• The Journal of Korean Philosophical History
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• no.50
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• pp.269-303
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• 2016

There are two ways of viewing the Taoism of the Joseon dynasty. One is to view it from the point of view in Joseon, another is to view it from the outside of Joseon, i.e. foreigners' point of view. Maurice Courant(maurice courant,1865~1935)'s Bibliographie Coreenne is the Korean first bibliography(書誌) recorded from the latter's point of view. This research examined the Taoist scripture in Maurice Courant's Bibliographie Coreenne. Maurice Courant classified the Taoist scripture of the Joseon into three: '1. Sacred books(經書類)', '2. Worship of Gwanseongjegun(關聖帝君), Munchangjegun(文昌帝君), Buwoojegun (孚佑帝君)', '3. Various works'. Through this category, it was determined that the belief in three gods (Gwanseongjegun Munchangjegun Buwoojegun) was widely prevalent in the Joseon dynasty in the late 19th century. In the chapter 1, he composed the books of representative Taoist scripture as Lao-tzu and Chuang-tzu, 'God(太上)', and 'King of heaven(九天上帝)'. Maurice Courant determined in chapter 2 that 1890s' Joseon Gwanwoo (關帝) belief was activated, and mentioned 'Musangdan(無相壇)', namely, Joseon's first religious organization. However, he could not determine that the scriptures relevant to three gods were recorded to be divine revelations uttered by gods. 19th century's 'Musangdan' was not introduced by being imported with Chinese Taoist scripture, but was published with the Joseon Taoist scripture through Gangpil(降筆: recording divine revelations uttered by gods). Also, through Maurice Courant's Bibliographie Coreenne, the point that 'belief in three gods' was prevalent in the social leader group during that period could be determined. The reason how such research could be possible seems, because Maurice Courant had Korean assistants who were good at Chinese classics. In chapter 3, Maurice Courant arranged the books based on Taoist ethic and the scriptures on Taoist social practical movement. Through the interpretation of Taoism bibliographies included in Maurice Courant's Bibliographie Coreenne, first, it could be determined that belief based on the three gods(三聖信仰) was prevalent during the 19th century, second, there were lots of the Taoist scriptures made in the late Joseon, third, the first Taoist religious organization and Taoist social movement form could be investigated.

• The Journal of the Korea Contents Association
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• v.14 no.8
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• pp.494-504
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• 2014

This is a study of Hick's self-described Christological 'Copernican revolution.' Since Hick as a former Christian theologian did not want to reject one of the core Christian doctrines(incarnation), he presented his copernican revolution in terms of Agape Christology, an inspiration Christology and myth Christology through his Christological reinterpretation. Thus Hick's Christologies that are developed gradually are discussed and evaluated chronologically. First, agape Christology understands that the incarnation is taking place all the time in different degrees everywhere. As a result agape Christology makes Jesus as a mere human being. Second, an paradox of grace or inspiration Christology views the incarnation as the Spirit of God enabling people to fulfill the will of God by their free responses. This Christology assumes that divine incarnation can occur anywhere and anytime in any person. Thus, according to this, Jesus is not literally God incarnate as Christian claims. Third, myth Christology views that the incarnation is not literal but mythological. Though he prefers to use metaphor in his later writings because it has a more positive connotation than myth, myth and metaphor have one thing in common: they are neither literal nor historical. Hick's mythological Christology implies the denial of Jesus Christ as God incarnate. Accordingly, the researcher must conclude that Hick's Christology as copernican revolution cannot said to be a perfect solution for today's religious situation, even though it was a sincere try to communicate with pluralistic world.

• Cross-Cultural Studies
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• v.42
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• pp.419-449
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• 2016

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.

• Journal of Korean Philosophical Society
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• no.118
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• pp.25-51
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• 2017

The purpose of this article is to elucidate Plotinus' concept of freedom. Particular attention is paid to two terms, 'what is self-determined' (to autexousion) and 'what is up to us' (to $eph^{\prime}h{\hat{e}}min$), which Plotinus employs in order to articulate the meaning of freedom. It is shown that freedom in Plotinus consists in the power of doing whatever one wills while willing the good. We first situate Plotinus' concept of freedom in the Socratic tradition. Next we investigate how Plotinus and Alexander of Aphrodisias conceptualize freedom in terms of self-determination in the context of criticizing determinism. It is shown that Alexander tries to secure the psychological grounds for human moral responsibility by introducing a causally undetermined power of choice between alternatives. In contrast, Plotinus is interested in psychological conditions that allow humans to do the right thing. For this purpose, he establishes the concept of will ($boul{\hat{e}}sis$) as the power of wanting and choosing the best. We then try to clarify his claim that free will cannot choose otherwise by appealing to his concept of divine freedom, which idealizes the power of doing one's best and being oneself at one's best. Finally, we discuss Plotinus' view of the limitations and possibilities of human freedom and indicate its practical implications. In conclusion we claim that Plotinus pleads for an active way of living which spreads inner freedom out into the world, rather than living in seclusion so as to protect an inner freedom which is pure.

