• 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.

• The Critical Review of Religion and Culture
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• no.29
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• pp.134-167
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• 2016

This paper aims at exploring the characteristics and meanings of religious freedom controversy surrounding religious education, with special reference to proselytism, in protestant mission school in recent Korea. Most of protestant mission schools have been providing students compulsory religion class and chapel service in the name of religious education. According to the school authorities, religious education should be provided for the realization of founding philosophy, and they say that mission school has the right to religious education. On the contrary, many non-christian students argue that their religious liberty is seriously violated by required religious education especially compulsory chapel worship. So serious conflicts broke between mission school authorities and students. Supreme Court decided that Soongsil University has the right to maintain compulsory chapel service, ruling that Daegwang High School should not maintain required chapel worship. It seems that Supreme Court gave different decisions to high school and university respectively, considering the differences between high school and university in application for admission to a school, students' critical consciousness, school's autonomous rights, etc. However, these precedents are being challenged by many peoples and groups. There are three agents which are involved in religious freedom controversy in mission school. The first are mission school authorities supported by religious groups, the second government supported by political parties, and the third mission school students guided by NGO. Among them protestant groups are playing the major role in making religious freedom problems in mission school. Protestant groups try to convert mission school students to protestantism by compulsory chapel service and religion class. Such a protestant proselytism becomes a cause of oppressing students' human rights and religious liberty. In this situation government has a responsibility to protect the students' rights to religious freedom. But government seldom impose sanctions on the protestant mission schools' compulsory programs. The reason why government does not restrict mission school's unlawful religious education is because protestant groups have strong influence in voting. Eventually civil movements organizations involved in religious freedom controversy for the sake of students's human rights. In conclusion, the assailment is protestant proselytism, the accessory is government, the victim is students in the religious education in mission school in recent Korea.

• Cross-Cultural Studies
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• v.41
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• pp.415-442
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• 2015

Through the comparison of "Rendezvous with a Bird" with "Araby", there were found to be well-explained psychological causes of the boy's (Petya) behavior that closely discloses the concrete object of desperation and definitely confirmed the internal causes of heroes (vanity of the boys in "Araby" and "Rendezvous with bird"). Through the comparison of "Rendezvous with a Bird" with "A man in a boat" we also knew that Petya's indefinite fear of death was to some extent a sense of guilt. This study contains a full-scale review of Russian contemporary writer Tatyana Tolstaya's short story "Rendezvous with a Bird", which is one of the her earliest works. As many critics indicate, the works of Tatyana Tolstaya resonate with metaphor. "Rendezvous with a bird" plays an important role in understanding this metaphoric tendency. In order to understand the metaphoric tendency of her works we need our own reading strategy, and so we inquired into the grasp of the main motifs. Analysis of the main motifs can start from the understanding of meanings of the very figurative title 'Rendezvous with a Bird'. To understand the meanings of the title, we first of all analyzed the incidents of actual or figurative meetings with birds in this work, and through this we deduced two main motifs. We confirmed one main motif of 'desperation', which centers on the love of a young boy and woman. We confirmed the other motif as 'death', which developed into the rendezvous of the grandfather with inevitable death. Thus, the 'desperation' and 'death' with which we meet in childhood becomes a subject matter for the writer. To understand the deeper meanings of these main motifs, we compared "Rendezvous with Bird" with the short story "Araby" by James Joyce and with the short story "A man in a boat" by Eyvind Johnson, which very successfully deal with the motifs: 'desperation' and 'death'.

• Cross-Cultural Studies
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• v.52
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• pp.277-312
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• 2018

