• Journal of Korean Philosophical Society
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• no.120
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• pp.217-250
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• 2018

Subjekt oder $Selbstbewu{\ss}tsein$ ist ein grundlegendes Prinzip neuzeitlicher Philosophie. Das $Selbstbewu{\ss}tsein$ ist bei Kant $Selbstbewu{\ss}tsein$(analytische Einheit der Apperzeption als klare Selbstbeziehung) in Objekts $bewu{\ss}tsein$(synthetischer Einheit der Apperzeptuion). Dabei zeigt er ein Reflexionsmodell des $Selbstbewu{\ss}tseins$. Aber er $erkl{\ddot{a}}rt$ nicht systematisch ein $Verh{\ddot{a}}ltnis$ zwischen synthetischer Einheit und analytischer Einheit der Apperzeption, und auch $l{\ddot{o}}st$ er nicht theorienimmanente und formale Schwierigkeiten von Zirkelargument bzw. unendlicher Iteration in der Reflxionsstruktur des $Selbstbewu{\ss}tseins$. Aufgrund der Voraussetzungen seiner eigenen Fundamentalontologie kritisiert der $fr{\ddot{u}}he$ Heidegger, $da{\ss}$ Kants $traditionsabh{\ddot{a}}ngige$ $Subjektivit{\ddot{a}}tstheorie$ Symptome der Seins vergessenheit zeigt, transformiert Kants $Selbstbewu{\ss}tseinstheorie$, interpretiert Kants transformierte Theorie als $subjektivit{\ddot{a}}tstheoretische$ $Begr{\ddot{u}}ndung$ der traditionellen Ontologie von Vorhandenheit, und versteht sie als ersten Schritt und erstes phlosophisches Modell seiner Fundamentalontologie. Durch kritische Interpretation von Kants Lehre von Selbstaffektion und $Selbstbewu{\ss}tsein$ deutet er ein Modell des $Selbstbewu{\ss}tseins$ als des $ph{\ddot{a}}nomenologischen$ $Horizontsbewu{\ss}tseins$ an. In diesem Modell der vorreflexiven und unmittelbaren Selbstbeziehung entstehen Schwierigkeiten von Zirkelargument bzw. unendlicher Iteration nicht. Apel kritisiert Kants $selbstbewu{\ss}te$ Apperzeptionstheorie in dem Sinne, $da{\ss}$ sie solipsistisch sei, und in seiner Transzendentalpragmatik $vervollst{\ddot{a}}ndigt$ er Kants transzendentalphilosophische $G{\ddot{u}}ltigkeit$ in der Dimension von $Intersubjektivit{\ddot{a}}t$ diskurierender Menschen. Hierbei ersetzt die Kommunikationsgemeinschaft Kants Apperzeption oder $Bewu{\ss}tsein$ ${\ddot{u}}berhaupt$. In der transzendentalpragmatischen Sicht, die auf den sprachlichen Bezug des Denkens und Erkennens und die Kommunikationsgemeinschaft geht, beruht das $Selbstbewu{\ss}tsein$ oder die Reflexion des Subjekts wesentlich auf seinem sprachlich vermittelten sozialen Bezug. Also geht es nicht um Zirkelargument und unendliche Iteration in denkender Selbstbeziehung des Subjekts. Ebeling hebt Heideggers Daseinsanalytik auf das Niveau von Apels Transzendentalpragmatik an und entwickelt Fundamatalpragmatik ${\ddot{u}}ber$ $Widerstandsbewu{\ss}tsein$ gegen allgemeinen Tod. Dieser $Widerstandsbewu{\ss}tsein$ ist fundamentalpragmatische Transformation von Kants $Selbstbewu{\ss}tsein$. Der $Widerstandsbewu{\ss}tsein$ der Vernunft bleibt in der solipsistischen Dimension nicht und ist ein $Bewu{\ss}tsein$, das in der Widerstandsgemeinschaft durch Argumentation universalisiert werden kann. Hierbei geht es nicht um Zirkelargument und unendliche Iteration.

