• The Korean Publising Journal, Monthly
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• s.352
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• pp.132-133
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• 2005

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.126-135
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• 2012

This study is the subsequent full-scale research of a TV drama writer who has been out of scholarly pursuits as it explores Su-Hyeon Kim's underlying consciousness with focusing on her heroines, the and . The author Su-Hyeon Kim clearly distinguishes a TV melodrama from a TV home-drama by her own self-control, which is a rare case in TV drama genres, therefore, her consciousness lights up at her melodrama. This study applies Lacanian theory to the author's melodramas for examining the author's under-lying thought. For Lacan the subject is an 'alienated', 'privative', 'fractured' 'being' as an imperfect language, the symbolic order, forms the subject through its signification. The subject desires the other's desire, and wants to become an object for the other's desire. The desire constantly demands an integral world, a perfect love, the wholly harmonious imaginary order. And it lasts up as it refuses the symbolic order's imperfection while it works its unconscious fantasy. Lacan states that only the 'traversing the fantasy', 'separation' would give birth to the real, liberated subject. Despite a 20-years of rift within two works, the and have an identical conflict core, that is a subject's constitutive, fundamental privation and desire of a human being. Su-Hyeon Kim's underlying consciousness complies with her continued theses of an inquiry into the subject's real liberation and freedom when desire of the rings produces the subject's alienation, privation, and the pursuit of a impossible perfect love.

• The Journal of the Korea Contents Association
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• v.20 no.9
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• pp.19-28
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• 2020

Focusing on (2017), I would like to consider the way twin motifs' desires, deaths, and fantasies are reproduced in mirror images. First, the desire of twin motifs expresses the duality of good/evil and norm/desire as a mirror of sensual temptation. Second, the death of twin motifs expresses the spread of death as a mirror of punishment. Third, the fantasy of twin motifs expresses mental defense as fragmented mirror. In , the twin motifs effectively express three keywords-desire, death, and fantasy- with three mirror images-duality, punishment and division.

• The Journal of the Korea Contents Association
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• v.13 no.1
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• pp.105-114
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• 2013

The purpose of this paper is to explain the operation and meaning of the narrative, which is one of the main principles for the contents construction, especially focusing on the concepts 'difference' and 'desire'. The classical aesthetic taught us that the differences between diverse characters and reality models are the effective strategy for the reading the story. But this paper focuses on the structural difference of the event (story) and performance (discourse) of narrative, which are regarded as the basic condition of narrative. This difference is to describe in terms of the media theory and psychoanalysis. This paper also seeks to interpret the recent korean film to exemplify that the creation of difference for the fulfillment of desire is the basic element of the narrative constitution.

• Journal of Korea Multimedia Society
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• v.16 no.5
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• pp.647-656
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• 2013

The desire of humankind that longed for reappearance of visual makes progress within the development of linear history. The directing point at the moment was the 'eye'. Upon completion of setting the aiming point, visual image attempts reflection of main agent beyond reappearance of it and, by extension, aimed to visualize desire which was latent in the instance of main agent. It was able to experience a fantasy in paintings, photos and movies as a stage of desire, of course. Digital, however, suggested a new phasis in creating a fantasy world. This study aimed to research the fantastic nature in digital image that a fantastic image is created as a reflection of both independence and unconsciousness. As a result of research, this study revealed that digital image, as a channel that image and imaginative desire which were saved in id, is created as a perfect stage on the basis of verisimilitude, granting an experience toward realization of desire to a main agent raising id which was repressed by the ego and superego to the surface.

• The Journal of Korean Philosophical History
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• no.54
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• pp.221-242
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• 2017

How can Selfish people choose moral behaviors. Xunzi thought it can be done with Human reason. For him, people move for their own interest. So they must follow Yi(禮), if they understand the life that following Yi is better than following x?ngq?ng(性情). Xunzi' theory is going to meet following two problems. One, people do not choose Yi because heir selfish is the only power to do. Second, there is nothing to blame or punishment for violators because it is not the duty. I tried to explain with two solutions for Xunzi.

• The Journal of Korean Philosophical History
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• no.29
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• pp.231-253
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• 2010

Xiang-xiu(向秀) tried to find compromise between naturalness(自然) and Confucian ethical code(名敎), the individual consciousness and the group consciousness in the Wei-Jin(魏晋) dynasty. He made his views on the human nature through the revealing of desire and morality of human. Xinag-xiu considered that the human nature comes from the ultimate principle of the nature(自然之理), so it's possible to provide reasonable basis to the meaning of the 'desire' and 'morality'. Furthermore, the 'desire' is regarded as the driving force of human life through the reasonable cognition, at the same time he insisted that we should control our passions by sociality and the social norm. So in the view of Xiang-xiu, the human nature has two characteristics, such as the principal of the driving force of human life and the control of the base desires and the negative desires. It could be confirmed by his opinions about the following human's nature and sticking to our last in the his Zhuangzizhu( 莊子注). Through the perspective of the human nature, Xiang-xiu emphasized the unification of the unaffected human nature and morality(sociality), the desire and the social norm.

