• Journal of Korean Philosophical Society
• /
• v.117
• /
• pp.249-273
• /
• 2011

In this paper, I suggest a discourse on some delicate relations between the philosophy and the cinema, or between the visualizing philosophical reflection and the contemplating cinematic imagination. In this context, G. Deleuze is not a simple philosopher and Director Hong, not a director. Each is a kind of metonymy. Deleuzean style of philosophizing asks for Hong's nomadic style of producing cinema. and of course in the same manner, the latter asks for the former. The latter visualizes the speculative empiricism of the former, the former crystalizes the visual esthetics of the latter. To speak with Deleuzean vocabularies, it is not possible for the State Apparatus to capture the diverse works of director Hong. Because each of them is a kind of War Machine which always slips from every tackle of State Apparatus. Deleuzean key word 'genetic becomming' is a main concept of Hong's works. The point is not to dispose the theses 'becomming' of his works in the line of series but to release them in the line of rupture. My paper would show the sharp ridicules director Hong had poured on the conservative circle of the cinema in the context of Deleuzean nomadology.

• Cross-Cultural Studies
• /
• v.35
• /
• pp.7-34
• /
• 2014

This essay explores how Leslie Marmon Silko's Ceremony and Storyteller encourage human's sympathetic relationship with the nonhuman animal-Other, paying attention to her posthumanist voices against anthropocentric mistreatment of animals which is inseparable from white Americans' environmental and racio-ethnic subjugation of nature and Natives in the colonialist history of the United States. As a way of dissolving the problematic anthropocentrism and embracing the animal-Other as a fellow creature, Silko employs and transforms Native American oral tradition in her own idiosyncratic posthumanist storytelling. In order to highlight the ethico-political examination of the animal issue in her storytelling, this essay refers to contemporary posthumanist thinkers such as Jacques Derrida, Giorgio Agamben, and Gilles Deleuze who are all in their own ways critically engaged with Western metaphysical anthropocentrism. Arguably, in a similar vein with the posthumanist critics, Silko disrupts the mischievous hierarchical opposition of humans/animals that have directly or obliquely warranted violence against the animal-Other. In order to demonstrate Silko's ethico-politicality concerning the animal issue, this essay inquires her critical perception of humans' misunderstanding (or misbehavior) toward animals in terms of the suffering and death of animals. Besides, Silko's posthumanist storytelling of the animal's gaze (as Derrida notes as an event of revealing human aporia and vulnerability) and "in-between" (as a reification of crossing the boundary of humans/animals) is discussed with the exemplification of Tayo's encounter with a mountain lion and a bear-man Shush. The posthumanist approach to thinking about the animal-Other in Ceremony and Storyteller would shed light on the ethico-political significances of Silko's storytelling in our time in peril of losing the tie between humans and nonhuman animals.

• Journal of English Language & Literature
• /
• v.55 no.2
• /
• pp.293-314
• /
• 2009

Leslie Marmon Silko's Storyteller does not belong to a typical category of books, for it looks more like a family album with photographs, poems and Pueblo narratives as well as short stories authored by her. This 'book' without any chapters defies a traditional concept of books we are familiar with. In addition to refusing to be labelled as a conventional book, I argue, Storyteller defies the tradition of Western personal writing in that it shows the collective power of stories. That is, stories have the collective power which is impersonal beyond personal, internalized identity. It does not mean, however, the collective power comes from groups rather than individuals. It is not the conventional opposition of group and individual but that of group and collectiveness that matters here. I draw a distinction between group and collectiveness on the ground that the former actually groups individuals into categories with which individuals identify themselves. It is not group but collectiveness where stories find their power. "Storyteller," the first of eight short stories in the book, tells the story of an unnamed protagonist, a Yupik Eskimo girl, who takes revenge of her parents who died after drinking poisoned alcohol sold by a white storeman. There are four layers of stories in this short story. The first one is the old man's story of a blue glacier bear; the second one is a revenge story of the Yupik girl; the third one is a story told by the girl to the attorney after being arrested for the death of a storeman. And the final one is the story told to us by Silko, entitled "Storyteller." Although the structure of story within story resembles a technique of metafiction at a glance, it surely is a characteristic of Pueblo narratives in general, according to Silko. This kind of stories within stories refers to the collective power of story which, like a spider's web with many little threads radiating from the center and crisscrossing one another, is also a characteristic of stories on the Web today.

