• Journal of English Language & Literature
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• v.54 no.2
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• pp.281-299
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• 2008

The main purpose of this essay is to suggest that Faulkner's "pro"-lynching letter published in Commercial-Appeal in 1931 does not contradict his antilynching works such as "Dry September," Light in August, Go Down, Moses, and Intruder in the Dust. In the letter, Faulkner writes, "they [lynching mobs] have a way of being right." The remark has been interpreted as the expression of Faulkner's sympathetic attitude toward lynching mobs; however, it can be also seen as Faulkner's observation and criticism of the southern white people's structures of feeling in his time that stubbornly justified lynching as a way to do justice to black people who did "not" deserve to be a legal subject. This essay argues that Faulkner understood that the legislation of anti-lynching law alone could not save black people from the violence of lynching as far as white people believed that black people were not their equals and that lynching was a right means to fulfill social justice. Faulkner's fictions such as Light in August and Go Down, Moses provide moments in which white male characters feel as if they were social others, and their experiences work as an ethical urge for them to stand up for social others. This essay illuminates how Faulkner depicts the process of white male characters' identity formation as a violent break from his strong tie with black friends, how they reverse the process to blur the border again through the experiences of becoming-other, and how the experience of becoming-other has a potentiality to play the role of an ethical agency in stopping the custom of lynching in the South.

• (The)Study of the Eastern Classic
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• no.35
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• pp.161-188
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• 2009

Confucianism's concept of Ye is ruled by the absolute principle of the universe on one hand, and by "the rules of Ye(節文)" and "the rules of ceremony(儀則)", the principle of relative articulation on the other hand. The realizations of the absolute principle of Ye is depending on its usage in everyday life which is fundamentally conditioned by time and space. Thus, Ye's usage can be maximized when the fundamental principle and the condition of its usage make a mutual harmony. Of course, Ye and Ak(樂) are doing complementary roles for each other, since Ye is a principle of a division and Ak is a principle of combining features. However, the essence of Ye can be figured out as the characteristics of mutual reciprocity among things of hierarchy between the classes. Not only in Modern one But also in the medieval society, Ye was not a one-sided force. The essence of Ye does not retain the interests of an individual and the power of a group. If so, the formal aspects of Ye had been distorted. Confucianism demands a strict morality and ethics of a normal person as well as of the ruler. The characteristics of Ye is democratic and open to the condition of time and space. Yegyo should be rooted in everyday lives and realized as a usualness. Therefore, Shirak was an inevitable feature of Yegyo. During the 16th and the 17th century, Ye insinuated into everyday lives of the public in the Korean society. Yulgok Yiyi(李珥)'s Haejuhyangyak(海州鄕約) was estimated as the exemplary feature of Shirak.

• Journal of the Daesoon Academy of Sciences
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• v.43
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• pp.1-29
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• 2022

In this era of transnational migration, it is necessary to recognize the signs of the times regarding religion. During the globalization of Korean society, migration cannot be avoided, and as such, Korea should look towards hospitality with practical themes of religion and religious people aiming for peace. Therefore, this study examines the concept of 'conscience' in Daesoon Thought because this understanding of the conscience connects people to their heavenly endowed nature and their original selves. First, in order to explore the religious ideas of hospitality for transnational migration, this study viewed the issue through three analytical frames: exclusive perception, tolerant perception, and pluralistic perception, and then criticized these from the perspective of hospitality. Furthermore, hospitality was viewed as an attitude of attempting to expand one's sense of self in dealing with others. Religiously, it was derived that the expansion of one's sense of self should aim for relationships of Sangsaeng (相生 mutual beneficence) as these go beyond mere symbiosis. In addition, as a way to overcome otherness, the religious idea of unconditional hospitality towards migrants was explored focusing on the concept of conscience in Daesoon Thought. In Daesoon Thought, the mind is the source of Heaven and Earth and also the essence of human existence. There are two aspects of mind that arise in humans: conscience and private interest. In Daesoon Thought, the conscience enables human potential and aims for a return to the source. In other words, it is to abandon private-interest and regain one's nature and the essence of one's personality. This can be done through Mujagi (無自欺 Guarding against Self-deception); embodying and maintaining a mind that does not deceive itself. In Daesoon Thought, the practice of Sangsaeng ethics based on Mujagi is expressed as Haewon Sangsaeng (解冤相生 the Resolution of Grievances for Mutual Beneficence) and working for the betterment of others. Therefore, when the relational and communal perspectives of Daesoon Truth and Sangsaeng are reinforced, the argument for developing the practical ethics of Haewon Sangsaeng based on Mujagi into the transformation of the human spirit expressed as unconditional hospitality was found to be sound.