• The Critical Review of Religion and Culture
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• no.31
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• pp.141-172
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• 2017

The objectives of this paper are to investigate hunting, stock raising, sacrifice recorded in the oracle bone inscriptions of Shang Dynasty. I want to raise two basic questions. First, what were the functions of hunting, stock raising, sacrifice, which constructed the world of life in Shang Dynasty? Second, what were the relationships of gods, men, animals derived from them? These questions are brought up to how the commoners of Shang Dynasty build the world and perceive it. I adopted positively prevalent theories for answering those questions. I am particularly provided with Michael J. Puett's insightful remarks in this presentation. He criticizes the previous viewpoint that the relationships of gods and men in ancient China were harmonious and mutually respondent. According to him, in the ancient way of thinking of China the world of gods was full of whimsical and unpredictable power and also contained the risks, which led to disaster to the human world. So it is needed to be controled in a certain way. The sacrifice and the divination must have been instruments for controlling it in ancient China. In the same vein his arguments can be applied to the special connotations of hunting and stock raising, by the benefit of which I developed my own ideas in this paper. The conclusions are as follows. First, Shang dynasty tried to suppress the latent danger of two worlds. The nature represented by animals and the world of gods were respectively considered as the unknown domains, which is to threatening human life. Hunting, stock raising, sacrifice were the ways and means of controlling these two domains of power, which cause chaos in life. Second, the relationships among gods, men, animals had various functions and changed their status role, depending on the circumstances. Hunting and stock raising were important methods to domesticate animals with violence. In this domestication process animals became "victims" but animals are also to be the messengers to gods through being slain in the sacrifice. In this way animals are both inferior and superior to men and hold a unique status between gods and men.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.239-275
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• 2010

