• CHINESE LITERATURE
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• v.99
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• pp.125-156
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• 2019

This text attempts two types of critical analysis. First is to explore Luxun's critical research attitude toward classical Chinese texts, studying how Luxun critically examines 'liyue (ceremony- music)'. With the way the 'madman' in 《A Madman's Diary》 handles China's old text as a hint, the attitude with which Luxun critically examines the editing and passing down of classical Chinese philology was studied. Luxun pays attention to the situation in which when classical literature is passed down and transmitted throughout history, the context of events are concealed and text is blockaded while text is edited and restructured. Also, Luxun critically examines how the ancient culture of 'liyue' operates on the constitution of Chinese culture, society, and politics, in addition to the process of passing down of texts, as well as how it has effect even in the present day. Classics are closely intertwined not only with issues of the past but with the conventions, moral emotions, and government of today. Second, based on Luxun's examination of 'liyue', the <sheng-wu-ai-le-lun> of the 《Jikangji》 which Luxun sympathized with all his life is criticized. This text, stating that 'There is no sadness or happiness in sound', deeply ponders upon the issue of 'liyue' essential to the logic of Chinese cultural composition, and deviates from the Confucian thoughts centered around social integrity and inspiration. Further, it stresses the autonomy of affective subject, and the process of deliberation by an entity toward harmony and commonness. By the work of examining Jikang through Luxun and Luxun through Jikang, the uncompleted work of classical criticism by Luxun is restructured, and the possibility of classical Chinese texts to relate to today's life is examined.

• Journal of Korean Philosophical Society
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• v.145
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• pp.45-69
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• 2018

This is an attempt to reflect on humanity in the post-human era. Here, I think that the question of future human beings should be critically raised in the following two meanings. First, can post-humans recover the body, emotions, nature and women's voices suppressed by modern enlightened subjects? Second, can post-humans preserve humanity by fighting inhumanity without presupposing human essence or immutable foundations? In answer to these questions, I will have a dialogue with M. Heidegger(1889-1976), W. Benjamin(1892-1940), Th. W Adorno(1903-1969). The three philosophers looked at the inhuman world situation brought about by modern subjects and technology, and found the possibility of new human beings. The three philosophers' new human image are the three possible models of post-humanism, 'a human being as ek-sistence' (Heidegger, Chapter 2), 'the man who restored the similarity with the other through innervation' (Benjamin, Chapter 3), 'A human being who negates the inhuman society' (Adorno, Chapter 4), and examines the current status of each. In conclusion, as long as the fourth industrial revolution is developed as a system of digital capitalism that controls the world as a whole from human senses, impulses, and unconsciousness, the necessity of the post-human era is aesthetic authenticity.

• Journal of the Daesoon Academy of Sciences
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• v.31
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• pp.237-269
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• 2018

This study aims to look into Daesoon Thought from the perspective of Neo-Confucianism. Numinous emptiness (虛靈), wise-awakening (知覺), and divine beings (神明) in the Scripture of the Black Tortoise (Hyeonmu-gyeong) are often mentioned as characteristics of the mind in Neo-Confucianism. Accordingly, this research take up the 'Che-Yong (substance, 體 and function, 用)' of mind by classifying numinous emptiness as Origin-Substance (本體), wise-awaking as function, and divine beings as subjects. Numinous emptiness enables an individual to have been born with Li (理) of Taegeuk (太極), which is a mandate from Heaven and the nature of humanity; whereas one embodies spirit and brightness mind based on Origin-Substance. This numinous emptiness of mind is precisely the mind-spirit. Wise-awakening is a function of mind, which actually awakens numinous emptiness (理) and objects (氣). The mind which realizes the Li of Taegeuk as numinous emptiness is conscientiousness and can be taken as a Dao-Mind. The mind which desires objects refers to the Human Mind or a selfish motive. Such propensity in terms of wise-awakening determines the state of mind. One should reach the state of a quiet mind by wisely awakening through the scripture. Divine beings correspond to metaphysical Origin-Substance and physical objects respectively. In addition, they comprehend all and preside over wise-awakening as subjects. The subject recognizes wise-awakening and responds to it. Mind is a path traveled upon by divine beings as they enter and exit. In this regard, the human mind refers to the organ used by immanent deities, which accumulates physical senses, innermost mental processes, and awakened activities. Furthermore, Transcendental deities also come in and out through mental correspondence, leading to changes in one's physical constitution or personality. This paper focuses on the mind perceived in Daesoon Thought as follows: first, besides the existing spiritual perspective, the research takes a view on surveying numinous emptiness, wise-awakening, and divine beings in Neo-Confucianism. Secondly, the Che-Yong of mind is closely looked into by means of innate numinous emptiness as Che and wise-awakening as Yong. Lastly, the essence, energy, and divinity as well as spiritual soul and physical soul are mentioned according to the concept of an immanent deity. The paper also clarifies the fact that divine beings preside over the mind as subjects.

