• Journal of Korean Philosophical Society
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• no.114
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• pp.27-51
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• 2016

According to Kant, morality is an institution that preserves and promotes humanity. However, some pathologies can be found in morality. Nietzsche is the one who severely criticized pathologies of morality, especially in terms of the phenomenon of "self-deception". Those who support Kantian tradition, can also learn from Nietzsche's criticism. But they regard "respect" as the fundamental moral attitude. This is different from Nietzsche's "pathos of distance", which is based on disrespect and contempt.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.9-40
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• 2019

This study presents an investigation into South Korean films in the 1990s in the aspects of genre change and emotional reorganization. The 1990s witnessed a change of genres and a paradigm shift in the history of Korean films according to the revolutionary changes of the film industry structure and media environment. Believing that these changes had something to do with emotional changes driven by global capitalization symbolized by democratization in 1987 and the foreign currency crisis in 1998, the investigator analyzed the phenomena in film texts and examined the opportunities and context behind them. Unlike previous researches, this study made an approach to the history of Korean films in the 1990s with three points: first, this study focused on why the romantic comedy genre emerged in the 1990s and what stages its formation underwent since there had been no profound discussions about them; secondly, this study analyzed the biggest hits during the transitional period from 1987~1999 to figure out the mainstream genres and emotions during that period since these hits would provide texts to show the genre domain and public taste in a symbolic way; and finally, this study grew out of the separate investigation approach between melodramas and romantic comedies and looked into an emotional structure to encompass both genres to make a more broad and dynamic approach to South Korean films in the 1990s. History flows continuously without severance from previous times. When there is attention paid to inflection points and opportunities in the continuum, it can show the dynamics and structures of changes. This research led to the following conclusions: the mainstream genre of South Korean films had been melodramas until the 1980s. The old convention had been kept to offset or suture contradictions and excessive elements deviant from the structural consistency. Here, the structural consistency refers to no compliance to rational regulations or trade. The process of genre reorganization in the 1990s happened while securing some distance from the convention of making the structural consistency a sacrifice. The direction was to reinforce control through reasonable rationalism and logic of capital. It developed into romance, which would start with comedy to keep distance from the objects through laughter, heighten the level of remarks, and expand criticality, symbolize emotions with taste items, and build through the logic of mutual consensus and practical trade. In the 1990s, the South Korean films thus developed in a direction of moving away from the narrative of urgent pathos based on unconditional familism. It was on the same track as the entry of the South Korean society into the upgraded orbits of democracy and capitalism as the twins of modern rationalism since the latter part of the 1980s.

• Journal of Korean Philosophical Society
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• v.130
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• pp.187-218
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• 2014

Nietzsche stellt in seiner Philosophie den "${\ddot{U}}bermensch$" als existenziales Ideal des Menschen sowie als Menschentyp der Zukunft und "die ${\ddot{u}}bermenschliche$ Zukunft" als Zukunft des gesunden Menschen vor. Der ${\ddot{U}}bermensch$ und die ${\ddot{u}}bermenschliche$ Zukunft beinhalten in Nietzsches Philosophie den Sinn des gesunden Menschen und seiner gesunden Zukunft. Nach Nietzsche kann dieses gesunde Ideal durch die aktive Praxis des Menschen endlich verwirklicht werden. Nietzsche unterscheidet das aktive und das passive Verhalten des Menschen und leitet daraus die zwei $gegens{\ddot{a}}tzlichen$ Menschentypen her, also den aktiven Menschen (Herr der Moral des Lebens - geistig Starker) und den passiven Menschen (Sklave der Moral des Lebens - geistig Schwacher). Aber die Typologie dieser anthropologischen Differenz zielt nicht auf die Dualisierung der absoluten Differenz, sondern auf seine relativistisch-relationale ${\ddot{U}}berwindung$. Auf diese Weise setzt die philosophische Anthropologie Nietzsches im Grunde seine eigene praktische Philosophie voraus. Ferner bestimmt Nietzsche den Menschen als Zwischenwesen, das $hei{\ss}t$, dass der Mensch in Also sprach Zarathustra an der existenzialen Grenze zwischen Tier und ${\ddot{U}}bermensch$ und in seiner anthropologischen ${\ddot{A}}sthetik$ an der ${\ddot{a}}sthetischen$ Grenze zwischen $Versch{\ddot{o}}nerung$ und $Verh{\ddot{a}}sslichung$ des Lebens steht, sowie als $M{\ddot{o}}glichkeitswesen$, das an dieser Grenze durch die existenziale $Selbst{\ddot{u}}berwindung$ und die ${\ddot{a}}sthetische$ Selbstgestaltung in jedem Moment seine $Ver{\ddot{a}}nderungsm{\ddot{o}}glichkeit$ $sch{\ddot{o}}pferisch$ verwirklichen kann. Das Ziel dieser Arbeit ist es, aufgrund Nietzsches anthropologischen $Verst{\ddot{a}}ndnisses$ die anthropologische Methodologie zu $er{\ddot{o}}rtern$, die er $f{\ddot{u}}r$ die Verwirklichung der immanenten $Ver{\ddot{a}}nderungsm{\ddot{o}}glichkeit$ des Menschen in seiner Philosophie vorstellt.