Cette ${\acute{e}}tude$ a pour but de proposer une $m{\acute{e}}thodologie$ de critique avec la $s{\acute{e}}miotique$ ouverte. La critique de $th{\acute{e}}{\hat{a}}tre$ commence ${\grave{a}}$ lire le $th{\acute{e}}{\hat{a}}tre$, l'analyse et juge son valeur. Il arrive souvent qu'on juge avec intutition. On dit que c'est une critique d'impressionnisme. Cette critique est subjective, mais pas objective. La $s{\acute{e}}miotique$ de Saussure offre la $m{\acute{e}}thodologie$ scientifique ${\grave{a}}$ la critique. A $c{\hat{o}}t{\acute{e}}$ de la critique d'impressionnisme qui est subjective, la $s{\acute{e}}miotique$ peut expliciter la raison objective. On ${\acute{e}}tait$ admiratif devant sa scientisme, pourtant $apr{\grave{e}}s$ quoi on critique sa non-$subjectivit{\acute{e}}$ et sa non-$historicit{\acute{e}}$. Dans l'opposition de $l^{\prime}objectivit{\acute{e}}$ et de la $subjectivit{\acute{e}}$, on tente de rechercher un model $int{\acute{e}}gr{\acute{e}}$ dialectiquement entre l'impressionisme(subjective) et la scientisme(objective). Pour cela, on doit aux Ecrits de linguistique $g{\acute{e}}n{\acute{e}}rale$ ($publi{\acute{e}}$ en 2002 chez Gallimard). Ces Ecrits nous aident ${\grave{a}}$ amener la $s{\acute{e}}miotique$ $ferm{\acute{e}}e$ sur la $s{\acute{e}}miotique$ ouverte et ${\grave{a}}$ $red{\acute{e}}couvrir$ la $pens{\acute{e}}e$ de Saussure. Ils nous font ouvrir un nouveau champ de recherche pour la $s{\acute{e}}miotique$ ouverte. L'essentiel de la $th{\acute{e}}orie$ saussurienne du signe $d{\acute{e}}pend$ de l'arbitraire et du circulaire du signe. On $red{\acute{e}}couvre$ la notion ${\acute{e}}largie$ du signe, dans Ecrits de linguistique $g{\acute{e}}n{\acute{e}}rale$, contre le courant majeur de linguistique et de structuralisme. Cette notion s'y focalise, ${\grave{a}}$ la valeur, ${\grave{a}}$ la $relativit{\acute{e}}$, ${\grave{a}}$ la $diff{\acute{e}}rence$ et au $syst{\grave{e}}me$. Avec elle, on tente d'adopter la $s{\acute{e}}miotique$ ouverte pour rechercher une $m{\acute{e}}thodologie$ de critique qui se veut objective et ${\grave{a}}$ la fois subjective. Il s'agit d'une difficile combinaison de l'impressionisme et de la scienticisme. Pour cela, la $m{\acute{e}}thodologie$ se $d{\acute{e}}veloppera$ en trois ${\acute{e}}tapes$. $1{\grave{e}}re$ ${\acute{e}}tape$: c'est lire le $th{\acute{e}}{\hat{a}}tre$ comme un signe total pour 1er jugement d'impressionnisme. $2{\grave{e}}me$ ${\acute{e}}tape$: c'est retrouver sa structure invisible dans la $relativit{\acute{e}}$ des signes. $3{\grave{e}}me$ ${\acute{e}}tape$: c'est juger, dans leur $relativit{\acute{e}}$, comment les $d{\acute{e}}tails$ de signes se fonctionnent. C'est lire les $d{\acute{e}}tails$ de signes et puis $r{\acute{e}}affirmer$ le jugement en $1{\grave{e}}re$ ${\acute{e}}tape$. Selon les $derni{\grave{e}}res$ deux ${\acute{e}}tapes$, on pourra comparer le premier jugement (impressif) et le dernier jugement (objectif), et enfin s'assumer comme critique. Selon la $m{\acute{e}}thodologie$ $propos{\acute{e}}e$, on pratique la critique sur ${\acute{e}}crit$ par Jean Genet, et mise en $sc{\grave{e}}ne$ par Lee Youn-Taek et par Park Jung-Hee. Pour la critique intertextuelle, on la fera en comparant les deux spectacles avec la $pi{\grave{e}}ce$ de Jean Genet. $D^{\prime}apr{\grave{e}}s$ la comparaison, Lee Youn-Taek met en $sc{\grave{e}}ne$ avec $fid{\acute{e}}lit{\acute{e}}$ la structre et les signes de $d{\acute{e}}tail$ de l'auteur, Park Jung-Hee change sa structre et ses signes pour mettre en $sc{\grave{e}}ne$ la $pi{\grave{e}}ce$ de Genet. Ils se $diff{\grave{e}}rent$ l'un et l'autre: Lee incite le discours de la classe sociale dans le spectacle, et Park y incite le discours du $d{\acute{e}}sir$. La $diff{\acute{e}}rence$ des signes dans la $relativit{\acute{e}}$ apporte la $diff{\acute{e}}rence$ de la signification de discours $th{\acute{e}}{\hat{a}}tral$, et enfin se font changer les significations de deux spectacles.

• Journal of Korean Philosophical Society
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• no.123
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• pp.137-185
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• 2018

This article aims to deconstruct the mechanism of male domination that constantly reproduces the hegemonic class of men. In order to overcome misogyny, we should no longer deny the ontological dimension of the reality of women's oppressions and the pre-eminence of the material condition of women's existence. In addition, the possibility of the category of women as a modality of resistance should be taken into consideration. First, I will highlight the correlation between penis and phallus according to which the phallus refers to the penis which is malleable and fragile and which disappears without being castrated by the external factor. From here we could deduce the fragility and imperfection, the non-absoluteness of the phallic order. Secondly, I will analyze the mechanism of penis-narcissism, which is the modality of the constitution of the individual identity of man. The penis is not only a physiological organ, but a site of self-estimation and the validity of the succession of power and authority of the father's law. With this penis-narcissism, man is constituted as a hegemonic body that can let itself go without worrying about the reactions of others. Thirdly, I will focus on the mechanism of the penis-cartel which is the modality of the formation of the collective identity. The penis-cartel is reinforced by the mutual affirmation of the superiority of men among themselves, but also by the permission and the tacit agreement of their absurdity and lack of rationality and corruption. Because the privilege of men is not monopolized by a small part of the elite, but is consciously and unconsciously shared by all men who are part of the hegemonic and collective category. In order to deconstruct the penis-narcissism and the penis-cartel, it is necessary to demonstrate that the penis is not a self-sufficient body, nor a closed and impermeable body, but that it is a porous body where the organ serves both ejaculation and urinary ejection. The penis is a porous body that is at once the site of sublimity and degradation, purity and impurity. In addition, the penis is no longer an all-powerful and aggressive organ, but it is a malleable and fluid flesh that constantly changes its shape. Linked to a phallus-organ that is the notion of Jacques-Alain Miller, it is a site of deficiency and vulnerability that is not the axis of the penis-cartel. It is through the notion of the double porosity of the penis and the phenomenology of the flesh of the penis, I try to provide the modality of undoing the reproductive mechanism of predatory masculinity. Because this would be an effective strategy to overcome misogyny.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.5-47
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• 2013