• Trans-
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• v.7
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• pp.19-48
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• 2019

This study was described to examine the meaning of the media exhibition work <70mK>, which aims to capture the topography of the collective consciousness of the Korean people through large-scale interviews. <70mK> edits and organizes interview images of individual beings in mosaic-like layouts and forms, creating video exhibitions and holding exhibitions. The objects in the split frame show the continuity of differences that reveal their own thoughts and personalities. This is a synchronic and conscious collective typology in which the intrinsic nature of the individuals is embodied in a simultaneous and holistic image. Interview images reveal their own form as a actual being and convey the intrinsic nature of one's own as oral information. <70mK> constructs a new individualization by aesthetically structuring the forms and information of life individuals in the extension of a specific group. The beings in the frame are not communicating with each other and are looking straight ahead. it conveys to visitors their relationship and personality as the preindividual reality. It is the repetitive arrangement and composition of heterogeneity and difference that each individual shows, and is a chain operation that includes collective identity behind it. <70mK> constructs the direct images and sounds of individual interviewee, creating a new form of information transfer called Video Art Exhibition. This makes metaphors and perceptions of the meaning and process of transindividual relationships and the meaning of psychic individuation and collective individuation. This is an appropriate case to explain with modern technology and individualization of Gilbert Simondon thought together with the meaning of becoming and relation of individualization. The exhibition space constructed by <70mK> is an aesthetic methodology of the psychic and collective meaning and its relationship to a particular group of individuals through which they are connected. Simondon studied the meaning of the process of individualization and the meaning of becoming, and is a philosopher who positively considered the potential of modern technology. <70mK> is a new individual as structured and generated ethical reality mediated by modern technology mechanisms and network behaviors. It is an case of an aesthetic and practical methodology of how interviews function as 'transduction' in the process of individualization in which technology is cooperated. The direct images and sounds of <70mK> are systems in which the information of life individuals is carried, amplified, accumulated and transmitted. It is also a new individual as a psychic and collective landscape. It is a newly became exhibition art work through the multiple individualization, and is a representation of transindividual meanings and process. The media exhibition art of individualized metastable states leads to new relationships in which viewers perceive the same preindividual reality and feel affectivity. The exhibition space of <70mK> becomes a stage for preparing the actual possibility of the transindividual group beyond the representation of the semantic function.

• The Journal of Korean Philosophical History
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• no.53
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• pp.131-163
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• 2017

We were already thrown into the modern by the Japanese before reflecting the relevance of modernization and acceptance, and the value of the modern was postponed. The late period of Chosun, people sank into a state of torpor and traditional culture and ideology has caused people to have a negative perception of modern times.Modern times, however, are defined in the relative concept of tradition and modernity in the history of modern times. In order to understand the modern era and its origin, it is necessary to look squarely at the face of modernity. Failure of modern times is a failure of traditional succession.So, if we analyze the causes of the failure of the traditional heritage, why can't we see some of the reasons why we perceive it as a failure? In this thesis, it seeks to understand the diverse views of the traditional elites of the journal and the newspaper, which are published in the traditional education of the journal, and are looking at a variety of views. Moreover, we should seek to explore the traditional elements of the new tradition by discussing the aspects of the educational problems caused by the cause of the accidental break and the educational problems caused by its results.

• Journal of Korean Philosophical Society
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• v.117
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• pp.327-354
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• 2011

This study has a key assumption that 'characteristics of discouse can be found in not its inside, but its outside'. The prism through which we can see those characteristics was provided by Foucault and Bakhtin who were introduced in the study. As an effort co probe the outside of discourse, the study is briefed 'the three attributes of discourse' that were suggested by Foucault First, discourse has the principle of selection and exclusion, which is based on power relations. Second, discourse is not transparent at all since it is always offensive towards other discourses and defensive against selected ones Third, discourse which is naturally accepted because of its dailiness had a deep structure secretly hidden in it. Based on the above attributes, Foucault and Bakhtin paid their attention to the outside of discourse. Specifically, they considered discourse fundamentally and went beyond it, and reflected the procedures of discourse. This study focused on 'Socrates', something common in the two scholars' works with discourse. In dealing with discourse, Bakhtin started with 'Socratic dialogue' that is based on the dialogic nature of human thoughts which purse the truth. For Foucault, it was Socrates who had the 'courage to cell the truth' and practiced 'self-consideration'. According to Foucault, the ethics of self-practice originated from the philosopher. The ethics is neither the precise representation of individual life that is withdrawn towards the inner self, nor the skills of happiness. It is just relational and cross-sectional. For a better understanding, this study pointed out that Kafka created a variety of 'dialogic voices' focusing on the outside of discourse. Dialogues found in his writings are 'interminable dialogues' that truly 'communicate with different times and different spaces'. For example, his novel, 'Der Prozess' opens the possibility of discussing in various ways the court which is look beyond conventions and extraordinary. Kafka's novels have a structure that their starting point found at the introduction reappears at the termination, presenting multi-vocal dialogues.

• 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.