• The Journal of Korean Philosophical History
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• no.28
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• pp.447-476
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• 2010

In the 1990s the intellectuals in China were transferred into global capitalism, and faced with the changes of society deepened by capitalism, and were forced to sign on it. The New-left proposed a question to the society of modern China being accelerated in the capitalism. The controversy with the Neo-liberal became the top issue of the 1990s' world of thought. According to the New-left, 'reform' should be attained not by capitalism of laissez-faire bringing up for wealth concentration, but by extending the democracy of political affairs and economy along with fairness guarantee of social distribution and avoiding widening the gap between rich and poor. Additionally, 'opening' should be reevaluated as a problem of considering difference and polyphyletic matter. Opening is not the meaning of accepting capitalism unconditionally and transferring into global capitalism. Based on these beliefs, the New-left criticize the socialism after reform and opening. In addition, the New-left discuss how enlightenment and modernity were understood and how they should be understood. The New-left reflect that the enlightenment in China was considered as the same as one in the western societies and emphasize the efforts of having been overcoming the contradiction of modernity through the Chinese history. As a result, the New-left seek out a new perspective and an alternative proposal beyond the dichotomy between capitalism and socialism, western countries and China, and tradition and modern.

• Korean Association for Visual Culture
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• v.35
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• pp.5-33
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• 2019

This paper examines the problems of the concept of 'analogon' which occupies an important place in Jean-Paul Sartre's theory of imagination and his 'aesthetic of the unreal', focusing on Michel Dufrenne's objection to the concept. In the Imaginary (1940), Sartre offers a phenomenological account of the imaginative experience and his theory of imagination provides the basis for his account of experience of art. Sartre distinguishes the imagining consciousness from the realizing consciousness of perception. The work of art, for Sartre, is transformed into an irreal thing ("The work of art is irreality."), i.e. it appears only as aesthetic object, and only under the condition that the spectator's consciousness changes into an imagining consciousness. Some claim that Sartre underemphasizes the function of materiality in artworks. Mikel Dufrenne, in his The Phenomenology of Aesthetic Experience (1953), criticizes Sartre's thesis of irreality. Dufrenne argues that the aesthetic object is the work of art accomplished by aesthetic perception, the meaning of the aesthetic object is given as a whole in the sensuous and does not refer to something that lies outside the object as with imagination or irreality. An affective a priori is the condition of possibility for the occurrence of aesthetic experience.

• Information Systems Review
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• v.21 no.4
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• pp.197-220
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• 2019

This study aims to identify consumer motivations of open innovation project participation from digital transformation perspective. By extending a traditional intrinsic/extrinsic motivation framework, we propose a three-dimensional perspective of the self-driven, firm-driven, and sociality-driven motivations. This reveals the significance of the social effects of open innovation projects as an example of digital transformation by categorizing the motivations based on the 'influencer' of the motivation building and by highlighting the importance of sociality as an influencer. As a result, self-efficacy is identified as a key motivation when the influencer exists internally. Economic incentive and firm reputation are identified when the influencer exists externally. Finally, competition, peer evaluation and social contributions are identified when the influencer exists socially. The role of knowledge type sought through innovation projects is further introduced to explain its moderating effects on motivations. The study is validated in two steps. First, we investigate four cases of open innovation projects and examine what motivations are highlighted in each context. Second, we collect survey data from 203 online game users and ask them on their motivations. The results confirm most of our hypotheses and highlight the significance of sociality in the knowledge-seeking process in open innovation projects. This study largely contributes to digital transformation literature by extending the view of motivation and examining the moderating role of knowledge involved in the projects.

• Cartoon and Animation Studies
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• s.37
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• pp.509-537
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• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.

• Cartoon and Animation Studies
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• s.38
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• pp.1-28
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• 2015

The work appeared a featured female character in the Disney animation film begins with 'Snow White' released in 1937. After then, the 11 female characters appeared included 'Tangled' in 2010. Female characters reveal their identity due to obedient, family-oriented and marriage with prince and then gradually develop to heroine who leads to man, and is independent, pioneering, and sometimes saves the nation. Nevertheless, the ending of the Disney animation was still not escape the institutional, traditional discourse. Female characters are followed to meet the featured actor kissing and marriage, or was to show the virtues of sacrifice for the actor. However, Elsa in 'Frozen' is the character with an independent identity compared with the patriarchy, male chauvinism and heterosexual dichotomous discourse given so far in Disney. In this study, it is to explain the change of gender identity in the character of Elsa through Queer theory that deconstructs the distinction between sex and gender, and is constituted by the actions typed and performed the gender concept, and is dismantling the dichotomy itself such as male/female, heterosexual/homosexual. The performative of Queer make the boundaries between lesbian-gay, sexuality and heterosexual ambiguous. It can be said that the performative has political nature resisted to the dominant discourse through these parodiable strategy. The performative showed of Elsa is in the boundaries between the sisterhood and the heterosexual. When analyzed in a heterosexual perspective Elsa's identity is to be understood as simply just love the intimacy of a sister and a sister. On the other hand, if you focused on the relationship between women and the relationship between Elsa and Anna is recognized as the point of view of homosexuality. Because if you look at the concept of lesbian continuum, the homosexual love in the female characters of Disney seems like a bond between women, easier than heterosexual love can be hidden sexual desires. Elsa has developed into a performative identity through the expression of performative and the inhibitory of queer identity. And then the her sorcery that was initially contraindicated and the presence of a fear became to the 'lesbian phallus'. The sorcery that can be seen the signifying phallus against to the privileges of heterosexual patriarchy is recognized in the world of Arendal. Elsa is a new women featuring Disney characters. as this character is analysised by Queer theory, this study seeks to expand the area of the various character analysis methods.

