• The Korean Publising Journal, Monthly
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• s.242
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• pp.13-13
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• 1998

이 책은 의상과 패션에서붜 문학.예술.법률.종교.철학 등 인간사의 모든 부문에 걸쳐 '여성의 정체성과 타자성'을 추적.탐구하여 여성의 다양한 목소리를 그대로 살려내고자 한다. 책을 읽으며 우리는 전혀 새로운 눈으로 기존의 철학자.혁명가.예술가를 바라보는 경이로운 체험을 하게 된다.

• Proceedings of the Korean Information Science Society Conference
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• 2007.10c
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• pp.280-283
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• 2007

현재 우리나라는 이동통신 무선망 개방, 지상파 및 위성 DMB 서비스 개시 등으로 인하여 모바일 컨텐츠 시장이 본격적으로 성장하고 있으며, 그에 따른 모바일 게임시장도 크게 형성되고 있다[1]. 하지만 모바일 회사 중 몇몇 주요 회사를 제외하고는 그 경쟁이 매우 치열한 상태이다. 우리가 생각하는 모바일 게임의 성공요인은 조작 용이, 짧은 길이, 신선함 다양성, 유인 용이, 일상생활등과 연관성 등이다. 성공요인을 갖추었음에도 불구하고 이용자들이 넓게 눈을 돌리지를 못하고 있다. 그래서 우리는 이용자들에게 아주 친숙하면서도 사용에 용이를 둔 모바일 타자게임을 제작하게 되었다. 물론 기존의 타자게임과는 다른 요소들을 집어넣어서 이용자들에게 흥미와 신선함으로 다가갔다. 그리하여 모바일 게임 영역에서 일정한 기여를 할 수 있기를 기대하고 있다. 나이가 많은 이용자들을 위하여 문자의 친숙함, 익숙함을 제공하여 주는 기능도 구현하였다.

• Journal of Korean Philosophical Society
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• v.126
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• pp.377-401
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• 2013

일반적으로 성리학에서는 개인의 이익보다 도덕적 선택을 우선하라고 요구한다. 그러나 "주역"에서는 결코 이익을 죄악시 하지 않는다. 이 글은 성리학자이면서 역학자인 주자의 이익과 도덕에 대한 입장을 추적하는 연구이다. 주자가 소옹의 결정론적 세계관과 도덕적 자유의지를 강조하는 이천의 관점을 결합함으로써 완성하고자 한 것은 "주역"의 서(筮) 속에서 리(理)를 확인할 수 있다는 것이었다. 점서(占筮)의 결과가 그렇게 나오는 것은 그에 해당하는 이치가 있기 때문이라는 말이다. 그런데 "주역"의 리(理) 즉 역리(易理)란 오랜 경험과 관찰을 통해 확보된 사회적 존재로서 인간의 심리적 행위적 경향성의 총합이다. 그리고 그 구체적인 내용은 바로 상황적 합리성과 타자와의 조화로움이다. 이 리(理)는 우주와 사회의 정해진 질서로서 우리에게 주어진다. 개인은 이 주어진 질서에 따를 수 있는 자유와 함께 따르지 않을 수 있는 자유를 지닌다. 때문에 정해진 질서와 그 속에서의 개인의 자유의지는 양립가능한 것으로 받아들여지고, 그런 의미에서 주자는 약한 결정론자라고 할 수 있다. 성리학은 우주의 질서로부터 부여받은 당위의 법칙에 자발적으로 동의할 것을 요구한다. 그것이 가장 올바른 선택이면서 동시에 자신에게 가장 이로운 선택이기 때문이다. 주자는 상황적 합리성과 타자와의 조화로운 관계에서만이 자신의 진정한 이익을 추구할 수 있다고 생각한다. 타자와의 유기적 관계를 부정하고 유아적(唯我的) 이익만 추구하려는 자는, 사회적 존재로서 인간이 지니는 심리적 행위적 경향성을 무시한 어리석은 자이다. 이렇게 주자에게서 이익[리(利)]은 상황적 합리성[의(宜)]이 되고 또 그것은 바로 도덕[의(義)]이 된다. 참다운 의미에서의 합리적인 판단은 도덕적 선택을 불러온다.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.429-465
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• 2019

