• Journal of Korean Philosophical Society
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• v.145
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• pp.45-69
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• 2018

This is an attempt to reflect on humanity in the post-human era. Here, I think that the question of future human beings should be critically raised in the following two meanings. First, can post-humans recover the body, emotions, nature and women's voices suppressed by modern enlightened subjects? Second, can post-humans preserve humanity by fighting inhumanity without presupposing human essence or immutable foundations? In answer to these questions, I will have a dialogue with M. Heidegger(1889-1976), W. Benjamin(1892-1940), Th. W Adorno(1903-1969). The three philosophers looked at the inhuman world situation brought about by modern subjects and technology, and found the possibility of new human beings. The three philosophers' new human image are the three possible models of post-humanism, 'a human being as ek-sistence' (Heidegger, Chapter 2), 'the man who restored the similarity with the other through innervation' (Benjamin, Chapter 3), 'A human being who negates the inhuman society' (Adorno, Chapter 4), and examines the current status of each. In conclusion, as long as the fourth industrial revolution is developed as a system of digital capitalism that controls the world as a whole from human senses, impulses, and unconsciousness, the necessity of the post-human era is aesthetic authenticity.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.121-129
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• 2019

This study aims to focus on the text analysis, production methods of text, and reproduction of production methods, based on a film (2010) taken by mobile devices. As a digital film in which the objects and images have no characteristics of index, this work has the post-cinematic attributes in the aspect of consumers' recipience. This thesis paid attention to the interactions between essential change and production/consumption throughout the whole film culture in the receptive aspect. Just as the main character is a mediator-shaman in the film, this film works as a mediating position of cinematic possibility. In this film, there are different kinds of mediation such as mediation of shaman inside the text, mediation of film in the relationship between text and consumers, and consumers' instrumental desire for others'tool outside the text. Outside the text, this relevant film stimulates the imitation desire of consumer subjects as others. In other words, this is connected to the desire of consumers who aim to create a digital film through mobile devices as an author. This is connected to Simondon's thinking in which such technical objects not only generate new relationships, but also become a revolutionary seed that newly collectivizes human society.

• Journal of the Korean Geographical Society
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• v.51 no.3
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• pp.455-472
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• 2016

This paper aims to theoretically discuss the re-conceptualization of the school geography curriculum towards global citizenship education. To achieve this goal, post-structural global citizenship is introduced as an alternative notion of global citizenship by revealing some limits of the existing postcolonial global citizenship studies for global justice. Based upon Carr's(1996) idea of curriculum typology, three major curriculum perspectives are theoretically evaluated to see if they implicitly or explicitly undermine the citizenship of global 'others' ethically and politically. Post-structuralist ideas are then suggested as an alternative approach. With reference to this standpoint, this paper concludes by providing practical implications for a more just school geography curriculum towards global citizenship.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.138-148
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• 2021

In this paper, the basic narrative of The Sweet Home is the story that the residents of the apartment fight and survive the monsters in the isolated circumstances from the outside. This paper analysed the narrative and revealed the characteristics of the NETFLIX drama, The Sweet Home, and dealt with the ethics of contagion, core issue of the drama. Firstly, in the drama Sweet Home, the boundary between the men and the monsters collapses from the contagion. The drama shows the aspects of the apocalyptical world through the optical images, and reveals the main contagion cause is the desire and fury of the human to dominate the others. In the drama, we can see the duality that the characters sometimes stand in solidarity with, and often abuse the others. This story reflects the times after 2000s that the boundary between the man and the monster eclipses. Secondly, the drama shows that the ethics of the others popping up after the contagion is violent and thus can go to the totalitarianism. When the residents are shot by the troopers of the nation, the governmental authority shows its brutality. In this situation, the residents recognize their past behaviors and embrace the others. However, in the point that the characters' selfless behaviors could cover up the complaints and the fury of young generations after 2000s, The Sweet Home is a problematic drama.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.113-122
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• 2021

