• Journal of Korean Philosophical Society
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• v.116
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• pp.389-410
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• 2010

Augustin wurde sozusagen von der Rhetorik zum Christentum bekehrt. Der einstmalige Rhetorikprofessor (bis 386) distanziert sich von seiner $fr{\ddot{u}}heren$ Kunst. Aber er $kn{\ddot{u}}pft$ als Bischof im vierten Buch seiner weniger bekannten Schrift "De doctrina Christiana" (DDC; abgef. 427) wieder an die antike Rhetorik, speziell an Cicero, an. So wird die augustinische $Sp{\ddot{a}}tschrift$ $f{\ddot{u}}r$ eine antike Rhetorik in christlicher Verwendung gehalten. Es stellt nun die Frage, was Augustin zur $R{\ddot{u}}ckkehr$ zu seiner $fr{\ddot{u}}heren$ Kunst bewegte. Neuere Forschungen sehen in Augustins Werk eine Grundlage der mittelalterlichen Predigttheorie oder einen $blo{\ss}en$ Versuch, die Rhetorik vom Makel des Sophistischen zu befreien. Gewiss ist seine Einstellung zur "leeren Beredsamkeit" der Sophistik eindeutig, aber dies war eine Haltung, die letztlich von allen seinen christlichen Zeitgenossen geteilt wurde und folglich eines geringen Beweises bedurfte. Die Aufmerksamkeit, die Augustins $sp{\ddot{a}}terem$ Einfluss und seiner Ablehnung der Zweiten Sophistik geschenkt wird, kann den Blick $tr{\ddot{u}}ben$ $f{\ddot{u}}r$ seine Rolle bei der $L{\ddot{o}}sung$ eines christlichen Dilemmas aus dem vierten Jahrhundert. Augustin sah die Gefahren einer entgegengesetzten rhetorischen $H{\ddot{a}}resie$. Die $S{\ddot{u}}nde$ des Sophisten besteht darin, dass er die Notwendigkeit des Inhalts verneint und glaubt, nur die forma alleine sei $w{\ddot{u}}nschenswert$. Der gegenteilige Fehler, dem Geschichtsschreiber der Rhetorik niemals einen Namen gegeben haben, beruht auf dem Glauben, dass derjenige, der im Besitz der Wahrheit ist, auch ipso facto in der Lage ist, die Wahrheit anderen zu ${\ddot{u}}bermitteln$. Es handelt sich um eine $ausschlie{\ss}liche$ $Abh{\ddot{a}}ngigkeit$ von der materia. Augustin erkannte eine Gefahr und benutzte DDC dazu, eine Verbindung von Inhalt und Form in der christlichen Predigt voranzutreiben. Nur wenn man daher das Buch als einen Teil der $gro{\ss}en$ Debatte des vierten Jahrhunderts ansieht, tritt seine historische Bedeutung klar hervor. Der Leser ist beeindruckt davon, dass der Autor darauf insistiert, es sei eine Torheit, dem Feind ein $n{\ddot{u}}tzliches$ Instrument zu ${\ddot{u}}berlassen$. Augustin $erkl{\ddot{a}}rt$, dass die Kunst der Beredsamkeit rege in Gebrauch genommen und nicht kurzerhand abgelehnt werden solle, weil sie mit dem Makel des Heidentums behaftet sei. Kurz gesagt, geplant ist das vierte Buch von DDC als eine ratio eloquentiae Christianae.

