• The Journal of Korean Philosophical History
• /
• no.32
• /
• pp.277-308
• /
• 2011

The purpose of this study is to show that there are textual similarities between philosophy of Zhuangzi(莊子) and what Jacques Derrida' concepts such as 'differance', 'trace', and 'play', etc. Through our comparative study, we have established a philosophical affinity between Taoist thinking of Zhuangzi and Derridian deconstructive thinking. Zhuangzi and Derrida deconstruct all kinds of traditional and metaphysical thoughts. Zhuangzi's saying of "There is Tao(道) for Thievery(盜)". I call this philosophical tendency 'the logic of cohabitation and coexistence' of the Taoist philosophy. Derrida and Zhuangzi suggest that the logic of cohabitation and coexistence recognizes and affirms differences between opposites. In these thoughts of double affirmation, there is no violence of dichotomous thinking. In other words, their ways of thinking challenge the value system that suggests a single truth, and propose that all human values necessarily carry half-values. They give us to create an enjoyable play-space for human beings in this world. Zhuangzi's suggestions for moral theory provide us with a chance for making question as what is the better life with the others, with a fresh and new perspectives to understand differently the human beings along the category of universe in the 21st century.

• The Journal of Korean Philosophical History
• /
• no.42
• /
• pp.71-103
• /
• 2014

Park Se-dang (朴世堂, 1629-1703) is a figure rebuked as a "disturbing enemy of the Confucian canon" (斯文亂賊), having composed the Namhwagyeong Joohaesanbo (南華經註解刪補), the sole commentary on every chapter of the Zhuangzi (莊子) in Joseon Dynasty. This article purports to articulate the significance of Park Se-dang's composition of the Namhwagyeong Joohaesanbo within Joseon Dynasty in the 17th century, through the comparison between him and Zhu Xi (朱熹, 1130-1200), the founder of Neo-Confucianism, the mainstream ideology of Joseon Dynasty, in their recognition of the Zhuangzi. Since Neo-Confucianism attained an absolute status as the canonical doctrine in Joseon Dynasty, the other thoughts, including the thoughts of the Laozi and the Zhuangzi, could not be discussed without their relationship with it. Park Se-dang's recognition of the Zhuangzi does not deviate far from Zhu Xi's recognition of it. While his composition of the Namhwagyeong Joohaesanbo might be said to have inherited and deepened Zhu Xi's recognition, it can also be seen as an attempt to escape from Neo-Confucianism in some aspects. Due to this complication, when the faction of the Noron (老論, a faction separated from the Seoin in the Joseon Dynasty, the hard-liners) rebuked him as a "disturbing enemy of the Confucian canon," they did not mention neither his Shinjoo Dodeokgyeong (新註道德經, New Commentary on the Laozi) nor his Namhwagyeong Joohaesanbo. In his Namhwagyeong Joohaesanbo, Park Se-dang does not think that the Zhuangzi is in diametrical opposition to Confucian thoughts. Firstly, he emphasizes that Zhuangzi faces the actual world with ultimately positive concern, though from a critical perspective. Secondly, he seeks common grounds between the thoughts of Zhuangzi and Confucians, proving that Zhuangzi emphasizes human relationships between father and son or between king and subject. Thirdly, he illuminates Zhuangzi's theory of human nature from a new perspective in order to reestablish Confucian theory of human nature. Fourthly, he attempts to apply Zhuangzi's thoughts in order to overcome contemporary consumptive political feuds, including the splits of political factions or the disputes about ritual proprieties (禮訟論爭). Park Se-dang's composition of Shinjoo Dodeokgyeong and Namhwagyeong Joohaesanbo was a complementary measure for Confucianism, his proper mainstay being Confucianism. He attempted to escape, not from Confucianism itself, but from the absolutism of Neo-Confucianism. In the 17th century Joseon Dynasty, when Neo-Confucianism was becoming dogmatized and absolutized as a canonical doctrine and a dominant ideology, Park Se-dang's composition of Namhwagyeong Joohaesanbo was a very innovative attempt, which shows that he established himself as a pioneer to escape Neo-Confucianism, having consolidated his own unique and progressive academic province, differentiating himself from traditional Confucian scholars in his objective.

• Journal of Korean Philosophical Society
• /
• v.137
• /
• pp.193-223
• /
• 2016

This research examines the recognition of nature as identified by Zhuangzi through the man of truth. Zhuangzi defines inactivity as an act of nature and personifies it as the man of truth, a holy man who achieves salvation. It is the stage that is united with nature by breaking out of secular restriction and achieving the absolute liberal spirit. The man of truth is the origin enabling all the acts of nature. And since the existence of all living things is connected, the change of life and death complies with the operation of nature. It is an irresistible destiny for all human beings. Therefore, the duty of nature recognizes the life and death of all creation into a single perspective. In this sense, the feelings of joy and sorrow that human beings feel are unnecessary. When following the duty of nature and destiny, which is to break out of secular desire and empty the mind, it is possible to go to the stage of futility and enjoy a silent and comfortable life. Zhuangzi explains it as living free from worldly cares, which is the stage of 'Soyoyoo(逍遙遊)'. In this thesis, the principles of courtesy and the virtue of Confucianism are stated and are contrary to the concept of futility asserted by Zhuangzi. But, a different approach could be attempted which recognizes a superman who is even more evolved from the man of truth. The philosophical ideology of Zhuangzi could be a necessary factor for modern people and his oriental natural spirit should be highly appreciated.

