• (The)Study of the Eastern Classic
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• no.35
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• pp.75-100
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• 2009

A human being makes a constant effort to find out what he really is. We try to do a great deal in self-culture to know his own self-nature with miscellaneous ways as Buddhism, Taoism and Confucianism. When we are faced with a difficult problem in life, We utilize own knowledge and wisdom to solve them. Thus there are many result of answer what self-confidence is throughout the devoting oneself to the study of man's life which is expressed poetry and prose. We can see the aspect of liberty life in their poetry and prose which is escaping from their restraints as they are willing to find out their own self-nature and want to attain a state of perfect self-nature in every day life. And they are anxious to be born again in spiritual value and to be a man in liberty with removing the narrow-mindedness, the stupidity, the anger and the absolute ego in their mind. That's what we are want to achieve man's purpose understanding of the human being's life. Here, I have a good such example who is Tao yuan ming. It is not easy to give up fame and wealth for maintaining his doctrines. So We have a high regard for this wisdom between entering into politics and withdrawing from his office. It needs a self-conquest and more courage than entering into politics. Retiring from his office, he returns to the place where is native place everything lives and let live without moral pressure in daily life. Because there is real liberty life and immutable truths.

• Journal of Korean Philosophical Society
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• v.142
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• pp.221-241
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• 2017

I try to elucidate the essence of cinematic art in terms of Nietzsche's physiological philosophy of art. According to Nietzsche, the mise-en-$sc{\grave{e}}nes$ in the film are expressions of willingness to the power of the author, the director. These are not re-imitations of the imitations with Platonic measure, sinker, number, but framing the elan vital Erde, die $urspr{\ddot{u}}ngliche$ Vorstellung with the director's body-camera. In this context, the film is essentially die Kunst des Lebens, in which the body and the earth are mediated by cameras. Therefore, it is not the eyes or the head, but the body that is necessary to appreciate film art. But the body at this time does not mean the heavy body of Hollywood standard audiences manipulated, controlled, or transformed by capital. We should stand in front of the film work with body shaking between trauma and Rausch, a dancing body, and a light and fresh body. Only by watching film with the body, can we achieve the small revolutions in everyday life. For example, if we watch $B{\acute{e}}la$ Tarr's film The Turin Horse in such a way, we can no longer be the dwarfed human beings, der Herde-Mensch. Also, $B{\acute{e}}la$ Tarr's mise-en-scene will make us realize why Nietzsche had said that there is art to us not to be destroyed by the platonic truth.

• Journal of Korean Philosophical Society
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• v.130
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• pp.187-218
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• 2014

Nietzsche stellt in seiner Philosophie den "${\ddot{U}}bermensch$" als existenziales Ideal des Menschen sowie als Menschentyp der Zukunft und "die ${\ddot{u}}bermenschliche$ Zukunft" als Zukunft des gesunden Menschen vor. Der ${\ddot{U}}bermensch$ und die ${\ddot{u}}bermenschliche$ Zukunft beinhalten in Nietzsches Philosophie den Sinn des gesunden Menschen und seiner gesunden Zukunft. Nach Nietzsche kann dieses gesunde Ideal durch die aktive Praxis des Menschen endlich verwirklicht werden. Nietzsche unterscheidet das aktive und das passive Verhalten des Menschen und leitet daraus die zwei $gegens{\ddot{a}}tzlichen$ Menschentypen her, also den aktiven Menschen (Herr der Moral des Lebens - geistig Starker) und den passiven Menschen (Sklave der Moral des Lebens - geistig Schwacher). Aber die Typologie dieser anthropologischen Differenz zielt nicht auf die Dualisierung der absoluten Differenz, sondern auf seine relativistisch-relationale ${\ddot{U}}berwindung$. Auf diese Weise setzt die philosophische Anthropologie Nietzsches im Grunde seine eigene praktische Philosophie voraus. Ferner bestimmt Nietzsche den Menschen als Zwischenwesen, das $hei{\ss}t$, dass der Mensch in Also sprach Zarathustra an der existenzialen Grenze zwischen Tier und ${\ddot{U}}bermensch$ und in seiner anthropologischen ${\ddot{A}}sthetik$ an der ${\ddot{a}}sthetischen$ Grenze zwischen $Versch{\ddot{o}}nerung$ und $Verh{\ddot{a}}sslichung$ des Lebens steht, sowie als $M{\ddot{o}}glichkeitswesen$, das an dieser Grenze durch die existenziale $Selbst{\ddot{u}}berwindung$ und die ${\ddot{a}}sthetische$ Selbstgestaltung in jedem Moment seine $Ver{\ddot{a}}nderungsm{\ddot{o}}glichkeit$ $sch{\ddot{o}}pferisch$ verwirklichen kann. Das Ziel dieser Arbeit ist es, aufgrund Nietzsches anthropologischen $Verst{\ddot{a}}ndnisses$ die anthropologische Methodologie zu $er{\ddot{o}}rtern$, die er $f{\ddot{u}}r$ die Verwirklichung der immanenten $Ver{\ddot{a}}nderungsm{\ddot{o}}glichkeit$ des Menschen in seiner Philosophie vorstellt.

