• Journal of Korea Game Society
• /
• v.16 no.1
• /
• pp.33-42
• /
• 2016

The Purpose of this study is to analyze the mechanism of permanent death and playing aspects in Rogue-like games. The death in digital game is not only punishment of failure, but reward for player's growth. However the mechanism of permanent death which does not allow to resurrect is critical penalty for players and causes play-cycle with high anxiety. In the mechanism of permanent death, players do critical play to evade the death. But when they replay the game they modify their unethical choices to build alternative game world. Through the mechanism of permanent death which demands critical and alternative play, it could be possible to find the way to design games with serious choice.

• Journal of Digital Contents Society
• /
• v.11 no.1
• /
• pp.65-71
• /
• 2010

Digital game includes one more funny elements which are competition, puzzle, interaction and role-playing. These elements encourage the player's interest and flow. The purpose of this study is to find out the essence of these elements in digital games with Cannibalism. Digital game inherits and develops Cannibalism in the digital space as magic circle, death and rebirth of life, changing the shape of character and reversing the interface.

• English Language & Literature Teaching
• /
• v.12 no.4
• /
• pp.277-290
• /
• 2006

This study is to find out the meaning of the death in Donne's "Holy Sonnets" and divine poems. Death issue is the important theme and is used frequently in his poems. He expresses an assertion of faith about the defeat of death and wishes to gain new birth and eternal life through death. Ironically death must be died for rebirth and an inevitable death. Death is another way to get new life and return to Christ. Many readers think that "Hymn to God my god, in my sickness" is Donne's most distinguished achievement in his divine poems. The poem shows that death must be accepted willingly because it is only through death that man can reach heavenly bliss and gain new life. He develops an antithetic parallel between two hills and two trees. Paradise and Adam's tree which brought death into the world are related analogically to Calvary and the Cross, which brought resurrection and eternal life. Death and resurrection are shown to be conjoined in the poem. To sum up, Donne tried to pursuit death for rebirth and modeled after Christ's death and Resurrection.

• The Journal of Korean Philosophical History
• /
• no.58
• /
• pp.201-243
• /
• 2018

Understanding the theory of how a religion accepts the perspective on death is a prerequisite to grasp the identity and characteristics of such religion. Furthermore, contemplating the perspective on death, itself has a significant meaning as the contemplation provides an insight on how religion has, currently is and how it would influence the practical life of the human race. This current study compares and analyzes the perspective on death accepted by New Religions of Jeungsan, Confucianism and Taoism. By comparing the perspectives on death, this study seeks to conclude the similarity and discrepancy of New Religions of Jeungsan, Confucianism and Taoism. The objective of this study is to summarize the religious characteristic and identity of New Religions of Jeungsan, and the social role of New Religions of Jeungsan. How does New Religions of Jeungsan preach afterlife? This question implies varieties of questions including: In what shape or form does human exist in afterlife?; Does human maintain their original identity in afterlife?; What happens to relations with family members in afterlife?; What is one's role in afterlife, and what would one experience in afterlife? or Does soul transmigrate or are reborn? This current study compares the answers to these questions one by one with Confucianism and Taoism.In general, this current study was conducted with a non-religious methodology. Death can be explained in three different domains: the psychological domain explaining the individual psychological awareness upon encountering death; the philosophical-religious domain explaining the death through the philosophical understanding of the human concept; and the socio-cultural domain explaining death through the social ceremonies upon death.This current study focuses on the philosophical domain of the perspective on death accepted by New Religions of Jeungsan, with a comparison of the socio-cultural significance. To understand the perspective on death preached by New Religions of Jeungsan, It is indispensable to explain the five key elements of Hon(魂), Baek (魄), Shin(神), Young(靈) and Seon(仙) that construe death. The perspective on death preached by New Religions of Jeungsan imposes a multi layer of acceptance and overcoming. This current study complements the problems and limits of previous studies by comparison with Confucianism and Taoism. Throughout this process, this current study intends to highlight the key elements of the perspective on death preached by Deasunjinrihoe, and identify the aspects of each key element. With the sophisticated discussion of the perspective on death provided by New Religions of Jeungsan with clarity, this current study will provide grounds for future studies to extract, in detail, the aspects of the perspective on death preached by New Religions of Jeungsan, in further subjects including: discussions on death such as rituals for death, treatment of bodies, funerals, educating death, euthanasia, or suicide; discussions on the existence of hell; discussions on psychological aspects of ones who encounter death; or discussions on rebirth of those who died during the creation era. This current study will provide an overview on what kind of perspective on death does those who are faithful to New Religions of Jeungsan have and currently are living their life with.

