• 영어영문학
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• 제56권1호
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• pp.157-178
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• 2010

A critique on Freud's remembering taken place in the 80's and 90s has a significant impact on a paradigm shift: from the discursive constructivism to the neo-empiricism. Along with Marx and Nietzsche, Freud was one of the main intellectual sources in formulating the Cultural Studies, known as the political corrections in the later period of Post-modern era. In the wake of feminism, there was a social happening, namely, a memory restoration, when a woman therapist helped a woman patient to restore the past and come up with her father as the cause of her trauma. Finally, 'the false memory syndrome' brought up a hot issue firing on the controversy about Freudian remembering. Freud as a clinical therapist began to be a sole target to be criticized. Strangely enough, however, Freud was continually utilized by such theorists as Julia Kristeva, Homi Bhabah, and Žižek, while having dissenters like Deleuze, Quattari, and Butler. Of those intellectual claims, this paper focuses on the debates by the dissenters not from the discursive theorists but from the clinical studies: Sulloway, Grunbaum, and Crews. My argument directs to the empirical side of Freud for the conclusion that the dispute on him was a seed of a paradigm shift towards the neo-empiricism, after one century's flourishing of constructivism.

• 영어영문학
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• 제58권6호
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• pp.1215-1233
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• 2012

This essay is an attempt to critique the notion of hybridity that has so far facilitated a liberal multiculturalist reading of White Teeth. For an alternative framework, it posits the multiethnic subject-making to examine in what ways the novel questions the premises of liberal multiculturalism. In this vein, this study suggests that Smith throws some significant light on the underside of holding multiple racial/ethnic identities while not bypassing its utopian possibilities. In case of the first-generation male characters, their crossracial/homosocial friendship becomes a platform for a mode of egalitarian belonging across the racial divide. It further implies a symbolic union between working-class white and nonwhite immigrant. The younger generation, in contrast, undergoes problems of racial, ethnic, cultural affiliations in far more complicated ways than the older one. Above all, White Teeth demonstrates the subtle workings of liberal multiculturalism, within which the younger characters are constructed to be a multiethnic subject in varied modes. It delineates the formation mainly by exploring the persisting legacies of Britain's imperial history that partake in their subject-making. The novel, in doing so, obliquely suggests that the younger generation is to confront the past that is a seminal part of their present life rather than have the freedom to throw it away to be a carefree member of a multicultural society.

• Asian Journal of Innovation and Policy
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• 제12권2호
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• pp.261-267
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• 2023

In the paper of 'Natural Selection Favors AIs over Humans,' Dan Hendrycks applies principles of Darwinian evolution to forecast potential trajectories of AI development. He proposes that competitive pressures within corporate and military realms could lead to AI replacing human roles and exhibiting self-interested behaviors. However, such claims carry the risk of oversimplifying the complex issues of competition and natural selection without clear criteria for judging whether AI is selfish or altruistic, necessitating a more in-depth analysis and critique. Other studies, such as ''The Threat of AI and Our Response: The AI Charter of Ethics in South Korea,' offer diverse opinions on the natural selection of artificial intelligence, examining major threats that may arise from AI, including AI's value judgment and malicious use, and emphasizing the need for immediate discussions on social solutions. Such contemplation is not merely a technical issue but also significant from an ethical standpoint, requiring thoughtful consideration of how the development of AI harmonizes with human welfare and values. It is also essential to emphasize the importance of cooperation between artificial intelligence and humans. Hendrycks's work, while speculative, is supported by historical observations of inevitable evolution given the right conditions, and it prompts deep contemplation of these issues, setting the stage for future research focused on AI safety, regulation, and ethical considerations.

• 한국정보과학회논문지:소프트웨어및응용
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• 제30권10호
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• pp.992-999
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• 2003

문법 검사기는 문장의 문법 오류를 찾고 이에 대한 적절한 대안을 제시하는 것이다. 문법 오류를 찾기 위해서 문법 검사기는 전체 문장을 분석해야 하며 이는 많은 자원이 소요되는 작업이다. 이러한 이유로 대부분의 한국어 문법 검사기는 중의성이 없는 작은 부분에 대해서만 구문 분석을 수행하는 부분구문 분석기를 이용하고 있다. 본 논문의 구문 분석기는 문법 오류를 검사하기 위해서 전체 구문 분석기를 사용하였다. 이 방식은 여러 단어를 사이에 두고 떨어져 있는 두 단어간에 문법적 오류가 있을 경우에도 이를 찾아서 고칠 수 있다. 결과적으로 이 방식은 수행 성능을 저하시키는 대신, 문법 오류를 수정하는 정확률의 향상을 기대할 수 있다. 본 논문의 문법 검사기는 문법 오류를 찾고 수정하기 위해서 65개의규칙을 사용한다. 전체 구문 분석기를 사용하는 한국어 문법 검사기는 약 7백만 어절로 구성된 실험 코퍼스에 대해서 약 96.49%의 교정 정확률을 얻을 수 있었다.

