• Journal of Korean Philosophical Society
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• v.116
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• pp.33-58
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• 2010

Der Antisemitismusstreit in der Philosophie Heideggers kann als ein Streit um seine politische Theologie bezeichnet werden. Fast alle Epigonen Heideggers haben seine Teilnahme an Nazi-Bewegung anerkannt, aber seine antisemitische Haltung verneint. Farias und Faye haben dagegen so behauptet, $da{\ss}$ seine antisemitische Haltung bzw. rassistische Tendenz in seiner ganzen Vorlesungen und Werken gefunden werden $k{\ddot{o}}nnen$. Insbesonders nationalsozialistische bzw. antisemitische Tendenz Heideggers kann als die Stoffe der politischen Theologie im Horizont der seinen eigentlichen $Faktizit{\ddot{a}}t$ gekennzeichnet werden. Die gesamten Vorlesungen und Schriften Heideggers sind seine eigene Gedanken, welche durch keinen ${\ddot{a}}u{\ss}eren$ Zwang $durchgef{\ddot{u}}hrt$ werden. Heideggers Antisemitismus ist ja in diesem Sinne eine $tats{\ddot{a}}chliche$ $Faktizit{\ddot{a}}t$. Aber das ist kein ideologischen Wahnsystem der Nationalsozialisten, sondern eine Art des kulturellen Antisemitismus. Heidegger glaubte damit, die Erde und den Blut deutschen Volkes in der reinsten Weise aufzubewahren durch die Auferstehung des geistigen, geschichtlichen deutschen Daseins. Der rassistische, antisemitische Verdacht zur Heideggerschen Philosophie soll nur in diesem Denkshorizont kritisch interpretiert werden. Damit kann und soll Heideggers rassistische, antisemitische Haltung mit der Nationalsozialisten, welche die Vernichtung der Juden historisch und philosophisch zu legitimieren versucht, unterschiden werden.

• Korean Institute of Interior Design Journal
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• v.22 no.6
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• pp.233-240
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• 2013

Today, museums are designed with specific purposes with themes to raise issues based on themes, history, culture or other special focuses. Among many of these thematic museums, Jewish museums are built around the world in order to let the future generations know the history and dark past memory of the Jewish people. Accordingly, the aim and significance of this study are to analyze the characteristics of design expressions of the museum architecture of Jewish museums done by various architects to help visitors empathize the dark period of the Jews during the holocaust. This particular study will be focused on analyzing 7 museums under the theme of holocaust and Jewish people's life affected because of the tragic event. Spatial organization, exhibition space composition, exhibition techniques such as the exhibition storytelling or scenario and natural light distribution will be analyzed to find expressional characters of Jewish museum's design and how the design form strengthen the museum's purpose. To achieve the aim of the study, targets for the theoretical discussion and case analysis regarding the design approach are discussed in chapter 2, characteristics of the cases are analyzed and synthesized in chapter 3, and finally the conclusion in chapter 4. The study found, that distinctive characters of spatial expression have direct impact on visitor's understanding of the museum purpose and it helps viewers to empathize and to be educated about the situation. Well designed architectural form, spatial organization, choice of materials and colors as well as story telling techniques of the museum will solidify the meaning of the exhibitions inside. Results found in the study will be the guidance for future study on thematic museum planning.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.393-425
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• 2019

This paper focuses on Alain Resnais's representative works (1955), (1959), and (1963), and analyzes how he implements a representation of memory though cinematic apparatus. These three films deal with horrific memories that seem impossible to reproduce aesthetically such as the Holocaust, the Hiroshima Atomic Bomb, World War II, and the war in Algeria. The reappearance of events that stripped humans of even their minimum dignity can naturally be associated with ethical issues. These events can never be reproduced because they cannot be explained in the human language. It is also impossible to reproduce in a way that doesn't invade other peoples' sufferings, nor displays the pain of others as spectacles. Alain Resnais was a director who realized that if factual representation was not possible from the beginning, truthfulness would have to be approached through cinematic form. Therefore, he tries to overcome these problems through cinematic forms. First, he shifts to action films to avoid the obscenity of documentary. shows the records of camps captured by German forces in the past, while shows the pain of others in a fictional form of representation. Next, he describes how the trauma affects the identity of the main character through a flashback in , but also shows a main character who is experiencing trauma without a flashback in Flashbacks have the effect of showing the effects of trauma on the main character, but at the same time they involve the obscenity of enjoying the suffering of others. Nonetheless, the absence of flashbacks highlights the impossibility of representation. This is because it is not silent in the impossibility of representation but is constantly approaching. The attitude that repeatedly circles around impossibility is an ethical form that maximizes the impossibility of representation. In conclusion, this is the ethics of representation that Alain Resnais showed in his films.