• The Korean Journal of Archival Studies
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• no.57
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• pp.165-234
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• 2018

Archival symposium was a time when men thought thoroughly about what archives were, and to carefully record such thoughts. In the time of archival symposium, I observed the people archiving. To bring out a thought for a man was a physical action that moves his own desire, language, emotion and senses simultaneously. In philosophy thought is not merely a logical and cognitive act. Thought is a physical act that includes logical thinking, feeling, emotion, will, and on. When there is a emotional change in the body, an idea about that change forms. Emotional change acts as a force that increases, decreases, accelerate and hinder the body's abilities. However, there were no suggestions for philosophical concepts from the start. Love is not taught by someone. At some point without oneself knowing we start love and really experience with our bodies what love is, and in this repeat love and undergo all these emotions. Would not the overall story of life be as such. It is different from building a car in a factory. When the archival symposium starts, we asked you to think about what archives are, and to record with such thoughts as reference. Archival symposium is still a proper noun. With the wish for it to become a general term, I report on the process and meaning of archival experiment that is the archival symposium.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.221-226
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• 2023

Can art really change the way people understand and interact with nature in order to reduce the possibility that ecological disasters will continue to expand due to failure to correct human actions that damage the global environment? What is the artistic methodology to realize environmental justice and sustainability of life on Earth? This paper seeks to find answers to these questions. Finding ways to look at, feel, understand, and act for the global environment, that is, the process of considering the way of orientation toward the global environment will lead to critical thinking of the history in which human centered behaviors treated nature as a resource for exploitation rather than a source of life. Therefore, this paper pays attention to the ecological art of The Harrison Studio, which is called the 'pioneer of the environmental art movement'. In the main body, The Harrison Studio's major projects are analyzed to find ecological implications and aesthetic strategies. In particular, their dialogical methodologies are demonstrated in detail. To this end, the significance of various collaborative practices of The Harrison Studio is explained. The Harrison Studio contributed to expanding the scope of practical experience and understanding of the value of eological art. They have the power to look back on the direction of ecological consciousness by constantly producing mutually connected and overlapping epistemic dimensions without being limited to any uniform rules of exchange.

