• (The) Research of the performance art and culture
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• no.36
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• pp.603-647
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• 2018

During the Japanese colonial era, Chosun Central Young Men's Christian Association Hall, Gyeongseong Public Hall, or Bumingwan was used as multipurpose space where various performances or events were held. Although traditional music performed in each of the places did influence the remaining of traditional music in existence as well as the vitalization of traditional musicians' activity, since these places were mostly for Western music or other genres, no research has been carried out to study the performance of traditional music there in detail. The purpose of this study is to understand the aspects of performing traditional music in multipurpose places mentioned above. Reviewing newspaper materials of the time, this author has examined the aspects of performing traditional music in each of those places in terms of the forms of performances performance programs performers as well as performing groups the aspects of development. First, this researcher considered in what forms traditional music was performed in each of the places mostly. About performance programs, this author divided them into instrumental music, vocal music court music, and folk music. Regarding performers, this study divided them into instrumental music and vocal music professional performers and unprofessional performers male and female master singers and gisaeng and figured out the importance of each of them in different places. Also, concerning the appearance of performers and performing groups, this researcher studied how it was associated with the space, and about the aspects of performance, how it was developed in different periods was examined. In that process, this author has learned that the aspects of performing traditional music in the space were significantly influenced by the characteristics of each space and has clearly and concretely understood performing programs as well as the aspects of performers and groups' activity. With this research as an opportunity, this author expects that research will be actively conducted on the performance of traditional music in each of the places that have not been studied yet and it can contribute to figuring out the development or trends of performing traditional music during the Japanese colonial era.

• Journal of Korean Philosophical Society
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• v.146
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• pp.307-328
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• 2018

The use of thought experiments has a long history in many disciplines including science. In the field of philosophy, thought experiments have frequently appeared in the pre-existing literature on the contemporary Analytic Philosophy. A thought experiment refers to a synthetic environment where the designer of the experiment-with his or her intuition and imagination-tests common-sense knowledge. It can be understood as a conceptual tool for testing the validity of the common understanding of an issue or a phenomenon. However, we are not certain about the usefulness or efficacy of a thought experiment in knowledge production. The design of a thought experiment is meant to lure readers into believing as intended by the experiment itself. Thus, regardless of the purpose of a thought experiment, many readers who encounter the experiment could feel deceived. In this paper, to analyze the logic of thought experiments and to seek the source of uneasiness the readers and critics may feel about thought experiments, I draw lessons from three renowned thought-experiments: Thomson's 'ailing violinist', Putnam's 'brain in a vat', and Searle's 'Chinese room'. Imaginative thought experiments are usually constructed around a gap between the reality and the knowledge/information at hand. From the three experiments, several lessons can be learned. First, the evidence of the existence of a gap provided via thought experiments can serve as arguments for counterfactual situations. At the same time, the credibility and efficacy of the thought experiments can be damaged as soon as the thought-experiments are carried out with inappropriate and/or murky directions regarding the procedures of the experiment or the background of the study. According to D. R. Hofstadter and D. C. Dennett(1981), the 'knob setting' in a thought experiment can be altered in the middle of a simulation of the experimental condition, and then the implications of the thought experiment change altogether, indicating that an entirely different conclusion can be deduced from thought experiment. Lastly, some pre-suppositions and bias of the experiment designers play a considerable role in the validity and the chances of success of a thought experiment; thus, it is recommended that the experiment-designers refrain from exercising too much of their imagination in order to avoid contaminating the design of the experiment and/or wrongly accepting preconceived/misguided conclusions.

• (The) Research of the performance art and culture
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• no.36
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• pp.415-440
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• 2018

On September 23, 2015, the Ministry of Education announced the 2015 revision of educational curriculum which aimed at 'cultivating creative talents' based on the Article 23, Section 2 of the Elementary and Secondary Education Law. As a result, music curriculum have also been partially revised, which seems to maintain the 2009 revision of music curriculum. Although Jeongganbo 井間譜 is already exposed in the music curriculum for the third and forth grades of elementary school, the learning content about how to read Jeongganbo and how to express the pitch and length of sound including the origin of its name and the background of its invention are dealt with specifically in the fifth and sixth grades. Jeongganbo is known as the oldest mensural notation in the Orient created by King Sejong of the Joseon Dynasty in the middle of the $15^{th}$ century, and it was used for the first time in Sejong sillok akbo 世宗實錄樂譜 (Scores in the Annals of King Sejong), the oldest musical score still in existence. However, in the music textbooks as well as the most of specialized books related to the Korean traditional music, it is uncritically accepted without providing clear grounds that Sejong invented Jeongganbo himself. If so, it is necessary to investigate on which grounds it is claimed that Sejong invented Jeongganbo. This paper first examined the grounds of the proposition that "Sejong invented Jeongganbo," which is introduced in the music textbooks for the fifth and sixth grades of elementary school, by separating it into Sejong's creation of Sinak 新樂 (new music), Sejo's invention of Jeongganbo and Sejong's invention of Hangeul. Next, this paper examined how the subject of the invention of Jeongganbo has been described in the textbooks for the fifth and sixth grades in elementary school based on the 2009 revision of music curriculum, and suggested the direction of a desirable music education by pointing out the related problems. According to historical records and circumstances such as Sejong's creation of Sinak, Sejo's invention of Jeongganbo with 16 Jeonggan (square) in one vertical line, Sejong's invention of Hangeul and so on, it seems to be the most reasonable that Sejong is the subject of the invention of Jeongganbo as of now. However, the attitude of the musical academy to accept and educate the unclear thing as if it is a fact does not seem desirable. Therefore, I suggest that it should be described "Jeongganbo was invented in the period of Sejong" or "it is supposed that Jeongganbo was invented by Sejong" rather than presenting "Sejong made Jeongganbo" or "created" until revealing the clear evidence about the subject of Jeongganbo.

