• The Journal of the Korea Contents Association
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• v.17 no.3
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• pp.53-60
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• 2017

In contemporary philosophy, the thinking subject became the dis-constructed subject and there was not left any one center in thinking. On the contrary of this trend, the philosopher Levinas stresses 'an ethics of Otherness' that requires the subject to be responsible for the Other. For Levinas, the Other is not knowable and cannot be made into an object of the self. For Levinas, the irreducible relation, the epiphany, of the face-to-face, the encounter with another, is a privileged phenomenon in which the other person's proximity and distance are both strongly felt. The face of the Other comes toward me with its infinite moral demands while emerging out of the trace. In the movie , when Sachie encounters them, she greets them. She provides them with food and shelter to protect from the dangers of elements. With the help of Sachia, the restaurant becomes a peaceful communal place for her and the Other.

• Korean journal of communication and information
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• v.18
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• pp.7-36
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• 2002

This study is concerned with analysing complexity, flexibility and dynamism of social discoursive space. The developmental process of social discourse is analogous to that of a spatial structure of social discourse. Post-capitalist society has seen New-Liberalism and New-Conservatism have become dominant, resulting in the deterioration of the cultural politics of citizenship. It is argued that the position of otherness, in which those binary structures (inside/outside or centre/margin) collide and collapse, is where subversive discourse can emerge to dominant discursive power. Furthermore, it is necessary to democratize social discursive space, through which the Other becomes able to. participate in the social production, distribution and consumption of social discourse.

• Cartoon and Animation Studies
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• s.37
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• pp.267-286
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• 2014

Yeon Sang-Ho's Animation occupies an exceptional place in Korean Animation, being categorized as the kind of realism representing the pitiable actuality rather than the liberal and creative imagination. His animation appreciated as 'stories much more real than the reality' mainly depicts the world of 'the others' who resides on the periphery of the society in a rough and straightforward way. Yeon Sang-Ho's Animation represents the emotions and desire of characters as well as the heartless real world refusing the fantasy, through which it reflects the portraits of people living in post-capitalistic era seen from the microscopic view. This article investigates the textual characteristics, defining his animation as the Brutal history of 'The Others'. Two conditions which constitute the actual world in his works are the absurd social system and the characters who are afflicted with the trauma, belonging to the lower classes. Therefore, the landscape of real life which contains vicious victim, corrupted monster and being as 'homo sacer' looks like a painting of hell. Yeon Sang-Ho's Animation summons the shadow of ourselves which has been negated or neglected through the figure of 'the others' produced in post-capitalistic era and exposes our bare face and the uncomfortable truth by displaying the affected area of out society plainly. Furthermore, his works demonstrate the possibility of Korean animation as a representational language of facing the reality and searching for the truth.

• Cartoon and Animation Studies
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• s.35
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• pp.107-128
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• 2014

Cultural Content industries based on imagination and creativity are attracting attention and the animation high value-added industry is still spotlighted. Among them, Disney Studios make money through using their professional skills. There are the know-how has developed for a long time, and there are timeless strategy. This study is analyzing by fantasy elements for knowing the messages of Disney animation. Fantasy defined as genre of literature by Todorov and Jackson emphasized its social role and significance. Hume expanded the area of fantasy and Tolkein Jahoriski and Boyer classified the fantasy according to the purpose. Through the analyzing Disney animation , Disney's fantasy show the specific expression depending on the target. Disney is based on the three types of fantasy depending on the growth of the journey. The first area is composed of the main character's growth and satisfy the desire and escapism, The second is the word of antagonist who opposed to reality and break the rules of the dominant ideology. The last area is the utopia provided after hero beat the antagonist. Disney characters give the messages by using the fantasy like the transformation or alter ego. That show the subject of the main character's growth and the supporting characters as the expression of the multiple personality of main. These emphasize the hero's growth and give the fun. Also, in the subject of the otherness, the hero always destroy the evil who broke the rules of reality. In this way, the fantasy offered by Disney give the messages of sacrifice and family from true love. Disney has the support of their target audiences continue to be able to convey ideology.

• Korean Institute of Interior Design Journal
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• v.17 no.3
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• pp.86-93
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• 2008

The purpose of this study is to find out how the otherness philosophy reveals itself in the principle of F.O.A construction space creation. The traditional philosophy of totality is self-centered and thoughts are based on the subject. It couldn't escape from the world associated with the self, and has subordinated the other to the main body. But the philosophy of otherness transcends the subject, to the open, creative way of thinking which acknowledges deconstruction, decentralization, and non-hierarchy. This is very similar to contemporary architecture, which pursuits change, and also to the current state of society. In construction by the construction group F.O.A, which is doing notable activity this generation, there is an attempt to transcend the fixed subject which is seen in the otherness discussion, and realize recategorization by overcoming the boundaries of subject and object. First, by the realization of landscape architecture using a topographical folding technique, boundaries of the subject and object are demolished in the relationship of the landscape construction, and recategorization. Second, by breaking up the meaning of the surface which is a visual and physical boundary for both the internal and external, recategorization is being done. Third, by making the boundary between the interior and exterior indistinct, cognitive threshold is dissolved, and the relationship between the subject and object is being recategorization. In conclusion, we can see that the many recategorization phenomenons that are happening in the F.O.A construction show the otherness that escapes from the conventional and stationary relationship, and recognizes each other at the same time, forming new relationships.

