• Cross-Cultural Studies
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• v.33
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• pp.241-262
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• 2013

Nietzsche in the early 20th century, many Western thought came to China pushed the time, who want to reform the Chinese young intellectuals was a great welcome. Around 5.4 times writers representing China Journalism Guo Mo ruo Mao Dun and social needs of the times according to the spirit, according to their ideology, no tubes and four optional understand Nietzsche. Was acceptable, in the process, Nietzsche was transformed hem into various forms. In this paper, two Guo Mo ruo Mao Dun accept Nietzsche as Nietzsche socreated their own awards and also looked at these similarities and difference. Nietzsche Guo Mo ruo the remnants of the old feudal ideas and traditions were to break down and accept only select perspective. Nietzsche's self-discovery and individual liberty, and against the reality and accept the terms of loan 5.4 seconds, an ideal Nietzsche award was created. However Guo Mo ruo particular aspect of the acceptance of Nietzsche, whereas Nietzsche regarded as an extreme pessimist history, and his extreme caution and idealistic form of individualism was often criticized. Mao Dun the core ideas of Nietzsche 'Superman' and 'will power' noted. 5.4 All time view of life, a new morality must re-evaluate the need for a practical, based on the old tradition of Nietzsche completely against the spirit of rebellion was to have especially appreciated. But this was different Mao Dun Nietzsche and moral beliefs. What is the old morality Nietzsche corrupt, bourgeois morality and ethics, and was negative for democracy and freedom, Mao Dun dark realities facing the old Chinese feudal and traditional idea ofrevolution as a democrat were negative for. Guo Mo ruo Mao Dun optional for Nietzsche's acceptance was 5.4 times that contemporary needs can be met.

• Journal of Korean Philosophical Society
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• v.137
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• pp.277-321
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• 2016

Friedrich Nietzsche's philosophy embraces characteristics of existential philosophy and philosophical anthropology. In his book "Thus Spoke Zarathustra", Nietzsche defined human beings as an existence with innate possibility for change, beings that stand at the borderline between "the last man" and "the ${\ddot{u}}bermensch$", raising a question over the meaning of human being's existential healthiness. The anthropological symptoms that Nietzsche's philosophy deals with trigger existential problems, and healing these anthropological symptoms is a precedent to healing an existence. In Nietzsche's philosophy, the ${\ddot{u}}bermensch$ is presented as a prototype of practical man with a healthy existence, born from endeavors to heal the last man prototype of a decadence that was prevalent throughout Europe at the time. Nietzsche found the root cause of nihilism found in Europe in philosophy, religion, metaphysics, and Christianity, and attempted a genealogical investigation on this aspect. In so doing, a philosophical problem surfaced whereby only one truth was used to force diverse existential styles into a uniform style. Nietzsche intensively criticized philosophy and philosophers that only studied truths from metaphysical-Christian-moral perspectives, as they overlooked the foundation of true existence and presented human beings of a feeble mind and will as a result. Nietzsche emphasized the practical role of philosophy that can contribute to the human being's ascent and growth based on realistic conditions of human existence described as the earth, that philosophy that can serve as a basis for existential transformation of human beings and their lives. The task of philosophers is to lay the groundwork for the possibility of changes for all human beings and their realization. This existential practical foundation of philosophy can be called the ${\ddot{u}}bermensch$, as it is healthy man, the "greatest reality" as Nietzsche desired.

• Journal of Korean Philosophical Society
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• v.139
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• pp.105-131
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• 2016

The notion of responsibility, which has now gained a firm foothold as one of the fundamental notions of philosophy and its neighboring disciplines, became the subject of philosophical enquiry only in the 19th century by Kierkegaard, who delved into the morality of critical self-awareness in ethical responsibility of the absolute self; and Nietzsche, who put emphasis on the responsibility of the sovereign self in coping with the problems of the future. Nietzsche is the first philosopher who took issue with the diminishment (Verkleinerung) of humanity-what he called human being's greatest disease-that swept Europe at that time. Concerns about Europe's future were the key movens of Nietzsche's philosophy revolving around the advent of nihilism in Europe and its solutions. He prepared alternative solutions in deep awareness that the ethics of good and evil firmly rooted in the traditional metaphysics and Christianity would not even catch the depth and breadth of the big problem of globalization brought about by modernism, let alone solve it. Nietzsche devoted his whole life to disseminating the knowledge that the future of humankind depends on removing these old ethics. This article traces Nietzsche's reflections on the ethical event of responsibility and provides an overview of the purview and scope contained in the meaning covered by the notion of responsibility in his philosophy beyond common norms and values.

• Korean Institute of Interior Design Journal
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• v.20 no.3
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• pp.89-97
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• 2011

An interest in modern space is expanded to search for the relationship among human, space and environment, not limited the fixed or typical material place. For grasping and analyzing the characteristics and aims of modern space, this study is focusing on 'Dionysian outlook on nature' among the Nietzsche's philosophies. Nietzsche's 'Dionysian outlook on nature' based on his 'philosophy of creation and positiveness' has great implications for modern space because it focuses on not only circulation of existence and creation but also dynamic vitality the mostly. The reason is that modern space is required by the tendency changing the goal and aesthetic value by planner or user, not fixed and unchangeable any longer. The concept of space in modern construction is developed by forming various paradigms. Especially, various examples based on Nietzsche's Dionysian outlook on nature, philosophy of creation and positiveness, will be analyzed and possibility of new spatial concept's extension will be researched.

