• Cartoon and Animation Studies
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• s.29
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• pp.103-128
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• 2012

Study about existence of illusion which human beings feel from imitated image based reality have been continuing by copy theory and conventionalism for a long time. Traditional copy theory which had controlled representation theory from plato have explained illusion by similarity of image and representation objects. According to copy theory, image is natural sign unlike language but the late in the 20th century, conventionalism from N, Goodman insists they are not any special similarity between image and representation objects. They insist image and conventional sign just as language. These opposit theory rearranged conventionalism by the entrance on the cognitive science. The copy theory couldn't explain the problem of representational gap between reality and duplication, but photo media makes new paradigm about theory of the illusion. The problem of representational gap was disappeared by CGI images on the base of digital media. We are exposed exquisite duplication for a example, movie, advertisement, printings. Sometimes duplications are more real than the original works. Digital is a non-material object by 0 and 1. Specially real lighting skill and mechanism are copied perfectly by photon mapping skills and the duplications are produced more real than the original works. By disappearance of representational gap, we need new theory model for explaining of digital illusion and copy theory can be the key.

• Journal of Korean Philosophical Society
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• v.143
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• pp.165-188
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• 2017

According to Braybrooke(1976) and Sobel(1976), the traditional problem of the social contract is insoluble as long as it assume the 'agents with the rational egoistic motivations' in the 'circumstances such as the state of nature'. The problem of social contract is so called because it defies solution and it runs in the family of social contract theory. Then, do contemporary social contract theories have a solution? I argue that contemporary social contractarians fail to supply a solution due to a previous question or a circulation problem in their theories. And then, I show how conventionalism helps social contractarianism escape the problem.

• Journal of the Korean Home Economics Association
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• v.37 no.5
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• pp.61-84
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• 1999

The purpose of this study is to understand the context of cosumers' lives in Korea with a narrative analysis method. The epistemological orientation of eh narrative analysis is Interpretivism, which blends the two polar philosophical perspectives, Empiricism and Rationalism, and includes Narrotology, Hermeneneutics, Semiotics, and Structural Criticism. Narrative analysis takes as its object of investigation the story itself. This study collects eleven narrative plots from four housewives, into which Labov's structural approach is applied. This study shows clearly that the socio-cultural environment in which consumers live has strong influence on their consumption behavior and also reveals that narrativization tells not only about past actions but how individuals understand those actions, that is, meaning.

• 발명특허
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• v.36 no.11
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• pp.14-18
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• 2011

미국은 관습법(시민사회의 자생적 발전에 기초한 풀뿌리 민주주의를 토대)으로서 아래로부터(Bottom-up) 상거래 관행이 상표법에 조문화된 보통법 (common law) 체계인 반면, 한국은 시민사회의 기반 없이 정부주도로 바람직한 현상(1천년이 넘는 오랜 권위주의 체제를 토대)으로서의 법규범을 형성하기 위해 상표법을 제정한 대륙법(Continental law) 체계라는 법철학적 차이점이 있다.

• Journal of Korean Philosophical Society
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• no.123
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• pp.61-89
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• 2018

The purpose of this paper is to characterize the reception of Cynicism by Julian, the emperor and Neoplatonist of the late Roman Empire. Julian attempts to restore true Cynicism, while chiding decadent contemporary Cynics. To this end, he idealizes Diogenes as an example of the true Cynic. The main attention is paid to the way in which Julian idealizes Diogenes. First, we introduce the basic features of Cynicism with a focus on the figure of Diogenes. Although Diogenes inherited the ethics of happiness from Socrates and presented the Cynic practices encapsulating - freedom from social customs, self-sufficiency as opposed to vanity and greed, and asceticism - as a shortcut to happiness, he was called a 'Socrates gone mad', owing to his unconventional and shameless words and deeds. Compared to this Diogenes, we try to discern the characteristics of the true Cynic described by Julian. The true Cynic for Julian is a rigorous ascetic like Diogenes, but a Diogenes knowing shame (aidos). He is an intelligent examiner of the opinion of the people like Socrates. However, he is a free man not enslaved to a particular state, but a pious philosopher who defends the divine moral law of the cosmopolis. In the end, it is shown that Julian embraces Cynicism in so far as it can be integrated into Socrates' rationalist moral tradition. We conclude with a brief reflection on the significance of Julian's reception of Cynicism from the perspective of his attempt to unify ancient philosophical traditions in order to protect Hellenism against Christianity.

• Strategy21
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• s.45
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• pp.60-90
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• 2019

The use of the high seas are supported by the two pillars of customary principles --the freedom of navigation and the flag state control on its vessels, which are codified in the UN Convention on the Law of the Sea. There have been attempts to limit and retrain the two pillars as maritime regimes are newly created to address new maritime threats, while coastal stares' control over the seas expand. The pillars have been created over thousands years since human beings took to the sea and have served as a foundation to use the oceans peacefully and orderly. Therefore, any retreat or exception from these principles would undermine the fundamental framework for the use of the oceans and eventually these regimes would be subject to control of maritime powers. In conclusion, new maritime regimes such as the sanction measures on North Korea should be enforced within the framework of international law and comply with the fundamental principles such as innocent passage and the freedom of navigation at the high seas.