• Journal of Daesoon Thought and the Religions of East Asia
• /
• v.2 no.2
• /
• pp.33-50
• /
• 2023

'Fasting of the Mind (心齋, ch. xīn zhāi)' is arguably the most important concept within the practical approach to the spiritual cultivation formulated by the Daoist philosopher, Zhuangzi (莊子). Most scholars have interpreted 'Fasting of the Mind' as an apophatic practice centered around the aim of the 'Dissolution of the Self (喪我, ch. sàng wŎ).' The Korean new religious movement, Daesoon Jinrihoe (大巡眞理會), can be shown to instead consistently utilize cataphatic descriptions of spiritual cultivation based on the 'quieting of the mind (安心, kr. anshim)' and 'quieting of the body (安身, kr. anshin)' with the highest attainable state referred to as the 'Perfected State of Unification with the Dao (道通眞境, kr. Dotong-jingyeong).' While the language used by Zhuangzi and Daesoon Jinrihoe appears quite different on a superficial level, a deeper examination shows that these rhetorical framings are likely negativistic and positivistic descriptions of the same, or at least reasonably similar, phenomena. Zhuangzi, who focused primarily on the body, mind, and internal energy, cautioned practitioners that 'mere listening stops with the ears (聽止於耳, ch. tīng zhǐ yú ěr)' and 'mere recognition stops with the mind (心止於符, ch. xīn zhǐ yú fú).' He therefore encouraged cultivators of the Dao to 'listen with the spirit (聽之以氣 ch. tīng zhī yǐ qì).' The main scripture of Daesoon Jinrihoe states that "The mind is a pivot, gate, and gateway for gods; They, who turn the pivot, open, and close the gate, and go back and forth through the gateway, can be either good or evil (心也者, 鬼神之樞機也, 門戶也,道路也)," and the Supreme God of the Ninth Heaven (九天上帝, kr. Gucheon Sangje) even promises to visit anyone who possesses a 'singularly-focused mind (一心, kr. il-shim).' In both these approaches, there is a sense of what must be kept out of the mind (e.g., external disturbances, strong emotions, malevolent entities) and what the mind should connect with to attain spiritual progress (e.g., spirit, singular focus, the Supreme God). The observations above serve as the main basis for a comparison between the apophatic descriptions of cultivation found in Zhuangzi and their cataphatic counterparts in Daesoon Thought. However, the culmination of this nuanced comparative exploration reveals that while the leanings of Zhuangzi and Daesoon Thought generally hold true, ultimately, both systems of cultivation transcend the categories of apophatic and cataphatic.

• Korean Institute of Interior Design Journal
• /
• v.21 no.5
• /
• pp.363-371
• /
• 2012

Magoksa is famous for its location and history, compared to other traditional temples in Korea, as seen in remarks of Monk Doseon in the Shilla Dynasty: "This temple is where the three disasters can not penetrate." In contrast, the reality is that active researches are not conducted, especially on spatial studies. Magoksa has its unique spatial characteristics that can not be found in other temples of Korea, but the existing studies on Magoksa have focused on style or design aspects, and the research has placed importance in a survey form due to the lack of historical materials. The reason for approaching Zhuangzi's philosophy in studying Magoksa's space is because of the fact that it has affected Zen Buddhism and Pure Land Buddhism of Mahayana Buddhism, and that Magoksa was completed by Monk Bojo of Zen Buddhism. It is expected to deduce the meaningful results due to the reasonal aspects of mutual elements by studying Magoksa as a Buddhism temple through Zhuangzi's philosophy in that context. In pursuit and reinterpretation of the essence of Korean traditional architecture, it is important to consider morphological, stylized aspects, but a variety of methodologies might be also presented in understanding the philosophical aspects.