• Sim-seong Yeon-gu
• /
• v.31 no.2
• /
• pp.113-150
• /
• 2016

Chobun refers to a temporary grave covered with straw thatch that contains a corpse until its flesh is gone. When all the flesh has rotted away, the straw grave is disassembled and only the bones are retrieved. Therefore, Chobun is an example of a secondary burial custom (German : Doppel Bestattung) that is composed of a first temporary funeral for processing the corpse's flesh, and a second permanent burial of the final remains (bones or ashes). The duration of the temporary burial is determined by the time needed for decomposing the flesh of the deceased. Building a Chobun progresses putrefaction and reduction to bone. In the literature of alchemy, putrefaction and new life occur simultaneously. The purpose of rotting is to make the flesh disappear, leaving only its essence. It is making the physical body enter a spiritual state, so that the dead can enter into a different world. One must endure the unstable rotting process until the smell of flesh has faded. The rotting process is the attitude of accepting the terrible, polluted aspect of the corpse, while maintaining a helpless, passive posture, in order to allow new possibilities. When we try to approach an archetypal aspect of the unconscious, it is often experienced in threatening, aggressive ways. In the individuation process, the unconscious offers us the blessing of a new spiritual awakening and renewed sense of life, only when we have the courage to see this terrifying and contaminated side of our psyche. This is exactly what putrefaction means. Bone and skeleton symbolize the indestructible, imperishable, and essential elements of life. Bone is the minimum unit and foundation for regeneration, where new life can grow. Reduction to bone is moving back to the origin of life, to the womb. Psychologically, it means discarding one's ego-centeredness and allowing the Self to lead the entire process of individuation. Going through the painful process of reduction to a skeleton for the purpose of further development is a declaration of the death of the ego, aiming at the liberation from perishable flesh and acquisition of the spiritual, regenerative, and immortal elements of life. Chobun also denotes the yearly decay and revival of life, especially of vegetal life. In Chobun, this symbolic meaning of the vegetal cycle of life is emphasized to represent the part of life that survives even after death. Vegetation related to Chobun deals with the continuity of life and psychologically with the Self. Images of vegetation are closely related to the existence of life beyond death, which is the existence of the Self, the source of energy that constantly renews and rejuvenates the consciousness.

• Journal of International Area Studies (JIAS)
• /
• v.13 no.1
• /
• pp.345-368
• /
• 2009

Our research task have goal to describe a treaty rhetoric known as 『La Rhétorique ou L'Art de Parler』(1688) which corresponds to a very wide field of which the step is not yet dubious in our country. Thus to study the rhetoric of Lamy borrowed from the thought of Descartes, we left the concept d' origin of language in traditional rhetoric in connection with logic and grammar (in first part). Also the second part is devoted to the tropes and the figures that are modified and deteriorated by the language of passion called 'rhetoric of passion or psychological of figure', etc. And the third part interests in the body of the speech being the character of l' heart. Under the influence of the rhetoric of Lamy, French rhetoric at the 17th century is held for an essential text when one interests in the history of the ideas and rhetoric, marked in its specificity (passion). The project of Lamy registered in the concept of passion like 'manners of speaking'. To close this study, which does one have to retain? The first remark to note is that Lamy founds his rhetoric in opposition to traditional designs dating from the beginning of Aristote. Second remark is the idea that one finds based in famous the books of Dumarsais at the 18th century and Fontanier at the 19th century. Admittedly, Lamy is a true rhetorician, grammairien which interests in the question of passions in the speech forces to reconsider the idea spread since Mr. Foucault, and makes it possible to understand the passage of the Great century at the Century of Lumuères. Even if this opinion is not shared, it will be agreed that the work of Lamy on passions or the phenomena sensory and psychological in the center of the language deserves reflexion.