• Cross-Cultural Studies
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• v.52
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• pp.53-78
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• 2018

In the moral culture of the West, love and justice are two commands with roots in ancient times. One is the heritage of Hebraism, and the other belongs to the tradition of Hebraism and Hellenism. The two concepts are the most important virtues required for preserving stability in society. These two commands are compatible, in an exclusive relationship to each other. To ultimately seek their reconciliation, the precise concept analysis and understanding of each of them should be premised on, due to the multi-layered meaning of implications of the two concepts. To this end, we first have started with a lexical meaning and have done a conceptual analysis of what these two concepts are expressing. We have looked at Paul $Ric{\oe}ur$ in his interpretation of the discourse of love and justice. Finally, we looked at how these two concepts are narrated in literature. Through the literary works of Stendal, Albert Camus, and Dostoevsky, we have seen examples of literary configurations that have been embodied in life. In this way, through conceptual analysis, discourse analysis, and narrative analysis of the two concepts, the following conclusions were drawn. Love and justice were not a matter of choice. We could see coldness and unrealism of a society lacking love or with a problem of unclean love, through Stendhal's and Albert Camus' novels and their actual debate. In addition, in unclean paternalism, risk of the power of love blocking certain a certain touch of justice was also confirmed. So, it was necessary for a healthy future society to explore the possibility of the coexistence of love and justice. We confirmed the possibility of compatibility in a 'considerate balance' wherein the 'moral judgment in situation' is required, as Paul $Ric{\oe}ur$ expressed. This ideal situation may be realized when forms of love involving solidarity, mutual care, and compassion with pain like Dostoevsky are combined with the principle of distributional justice. When Albert Camus pursued justice and eventually faced reality and mentioned the need for mercy, he could have made a moral judgment based on this situation. In the end, love protects justice, and justice contributes to the realization of love. Justice reduces super-ethical love to moral categories, and love plays a role in enabling justice to exert its full force.

• Journal of Korean Philosophical Society
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• v.117
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• pp.35-55
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• 2011

This article purports to clarify the doctrinal characteristics of the $Yog{\bar{a}}c{\bar{a}}ra$ school's hermeneutic interpretations of the "theory of the three turns of the Dharma Cakra" in the Saṃdbinirmocana-sūtra through early Indian $Yog{\bar{a}}c{\bar{a}}ra$ treatises such as the $Yog{\bar{a}}c{\bar{a}}rabb{\bar{u}}mi-vy{\bar{a}}kby{\bar{a}}$ and the. $Vy{\bar{a}}khy{\bar{a}}yukti$. It will probe how these interpretations apply co the theory of two truths or that of three natures($trisvabh{\bar{a}}va$) among the main doctrines of the $Yog{\bar{a}}c{\bar{a}}ra$ school. Especially, the peculiar characteristic of the "theory of the three turns of the Dharma Cakra" is such chat the thought of ${\acute{s}}{\bar{u}}nyat{\bar{a}}$ in the lineage of $Praj{\bar{n}}{\bar{a}}p{\bar{a}}ramita-s{\bar{u}}tras$ is regarded as incomplete, as the early school of Madhyamaka represented by $N{\bar{a}}g{\bar{a}}rjuna$ is conceived of as belonging to the second period of turn. Speaking of the further details of the "theory of the three turns of the Dharma Cakra", the $Yog{\bar{a}}c{\bar{a}}ra$ school subdivides the realm of saṃvṛti satya in $N{\bar{a}}g{\bar{a}}rjuna^{\prime}s$ theory of two truths; that is, it divides the saṃvṛti into merely linguistic existence and actual existence, and the thus-created structure of the theory of three natures on the basis of ocher-dependent nature(paratantra-$svabh{\bar{a}}va$) makes it possible to establish the doctrinal system of the thought of ${\acute{s}}{\bar{u}}nyat{\bar{a}}$ that is not subject to "nihilism or ${\acute{s}}{\bar{u}}nyat{\bar{a}}$ attached to evil." In effect, the above hermeneutic interpretation of the "theory of the three turns of the Dharma Cakra" is inherited into the structure of the $abh{\bar{u}}taparikalpa$ in the $Madhy{\bar{a}}nta-vibh{\bar{a}}ga$ so that, as seen in the commentary of Sthiramati, it is ascertained to apply to later doctrines through its secure establishment. To summarize its characteristics succinctly, firstly the $abh{\bar{u}}taparikalpa$ newly established as a saṃvṛti-satya is set up as the other-dependent nature, which is seen to have been set up particularly in order to sublate both the $Sarv{\bar{a}}stiv{\bar{a}}da^{\prime}s$ realist "view of being" and the Madhyamaka's "view of ${\acute{s}}{\bar{u}}nyat{\bar{a}}$" that impairs the ocher-dependent nature as a samvṛti-satya. In other words, according to the five kinds of views suggested in Sthiramati's commentary, the three natures are seen to be presented as the fundamental truth in order to unify all the doctrinal systems available ever since the beginning of Buddhism. Then, the theory of three natures is established principally on the basis of the $abh{\bar{u}}taparikalpa$, while the two truths of the $Yog{\bar{a}}c{\bar{a}}ra$ school are clearly ascertained to have been embedded in the structure of the $abh{\bar{u}}taparikalpa$. In fact, this might be understood to reflect the unique ontological view of reality or truth in the $Yog{\bar{a}}c{\bar{a}}ra$ School.

