Young-Sin Park | Binghamton University (original) (raw)
Papers by Young-Sin Park
YOUNG-SIN PARK 1 The term "Korea" in this article refers to the sovereign territory of the Chosŏn... more YOUNG-SIN PARK 1 The term "Korea" in this article refers to the sovereign territory of the Chosŏn dynasty-dating back to 1392, but here referring mainly to the period of the opening of ports (1876-1910)-and to the territory of Korea that was colonized and ruled by the Japanese from 1910 to 1945. In this article, the transliteration of Korean terms and names follows the McCune Reischauer Romanization system. Exceptions are made in the case of terms that are already commonly recognized by a different spelling, such as Seoul, rather than Sŏul. Following East Asian practice, Korean, Chinese, and Japanese surnames precede given names, except in cases of authors whose English-language works are cited or whose names have been anglicized. 2 The official title of the 1915 exhibition is "Shijŏng onyŏn kinyŏm Chosŏn mulsan kongjinhoe" 始政五年記念朝鮮物產共進會 (Jp. VOLUME 6 2 JOURNAL OF ASIAN HUMANITIES AT KYUSHU UNIVERSITY Contrary to the literature on Korean expositions that has focused almost exclusively on the colonial political context of the 1915 exhibition and its function as political propaganda, however, this article explores the exhibition as a cultural machinery whose meaning and effects are not reducible to its manifest political purpose, especially focusing on the question of "modern Korean subjects" represented in and constructed by the exhibition. Drawing on the premise that the 1915 exhibition was an economic, political, and cultural battlefield across which different visions of industrialization, modernization, and civilization fought for ascendancy in the shaping of a new "modmodern institutional relationships. For details on the Panopticon and its disciplinary technologies, see Foucault, Discipline and Punish, pp. 195-228. Like the Panopticon in Foucault's analysis, the exhibition involves a hierarchical distribution of space and visibility that creates power relations. Like the Panopticon, too, the exhibition aims at the disciplining, training, and normalization of its inmates-the visitors. For details of these apparatuses and the production of subjects, see Agamben, What Is an Apparatus?, pp. 11-14. to first trace the processes by which the concept of "exposition" (pangnamhoe 博覽會) was introduced and came to gain acceptance by the Korean people as a central symbol of modernization and civilization. The article will also provide a discursive and institutional frame for shaping the conception of the 1915 exhibition as a means to modernize the Korean nation. Thus I will review the introduction and dissemination of the term "exposition" in the specific discourses of munmyŏng kaehwa 文明開化 (civilization and enlightenment), puguk kangbyŏng 富国強兵 (national prosperity and military strength), chagang 自强 (self-strengthening), and tongdo sŏgi 東道西器 (Eastern ways and Western technologies), and then discuss the representation of modern Korea and the complex formation of the Korean modern subject at the 1915 exhibition.
Journal of Asian Humanities at Kyushu University, vol. 6, 1-23, 2021
YOUNG-SIN PARK 1 The term "Korea" in this article refers to the sovereign territory of the Chosŏn... more YOUNG-SIN PARK 1 The term "Korea" in this article refers to the sovereign territory of the Chosŏn dynasty-dating back to 1392, but here referring mainly to the period of the opening of ports (1876-1910)-and to the territory of Korea that was colonized and ruled by the Japanese from 1910 to 1945. In this article, the transliteration of Korean terms and names follows the McCune Reischauer Romanization system. Exceptions are made in the case of terms that are already commonly recognized by a different spelling, such as Seoul, rather than Sŏul. Following East Asian practice, Korean, Chinese, and Japanese surnames precede given names, except in cases of authors whose English-language works are cited or whose names have been anglicized. 2 The official title of the 1915 exhibition is "Shijŏng onyŏn kinyŏm Chosŏn mulsan kongjinhoe" 始政五年記念朝鮮物產共進會 (Jp. VOLUME 6 2 JOURNAL OF ASIAN HUMANITIES AT KYUSHU UNIVERSITY Contrary to the literature on Korean expositions that has focused almost exclusively on the colonial political context of the 1915 exhibition and its function as political propaganda, however, this article explores the exhibition as a cultural machinery whose meaning and effects are not reducible to its manifest political purpose, especially focusing on the question of "modern Korean subjects" represented in and constructed by the exhibition. Drawing on the premise that the 1915 exhibition was an economic, political, and cultural battlefield across which different visions of industrialization, modernization, and civilization fought for ascendancy in the shaping of a new "modmodern institutional relationships. For details on the Panopticon and its disciplinary technologies, see Foucault, Discipline and Punish, pp. 195-228. Like the Panopticon in Foucault's analysis, the exhibition involves a hierarchical distribution of space and visibility that creates power relations. Like the Panopticon, too, the exhibition aims at the disciplining, training, and normalization of its inmates-the visitors. For details of these apparatuses and the production of subjects, see Agamben, What Is an Apparatus?, pp. 11-14. to first trace the processes by which the concept of "exposition" (pangnamhoe 博覽會) was introduced and came to gain acceptance by the Korean people as a central symbol of modernization and civilization. The article will also provide a discursive and institutional frame for shaping the conception of the 1915 exhibition as a means to modernize the Korean nation. Thus I will review the introduction and dissemination of the term "exposition" in the specific discourses of munmyŏng kaehwa 文明開化 (civilization and enlightenment), puguk kangbyŏng 富国強兵 (national prosperity and military strength), chagang 自强 (self-strengthening), and tongdo sŏgi 東道西器 (Eastern ways and Western technologies), and then discuss the representation of modern Korea and the complex formation of the Korean modern subject at the 1915 exhibition.