• Environmental and Resource Economics Review
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• v.20 no.1
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• pp.1-31
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• 2011

By employing Environmental Input-Output Table 2005, which has 76 intermediate sector and 21 energy sources, this paper analyses the flow of energy demand and $CO_2$ after estimating an induced $CO_2$ emissions from 76 industrial sectors. Index of $CO_2$ intensity($CO_2/GDP$) and other index of $CO_2$ intensity($CO_2/calory$) showed that final demand sector uses more high calory energy source. Intermediate sector used less environmental friendly energy source and emit more $CO_2$ at same calory. Industries those has high induced $CO_2$ emissions are Thermal Power($32.587CO_2-g/Won$), Cement($10.370CO_2-g/Won$), Road Transportation($7.255CO_2-g/Won$), Cokes and Other Coal Products($5.791CO_2-g/Won$), Steam and Hot water supply, Sewage, Sanitary services($4.575CO_2-g/Won$). It is shown that industry such as Iron and Steel which has low $CO_2$ intensity, high backward linkage effect and high forward linkage effect makes high induced $CO_2$ emissions. Environmental load and $CO_2$ emissions in overall economy will decrease when not high $CO_2$ intensity industry but also low $CO_2$ intensity industry makes lower $CO_2$ intensity.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.75-85
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• 2010

The purpose of this study is to attempt new analysis on Soswaewon Garden(瀟灑園) where is Korea's traditional garden, focusing on which the tendency of its change is a relational-formation tool similar to the Eastern Mode of Thought, with paying attention to conversion as the new view of world. Accordingly, the aim is to reanalyze by connecting with Soswaewon Garden based on the theory of complexity, which tries to look at the whole through relationship rather than characteristics in individual components. Given summarizing findings, those are as follows. First, it was found that complexity shown in space and open system of physical dimension was characterized by 'event(situation)', 'non-determination' and 'homogeneous relationships between part and whole', and a variety of techniques introduced the nature positively. In particular, it was found that there were many cases of topographic usage, since the Soswaewon Garden selected its construction site proactively and was a product from architectural works in compliance with a given flow of natural topography. This has a nature of open text in the situation of emergent behaviors. Second, it was found that complexity shown in experiences and open system on the invisible dimension was characterized primarily by 'event(situation)' and 'relationships of interactive response between actors and environment', and various techniques appeared as a space for interactive combination of nature and daily experiences. This is typical of bilateral harmony based on interactions between subject and object, and between mankind and nature, and becomes also a space to accommodate temporary emergent behaviors in our life. Third, the compositional elements are reconstituted as space of organic property with dismantling steady relations. Especially, 'Soswaewon Garden's 48 poems(瀟灑園四十八詠)' will be the origin of the emotionally spatial experience to the current performers. Ultimately, the performer in the space of Soswaewon Garden simultaneously becomes a creator of space, and will generate new space with intertextuality with environment. Therefore, Soswaewon Garden becomes a place of binding me and the other together while maintaining mutual relationship based on organic thinking between a human being and nature and between the whole and a part.