This study begins on the basis of Jacques Lacan's article 『Logical Time and Assertions of Preemptive Certainty: A New Sophism』 published in the reissue of 『Art Note Les Cahiers d'Art』 in March 1945. In this paper, a guard presents an esoteric problem to three prisoners. If the problem is solved, the prisoner is released. A condition is given to solve a problem. Conversation between prisoners is prohibited, and the disc behind them cannot be seen. In this time and space, prisoners place themselves in logical time through the 'time of understanding' in order to become the chosen ones. We always live in logical time. We will argue the point at which Lacan destroys logical time in psychoanalysis. Time in Lacanian psychoanalysis transcends time divisions of the past, present, and future. Our time is always the past in the present. In Lacanian psychoanalysis, logical time is the time in the Other. The transcendence of the Lacanian psychoanalysis concept of time shows the deviation of logical time. In this text, We try to prove how Lacan contrasts psychoanalysis and the problem of time with time in the other. First, we will examine how logical time and impulse are related in psychoanalysis. Second, the postmortemity of the signifient (signifier) will be discussed. Third, Lacan psychoanalysis will present the transcendence of time. In conclusion, We will present the view that the time of Lacan psychoanalysis is flowing backwards. In Lacanian psychoanalysis, we try to prove that logical time is in the territory of the Other and is infinite time.

• Cartoon and Animation Studies
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• s.35
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• pp.107-128
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• 2014

Cultural Content industries based on imagination and creativity are attracting attention and the animation high value-added industry is still spotlighted. Among them, Disney Studios make money through using their professional skills. There are the know-how has developed for a long time, and there are timeless strategy. This study is analyzing by fantasy elements for knowing the messages of Disney animation. Fantasy defined as genre of literature by Todorov and Jackson emphasized its social role and significance. Hume expanded the area of fantasy and Tolkein Jahoriski and Boyer classified the fantasy according to the purpose. Through the analyzing Disney animation , Disney's fantasy show the specific expression depending on the target. Disney is based on the three types of fantasy depending on the growth of the journey. The first area is composed of the main character's growth and satisfy the desire and escapism, The second is the word of antagonist who opposed to reality and break the rules of the dominant ideology. The last area is the utopia provided after hero beat the antagonist. Disney characters give the messages by using the fantasy like the transformation or alter ego. That show the subject of the main character's growth and the supporting characters as the expression of the multiple personality of main. These emphasize the hero's growth and give the fun. Also, in the subject of the otherness, the hero always destroy the evil who broke the rules of reality. In this way, the fantasy offered by Disney give the messages of sacrifice and family from true love. Disney has the support of their target audiences continue to be able to convey ideology.

• The Korean Journal of Applied Statistics
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• v.26 no.2
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• pp.223-236
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• 2013

Various statistical classification methods to predict election to the Major League Baseball hall of fame of are implemented and their accuracies are compared. Seventeen independent variables are selected from the data of candidates eligible for the hall of fame and well-known classification methods such as discriminant analysis and logistic regression as well as the recently proposed Mahalanobis-Taguchi system(MTS). The MTS showed a better performance than the others in classification accuracy because it is especially efficient in cases where multivariate data does not constitute directionally geographical groups according to attributes.

• Journal of the Daesoon Academy of Sciences
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• v.16
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• pp.183-202
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• 2003

일본의 종교계는 2001년에 일어난 미국에서의 동시다발적 테러사건 이후, 적극적으로 평화를 위한 활동에 뛰어 들었다. 가령 뉴욕에 본부를 두고 있는 세계종교자 평화회의(WCRP)는 일본 종교교단들이 상당히 깊숙이 관여하고 있는 세계적 규모의 종교협력단체로서, 미국에 의한 보복공격의 억제를 꾸준히 그리고 강력하게 호소해 왔다. 1970년에 설립된 이 세계종교자 평화회의의 설립자 가운데 한 사람이자, 30여년에 걸쳐 지도적인 역할을 수행해 온 인물로서 입정교성회(立正佼成會)의 개조인 니와노 닛쿄(庭野日敬)를 들 수 있다. 니와노는 1930년에 법화경에 의한 선조 공양의 가르침을 깨달은 후, 불교의 핵심이 이타행 실천에 있다고 가르치면서 열심히 포교활동을 계속해 왔다. 1950년대 이후에는 종교협력과 사회참여에 적극적으로 전념했으며, 그 결과 입정교성회의 종교활동 전체 속에 평화운동이 큰 부분을 차지하게 되었다. 니와노는 불교의 가르침이야말로 평화를 실현하기 위한 핵심적인 사상을 담고 있다고 설한다. 즉 자연과 타자 사이에 조화로운 관계가 유지되도록 평화의 마음을 실현해야 한다는 가르침이 그것이다. 특히 분노와 질투와 공격적인 마음을 가지지 말며, 자비의 마음으로 타자를 대면하는 것이 중요하다는 것이다. 그는 이것이 우주 본래의 실재와 합치함으로써 가능하다고 주장한다. 이처럼 모든 것이 일치할 수 있다고 굳게 믿는 니와노는 종교협력이 평화실현에 있어 중요한 방법이라고 간주한다. 그런데 니와노가 '평화주의국가 일본'이라는 이념에 많은 부분을 의거하고 있기는 하지만, 이런 이념이 과거의 전쟁에 대한 일본의 충분한 반성에 입각한 것인지는 의문의 여지가 있다. 나아가 그는 상이한 종교간의 일치 가능성에 대해 다소 낙관적이며, 또한 불교와 동양사상이 평화를 지향한다는 이해에 대한 비판적인 성찰이 미약하다는 한계를 안고 있다. 그럼에도 불구하고 일본의 민속적 종교토양에서 생겨난 종교적 평화주의의 이상 및 실천으로서, 니와노 닛쿄와 입정교성회에 대해서는 충분히 검토해 볼 만한 가치가 있다고 여겨진다.