• Cross-Cultural Studies
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• v.50
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• pp.77-101
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• 2018

Even in our modern era, the projection of monsters in the recent literature contains the critical imagination of human existence for the posthuman age. The meaning of the monster-abject, especially as from the perspective of feministic criticism, contains criticism of the violent and oppressive patriarch as observed in the modern times. This article focuses on the gendered imagination of the discussions of the "abject" discussed by Julia Kristeva, and the "monstrous femine" discussed by Barbara Creed. Kim Eon-Hee's poems and Han Kang's novels, which have been examined extensively for analysis, show that the practical strategy of abject that goes beyond hate and sublime, wonder and joy through the imagination and concepts of monsters. The monster-abject strategy of Kim Eon-Hee's poem can be summarized by the narrative method of mirroring and the imagination of the truncated body. Mirroring falsification, which mimics the male speaker, is a method that some feminists strategically utilize in relation to the problem of female aversion in recent years as noted in the literature. In Kim Eon-Hee's poem, "becoming a man" and "imitating a man," through the method of mirroring appear as an image of cutting to dismantle the body. In that way, the narrative strategy of the abject that draws out abominations and bizarre effects which contains a strong critique of the patriarchal dominant ideology. The monster-abject strategy of Han-Kang's novel is embodied through the being of plants and the process of vegetarian-anorexia process. The world of the adject which was oppressed in the Han-Kang's novel, returns to the senses of the body through the symbol of the body. It is noted that the fictional characters who realize the repressed desire through the pathological symptom expressed by the female, go on to body perform active transformation. The sense of a body in a novel is not only a rejection of the world of animalman-civilization, but also a radically questioning of the noted and recognized boundaries between human beings and non-human being entities. The two writer's works show that the imagination of the monster-adject is not limited to rejecting the existing gender categories, but also goes in the direction of exploring the possibilities of various associated gender actions.

• The Korean Journal of Gastroenterology
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• v.72 no.6
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• pp.325-328
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• 2018