Among the styles of performing arts, perhaps the genre that has attracted the largest audience would be musical. Popularity of musical has brought diverse changes in our performing arts market, and, upon emerging another musical genre, called 'Korean Traditional Musical Comedy,' it has been well-received by the audiences. 'Korean Traditional Musical Comedy' is a word that are formed by merging two other terms such as 'Korean Traditional Music' and 'Musical (Comedy).' In the meantime, however, it has yet some problems in order to be defined as the genre that has concrete concepts. It is because the term such as Korean Traditional Musical Comedy was created being closely associated with a marketing purpose rather than a term that defines the characteristics of a genre of performing arts. Although this new musical genre has drawn attentions of many audiences by adding 'Musical Comedy' to 'Korean Traditional Music' that was not quite popular to the public, it still does not have any established forms so that there is a fine line between "Korean Traditional Musical Comedy" and another genre like traditional style folk opera ("Changgeuk"). Looking at the characteristics of the musical work called 'Korean Traditional Musical Comedy, in general, first of all, it is a performance where music and drama are played. Here, the distinctive characteristic of this musical is that 'Korean Traditional Music' is sung. And the kinds of Korean traditional musics being sung are mainly Pansori (dramatic story-singing) and folk-songs, and, in most cases, Korean traditional musical instruments are being used as accompanying music. In this paper, the researcher investigated the aspects of experiment centering around Korean Musical Group, Taroo. These days, various experiments has been repeated not only for the works of Taroo but other musical work presently called 'Korean Traditional Musical Comedy' also. Having encompassed overall performance factors including use of musical instruments, dance, acting, materials for drama as well as music in drama, the researcher has gone through experiments repeatedly. Meanwhile, however, the subject matters that make 'Korean Traditional Musical Comedy' mostly attractive to the audiences are music and songs or sounds. ["Sori" also called "Chang" (唱)] Particularly, under the current situation of our musicals, the role of "Sori" is extremely important. The factor that plays absolutely most important role in acceptance and transformation of "Sori" is the created Pansori. Since the created Pansori is composed with new rhythmic patterns and new narrative poems, it tells the present story. Also it draws good responses from the audiences owing to easy conveyance of dialogues. And, its new style brings diversification to organization of musical instruments, so then this leads to the arrangements of music for Korean traditional music instruments, as well as instrumental music ensemble, orchestra, and jazz band, etc. Likewise, upon appearing creative musics in 'Korean Traditional Musical Comedy,' professional music and vocal compositions have begun to emerge naturally. And, the song specialist and writer, of course, staffs including direction, lighting, and sounds, etc are required. That is, professional composition method are forced to be introduced to all areas. Other than this, there are many music pieces which are based on our unique songs and sounds ("Sori") and such traditional factors as use of lead singer for ceremony or chorus, and the method that puts weight on Pansori. Accordingly many things accomplished. However, it is required that 'Korean Traditional Musical Comedy' go through numerous discussions and more experiments. Above all, the most important things are the role of actor and actress, and their changes, and training of actor and actress further. Good news is there are good audience responses. 'Korean Traditional Musical Comedy' is an open genre. As musicals are divided into several domains according to the characteristics thereof, 'Korean Traditional Musical Comedy' will be able to show its distinctive features in various styles according to embodiment.