• Cartoon and Animation Studies
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• s.26
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• pp.79-108
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• 2012

This thesis is on the purpose of seeking for the possibility of a mechanism in interpreting, analyzing and criticizing cartoons which are applied to the concept of "the gaze" based on "the otherness of vision", which states a pluralistic visual world. It proves that cartoons are in line with other art works that are the subject to "lack and desire"; the gaze, greets reality and acts as an important criterion of analyzing and criticizing the trend in contemporary art, in which the cartoon expresses the gaze in harmony within its work of art. In this thesis, the artist, Kang Doh-ha structuralized ambiguous and difficult forms of art as he has cumulated experimental minds by working in an indie cartoon plane for a long period of time. Among his works of art, he identified the "invisible world" through his piece "Kubrik". Therefore, he represented: a metaphor and a metonymy, an ambiguously situational expression, an intentional and emotional error, the structure of individuality and integration, and finally tension beyond its meaning through use of 'the gaze' that is both the cause and the subject of a desire in the visible world which Lacan academized when he interpreted and analyzed "Kubrik". The concept of the gaze can be used in a variety of ways to display one another's presence in relation each character, revealing a spot of lack by staring back at readers or audiences and furthermore, to analyze and criticize the hidden side of the art piece by critics. The most important details are the artist's gaze, which is seen in the eyes of the analysis and also his or her criticism of the cartoon, which functions as a metaphoric screen in which the subject himself or herself betrays the law of desires thus enabling the violent and cruel reality to be masked and indulged in plays. This will serve as an element that will lead into an art as well as control the degradation to just a piece of enjoyment with the cartoon remaining only within the visual world.

• Journal of Korean Philosophical Society
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• v.115
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• pp.249-279
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• 2010

The Law of the Heart, which appears in the chapter "B. The Actualization of Rational Self-consciousness Through its own Activity" in Hegel's Phenomenology of Spirit represents that the self-certainty of the reason may be the another face of the Madness. The Reason's indubitable certainty is the testimony of the truth for Descartes, and it also plays a role as the moral maxim of the conscience for Kant. But this subjective certainty unavoidably leads to the Madness of self-conceit, which unifies the consciousness and the reality ignoring the difference between them. The typical attitude appearing in the reformer like Don Quixote and also romantic idealists reveals the fact that modern reason and the psychosis can be both faces of one and the same coin. The Mirror Stage, the Imaginary, and the Formula of the Desire in Lacan's Theory shows that the Image of completeness is the result of Mis-understanding. Even if the Mirror stage is necessary for the Formation of the subject, at the same time it should also lead to the next stage, i.e., the Symbolic Order. It is considered as the realm of the Otherness, which refers to the realm of language or that of law. If the Ego can't go through the symbolic castration acted on by the Name of the Father, he will be remained in the prison of the Imaginary. The Madness also shows the similar process. For Hegel the Discipline of the Labor or the Death as absolute Otherness that inevitably delays the Desire plays the same role as the name of Father. It may be the experience of Separation or that of Sublation of the individual towards the universal, which is equivalent to the experience of Symbolic castration in Lacan. Furthermore there may be the difference between Hegel and Lacan as the following; while in Hegel the experience of Separation is founded on the spontaneity of the Spirit, for Lacan it is to be compelled and structured by the absolute Other.