• 기호학연구
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• no.57
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• pp.211-255
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• 2018

This paper attempts to "re-read" the webtoon Misaeng, which was once an important issue in the field of public discourse on "labor". Our hypothesis was that the dual actactial structure of Misaeng's hero Jang Geurae gave a dual structure to the entire text, which leads to the discovery of text meaning that was not mentioned in the existing discourse. This is based on the concept of 'meta-story character', which Hiroki Azuma talked in his postmodern literary theory. To verify this hypothesis we analyzed the text by applying the Parisian semiotics, more specifically J. Fontanille's theory. Jang Geurae is observed to be a actant of dual structure divided into 'character' of the enunciated level and 'player' of the enunciation level. Considering this characteristic of the hero, Misaeng can be interpreted as a metafiction that shows the 'shifting' between the subject of the enunciated level and the subject of the enunciation level. On the level of 'character' Jang's existence mode turns out to be "Deficiency (actualized)", but on the level of 'player' Jang 's existence mode turns out to be "Inanity(potentiallized)." His somatic responses also show a duality, which is represented by Fontanille's corps-actant model, where on the level of 'character' the somatic actant of Jang consists of 'Moi-chair(ego-flesh)' and 'Soi-idem(self-idem)', and on the level of 'player' it consists of 'Moi-chair(ego-flesh)' and 'Soi-ipse(self-ipse)'. The former mainly acts as a 'role' and takes charge of exteroceptive perception, while the latter mainly acts as 'attitude' and takes charge of interoceptive perception. Because of this dissociative nature of actant, Jang's two 'self' draw the re-adjustment of values without serious conflict between the collective norms and the individual identity. This is in sharp contrast with other characters who struggle with the conflict between the environment and "self". It becomes customary to adopt norms that are suspected to ineffective, but if you raise questions, the normative system can be updated. On one axis of Misaeng there are characters who have lost themselves in customs. On the other axis, there is Jang who can not help dismantling the existing ineffective norms and updating the normative system. Jang's existence mode seems to be one of many possible modes generated by this era where people share no longer solid community values, His actantial structure also communicates with readers of these days who put themselves more in subject of enunciation level than of enunciated level.

• 기호학연구
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• no.56
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• pp.45-70
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• 2018

Criticism of the postmodern philosophy of the system of representation, which has continued since the Renaissance, is based on a critique of the dichotomy that separates the subjects and objects and the environment from the human being. Interactivity, highlighted in a series of works emerging as postmodern trends in the 1960s, was transmitted to an interactive aspect of digital art in the late 1990s. The key feature of digital art is the possibility of infinite variations reflecting unpredictable changes based on public participation on the spot. In this process, the importance of computer programs is highlighted. Instead of using the existing program as it is, more and more artists are creating and programming their own algorithms or creating unique algorithms through collaborations with programmers. We live in an era of paradigm shift in which programming itself must be considered as a creative act. Simulation technology and VR technology draw attention as a technique to represent the meaning of reality. Simulation technology helps artists create experimental works. In fact, Baudrillard's concept of Simulation defines the other reality that has nothing to do with our reality, rather than a reality that is extremely representative of our reality. His book Simulacra and Simulation refers to the existence of a reality entirely different from the traditional concept of reality. His argument does not concern the problems of right and wrong. There is no metaphysical meaning. Applying the concept of simulation to algorithmic art, the artist models the complex attributes of reality in the digital system. And it aims to build and integrate internal laws that structure and activate the world (specific or individual), that is to say, simulate the world. If the images of the traditional order correspond to the reproduction of the real world, the synthesized images of algorithmic art and simulated space-time are the forms of art that facilitate the experience. The moment of seeing and listening to the work of Ian Cheng presented in this article is a moment of personal experience and the perception is made at that time. It is not a complete and closed process, but a continuous and changing process. It is this active and situational awareness that is required to the audience for the comprehension of post-representation's forms.