위마비증(gastroparesis)이나 만성 구역 구토 증후군(chronic unexplained nausea and vomiting)으로 인한 구역과 구토에 대한 치료는 일반적으로 사용하는 위장관 촉진제에 만족스럽지 못한 경우가 많고, 여러 부작용으로 인하여 장기적으로 사용하기 어려워 보다 효과적인 치료 방법이 필요하다. 최근 미국에서 발표된 본 연구는 위마비증이나 연관 증후군 환자에서 구역과 구토 증상을 줄이기 위한 aprepitant(neurokinin-1 receptor antagonist) 치료의 효과를 분석한 것으로, 향후 일반적인 치료에 불응성 위마비증 환자에서 새로운 약제 사용을 시도해볼 수 있어 소개하고자 한다. 본 Aprepitant for the Relief of Nausea (APRON) 연구는 기질적 질환을 배제하기 위하여 최근 2년 이내 위내시경이 정상이며, 적어도 6개월 이상 조기 포만감(early satiety), 식후 만복감(postprandial fullness), 팽만감(bloating) 그리고 명치부 통증(epigastric pain)을 유발하는 증상과 함께 만성적인 구역이 있는 18세 이상의 성인 중 4시간의 위배출 검사를 시행받은 환자를 대상으로 하였다. 객관적인 지표로 0점에서 45점까지 보이는 9-증상 Gastroparesis Cardinal Symptom Index(GCSI)가 2주 이상 총 21점 이상이며, 0-100 mm의 visual analog scale (VAS)의 7일간의 구역 증상 평균 25 mm 이상인 환자를 대상으로 하였다. 일주일에 3일 이상 narcotics를 사용하였거나 와파린이나 pimozide, terfenadien, astemizole, cisapride를 복용하였던 환자, 2배 이상으로 간 효소 수치상승을 보이거나 Child-Pugh score 10점 이상, aprepitant에 알레르기를 보이는 환자는 제외되었다. 그렇지만 metoclopramide나 erythromycin을 안정적으로 사용 중인 환자는 제외되지 않았다. 위배출 검사는 2시간에서 60% 이상 남아 있거나 4시간에서 10% 이상 남아 있는 경우에 지연된 것으로 정의되었으며, 지연된 위배출 검사 결과 자체는 환자의 등록 기준에 포함되진 않았다. 등록 기준에 포함된 환자는 1:1로 무작위 배정되어 하루 한 번 125 mg의 aprepitant 복용군과 위약군으로 나누어져 연구가 진행되었으며, 약제 복용 4주간 2주 간격으로, 그리고 복용 후 2주 뒤까지 구역 증상의 호전 정도와 약제 안전성을 확인하였다. 이러한 효과를 판정하기 위하여 환자가 방문하는 동안 GCSI를 포함한 Patient Assessment of Upper GI Symptoms (PAGI-SYM), Gastrointestinal Symptom Rating Scale, daily VAS, daily diary version of the GCSI 그리고 정신 측정 도구와 삶의 질 도구인 Patient health Questionnaire 15와 Short Form 36 version이 측정되었다. 구역에 대한 aprepitant와 위약의 치료 효과의 일차적 판정은 이전 항암 요법에 대한 aprepitant 연구와 같이 28일 평균 VAS 25 mm 미만이거나 치료 전 7일간의 VAS와 비교하여 28일 치료 기간 동안 25 mm 이상 감소한 경우로 정의하였고, 이차 결과는 구역의 매일 시간, 치료 중 구역이 없는 날짜의 퍼센트, PAGI-SYM score의 개선 등으로 확인하였다. 2013년 4월부터 2015년 7월까지 총 126명의 환자가 등록되어 aprepitant군 63명, 위약군 63명으로 무작위 배정되었다. 전체의 57%인 72명에서 위배출 지연이 보였으며, 나머지 43%에서는 정상 또는 빠른 위배출 소견을 보여 만성적으로 설명할 수 없는 구역과 구토에 포함된 환자군으로 확인되었다. 또한 29%에서 당뇨를 가지고 있었으며, 8%에서 수면제를 사용하고 있었다. 최종적으로 aprepitant군은 59명, 위약군은 63명이 연구를 끝까지 종료하였다. 일차 결과에서 aprepitant 군 46%, 위약군 40%의 구역 호전을 보여 두 치료군 간에 통계적으로 의미 있는 차이는 보이지 않았다(상대 위험도 1.2, 95% CI: 0.8-1.7; p=0.43). 그러나 일차 분석의 두 가지 척도(28일 평균 VAS 25 mm 미만과 기저 VAS보다 평균 28일 VAS의 25 mm 이상 감소)를 모두 함께 고려한 민감도 분석에서는 aprepitant군이 37% (22/59)로 위약군의 17%(11/63)에 비하여 통계적으로 의미 있는 구역의 호전을 보였다(상대 위험도 2.1, 95% CI: 1.1-4.1; p=0.01). 또한 이차 분석을 살펴보면 aprepitant군에서 PAGI-SYM 중증도 지수로 확인하였을 때, 구역(1.8 vs. 1.0; p=0.005)과 구토(1.6 vs. 0.5; p=0.001)의 중증도 및 매일 구역 시간의 감소를 보였고, 28일 동안 구역이 없는 날짜의 퍼센트 증가 소견을 보였다. 다른 이차 결과 분석에서 aprepitant군이 PAGI-SYM 중증도 지수의 GCSI 종합 점수(1.3 vs. 0.7; p=0.001), 상당한 증상호전, 구역 구토의 세부 점수, 팽만감 세부 점수 그리고 위식도 역류 증상 점수에서 호전을 보였고, 매일 일기로 표현한 daily diary version of the GCSI에 상복부 통증 중증도, 전체 증상 그리고 Gastrointestinal Symptom Rating Scale의 종합 점수에서 호전을 보였다. 연구 중 발생한 부작용은 주로 경증과 중등도 정도의 부작용이 주로 발생하였지만, aprepitant군(35% vs. 17% 위약군, p=0.04)에서 더 많이 발생하였다. 결론적으로 위마비증 또는 위마비증 유사 증후군으로 인한 만성 구역 및 구토 환자의 무작위 시험에서 aprepitant는 VAS 점수를 통한 주요 결과를 분석하였을 때는 구역의 중증도를 호전시키지 못하였지만 다른 이차적 결과에 대해서는 위약군에 대하여 호전 소견을 보였다. 따라서 aprepitant에 효과적인 반응을 보이는 위마비증 환자를 감별하는 추가 임상시험이 필요할 것으로 판단된다.