• Korean Journal of Breeding Science
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• v.42 no.5
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• pp.555-564
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• 2010

Aphid and mite are the major insects that harm corn. These insects are difficult to control because they are very sensitive to environmental conditions. The purpose of this experiment was to information the loss in quantity of corn and to select inbred lines with resistance after exposing corn to aphid and mite. When exposed to aphid, the average loss in grain yield, ear length, ear diameter, 100 kernel weight, kernel length, kernel width, and kernel thickness were 18.4, 10.9, 1.7, 5.4, 2.3, 1.5 and -0.2%, respectively. When exposed to mite, the average loss in grain yield, ear length, ear diameter, 100 kernel weight, kernel length, kernel width, and kernel thickness were 49.7, 16.5, 20.7, 18.9, 9.5, and -3.4, respectively. Mite had more significant impact on the loss than aphid. Among these factors, grain yield and ear dimater were most significantly correlated on the loss to aphid ($r=0.83^{**}$), while kernel length and thickness were most significantly correlated on the loss to mite ($r=0.83^{**}$). However, ear length was not related to loss to the two insects. The inbred lines that were often used for $F_1$ hybrid which was lower than the average loss by aphid, were KS7, B68, 61B3, 70A1, and KS5, while the inbred lines that were often used for $F_1$ hybrid which was lower than the average decrease by mite, were KS7, B68, 61B3, 66B2-4, 70A1, 72B2, and KS5. These inbred lines could be used to breed inbred lines, hybrid, and open pollination variety that confer resistant to aphid and mite.

• Food Engineering Progress
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• v.14 no.2
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• pp.92-98
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• 2010

In this study, various active functional components in Chinese Quince were extracted by solvent extraction method. A central composit design for optimization was applied to investigate the effects of independent variables such as solvent to sample ratio ($X_{1}$), extraction temperature ($X_{2}$), and extraction time ($X_{3}$) on the soluble solid contents ($Y_{1}$), total phenols ($Y_{2}$), electron donating ability ($Y_{3}$), browning color ($Y_{4}$) and reducing sugar contents ($Y_{5}$). It was found that extraction temperature and extraction time were the main effective factors in this extraction process. The maximum soluble solid contents of 35.77% was obtained at 26.38 mL/g ($X_{1}$), 72.82$^{\circ}C$ ($X_{2}$) and 74.86 min ($X_{3}$) in saddle point. Total phenols were rarely affected by solvent ratio and extraction time, but it was affected by extraction temperature. The maximum total phenols of 20.70% was obtained at 22.61 mL/g ($X_{1}$), 84.49$^{\circ}C$ ($X_{2}$), 77.25 min ($X_{3}$) in saddle point. The electron donating ability was affected by extraction time. The maximum electron donating ability of 94.12% was obtained at 10.65 mL/g ($X_{1}$), 67.78$^{\circ}C$ ($X_{2}$), 96.75 min ($X_{3}$) in saddle point. The maximum browning color of 0.32% was obtained at 23.77 mL/g ($X_{1}$), 87.27$^{\circ}C$ ($X_{2}$), 96.68 min ($X_{3}$) in saddle point. The maximum value of reducing sugar content of 10.55% was obtained at 26.83 mL/g ($X_{1}$), 82.167$^{\circ}C$ ($X_{2}$), 81.94 min ($X_{3}$). Reducing sugar content was affected by extraction time.