• Anatomy & Biological Anthropology
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• v.31 no.4
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• pp.121-131
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• 2018

Stature is one of the unique biological properties of a person, which can be used for identification of the individual. In this regard, statures are estimated for the unknown victims from crimes and disasters. However, the accuracy of estimates may be compromised by inappropriate methodologies and/or practices of stature estimation. Discussed in this study are the methodological issues related to the current practices of forensic anthropological stature estimation in Korea, followed by suggestions to enhance the accuracy of the stature estimates. Summaries of forensic anthropological examinations for 560 skeletal remains, which were conducted at the National Forensic Service (NFS), were reviewed. Mr. Yoo Byung-eun's case is utilized as an example of the NFS's practices. To estimate Mr. Yoo's stature, Trotter's (1970) femur equation was applied even though the fibula equation of a lower standard error was available. In his case report, the standard error associated with the equation (${\pm}3.8cm$) was interpreted as an 'error range', which gave a hasty impression that the prediction interval is that narrow. Also, stature shrinkage by aging was not considered, so the estimated stature in Mr. Yoo's case report should be regarded as his maximum living stature, rather than his stature-at-death. Lastly, applying Trotter's (1970) White female equations to Korean female remains is likely to underestimate their statures. The anatomical method will enhance the accuracy of stature estimates. However, in cases that the anatomical method is not feasible, the mathematical method based on Korean samples should be considered. Since 1980's, effort has been made to generate stature estimation equations using Korean samples. Applying the equations based on Korean samples to Korean skeletal remains will enhance the accuracy of the stature estimates, which will eventually increase the likelihood of successful identification of the unknowns.

• 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.

• 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.

• The Critical Review of Religion and Culture
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• no.25
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• pp.195-241
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• 2014

When the objective of a modern state focuses on securing basic human right of an individual and realizing public good in a state community, the direction of policy on religion of a state can not deviate far away from such objective. Meanwhile, the policy on religion of modern states today mostly takes the church and state separation principle as its basis. The states secure religious freedom and enforce the separation of church and state by differentiating religion and the mundane world and establishing the relation between the two. This study examined the church and state separation principle, which is an important system device of recent age nation-states, and explored the possibility of more active policy on religion. First, the relationship among religion, state and politics was examined from more structural and functional viewpoint. Next, how the separation of church and state principle has become recent age political principle and what was the settlement process of church and state separation in other countries are summarized. At last, the actual situation of church and state separation in Korea, the structural limitation of it and the direction of policy on religion are examined. The application experience of church and state separation principle is quite short in Korean society. In addition, when there is a religious issue, there is the trend of evading the issue unconditionally or responding to it passively. However, the religious culture in Korean society is one of the biggest cultural resources and social assets. Since it has big potential as driving force for the advance of state, it is regretful to leave religion alone as it is. Therefore, this study explored the original limitations of church and state separation principle which are limiting the religious policy of of state and searched for a theoretical basis for the utilization of resources in religious culture as driving force of state by overcoming the limitations. This study examined the situation in Korea by paying attention to how differently the church and state separation principle is being applied in other states, The separation of church and state, which is the basis of policy on religion in Korea, belongs to 'similar separation type' like in Japan; therefore, there is a trend of doctrinaire interpretation or arbitrary interpretation. This study suggests that it is required to overcome this limping state and settle down the church and state separation principle, which fits to Korean society, as a social and cultural practice. It is also suggested that more active policy on religion would be enforced by wider interpretation of church and state separation.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.447-484
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• 2012

