• Journal of Korean Philosophical Society
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• v.137
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• pp.151-191
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• 2016

Kant and Lacan strongly criticized the epistemological premise of formal logic. However, Lacan was opposed to Kant in terms of subject, object, knowledge and truth. From the viewpoint of Kant's transcendental logic, formal logic does not have the ability to represent the nature of truth. On the other hand, from the viewpoint of Lacan's psychoanalytic logic, Kant's transcendental logic misunderstands or only partially represents the state of things. But I would like to try to criticize the epistemological premise of the two forms of logic. Transcendental logic takes the evident and new function in that it has studied the necessary condition of content rather than the form of thinking which formal logic considers as his object of study. Transcendental logic evidently studies the categories which dominate our way of thinking. Can we say that the 12 categories which Kant provided are sufficient in explaining the necessity of thinking? Lacan's psychoanalytic logics tells us that Kant's categories are only a kind of metaphor related with hypothesis that tries to explain the possibility of synthetical judge a priori. Is Lacan's psychoanalytic logic sufficient in explaining the possibility of science? It is not sufficient in explaining the objectivity and strictness of science, for it depends on metaphor and metonymy which are useful to literature and unconsciousness. I would like to try to synthesize Kant's transcendental and Lacan's psychoanalytic logic in terms of structure-constructivism which combines both formal and dialectical logic, which is consistent with the ideal of human science, and not blinkered science. My conclusion is that Kant's ethical and esthetical theory should be modified though Lacan's psychoanalytic logic, and Lacan's theory of the unconsciousness revised by Kant's transcendental logic.

• Journal of Korean Philosophical Society
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• v.131
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• pp.223-244
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• 2014

In this paper, the author interprets Juyeok (The Book of Changes) as a philosophical book on self-culture instead of a book on divination. Juyeok, originally, was a book on divination written to tell fortunes; however, it has been a rich source producing the discourse of the humanities. This is because it has a unique system of linguistic symbols. Gwae-Hyo (Hexagrams and Horizontal Lines) system of Juyeok has a number of symbolic features, and there is too much room for new philosophical, cultural interpretations. Thus, Juyeok can be applied to any information and events, and it can, accordingly, help solve the problems of life we are facing. Moreover, Juyeok's unique characteristics are revealed very well in active intervention of persons who read and interpret it. Carl Gustav Jung is the very person who argued that one should interpret Juyeok through this active intervention. In the foreword of Juyeok translated by Richard Wilhelm, he mentions a possibility of the interpretation of Juyeok applying 'synchronicity.' According to him, Juyeok is a material not to predict the future or tell the fate ordained, but to look back on oneself or find the solutions of problems oneself. It allows the inquirer to interpret Gwae-Hyo-Sa (Explanations) not simply through the result of fortune-telling but the act of telling one's fortune. He applies 'synchronicity' to the finding of answers to one's problems in the given Gwae-Hyo-Sa. Synchronicity refers to 'the principle of non-causal relationship explaining a phenomenon of meaningful coincidence.' Here, simultaneity, unlike contingency the principle of causality refers to, means 'meaningful coincidence.' He presents a theory that the divination signs derived from Gwae-Hyo-Sang (Images) through synchronicity is a reflection of the psychology of the unconscious the fortune-teller or a man who receives the results of the divination signs has under certain circumstances on the outside. This is because Jung interprets it like this because the way of communication of Juyeok using symbolic language is not direct but indirect. Juyeok's system of symbolic language aims not at delivering objective knowledge, but the reader's self-transformation. This point can be applied in clinical philosophy. People who suffer from agony and pain in their daily lives may find meaningful and helpful advice for themselves no matter what Gwae-Hyo-Sa they choose in Juyeok. This is because it was originally hidden in their inner space and just revealed concretely through Gwae-Hyo-Sang or Gwae-Hyo-Sa in Juyeok. In this sense, we connect the meaning Gwae-Hyo-Sang or Sa contains from Juyeok to their circumstances, read counsel or advice needed ourselves and make it our own to be able to have power to change and help ourselves. And at this very point may be evaluated as an important role of Juyeok.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.333-368
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• 2012

