• Journal of Korean Philosophical Society
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• v.116
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• pp.155-180
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• 2010

The three means of listening, reflection and meditation (${\acute{s}}raava{\d{n}}a$, manana and $nididhy{\bar{a}}sana$) which are central devices of practice in $Ved{\bar{a}}nta$ philosophy should be understood not as a continuative step but as a methodological extension on condition of having one and the same purpose. In other words, the three means should be interpreted in a listening-oriented manner, in which the process has to be methodologically extended to reflection and meditation only when the direct knowledge on the reality is not gained in listening. This kind of interpretation can be more justified by displaying significant characteristics of Indian philosophy implied in the three means. It can be easily said that $Ved{\bar{a}}nta$ belonging to the liberation-centric tradition is a project of 'regaining essential self' through which the self becomes essential self by knowing that self. In this case the listening-oriented interpretation coincides with the basic teachings of $Ved{\bar{a}}nta$, since listening alone can be a sufficient means for obtaining knowledge of the original self. Further, as the project of 'regaining essential self' is carried out by the three means, these can be called a sort of 'event' that is carried out according to the scenario of $Ved{\bar{a}}ntic$ metaphysics. In this case listening is a course of comprehending the scenario of event participated by oneself, and that participant can accomplish the project by way of listening the scenario alone judged as somewhat more effective for liberation. However, in the later $Ved{\bar{a}}nta$ there arises a meditation-oriented interpretation of which three means are regarded not as a methodological extension but as a continuative step, because of the emphasis on meditation under the lasting influence of other philosophical systems. This is a result of epistemic desire that tries to convert what is heard to what is specially perceived or what is given to what is accepted. It may be said that this interpretation emphasizing the phased transition from the indirect to the direct of knowledge is an attempt to rationalize the repetitive delay of event as the actual failure of project. Furthermore, an assertion of the later $Ved{\bar{a}}nta$ which refers the fourth means called $sam{\bar{a}}dhi$ is based on the logic that the self-realization is possible apart from and outside the text, and accordingly it is incompatible with an assertion of the early $Ved{\bar{a}}nta$ that the self-realization is a reproduction as it is of the scenario guided by the absolute text. After all, the standard interpretation on the three means in $Ved{\bar{a}}nta$ have to be the listening-oriented, but not be the meditation-oriented or the $sam{\bar{a}}dhi$-oriented.

• 한국사회정책
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• v.25 no.2
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• pp.367-402
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• 2018

This study analyzed the relationship between the act on the guarantee of rights of and support for persons with developmental disabilities(Act for PWDD) and the similar ordinance of the local governments based on this law and focused on the correspondence(the rate of reflection) and the autonomy(differentiation). As of October 2017, 63 local government regulations and Act for PWDD were analyzed in this study. The results of the analysis are as follows: First, the rate of reflection in the ordinance of Act for PWDD was different according to the clause. In the aspect of emphasizing welfare support, the agreement between local ordinance and rate was high. While the Act for PWDD emphasized the rights of persons with developmental disabilities, there was little information about their right in the ordinance of local governments. This is evidence that current ordinance is based on the protective point of view for people with developmental disabilities. In the future, policy measures will be needed to ensure that respect for decision-making by persons with developmental disabilities and rights guarantees are included in the bylaws. Second, there is a provision that the rate of ordinance reflection is 0%, which may be guaranteed by other laws in the area, so it does not mean the absence of related system in the region, but there is possibility of institutional blind spot. In the future, consideration should be given to the complementarity of other legal systems in the area with developmental disabilities, so that persons with developmental disabilities should not be placed in institutional blind spots. Third, the autonomy(differentiation) of local ordinance was examined from the contents aspect and the administrative aspect to help practical implementation. The differentiation between the ordinances vary. Emphasizing the responsibilities of the head of the organization, emphasizing the fact-finding survey, setting up the welfare committee, or adding local needs were included to the ordinance. Local governments considering the enactment of ordinances in the future should refer to these cases and establish enactable local ordinances that take advantage of the characteristics of local autonomy.

• 한국노년학
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• v.38 no.4
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• pp.1057-1081
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• 2018

This study analyzed the case of elderly care cluster in Gwangjin-gu to explore the possibilities of social economy as a provider of community-based social services. Community-based means the approach by which community organizations build a voluntary and collaborative network to enhance collective problem-solving abilities. Therefore, it is very likely that the social economy that emphasizes people, labor, community, and democratic principles can contribute to community-based social services. This study analyzed social economic network by using four characteristics of social economy suggested by OECD community economy and employment program as an analysis framework. The results of this study are as follows: First, it is found that social economy would hardly supply community-based social services through network cooperation because of a large variation in community identity, investment to new product, and labor protection. Second, community users are not the consumers of the social economy and the products of the social economy stay in market products only for the organizations in social economy. In order to create good services that meet the needs of residents, community development approaches are required at the same time. The importance of community space where local residents and social economy meet is derived. Third, public support such as purchasing support has weakened the ecosystem of social economy by making the distinction between public economy and social economy more obscure. On the other hand, public investment in community infrastructure is an indirect aid to social economy to communicate with residents and to promote good supply and consumption. In the end, community-based social services need a platform where the social economy and the people meet. This type of public investment can create the ecosystem of the social economy.