First-order cybernetics during the 1940s and 1950s aimed for control of an observed system, while second-order cybernetics during the mid-1970s aspired to address the mechanism of an observing system. The former pursues an objective, subjectless, approach to a system, whereas the latter prefers a subjective, personal approach to a system. Second-order observation must be noted since a human observer is a living system that has its unique cognition. Maturana and Varela place the autopoiesis of this biological system at the core of second-order cybernetics. They contend that an autpoietic system maintains, transforms and produces itself. Technoscientific recreation of biological autopoiesis opens up to a new step in cybernetics: what I describe as third-order cybernetics. The formation of technoscientific autopoiesis overlaps with the Fourth Industrial Revolution or what Erik Brynjolfsson and Andrew McAfee call the Second Machine Age. It leads to a radical shift from human centrism to posthumanity whereby humanity is mechanized, and machinery is biologized. In two versions of the novel Demon Seed, American novelist Dean Koontz explores the significance of technoscientific autopoiesis. The 1973 version dramatizes two kinds of observers: the technophobic human observer and the technology-friendly machine observer Proteus. As the story concludes, the former dominates the latter with the result that an anthropocentric position still works. The 1997 version, however, reveals the victory of the techno-friendly narrator Proteus over the anthropocentric narrator. Losing his narrational position, the technophobic human narrator of the story disappears. In the 1997 version, Proteus becomes the subject of desire in luring divorcee Susan. He longs to flaunt his male egomaniac. His achievement of male identity is a sign of technological autopoiesis characteristic of third-order cybernetics. To display self-producing capabilities integral to the autonomy of machinery, Koontz's novel demonstrates that Proteus manipulates Susan's egg to produce a human-machine mixture. Koontz's demon child, problematically enough, implicates the future of eugenics in an era of technological autopoiesis. Proteus creates a crossbreed of humanity and machinery to engineer a perfect body and mind. He fixes incurable or intractable diseases through genetic modifications. Proteus transfers a vast amount of digital information to his offspring's brain, which enables the demon child to achieve state-of-the-art intelligence. His technological editing of human genes and consciousness leads to digital standardization through unanimous spread of the best qualities of humanity. He gathers distinguished human genes and mental status much like collecting luxury brands. Accordingly, Proteus's child-making project ultimately moves towards technologically-controlled eugenics. Pointedly, it disturbs the classical ideal of liberal humanism celebrating a human being as the master of his or her nature.

• Cross-Cultural Studies
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• v.45
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• pp.219-243
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• 2016

The life of Antonin Artaud exactly reproduces a very cruel drama. He lived in constant anguish and suffered from severe mental pain. This research will trace his thoughts in his writings while he was a prisoner of language. Artaud was a poet filled with anxiety about language, things, being, and thought. Whenever he tried to explain the mystery of being by means of mundane language, he experienced psychological agony. His poetic thoughts began to break down, because of his identity loss. Nevertheless, he was destined to grasp the world through language. Artaud had suffered from mental illness during his youth. His mental illness was associated with his difficulty in creating poetry. In this research, the letter, Correspondance avec Jacques $Rivi{\grave{e}}re$, is analyzed. The poet refers to "the collapse of the spirit's core, and the erosion of the fundamental thought that slips away" to convey his linguistic incompetence. Hereafter, he constantly demonstrated anxious mental symptoms. Even though he became mentally deranged, he maintained his consciousness, as is apparent in his writings. Also, his spiritual belief is reflected in his mental uneasiness. While he was traveling through the Tarahumaras area in Mexico, he was obsessed with its primitive belief in the Peyote rituals, and he immersed himself in performing them. His unchristian belief was the product of his mystical personality. Until his last breath, he did not give up writing. Artaud's mental derangement does not mean lunacy, but if one insists in calling it so, that is a metaphor. His derangement comes from his refusal to accept his limitations and from his aspiring to regard his body in the same light as his intellectual perceptions. His intellect could manifest more easily when his mind was elevated to the extreme. Artaud's lunacy is no different from that of a profound philosopher. The lives of poets who suffer from mental derangement are more poetic than the lives of those who do not. Artaud's atypical emotions provide a way of to measure our own limitations, helplessness, and resignation. His scream is nonsegmental but different from that of a mental patient. That difference is why people are interested in his works and wish to delve into his writings.

• The Korean Journal of Archival Studies
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• no.59
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• pp.207-275
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• 2019