• Cartoon and Animation Studies
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• s.36
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• pp.281-302
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• 2014

Human beings have advanced to release instinctive desire. Among the human desires, sexual desire is classed as a basic desire with appetite and has been expressed in many ways from prehistoric times to present. Despite the social and ethical restriction, expression of sexual image has been evolved with change of time and medium's development. Thanks to inventing the photograph technique, Change of pornographic image has showed a dramatic aspect since early 20th century. The video which delivers message more directly than the picture boosted this change, and the animation has experimented the expression methods and techniques numerously exceeding the limit of realistic image which reappeared by the device. In this thesis, I want to discuss how human beings express sexual desire in animation based on society's sex culture, and analyzed Japanese pornographic animation as its obvious cases. Japanese pornographic animation should be interpreted as the result of culture and society system's history. Through Heian, Edo and early Meiji period, Japanese sex culture has been kept very openly and preposterously. Transformation, metamorphosis, pedophilia, tentacle sex and exposure of specific body parts that are frequently appear in Japanese animation can be interpreted by ancient Japanese open sex culture like Wakashu, polygamy, sleeping in mixed sex group and pederasty. These Japanese odd sex culture is hard to find elsewhere and settled as intrinsic sexual expression in Japanese animation. This situation was institutionally severed by European Modernization's force at the end of World War II in 20th century. However, it seems they have been keeping their influence in a proper form until now. In this study, I discussed that pornographic animation should be interpreted in a frame of cultural phenomenon by researching the series of procedure that ancient Japanese open sex culture has been changed by the system. Sexuality which is found in general Japanese animation was started from their history, and the dichotomous expression about women can be understood that it is bent by institutionally regulated sexual opinion. Japanese history and culture can be understood that it is transformed to the dichotomy that are simultaneously according freedom of eroticism to the pornographic animation, and the fear and irresistible temptation about the woman's body as the other.

• Journal of Korean Society of Forest Science
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• v.78 no.2
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• pp.103-118
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• 1989

The occurrence of witches' broom in Ligustrum ovalifolium was first noticed in Korea by author in 1984. The present study was carried out with particular emphasis on the symptomatology, etiology, transmission of the disease and antibiotic treatments. The infected tissue was observed by the fluorescence and electron microscopy and its biochemical characteristics were compared with healthy one by electrophoresis. The results are summarized as follows : 1. symptoms of the infected trees were characterized by the dwarfing of the organs, yellowing and brooming of the foliage. 2. The observation by the trans electron microscopy on the witches' broom of L. ovalifolium revealed the occurrence of numerous mycoplasma-like organisms(MLOs) in the phloem tissue cells of the midribs of infected leaves. 3. The MLOs were surrounded by a single unit membrane, and they appeared to be multiplied by binary fission. 4. The presence of crystals unidentified in the phloem parenchyma cells was noticed by electron rnicroscopy, 5. The disease was able to be transmitted by budding, crown, and greenwood graftings to L. ovalifolium, L. obtusifolium, L, japonicum and also transmitted, even when the stocks and scions were not completely grafted. 6. Insect transmission on L. ovalifolium and L, obtzrsifolium was carried by Hishimonus sellatus. 7. The infected roots dipped in the 1,000 ppm of teracyclin solution was only temporarily effective in controlling the disease. 8. Infected plant with MLOs showed specific fluorescent reactions in phloems with DAPI stain. 9. The protein and peroxidase separated by electrophoresis showed strikingly distinctive difference between the healthy and diseased leaves.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.446-453
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• 2021