• Cross-Cultural Studies
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• v.48
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• pp.193-222
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• 2017

In this study, I examined the relationship between the pattern of Tungp'o (東坡体)'s characters play, Paza(破字) and Nanji(難字), Iruiimyo(異類異名) the Chinese characters play, developed in the Edo period in Japan. I found out the following. First, Nanji and Iruiimyo's method of Chinese character transformation is like Tungp'o(東坡体)'s characters play and Paza(破字), that is to make an analysis of Chinese character. For example, to extend or shorten to character's length, and to increase or reduce the character's size. And, I also found out there is no block type characters play in Nanji and Iruiimyo. Second, I also found that the similarity of the method of Chinese character transformation between the pattern of Tungp'o(東坡体)'s characters play, Paza(破字) and Nanji(難字), Iruiimyo(異類異名). The method of to flip character (180 degrees) and to letting character lie down (90 degrees) is very similar each other. But there is no method to make incline of character (45 degrees) in Nanji and Iruiimyo. Third, I found that the method to extract part of character also exists in Chinese and Japanese characters play. And, I also found that the method to decompose characters in half from the pattern of Tungp'o(東坡体)'s characters play, but I can't find this method from Nanji and Iruiimyo. To decompose characters in half is very like the method of paja. So, we can understand that Nanji and Iruiimyo is located in the middle stage of the pattern of between Tungp'o(東坡体)'s characters play and Paza(破字).

• Food Engineering Progress
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• v.14 no.2
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• pp.166-172
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• 2010

The extraction of polyphenol and flavonoid from citrus peel was performed by the ethanol, sugar, hot water (80$^{\circ}C$), and subcritical water extraction methods. The maximum yields of total polyphenolic compounds (27.25${\pm}$1.33 mg QE/g DCP, QE and DCP indicate quercetin equivalent and dried citrus peel, respectively) and flavonoids (7.31${\pm}$0.41 mg QE/g DCP) were obtained by subcritical water extraction (SWE) with operating conditions of 190$^{\circ}C$, 1300 psi, and 10 min. The yields by SWE were over 7.2-, and 8.5-fold higher than those of total polyphenols (3.79${\pm}$0.73 mg QE/g DCP) and flavonoids (0.86${\pm}$0.27 mg QE/g DCP) obtained using the ethanol extraction, which showed the highest extraction efficiency among tested conventional methods, respectively. Antioxidant activities of extracts obtained by different methods showed no significant differences. However, the relative antioxidant yield per 1 g dried citrus peel by SWE (190$^{\circ}C$, 10 min) was over 9.5-fold higher than that by the ethanol extraction.

• Korean Journal of Breeding Science
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• v.42 no.1
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• pp.87-99
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• 2010

Genetic diversity and relationships within and among Korean, Japanese and Chinese Jilin provincial wild soybeans based on SSR markers were evaluated to enlarge genetic variation in soybean breeding in the future. A total of 184 wild soybeans including 67 Korean, 71 Japanese and 46 Chinese Jilin provincial wild soybeans were analyzed to evaluate genetic diversity and relationships based on 23 SSR markers. Korean and Japanese wild soybeans were obtained from National Agrobiodiversity Center, Korea, and Biological Resource Center in Lotus and Glycine, Frontier Science Research Center, University of Miyazaki, Japan, respectively. Chinese wild soybeans were collected from Jilin province, China. Twenty three SSR markers generated a total of 964 alleles with an average of 41.9 alleles per marker. Number of alleles ranged from 23 (Satt635) to 56 (Satt157). Genetic diversity (PIC value) of 184 wild soybeans ranged from 0.880 to 0.968 with an average of 0.945. Number of alleles for Korean, Japanese and Chinese Jilin provincial wild soybeans was 513 with an average of 22.3, 511 with an average of 22.2, and 312 with an average of 13.6 per marker, respectively. PIC value for Korean, Japanese and Chinese Jilin provincial wild soybeans was similar with an average of 0.905, 0.897, and 0.850, respectively. Cluster analysis based on genetic distances estimated by SSR markers classified wild soybeans into 3 clusters. Cluster I included only Chinese Jilin provincial wild soybeans. Cluster II included most of Japanese wild soybeans including 5 Korean wild soybeans. Cluster III included most of Korean wild soybeans including 6 Japanese and 1 Chinese Jilin provincial wild soybeans. Cluster I was not subclassified, but cluster II and III were subclassified into various groups. Genetic distance evaluated by SSR markers between Korean and Japanese wild soybeans was closer than that of between Korean and Chinese Jilin provincial, and between Japanese and Chinese Jilin provincial wild soybeans.