• Journal of Korean Philosophical Society
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• v.147
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• pp.117-146
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• 2018

This paper discusses, whether religion is possible even in the age of artificial intelligence, and whether humans alone are the subject of religious faith or ultra intelligent machines with human minds can be also subjects of faith. In order for ultra intelligent machines to be subjects of faith in the same conditions as humans, they must be able to have unique characteristics such as emotion, will, and self-consciousness. With the advent of ultra intelligent machines with the same level of cognitive and emotional abilities as human beings, the religious actions of artificial intelligence will be inevitable. The ultra intelligent machines after 'singularity' will go beyond the subject of religious belief and reign as God who can rule humans, nature and the world. This is also the common view of Morabeck, Kurzweil and Harari. Leonhart also reminds us that technological advances should make us used to the fact that we are now 'gods'. But we fear we may face distopia despite the general affluence of the 'Star Trec' economy. For this reason, even if a man says he has learned the religious truth, one can't help but wonder if it is true. Kant and Bloch are thinkers who critically reflected on our religious ideals and highest concept in different world-view premises. Kant's concept of God as 'idea of pure reason' and 'postulate of practical reason', can seem like a 'god of gap' as Jesse Bering said earlier. Kant recognized the need for religious faith only on a strict basis of moral necessity. The subjects of religious faith should always strive to do the moral good, but such efforts themselves were not enough to reach perfection and so postulated immortality of the soul. But if an ultra intelligent machines that has emerged above a singularity is given a new status in an intellectual explosion, it can reach its morality by blocking evil tendencies and by the infinite evolution of super intelligence. So it will no longer need Kant's 'Postulate for continuous progress towards greater goodness', 'Postulate for divine grace' and 'Postulate for infinite expansion of the kingdom of God on earth.' Artificial intelligence robots would not necessarily consider religious performance in the Kant's meaning, and therefore religion will also have to be abolished. Ernst Bloch transforms Kant's postulate to be Persian dualism. Therefore, in Bloch, even though the ultra intelligent machines is a divine being, one must critically ask whether it is a wicked or a good God. Artificial intelligence experts warn that ultra intellectual machine as Pandora's gift will bring disaster to mankind. In the Kant's Matrix, a ultra intelligent machines, which is the completion of morality and God itself, may fall into a bad god in Bloch's Matrix. Therefore, despite the myth of singularity, we still believe that ultra intelligent machines, whether as God leads us to the completion of one of our only religious beliefs, or as bad god to the collapse of mankind through complete denial of existence.

• Journal of Korean Philosophical Society
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• v.131
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• pp.223-244
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• 2014

In this paper, the author interprets Juyeok (The Book of Changes) as a philosophical book on self-culture instead of a book on divination. Juyeok, originally, was a book on divination written to tell fortunes; however, it has been a rich source producing the discourse of the humanities. This is because it has a unique system of linguistic symbols. Gwae-Hyo (Hexagrams and Horizontal Lines) system of Juyeok has a number of symbolic features, and there is too much room for new philosophical, cultural interpretations. Thus, Juyeok can be applied to any information and events, and it can, accordingly, help solve the problems of life we are facing. Moreover, Juyeok's unique characteristics are revealed very well in active intervention of persons who read and interpret it. Carl Gustav Jung is the very person who argued that one should interpret Juyeok through this active intervention. In the foreword of Juyeok translated by Richard Wilhelm, he mentions a possibility of the interpretation of Juyeok applying 'synchronicity.' According to him, Juyeok is a material not to predict the future or tell the fate ordained, but to look back on oneself or find the solutions of problems oneself. It allows the inquirer to interpret Gwae-Hyo-Sa (Explanations) not simply through the result of fortune-telling but the act of telling one's fortune. He applies 'synchronicity' to the finding of answers to one's problems in the given Gwae-Hyo-Sa. Synchronicity refers to 'the principle of non-causal relationship explaining a phenomenon of meaningful coincidence.' Here, simultaneity, unlike contingency the principle of causality refers to, means 'meaningful coincidence.' He presents a theory that the divination signs derived from Gwae-Hyo-Sang (Images) through synchronicity is a reflection of the psychology of the unconscious the fortune-teller or a man who receives the results of the divination signs has under certain circumstances on the outside. This is because Jung interprets it like this because the way of communication of Juyeok using symbolic language is not direct but indirect. Juyeok's system of symbolic language aims not at delivering objective knowledge, but the reader's self-transformation. This point can be applied in clinical philosophy. People who suffer from agony and pain in their daily lives may find meaningful and helpful advice for themselves no matter what Gwae-Hyo-Sa they choose in Juyeok. This is because it was originally hidden in their inner space and just revealed concretely through Gwae-Hyo-Sang or Gwae-Hyo-Sa in Juyeok. In this sense, we connect the meaning Gwae-Hyo-Sang or Sa contains from Juyeok to their circumstances, read counsel or advice needed ourselves and make it our own to be able to have power to change and help ourselves. And at this very point may be evaluated as an important role of Juyeok.