Dans l'histoire du $th{\acute{e}}{\hat{a}}tre$ $cor{\acute{e}}en$, la position de Chae yoon-il est $tr{\grave{e}}s$ $particuli{\grave{e}}re$. Il a $consacr{\acute{e}}$, dans ses $carri{\grave{e}}res$ de la mise en $sc{\grave{e}}ne$, toute son ${\acute{e}}nergie$ au $th{\acute{e}}{\hat{a}}tre$ sans jamais $fl{\acute{e}}chir$ contre le pouvoir dictatorial. Un critique a dit que son $th{\acute{e}}{\hat{a}}tre$ est semblable au $th{\acute{e}}{\hat{a}}tre$ de la $cruaut{\acute{e}}$. Pourtant, dans la mesure $o{\grave{u}}$ il respecte le texte dramatique, et que son $th{\acute{e}}{\hat{a}}tre$ a des tendances de la politique et qu'il oriente l'engagement du spectateur, il est certain que son $th{\acute{e}}{\hat{a}}tre$ est loin du $th{\acute{e}}{\hat{a}}tre$ de la $cruaut{\acute{e}}$. Ses $proc{\acute{e}}d{\acute{e}}s$ de la mise en $sc{\grave{e}}ne$ sont $tr{\grave{e}}s$ divers et il n'y a pas de $coh{\acute{e}}rences$ au niveau des styles dramatiques. $Malgr{\acute{e}}$ cela, nous pouvons trouver son $originalit{\acute{e}}$ de la mise en $sc{\grave{e}}ne$ dans la rencontre avec Lee hyun-wha. Le metteur en $sc{\grave{e}}ne$ ${\acute{e}}tablit$ son $esth{\acute{e}}tique$ $th{\acute{e}}{\hat{a}}trale$ en montant sur $sc{\grave{e}}ne$ de cinq $pi{\grave{e}}ces$ de Lee hyun-wha. Alors, en effet qu'est-ce que $l^{\prime}esth{\acute{e}}tique$ de la mise en $sc{\grave{e}}ne$ de Chae yoon-il produite par les ${\oe}uvres$ $th{\acute{e}}{\hat{a}}trales$ de Lee hyun-wha? Dans les $pi{\grave{e}}ces$ de Lee hyun-wha, il y a beaucoup de codes symboliques de la violence sexuelle comme le sadisme et le masochisme. L'implusion sexuelle $cach{\acute{e}}e$ dans le subconscient des personnages s'entrecroise avec le $m{\acute{e}}canisme$ du pouvoir politique. Alors, les abus sexuels et les mauvais traitements sur le corps deviennent une sorte de torture. L'expression cruelle des langages $sc{\acute{e}}niques$ n'est autre que la $r{\acute{e}}volte$ contre la $r{\acute{e}}alit{\acute{e}}$ actuelle de la politique. Son $th{\acute{e}}{\hat{a}}tre$ de torture est donc une sorte de $m{\acute{e}}canisme$ de la catharsis pour dissiper le cauchemar et l'inconscient noir. La fantasie sexuelle construite par le monde inconscient de l'auteur dramatique $s^{\prime}{\acute{e}}panouit$ dans le $th{\acute{e}}{\hat{a}}tre$ de Chae yoon-il qui $r{\hat{e}}ve$ toujours l'esprit de la $libert{\acute{e}}$. Une des convictions dramatiques du metteur en $sc{\grave{e}}ne$, c'est que le $th{\acute{e}}{\hat{a}}tre$ tout d'abord doit ${\hat{e}}tre$ choquant. Il dit : "l'art doit ${\hat{e}}tre$ ${\grave{a}}$ la fois ${\acute{e}}mouvant$ et bouleversant. Cependant, dans la mesure $o{\grave{u}}$ le film ou la $t{\acute{e}}l{\acute{e}}vivion$ fait aujourd'hui une vive impression aux spectateurs, la part $donn{\acute{e}}e$ au $th{\acute{e}}{\hat{a}}tre$ est le choc." Pour donner le choc aux spectateurs, le style de la torture est $tr{\grave{e}}s$ utile. $L^{\prime}esth{\acute{e}}tique$ $th{\acute{e}}{\hat{a}}tral$ du metteur en $sc{\grave{e}}ne$ respecte essentiellement l'intention de l'auteur. $N{\acute{e}}anmois$, le respect sur l'original ne se $d{\acute{e}}range$ pas $l^{\prime}interpr{\acute{e}}tation$ de son propre $id{\acute{e}}e$. Dans l'insistance de la torture, l'analyse rituelle sous la base du choc, il projecte le symbole $arch{\acute{e}}typal$ sur $sc{\grave{e}}ne$. Bien $s{\hat{u}}r$, il renforce le $caract{\grave{e}}re$ de la politique dans le $th{\acute{e}}{\hat{a}}tre$ de torture pour inviter des spectateurs de l'engagement. D'ailleurs, il y a l'aspect d'absurde dans le $th{\acute{e}}{\hat{a}}tre$ de torture qui insiste des violences ${\grave{a}}$ travers les langages $sc{\acute{e}}niques$ comme le $m{\acute{e}}tal$ froid, parce que le metteur en $sc{\grave{e}}ne$ $consid{\grave{e}}re$ que $l^{\prime}{\hat{e}}tre$ humain vit dans l'absurde.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.159-190
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• 2019