This archiving project of the survivors of suicide was done with the survivor supporting team of the Seoul Suicide Prevention Center. The survivor supporting team was operating a Self-help Support Group for the emotional support of the survivors of suicide. A Self-help Support Group is a place for the survivors of suicide to regularly meet and share their suffering by talking of topics hard to discuss elsewhere. As the Self-help Support Group progressed members who acted as the leader of the group appeared. They formed an essay group that writes together. Two fathers who lost their sons, two mothers who lost their daughters, a mother who lost her son, a wife who lost his husband. The essay group met each week in a place facing Sajik Park. Through the windows that took up the whole side of the room, evening was coming in. The things that happened during the day went away towards Inwang mountain following the setting sun. Ten people (six members of the essay group, three from the survivor support team, a historian for unique conversation) sat around a table, facing each other. "Now, what shall we do?" History for unique conversation is a time that archives life by sharing conversations. At times a complete stranger, and other times people who share their ordinary lives sit around together (3-9 people, sometimes about 15). On the table there is coffee, bread, fruits and salads, and sometimes a dish someone heartily prepared. When a bottle of wine is placed on the table, each takes a glass. Morning, afternoon, the time the evening is welcomed in, late night. It does not matter which. For six months, 3 hours when meeting every week, 6 hours when at every other week. A room where the ambience is like that of a kitchen where sunlight enters, or a cozy living room is the best location. However, there are many times when it is held in a multipurpose room in the suburbs where many meetings are held, or in a classroom of a school. The meeting place is decided according to different situations of the time. There are no participation requirements as it is said to be for themselves to write down according to archiving form while looking back their lives thoroughly, and they are the only ones to stop themselves. The archives landscape from far away would seem like trying to do some talking. However, when going into a microscopic situation one must leave themselves to the emotional dynamics. It is because it archives the frustration and failures one experienced through life. A participator of history for unique conversation must face the sufferings of their life. The archiving project took place in 2013 to 2014. Many years have passed. Has the objective distance for archiving the situation of that time been secured? That may be uncertain, but I will speak of a few stray thoughts on archiving while depicting the process and method of operation.

• (The) Research of the performance art and culture
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• no.25
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• pp.5-30
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• 2012

I. Identity of Yeonsegeuk as total arts. The purpose of the thesis is to arrange the identy of Yeonsegeuk(Kino-Drama) which is theatre or film. The process of study is tried to discuss on the aethetic of Yeonsegeuk. II. Appearance of Yeonsegeuk and negative disputation of yeonsegeuk The first imported Yeonsegeuk from Japanese in Korea is made by the group of Mizuno Ganggetsu(水野觀月) on Oct. 16. 1915 at Pusan and also to run in Seoul at Hwanggeumgwan. The first of Korean Yeonsegeuk is by Kim, Dosan, a leader of Singeukjwa(theare group) on Oct. 27. 1919 at Danseongsa. Before the liberation of Korea from Japan all made korean Yeonsegeuk are 28 works. III. Dramatic form of Yeonsegeuk I study on the relation between Yeonsegeuik and Sinpageuik(new theatre of modern drama in 1920's). I find that Yeonsegeuik admitted the thechnics of the Sinpageuik and the contents. If We think that the theatre is synthetic art which genealize all arts, we can insist that the Yeonsegeuk is valued the total art as new performance to comply with film art to theatre. Conclusionly Yeonsegeuk is called 'Expanded Theatre' as the new performance which must be dicussed in the view of total art. VI. Discussion on the the aethetic of Yeonsegeuk When we compare the structure of film with the structure of theatre, we can't find a diffrent element between the structure of two art in art semiotic. But we find a fact that film art has special elements in mechanics character which are camera working and motage. These technics influence on the audience's mind. It is different point between Japan and Korean's Kino-drama and Germany's that is to admit the aethetic of total art or not. V. Yeonsegeuk as new performance During Korean modern times Kino-drama was first a kind of total art with stage and screen. But it is regretable that Kino-drama didn't have the background of theory which discourse on the comprehension of total art. As the result Kino-drama bring the confusion of argument that Kino-drama is total art or expanded theatre. This confusion will be disputed on film art as performing arts or future art as expanded film and total art.

• (The) Research of the performance art and culture
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• no.33
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• pp.59-95
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• 2016

The purpose of this study was to examine the text and musical characteristic of , a changgeuk (a Korean traditional opera), by the National Theater of Korea, which was performed overseas with the title of and recognized its artistic values home and abroad alike, focusing on the process of its rebirth from a lost pansori. A changgeuk was dramatized from a lost pansori into a Korean traditional opera. In the process of rebirth of , the content of latter half, which is the performance of a funeral service for the deceased Byeongangsoe, was deleted, and the contents of Ongnyeo's fight against jangseungs in order to take back Byeongangsoe was newly inserted, thus creating textual changes. In addition, as the title presents, Ongnyeo is no longer a conventional lewd woman, but a subjective and independent female who is fighting against fate, different from its original perspective in which the leading character is Byeongangsoe. All the sounds of a changgeuk were made by the creative technique of traditional Korean songs through various attempts, such as inserting chords between performers in order to present most appropriate songs for the opera, namely proper sounds for the hidden side of the opera. In addition, according to the change of mind of performers or characters, the tone and vocal sound of the song were different. In particular, a changgeuk attempted a variety of techniques in the accompaniment of music, and used many sound buks or diverse genres such as popular music, waltz, classic and folk songs of every province, thus presenting challenging attempts. These attempts made the opera more abundant and helped it to be expressed realistically and dramatically. As above, the contents of a changgeuk were borrowed from classical narrations, but its musical aspects got off the technique of traditional changgeuk, thus attempting various changes and techniques. In this vein, it presented a novel modality of changgeuk equiping with the characteristic of 'reviewing the old and learning the new,' thus proposing the directivity and possibility of changgeuk in the present society.

