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이강근(Kang Keun Lee) 장로회신학대학교 세계선교연구원 2007 선교와 신학 Vol.20 No.-
It may be tempting think of the Middle East as uniformly Arab and Muslim, but the Middle East comprises a great cultural diversity of ethnic groups, which are further fragmented by differences of language and religion. The Middle East is more Muslim than Arab. However, a fundamental and often rancorous division between Sunni and Shiite Muslims complicates any apparent unity of the region on the basis of religion. Furthermore, it should not be overlooked that a great many followers of Islam do not reside in the Middle East at all. Some countries included as part of an “extended definition” of the Middle East. Just after September 11, the war against Iraq and Afghanistan is bringing to the Middle East a new storm ? one that has chanllenged Arabs ensuing debate, Arabs and Muslims have also been chanlleged to respond to criticisms and charges that their culture was incompatible with democracy and freedom. The general response of the Arab countries has been to condemn terrorism and reaffirm their support for freedom and democracy. In the criticism under the pressure of Democratization, despite Western leader’s protestations that this war is not a war against Islam, an intellectual war has been waged to portray Islam and the Arab culture as fundamentally opposed to democracy and freedom. While most Arabs and Muslims have genuine sympathy for the American people of September 11, they feel only frustrations and anger at American foreign policy in the Middle East. The neo-conservatives in the Bush Administration declared that the US policy of appeasement of authoritarian regimes in the Middle East had failed and that the US must move quickly to remove these regimes and establish democracy across the region. This paper examines the new US Middle East policy following September 11 of 2001 and its Democracy processing in Middle East and Muslim world.
이강근(Lee Kang-keun) 한국미술사학회 2003 美術史學硏究 Vol.- No.240
What does chronological study of historical wooden architecture mean? And, what is the Annual-ring Chronology and why do we need it for the study of wooden architecture? What is the relationship between these two? What is the reason for me limiting the subject of this study to the late Joseon period? A wooden building needs to be repaired on a regular basis to use for a long period, and therefore, it is often difficult to maintain its original style. As the main material of a wooden building, wood tends to be damaged by insects or natural decay and erosion, and the work of repair or replacement is often unavoidable. A wooden building is a complete work of art when it is first completed in terms of practical function and artistic style and structure, but this completeness becomes damaged over time, gradually losing its original shape and structure. At the same time, we sometimes need to eliminate a considerable part of the original materials, replacing them with new ones. Replacing the original with new wood does not necessarily mean any significant change in the structure of the building, and thus, not a great loss of the original's artistic value. However, if architects use a different material from the original in repair work, or if they follow the trend of their time rather than that of the original, the building may end up having varied styles within. This can cause a problem for researchers to ascertain an exact construction date of the building. For most wooden buildings, repair is absolutely unavoidable to extend its life, and therefore, it can have various styles from different periods. This is why we sometimes find it difficult to discuss wooden buildings in terms of styles according to periods. Therefore, to produce a precise chronology of a wooden building, a researcher should carefully review not only the original construction date, but also the history of repair works via, for example, primary data such as a written record on a rainbow beam. Despite that, it is still necessary to check the repaired part in a direct manner depending on the researcher's naked eye, and divide the new from the old. One problem in this process is related to the study of bracket set under the eaves, which are often decorated with traditional color patterns. For an old building with a long history of repair, it is not easy to identify a temporal order of repaired parts, partly due to the color decoration. In a situation where old and new materials coexist, a study of architectural style can face a major obstacle, particularly concerning the changes of style and the reason. One of the scientific means that is useful in dealing with such a situation is the tree-ring dating. It was in November of 1999 when Korea introduced this methodology in which let researchers overlap annual rings of wooden materials used for an architectural building with those of living trees, but did this in real time. After the first try of Professor Won Kyu Park, a leading dendrochronology expert, and I conducted a joint study on the topic for three years between September of 2000 and August of 2003. Thanks to the results from the study, we are now able to present a precise chronology on the cutting dates of original wood elements used for historical wooden buildings of the late Joseon era, meaning that we now know the exact age of buildings studied. In the course of analyzing the samples collected from the repair works of wooden building in which I took part, and based on the Chronology of Old Wooden Materials of Geunjeongjeon Hall and Geunjeongmun Gate in Gyeongbokgung Palace, we completed 'a Master Chronology for 580 years starting from 1420. This means that we are now able to give specific dates for wooden buildings built since, at least, since the 16th century. We will also be able to give dates for buildings before the 15th century once a following annual-ring study on the buildings before 1420 is completed. In this paper, howeve