• Journal of Christian Education in Korea
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• v.74
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• pp.33-55
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• 2023

This study aims to explore the direction of Christian public practice in the post-COVID era, seeking to overcome the uncanny feeling caused by increased division and exclusion during the pandemic period. Firstly, we will investigate the unequal impact of COVID-19 on the labor market and examine ways to achieve economic justice in the post-COVID era. Subsequently, we will deliberate the role of Christianity in establishing publicness in the digital world and virtual spaces. Finally, viewing COVID-19 as a catastrophe caused by an anthropocentric worldview and exploitation driven by greed, we will explore the tasks of Christianity to overcome the crisis of the Anthropocene. Christian public practice should fulfill its mission of care and stewardship not only in social context but also in an ecological dimension. The author proposes "planetary citizenship education" for a harmonious relationship between human species and the Earth they inhabit.

• Korean journal of communication and information
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• v.84
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• pp.99-123
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• 2017

We analyzed the movie (2016/ directed by J-yong E), which is entangled in politics of gender, age, class, or sexuality, naming as "spaces of Others", using the concepts of heterotopia of Foucault. Foucault addressed three types of spaces: the realistic space where we currently live, the unrealistic and non-existent utopia, and heterotopia, which functions antithetically to reality. Thus, Foucault's heterotopia can be considered to indicate "heterogeneous spaces" in reality. The Bacchus Lady revolves a 65-year old prostitute So-Young, sells her body to old men at the parks in downtown of Seoul. Old prostitute on streets are often referred as "Bacchus Ladies", because suggest the popular energy drink a bottle of Bacchus while selling sex. The movie represents some minorities such as transgender, Tina and madam of the club, G-spot, migrant women like Camila and Aindu, and a amputee, Dohoon. Through these people's bodies, the problems such as imperials, nations, ethnics, gender, age, class are entangled in the movie. The politics of these points work and construct heterotopias in four spaces of Others. First, the spaces which ageing and death are intersected. Second, the spaces of So-Young for prostitutes, Third, the spaces of So-Young's mothering: she adopted her baby to American when he was a infant, so she have felt guilty. Fourth, the spaces for So-young's quasi-family with Minho, a Kopian boy who was abandoned by Korean father, Dohoon, who is a poor amputee, and Tina, who is a transgender singer. Fifth, the spaces of speech of So-Young as the subaltern: the subaltern does not have the language to express its own experiences. In order to listen to the words of subaltern, we must do the task of measuring the silence. This cinematic representation of So-young as the subaltern makes her speak about her situation. Finally, the spaces constructed by the movie can be connected 'heterotopia of crisis', 'heterotopia of deviation' and 'heterotopia of fantasy'. The spaces of the movie represents lives of Others, nevertheless, So-Young's Otherness through spaces of heterotopia was transformed to an absolute Other by patriarchal traits of cinematic narrative.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.138-148
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• 2021

In this paper, the basic narrative of The Sweet Home is the story that the residents of the apartment fight and survive the monsters in the isolated circumstances from the outside. This paper analysed the narrative and revealed the characteristics of the NETFLIX drama, The Sweet Home, and dealt with the ethics of contagion, core issue of the drama. Firstly, in the drama Sweet Home, the boundary between the men and the monsters collapses from the contagion. The drama shows the aspects of the apocalyptical world through the optical images, and reveals the main contagion cause is the desire and fury of the human to dominate the others. In the drama, we can see the duality that the characters sometimes stand in solidarity with, and often abuse the others. This story reflects the times after 2000s that the boundary between the man and the monster eclipses. Secondly, the drama shows that the ethics of the others popping up after the contagion is violent and thus can go to the totalitarianism. When the residents are shot by the troopers of the nation, the governmental authority shows its brutality. In this situation, the residents recognize their past behaviors and embrace the others. However, in the point that the characters' selfless behaviors could cover up the complaints and the fury of young generations after 2000s, The Sweet Home is a problematic drama.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.113-122
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• 2021

This study begins on the basis of Jacques Lacan's article 『Logical Time and Assertions of Preemptive Certainty: A New Sophism』 published in the reissue of 『Art Note Les Cahiers d'Art』 in March 1945. In this paper, a guard presents an esoteric problem to three prisoners. If the problem is solved, the prisoner is released. A condition is given to solve a problem. Conversation between prisoners is prohibited, and the disc behind them cannot be seen. In this time and space, prisoners place themselves in logical time through the 'time of understanding' in order to become the chosen ones. We always live in logical time. We will argue the point at which Lacan destroys logical time in psychoanalysis. Time in Lacanian psychoanalysis transcends time divisions of the past, present, and future. Our time is always the past in the present. In Lacanian psychoanalysis, logical time is the time in the Other. The transcendence of the Lacanian psychoanalysis concept of time shows the deviation of logical time. In this text, We try to prove how Lacan contrasts psychoanalysis and the problem of time with time in the other. First, we will examine how logical time and impulse are related in psychoanalysis. Second, the postmortemity of the signifient (signifier) will be discussed. Third, Lacan psychoanalysis will present the transcendence of time. In conclusion, We will present the view that the time of Lacan psychoanalysis is flowing backwards. In Lacanian psychoanalysis, we try to prove that logical time is in the territory of the Other and is infinite time.

• Journal of architectural history
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• v.16 no.2
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• pp.23-41
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• 2007

The main purpose of this study is to reveal the properties and specialities of architectural space after Modernism. Space was the main theme of Modernity in architecture and they insist Modern architectural space had its own characteristics compared with the earlier period. With view that another paradigm of space is rising as a criticism of and departure from Modernity, this study try to show what is the contents of difference and how it express in reality. We can find a new trends in architectural spaces, that are the production of totally different circumstantial background as like information society, digital media environment, post structuralism, new science and heterotopian situation in urbanism. We can call it Post Modernity in architectural space that would find the 'Otheness' and expand the territory of architecture. It means not only the change of architectural space itself but also different cognition and perception of space is taking place. Contemporaru architectural space has lost its materiality and conventional socio-cultural functions. Dematerialization and media or image -like being is the new characteristics instead. It demands a new way of being in a different life-world as well as the new expenence of architecture.