’oegye’s character, scholarship, and teaching, the Chasŏngnok is of greater interest. The work engages with his holistic knowledge and experience of self-cultivation by articulating textual and historical material on various key doctrines and ideas. It is an inspiring practical guide that reveals the depth of T’oegye’s learning and spirituality. The present volume offers a fully annotated translation of the Chasŏngnok. Following a groundbreaking discussion of T’oegye’s life and ideas according to the Chasŏngnok and his other major writings, it presents the core of his thought in six interrelated sections: “Philosophy of Principle,” “Human Nature and Emotions,” “Against Buddhism and Daoism,” “True Learning,” “Self-Cultivation,” and “Reverence and Spiritual Cultivation.” The bibliography offers a current catalogue of primary sources and modern works in Korean, Chinese, Japanese, and English. As the first comprehensive study of the Chasŏngnok, this book is a welcome addition to current literature on Korean classics and East Asian philosophy and religion. By presenting T’oegye’s thought-provoking contributions, it sheds new light on the vitality of Confucian wisdom, thereby affording scholars and students with an excellent primary source for East Asian studies in general and Confucian studies in particular. (shrink)

율곡은 생애를 철학자로서의 삶과 경세가로서의 삶으로 병행했다. 그의 학문은 이학(理學)으로서의 성리학과 기학(氣學)으로서의 경세학으로 구성되어 있다. 경세학의 철학적 근거가 성리학이고, 성리학의 현실적 구현이 경세학으로 드러난다. 성리학과 경세학이 체용일원으로 하나가 되고 회통하는 논리를 갖는 것이다. 그러므로 율곡학을 참으로 이해하는 것은 성리학과 경세학을 아울러 알 때 가능하다. 율곡은 세계에 내놓아도 부족함이 없는 위대한 철학자다. 그는 관념적인 철학자가 아니라 시대정신에 투철하고 나라와 백성에 대한 우환의식을 가지고 개혁에 앞장섰던 실천적 지성이었다. 이러한 율곡에 대한 이해는 이 시대를 살아가는 우리 모두의 교양이다.

v. 1. Sŏngnihak pʻyŏn -- v. 2. Kyŏngse sasang pʻyŏn.

In The Birth of Tragedy, Nietzsche employs the dichotomy of Apollonian and Dionysian to explain artistic phenomena. The film Joker shows the origin story of the Joker, a comic-book supervillain. This paper offers a reading of Joker through Nietzsche’s ideas from The Birth of Tragedy. By doing so, it aims to achieve three things: first, to demonstrate the relevance of Nietzsche’s aesthetic theory in analyzing culture; second, to reveal the political dimension of Nietzsche’s thought in The Birth of Tragedy; and (...) third, to shed light on the ominous implications of Joker’s popularity. (shrink)