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Local Councils and People’s Assemblies in Korea, 1567–1894
Author:
Translator:
Eugene Y. Park’s annotated translation of a long-awaited book by Kim Ingeol introduces Anglophone readers to a path-breaking scholarship on the widening social base of political actors who shaped “public opinion” (kongnon) in early modern Korea. Initially limited to high officials, the articulators of public opinion as the state and elites recognized grew in number to include mid-level civil officials, State Confucian College students, all Confucian literati (yurim), influential commoners who took over local councils (hyanghoe), and the general population. Marshaling evidence from a wealth of documents, Kim presents a compelling case for the indigenous origins of Korean democracy.
Local Councils and People’s Assemblies in Korea, 1567–1894
Author:
Eugene Y. Park’s annotated translation of a long-awaited book by Kim Ingeol introduces Anglophone readers to a path-breaking scholarship on the widening social base of political actors who shaped “public opinion” (kongnon) in early modern Korea. Initially limited to high officials, the articulators of public opinion as the state and elites recognized grew in number to include mid-level civil officials, State Confucian College students, all Confucian literati (yurim), influential commoners who took over local councils (hyanghoe), and the general population. Marshaling evidence from a wealth of documents, Kim presents a compelling case for the indigenous origins of Korean democracy.
moving towards a different politics for art
Author:
How can artists (and others) who find themselves in positions of privilege think differently about the way they do what they do in order to create the conditions for better, more just relations to flourish? Finding an answer to that question is at the heart of this book. After critiquing the relationship between contemporary art, race and privilege the author brings together First Nation and feminist philosophies of relationality, the game of string figuring, and her own history as an artist to propose an alternate methodology that puts relation at the centre of practice. She introduces the multivalent concept of “tacking”—a movement at an oblique angle to prevailing winds—in order to traverse the waters of contemporary art to challenge power and create a more just future.