• Journal of Korean Philosophical Society
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• v.146
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• pp.49-77
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• 2018

This essay examines the ego (I-Subject) problem in Husserl's phenomenology and consists of four parts, as follows. Section I describes the meaning of this research on ego and some important points to note in relation to this study. Section II discusses two aspects of the problem of pure ego, which appears as an ego-problem for the first time. The first aspect is the two opposing positions that Husserl himself took regarding pure ego. Husserl initially rejected pure ego as an object of research in Logische Untersuchungen I (1901) however, he withdrew this position in Logische Untersuchungen II (1913). The second aspect is the content of pure ego that Husserl explored in Ideen I (1913) after he accepted pure ego as a phenomenological problem. The theme of section III is the "theory of three egos" which appeared in Ideen II (1912, 1952). Here, two issues have been noted, one of which is the methodological basis for enabling this theory: the phenomenological "attitude change" (Einstellungsaenderung) and the "Underlying" (Fundierung). The other is the explanation of the content of the three egos: the "physical ego", "personal ego" and the "pure ego". Section IV concerns two themes of the "monadic ego" that appeared in the Cartesianische Meditationen (1931). The first theme is the theoretical premise for the establishment of the monadic ego. In conjunction with this theme, phenomenological-psychological reduction was used as a new method to open up new problem horizons. The second theme brings up the content of the monadic ego, the essence of which can be summarized as follows. 1) This ego is based on a pluralistic and independent ego-concept in which each ego is equal to its own self. 2) It must be asked whether each of the monadic egos is different from one another. 3) The "other" of a certain transcendental ego is not the ego-other relationship but ego-another ego (alter-ego). 4) This phenomenological monadic ego can mutually communicate with alter-egos through empathy, unlike Leibniz's metaphysical monads.

• Journal of Korean Philosophical Society
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• v.131
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• pp.165-197
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• 2014

In this paper, I investigate on the human nature in philosophy of Wang Yang-Ming and Buddhism from a Kantian point of view. The core argument of the philosophy of Wang Yang-Ming, Buddhism and Kant is that all human beings have the pure abilities a priori to overcome themselves, to realize their own potentialities. This is called immanent transcendence. At this time human beings can be free. Kant, Wang Yang-Ming and Buddhism claim that all human beings themselves will overcome their desires from their mind and body through the immanent transcendence, reflection and contemplation on their own. When we give up the external knowledges, throw away obsessions with the selfish desires and go back to our inside, we can see our original nature. To have an insight into this inner nature, to respect the moral law a priori, this is to overcome the ourselves, and to be a Grate Man(聖人) and a Buddha. This way is the only way to be a Grate Man and a Buddha. The main proposition of Wang Yang-Ming's philosophy is expressed 'There are no things without mind.'(心外無物) The core of Kant's transcendental philosophy is called the Copernican Revolution by himself. Copernican Revolution means the transition from the object-centered epistemology to the subject-centered epistemology. 'Innate Knowing'(良知) and 'Perform Innate Knowing'(致良知), 'All human beings have the mind of Buddha'(一切衆生悉有佛性) contain the apriority, immanence of Moral Law. In this respect, the theory of Innate Knowing in Wang Yang-Ming and mind of Buddha in Buddhism, pure Moral Law in Kant has the same structure grounded in subjectivity. Even if we have the mind of Buddha, innate Knowing, moral law a priori, the reason why we don't know our original nature is that we fall into the obsessions with selfish desires, and that we have inclination to external interests. So the moment you see our original nature, ordinary people themselves turn into a Buddha. These changes and transitions are immanent transcendence. All human beings have the ability to do this changes and transitions. Buddha does not exist outside of us, but it exists with our reflections on our human nature. Buddha can not existed without our insight into the our innate Ego. Where there is our original nature, there is a Buddha. So Buddha is called the another name of the original figure of human beings.