This study aims to analyze the characteristics of post-epic theatre in the Belgian theatre director Jan Lauwers' trilogy titled in "Happy Face/Sad Face": (2004), (2006) and (2008). I regard that it played a very important junction for him to create his own theatrical style compared to earlier years. From this period, Lauwers has tried to create his original plays in order to concentrate the story of our era and has showed to combine a variety of media such as dance, installation, video, singing etc. In this context, I would like to study his own theatricality from the three perspectives of dramaturgy, directing and acting largely based on Hans-Thies Lehmann's theory of post-epic theatre, who pointed out the significance of Lauwer's theatrical leading role very early. First, from the dramaturgical point of view, we need to pay attention to the theme of translunary death; where the living and the dead coexist on the stage. In fact, death is the theme that Lauwers has been struggling to research for quite long time. In his trilogy, the dead never exits the stage. The dead, who is not a representative tragic character, even meddles the things among or with the living and provide comments to people. As a consequence, it happens to reduce a dramaturgical strong tension, leads depreciation of suspense and produces humanism in a way. This approach helps to create his unique comical theatrical atmosphere even though he deals with the contemporary tragic issues such as war, horror and death. Second, from the directing point of view, it is worth to take a look at the polyphonic strategy in terms to applying various media. Among all the things, the arts of dancing and singing in chorus are actively applied in Lauwer's trilogy. The dance is used in individual and microscopic way, on the other hand, singing shows collective and is a macroscopic quality. The dance is the representing media to show Lauwer's simultaneous microscopic mise-en-scene. While main plot takes place around the center-stage, actors perform a dance around the off-centered stage. Instead of exiting from the stage during the performance, the actors would continue dance -sometimes more like movements- around the off-centered stage. This not only describes the narrative, but also shows how each character is engaged to the main plot or incident, and how they look into it as a character. Its simultaneous microscopic mise-en-scene intends to function such as: showing a variety moments of lives, amplifying some moments or incidents, revealing character's emotion, creating illusionary theatrical atmosphere and so on. Meanwhile, singing simple lyrics and tunes are an example of the media to stimulate the audiences' catharsis. As the simple melody lingers in the audiences' mind, it ends up delivering a theatrical message or theme after the performance. This message would be transferred from the singing in chorus functions as a sort of leitmotive in order to make an impression to the audience. This not only richens their emotion but also creates an illusionary effect. Third, from the acting perspective, I'd like to point out the "detachment" aesthetic which Lehmann has pointed out. The actors never go deep into the drama by consistently doing recognize a theatrical illusion. The audience happens to pay attention to their presence through the actor's deliberate gesture, business, movement, rhythm, language, dance etc. The actors are against forming closed action by speaking in various languages or by revealing deliberately stage directions or acts, and by creating expressive mise-en-scene with multiple media. As a consequent, the stage can be transformed to not a metaphoric but a metonymic place. These actions are the ultimate intention for a direct effect to the audience. So to speak, Lauwers uses the anti-illusionary theatrical method: the scenes of fantastic death, interruption of singing and dance, speaking many kinds of languages, acting in detachment-status and so on. These strategies function to make cracks in spectators' desire who has a desire to construct a linear narrative. I'd like to say that it is the numerous potentiality to let the reality penetrate though and collide the reality with a fiction. By doing so, it induces for spectators to see the reality in the fiction. As Lehmann says, "when theatre presents itself as a sketch and not as a finished painting, the spectators are given the chance to feel their own presence, to reflect on it, and to contribute to the unfinished character themselves". In this sense the spectators can perform an objective criticism on our society and world in Lauwer's theatre because there are a number of gaps and cracks in his theatrical illusion where reality can penetrate. This is also the point that we can find out the artists' responsibility in this era of our being.

• The Critical Review of Religion and Culture
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• no.31
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• pp.255-287
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• 2017

This paper analyzes the religious circuit of suicidal concept based on verbal expression and ritual acts, which are found in the suicide discourse of Korean Catholic Church and Protestant Church. In the relationship of suicide and religion, it is easily overlooked the religious circuit and its construction that forms the concept of suicide among the religious laymen. It is assumed that the belief system of traditional religions prohibits suicide and the laymen accordingly construct a perception or concept of suicide along with this belief system. Various studies on this subject have proved it. However, in order to understand the religious way of constructing the concept of suicide on a personal level, it is necessary to pay attention to the religious environment in which the concepts and emotions of suicide circulate. The laymen do not passively and perfectly accept the finely established suicide concept provided by the doctrine or the theology. Rather, the laymen tend to collect the pieces of concept over the suicide that are drifting in the religious environment of his/her daily routine life and to make an concept of suicide in an incomplete form. We can find the unstable and imperfect traits of such a suicide concept through the experience of suicide survivors who have a religious background. For the suicide survivors with religious beliefs, they resist the formal doctrinal and theological provisions to suicide, or try to understand the notion of suicide in their own contexts. In terms of linguistic expressions and ritual acts relating to suicide, the attentions are differently directed in the public and the private domain among the religious groups. Considering on the high rates of suicide in Korean society, the Korean Catholic Churches are increasingly tolerant over the suicide and accept it in the public sphere. It is unlikely when comparing to the negative attitudes of the suicide in the past. However, such tolerance does not go beyond the doctrinal and ethical judgment that defines suicide as a serious sin. The once-committed lay believer's speech and gestures usually contain the various emotions, such as sadness, grief, anxiety, regretfulness, eagerness, and pain in the private spheres. The language and gestures with these emotions have been activated in the religious circuits of suicide, being extended to the religious apparatus for the person who died of suicide. In case of Protestantism, the institutional organizations, such as the particular denominations and the individual-churchism of the Korean Protestant Churches, and their own interpretations of the Bible have in the private sphere strongly effected on the linguistic expressions and the rituals related to the suicide. The religious-ethical judgment of the suicide is varied how the suicide is interpreted by the theologians and the pastors. And the ritual acts for healing the complex feelings and the psychological wounds of the suicide survivors are not actively explored and adopted yet. It makes harder to approach and heal the protestant followers since they emphasize the innermost belief and the salvation assurance faith.

