• Journal of Korean Philosophical Society
• /
• no.85
• /
• pp.161-198
• /
• 2009

In der traditionellen Geschichte der Philosophie wurde das Erhabene uberwiegend als ein Erlebnis verstanden, worin sich der Mensch uber den alltaglichen Mittelmass hinaus erhoht. So ist das Erlebnis des Erhabenens durch diese transzendierende Erhohung gekennzeichnet. Aber dabei wurde ubergangen, dass das Erhabene eigentlich von der Konfrontation des Menschen mit der Natur beigefuhrt wird. Wir vertreten die These, dass das Erhabene ein weltthematisierendes Ereignis darstelle und dass dieses Ereignis in einem Zwischenbereich zwischen Menschen und Welt eintrete. Die Phanomenologie stellt sich dabei als eine Methodenlehre heraus, einen sachgerechten Zugang zum Erhabenen darzubieten, weil sie im Grudne in jenem Zwischenbereich verankert ist. So stellt sich vor uns die Aufgabe, das Erhabene auf der Grundlage der phanomenologischen Methode zu beleuchten und damit den phanomenologischen Sinn des Erhabenens ans Licht zu bringen. Bei Heidegger finden sich die Hinweisen auf das Erhabene gerade in der Grundstimmung der Angst. Hingegen fur Merleau-Ponty haben wir den Zugang zum Erhabenen im Leib und leiblichen Fleisch. Fur beiden zeigt sich das Erlebnis des Erhabenen als ein Vorkommnis des Weltauftretens. Weil sich das Erhabene dabei als ein Erlebnis des passiven Erstaunens versteht, konnte nicht das traditionelle philosophische Denken, sondern die Kunst wie Malerlei diesem Phanomen des Erhabenens gerecht werden. So gehoren die Phanomenologie des Erhabenens und die phanomenologische Theorie des Kunst zusammen.

• Korean Institute of Interior Design Journal
• /
• v.23 no.4
• /
• pp.94-102
• /
• 2014

Nowadays when the social and cultural paradigm is changing, the incomplete space is becoming a matter of controversy. In order to figure out the solutions to it, are being held a variety of spatial discourses for spatial essence and meaning to be cleared. Accordingly, this study has tried to seek for any probability to interpret the ontology shown at any traditional space on the ground of Heidegger's Ontological Thinking Structure which has a considerable impact on Modern Space, whose conclusions are the followings. First, Heidegger's ontological space theory, which provided a foundation of Placeness concept, includes not only the character of interdisciplinary learning among philosophy, arts and any related studies but also that of mutual oriental and occidental cultures. Second, between the thoughts of Heidegger and Lao-tzu are considerable similarities from the methodical viewpoint that materializes the meaning of existence as an essence. Third, for a convenient interpretation, the ontological spatial concept of Lao-tzu's philosophy shown at traditional spaces have been categorized into Typology-Incident, Morphology-situation and Topology-meaning generation with Schultz's Existential Spatial Concept based on Heidegger's Ontology as a medium. In particular, the meaning generation which materializes the placeness has the trait of being clarified as the product of interactions between incidents and situations.

• Journal of English Language & Literature
• /
• v.57 no.4
• /
• pp.581-598
• /
• 2011

The recent revival of phenomenology and aesthetics is deeply connected to the development of neuroscience which studies the nervous system and the brain with particular regard to cognition and memory. How are those fields gathered into building up the basis for the communication not only between human beings but also between humanity and its environment? This paper examines the human mind considered unseparable from the body, with reference to Merleau-Ponty's two major works: Phenomenology of Perception (1962) and The Visible and the Invisible (1968). While reading these texts, I investigate the way he overturns the Cartesian cogito and establishes the body as the ground of perception. According to him, human perception is chiefly obtained through the body rather than consciousness. Influenced by William James, who produced the unique concept of cognition and memory through his experiments with the brain, Merleau-Ponty extends Heideggerian Desein to the field of the embodied mind. James also anticipates Bergson, who regards memory as the product of interaction between consciousness and matter (or the body). The intervention of the body which stores the past experiences makes it impossible for us to capture the present moment in itself. This failure, however, is viewed as positive by Merleau-Ponty because the human body is not only a medium of social interaction, but also that of ecological communion.