• (The) Research of the performance art and culture
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• no.18
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• pp.315-346
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• 2009

Korean 'Sin-Pa' play is a way to examine self-reliance of Korean culture and influence of Japanese culture on the Korean one in the early modern times. Although the 'Sin-Pa' play has been estimated negatively in many aspects, such an estimation can be different depending on the methodology. Therefore, I tried to explain a characteristics of the rise of 'Sin-Pa' play. While making these trials, I made efforts to reappreciate the developing process of Korean 'Sin-Pa' play and its theatrical structure and value. Particularly, I focused on structure of 'Sin-Pa' play in the context of an actual cognition of colonized Korea. Based on the 'Sin-Pa' play's repertoires I found out that one of the representative characteristics of Korean 'Sin-Pa' play is a changing process from orality to literacy. And I made attempts to uncover some ideological functions and their effects of 'Sin-Pa' play, focusing on and whose story line is usually consisted of 'provocation-pangs-defeat' while it interacted with 'provocation-pangs-penalty' of the structure of melodrama under the contemporary cultural conditions. 'Sin-Pa'' play can be considered as a performance mode to accept the Japanese value embedded in the colonized Korea since the 1910s on the one hand and to resist the overwhelming power of western culture imported through Japan on the other hand. In other words, it was closely related with the cultural-field of that period. Based on these results of this research, I tried to outline what the mode of 'Sin-Pa' was, what it reflected, and what it desired for under the influence of the contemporary cultural conditions. I analysed double qualities of 'Sin-Pa' play as a dominant narrative and/or a resistant narrative considering its relationship with the people of colonized Korea. And also I examined the place of the 'Sin-Pa' play in the history of theatre and in the history of culture.