• Journal of vocational education research
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• v.30 no.4
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• pp.23-49
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• 2011

Faculty performance evaluation system has been settled down as an uncomfortable but unavoidable system, and it is one of the most important factors to grow the college competitiveness up. In this study, we selected and surveyed faculty evaluation models of several universities and colleges in Korea, and analyzed by comparing each evaluation areas of educational achievement, college-industry collaboration, research, and service. We also identified the properties of the current faculty evaluation models of the junior colleges, and derived several problems from these models such as an imitation of four-year university model, a disorders of job evaluation with respect to the attributes of classified jobs, a large variation of individual item weights, and an insufficient reflection of major characteristics. Based on these surveys and analysis, an improved faculty evaluation model for the junior college is proposed in this study. This model proposed four basic areas-educational achievement, college-industry collaboration, research, and service by considering the importance of the college-industry collaboration in the junior college-as well as the team evaluation area. Weights of the SCI-class paper was selected as a criterion for the arrangement of objective comparison of each evaluation items. We showed the integration method of several different evaluation model with respect to the attributes of classified jobs of each faculties, and evaluation plan of variational characteristics according to the majors of individuals in this model. Finally, we introduced an area fail and rating system to operate efficiently the proposed faculty evaluation model.

• Journal of Korean Philosophical Society
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• no.123
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• pp.137-185
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• 2018

This article aims to deconstruct the mechanism of male domination that constantly reproduces the hegemonic class of men. In order to overcome misogyny, we should no longer deny the ontological dimension of the reality of women's oppressions and the pre-eminence of the material condition of women's existence. In addition, the possibility of the category of women as a modality of resistance should be taken into consideration. First, I will highlight the correlation between penis and phallus according to which the phallus refers to the penis which is malleable and fragile and which disappears without being castrated by the external factor. From here we could deduce the fragility and imperfection, the non-absoluteness of the phallic order. Secondly, I will analyze the mechanism of penis-narcissism, which is the modality of the constitution of the individual identity of man. The penis is not only a physiological organ, but a site of self-estimation and the validity of the succession of power and authority of the father's law. With this penis-narcissism, man is constituted as a hegemonic body that can let itself go without worrying about the reactions of others. Thirdly, I will focus on the mechanism of the penis-cartel which is the modality of the formation of the collective identity. The penis-cartel is reinforced by the mutual affirmation of the superiority of men among themselves, but also by the permission and the tacit agreement of their absurdity and lack of rationality and corruption. Because the privilege of men is not monopolized by a small part of the elite, but is consciously and unconsciously shared by all men who are part of the hegemonic and collective category. In order to deconstruct the penis-narcissism and the penis-cartel, it is necessary to demonstrate that the penis is not a self-sufficient body, nor a closed and impermeable body, but that it is a porous body where the organ serves both ejaculation and urinary ejection. The penis is a porous body that is at once the site of sublimity and degradation, purity and impurity. In addition, the penis is no longer an all-powerful and aggressive organ, but it is a malleable and fluid flesh that constantly changes its shape. Linked to a phallus-organ that is the notion of Jacques-Alain Miller, it is a site of deficiency and vulnerability that is not the axis of the penis-cartel. It is through the notion of the double porosity of the penis and the phenomenology of the flesh of the penis, I try to provide the modality of undoing the reproductive mechanism of predatory masculinity. Because this would be an effective strategy to overcome misogyny.