• Lingua Humanitatis
• /
• v.1 no.2
• /
• pp.3-20
• /
• 2001

The concept of "modernism" has always posed problems in definition from the beginnings of "early-modernism" to our age of post-modernism and multi-culturalism. And yet, the concept has been consistently aligned with the search for new paradigms of thinking about "modernity" as the age experiences it. In this sense, this study tries to explain the meaning of the term "modern," why it still matters in the study of literature, and how to apply it to the examination of Kim Soo-Young′s poems. Kim is one of the leading poets who understood the importance of modernism in the development of Korean modern poetry. But, despite his dedication to the western literary style and modernism, Kim also attempted the renewal of traditional Confucian thought in his poems. The result of such efforts can be seen in poems such as "Difficulties of Confucius ′Everyday Life," in which Kim tries to juxtapose the ancient life of Confucius with life in a much-westernized modern Korea. Another poem "Grass" shows his eagerness to transform traditional eastern aesthetics into a new mode of thinking that encompasses both the influence of the west and changes in 20th-century Korea. Through the study of Kim′s poems in relation to the critical reception of modernism in Korea, we can conclude the following: that Kim led the modernist movement in Korea; that modernism still matters in post-modern Korean literature; and that, because Kin tried to bring together the ideas of western modernism and traditional Confucianism, his poetry not only spoke to his own time but speaks also to our multi-cultural age.

• Journal of Digital Convergence
• /
• v.19 no.12
• /
• pp.443-450
• /
• 2021

This study focused on Ana Lilly Amirpour's movie 'The Bad Batch, 2016'. The core topic of the paper, 'Uncanny anthropology', was specially used in the sense of aiming for ideal anthropology, starting with the meaning of looking at Sigmund Freud's 'Uncanny' theory from 'human relationship (subject and other). The anthropology of F. W. Nietzsche, Martin Heidegger, and Emmanuel Levinas is the theoretical background of 'Uncanny anthropology', starting with Kirkegor for the discussion of a new theory of 'Uncanny anthropology'. However, this paper focused on Emmanuel Levinas' relational anthropology due to limited paper relations. The most important thing in this film is that it sublimated the malicious relationship with humans into love. He chose topics that were not routine, expressed themes and contents by disconnecting causality in the narrative, and Emmanuel Levinas' 'Uncanny anthropology' is evaluated as a film that expresses only.

• Cross-Cultural Studies
• /
• v.26
• /
• pp.173-200
• /
• 2012

This paper examines ${\acute{e}}pist{\acute{e}}m{\grave{e}}$ of ${\acute{e}}criture$ and its politics in Kim, Soo-Yung's poems, focusing on 'language-letter' images such as "speech", "language", "printing type", "letter", "brush", "book" and so on. While the previous papers fail to present the overall framework of analysis on 'language-${\acute{e}}criture$' images and to show political dimensions of discourse analysis, this paper tries to overcome these limitations. It explains images of 'speech' and 'language' on the basis of Heidegger's ontological thought, and analyzes writing-images such as 'type', 'letters' using Derrida's concepts of 'archi-${\acute{e}}criture$' and '${\acute{e}}criture$'. It also gives a new name to multiple images of 'book' in his poems as 'politics of ${\acute{e}}criture$' based on problematic such as Badiou's 'ethics of truths' and Derrida's '${\acute{e}}criture$'.

• Cartoon and Animation Studies
• /
• s.13
• /
• pp.133-151
• /
• 2008

This paper was written for the purpose of seeking a radical answer to the reason why we feel an actuality while watching a digital animated film. In the world of digital animation, there exist surrealistic subjects and the objects, which have come been brought into life, play their own role there. Furthermore, objects, which do not exist anywhere in the real world, appear and are closely connected with each other by means of a time discourse. Their world seems to be identical to our world or not. This study defined an actuality of a digital animation world as an actuality of Imaginary reality, an actuality of existent object, an actuality of anonymous object and an actuality time discourse, and examined such actuality. A frame of concept for examining the actuality was borrowed from philosophical statements of phenomenology that understands the nature of an actuality through 'zu den Sachen selbst'. Philosophical statements cited for searching an actuality specifically were those already explained by E. Husserl, M. Heidegger, J.-P. Sartre, G. Bachelard, M. Merleau-Ponty, and P. Ricoeur, Methodologically, this study attempted to understand our existence and recognition of the world in a phenomenological point of view, apply this principle to the world of a digital animation, and subsequently discuss it with the provision of examples. The purpose for this study is to reconsider the fundamental moaning of a digital animated film and evaluate its value.