• Journal of Korean Philosophical Society
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• v.142
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• pp.1-25
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• 2017

Kant's doctrine of virtue shows how an actor should behave morally in an individual situation with moral law defines the limits of human action. There is latitude for action in the course of formulating the maxims of action by an actor. And moral judgement, as Aristotle's Pronesis, is very important in the latitude for action. In the doctrine of virtue, Kant suggests two kinds of duty of virtue: one's own perfeciton as an obligatory end, and the happiness to others as an obligatory end-and raises the question of casuistics for each. However, this was the practice and training for the human moral life by application of the moral law. In particular, Kant saw that ethics does not give laws for action, but only give laws for the maxims of action, and further intended to realize the practice in a proper way of seeking truth through casuistical questions. Thus, Kant points out that the casuistic is related only to ethics in a fragmentary way and is added to ethics only as a comment on the system. According to Kant, virtue and judgment are inevitable to apply categorical imperative in the empirical and realistic world. In other words, virtue and judgment are necessary to enable people who are likely to act in accordance to inclination to live a moral life in accordance with the command of reason. Thus Kant saw that in order to take wide duty into narrow ones, human beings must not only have to cultivate virtues as a strong power of will, but also to exercise judgment. In addition, the distinction between duty of law(narrow obligation) and duty of virtue(wide obligation) is dependent on whether there is a latitude for action in the application of both duties. So the role of virtue and training of judgement is very important in the latitude for action that occurs in the process of formalizing actor's maxims. In detail, as the duty is wider, so man's obligation to action is more imperfect, but the closer to narrow duty(Law) he brings the maxim of observing this duty(in his attitude of will), so much the more perfect is his virtuous action. Thus, it was an effort to show how Kant's best moral principles, that is categorical imperative could be applied to the real world at the time of criticism. Of course, even if it is difficult to assess Kant's efforts as successful, criticizing Kant's ethics as 'formal', 'abstract', or 'monologous' is not persuasive because of critics did not understand his ethics as a whole.

• Journal of The Korean Association For Science Education
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• v.33 no.5
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• pp.1055-1086
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• 2013

The purpose of this study is to identify the formation and evolution patterns of a trading zone and to explore the difficulties teachers experience in the trading zone and their perceptions of the experience. Seven teachers involved in the 'STEAM Teacher Community' in a middle school located in the southern part of South Korea participated in this study. Participant observation and in-depth interviews were carried out, and reflective essays were collected for analysis. The results show that teachers successfully formed a trading zone to share their expertise when they developed teaching materials for the convergence of different subject matters. Moreover, such a trading zone evolved in the order of pre-trading zone, trading zone under elite control, trading zone with boundary object, and trading zone of shared mental model. The difficulties teachers experienced in the trading zone were categorized under the difference of culture and opinion across subject matters, the lack of motivation for convergence, the hegemony of convergence and far-fetched factors for convergence, and difficulty of communication due to jargons. Also teachers in this study experienced perceptual changes in the trading zone. The trading zone model drawn from the results of this study bring forth implications for voluntary teachers' learning community activity for the convergence of different subject matters.

• Journal of Korean Philosophical Society
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• v.130
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• pp.277-304
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• 2014

