• Journal of Korean Philosophical Society
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• v.144
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• pp.371-398
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• 2017

The emotions that Aristotle treats in Rhetoric II 2-11 are broadly divided into two groups: the one is the so-called basic emotions, the other the emotions that are opposed to them. The reason that he draws attention to the opposite emotions is that, for example, angry judges must be placed in an opposite state. The question is whether the calmness treated in Rhetoric II 3 is an emotion. Because it is treated in the Ethics as a virtue and thus as a trait of character. How is calmness distinguished as an emotion from that as a virtue? And in what way is it opposed to anger? In short, what is the calmness, inasmuch as it is an emotion? This is the question which is the task of this work. The thesis asserted in this paper is that calmness is the disposition to do a service for another that results from praise or some other act that enhances a belief in one's worth. To substantiate the thesis, the following questions are discussed. The first question is whether the calmness could also contain proportions of pleasure and pain. The question also arises whether it could be also treated properly according to the standard 'target person-intentional object-mental state'. Finally, there is a comparison between the concept of calmness in the Ethics and Rhetoric, so that the latter concept places itself in the foreground.

• Journal of Korean Philosophical Society
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• v.123
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• pp.281-307
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• 2012

In the modern society, we have come to recognize human emotions such as anxiety, fear, pain, anger, sadness, longing, desire and pleasure as important topics of philosophy. How shall we study the 'problem of emotions', or in a bigger sense, the 'problem of empathy'? With this critical mind, the research into empathy can be called as a starting point for studying the deepest feelings and thoughts of human beings in connection with the feelings of other people. Most of all, in order to understand other people and to understand human being itself, the role of sympathy or empathy has been emphasized among the problems of emotions, and this trend is especially distinctive in the philosophy of psychology. I definitely acknowledge that empathy or sympathy takes loneliness and agony away from a human being and therefore it is the starting point of communication between people. However, the very fundamental question of 'what are human beings, and who are they?' is once again reminded. In other words, this thesis focuses on the fact that humans are viewed not only as the existence with a soul or heart, but also as a "unique existence" containing something "material-, life- and spiritual", and in that sense, this world is an ecological organism that contains organic connections of humans, material things, plants and animals, which should be the point of view for approach. And it is also emphasized in this study to approach the question about human beings from the religious spirituality point of view that the society with true love for neighbors could be achieved through religious practices that provide principles and value.

• The Journal of the Convergence on Culture Technology
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• v.8 no.2
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• pp.227-234
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• 2022

Seok Jeon Hwang Wook (18913~1999), a descendant of a traditional literary writer in the western part of Honam, did not join the flow of modern and contemporary calligraphy and painting. And throughout his life, he enjoyed himself without losing the appearance of a scholar, immersed himself in traditional calligraphy, and gained spotlight at his late age for his original hand grabbing calligraphy. Immediately after the Korean War, all of his property was lost due to his two sons' left-wing activities, causing great pain at home. Even in the most painful and difficult time in human history, he relied on brushes, poetry, and gayageum to keep his upright scholarly spirit and national love. And beyond the pleasures of the worldly senses, he played with self-satisfaction in the 'true pleasure(大樂)' without greed. In the course of his studies, he focused on honing the fonts of Wang Hui-ji, Gu Yang-sun, An Jin-gyeong, Jo Maeng-bu, and Xin-wi and Lee Sam-man without a special teacher. In particular, he faced a crisis of having to give up his brush due to tremor that came after his 60th birthday, but he showed a strong will. He transformed it into a new style of art, such as developing hand grabbing calligraphy(握筆法) with a strong and strong energy that no one could match. From 1965 to 1983, 'right hand grabbing calligraphy' was used, and from 1984 to 1993, 'left hand grabbing calligraphy' was used. She made her name as a calligrapher widely known in 1973 (age 76) with her first solo exhibition, The Calligraphy Exhibition commemorating her 60th wedding anniversary. His writing method is naturally rough and sloppy by breaking away from the previous calligraphy methods and artificial technique, and is unfamiliar yet full of muscle. And the calm, strong and rough chuhoegsa(錐劃沙) and the heavy yet majestic ininni(印印泥) individual handwriting expressed a strange feeling and achieved original Seokjeon calligraphy that went beyond the existing calligraphy writing methods, and his indomitable calligraphy spirit was As a unique existence in the history of calligraphy, he still remains as a model.