This paper deals with two methods regarding fact and value. One is the method of H. Putnam, which is to break the boundary between fact and value and to make a world where the two have an inherent connection. The other is the method of J. Habermas, which regards fact and value as the product of an intersubjective agreement based on argumentation. Putnam, through his position of internal realism, moves from realism to pragmatism, especially by combining the rationalist tradition of Kant and Dewey's pragmatic views. Habermas also stands in the tradition of rationalism and universalism in Kant, at the same time emphasizing the practicability of truth in Hegel's tradition of historical reason. The significance of the strategy of Putnam and Habermas is that they have attempted to revive the realm of value against the strict dichotomy of facts and values and the subsequent devaluation of rationality in the realm of value. The starting point of this attempt is that the practical foundation of rationality is laid on life and practice. This could provide the room for escaping from rationality, which prioritizes only truths that reveal facts, that is, instrument-reduced rationality, the room for the revival of practical rationality through reflection on what is the purpose of life, and, in turn, the room for resisting to pass the realm of values and norms to the logic of habitual routines or customs. However, despite such common goal, there are clear limitations to Putnam's approach due to the differences in the strategies taken on facts and values. Putnam's method can demolish the whole universal framework that is the foundation where pragmatic pluralism will be fostered, eliminating the difference between the specificity of values and the universality of norms and shaking up the status of universal ethics. Therefore, Habermas' ethical theory is proposed as an alternative to establish a basis for universal ethics by relying on communication rationality and to secure the coercion of norms and blossom cultural pluralism as a diverse lifestyle based on this coercion.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.195-228
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• 2021

The purpose of this study is to review the mobility-based textual research methods raised in Mobility and Foucault and apply them to textual analysis. This book contains seven articles applying Foucault's terms to mobility studies, giving intellectual stimulation to both studies. Since Foucault examined discipline power operated through the technology of distinguishing between rational/irrational and normal/abnormal, his works seem to a study of closed spaces like prisons. However, the authors of this book note that Foucault's works already had sufficient insight on mobility, and them actively incorporated it into mobility study. When we concentrate Foucault's works on mobility as a governmentality and a dispositif, the tension and dynamics between mobility and immobility are emphasized. And then it is possible to cross the simple dichotomy in mobility studies. This paper analyzes Kim Joong-hyuk's short story 1F/B1 by applying this method. This story describes a building manager who seems to be fixed in a building, but the mobility of him in the story goes through stereotypes and creates new spaces. Kim Hye-jin's short stories also represent mobility that cannot move and hesitates. These stories are important in that they show the mobility as a dispositif that constitutes the subject. When referring to the achievements of Mobility and Foucault, we read this narrative again by paying attention to the dynamics of mobility and immobility in the text. The significance of this paper is that it expands mobility-based textual research anew. While text analysis applying mobility study was usually focused on clearly mobile narratives such as travel statements and diaspora narratives, Mobility and Foucault drives new textual research by paying attention to the relationship between power and mobility, mobility and immobility dynamics. Therefore, this paper is significant in confirming the new meaning of the text revealed when paying attention to the representation of mobility in the narrative that no one seems to be mobile, and seeking to expand the mobility-based textual research method.

• Journal of the Daesoon Academy of Sciences
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• v.46
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• pp.1-32
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• 2023

The purpose of this article is to critically reflect on the 2022 national curriculum on religions. The perspective of this reflection is that since the religious curriculum is meant to be a national curriculum, it should be applicable to all high school students, be shareable, and function as a place for meta-reflection regarding the proper use of the category of religion. For this purpose, I reviewed the form and content of the 2022 curriculum on religions in Section 2. The form of the 2022 curriculum on religions looks similar to the previously utilized curriculum. However, the main change is that the subject of religions was arbitrarily placed into the category of 'subjects for choosing a career.' And the 2022 curriculum on religions has two characteristics in terms of content: the orientation of 'making religious people (spiritual formation)' and the reemergence of the concept of 'pseudo-religion.' In Section 3, I delved into the orientation of 'making religious people through religious reflection' among the characteristics of the 2022 curriculum on religions. In this process, I discovered that the concept of 'reflection as a metacognitive technology,' which was the core of the prior curriculum and school education, was transformed into the concept of 'religious reflection,' and the concepts of spirituality and religiosity were also added. In Section 4, I delved into the dichotomy of 'religion and pseudo-religion.' 'Pseudo-religion' is a new focus in the 2022 curriculum on religions. In this process, I revealed that the concept of 'pseudo-religion' is a combination of an outdated administrative term of the Japanese Government-General of Korea during Japan's occupation of Korea, and as such, the term is inherently value-laden and harmful. I also revealed that determining 'pseudo-religion' in school education regenerates the colonial Japanese Government-General's biased attitudes toward Korean religions and forces teachers to 'invent' (detect or personally appraise) modern day pseudo-religions through arbitrary judgements. The 'curriculum to emphasize religious reflection and detect pseudo-religions in order to create religious people' can distort the subject of religion in the national curriculum as into a 'subject for religion (promotion or degradation).' If this distortion continues, the appropriateness of curriculum on religions existing within the national curriculum will eventually become a subject of debate.