• Journal of Korean Philosophical Society
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• no.114
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• pp.305-335
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• 2016

In the eighteenth century, the scottish philosophers Francis Hutcheson, David Hume and Adam Smith share the idea that morality comes from moral sense, which is a feeling of approval or disapproval of agent's motive and action. However, they have the different views in explaining the mechanism that generates the moral sentiments. Hutcheson takes a moral sense to be a unique mental faculty that is innate to all humans, and regards it as being guaranteed by supernatural apparatus like divine Providence. Hume and Smith reject Hutcheson's concept of internal moral sense and take a stage further Hutcheson's projects of internalisation by naturalizing morality in terms of the principle of sympathy. It is widely held that Hume's moral sentimentalism is essentially similar to Adam Smith's. Though there are important points of contact between Smith's account of sympathy and Hume's, the differences are considerable. The chief of them lies in the fact that Hume grounds our approval of virtue on our recognition of its utility and convention, and Smith does not. Smith grounds our approval of virtue on the impartial spectator's judgment, i.e., conscience. Hence for Smith, the impartial spectator is the one that bridges the gap between particularity and universality and works the vehicle of practical reason. Given this, in this paper, first, I will clarify the difference between Hume's and Adam Smith's understandings of sympathy. Second, I will elucidate how they explain the process to produce the moral sentiments based on their understandings of sympathy. I shall finally explicate in what way Hume's and Smith's theories on sympathy work as moral normativity.

• Journal of Korean Society of Forest Science
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• v.108 no.3
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• pp.372-381
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• 2019

This study was conducted to find proof for the hypothesis that the God tree of Chosun has been misrepresented in Chosun-Gersu-Nosu-Myungmokji (CGNM). The following results were obtained. First, it was established that 64 species and 3170 trees were recorded in CGNM. An old, big tree is classified as a God tree if linked to it there are testimonies and legends about divine elements, and it is classified as a Noble tree if linked to it there are testimonies and legends of historical elements. In total, 2632 trees of eight species were analyzed, from the Zelkova serrata, which has the greatest number of trees, to the eighth most frequent, Abies holophylla. The means of diameter at breast height (DBH), height, and age of the God and the Noble trees were calculated for each of the eight species. In seven out of eight species, the DBH and age of the Noble tree were more than those of the God tree. In addition, the height of the Noble tree was more than that of the God tree in six out of eight species. The fact that the God tree is smaller than the Noble tree, contrary to the common expectation that the Noble tree is a small size tree, was confirmed. This hypothesis was proved by the data gathered. Second, the Japanese Government-General of Korea has pursued a policy to defeat the village ritual based on the God tree being linked with superstition. For such a policy, the God tree should be small and unattractive, and it would have been good for the tree to be superstitious. The CGNM was created as explanatory material or evidence for distorting the sacredness of the God tree of Chosun. Third, CGNM compiled a chronological order of DBH data to make it easy to explain the fabricated facts that the God tree of Chosun is smaller and dwarfed compared to the Noble tree.

• Sim-seong Yeon-gu
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• v.31 no.2
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• pp.177-214
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• 2016

This thesis is an interpretation of "Golden bird" of Grimm's fairy tale and similar other tales from the perspective of analytical psychology. Golden bird story start loss of golden apple in king's garden. King and three sons are one-sided structure live without female members in family. They need feminine aspect. Adventure and journey of stupid youngest son can be seen as a individuation process in analytic psychology. Ego meets several painful experience during journey. New Kingdom has a new specific collective consciousness. When ego fixed dominated specific collective consciousness he can only be liberated after completing the difficult task of the next phase in crisis of death. This process is initiation, which is a supplement to feminity after recovery of increased consciousness, marriage with the princess, which is possible to unify the sexes (coniunctio oppositorum). The ego who got the apple, bird, horse, and princess which is shown to be a supplement to feminity, does not attain a complete success. Although the youngest comes out after brothers' failure, yet separation and abandonment of persona are difficult challenges and after all he achives a higher consciousness and then he primarily marries the princess, his Anima, after he executed his brothers for his repeated hardships, when the intellectual capacity is sacrificed as offering. Also, the fox restores himself from magic after the youngest son kills him and cut his head and feet, as the fox's wish. To be transformed into a human being. It experiences another consciousness. Finally, unifying the coniunctio oppositerum is fulfilled and a divine bond achieves the wholeness and it is accomplished individuation. In clinical practice, fox is compared to a therapist as a guide of individuation process who lead clients.