This paper analyzed the ways in which "others" were reproduced in Korean movies in the 1970s. In the midst of the social changes of the era, such as urbanization due to rapid industrial modernization, many people became laborers for industry in order to obtain the fruits of modernization.But the landscape of others, which was inevitably produced in the process of constructing such subjects, has been limited to analysis that is focused on gender and youth discourse. This article aims to extract the landscape of others in the 1970s by adopting a different perspective. The way in which the other is present can be divided into the following two categories. First, in 1970s film, the family community, in contrast with 1960s film, has disintegrated and cracked, due to the inability of others to enter or leave the community. The desperate perception that the family community can no longer function as a stable foundation or center of the constitution, and that it cannot have a sense of security and belonging,is revealed through the way the others are wandering in and out of the community. Second, 'Death' is an element of social life in the violence of the national ideology of the 1970s, and the everyday exceptional state. The way in which the 'other' is completely eliminated from the normal subjectivity requested by the state and is deported in film reflectshow everyday death or potential death is part of life of the 1970s. Normal life pursued through rapid urbanization and industrialization leads to the death of the other beings, but the way of existence of others is the desperate reality of the 1970s, when the boundaries of the state that provide stability and belonging are broken. As a result, the landscape of others in the 1970s reveals a violent reality that destroys the perfect middle class family discourse that industrial modernization was oriented around in the 1970s, and that produced masses of others who caused numerous deaths. In spite of regime censorship, Korean films were popularly revealing the violence of life brought in by the 1970s, following a detour of representation.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.397-398
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• 2017

본 연구의 목적은 최인호의 "유림"에 나타난 유가사상이 실존인물을 중심으로 전개되는데 주목하여 유가사상의 본질이 무엇인지 밝히고, 이를 통해 탈근대의 단초를 제시함에 있다. 연구를 통해 알 수 있는 사실은 '예'가 동아시아인을 넘어 세계인의 사상이 될 수 있다는 사실이다. 이는 이황과 이이, 이황과 기대승의 담론을 통해 확인할 수 있다. 유가사상은 상생과 공존을 제시한 레비나스의 '타자성의 윤리'에 맞닿아 있는 것이다.

• Cross-Cultural Studies
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• v.53
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• pp.73-102
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• 2018

The purpose of this study was to explain, using Jacques Lacan's theory of desire, how Ellen Olenska functions as the object petit a in her relationship with Newland Archer and to connect the impossibility of Newland and Ellen's love with the impossibility of desire, in Edith Wharton's The Age of Innocence. In New York society in the 1870s, the unpleasant truth was avoided, personal opinions were excluded, no room for imagination existed, and other-ness was expelled. In that society, Newland realized that true love and true emotions were lacking in his life. For Newland, Ellen was the gap in New York society and the object that could fill that gap. Ellen functioned as the object petit a. But the romance between Newland and Ellen was forbidden in New York society, where everything was dominated by strict social codes, and especially because Newland was engaged to Ellen's cousin, May Welland. Ellen became inaccessible to Newland and this set Newland's desire for Ellen in motion. He idealized Ellen as the objet petit a, based on the fantasy that she would fill the void in his life. However, at every critical moment, Newland delayed unification with Ellen by resorting to social codes. His actions betrayed that the goal of his desire was not the fulfillment, but the reproduction of desire, with its circular movement. His decision not to see Ellen in Paris again at the end of the novel can be interpreted as Newland's effort to maintain Ellen as the inaccessible object, objet petit a, forever. It is this impossibility of desire that the romance of Newland and Ellen is predicated upon. Another purpose of this study was to expand this impossibility of desire to the relationship between man and woman and to interpret The Age of Innocence as a story showing the characteristics of the relationship between the sexes. The relationship between Newland and Ellen shows that there is no harmonious relationship between the sexes and that woman exists only as a fantasy object, objet petit a for man.

