• Journal of English Language & Literature
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• v.58 no.4
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• pp.783-807
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• 2012

This study compares and contrasts Freud's "work of mourning" which mostly appears in his memorable essay "Mourning and Melancholia" and Derrida's theory of mourning which appears in various works such as MEMOIRES for Paul de Man, The Work of Mourning, and others. Freud maintains that the mourner begins to sever emotional ties to the lost object through a labor of memory and eventually completes the work of mourning. It is a "testing of reality" that motivates the mourner to begin to relinquish emotional attachment to the lost object. Derrida, however, challenges Freudian work of mourning by saying that true mourning lies in "respecting the Otherness of the Other." Derrida suggests that Freud's "normal work of mourning" is "unjust betrayal" of the lost object because it "kills" and "devours" the other and thereby makes it part of the self. So he proposes that work of mourning has "to fail in order to succeed": "success fails" and "failure succeeds." There is an enormous, even epistemological, chasm between Freud who states that mourning, "however painful it may be, comes to a spontaneous end" and Derrida who states that "mourning is interminable. Inconsolable. Irreconcilable." and "I mourn Therefore I am." The former is the voice of "testing of reality" and common sense whereas the latter is that of utopian ethical vision. Yet neither seems to get the upper hand and they are kind of forced to maintain an ongoing dialogue with each other, for true mourning seems to lie somewhere in between.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.194-195
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• 2002

• Trans-
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• v.2
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• pp.39-58
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• 2017

This essay aims to examine Korean motion picture policy on the government censorship system from Jacques Derrida's thought associated with sense of ethics. Korean motion picture policy has focused on protection of domestic films to achieve a national goal from military dictatorship regime, so-called people unification or social stability. It also aimed to spread propaganda for despotic government. Thus, the government keeps tight control over all motion picture policy. It restricts not only freedom of choosing movies but also creativity from artist. Derrida used to talk about the justice and violence law. Derrida's thought is connected with the ethical consideration. This research concerned about the violence within film censorship policy of Korean government and explore possibilities of ethical censorship policy from Derrida's perspectives.

• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.56-64
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• 2012

This paper has tried to analyze the characteristics of space in Korean traditional architecture by deconstructive concept through connecting Lao-tzu's theory, the main discourse of East and West, with Derrida's deconstructionism theory. Derrida's philosophical term of differance(diff$\acute{e}$rance) is similar to Tao of Lao-tzu. It is because Derrida emphasized the relationships with others by trying the strategy of overcoming dichotomous thinking by this term. Tao of Lao-tzu also has the relative characteristics that cannot be concluded by one sole meaning. Like this, Derrida and Lao-tzu are against traditional and dichotomous way of thinking. In this point of view, this study has set Derrida's deconstruction theory and Lao-tzu's thinking as the common viewpoint of this world. And through the phrase of Tao Te Ching which means deconstructive Tao, deconstructive space design vocabulary was derived as mixed no-boundary, shape of no-shape, transcendence of time and space. The deconstructive characteristics of traditional space by case study analysis of Lao-tzu's deconstructive space design are as follows: First, it is not a specific or detailed shape but an unlimited possibility that can be transformed into something else, moving and changing endlessly and has a borderless beauty. Second, it is nothing itself but creates various shapes, as if it exists without shape. Third, it is a relative and unlimited space and pursuits a free form as a non-conceptional shape without any system or value.

• The Korean Journal of Archival Studies
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• no.81
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• pp.133-157
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• 2024

This study seeks to examine how to understand the meaning and function of archives from the perspective of deconstruction through a discussion of Derrida's 『Archive Fever』. Derrida argues that the archive is not a space of fixed and absolute truth, but a place open to various interpretations. Archive records are composed of countless meanings constantly created by the people who produce the records and the people who read them. As a result, the archive is not simply a place to store past documents, but a place where meanings are produced, destroyed, and interacted with each other. It must be understood as a complex place. Derrida's view of archives reveals a deconstructive perspective on archives that can be understood separately from the discourse of power and memory. Based on Freud's psychoanalysis, Derrida analyzes the process by which meaning is created and destroyed in archives and the unconscious desires that act on it. Through this, we see that archives are not simply passive records of the past, but memories of the present and future. We must acknowledge that it is an active and complex place that is constantly being reorganized.

• Cartoon and Animation Studies
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• s.50
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• pp.299-325
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• 2018

Humans have made a third person over a long history and differentiated them from each other. Discrimination of 'us' and 'them' has led Derrida to make works to look upon the human nature towards animal strangers. This study tries to examine upon the expansion of animal strangers by focusing on 'The Animal That Therefore I am.' Furthermore, the research asserts to pay more attention to animal strangers by looking at his works of how modern people think about animals in the current society. Derrida expresses his 'humiliation' that he felt when he faced his cat after a shower. This emotion brings up the topic that was neglected in the conventional wisdom and casts doubts on this. This emotion of humuliation is only felt by humans, and he explains this is one way of feeling like a 'human.' The researcher therefore focuses on the 'experiences of humans' and looks at the ambivalence of humans in culture and the irony in natural animals. This perspective criticizes Speciesism, which considers people other than oneself able to be suffered. This view also tried to escape anthro-pocentrism and looked at the animals on their own. This study examines current animal strangers with theories of Donna Haraway and Jane Goodal, and analyzes Derrida's artworks with Susan Sontag's philosophy. This aims to lead to a conclusion of how to reach an optimal relationship between human and animal. By focusing on Derrida, who has not been highlighted yet in this country, hopes to create effective communication between human and animal by explaining his artworks through new philosophy of animals.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.56-66
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• 2008