• Journal of Korean Philosophical Society
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• v.146
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• pp.137-162
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• 2018

Zen Psychology refers to the psychology of Zen Buddhism as a field of Buddhist psychology. This paper examines the psychology of human beings, focusing on the "Platform Sutra" written by Huineng, the founder of Patriarchal Zen, and the southern Zen school. According to the classification of Buddhist psychology, Zen psychology is divided into theory of Zen mind, theory of Zend mind function, and Zen psychotherapy. In theory of Zen mind, Huineng explains the mind based on self-nature, and explains the theory of dharma, theory of humanity, theory of dependent origination, and worldview though self-nature. Every human mind has its own original character of self-nature. When one's own mind with self-nature is revealed, it is the basic mind. When it is covered, it is the mind of common people. Self-nature is characterized by dharma construction, incompetence, non-naming, cleanliness, equality, and self-Buddhahood. In the theory of dharma, dharma is non-dual and is equal. The theory of humanity is divided into two groups according to the sharpness and dullness or capacity of the human being. From theory of dependent origination, you can see the mobility of cover and revealment, enlightment and delusion, sacred and common. In the worldview, the world and phenomena are the functions of self-nature and one's own mind. The theory of Zen mind function deals with wisdom and defilement of common people. The function of wisdom is to know the whole and one at the same time, and is intangible. Defilement of common people is an inner common people that cover the functions of wisdom. In Zen psychotherapy, in order to eliminate the gap between human and dharma, seeing into self-nature is suggested and the goal. In teleology, the goal is to reveal and see the self-nature covered by defilements. As a methodology from cover to revealment, Huineng interprets the traditional methodology as a new interpretation from the viewpoint of the mind, and presents Sammu as its own methodology. Based on the absence of attachment, Huineng proposed a methodology of No-abiding, No-thought and No-form, to gather mind on reality and treat all things equally. Based on this, Huineng proposed a new methodology for dealing with karma through repentance and vows, and a methodology for edification. In view of the Four Noble Truth, it is the phenomenon that self-nature is covered, the cause of defilement and the mind, the aim of seeing the self-nature which is covered, and the way of revealing the covered self-nature is presented. In this sense, the Zen Psychology of Platform Sutra is psychology of self-nature.

• Journal of Korean Philosophical Society
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• v.123
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• pp.347-377
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• 2012

We have numerous terms representing mind. We can understand them largely as the relationship of 'Discernible Mind' and 'Indiscernible Mind.' Because, our understanding mind is formed by linguistic discernment. When any discernment arise from our mind, we recognize the mind shown by discernment[Discernible Mind]. At the same time, we can think orignal mind[Indiscernible Mind] outside that discernment. Buddhism, generally, has understood mind in the relation with everything. That is to say, they have understood it from the perspective of dependent co-arising. In the early Buddhism and the abhidharma Buddhism, approaches to mind were mainly made by the discerning method. They explained arising and vanishing of 'Discernible Mind' by the law of dependent arising. Co-arisen 'Discernible Mind' is impermanent and temporary. But they never be denied on 'Discernible Mind' as an vainness. In $Mah{\bar{a}}y{\bar{a}}na$ Buddhism, $N{\bar{a}}garjuna$ understood the essence of dependent arising as the ${\acute{s}}{\bar{u}}nyata$ (emptiness) and the law of dependent arising as simultaneous dependence, not gradual dependences. $N{\bar{a}}garjuna$ criticized on vainness of Discernible Mind through ${\acute{s}}{\bar{u}}nyata$, and made possible to directly perceive Indiscernible Mind, before Discernment. Undiscriminating Mind can not be explained for being stayed beyond the state linguistic discernment(false discrimination), however, had been approached from various other names to potential consciousness or original nature. While ${\acute{s}}{\bar{u}}nata$ thought focused on criticizing vainness of discernment, Hwaeum thought suggested aspect of Indiscernible mind from the aspect of $ekay{\bar{a}}na$ dependant co-arising that everything has been co-arisen, the truth of discrimination. Furthermore, it opened the path to affirm the both indiscernible mind and discernible mind by illuminating that everything is manifestation of original nature itself, i.e. nature-arising. Hwaeum thought focused on perfect understanding by explicating the relation both indiscernible mind and discernible mind from the view point of non-abiding, rather than clarifying 'Discernible Mind' and 'Indiscernible Mind', itself. That is to say, from the aspect of dependant co-arising, Hwaeum thought plays a role that enters the indiscernible world from discernible world, and also, another role, from the aspect of nature-arising that is manifesting discernible world from indiscernible world. These aspects are important for righteous understanding on mind, and also simultaneously, very effective for healing disease of obsession, a kind of metal disease.