This paper aims to examine to the political unconsciousness of social movies that have caused social repercussions in the 2010s, and to study the social imagination of Korean films at that time. Korean Movies such as (2013), <1987>(2017) and (2017) reflect the ethos of civil society based on common sense and justice. The epic structure was the same as that of ordinary citizens, who move toward a public space (court, square) after awakening their political correctness. More than anything else, the fact that such films were based on "a historical fact" could have been a strategy to avoid censorship in the era of the blacklist. In these social films, courts and squares have become places for democracy. The conservative government of the time was tired of anti-government resistance and the politics of the square. Thus, films from directors and producers blacklisted were difficult to produce. That's why the court in the movie during this period could become a symbolic proxy for the "legitimate" reenactment of the politics of the square, which was subject to censorship and avoidance by the regime of the time. Meanwhile, the square has gradually become the main venue for political films that advocate "historic true stories." The square of the 1980s, which appeared in the movies, will be connected to the Gwanghwamun candlelight square that audiences experienced in 2017. Furthermore, it was able to reach the concept of an abstract square as an "open space for democracy." At the foundation of these works is a psychological framework that equates the trauma of the failed democratic movement of the 1980s to the trauma of the failed progressive movement of the 2010s. Through this study, we were able to see that social political films in the 2010s were quite successful, emphasizing "political correctness" and constitutional common sense. But they also had limitations as "de-political popular films" that failed to show imagination beyond the censorship of the blacklist era.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.

• Sim-seong Yeon-gu
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• v.35 no.2
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• pp.85-112
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• 2020

How does analytical psychology help understand patients at general psychiatric clinics? It's necessary to think about how knowledge of analytical psychology can help young psychiatrists who are in training. Patients who come to us bring symptoms(problems). Symptoms can be compared to tickets to a movie theater. Symptoms accompanied by complaints of pain are not only pathological phenomena to be eliminated, but an important pathway to access the patients' inner problems. In terms of seeing the whole, the point of view in analytical psychology is to see the unconscious as well as the consciousness, even the elements the patients do not speak or know of. When determining indications and contra-indications during the initial process of treating a patient, it is more important to acknowledge the therapist's capabilities and limitations than the patient's condition or limitations The approach to complaints of the same symptoms may differ depending on whether the patient is in the first half or the second half of one's life. Analytical psychology is empirical psychology that experiences and it adheres to a phenomenological position that recognizes the phenomenon as true in itself, not logically right or wrong. The analytical psychological view of understanding mental phenomena asks the causal perspective of why the symptoms occurred. At the same time, the therapist, along with the patient, must seek answers to the question of why now and for what purpose. A therapist is a person who experiences the patient's personal development process together. In analytical psychotherapy, the therapist's attitude is more emphasized than the treatment method or technique; it is regarded as of the utmost importance. In this regard, analytical psychology is a practical and useful therapeutic tool, and is a field of study that can be widely used in actual psychiatric clinics. In addition to understanding the patient, it is also the most important discipline for the therapists, especially for the education and growth of those who want to become a treatment tool themselves.

