• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2012.05a
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• pp.71-72
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• 2012

• Journal of Korean Philosophical Society
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• v.145
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• pp.297-324
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• 2018

This paper aims to reconstruct the theme of the crisis of modernity and its overcoming possibility as one of the most intense implications of Nietzsche philosophy on the theme of "love". It analyses Nietzsche's statements about love, from the onset of physical desire for the opposite sex, through the forms of religiously distorted love, such as compassion and charity, to the amor fati as the positive affirmation of life. For Nietzsche, love is basically an urge to grow out of the possessive craving for power. The impulse of love is part of life, because it is willpower that makes man. Christianity, which linked sexual impulses to sin, made eros immoral. Nietzsche says we must overcome Christian love, which intends to deny human nature and reality and superimpose other ideals, and learn to love beyond itself. In the Nietzsche philosophy, it is the love of one's fate.

• English Language & Literature Teaching
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• v.7 no.2
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• pp.167-185
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• 2002

The purpose of this article is to examine the relationship between sin and grace represented in The Power and the Glory. This work is composed of two thriller patterns of the pursuer and the pursed. The first pursuit is that the whisky priest, the representative of religious order is pursued by the lieutenant, the representative of secular order. And the second pursuit is that the whisky priest is trying to escape from God. In the course of his flight from God the whisky priest discovers his sinful nature and this self-recognition helps him restore his proper relationship with God. When he was a young priest he had religious piety, but he didn't feel true love for others. Ironically, after he is corrupted he finds his sinful nature and regrets his wrong behavior. He then comes to understand God's will and his responsibility to have love for the miserable human beings. The whisky priest is willing to accept his destiny as a martyr, after having repented his sins to God. Though the lieutenant captures the whisky priest and executes him, he doesn't feel triumph or hope but feels empty. The Power and the Glory shows us the irony that the lieutenant's power is a symbol of his weakness, while the priest's weakness is a symbol of his power.

• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.39-76
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• 2022

The two religious ethics, Christianity's 'love your enemies' and Daesoon Jinrihoe's 'grievance-resolution for mutual beneficence', can be misunderstood as similar. The misunderstanding arises from these religious ethics having something in common that specifically points to a particular object, called an enemy, and contains instructions to treat that object altruistically. However, from the perspective of Religious Ethics, the two teachings are not the same. The beliefs they are based upon are different, the religious character they pursue is different, and their processes of obtaining legitimacy, logic, and implementation are different. The most distinct difference between these ethics is that the Christian ethic focuses on a victim's role whereas Daesoon Jinrihoe ethic emphasizes the roles of both victims and perpetrators. In case of 'love your enemies,' if a perpetrator turns away from a victim and believes that they would be forgiven for their sin, the victim is unlikely to practice the teaching 'love your enemies.' Accordingly, to avoid criticism over cases wherein love of an enemy is nothing but a shallow grace, the roles of the two sides should be more highlighted than that of the absolute being. As for grievance-resolution for mutual beneficence, this teaching encourages victims to resolve their grievance with a goal of mutual beneficence. The perpetrator should likewise resolve the grievances and grudges of their victim with the aim of mutual beneficence. Jeungsan especially stressed that perpetrators have to resolve 'Cheok (慼: the resentment and grievances that someone holds against the one who victimized them)' through the ethic of grievance-resolution in order for living well. In other words, 'the ethic of Cheok-resolution' is an ethic wherein the perpetrator also plays an important role in the implementation of grievance-resolution for mutual beneficence.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.247-275
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• 2019

We hope that more diverse interests will arise in the novels by Park Gye-hyeong By looking at writers and works in time, we identified the key element of Park Gye-hyeong's novels as 'romantic'. Romantic nature of this time is lyrical, sentimental, spiritual, unrealistic and idealistic. Based on a romantic understanding of the world, the core sanction of the novel is love, focusing on feelings of sadness, and on the aspects of joy, separation, and pain that arise from loving relationships rather than the aspects of joy. Based on the feelings of grief, the novels end with failure, death and betrayal, thus embodying tragic romanticism. Before her marriage, Park Gye-hyeong's novels were love stories that revealed her longing for beautiful love based on sensibility. The idyllic world and longing for nature reveal a romantic world-view. Ultimately, it is a fictional worldview that the author seeks to despair and long for, and to find the sincerity and morality of love in an environment that does not. Park Gye-hyeong, who became a housewife, expressed that she wanted to write a piece that can give readers a sense of nostalgia by embodying "romance at a high level," not "sentimental." In subsequent works, physical relationships are treated as failures of love and spiritual relationships as the fruit of love, revealing the lofty spirituality, idealistic longing and religious nature of love. Park Gye-hyeong confessed her shame about her previous work when she published a new one after more than two decades of writing. And after more than two decades of reflection, her new novel had a new theme of "recovering destroyed humanity." However, the search for "humanity" in the two novels released after the write-off tends to be somewhat hasty at the end of the novel. The question of human nature, sin and forgiveness, is the next best thing to save as a way of life, rather than as a result of the intense inner agony and behavior of the characters within the narrative, and this also shows a sudden shift in religiousness at the end of the novel. Therefore, the romantic meaning of the superficial is superficial.

• Transactions of the Korean Society of Mechanical Engineers A
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• v.23 no.11 s.170
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• pp.2040-2049
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• 1999

The Rayleigh-Ritz method is used to investigate the natural frequencies and mode shapes of the ring stiffened cylindrical shells with a rectangular cutout. The cutout is located on the center of the shell. The Love's thin shell theory combined with the discrete stiffener theory is adopted to formulate the analytical model of the shell. The effect of stiffener eccentricity, number, and position on vibration characteristics of the shell is examined. Also the effect of cutout size is examined. By comparison with previously published analytical and new FEM results, it is shown that natural frequencies and mode shapes can be determined with adequate accuracy.