• Sim-seong Yeon-gu
• /
• v.31 no.1
• /
• pp.1-40
• /
• 2016

This thesis is a study on the symbolism of 'Yeondo', a prayer for the souls in purgatory of Korean Catholic Church as a 'psychic container' for the spiritual transformation in the psyche from a perspective of analytical psychology. Yeondo' could be the 'rites of passage' of the last judgement for the souls in purgatory which is in between the heaven and the hell. And both the bereaved and the dead go through the stages of separation, transition and incorporation which are the schema of the 'rites of passage'. In particular, they have a special sense of solidarity at the stage of transition, a middle state. The symbolic process of 'Yeondo' is a spiritual transformation of recovery of paradise which could access by the confusion of death, purification and the rebirth. A spiritual reborn process of death and rebirth takes place by contacting the collective unconscious. In 'Yeondo', the death is not the end of life but the beginning of the eternal life. The confusion and disintegration caused by death can be purified and start incorporating. The rites of a paradise recovery has the meaning of trying constantly for the recovery of a wholeness. Praying for the blessing of God and a help from saints in paradise for the sake of the dead means to require conscious cooperation for the Self-realization. Integrating and recognizing unconscious also means something beyond the conscious. The blessed souls in purgatory recovers the paradise experiencing specific purifying process heading towards Self. Going into the center, abyss of unconscious will be recognized as an absolute part of oneself. One becomes the inner man, the transformed personality who is reached by the path of self-knowledge, the kingdom of heaven within oneself and can have the transpersonal energy, which enables to access to God's world and union with God. All desire and the will become one with God. In the final analysis, praying for the blessing of God and a help from saints in paradise for the sake of the dead becomes the path for the more and more conscious expansion of the alive. Therefore, 'Yeondo' as an initiation is the individuation process of the alive and the dead to reflect on themselves.

• Cartoon and Animation Studies
• /
• s.33
• /
• pp.55-78
• /
• 2013

The issues on the representation of digital images, the uncanny is not considered aesthetically but must be overcome. It seems that the future of visual media using digital images, depends on the development and advancement of the digital technology. However, the Brothers Quay regarded as unique and experimental animators, focus their attention towards the past rather than the future. They trace back to the origin of the media, reproducing, manipulating, and representing gestures in oder to restore the shock and thrill delivered in film and animation. The Brothers Quay explore the uncanny of gestures through the mechanism of medium. They work in a wide range of genres, from animation, live action to dance film. The creaking spasms, which create the feeling that the movement does not belong to this world, and the strange gestures, reveals the flicker of the still projection and make audiences recognize gestures in the true meaning of the word. While they animate live actors and dead objects like automata, the hidden desires are revealed over screen. In this paper, focusing on the works of Brothers Quay, I tried to explore the uncanny of gesture based on Freud's and Jentsch' theory of uncanny.

• Journal of Korean Philosophical Society
• /
• v.144
• /
• pp.319-338
• /
• 2017

Nowadays, the attention of integrity increases in ethics by concerning about the self and reviving the virtue ethic. It's terminology is diverse because integrity is understood and translated in various dimensions. I am trying to translate integrity into self-integration. Firstly, the reason why is to bring the Latin language of integrity. The Latin language of integrity means an undivided and broken completeness or totality with nothing wanting. Secondly, This is the reason why it is related with the morally good life. This integrity is not an integration as a stream of consciousness and a substantial self identity given from an ancient Greek. I resolve a self integration through the unity of a narrative of MacIntyre. MacIntyre's point is like this. Integrity is connected with the unity of character which a self is embedded in character. The unity of character presupposes a self identity, ultimately the integrity of narrative requires the unity of character. But like a beginning and middle and end of a narrative, he says that the concept of self is based on the its unity in the narrative uniting birth and middle and death. This is in the course of life being his/her history and narrative because a self has a sustainability of time embedded in a life from birth to end. That self exists as a subject making its narrative shows being responsible for and responsible for experience and action constructing this narrative. This shows the relation with narrative and temporality. The self of present is talking about the self of past and brings the problem of responsibility by narrating the self of future. Then, who are those person who live life of their integrity. We can talk that comfort women live life of their integrity. Comfort women realized their integrity by narrating and become subject of their history.