• Korean Institute of Interior Design Journal
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• v.19 no.2
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• pp.54-65
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• 2010

이 연구의 목적은 카를로 몰리노(1905~1973)의 복합적인 특징을 그의 초현실적 공간구성 방식을 특별히 고려하여 분석하는 것에 있다. 몰리노는 가장 독창적인 현대 이탈리아 건축가들 중 한 명이다. 그는 생애동안 그의 작품들은 비평가들에게는 인정을 받지 못했다. 그의 반 순응적인 성격과 극심한 개인주의도 일조를 하였지만 가장 큰 이유는 그의 작품들이 그의 전문적인 활동과 다양한 개인적인 관심사 사이에서의 강박적인 상호작용에 기반을 두었기 때문이다. 그의 독창성은 그의 능력에 있는 것으로, 항공학, 자동차, 스키, 무대 디자인, 패션, 예로티즘, 문학 그리고 그 외 수많은 다양한 분야에서 얻었던 지식을 디자인하고 건축으로 변형하려는 그의 초현실주의 배경에서부터 나온다. 개인적인 집착으로 그의 작품을 키워가면서 몰리노는 당시 현대 건축의 모든 관습들을 깨고 전문적인 능숙함과 독특한 예술적 시야 사이에 걸려있는 독특한 디자인 표현을 보여주었다. 이 연구는 몰리노의 독특한 공간 구성 방식을 벗겨내기 위해 그의 배경, 즉 그가 열정적으로 탐구했던 연구 분야들과 전문적인 생산물 사이의 연결고리를 분석한다.

• Cross-Cultural Studies
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• v.50
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• pp.131-172
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• 2018

It is noted that nowadays, the bride wealth custom takes an extremely distorted form in African society. Such a phenomenon is a result that the male-dominant culture, Western religions, and capitalist economic system have been negatively combined into dynamic factors seen as bride wealth. This means that the concept of bride wealth has been incessantly reconstructed in the middle of clash and conflict of tradition and modernity. There is also little doubt that the practice is inextricably tangled with the common and current ways of livelihood, early marriage, polygyny, kinship/family structure, poverty, and migration labor. Bride wealth has become an increasingly commercialized element under a capitalist economic system. Accordingly, its traditional symbolism is seen to be subsequently weakening, whereas a tendency towards the reification of women is strengthening more in modern society that embraces modern customs bent on the protection of women's human rights. Its commercialization has produced a result, which instigates the noted violations of women's basic human rights, gender inequality, and promotion of domestic violence. The ways that people perceive bride wealth vary according to their own sex, generation, stratification, and ethnic background. Those people who negatively recognize bride wealth will increase with the deepening of its commercialization due to the influence of capitalism. Its color and effect will deepen and depend on how its agents correspond to socioeconomic changes. They will constantly reinterpret and reconstruct it within their own environments, but the basic human rights efforts are constantly under review by concerned individuals seeking to promote equality for women as a global effort.

• Cartoon and Animation Studies
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• s.18
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• pp.37-56
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• 2010

This paper focalizes on the 'evolution' of monster animation and . Actually, Many characters' 'Evolution' is a very powerful convention of Japanese genre animation. Lots of young people feel a huge pleasure about character's evolution. It is a fantastic spectacle to boys and girls. The first characteristic point of characters' evolution is growing-up body to an adult. For example, magical girls genre shows a woman's sexy body. This scene gives a sexual fantasy to young girl spectators, a voyeuristic visual pleasure to young boy spectators. The second point is that a transforming-body gains some super power or magical power. The third point is that a great many characters is in one text. In , characters' numbers go on increasing through 6 ways-hybrid type, mutant-reiteration type, metamorphosis type, simple-grownup type, narrative type, multiple evolution type. The evolution of has to pay attention to only one transforming way. Most Digimon characters are becoming to a human-weapons cyborg. In my opinion, this is very dangerous phenomenon with a political ideology.

• The Journal of the Korea Contents Association
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• v.17 no.7
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• pp.22-30
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• 2017

CGI not only performed a crucial role to make cinema and animation evolved into digital cinema and digital animation but also CGI, an important visual format, settled realism-centric spectacle image culture in public commercial cinema and animation. The fact that CGI visual format could be structuralized in three different view points is discovered through Iconicity, photorealism, verisimilitude, uncanny valley, hyperrealism, and spectacular realism discourse research which explain image culture. First, a formative viewpoint that comes up in an iconic difference between drawing and photograph. Secondly, a cognitive viewpoint that sees visually perceived naturalness and abnormality as a realistic probability issue. Lastly, a customary viewpoint which is rooted in aesthetic tradition of cinema and animation. After that, the features of CGI which is used in the movie 'jungle book'(2016) were analyzed using the structured visual format. Consequently, this movie has hyper-realistic photographic iconicity on the base of realistic probability. Also, by following image-aesthetic convention which uses overstated and amplified narrative as a visual format, at the same time, the movie also has sufficient image-aesthetic convention in animation by personified animal character.