• (The) Research of the performance art and culture
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• no.36
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• pp.751-781
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• 2018

Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.

• (The) Research of the performance art and culture
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• no.36
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• pp.693-724
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• 2018

This article was started to find a way for creating a performance out of Gut. In order to find such way, the first thing that had to be done was to organize the Gut performances that had been made until now. It was to organize the existing study on the performances and to seek a different way from it, believing that the virtue of a performance is to 'create diversity'. However, it was not easy to organize the Gut performances, which became full-scale in the 1980s, because they were never organized before. Therefore, based on my direct and indirect experience, I have organized the most important performances in chronological order. Most importantly, as the planners of the performances (can sometimes be a group or an organization instead of an individual) are the ones who make the show possible, I have noted on them with keen interest. The National Folk Art Performance Contests in Korea, Theater 'Space Sarang', The Association of Gut, Theater 'Madangsesil', Seoul Nori Madang, and National Gugak center were the center space and planning body of the Gut performances. Recording the history of Gut is a worthwhile work of its own. However, it is a substantial amount of task to be done with individual effort, and it has to be progressed as a public project in order to promote and spread its value. Therefore, this article raises the need for it. Meanwhile, as stated earlier, this article has recorded the history of Gut performances as a precondition to finding a way to create a performance out of Gut. From the experimental organization of the Gut performances history, I could find out that most of the performances had the people who did Gut as the main body and the method of the Gut performance did not significantly deviate from just reenacting the original Gut at the time of when it was performed. Therefore, I have introduced Shinmyeong, the Nori-Pae (troupe), and TheGwangdae, the Korean Traditional Performance troupe, who create Madangguk from various Gut materials. By refining the wholly complicated performance elements of the Gut, it could escape from the 'reenacting' performance to becoming a material or a metaphor for a whole new performance.

• Journal of Korean Philosophical Society
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• v.116
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• pp.225-256
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• 2010

The two school $M{\bar{a}}dhyamika$ and $Yog{\bar{a}}c{\bar{a}}ra$ act as a representative of $Mah{\bar{a}}y{\bar{a}}na$ Buddhism in India. But the two school disputed with each other insisting ${\acute{s}}{\bar{u}}nyat{\bar{a}}-v{\bar{a}}da$ and $vij{\tilde{n}}aptim{\bar{a}}trav{\bar{a}}da$ separately. To introduce the disputation shortly is as follow. $N{\bar{a}}g{\bar{a}}rjuna$ explained the world and truth by two truth theories(二諦說) which carry out truth of a word and the dimension(spiritual enlightenment) which is absolute(ultimate) to it being lokasaṁvṛtisatya(世俗諦) about the truth which can be expressed verbally, and which is phenomenon-like (everyday) at paramaarthasatya(勝義諦). By the way, lokasaṁvṛtisatya and paramaarthasatya are actually distinction of the recognition which is not an ontological distinction. That is, lokasaṁvṛti(世俗) is paramaartha(勝義) as it is the time of seeing by the eyes of those who have realized. The two truth theories of $N{\bar{a}}g{\bar{a}}rjuna$ was developed logical more precisely by his successors. With an everyday language, the position of Candrakīrti(月稱) that it cannot be expressed as the position of $Bh{\bar{a}}vaviveka$(淸辨) that paramaarthasatya can be expressed logically is opposed to each other, and dissociates by $Sv{\bar{a}}tantrika$(自立論證派) and $P{\bar{a}}rsagika$(歸謬論證派). Confrontation of $Sv{\bar{a}}tantrika$ and $P{\bar{a}}rsagika$ is the dispute about the ability of s which is the highest truth to be proved logically. The $P{\bar{a}}rsaga$ of Candrakirti thinks that people exist truly, and is because it claims not existing in the world where a favorite thing is actually actual. However, $Bh{\bar{a}}vaviveka$ proved Sunyata(空性)을 positively based on the reliance to language and logic. Also the mokṣa of $M{\bar{a}}dhyamika$ is not recovery of original condition of $vij{\tilde{n}}apti$ which is pure in itself as $Yog{\bar{a}}c{\bar{a}}ra$ saying, as well as obtaining a thing which is dravya-sat as $Sarv{\bar{a}}stiv{\bar{a}}din$ saying. The mokṣa of $M{\bar{a}}dhyamika$ means a condition of liberated from karma and pains through extinction of $prapa{\tilde{n}}ca$ and discrimination by realizing the real aspect of all dharma which is said by pratītyasamutpāda, $praj{\tilde{n}}apti$, niḥsvabhāva, ${\acute{s}}{\bar{u}}nya$, $madhyam{\bar{a}}pratipad$.