La présente étude sur la justice sud-coréenne, passée et présente, cherche à énoncer les termes ou les valeurs qui pourraient guider vers une meilleure compréhension de cette notion. Elle ambitionne d’éclairer la particularité de sa tradition judiciaire qui a connu moult bouleversements et dont la perception actuelle est brouillée. Conceptualisée et institutionnalisée dans sa forme contemporaine sur un moule occidental, la justice s’inscrit dans une tradition juridique singulière et ancienne proprement coréenne. Comparativement à la tradition « légaliste » occidentale la pensée juridique coréenne s’appuie sur une morale tirée du confucianisme. Cette éthique fondée sur le savoir, les vertus et les convenances, va contribuer à façonner une théorie et une pratique de la justice dont l’influence perdure jusqu’à aujourd’hui. Pour découvrir le sens de la justice en Corée du Sud, la première partie cherche à définir l’ensemble des idées qui se rattachent au principe de justice afin d’en définir le « sens » au sens de signification. La deuxième partie traite de la justice en tant qu’institution judiciaire et ambitionne d’en retracer le fil historique afin d’en expliquer le « sens » compris comme la direction et les évolutions que connaissent les différentes formes d’administration de la justice. La troisième partie s’intéresse au sens de la justice en tant que ressenti, c’est-à-dire à la façon dont les Sud-Coréens, perçoivent et se saisissent de la justice au moyen des « sens ». Pour ce faire, c’est la perception de l’idée et de l’image de la justice comprise à la fois comme principe et comme fonction judiciaire qui est étudiée ainsi que sa réception. / This study on the South Korean justice, past and present, seeks to set out the terms or values that could guide towards a better understanding of this concept. It aims to reveal the distinctive aspects of its legal tradition that went through multiple upheavals and whose current perception is blurred.Conceptualized and institutionalized in its contemporary form on a western mold, justice is in itself a unique and ancient Korean legal tradition. Compared to the Western « legalistic » view, traditional Korean legal thought is based on a moral drawn from Confucianism. This ethic based on knowledge, virtue, and etiquette, will help shape a theory and practice of justice whose influence endures to this day.To discover the meanings of justice in South Korea and clarify what justice means and represents through time, the first part attempts to define all the ideas connected with the principle of justice. The second part discuss the judicial institution and aims to trace its historical thread to explain the changes experienced by the different forms of administration of justice. The third part focuses on the feelings of justice. It aims to describe how South Koreans perceive and grasp justice. To do this, it is the perception of the idea and the image of justice understood both as a principle and judicial function that is analyzed, as well as the way this perception is received.

This thesis explores the changing approach of the Chosŏn state to subjects with foreign lineages in the period between the Imjin War (1592-98) and the early nineteenth century. Chosŏn Korea underwent considerable upheaval during the Imjin War and the wars of the Ming-Qing transition. Many Jurchen subjects of the Chosŏn court were forced from their homes in the Tumen Valley into the banner armies of the rising Qing state, with only a remnant persisting in Chosŏn. Additionally, large numbers of Ming Chinese entered Chosŏn either with the Ming army or as refugees from war in Liaodong. Initially, the Chosŏn state responded to its Jurchen and Ming Chinese subjects primarily through pragmatic concern about the loyalty of these subjects to the Chosŏn and the burden they imposed on the agricultural economy. As a result, the Chosŏn court welcomed and even defended the Jurchen as established Chosŏn subjects but was cautious of the more alien Ming deserters and refugees. Ming migrant status did not improve during the remainder of the seventeenth century. Ming Chinese lineages were considered, along with Jurchen and Japanese, within the same invidious submitting foreigner tax category. During the same period fraudulent Ming migrants became a focus for sedition among non-elites. The eighteenth century rise of Ming Loyalist ritualism transformed the response of the Chosŏn court to such foreign lineages as Ming migrant lineages were encouraged to participate in court-sponsored Ming loyalist rituals. Along with this ritual participation Ming migrant status was transformed from that of submitting foreigners to that of imperial subjects, while Jurchen and Japanese lineages disappeared. At the same time, hagiographic biographies were written of the original Ming Chinese refugees which praised them for coming to Chosŏn because of Neo-Confucian loyalty to the Ming. The Chosŏn state responded to foreign lineages according to changing circumstances. Neo-Confucian ritualism only played a role in response to Ming lineages in the eighteenth century when earlier concerns about disloyalty and social disruption had largely passed.

