• Cross-Cultural Studies
• /
• v.44
• /
• pp.87-121
• /
• 2016

Daehoon Ham's novel 'Cheongchunbo' features a studier as the main character who majored in Russian literature and admired the culture of the Soviet Union. From his viewpoint, the novel reproduces North Korean society before and after its independence from Japan. In this regard, it shows multilayered presence related to Russian culture and Soviet Russia. Such an aspect is based on the sense of sympathy that the main character has. The sense of sympathy is originated from the main character's admiration for the exoticism of Soviet culture which was forbidden during the late Japanese occupation. After Korea's independence from Japan, Russian was replaced by English. Such change also occurred in the main character's viewpoint. He underwent a change in his integrative viewpoint on Russian and Soviet under the name of Red Army. After defecting to South Korea, he began to put Russia down as a den possessed by the devil called 'communism.' In the meantime, Russia and Soviet have been separated from each other in ideological terms. The novel 'Cheongchunbo' stresses that the decisive cause of such changes is argued over trusteeship. The main character, fascinated by the presence of exotic Soviet, predicates that Soviet is a political symbol around the national division caused by the trusteeship. His change alluded to the life path of Korean authors who translated Russian literature after independence. During the Japanese occupation, Russian literature translated into Korea was a longing for forbiddance and admiration for Russia. However, the Russia presented in Daehoon Ham's novel before and after independence implies that the romantic translation has ended.

• The Journal of Art Theory & Practice
• /
• no.1
• /
• pp.49-70
• /
• 2003

What is an exhibition? Is it of the system which is designed to serve Art Works in their representation, or is it a place where the artistic presentation could be considered as art work itself? After modernist era, the role of exhibitional space might have been shifted from those two principle raison d'$\^{e}$tre of exhibitional space into another, a new one. What Deleuze would call it as he borrowed the term from Spinozian philosophy : the Affectional Space. This new type of exhibitional space has been announced since 1969 when a Harald Szeeman, young independent curator and art critic from Swiss, has organized his brilliant exhibition "When Attitudes become Form" in Bern. For sure, these intensities in curatorial practices have been existing before like some early 20th century exhibitional efforts by Marcel Duchamp, El Lissitzky, Yve Klein, etc. It has influenced much on many of, otherwise most of contemporary art exhibiting practices. And now it seems to be necessary to give it a conceptual idea which could enlighten better the new paradigm of exhibitional practices that we try to clarify. I would propose the idea of that new exhibitional space as "space of non-organic becoming". This idea is inspired by Deleuze's ever famous philosophical work Thousand Plateaus, which, with Folds by the same author, has contributed to many contemporary and aesthetical debating issues. What is "affect"? Explaining about Spinoza's principle concepts, Deleuze defines it as a kind of durations or variations which are constituted by different levels of perfection. One perfection is precedented or followed by certain perfection bigger or lesser through lived transitions or passages. So each time it actualizes and reflects the state of All as a cut of Reality while each state of affections, images or ideas can not be separated from the duration which binds it to the precedent state and extends it to following one. Affect is also a term of changes. One affects at the same time it is affected. Exhibitional space as affect (or affectional space) is distinguished from representational and presentational space in the way it attributes movement, produces arrangements and generates new factors of artistic creation including those which are outside of ever accepted artistic elements. The concepts of affectional space are used especially to enlighten contemporary situation of artistic and curatorial processes. Art is no more limited to be seen as mere objects of aesthetical admiration, nor as art vis-$\`{a}$-vis art relationship apart from the whole. It includes possibilities and virtuality that appear in the imperceptible and undescribable manners if delimited in given language. As once noticed by Kuhn, we might be living in a paradigmatically shifting world, not only in Art but also in Life. And we need to express it more with Art as moving and affectional nods than as just a clean window or a distinct manual book.