• The Journal of Korean Philosophical History
• /
• no.25
• /
• pp.333-354
• /
• 2009

Zhuangzi contends that one of the reasons to cause life difficulties is mistaking the truth of cosmos and the existence meaning of human. There is no difference of value between the existence of human and universal creatures. However, "human mind" can not being peaceful because of " ChengXin(成心)" causes the difference of right and wrong. Zhuangzi contends the ideal world is "ZhiDe zhi World(至德之世)" of unmoved mind. Because of the value of "RenYiDaoDe(仁義道德)" in politics, the status of ideal existence of human and creatures is destroyed, i.e., disturbing the status of peaceful mind. This is also a reason of life difficulties. Zhuangzi contends the reasonable relationship of human and creatures is to recognize creatures as creatures, and therefore, there is no difference of value between creatures. Additionally, one shall understand the concept of "universal creatures are the same(萬物?一)" is based on the fact of continuous change of universal creatures. The socalled concept of "universal creatures are the same(萬物?一)" in Zhuangzi's thought is based on three dimensions: one is the materials of forming universal creatures; one is the same meaning of "Hisn" between human and creatures, and universal creatures are continuously changing. Therefore, one shall get a clear understanding of the nature of things, and one may treat the universal creatures in the concept of "universal creatures are the same(萬物?一)".

• Journal of Korea Game Society
• /
• v.11 no.2
• /
• pp.29-37
• /
• 2011

As a field in Digital Arts, interactive video introduced the mirror metaphor to the foundation of media, given its characteristic as a medium that extracts an audience image in a particular perspective. The interactive video work introduced in this paper addresses conceptual topics in the extension of Zhuangzi's Butterfly Dream and illustrates the technological approaches that employ an intensity-based computer vision processing in order to obtain the silhouette of audience for multiple graphical butterflies to draw an audience image. Users generate narratives in the interaction with the projected image. Sound is used in order for the system to provide augmented perception in the space and to add more rooms for narratives. The computer vision and the graphics methods introduced in this paper are suggested as tools for interactive video.

• (The)Study of the Eastern Classic
• /
• no.48
• /
• pp.311-340
• /
• 2012

This research is the case study on the course of 'Masterpiece Reading & Fine Composition Writing' in Ewha Waman's University which opens this class as a intensified writing course. In this course, part in the book of "Zhuangzi" is selected as the reading text. This research targets at highlighting the characteristics and effectiveness which appears in when the class choose the classics of Orient as writing text. This research divides the student's performance into two steps. Understanding stage and Evaluation stage. In Understanding stage, the student read part in the book of "Zhuangzi", write a discussion paper and discuss on, and in Evaluation stage, the student write the essay, depending on their previous performance in Understanding stage. This research discusses on each stage's characteristics, and analyzes the effectiveness of each ones. Especially, in the stage of Evaluation this research focuses on the relative view in perception of outside, finding self-introspection factor, and accommodating communication message. By connecting "Zhuangzi" and writing, this research tries to rediscover the era of the variety and its value, suggest the meaning of self-consciousness, and finally draw out the significance of open thought and creative writing. This research suggests on the meaningness of a modern reinterpretation on the classics and also provides the example of instructive usage of the classical text.

• Journal of the Daesoon Academy of Sciences
• /
• v.20
• /
• pp.273-315
• /
• 2009

The purpose of this study is to examine the mutual similarities between DaesoonJinri(大巡眞理) and Taoism thought as well as the thought mechanism of DaesoonJinri based on contents of the four tenets of DaesoonJinri (EumYangHapDeok(陰陽合德), SinInJoHwa(神人調化), HaeWonSangSaeng(解冤相生), DoTongJinGyeong(道通眞境)). DaesoonJinri attached a lot of importance to Taoism among traditional thought such as Confucianism, Buddhism, Taoism. This study will check out the clues from the major texts of Taoism. To do this, this study kept an aye on the Taoism texts such as Laozi, Zhuangzi, Taipingjing, etc. The significant implication of this study is only contextual similarities between DaesoonJinri and Taoism Philosophy. Therefore, this study will provide the preliminary data to researcher searching for the directly ideological contact point between DaesoonJinri and Taoism thought.

• Cross-Cultural Studies
• /
• v.43
• /
• pp.355-376
• /
• 2016

This study looks into the relationship between Chinese philosophy, with a focus on Confucianism and Taoism, and music. Kong zi's Confucius supported, 'Enjoyment without being licentious and grief without being hurtfully excessive', and 'hatred of the music of Zheng'. These ideas do not emphasize the function of music as an expression of emotions, feelings, or desires, and are instead conclusions based on Confucian ideals such as harmony between classes and the spread of benevolent government. Music must coincide with Justice. The hatred of the music of Zheng was a conclusion founded on the idea of a place for Justice in music. Zhuangzi is the source of the spirit of Chinese art; specifically, Zhuangzi's idea of music in relation to its influence on East Asian history of art is extremely influential. In fact, the concept of yuelun is considered the most original and important concept in the history of the East Asian philosophy of art. The most distinctive features of Zhuangzi's theory of music can be summarized as follows. He attempts to liberate music from the restrictions of form and to let music express authentic human feelings and emotions. He also argues that music should not be subjected to politics, as he thinks that the creative mind of an artist can exist only when music is freed from political influence. Confucianism takes a humanistic perspective, while Taoism takes a more naturalistic one. In sum, Confucianism gives weight to the logical and ethical aspects of music, while Taoism emphasizes the intuitional and naturalistic ones.