Der vorliegende Beitrag zielt darauft ab, zwei Perspektiven $f{\ddot{u}}r$ die Kunst bei Kant und Nietzsche und ihre Schlussfolgerungen zu $er{\ddot{o}}rtern$. Kants Kritik der Urteilskraft hat eine enorme Rolle in der Geschichte der ${\ddot{A}}sthetik$ gespielt. $F{\ddot{u}}r$ Kant sollen ${\ddot{a}}sthetische$ Urteile ebenso wie Erkenntnis- und Moralurteile $allgemeing{\ddot{u}}ltig$ sein, obwohl sie auf einem $pers{\ddot{o}}nlichen$ Geschmack beruhen. Die $Allgemeing{\ddot{u}}ltigkeit$ des $Sch{\ddot{o}}nen$ sei $m{\ddot{o}}glich$, weil sie nicht auf dem Gegenstand, sondern auf dem transzendentalen Subjekt basiere. Die $sch{\ddot{o}}ne$ Kunst als Kunst des Genies soll uns wie die $Natursch{\ddot{o}}nheit$ ohne Interesse wohlgefallen. Nietzsches Stellungnahme zu Kants ${\ddot{A}}sthetik$ ist sehr kritisch. Nietzsches erster Kritikpunkt richtet sich gegen das 'interesselose Wohlgefallen'. Gegen Kant behauptet Nietzsche, dass die $Sch{\ddot{o}}nheit$ sehr wohl mit Interesse verbunden ist. Grund $daf{\ddot{u}}r$ ist, dass das $Sch{\ddot{o}}ne$ wesentlich aus dem Willen zur Macht entspringt. Der zweite Kritikpunk Nietzsches liegt darin, dass in Kants ${\ddot{A}}sthetik$ die Moral im Vordergrund steht. Das $Sch{\ddot{o}}ne$ ist $f{\ddot{u}}r$ Kant durch die Moral gerechtfertigt. Nietzsche dreht diese Stellung der Moral zur Kunst um. Der dritte Kritikpunkt Nietzsches ist, dass Kant statt von der Erfahrung des $K{\ddot{u}}nstlers$ (Schaffenden) aus das ${\ddot{a}}sthetische$ Problem zu betrachten, allein vom Zuschauer (Empfangenden) aus ${\ddot{u}}ber$ die Kunst und das $Sch{\ddot{o}}ne$ nachgedacht habe. $F{\ddot{u}}r$ Nietzsche ist die Kunst $prim{\ddot{a}}r$ vom $K{\ddot{u}}nstler$ aus zu verstehen. Nietzsches Physiologie der Kunst ist mit dem Begriff 'Leib' $verkn{\ddot{u}}pft$, d.h. Nietzsche behauptet, dass physiologische und ${\ddot{a}}sthetische$ Prozesse wesentlich $zusammenh{\ddot{a}}ngen$. Die Schlussfolgerung der Physiologie der Kunst lautet: erstens, jeder Mensch ist $K{\ddot{u}}nstler$, sofern er schaffend ist, und zweitens, die Welt selbst ist nichts als Kunst. Nietzsches Physiologie der Kunst hat einen $gro{\ss}en$ Einfluss auf die $gegenw{\ddot{a}}rtige$ Kunst $ausge{\ddot{u}}bt$ und kein anderer Philosoph hat auf die $gegenw{\ddot{a}}rtige$ Kunst nachaltiger gewirkt.

• Journal of Music and Human Behavior
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• v.5 no.1
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• pp.67-90
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• 2008

This case used MI techniques that give an imagery experience to depressed client's mental resource, and that makes in to verbalism. Also those images are supportive level therapy examples that apply to positive variation. MI is simple word of 'Music and Imagery' with one of psychology cure called GIM(Guided Imagery and Music). It makes client can through to the inner world and search, confront, discern and solve with suitable music. Supportive Level MI is only used from safety level music. Introduction of private session can associate specification feeling, subject, word or image. And those images are guide to positive experience. The First session step of MI program is a prelude that makes concrete goal like first interview. The Second step is a transition that can concretely express about client's story. The third step is induction and music listening. And it helps to associate imagery more easily by used tension relaxation. Also it can search and associate about various imagery from the music. The last step is process that process drawing imagery, talking about personal imagery experience in common with therapist that bring the power by expansion the positive experience. Client A case targets rapport forming(empathy, understanding and support), searching positive recourse(child hood, family), client's emotion and positive support. Music must be used simple tone, repetition melody, steady rhythm and organized by harmony music of what therapist and client's preference. The client used defense mechanism and couldn't control emotion by depression in 1 & 2 sessions. But the result was client A could experience about support and understanding after 3 sessions. After session 4 the client had stable, changed to positive emotion from the negative emotion and found her spontaneous. Therefore, at the session 6, the client recognized that she will have step of positive time at the future. About client B, she established rapport forming(empathy, understanding and support) and searching issues and positive recognition(child hood, family), expression and insight(present, future). The music was comfortable, organizational at the session 1 & 2, but after session 3, its development was getting bigger and the main melody changed variation with high and low of tune. Also it used the classic and romantic music. The client avoids bad personal relations to religious relationship. But at the session 1 & 2, client had supportive experience and empathy because of her favorite, supportive music. After session 3, client B recognized and face to face the present issue. But she had avoidance and face to face of ambivalence. The client B had a experience about emotion change according depression and face to face client's issues After session 4. At the session 5 & 6, client tried to have will power of healthy life and fairly attitude, train mental power and solution attitude in the future. On this wise, MI program had actuality and clients' issues solution more than GIM program. MI can solute the issue by client's based issue without approach to unconsciousness like GIM. Especially it can use variety music and listening time is shorter than GIM and structuralize. Also can express client's emotion very well. So it can use corrective and complement MI program to children, adolescent and adult.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.234-249
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• 2020