• Cartoon and Animation Studies
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• s.37
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• pp.267-286
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• 2014

Yeon Sang-Ho's Animation occupies an exceptional place in Korean Animation, being categorized as the kind of realism representing the pitiable actuality rather than the liberal and creative imagination. His animation appreciated as 'stories much more real than the reality' mainly depicts the world of 'the others' who resides on the periphery of the society in a rough and straightforward way. Yeon Sang-Ho's Animation represents the emotions and desire of characters as well as the heartless real world refusing the fantasy, through which it reflects the portraits of people living in post-capitalistic era seen from the microscopic view. This article investigates the textual characteristics, defining his animation as the Brutal history of 'The Others'. Two conditions which constitute the actual world in his works are the absurd social system and the characters who are afflicted with the trauma, belonging to the lower classes. Therefore, the landscape of real life which contains vicious victim, corrupted monster and being as 'homo sacer' looks like a painting of hell. Yeon Sang-Ho's Animation summons the shadow of ourselves which has been negated or neglected through the figure of 'the others' produced in post-capitalistic era and exposes our bare face and the uncomfortable truth by displaying the affected area of out society plainly. Furthermore, his works demonstrate the possibility of Korean animation as a representational language of facing the reality and searching for the truth.

• Korean Institute of Interior Design Journal
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• v.17 no.3
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• pp.86-93
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• 2008

The purpose of this study is to find out how the otherness philosophy reveals itself in the principle of F.O.A construction space creation. The traditional philosophy of totality is self-centered and thoughts are based on the subject. It couldn't escape from the world associated with the self, and has subordinated the other to the main body. But the philosophy of otherness transcends the subject, to the open, creative way of thinking which acknowledges deconstruction, decentralization, and non-hierarchy. This is very similar to contemporary architecture, which pursuits change, and also to the current state of society. In construction by the construction group F.O.A, which is doing notable activity this generation, there is an attempt to transcend the fixed subject which is seen in the otherness discussion, and realize recategorization by overcoming the boundaries of subject and object. First, by the realization of landscape architecture using a topographical folding technique, boundaries of the subject and object are demolished in the relationship of the landscape construction, and recategorization. Second, by breaking up the meaning of the surface which is a visual and physical boundary for both the internal and external, recategorization is being done. Third, by making the boundary between the interior and exterior indistinct, cognitive threshold is dissolved, and the relationship between the subject and object is being recategorization. In conclusion, we can see that the many recategorization phenomenons that are happening in the F.O.A construction show the otherness that escapes from the conventional and stationary relationship, and recognizes each other at the same time, forming new relationships.

• 한국노년학
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• v.31 no.3
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• pp.751-765
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• 2011

The purpose of this article is to examine the conflicts and political implications of the various linguistic practices concerning how to call old age, and to illuminate the reasons for these conflicts in the cultural sphere. Recently, the issue of proper ways of calling old age has become problematized. As a result, new ways of addressing older people are being devised, which signifies the marginalization of old age. These new ways of calling older people, however, are not settling the problems. It is because the ageist, gender-discriminatory, status-conscious culture of Korea marginalizes the meaning of the various ways of calling old age. As the otherization of old age deepens in the cultural realm, old age becomes a site where various features of marginality accumulate. The academy and the professionals need to be aware of the political implications of the various ways of calling old age, and to strive to surmount discriminatory linguistic practices.

• Journal of Korean Philosophical Society
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• v.139
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• pp.23-45
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• 2016

This paper analyzes Paul Ricoeur's theory of mutual recognition with the concern for the establishment of a desirable relationship between cultures. Ricoeur tries to construct his own theory via Hegel and Honneth. He thinks, according to their theory, the state of being recognized could not arrive eternally. This means that the struggle for recognition could continue permanently. To put an end to the struggle for recognition, Ricoeur introduces the state of peace made possible by the exchange of ceremonial gifts. In other words, the struggle could be eliminated symbolically thorough the exchange of gifts. The mutuality established by this process however, can not accomplish its meaning without overcoming the original dissymmetry between one and the other in which phenomenology has a keen interest. To integrate the dissymmetry into mutuality, Ricoeur gives attention to 'between' the giver and the receiver in the system of gift exchange. He carries out this task by securing a just distance, or a distance in proximity.