This thesis explores the changing approach of the Chosŏn state to subjects with foreign lineages in the period between the Imjin War (1592-98) and the early nineteenth century. Chosŏn Korea underwent considerable upheaval during the Imjin War and the wars of the Ming-Qing transition. Many Jurchen subjects of the Chosŏn court were forced from their homes in the Tumen Valley into the banner armies of the rising Qing state, with only a remnant persisting in Chosŏn. Additionally, large numbers of Ming Chinese entered Chosŏn either with the Ming army or as refugees from war in Liaodong. Initially, the Chosŏn state responded to its Jurchen and Ming Chinese subjects primarily through pragmatic concern about the loyalty of these subjects to the Chosŏn and the burden they imposed on the agricultural economy. As a result, the Chosŏn court welcomed and even defended the Jurchen as established Chosŏn subjects but was cautious of the more alien Ming deserters and refugees. Ming migrant status did not improve during the remainder of the seventeenth century. Ming Chinese lineages were considered, along with Jurchen and Japanese, within the same invidious submitting foreigner tax category. During the same period fraudulent Ming migrants became a focus for sedition among non-elites. The eighteenth century rise of Ming Loyalist ritualism transformed the response of the Chosŏn court to such foreign lineages as Ming migrant lineages were encouraged to participate in court-sponsored Ming loyalist rituals. Along with this ritual participation Ming migrant status was transformed from that of submitting foreigners to that of imperial subjects, while Jurchen and Japanese lineages disappeared. At the same time, hagiographic biographies were written of the original Ming Chinese refugees which praised them for coming to Chosŏn because of Neo-Confucian loyalty to the Ming. The Chosŏn state responded to foreign lineages according to changing circumstances. Neo-Confucian ritualism only played a role in response to Ming lineages in the eighteenth century when earlier concerns about disloyalty and social disruption had largely passed.

Cette thèse a pour objet l’analyse sémiologique du Vide dans l’espace pictural du minhwa, genre artistique populaire coréen, et plus particulièrement dans les peintures ayant pour thème le paysage ‘montagne-eau’ du 18e au 20e siècle de l’ère du Chosŏn. Nous étudions cette notion, qui s’est développée à partir des philosophies traditionnelles telles que le taoisme, le bouddisme et le confucianisme par exemple, en la considérant comme l’un des fondements de la pratique de la peinture et de la culture coréenne. De nos jours, le minhwa est devenu un genre reconnu pour sa valeur artistique propre : l’espace pictural du minhwa est un véritable lieu d’expérimentation pour ses styles innovants et populaires tout en conservant des éléments traditionnels imposés par la philosophie esthétique : le thème, ou l’utilisation de la notion de Vide, par exemple. C’est pourquoi nous avons centré notre attention sur les fonctions de l’espace non peint afin d’étudier l’emploi de la notion du Vide, spécifique au genre du minhwa. Dans cette analyse, nous faisons l’hypothèse que la notion de Vide, sous la forme de surface non peinte, est significative en ce qu’elle exerce des fonctions particulières dans l’espace constitué par la peinture. L’étude de cet espace non peint ainsi que d’autres expressions picturales nécessite l’élaboration d’une grille d’analyse constituée de septs critères : elle s’appuie sur des notions philosophiques traditionnelles, comme la ‘voie’ du tao, mais aussi sur d’autres propres à la philosophie esthétique contemporaine, comme la ‘cinquième dimension’ (Cheng), l’‘entre-deux’ (Buci-Glucksman), ou à l’analyse théorique de l’espace (‘cible/site’ de Vandeloise), afin de pouvoir cerner les fonctions et le sens du Vide dans la symbolique de notre corpus. / The purpose of this thesis is to provide a semiological analysis of Void in the pictural space of Minhwa, a Korean folk art genre, most particularly in the landscape paintings with the theme of the 'mountain-water' from the 18th to the 20th century in the Chosŏn era. We study this notion, which has proceeded from traditional philosophies such as Taoism, Buddhism or Confucianism for example, examining it as one of the fundamental principles of both Korean painting and Korean culture. Nowadays Minhwa has become a genre acknowledged for its intrinsic artistic value: the pictural space of Minhwa is a true experimentation field for innovating and popular style founded on traditional elements imposed on by esthetic philosophy: the theme, the scope of the notion of Emptiness, for instance. Thus we have focused on the roles of unpainted space in order to study the ways of the notion of Void specific to Minhwa genre. The hypothesis of this analysis is that the notion of Void visible as an unpainted place is meaningful in so far as it plays some significant roles within the space created by painting. The study of this unpainted space as well as other pictorial expressions requires to produce an analytic grid based upon seven criteria: it relies on traditional philosophical notions such as the one found in Taoism, the “Way”, or the notion of contemporary esthetic philosophy, the “Fifth dimension” (Cheng), the “Entre-deux” (Buci-Glucksman) and or the notion coming from the theoretical analysis of space, “Trajector / Landmark” (Vandeloise) so as to be able to encompass their roles and their meanings within our corpus.

This thesis sets out to demonstrate the role of Western missionaries and Korean Christians, especially Protestants, on Korean nationalism. The first significant introduction of Protestantism into Korea came in 1884. Within just over thirty years, the Protestant Church in Korea expanded and many of the nationalist leaders took active roles in the Korean nationalist movement against Japanese imperialism. This thesis consults both Western and Korean primary sources including period newspapers. Some of the Korean primary sources were translated from Korean into English and others were originally written in English by Koreans. Also consulted are many valuable secondary sources which help further shed light on the subject at hand and give credence to the thesis. Chapters 2-4 show the direct contributions of Western missionaries to Korean nationalism and Chapters 5-7 show the indirect contributions of Western missionaries by the direct involvement of Korean Christians in their fight for independence against the old Korean order and Japan.