• Korean Journal of Logic
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• v.7 no.2
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• pp.71-104
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• 2004

비트겐슈타인이 왜 "논고"를 포기했느냐 하는 주제는 비트겐슈타인의 철학을 조명하는 데 매우 중요한 문제이다. 그러나 이 글의 일차적인 관심은 비트겐슈타인이라는 한 개인의 실제 철학적 사유 과정보다는, 오히려 "논고"가 포기될 수 있는 모든 가능성들과 경로를 생각하고 추적하는 데 있다. 이를 위하여 우리는 "논고"의 여러 근본 전제들을 크게 두 가지로 나눌 수 있다. 한 부류는 직접적 논박 가능성이 희박한 것으로서, 여기에는 "논고"에서 정의에 해당되는 것, 모호한 개념인 "완전한 분석"과 관련된 것, 그리고 유아론과 관련된 것 등이 있다. 다른한 부류는 전자에 비해 어떤 직접적인 논박 가능성의 여지가 있는 근본 전제로서, 가장 중요한 것으로 요소 명제들의 상호 독립성을 들 수 있다. "논고"는 소위 "색깔배제 문제"부터 후자에 속하는 근본전제가 직접적인 타격을 입으면서 와해되기 시작했으며, "논고"와는 완전히 다른 패러다임에 서게 됨으로써 비로소 포기되었다.

• Trans-
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• v.16
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• pp.69-105
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• 2024

The House that Jack Built (2018), a film about how the protagonist Jack is reborn as a "mad artist" with psychotic symptoms during a 12-year killing spree, provides an interesting opportunity to analyze the film in terms of psychoanalysis and religion. Jack, an engineer who suffers from OCD, finds pleasure in the accidental murder of a character and considers killing people as an art form, overcoming his OCD in the process. The question we are interested in is whether the symptoms of OCD are truly overcome by the act of repeated killing. The idea is that Jack's OCD is not overcome by killing, but rather that the symptoms disappear as he moves from neurosis to a stabilized psychotic state. According to the theory of the famous French psychoanalyst Lacan, the hallucinations or delusions that human subjects experience when they lose their realistic stability are a phenomenon that occurs when they are confronted with The Real, which penetrates through the cracks of the symbolic system. Phenomena such as Jack's illusory reality and delusions in the movie are pathological symptoms of the absence of a paternal figure in his life, causing the Name-of-the-Father to fail to take hold. This paper deciphers the psychotic structure of Jack, the protagonist of Lars von Trier's House of Jack, through Lacanian psychoanalysis.

• Journal of Korean Classical Literature and Education
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• no.35
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• pp.153-193
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• 2017

This study explores the creation and enjoyment of Kuwoonmong (九雲夢) using a reference system called the cultural imagination, which is related to the Yin-Yang (陰陽) and Wu Xing (五行). When Kim Manjung wrote Guwoonmong, he may have composed figures and events based on this imagination. In particular, when he designed the eight seonnyeo (팔선녀), he set the order such as Gap (甲), Eul (乙), Byeong (병), Jeong (丁), etc. and characterized them according to the celestial stem (天干). Thus it was easy to avoid overlapping of characters and to construct various stories and relationships between them. The table below shows the characters of Kuwoonmong corresponding to the celestial stem. In not only the individual person but also the narrative world, Kuwoonmon demonstrates Yin-Yang and Wu Xing's imagination. In this respect, Kuwoonmon can be considered a large symbol encompassing the abstract theory of Yin-Yang and Wu Xing. Of course, the writer, Kim, Manjung would not have tried to symbolize the principle intentionally. However, he was also present in the environment of the cultural imagination that has been formed over the years. The same is true for the contemporary recipients of Guwunmong. They would have had a pleasant experience applying the cultural imagination and strengthening their familiar world view and human view.