• Journal of Science of Art and Design
• /
• v.8
• /
• pp.241-266
• /
• 2005

Current information-oriented society is expanding rapidly with the huge change to our society from the information revolution emerged in mid '50s. Information technique such as computer, communication satellite and cable technology play their in this information-oriented society, and in 1980s, digital technique was adopted to media, inviting new phenomenon in communication of overall society. Expectations and hope for new trends and changes from digital era flourished when we entered into new Millenium, the 21st century. Since then we have gone through changes in years from analogue to digital. Now the word 'digital' is conceived in unified manner in almost every fields and influences overall society, changing our life pattern rapidly. Modern society had demanded some speedy and bidirectional communication tool in shifting digital era, and resulted from that was a new culture, Now the society changes more and more quickly under the speedy information sharing. From that perspective we need to establish the aspects of sensibility expression, which is one feature of the communication. The sensibility-oriented digital was originated from the human nature, which counts emotion and composure much. To satisfy the human nature a new cultural value which transcend a traditional one is needed. And the sensitivity expression to meet the need is one communication tendency in digital era. Digital era has totally different social qualities from that of analogue era. In digital era, prompt respond to rapid change and creativity combined with sensitivity are needed. Therefore a man with sensitivity would be more outstanding than a man of intelligence. The picture of digital and analogue in our society consists of two axis one is analogue axis like retrospective trend, admiration for nature , oriental thought etc. , and the other is the digital axis of internet and information technology. Sensibility can be widely interpreted as analogue thinking. It is surely different from the plain retrospective trend or nostalgia for past. It is a tendency that digital technology is used and cooperated with the emotion in human nature, In this paper we suggest the sensitivity expressions in detail through the study cases including both sides of digital and sensitivity expressions such as 'Bravo your life' advertising campaign of Samsung Insurance, MP3 advertising campaign, and 'Mini-homepage' of Cyworld. Under the circumstances the main direction of communication is oriented to human. This study's purpose is to think the true meaning of this digital era, to overcoming its weaknesses, such as over-dependency on technique and selfish individualism and to harmonize digital and sensitivity expression. The sensitivity-oriented expression than the reason-oriented one is expected to be put forth in whole media, and this is a more efficient tendency under the shifting digital era.

• Journal of Korean Philosophical Society
• /
• v.131
• /
• pp.131-163
• /
• 2014

This Paper aims to elaborate on the origin of thinking mind. And this is a cooperative project between philosophy and neuroscience and brain science. I have written this paper in admiration for the achievements of twentieth century neuroscience and brain science, and out of desire to assist the subject in future. Much of the history of modern philosophy, from Descartes and Kant forward, consists of failed models of brain. As Edward O. Wilson precisely said, the shortcoming is not the fault of the philosophers, who have doggedly pushed their methods to the limit, but a straightforward consequence of the biological evolution of the brain. Guiding that investigation down pathways that will illuminate brain research is a task of neuroscience and brain science. Investigating logical relations among concepts is a philosophical task. If we are to understand the neural structures and dynamics that make perception, thought, intentional behaviour possible, clarity about these concepts and categories and their relations is essential. Hence our joint venture of philosophy and science. Sure, it is human beings that perceives, not parts of its brain. And it is human beings that who think and reason, not their brain. But the brain and its activities make it possible for human beings-not for it-to perceive and think, to feel emotions, and to form and pursue projects. Thus We try to investigate and reveal the origin of thinking mind as follow: 1) The difference between chimpanzee and human beings 2) brain and mind 3) the origin of thinking 4) the wisdom of nature.

• The Journal of Korean Philosophical History
• /
• no.39
• /
• pp.53-83
• /
• 2013

This paper aims to examine how issues related to the heaven-human relation (or nature-culture relation) affected Joseon intellectuals in the eighteenth century by considering Huang Yun Seok as a reference. As a significant indicator, the heaven-human relation issue has traditionally been a critical theme in the history of Confucianism. Since Huang Yun Seok accepted Western Learning based on Zhuxi Learning, he is a good example for examining this issue. Huang's ideas didn't depart too much from Confucianism, but he naturally became interested in Western Learning because of the enthusiastic admiration he had of Ancient Learning since he was a child. Principle-Number was consistent with Ancient Learning and Western Learning, and this was somewhat different from the original notion of numerology. It was used for understanding and explaining astronomical phenomenon. In understanding astronomical phenomenon, Huang used both fact-determined and value-centered approaches. Western astronomy allowed him to make an advance in terms of fact-determined approach while the value-centered approach gave him a portentological perspective on astronomical variation such as solar and lunar eclipses. This indicates one of the ways to keep Zhuxi Learning's identity itself amidst an inflow of new learnings.

• Journal of Popular Narrative
• /
• v.26 no.1
• /
• pp.9-39
• /
• 2020

The aim of this study is to examine how heroic characters with supernatural powers are portrayed, and what shortcomings and desires are present in the societies they are born into, with reference to television series with superheroes such as , , and out of many motifs of Korean television fantasy series. The common feature of the superheroes represented in these three dramas is that they are viewed as monsters symbolizing vigilance and alienation instead of being regarded as typical heroes that are the object of praise and admiration. All three dramas criticize the corruption and limitations of bureaucratic powers such as the judiciary, prosecution, and police. The protagonists showcase their heroics by correcting such problems and helping the weak and the victimized by using their supernatural powers. At the same time, they broach uncomfortable topics, highlight truths that some may wish to hide, and also argue the concept of 'normality' and the 'world of naturalness'. For this reason, they are treated as monsters and alienated. Despite being called upon to solve the problems in reality, the deficiencies and contradictions of our society are also revealed by them. The idea of expressing the repressed desires in reality, is similar to the attributes of fantasy in that it criticizes and overthrows reality in order to meet the desires. This study verified not only the subversive characters of fantasy, but also the limitations when such attributes were combined with the characteristics of the medium of television shows. The significance of this study is to give attention to a genre that had previously been neglected by Korean productions but is now gaining traction, and also to suggest many tasks for researching more subdivided and diversified fantasy dramas in the future.