• Sim-seong Yeon-gu
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• v.30 no.1
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• pp.31-66
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• 2015

A study on a Russian fairy tale entitled "Seven Stars" was conducted from the perspective of analytical psychology. The plot goes as follows. Once upon a time, a village in Russia was suffering from severe drought. Villagers were dying of thirst, and crops were withering day by day. One night, a little girl left their house carrying a wooden dipper to find water for her sick mother by herself. However, water was nowhere to be found. She felt tired and fell asleep. When she woke up, the moon was already over her head, and the dipper had been filled with water. On her way home to give the water to her mother, she found a dog lying on the ground. The dog was also dying of excessive thirst, so she gave the dog a handful of water. Then the wooden dipper suddenly turned into a silver dipper. When she had finally arrived home and her mother has drunk the water, the silver dipper changed into a golden dipper. At that moment, an old man showed up and asked for water. The little girl gave him water. When the old man stared at the water, she realized that there were seven diamonds twinkling like stars in the dipper. The water never ran out. Surprisingly enough, the seven diamonds suddenly soared up into the sky and eventually formed a constellation of the Big Dipper. The water was shared with the other villagers who, then, recovered their strength. The severe drought came to an end, and the villagers danced together with joy. In this fairy tale, the severe drought symbolizes devastation caused by a unidirectional stream of consciousness while the little girl represents a new function, which shows the value of women who can heal and restore from that devastation. Symbolized in a fairy tale character such as 'a daughter' or 'a little girl', the new function eventually reaches up to the value which leads and affects the group as well as individuals. To conclude, this new function represents the unconscious process whose role is to revitalize the maternity and resolve the problems posed to a group as well as individuals.

• Sim-seong Yeon-gu
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• v.33 no.1
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• pp.1-60
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• 2018

The paper was inspired by Jung's words in the Red Book "just as Christ tormented the flesh through the spirit, the God of this time will torment the spirit through the flesh." I propose that the new form of torment in this era could be eroticism as a way of the individuation process because it seems to be one of a very few ways left to modern men to grasp the sense of permanence, the essence of the divine, without religion because of its peculiar nature of transcendence. I suppose that it is not only a man who is tortured but also god is in torment since the divine needs a man as a womb for his incarnation. Therefore I suggest that man and god are fated to seduce each other to be redeemed by each other. I imagine that Eros with numinous sexuality seduces a man who has potentials for the god's incarnation and who would be willing to give in to the god's demand. This god needs a man who desires his essence of perpetuity, the eternal water of life, in ecstasy. Thus the purpose of the divine's seduction is to make a man awake from unconsciousness to pursue god himself, namely the individuation process. I call such divine seduction "eroticism of god" There seem to be a certain type of people who are destined to live eroticism as a way of individuation process. Through investigations, a melancholic tendency appears to be suitable for this type of individuation. Melancholia is deeply related to the poignant awareness of impermanence as the existential condition, which is a precondition for seeking permanence through eroticism. Melancholia essentially causes deep longing for eternity that bears fulfillment, which exists in eroticism, so melancholic agony seems inevitable for eroticism as the path for individuation in that, without knowing about deficiency, we never seek what is lacking in us. It can also be viewed that while a lover is driven to seduce lost love, what actually waits to become seduced for redemption is the god of love itself behind the human beloved. Man and god are fated to seduce each other for redemption. I suppose that the initiation to Eros implies how to seduce Eros. In a woman's psyche, psychological virginity is one of the essential qualities that her ego needs to attain. To the male it is vital to live his sensuality thoroughly and to experience his own and his lover's emotions to their limit. It cannot be an easy task because it demands us to give up our egotism entirely. Through eroticism, unconsciousness seduces us to make us live life as a whole. The god of love brings powerful sexuality as a means of "spiritual crisis" to redeem our lukewarm soul. Only a few can withstand the experience since it requires a strong will to bear the brunt of the sword despite the keen awareness that it may leave us bleeding in pain.