• 한국HCI학회:학술대회논문집
• /
• 2007.02b
• /
• pp.737-742
• /
• 2007

The concept of 'Picturing' is beyond the 'Illusion' of traditional art in the Digital Media era. It is a 'Suffering' of the 'Re-appearance' that is masquerade the 'Actual' as a 'Digital Apparition.' This study aims to concern the point of view on the above subject; the 'Picturing' through the analysis of communication problems in the digital era. To begin with, need to define the concept of 'Picturing' and how it is expected to have a role through the accessibility of medium use, intervention by body and images. Also, I suggest a new approach to 'Picturing' as a new mutual communication method. Body, Digital media, and Image. These three principles of 'Picturing' create huge benefits to our world/nature whether we want it or not. It seems to become more and more of powerful self-replicating organism. We have to be aware what sort of images are surrounding us and how transmitting it to where in/on our body via newest sophisticated media we use. 'Picturing' is an invasion of ordinary, no longer exists pleasure for body, no longer speaks intension of its next destination. It strongly self-grows and also controls us in the name of Digital media era. However, 'Picturing' is a mode of re-imaging activity and also suggestion of re-appearance practice.

• The Journal of Korean Philosophical History
• /
• no.30
• /
• pp.191-225
• /
• 2010

This paper is the outcome of attempting to approach for reading the Analects of Confucius through the polysemy of Chinese character and indecidability of articles. For this purpose at first, I explained which this Chinese character can be applied for 'philosophy language'. In the 16th century Matteo Ricci had tried to find out the possibility of ideographic script as standing for a universal language. On the other hand, Hegel and Heidegger strictly insisted on the Chinese character is inappropriate for expressing the logic thought of the human being. The reason was as next; firstly, this character had not the preposition and articles, and secondly the only one word could not indicates the bisemy including the meaning of opposition, lastly this language system expresses and communicates only with the change of word order without inflection. But With some scholar like Cassirer, Saussure and Derrida we can confirm the possibility which will discover the Chinese character for using the logic and reasoning language of from different view. Because in the language system of this Chinese character the connection of words in contexts is more important other than meaning as the individual word, in comparison to the language of the West. The Chinese character hides the original meaning until being what kind of event and thing relationship watch inside with different letters. So to speak, the Chinese character is called as 'language of indecidability'. For these points, even though The Chinese character lacks of preposition, articles, and inflection speech etc. the letter systematic, this language system can play a role for expressing as the philosophic language which manages with the complicated problems of the human being.

• Journal of Korean Philosophical Society
• /
• no.95
• /
• pp.59-93
• /
• 2011

Die vorliegende Abhandlung beschäftigt sich mit der Frage, ob Jacque Derrida das Problem des Global-Terrorismus im politisch-theologischen Sinne mit seiner Philosophie der Gastfreundschaft lösen kann. Fur Derrida ist der '11. September' das 'Ereignis', und das Symptom einer autoimmunitären Erkrakung der westlichen Welt. Derrida findet im '11. September Ereignis' die Struktur der Aneignung des Eignen und der Enteignung im Heideggerschen Sinne. Das 'major event' wird nicht in einer vergangenen Aggression bestanden haben, die präsent und wirksam ist und noch schlimmer in der Futur sein wird. Derrida versucht einen philosophischen, politisch-theologischen Ansatz zur Bedingungen der Möglichkeit der absoluten, vollkommenen Auflösung des Globalen Terrorismus zu programmieren. Dafür fordert er das Postulat Verwirklichung des 'Messianischen ohne Messianismus'. Die Gegenüberstellung zwei politischer Theologien zwischen der Europäischen Demokratie und der Islamischen Vereinigten Staaten kann erlöst werden, wenn die 'neue religiöse Spiritualität', die gegenüber der dogmatischen Religionswahrheit frei ist, mit der 'Wiederkehr der Religion' im echten Sinne vorkommt. In der 'Neuen Religion' Derridas ist der Begriff der 'Gastfreundschaft' wichtiger als der der 'Toleranz', den er als 'abrahamitisch' definiert. Die von Derrida postulierte neue Religion ist eine offene Religion, in der das Unvergebbare unbedingt zu vergeben ist. Ihre politische Transformation ist der Begriff der 'Neuen Europäischen Gemeinschaft' und des 'Anderen Kaps'. Derrida postuliert diese neue Idee des Kosmopolitismus als die notwendige Bedingung der vollkommenen Auflösung des autoimmunitären Global-Terrorismus.