• (The)Study of the Eastern Classic
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• no.66
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• pp.303-330
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• 2017

The purpose of this article is figuring out the modern understanding of SimChong Jeon's narrative and its storytelling strategy in the movie (2014). In the movie, there are three steps which are based on the temporal flow of narrative. shows the web-like structure of desire especially by focusing on the male character Sim Hakkyu. The relationship among characters in is gradually broken because of the desire. Moreover, the desire pushes Sim Chong who is Sim Hakkyu's daughter into the sacrifice. This part seems similar with the narrative of SimChong-Jeon which has been transmitted since 18~19 century in Choson dynasty. However, also tells a different story which describes the progress of Sim Hakkyu's seeking the real relationship filled with love. This difference is able to make people read with the 'stroytelling' point of view. All the lack or problem in is closely related to the desire of Sim Hakkyu. His narrative is something different from the typical story of SimChong-Jeon. A new narrative of Sim Hakkyu is not Sim Chong centered story but rather the anti of it. 'The other narrative' in seems social practice of storytelling in order to break down the preconception of SimChong-jeon called 'cannon'. This is the storytelling strategy of and it suggests the another way of creating new narrative which is based on the classical cannon.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.327-355
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• 2016

This study aims to identify petit bourgeois desires through the characters in "Oksosun Stories" from Cheonyerok, an eighteenth-century Yadam anthology. The desires and motivations of the characters are quite secular and egocentric. Because of this, their shared characteristics are similar to those of the petit bourgeois, as neutral existence begins to emerge during the transition from feudal to modern society. The concept of petit bourgeois generally means the public and the working class of modern society. The main character's behavior in the story differs little from general petit bourgeois attitudes. An important belief in petit bourgeois is not the ruling ideology in society but the achievement and stability of realistic and ordinary desires to fulfill their lives' satisfaction. Also selfish or antisocial attitudes and boundary characteristics appear in the process, depending on whether subject having any desire. However, the character's actions are limited in the governance system of a huge reality. And It is characterized by end goal being to meet their upward mobility and stability. This corresponds with Seang's (書生) actions of turning his back on his family and country as well as promising Jaran his love; and, he redeems himself with his family and society by acquiring stability after he passed the state examination. Furthermore, the contemporary significance of this work demonstrates Seang (書生) discovering his desires for human love; therefore, in order to affirm and gratify this desire, he endures the societal state of semi-feudalism against filial duty (不孝), disloyalty (不忠), and non-chastity (不烈), and he acts independently. In addition, on the strength of his pursuit of his desires, Oksosun frees herself from the caste restraint called gisaeng (妓生) and affirms her desire to become a subject of love, but she then deviates from the social system. Moreover, the limitations and achievements of the petit bourgeois are indicated in the actions of recognizing the social threshold of their past in the process, making independent efforts using their capabilities, fulfilling success in the state examination with their intellectual capacity, and re-entering society. From the late Chosun Dynasty to modern times, there is not only the type of contemporary people who hunger for fulfillment of their personal desire and live in free will, but there is also the feudal type that is still lacking in the understanding of independent life. This is not as different as in these present times. This literature asserts the meaning of awakening one's self-existence and assigning great value to the fulfillment of self-desires against the odds that are created by socio-political, cultural, economic norms of the era. "Oksosun Story" affirms the small efforts and successes of private individuals in reality. It also validates the search for life happiness through positivity. In this sense, even the contemporary reader would derive valid meaningfulness from this literature.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.215-222
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• 2021

Duchamp chose readymades mainly for his denial of retinal painting and his desire and fluid thinking for changes inside him. His thinking is well presented in his readymade works. One of his early readymades, Bicycle Wheel, expresses correlations between beings and capital. Its essence is capital and the desire of beings. It is connected to Desire or Desire-Machine proposed as a social reform and creation model by Gilles Deleuze and Félix Guattari. Bicycle Wheel does not simply end in desire relations between capital and beings, though. When the desire of beings is converted into positive desire, it can keep inventing and creating something that is repetitive, fluid, and new. Duchamp tried to convey this positive desire through his readymade Fountain. Duchamp created a ready-made article toilet into a work of art in Fountain, being driven by desire flowing inside him. This is connected to the attributes of nomads that refused to settle down and continue to flow in search of new landscapes. This way of his thinking is clearly reflected in his Box in a Valise. He was motivated to create this work by his fluid thinking. In this work, various situations can unfold often according to the directions of two elements, place and arrangement. Here, place guarantees fluidity, and arrangement variability or desire. According to Gilles Deleuze and Félix Guattari, fluidity represents nomads with the characteristics of flow and variation, and desire represents productivity or production or creation. Box in a Valise represents nomads themselves. The nomads defined by Gilles Deleuze and Félix Guattari keep flowing and create a new world. They are in line with the thinking of Duchamp that refused to settle down at one place and escape from the old order to create a new artistic world. This type of nomads can be called revolutionists or creators that acknowledge differences and create. Nomads also contain the concept of resistance to the old order. Deleuze and Guattari proposed a war machine as a model of this resistance. Duchamp and his readymades can thus be called war machines.