The dispute involving the construction of the Tomb of Queen Sindeok (hereinafter "Jeongreung"), King Taejo's wife in Seoul, and the moving of that tomb, represents the most clearly demonstrated case for the collision of new and old ideologies between political powers in the early period of Joseon. Jeongreung, the tomb of Queen Sindeok from the Kang Clan, was built inside the capital fortress, but in 1409, King Taejong forced the tomb to be moved outside the capital, and the stone relics remaining at the original location were used to build the stone bridge, Gwangtong-gyo. In an unofficial story, King Taejong moved the tomb outside the capital and used the stone items there to make the Cheonggyecheon Gwang-gyo so that the people would step upon the area in order to curse Lady Kang. In the final year of King Taejo, Lady Kang and King Taejong were in a politically conflictual relationship, but they were close to being political partners until King Taejo became the king. Sillok records pertaining to the establishment of Jeongreung or Gwangtong-gyo in fact state things more plainly, indicating that the moving of Jeongreung was a result of following the sangeon (a written statement to the king) of Uijeongbu (the highest administrative agency in Joseon), which stated that having the tomb of a king or queen in the capital was inappropriate, and since it was close to the official quarter of envoys, it had to be moved. The assertion that it was aimed at degrading Jeongreung in order to repair Gwangtong-gyo thus does not reflect the factual relationship. This article presents the possibility that the use of stone items from Jeongreung to repair Gwangtong-gyo reflected an emerging need for efficient material procurement that accompanied a drastic increase in demand for materials required in civil works both in- and outside the capital. The cause for constructing Jeongreung within the capital and the cause of moving the tomb outside the capital would therefore be attributable to the heterogeneity of the ideological backgrounds of King Taejo and King Taejong. King Taejo was the ruler of the Confucius state, as he reigned through the Yeokseong Revolution, but he constructed the tomb and Hongcheon-sa, the temple in the capital for his wife Queen Sindeok. In this respect, it is considered that, with the power of Buddhism, there was an attempt to rally supporters and gather the force needed to establish the authority of Queen Sindeok. Yi Seong-gye, who was raised in the Dorugachi clan of Yuan, lived as a military man in the border area, and so he would not have had a high level of understanding in Confucian scholarship. Rather, he was a man of the old system with its 'Buddhist" tendency. On the other hand, King Taejong Yi Bang-won was an elite Confucian student who passed the national examination at the end of the Goryeo era, and he is also known to have held a profound understanding of Neo-Confucianism. To state it differently, it would be reasonable to say that the understanding of symbolic implications for the capital would be more profound in a Confucian state. Since the national system that was ruled by laws had been established following the Three-Kingdom era, the principle of burial outside of the capital that would have seen a grave constructed on the outskirts of the capital was not upheld, without exception. Jeongreung was built inside the capital due to the strong individual desire of King Taejo, but since he was a Confucian scholar prior to becoming king, it would not have been accepted as desirable. After taking the throne, King Taejong took the initiative to begin overhauling the capital in order to reflect his intent to clearly realize Confucian ideology emphasizing 'Yechi' ("ruling with good manners") with the scenic view of the Capital's Hanyang river. It would be reasonable to conclude accordingly that the moving of Jeongreung was undertaken in the context of such a historic background.