• 한국프랑스학논집
• /
• v.108
• /
• pp.1-45
• /
• 2019

The objective of this work is to study the rebirth of the French baroque opera and to analyze Atys of Quinault and Lully. Accordingly, it can appear interesting to take into account not only the reception of Atys in the 17th century in France, but also its representations in 1987. Then, it seems important to us to examine the studies on the modification of the myth in Atys, while questioning the legitimacy of the Fasti of Ovid as a primary source. Lastly, we will endeavor to emphasize the influence of Natale Conti's Mythologies on Atys, and that of Michel de Marolles's the Tableaux du Temple des Muses on the scene of the sleep of the hero. In a general way, in regard to the influence of the sources in Atys, these two works drew until now only very little the attention of criticism. The difficulties which Louis XIV crosses at the time of the genesis of Atys, such as the death of the marshal of Turenne or the departure of Louise de La Vallière to the convent, seem to have nourished the choices of Quinault and Lully. Atys is an admirable spectacle with the changes at sight of the decorations, the varied machines and the splendid costumes, but in spite of the immense success of this opera, he is forgotten after the representation given at Fontainebleau in 1753. Two centuries later, les Arts Florissants' production of Atys in 1987 - with its triumph which one knows - seems to announce a rebirth of the French baroque opera. William Christie and Jean-Marie Villégier still succeed in presenting their production in 2011 thanks to Ronald Stanton, American fortunate who was impressed by the representation of Atys in 1987. Villégier and his artistic team choose a single decoration and remove the machines in order to place work at the court plunged into mourning of Louis XIV twenty years after the premiere of Atys. The "classicism" of their dramatic presentation emphasizes the classical dramaturgy and the tragic side of this opera. Criticisms often stress the importance of Ovid's Fasti as a primary source, while adding his Metamorphoses as a secondary source (the metamorphosis of Atys in pine and the scene of his sleep). Quinault borrows indeed from the Fasti some elements : in love with Atys, Cybele entrusts the responsibility to him of keep her temple ; the reciprocal love between Atys and Sangaride causes the revenge on the goddess. However he borrows more from the French translation of Natale Conti's Mythologies which present the Phrygian version of the myth of Atys. In the first three accounts of this version, one finds common points with the opera : 1) Atys refuses the physical desire of Cybele ; the goddess makes Atys insane instead of making die Sangaride ; 2) the lover of the hero is daughter of the river of Sangar ; Cybele makes change into pine Atys who committed suicide (or ready to commit suicide) ; 3) the goddess discovers the physical relation of the young couple. Natale Conti's Mythologies also present the Lydian version of the myth : a furious wild boar sent by irritated Zeus kill Atys and several people. One can suppose that this part undoubtedly influences the "monster" and its "dreadful howls" evoked by Atys in a fit of insanity. Moreover, the dreams make discover in Atys the intentions of Cybele, which is not without relationship with the translated text of Natale Conti : the Mythologies indicate that sweet Sleep reveals "the intentions & the plans of the Gods." To manufacture the famous scene of the sleep of the hero, Quinault and Lully make use of the annotations of the "Palace of the Sleep" located at the end of the Tableaux du Temple des Muses : Michel de Marolles translates and explains the texts of Catullus (the sleep of Atys), of Ovid (the Sleep and his three sons), and of Ausonius (good dreams / bad dreams). In spite of the important influence of these sources, Quinault and Lully modify some elements of the myth : the theme of castration is removed because of the proprieties ; the suicide of Atys is at the same time an act of love and an act of revolt against Cybele ; the cruel goddess is also a desperate and weak lover; the invention of the character of Celenus returns the love of the young prohibited and tragic. Quinault fascinate the contemporary public with the interior movements of complex characters and the music of Lully emphasizes this quality of the libretto.