• The Journal of Korean Philosophical History
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• no.52
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• pp.131-155
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• 2017

While the lecture activities in Simwonsa, Ganjae Jeon Wu(1841~1922) has established a "law of lecture activities" which was an ritual between a teacher and pupil, between the couple. Through this way he expected to recover the former ritual, even within their own school. In 1884 he built a "law of Sidong school", meaning to build a large object, elementary scholarship will serve as the rules of conduct, and argued that human nature mainly served to the core in the course of study. Ganjae in Mungyeong area was also discussing studies with Song Byeong-hwa(1852~1916) and received correspondence with scholars in areas related to Mungyeong. They were Kim Jae-kyung(1841~1926) and Park Se-hwa (1834~1910). Ganjae had also some big national events on the sojourn time in Mungyeong. In 1882 there were army incident, in 1884 there were a command of the government that people must pull on western clothes. Ganjae did not follow the command of the government. Someone asked "Can we not follow the command of the government?" Ganjae replied "We have a right to resist to the illegal command of the government. There were also 1884's Gapsin-coup, Ganjae saw that we must defend the country by rejecting foreign power and keeping our rituals. Given the above, the timing that Ganjae lectured in Mungyeong personally was a time that provided a clue to establish his core ideas. Nationally it was a time that must defend the country from foreign nations. Ganjae had faith that for keeping the country we must keep firmly our own rituals.

• (The)Study of the Eastern Classic
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• no.49
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• pp.161-185
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• 2012

This thesis reorganized the life of Mrs. Yun who was a noble woman in the middle of the Joseon period with main material of Seopo, Kim, Man Joong(1637-1692)'s "Seonbijungkyungbuinhaengjang(先?貞敬夫人行狀)" and considered yeosa(女師)'s image of noble woman embodied by her son. Although women who were remarkable in premodern period nurtured their son well and they became excellent, it's easy that the life of their mother can be hidden by sons' shadow. Luckily, materials of Mrs. Yun were kept by her descendants, so people could analogize how she could endure difficulties and how she educate her children. In a word, the life of Mrs. Yun can be yeosa(女師)'s life. She was born as a only daughter of the best ancestry in the period and grown to be a considerable woman with strong will and discipline under the strict training of her grandmother, Junghye Ongju. And then, she married Gwangsan Kimmun, the best literature house of Joseon period, but her husband, Kim, Ik Kyum was died by unexampled difficulty, Byungjahoran. During the tribulation, Mrs. Yun was in charge of not only parents supporting but also two sons' education excellently. She educated not only her children but also grandchildren and nephews around her, so she had extraordinary passion and sincerity for the education. As the result, she enjoyed a glory that two sons and grandchildren became on daejehak. Mrs. Yun was living with thrift and saving continuously regardless of her circumstances. When her granddaughter became inkyungwanghoo who is a wife of sookjong, she didn't kick her common habit and trained strictly the mind of family members who could be easily in disorder. In spite of the richness, he obeyed manners and showed thrift and saving continuously and thoroughly. When there was a crisis in her family, the first son, Kim, Man Ki was died and the second son, Kim, Man Joong and grandson went into exile during the continuous political upheaval. But, she supported her house, obeyed the rules and promised the future. At that time, she continuously encouraged grandchildren and the eldest grandsons of the head family to study without any stop for themselves in spite of the difficulties. Mrs. Yun pursued truly valuable life. She considered that the life which didn't get praised by other people wasn't valid although he or she lived a pleasant life in luck and richness. Mrs. Yun was a true teacher yeosa (女師) who placed a true value on the life enduring hardship and poorness without fear and becoming an example of other people.