• The Southeast Asian review
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• v.23 no.1
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• pp.169-194
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• 2013

A Korean writer, Yi Soonwon's The Face and a Thai writer, Win Lyovarin's Three Worlds of Rat Ekathet symbolize into literature the historical demonstration which occurred in Korea and Thailand. Comparing the characters in these two works, we come to the conclusion that the background in which people use violence strongly relates with their emotion. The character in The Face commit emotional violence in which receiving education and training and having jostled situation were sprouted as hostility. On the other hand, the characters in Three Worlds of Rat Ekathet show the difference in the sense that they feel a pleasant sensation when they use violence, intoxicated in the power of violence. One thing that two works have in common is that people committing a sin suffer from a guilty conscience and guilty fears when we see the way to treat them. It is how psychological punishment is made by their own. In The Face, the character suffers from psychological punishment in the fear that the other may be aware of his past record when we see the difference to deal with emotional violence. That who committed violence not to be able to open up honorably can never be free from the judgement of conscience out of the law and the sense of guilt continues for his life. However, emotional punishment made by a guilty conscience in Three Worlds of Rat Ekathet has the limited period if sinners make the process of purification which means not committing a fault again. The ultimate way of treating those who committed violence is to forgive them with love and is the process of purification to change violence into non-violence.

• 중국학논총
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• no.58
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• pp.91-119
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• 2018

As for the various pathological phenomena of the society which is getting worse without any improvement, the film paints the phenomenon nakedly with the cold and cynical gaze on the basis of realism. These attempts originated in the Chinese art world, and they cynically sketched a Chinese society that lost hope after 6·4. The cynicism of the art world contains meanings such as instruction, meanness, passion, indifference, and mockery. In particular, the distrust of the social system after 6·4 and the collapse of the Soviet and Eastern European socialist nations gave the Chinese people a skeptical view of socialism. This situation of the times has a cynical viewpoint to face as it is instead of prudent criticism. This cynical view was embraced by filmmakers who were not silent on The pathological phenomenon of society, and they were directed to films. is a film about the love, separation, suicide, frustration and reconciliation of youth in the era of identity confusion after 6·4. The characters in the film did not mention a single word about the state power that made them do it. based on the characteristics of women in northeast China and the murder that occurred around a woman with a beauty that was not like a laundry employee. Centered around the unresolved slice murder case, expressed human moral ambiguity that does not distinguish good fortune from human instinct for struggle for survival, and portrayed the scenery of a very cold northeast small city. But it does not show any criticism of the crime. Based on the true story of the 2000s, the portrays the uncomfortable aspects of China that established Chinese socialism. A film composed of four short episodes conveys the destiny set by God.

• Cross-Cultural Studies
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• v.31
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• pp.65-94
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• 2013

San-he-ming-zhu-bao-jian-quan-zhuan(三合明珠寶劍全傳), this work is characterized as follows: First of all, San-he-ming-zhu- bao-jian-quan-zhuan's charaters appear equally, the readers feels familiar. this work is formed a universal consensus. Ordinary people must empathize about xia-yi(俠義) and retribution, this work was well represented. Because the readers would have liked to this story. It was an intimate relationship between China and the Joseon Dynasty(朝鮮) all the way, The Joseon Dynasty imported books and the products of civilization. High official, official interpreter, woman loves the classic Chinese novel. The classic Chinese novel was transcribed, published, translated into a book. San-he-ming-zhu-bao-jian-quan-zhuan were introduced in the Joseon Dynasty, Sungkyunkwan(成均館) University holds one version. This work is being compromised, many missing words. Domestic holdings are rare. San-he-ming-zhu-bao-jian-quan-zhuan is a novel of chivalry, the character are classified into the chivalry, negative hero, person of affection, fantastic figure. This work is centered around Majun(馬俊). Maluanying(馬鸞英) is the heroin, seen as the classic case of overcoming adversity. Quzhongcheng(屈忠成) is the prime minister, negative figure, he fight with the chivalry, was defeated at the end. Liuxu(柳絮) is person of affection, overcoming adversity, marries the two lady, has a heroic side. Fantastic figure is more enriching the contents of the work, is Buddhist and Taoist figure, serves as the positive and the negative role. San-he-ming-zhu-bao-jian-quan-zhuan is a similar assessment on Zheng-chunyuan(爭春園)'s character and plot, But Liuxu's love story is strengthened. Therefore, continued research is needed for this work.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.10
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• pp.456-466
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• 2018

Nathaniel Hawthorne mainly deals with the ethical problems of sin and punishment in his works. Through these topics, readers have the opportunity to look more deeply into human nature. In Rappaccini's Daughter, he explains how the power of men influences a woman's life and drives her to death. Her father, Rappaccini, cultivates plants in his garden that are toxic and conducts a scientific experiment that gives his daughter Beatrice a fatal level of toxicity. He insists that this experiment was performed to protect Beatrice, but ultimately, it causes her death. Giovanni, who falls in love with Beatrice, provided an antidote in the attempt to detoxify her, but it resulted in her death. Finally, Baglioni used Giovanni to steer Beatrice to drink the antidote to defend his social status. The three men's selfishness and jealousy led to the demise of Beatrice, who eventually died from the selfish power of men and not due to her toxicity.