• Cross-Cultural Studies
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• v.48
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• pp.67-106
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• 2017

This study focuses on two specific history of Korean literature in Chinese: the outline of The History of Joseon Literature (2010) by Li Yan and The History of Joseon Literature (1988, 2008) by Wei Xu-sheng; it was conducted to compare narrative viewpoints to the history of South and North Korean literature and therefore identify distinguishable characteristics. As a result, the following was concluded. First, The History of Korean Literature by Cho Dong-il and The History of Korean Literature in North Korea (15 volumes) include thorough discussions on division of historical eras, concept of genres as well as individual literary works and applied such discussions on writing literary history. However, Wei Xu-sheng and Li Yan's The History of Korean Literature did not illuminate theoretical discussion of South and North Korea. Li Yan's outline of The History of Joseon Literature was published in 2010 and the first edition of Wei Xu-sheng's The History of Joseon Literature was published in 1986 and later was published as revised editions in 2000 and 2008. Regarding published dates, it is a matter of course to reference Cho Dong-il's The History of Korean Literature, published in the 1980s, or The History of Korean Literature in North Korea (15 volumes), published in the 1990s; nevertheless, neither Wei Xu-sheng nor Li Yan used those texts in their works. Their works were heavily influenced by the narrative tradition of the history of national literature and therefore, entailed unsophisticated discussion on the division of historical eras or the concept of genres. Second, those two texts also emphasized external factors such as politics, society, economy and culture and explicitly mention these factors in historical overview of each chapter. Such an approach is commonly used in narratives of literary history under socialist regimes, including The History of Korean Literature in North Korea (15 volumes). Accordingly, evaluations based on 'political standards' - stress of people, nationality, practicality and so forth - in main texts are particularly accentuated, akin to narratives of literary history under socialist regimes. Finally, since those two Korean literature history works are written by Chinese scholars, they focus on correlation between Chinese literature history and Korean literature history. However, several genre-related terminologies such as Xiaopin (a kind of essay), Yuefu (a kind of popular song/poem), Yuyan (fable), Shuochang (telling of popular stories with the interspersal songs), Shizhuan (biography or/and memoirs in history) were adopted directly from Chinese literature. In analyzing Korean literature using terminologies introduced from Chinese literature, differences between original and alternative definitions were not examined in detail. While some terminologies and concepts were adopted directly without further consideration as to state of the two nations, it is also interesting to note that dichotomy, mainly used in Korean literature history, was used to discuss the genre of Cheonki (romance tale), relevant to Suyichon and Keumosinhua, rather than follow traditions of Chinese literature history.

• Cross-Cultural Studies
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• v.50
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• pp.103-130
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• 2018

This research aims to explore the associated linguistic features and functions of Chinese as used for business trading purposes, and which is based on a discourse analysis through a case in which a Korean buyer and a Chinese supplier have exchanged Internet based e-mails. The research questions include first, the linguistic functions and characteristics of Chinese shown as identified in this trade case through e-mails, second, the use of Chinese trade specific terms, and third, the apparent and dynamic negotiation strategies that are identified as followed by the cultural value systems which are used for resolving interest conflicts and issues between the buyer and supplier in the course of negotiating business contracts between two parties. The participants of this research pertain to a Korean buyer, James and a Chinese supplier, Sonya. The associated data consists of 74 e-mails exchanged between the two parties, initiated in an effort to begin and complete a trade item, in this case namely the product of napkin holders. The research for the study is based on the discourse analysis and empirically analyses models of Chinese linguistic functions and features. The findings are the following. First, as identified, the specific Chinese functions used and sequenced in this trade case are of a procedure, request, informing, negotiation and persuasion. Second, the essential trade terms used in this business interaction involve the relevant issues of 1) ordering and price negotiating, 2) marking the origin of the products, 3) the arrangement of the product examination and customs declaration for the anticipated import items, 4) preparation of the necessary legal documents, and 5) the package and transport of the product in the final instance. Third, the impact of the similarities and differences in the cultural value systems between Korea and China on the negotiations and conflict resolution during a negotiated contract between two parties are speculated in terms of the use of culturally based techniques such as face-saving and the utilization of uncertainty-avoiding strategies as meant to prevent misunderstandings from developing between the parties. The concluding part of the study discusses the implications for a practical Chinese language education utilizing the linguistic functions and features of the Chinese culture and language strategies as useful in business associations for trading purposes, and the importance of intercultural communication styles based on similar of different identified cultural values as noted between two parties.