• The Korean Journal of Archival Studies
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• no.79
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• pp.5-32
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• 2024

The Korean government ranked 3rd among 193 UN member countries in the UN's 2022 e-Government Development Index. Korea, which has consistently been evaluated as a top country, can clearly be said to be a leading country in the world of e-government. The lubricant of e-government is data. Data itself is neither information nor a record, but it is a source of information and records and a resource of knowledge. Since administrative actions through electronic systems have become widespread, the production and technology of data-based records have naturally expanded and evolved. Technology may seem value-neutral, but in fact, technology itself reflects a specific worldview. The digital order of new technologies, armed with hyper-connectivity and super-intelligence, not only has a profound influence on traditional power structures, but also has an a similar influence on existing information and knowledge transmission media. Moreover, new technologies and media, including data-based generative artificial intelligence, are by far the hot topic. It can be seen that the all-round growth and spread of digital technology has led to the augmentation of human capabilities and the outsourcing of thinking. This also involves a variety of problems, ranging from deep fakes and other fake images, auto profiling, AI lies hallucination that creates them as if they were real, and copyright infringement of machine learning data. Moreover, radical connectivity capabilities enable the instantaneous sharing of vast amounts of data and rely on the technological unconscious to generate actions without awareness. Another irony of the digital world and online network, which is based on immaterial distribution and logical existence, is that access and contact can only be made through physical tools. Digital information is a logical object, but digital resources cannot be read or utilized without some type of device to relay it. In that respect, machines in today's technological society have gone beyond the level of simple assistance, and there are points at which it is difficult to say that the entry of machines into human society is a natural change pattern due to advanced technological development. This is because perspectives on machines will change over time. Important is the social and cultural implications of changes in the way records are produced as a result of communication and actions through machines. Even in the archive field, what problems will a data-based archive society face due to technological changes toward a hyper-intelligence and hyper-connected society, and who will prove the continuous activity of records and data and what will be the main drivers of media change? It is time to research whether this will happen. This study began with the need to recognize that archives are not only records that are the result of actions, but also data as strategic assets. Through this, author considered how to expand traditional boundaries and achieves reterritorialization in a data-driven society.

• Sim-seong Yeon-gu
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• v.32 no.2
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• pp.73-121
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• 2017

Disaster is externally an incident that causes enormous damage to society and humanity. Disaster also internally stimulate a variety of personal and collective complexes in the human mind. The sinking of Sewol Ferry in 2014 was a disaster that took away countless lives. People not only in South Korea but around the world were deeply affected by the incident. While directly taking part in disaster mental health support and meeting with people who were sunk in sorrow and helplessness and feeling the collapse of conceit against modern technological civilization, I realised the need to conduct study and research on the conscious and unconscious response from the viewpoint of analytical psychology. This research investigates the response and management of disaster in prehistoric times mainly through myths and petroglyphs. This study aims to consider the problems and improvements of disaster response in the modern times by finding the distinct cultural characteristics and the universal, fundamental, and archetypal human nature inherent in the concepts of disaster and responses to disaster and discovering their meaning and wisdom. Creation myths around the world show that in the beginning there was a disaster as part of the universal creation. Humanity has understood disaster as a periodic renewal of the world by the oppositeness between destruction and creation and had the idea that violation of taboo to be the cause of disaster since prehistoric times. Disaster could be interpreted as the intention of the Self that renews the fundamental consciousness through the externally appearing destructive action. Various rituals performed by man on earth renovates the human consciousness during a mental crisis situation, such as a disaster, and corresponds with the unconscious to create an opportunity for psychological regeneration that seeks harmony. Modern society has neglected the importance of internal dealing and the suffering human soul and concentrated on the external, technological and administrative actions related with disaster response. We cannot determine the occurrence of a disaster, but we can determine how to deal with the disaster. While developing external disaster response, we need to ponder on the meaning of disaster and conduct internal disaster response that care for human mind. Through this, we will understand the meaning of pain and have renewed mature psyche.