• Journal of Korean Philosophical Society
• /
• no.125
• /
• pp.7-30
• /
• 2019

Cette étude se propose d'éclaircir le 'milieu' chez Deleize, qui est un concept primordial pour comprendre le rhizome, comme milieu rhizomatique, une sorte de milieu philosophique, sur la base de 'rhizome', l'introduction de Mille plateuaux. Au long de cette étude, nous envisageons d'abord le système du 'livre-rhizome', type du rhizome-canal dans le 'rhizome', qui a remplacé celui-là de l'arbre-racine dans la métaphysique occidentale traditionnelle. Ensuite, nous montrons comment la pensée-en-rhizome devient une voie, se métamorphose en milieu rhizomatique, et peut être comprise comme milieu philosophique par la rencontre avec le Tao en Orient. Par ailleurs, cette étude révèle le fait que la pensée-en-rhizome est une méthode adéquate à comprendre mieux la Différence et l'Autre immanents, et à renforcer de pratiquer les principes de la mutiplcité vides(空). De sorte que les effets de cette étude aideront à pratiquer philosophiquement et convenablement la pensée du Milieu en Orient à nos jours, même s'ils sont insuffisants.

• Journal of the Korean earth science society
• /
• v.45 no.2
• /
• pp.147-156
• /
• 2024

Science practice is a process of establishing new relationships with 'foreign things' such as learning objects or tools for observation and measurement. Since the practice of science in major subjects has been increasingly emphasized, we sought to understand the meaning co-created by students and numerous materials who have experienced astronomical observation as a Deleuzian experience of "becoming". We collected activity logs and photographic data written by 17 students participating in astronomical observation activities at "A" High School, and conducted in-depth interviews with the students. We assessed the collected data by reconstructing a situation analysis. The main research results include the students' existential-epistemological 'becoming' process: 1) discovering newness through repetition, 2) becoming an 'explanation machine' to convey the affect of astronomical observation activities, 3) breaking out of a stabilized territory, and crossing a threshold. Based on the results, we suggested the need for follow-up research on the practices and new experimental approaches of teachers in earth science education.

• Journal of The Korean Association For Science Education
• /
• v.38 no.5
• /
• pp.705-720
• /
• 2018

The purpose of this study is to shed light on the meaning and value of interest (in Korean 'Jae-mi') in science education through literature analysis. Literature analyses were conducted on literature related to interest in various fields such as Korean language, psychology, philosophy, and education. Specifically, this study discussed the meaning of interest, the characteristics of the context of experiencing interest, the educational value of interest in science education, and the direction of science education to realize the value of interest. First, it was found that interest is an experience of emotional activation that can be felt through interaction with a specific object, and it is an emotional experience caused by the complex combination of various psychological factors, which is oriented sense, relationship, self, and object. Second, to understand the context of experience of interest, we conducted a topic modeling analysis with 1173 research articles related to interest. As a result of the analysis, it was confirmed that the context of interest is closely related with playfulness. And we addressed that this kind of playfulness is also found in science. Third, the educational values of interest in science education were discussed. In science education, fun is not only an instrumental value to induce science learning behavior, it is also one of the universal experiences that learners feel lively in science teaching-learning, and driving force of individual students' emotional development related to science. The students' active attitude to feel interest lead to creative thinking and action. Finally, we argued that the interest that should be aimed in science education should be active interest and experienced at trial and error, not passive interest induced by external stimuli. And science education culture should be encouraged to respect those who enjoy science. In particular, this study discussed the importance of each student's unique interest experience based on the philosophy of philosopher Deleuze (1976).

• Journal of Korean Theatre Studies Association
• /
• no.52
• /
• pp.319-357
• /
• 2014

Formation of 'body schema' is the start for actor to create role and becomes the root and the foundation of existing as a role on the stage. For this, an actor needs to form 'scheme of role' with escaping from own 'body schema.' 'Schema of role' is formed by acquiring through synthesizing daily basic actions, namely, walking, standing, sitting, hand stretching, bending, and touching. The body schema, which was made with simple and usual actions, has fundamental significance in a sense of becoming the body in which the past traces in a role are habituated while energy as a role flows. As for the process of forming body schema, an actor first needs to obtain the visualized materials like photo, magazine, picture and image available for seeing a role specifically and clearly based on what analyzed a character. An actor needs to have three-dimensional image available for always recalling it in the head during acting. To do this, image data available for fundamentally capturing routine actions along with body structure are still more useful. Next, the body schema is formed by interaction with environment. Thus, there is a need of passing through the two-time process of forming body schema. Firstly, the body schema is made on routine actions in a role as physical condition of a role in actor's own everyday life. Secondly, the body schema is made on routine actions available for moving efficiently and economically in line with the environment of performance. A theatrical stage is the temporal space of rhythm and rule different from routine space. What forms body schema immediately in the second phase without body schema in the first phase ultimately becomes what exists as actor's own body, not the body of a role. The body schema, which was formed as the second process, is what truly has identity as a role in the ontological aspect, comes to experience the oppositional force in muscle, a qualitative change in energy, and emotional agitation in the physical aspect, and experiences perception, thinking, volition, and even consciousness with the entire body in the cognitive dimension. Thus, the formation of body schema can be known to be just a method of changing even spiritual and emotional layer. Body schema cannot be made if there is no process of embodiment and habit. Embodiment and habit are not simply the repeated, empty and mechanical action in the body. But, habit itself has very important meanings for forming body schema for role creating. First, habit allows the body itself to learn and understand a meaning. Second, habit relies upon environment, thereby allowing an actor of making the habituated body schema to recognize environment. Third, habit makes the mind. The habituated body schema is just the mind and the ego of a person who possesses the body schema. Fourth, habit comes to experience the expansion in energy and the expansion in existence. It may be experienced through interrelation among actor's body, tool, and environment. Fifth, habit makes identity of the body. Hence, this just becomes what secures identity of a role. These implications of habit are the formation of body schema, which is maintained with the body of being remembered firmly through being closely connected with the process of neural adaptation. Finally, it sought for possibility of practice as one method of forming body schema for role creating through Deleuze's '-becoming' theory. As 'actual animal-becoming' is real '-becoming' of forming structural transformation in the physical dimension, it meets with what the formation of body schema pursues actuality and reality. This was explained with a concept as saying of 'all '-becoming' molecular' by Deleuze/Guattari. 'Animal of having imitated animal's characteristic- becoming' is formed by which the body schema relies upon environment. In this way, relationship among the body, tool and environment has influence even upon a change in consciousness, thinking, and emotion, thereby being able to be useful for forming body schema in a sense of possibly experiencing ultimately expansion in role, namely, expansion in existence.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.36 no.4
• /
• pp.15-26
• /
• 2008