The purpose of this study is to analyze the multi-layered space utilized as strategy for deconstruction in the architecture of Hiromi Fujii. Although the design of Eisenman and Fujii was based on the philosophical theory of Jacques Derrida, there are many different aspects of architecture. At the same time, Hiromi Fujii could construct his concept of multi-layered space to colligate the academic knowledge of Jacques Derrida, Roman Jakobson and Colin Rowe. This kind of concept for multi-layered space is a critical element to be distinct from the characters between two architects, and it is implied such as an significant concept to analyze the architecture for Hiromi Fujii. This multi-layered space contains interesting and researchable value to understand and to analyze the western architecture theory from the viewpoint of Asian architect. Accordingly, the purpose of the thesis is to find the meaning to establish an theoretical foundation for being under discussion to the architecture of Fujii through the concept of multi-layered space.

• Journal of Korean Philosophical Society
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• no.95
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• pp.59-93
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• 2011

Die vorliegende Abhandlung beschäftigt sich mit der Frage, ob Jacque Derrida das Problem des Global-Terrorismus im politisch-theologischen Sinne mit seiner Philosophie der Gastfreundschaft lösen kann. Fur Derrida ist der '11. September' das 'Ereignis', und das Symptom einer autoimmunitären Erkrakung der westlichen Welt. Derrida findet im '11. September Ereignis' die Struktur der Aneignung des Eignen und der Enteignung im Heideggerschen Sinne. Das 'major event' wird nicht in einer vergangenen Aggression bestanden haben, die präsent und wirksam ist und noch schlimmer in der Futur sein wird. Derrida versucht einen philosophischen, politisch-theologischen Ansatz zur Bedingungen der Möglichkeit der absoluten, vollkommenen Auflösung des Globalen Terrorismus zu programmieren. Dafür fordert er das Postulat Verwirklichung des 'Messianischen ohne Messianismus'. Die Gegenüberstellung zwei politischer Theologien zwischen der Europäischen Demokratie und der Islamischen Vereinigten Staaten kann erlöst werden, wenn die 'neue religiöse Spiritualität', die gegenüber der dogmatischen Religionswahrheit frei ist, mit der 'Wiederkehr der Religion' im echten Sinne vorkommt. In der 'Neuen Religion' Derridas ist der Begriff der 'Gastfreundschaft' wichtiger als der der 'Toleranz', den er als 'abrahamitisch' definiert. Die von Derrida postulierte neue Religion ist eine offene Religion, in der das Unvergebbare unbedingt zu vergeben ist. Ihre politische Transformation ist der Begriff der 'Neuen Europäischen Gemeinschaft' und des 'Anderen Kaps'. Derrida postuliert diese neue Idee des Kosmopolitismus als die notwendige Bedingung der vollkommenen Auflösung des autoimmunitären Global-Terrorismus.

• English & American cultural studies
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• v.17 no.2
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• pp.29-61
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• 2017

Said's Orientalism criticized the European representations on the Middle-East by theorizing orientalism as a discourse. In this text, he explored and criticized the colonial forms of knowledge and language that distorted the image of the colonized. The justification of the discourse of orientalism is derived from the binary system that is originated from Plato which Derrida rejects on the ground that it always privileges one term over the other, that is, colonizer over colonized. Derrida names for this traditional heritage of Western binary system logocentrism which regards logos(the Greek term for speech or reason) as the central principle of language and philosophy, whereas mythos derives its meaning from the logos on the basis of binary oppositions. Thus according to logocentrism, the colonized is merely the defined who can have its meaning from the definers, colonizers. In this paper, utilizing Derrida's a (non)concept called supplement which means both to add on as a surplus and to make up something missing as a mere extra, I propose another alternative interpretation towards the critique of colonial representation by raising internal contradictions in the Platonic dichotomy between logos and mythos embedded in western colonialism discourse, orientalism. I attempt to show that logos(colonizer) and mythos(colonized) is inseparable in itself due to the fact that they exist as supplementary. For this purpose, I demonstrate how colonial binary system constituted and was constituted in terms of language. Through this paper I reinterpret the colonial rationality of privileging 'logos' over 'mythos' by substituting the colonial binary system with the supplement.

• Korean Journal of General Education
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• v.8 no.4
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• pp.339-367
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• 2014

This study aims to provide an intellectual understanding of the problems of Liberal Arts, in the light of the philosophy of Derrida and Ricoeur. Especially, we consent to the 'Right to philosophy' in the thought of Derrida and to the 'Dialogism' in the philosphy of Ricoeur. According to Derrida, the Right to is linked to human rights. If human rights are important to students, the Right to philosophy is also essential for them. For we must apply the Right to philosophy in the Liberal arts. According to the philosophy of Ricoeur, the dialogism can be interpreted by the possibility of communication and the dialogical method. Dialogical method connects two often conflicting or different themes. We can say that it is somehow a discussion between different. This confrontation is to strike a balance between different perspectives. Anyway, thanks to the two themes, the Right to philosophy in Derrida and the dialogism in Ricoeur, Liberal Arts course will be enriching.