• Sim-seong Yeon-gu
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• v.36 no.1
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• pp.1-54
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• 2021

Princess Bari, the seventh daughter of the King and Queen, is abandoned at birth. She one day embarks on a solitary journey into the underworld to seek the antidote she needs to save her ailing father. The shamanic myth then depicts terrible ordeals, after which the Princess manages to obtain the elixir of life to bring her parents back to life, leading to her deification as the Queen of all shamans. The life of Princess Bari as the ancestor of shamans incorporates the necessary rite of passage to become a shaman, persevering through all manner of trials and tribulations until death and then being reborn. Princess Bari's story of deification as the goddess of shamans constitutes the archetype or the primitive image of the collective unconscious, the mytheme. From the perspective of analytical psychology, Princess Bari, who became the Queen of shamans after undergoing a process of pain, death, and then rebirth demonstrates a facet of the individuation process, evident in heroic mythology. Princess Bari not only cured her parents of disease but also brought them back to life. What enabled her to obtain the elixir to resurrect her parents was her love and compassion for them based on self-sacrifice, enduring all the trivial and repetitive undertakings of everyday life. She viewed the world and behaved from the perspective of a broader Self. Making herself a powerful healer through the ordeals in the underworld, Princess Bari is the psychopomp as well as the healer archetype. The sacred power of healing that goes beyond the Princess' sufferings represents the Self Archetype inherent in the mentality of the Koreans, in other words, a symbolic power that indicates the divine representation of a healer.

• Sim-seong Yeon-gu
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• v.38 no.1
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• pp.45-111
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• 2023

This paper examines the apparition of the Virgin Mary revealed in Rue du Bac, Paris, France, in 1830, from a perspective of analytical psychology. To do so, it amplifies the archetypal motifs manifested in the images of the Virgin Mary of Rue du Bac by introducing the medieval alchemical picture titled "Glorification of the body portrayed as the coronation of the Virgin Mary" from Reusner's Pandora (1588). This image of the Virgin Mary is full of archetypal motifs that show the process and end result of individuation, which is the main idea of Jungian psychology. These symbols that depict the individuation process, both in Reusner's Pandora and in the Mary of Rue du Bac, are expressions of mythologems, constituent elements of the collective unconscious. Jung noted that these mythologems are the ultimate base and matrix of all religions. Through examining the archetypal motifs, which appear in the Mary of Rue du Bac, the apparition of the Mary turns out to be the revelation of the archetypal image of the Self in a space-time continuum, which is constellated in the collective unconscious. That is, an archetypal figure revealed itself to a witness' ego-consciousness to whom a space-time continuum functions as a cognitive category. The Mary of Rue du Bac represents the union of the opposites of divinity and humanity, which lacks in the symbolism of the Cross in Christianity. In this regard, she is an image of the new savior, who opens the new aeon of the Aquarius. The revealed image of Mary shows that divinity originates from the inner realm of the human psyche, that corporeal human beings are the matrix in which the divine incarnates, and that human being is the subject of psychological redemption. The image of Mary awakens us to the value of divinity in the human psyche in the times when the spiritual values Christianity has retained declines drastically.

• Journal of Korean Philosophical Society
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• v.129
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• pp.193-217
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• 2014

The aim of this thesis is to elucidate the meaning of play which constitutes the genuine happiness of human being in Plato's '$heort{\bar{e}}$' and Aristotle's '$schol{\bar{e}}$'. Until now '$heort{\bar{e}}$', a divine act which communicate with original divinity, was differentiated from paidia. And '$schol{\bar{e}}$' was understood as activities in spare time opposed to labour. Plato put '$heort{\bar{e}}$' at the center of their life as a means for gods' blessing. Aristotle understand '$schol{\bar{e}}$' as free activities and the completion of individual life. For Aristotle play is not only a freedom from labour but also a supreme activity. Play itself is an end and a completion. Play is the essence of human life so man can be happy with play. Play is the activity of joy. And play is the most intellectual and spontaneous activity. Now we can assert that '$heort{\bar{e}}$' is the original play which elucidate the existence of the human being in connection with world and is the holy mode of play which makes an affluent life of communities. And we can maintain that '$schol{\bar{e}}$' is a mode of play which freed from the burden of labour and elevate the life of human being to academic activities and contemplative life. By this interpretation we can expose that play is the center of life. We can see the two fold meaning of apollonian-dionysian play and the perfect harmony of communities in Plato's '$heort{\bar{e}}$'. We can see also the delight as splendidness of life in Aristotle's '$schol{\bar{e}}$'. The Plato's theory of play seems different from Aristotle's. But their theories are the same in the general, because they both put play at the center of life and they equally assert that we have to live with playing our life. The world in which play is in harmony with labour- this world is their utopia.