The purpose of this study is to attempt to interpret golf courses as event-generating spaces with consideration given to the time factor. Through a golf game, a variety of events such as the tee shot, second shot, putt, and hole out are generated. These events have been connected to a series of events after hole out such as birdie, par, bogey and so on. The series of events do not always occur in the same way. They reveal unexpected changes over time. These unexpected changes cause changes in the spatial characteristics and offer unforgettable memories for golfers. Gilles Deleuze mentioned the spatial characteristics as striated space and smooth space. Striated space can be defined as sedentary space. It is distant vision-optical space that has dimensional, metric and centered characteristics, whereas smooth space is defined as nomadic, close vision-haptic space that has directional and acentered characteristics. This study focused on the analysis of spatial characteristics according to striated space and smooth space. Golf courses generally show the characteristics of striated space before beginning the game. As soon as the game begins, however, the golf courses are converted into an event-generating space. The characteristics of striated space are transformed into smooth space, a nomadic space that amplifies the dynamic, changeable, de-scaled and non-metric system. Through the whole game, this transformation is dramatically repeated. On the other hand, the golfer, the subject of the game, senses the phenomenological experience in the process of orientation, center, definition, and domestication.

• Journal of the Korean Geographical Society
• /
• v.50 no.3
• /
• pp.289-303
• /
• 2015

This paper is an introductory research to theorize women migrants' positionality in the era of globalization and the feminization of migration. It particularly examines three recent theoretical approaches within feminist studies and their application to the feminist migration study. Migration means a process of continuous negotiations of one's social and material positions within ever changing relations and situations through crossing various borders including national boundaries. Women migrants face multifaceted oppressions due to gendered relation and greater challenges to transform their identities. They embody politics of location through migration. The paper revolves around theories that explore a potential of feminist subjectivation of marginalized women such as female migrants through their identity negotiation and transformation. The theories in questions are Borderlands and the New Mestiza introduced by Gloria $Anzald{\acute{u}}a$, Intersectionality of oppressions, and Transpositions and the Nomadic Subjects by Rosi Braidotti who borrowed the theories of Deleuze and Guattari through feminist critiques. These theories all represent power relations and subject transformations through spatial metaphors. rough spatialized understandings, the paper proposes interlocking relations among space, gender and migration, and explores conceptual tools as well as epistemological insights for Korean migration study.

• Cartoon and Animation Studies
• /
• s.48
• /
• pp.141-172
• /
• 2017

The film (2000) and (2016) are based on different time slips from each other. However, these two films have many common elements that make one illusion-based illusion. In the common elements, the main characters (being and thing) are traversed at different times and directed as a cyclical one. Also, among these, the movement link of the time and space has a commonality that it becomes possible through a medium ( - radio, you, there - pill). As a result, a series of scenes expressed in showed that the scene of produced in 2000 was greatly circulated. The reason why two movies have similar structure is that the basic framework of video media based on time slip is similar. Therefore, the purpose of this study is not to analyze the problem of quoting and borrowing of two films as mentioned in the paper. To add up, the material of video media is manifold which is a dynamic object of potential which is unlimited and opened, and by rearranging one media it can be created by escaping from one territory. Also, it is a study of analysis to contribute to producer or researcher as a time slip video creation reference connecting times based on the manifold arrangement from two films.