• (The) Research of the performance art and culture
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• no.20
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• pp.31-61
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• 2010

This thesis proposes to explore the theatre aesthetics of North-Korea during after the Liberation. From now South-Korean theorists have provided the theatre aesthetics of North-Korea to South-Korea, so we can say that it lacks of an equity. For example, South-theorists have said that North-Korean theatre only emphasized politics and propaganda, they have had not any aesthetics in performance. So this study focused on North-Korean critics and records for fairness and as a result something new is founded. The best theatres in North-Korea were some works which contains natural and proper lines to character, well-expressed inner desires of characters, realistic acting and stage design, and realistic life of working class. Of course they should reflect communist ideology and policy, but more important is that it did not mean everything in North-Korea. So we can say that it is fact that North-Korea should reflect their policy, which does not mean lack of aesthetics of performance. North-Korea had an obvious point of view for theatre, and they made an effort to realistic lines, movements and stage. During right after the Liberation, North Korea sought to find an answer for 'realization of true life', and sought to eliminate Japanese acting style in theatre. Concluded theatre aesthetics of North-Korea during right after the Liberation is realistic acting and directing style.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.

• Korean Journal of Breeding Science
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• v.42 no.4
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• pp.390-396
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• 2010

A weedy rice, Ganghwaaengmi 11, shows high level of leaf blast resistance. The chromosomal number and locations of genes conferring the leaf blast resistance were detected by QTL (quantitative trait loci) analysis using SSR markers in the 120 RILs (recombinant inbred lines) derived from the cross between Nagdongbyeo and Ganghwaaengmi 11. Ganghwaaengmi 11 expressed compatibility with 20 of the 45 inoculated blast isolates, in contrast to Nagdongbyeo with 44 compatible isolates. To identify QTLs affecting partial resistance, RILs were assessed in upland blast nursery in three regions and inoculated with selected nine blast isolates. QTLs for resistance to blast isolates were identified on chromosomes 7, 11 and 12. Three QTLs associated with blast resistance in nursery test at three regions were also detected on chromosomes 7, 11 and 12. The QTL commonly detected on chromosome 12 was only increased blast resistance by Ganghwaaengmi 11 allele. This QTL accounted for 60.3~78.6% of the phenotypic variation in the blast nursery test. OSR32 and RM101 markers tightly linked to QTL for blast resistance on chromosome 12 might be useful for marker-assisted selection (MAS) and gene pyramiding to improve the blast resistance of japonica rice.

• Cross-Cultural Studies
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• v.45
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• pp.219-243
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• 2016

The life of Antonin Artaud exactly reproduces a very cruel drama. He lived in constant anguish and suffered from severe mental pain. This research will trace his thoughts in his writings while he was a prisoner of language. Artaud was a poet filled with anxiety about language, things, being, and thought. Whenever he tried to explain the mystery of being by means of mundane language, he experienced psychological agony. His poetic thoughts began to break down, because of his identity loss. Nevertheless, he was destined to grasp the world through language. Artaud had suffered from mental illness during his youth. His mental illness was associated with his difficulty in creating poetry. In this research, the letter, Correspondance avec Jacques $Rivi{\grave{e}}re$, is analyzed. The poet refers to "the collapse of the spirit's core, and the erosion of the fundamental thought that slips away" to convey his linguistic incompetence. Hereafter, he constantly demonstrated anxious mental symptoms. Even though he became mentally deranged, he maintained his consciousness, as is apparent in his writings. Also, his spiritual belief is reflected in his mental uneasiness. While he was traveling through the Tarahumaras area in Mexico, he was obsessed with its primitive belief in the Peyote rituals, and he immersed himself in performing them. His unchristian belief was the product of his mystical personality. Until his last breath, he did not give up writing. Artaud's mental derangement does not mean lunacy, but if one insists in calling it so, that is a metaphor. His derangement comes from his refusal to accept his limitations and from his aspiring to regard his body in the same light as his intellectual perceptions. His intellect could manifest more easily when his mind was elevated to the extreme. Artaud's lunacy is no different from that of a profound philosopher. The lives of poets who suffer from mental derangement are more poetic than the lives of those who do not. Artaud's atypical emotions provide a way of to measure our own limitations, helplessness, and resignation. His scream is nonsegmental but different from that of a mental patient. That difference is why people are interested in his works and wish to delve into his writings.