• Journal of Korean Philosophical Society
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• v.137
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• pp.323-356
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• 2016

The present study examines Nietzsche's critique of Schopenhauer with regard to the problem of morality and the basis thereof. Schopenhauer's philosophy that each written life as objectification of the will, had an important impact on the early development of Nietzsche's philosophy. But nevertheless Nietzsche criticized Schopenhauer because he denies life in the value of earthly life. Schopenhauer asserts that life is a painful matter because the blind govern all life, and pushes. But unlike Nietzsche, Schopenhauer buoyed the meaning of life, which increases again with the will to power and carry out. Of course there is some resemblance between Schopenhauer and Nietzsche, namely equiprimordiality as both distance themselves from the traditional philosophy that characterizes the man as a rational being and understands. They both destruct the idea of philosophy as a science, and try together to build another philosophical horizon. But in terms of interpretations of life and morals, they have taken different paths. According to Schopenhauer, our life is ultimately sad and agonizing. To overcome this situation, we must deny the will to live and renounce it absolutely. He believes that the moral can eliminate the displacement of the blind will to live and overcome. But in comparison, Nietzsche claims that morality or any moral act is always driven out of resentment. But this resentment is nothing more than a revenge or retribution, which was invented by the weakness. But according to Nietzsche, the feeling of resentment clear will to live. The present paper examines whether Nietzsche's moral critique of Schopenhauer is possible and if so, such a moral critique of Nietzsche can be performed.

• Journal of Korean Philosophical Society
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• v.145
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• pp.297-324
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• 2018

This paper aims to reconstruct the theme of the crisis of modernity and its overcoming possibility as one of the most intense implications of Nietzsche philosophy on the theme of "love". It analyses Nietzsche's statements about love, from the onset of physical desire for the opposite sex, through the forms of religiously distorted love, such as compassion and charity, to the amor fati as the positive affirmation of life. For Nietzsche, love is basically an urge to grow out of the possessive craving for power. The impulse of love is part of life, because it is willpower that makes man. Christianity, which linked sexual impulses to sin, made eros immoral. Nietzsche says we must overcome Christian love, which intends to deny human nature and reality and superimpose other ideals, and learn to love beyond itself. In the Nietzsche philosophy, it is the love of one's fate.

• Journal of Korean Philosophical Society
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• v.142
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• pp.51-74
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• 2017

As the phrase 'solitude death' implies, solitude generally has a negative characteristic as an object to avoid. But on the contrary, Nietzsche attempts to accept solitude and even affirms it in his overall philosophy. This study is about the authentic meaning of Nietzsche's solitude concept, aiming to clarify what true meaning solitude has to Nietzsche. This study will examine the 'external situation that humans face today' first. To do this, the study will consider the situation that humans who lost the earth and homeland faced in the period when God is dead. This study will then look at 'memory' and 'oblivion', as human's internal situations. And following that, this study will examine what meaning 'creativity' has to Nietzsche, which has a close relationship with those internal situations. Lastly, the meaning that 'body' and 'dance' imply to Nietzsche and what relationship these have with true solitude will be presented. Human is the being who can not avoid solitude whether they want it or not. Even though we make whatever effort we can to run away, solitude is unavoidable. The smart phone that makes me feel emptiness when I don't hold it on my hands, the hobbies which attract and force us to do, and new products which make us feel lonely if we don't buy them, don't they prove these efforts? What meaning does solitude have to humans that we have no other way but to run away from it like this? By understanding the authentic meaning of Nietzsche's solitude concept, we can change our view point on solitude so we can eventually accept 'solitude' as something that we must truly embrace and affirm, instead of something we must run away from.

• Journal of Digital Convergence
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• v.17 no.2
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• pp.363-371
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• 2019

The purpose of this study was to look at the grotesque characteristics of the preface to "Cromwell, 1827" by Victor Hugo and to identify the differences in the ancient Gris Tragedy. Also, Victor Hugo and Nietzsche were interested in the Middle Ages, and wanted to see if there were any differences. The main findings of the study are the grotesque phenomenon of Victor Hugo in the "Satirus" at Dionyson Theater in Nietzsche's Gris tragedy. When you classify them, first, the appearance of humans and animals mixed in. Second, Satyrus uses the mask as a grotesque material in a humorous and funny atmosphere. Although there were many ways to define grotesque aesthetics and philosophy, there was still a lack of research on grotesque. Future studies should be conducted in detail in social phenomena over time.

• 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.139
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• pp.265-313
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• 2016

This research aims to reconstruct the philosophical content and essence of Schopenhauer's metaphysics of music in his book, Die Welt als Wille und Vorstellung, particularly in paragraph 52, and to pay close attention to its theoretical account of music in the context of traditional musical aesthetics. The question whether Schopenhauer's theory of music is about aesthetics of feeling or about absolute music is dealt with at the end of this paper. It can be answered only within the whole system of his philosophy, because Schopenhauer's theory of music is the result of his philosophical reflections, and plays an important part in his metaphysics of the will. Schopenhauer's music theory, or rather his metaphysics of music, thus cannot be treated separately from Schopenhauer's metaphysics of the will, and is connected organically with it. As the metaphysics of the will lies in suspense between the traditional metaphysical philosophy and the non-metaphysical philosophy after Nietzsche, between the idealism and the philosophy of the body, the music aesthetics of Schopenhauer oscillates between the (romantic) aesthetics of feeling and the modern idea of absolute music.