• (The) Research of the performance art and culture
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• no.37
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• pp.5-31
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• 2018

The mask dance drama Goseong Ogwangdae's first act, Mundung Bukchum. The story is about a man who was born to the upper class but contracted leprosy, an incurable disease, due to his ancestors' accumulated sin. Although he is suffering, he is able to triumph over the disease through sinmyeong (catharsis) that is expressed through the wordless act of Mundung Bukchum. This thesis focuses on Goseong Ogwangdae's Mundung Bukchum, particularly the meaning, costume, accompanying music, and process of pedagogical transmission. The chronological characteristics of Goseong Ogwangdae's Mundung Bukchum are as follows. First, as time goes on, the number of dance motions in Mundung Bukchum has increased and the motions used have become reified. Second, I address the small barrel drum used in Mundung Bukchum and check how, through the drum, the changed expression of Mundung is shown.In a 1965 video introduced Mundung is grasping the drum and stick and the dance appears to be made up only of humorous motions. Also in a 1969 video, "Mundung Gwangdae," from the start Mundung is grasping the drum and stick. In 1988 in a video we can see the same scene as today, with the drum and stick sitting in the center of the stage at the start of the dance. We can also confirm that the same fourteen dance motions used today are present. Third, we can also confirm the changes in Goseong Ogwangdae's signature motion, baegimsae as time goes on. Observing the video from 1965, baegimsae does not appear in Mundung Bukchum. In 2000 we can clearly see the baegimsae performed once to the left and to the right while Mundung is squatting. Comparing 1969 to 1988, there is no symmetry in the motions, baegimsae is not done to both left and right, but only in one direction. Watching the record from 2000, the baegimsae motion is performed just as it is now, with the body thrown forward with a sharp push off the ground. Fourth I confirmed how the music used to accompany Goseong Ogwangdae's Mundung Bukchum has changed over time. In 1965 according to records of Mundung Bukchum's appearance, the dance was accompanied by the taryeong rhythmic pattern played on the usual four percussion instruments (barrel drum, hourglass drum, large gong, small gong). In the 1969 records of Mundung Bukchum the accompanying music is gutgeori rhythmic pattern performed on the usual four percussion instruments-an obvious difference. In 1988 the music with Mundung Bukchum is gutgeori rhythmic pattern transitioning into jajinmori rhythmic pattern. In 2000 the music with Mundung Bukchum includes the percussion instruments as well as taepyeongso (double reed oboe) playing gutgeori and jajinmori rhythmic patterns.

• Journal of Korean Society of Spine Surgery
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• v.25 no.4
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• pp.154-159
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• 2018

Study Design: Retrospective radiographic study. Objective: To evaluate the characteristics of concurrent degenerative cervical and lumbar spondylolisthesis. Summary of Literature Review: Concurrent degenerative cervical and lumbar spondylotic diseases have been reported. Given that severe spondylosis can result in spondylolisthesis, one might expect that concurrent spondylolisthesis of the cervical and lumbar spines might also be prevalent. However, the incidence of spondylolistheses in the lumbar and cervical spines might differ due to anatomical differences between the 2 areas. Nonetheless, there is minimal information in the literature concerning the incidence of concurrent cervical and lumbar spondylolisthesis. Material and Methods: We evaluated standing cervical and lumbar lateral radiographs of 2510 patients with spondylosis. Concurrence, age group, gender, and direction of spondylolisthesis were evaluated. Lumbar spondylolisthesis was defined as at least Meyerding grade I and degenerative cervical spondylolisthesis was defined as over 2 mm of displacement on standing lateral radiographs. Results: Lumbar spondylolisthesis was found in 125 patients (5.0%) and cervical spondylolisthesis was found in 193 patients (7.7%). Seventeen patients had both degenerative cervical and lumbar spondylolistheses (0.7%). Lumbar spondylolisthesis is a risk factor for coexisting cervical spondylolisthesis. Lumbar spondylolisthesis was more common in females than males, independent of advancing age. In contrast, degenerative cervical spondylolisthesis was more common in older patients, independent of gender. Anterolisthesis was more common in the lumbar spine. Retrolisthesis was more common in the cervical spine. Conclusions: There was a higher prevalence of degenerative cervical spondylolisthesis in patients with degenerative lumbar spondylolisthesis.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.