Proceedings of the 34th World Congress of Art History, 178-187, 2019
YOUNG-SIN PARK 1 The term "Korea" in this article refers to the sovereign territory of the Chosŏn... more YOUNG-SIN PARK 1 The term "Korea" in this article refers to the sovereign territory of the Chosŏn dynasty-dating back to 1392, but here referring mainly to the period of the opening of ports (1876-1910)-and to the territory of Korea that was colonized and ruled by the Japanese from 1910 to 1945. In this article, the transliteration of Korean terms and names follows the McCune Reischauer Romanization system. Exceptions are made in the case of terms that are already commonly recognized by a different spelling, such as Seoul, rather than Sŏul. Following East Asian practice, Korean, Chinese, and Japanese surnames precede given names, except in cases of authors whose English-language works are cited or whose names have been anglicized. 2 The official title of the 1915 exhibition is "Shijŏng onyŏn kinyŏm Chosŏn mulsan kongjinhoe" 始政五年記念朝鮮物產共進會 (Jp. VOLUME 6 2 JOURNAL OF ASIAN HUMANITIES AT KYUSHU UNIVERSITY Contrary to the literature on Korean expositions that has focused almost exclusively on the colonial political context of the 1915 exhibition and its function as political propaganda, however, this article explores the exhibition as a cultural machinery whose meaning and effects are not reducible to its manifest political purpose, especially focusing on the question of "modern Korean subjects" represented in and constructed by the exhibition. Drawing on the premise that the 1915 exhibition was an economic, political, and cultural battlefield across which different visions of industrialization, modernization, and civilization fought for ascendancy in the shaping of a new "modmodern institutional relationships. For details on the Panopticon and its disciplinary technologies, see Foucault, Discipline and Punish, pp. 195-228. Like the Panopticon in Foucault's analysis, the exhibition involves a hierarchical distribution of space and visibility that creates power relations. Like the Panopticon, too, the exhibition aims at the disciplining, training, and normalization of its inmates-the visitors. For details of these apparatuses and the production of subjects, see Agamben, What Is an Apparatus?, pp. 11-14. to first trace the processes by which the concept of "exposition" (pangnamhoe 博覽會) was introduced and came to gain acceptance by the Korean people as a central symbol of modernization and civilization. The article will also provide a discursive and institutional frame for shaping the conception of the 1915 exhibition as a means to modernize the Korean nation. Thus I will review the introduction and dissemination of the term "exposition" in the specific discourses of munmyŏng kaehwa 文明開化 (civilization and enlightenment), puguk kangbyŏng 富国強兵 (national prosperity and military strength), chagang 自强 (self-strengthening), and tongdo sŏgi 東道西器 (Eastern ways and Western technologies), and then discuss the representation of modern Korea and the complex formation of the Korean modern subject at the 1915 exhibition.
Journal of Asian Humanities at Kyushu University, vol. 6, 1-23, 2021
YOUNG-SIN PARK 1 The term "Korea" in this article refers to the sovereign territory of the Chosŏn... more YOUNG-SIN PARK 1 The term "Korea" in this article refers to the sovereign territory of the Chosŏn dynasty-dating back to 1392, but here referring mainly to the period of the opening of ports (1876-1910)-and to the territory of Korea that was colonized and ruled by the Japanese from 1910 to 1945. In this article, the transliteration of Korean terms and names follows the McCune Reischauer Romanization system. Exceptions are made in the case of terms that are already commonly recognized by a different spelling, such as Seoul, rather than Sŏul. Following East Asian practice, Korean, Chinese, and Japanese surnames precede given names, except in cases of authors whose English-language works are cited or whose names have been anglicized. 2 The official title of the 1915 exhibition is "Shijŏng onyŏn kinyŏm Chosŏn mulsan kongjinhoe" 始政五年記念朝鮮物產共進會 (Jp. VOLUME 6 2 JOURNAL OF ASIAN HUMANITIES AT KYUSHU UNIVERSITY Contrary to the literature on Korean expositions that has focused almost exclusively on the colonial political context of the 1915 exhibition and its function as political propaganda, however, this article explores the exhibition as a cultural machinery whose meaning and effects are not reducible to its manifest political purpose, especially focusing on the question of "modern Korean subjects" represented in and constructed by the exhibition. Drawing on the premise that the 1915 exhibition was an economic, political, and cultural battlefield across which different visions of industrialization, modernization, and civilization fought for ascendancy in the shaping of a new "modmodern institutional relationships. For details on the Panopticon and its disciplinary technologies, see Foucault, Discipline and Punish, pp. 195-228. Like the Panopticon in Foucault's analysis, the exhibition involves a hierarchical distribution of space and visibility that creates power relations. Like the Panopticon, too, the exhibition aims at the disciplining, training, and normalization of its inmates-the visitors. For details of these apparatuses and the production of subjects, see Agamben, What Is an Apparatus?, pp. 11-14. to first trace the processes by which the concept of "exposition" (pangnamhoe 博覽會) was introduced and came to gain acceptance by the Korean people as a central symbol of modernization and civilization. The article will also provide a discursive and institutional frame for shaping the conception of the 1915 exhibition as a means to modernize the Korean nation. Thus I will review the introduction and dissemination of the term "exposition" in the specific discourses of munmyŏng kaehwa 文明開化 (civilization and enlightenment), puguk kangbyŏng 富国強兵 (national prosperity and military strength), chagang 自强 (self-strengthening), and tongdo sŏgi 東道西器 (Eastern ways and Western technologies), and then discuss the representation of modern Korea and the complex formation of the Korean modern subject at the 1915 exhibition.
Proceedings of the 34th World Congress of Art History, 178-187, 2019