• 한국지역지리학회지
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• 제11권5호
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• pp.458-473
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• 2005

본 논문은 우리나라 지리교육에서의 연구가 그 동안 교육 및 지리학에서 전개되어 온 이데올로기적 논쟁을 충분히 반영하고 있지 못하다는 비판에서 출발하였다. 이 연구의 목적은 지리교육에 대한 열린 이데올로기적 접근으로서 최근 영국을 중심으로 실증주의 지리교육에 대한 대안적 논리의 하나로서 전개되고 있는 사회비판적 지리교육의 본질을 검토하는 것이다. 첫째, 교육 및 지리학에 있어서의 다양한 이데올로기적 관점에 토대하여 지리교육의 이데올로기적 관점을 범주화하였다. 특히, 보수적 접근으로서의 실증주의 지리교육과 자유주의적 접근으로서의 인간주의 지리교육의 한계를 지적하면서 등장한 사회비판적 지리교육에 초점을 두었다. 이와 같은 지리교육에서의 사회비판적 이론화는 지리교육과정뿐만 아니라 지리교사의 역할, 그리고 그들의 수업 실행지식에 대한 변화를 촉구할 것이다. 둘째, 지리교육이 공간 중심에서 보다 '사회'에 관심을 두어야 한다는 (사회적) 관심 지향의 지리교육은 제3의 공간적 접근과 비판적 교육학으로서의 태도형성 지리교육을 통해 실현될 수 있다. 그리고 이와 같은 사회비판적 지리교육의 실천을 위해서는 무엇보다도 교사와 학생들에게 비판적 문해력이 요구된다.

• 한국언론정보학보
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• 제61권
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• pp.118-133
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• 2013

리영희는 한국 현대사에서 가장 영향력 있는 언론인의 한 사람이다. 철학자와 정치학자들이 리영희에 대한 논문을 써왔지만, 언론학계에선 이제 비로소 논문이 나오고 있다. 리영희에 대한 평가는 '사상의 은사' 또는 '의식화의 원흉'으로 평행선을 그어왔다. 본 논문은 상반된 평가들 사이에 소통을 위해, 양쪽의 논리를 비교하고 두 논리가 놓치고 있는 지점을 짚음으로써 리영희의 현재적 의미를 분석했다. 먼저 리영희가 '시장과 북한에 대한 잘못된 인식을 초래했다'는 비판과 반비판론자들의 논리가 각각 '허수아비 논증의 오류'(fallacy of straw man)와 '논점 회피의 오류'(fallacy of question-begging)를 범하고 있음을 리영희의 글을 통해 밝혔다. 이어 '진실 추구의 고투'를 리영희가 언제나 강조한 사실에 주목했다. 상찬과 매도로 평행선을 그려온 두 논리 사이에 소통의 필요성은 리영희가 보수와 진보 어느 한쪽에서만 높이 평가해도 좋을 만큼 한국의 언론 상황이 여유롭지 않은 데 있다. 언론이 정파주의에 점점 더 매몰되어가고 있기에 리영희가 강조한 '진실 추구의 고투'에 담긴 현재적 의미는 더 크고 깊다.

• 한국사회복지학
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• 제63권3호
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• pp.285-307
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• 2011

본 연구는 2008년 이후 시장화, 개별화, 가족화를 기조로 하는 보육정책의 개편을 비판적으로 검토하고 대안을 모색하는데 목적이 있다. 이를 위해 본 논문은 첫째, 서구 복지국가 레짐별 사회서비스 재편유형을 검토하면서 자유선택론 논의 위에서 진행되고 있는 시장화, 개별화, 가족화가 갖는 문제점을 분석하였다. 둘째, 아동보육을 위한 서비스 설계에 있어서 정책적 쟁점사항을 정책대상 포괄범위, 정책방향, 정책결과, 정책효과, 정책우선순위로 나누어 살펴본 후, 마지막으로 보편주의 관점의 보육서비스 정책설계를 대안으로 제시하였다. 연구결과를 바탕으로 본 연구는 이명박 정부 보육정책의 재편은 소득수준별, 성별 계층화를 유발하기 때문에 모든 아동의 고른 성장을 담보하는 아동보육정책의 목표를 실현하는데 근본적 한계가 있음을 지적하였다.

• 미술이론과 현장
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• 제15호
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• pp.31-49
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• 2013

This paper delves into the recent 'paintings' of African-American artist David Hammons, which combine rubbish-like plastic wraps with the abstract-expressionist style paintings. In straddling between rubbish and art object, his works tend to blur the boundary drawn between two opposite categories in value, art and garbage, provoking the sophisticated taste of Upper-East-side white community in Manhattan, New York. Choosing the venue of his exhibition at a commercial gallery, Hammons's creative efforts is also a critique of what can be seen as the dominance of abstract expressionism and white elitism in American art history. The artist is known for his use of unconventional materials in art making such as black hair, barbecue bones, and elephant droppings, ones that are often associated with African-American experiences in all different levels. Since his debut in the art scene in the 1970s, Hammons has pursued the view of art-making as a medium for provoking contentious issues of racial relations in the States. On the other hand, the reception of Hammons's work as African-American art can be potentially quite limiting, overlooking as it does multi-faceted meanings of his art practice. His unconventional approach to art often took him outside art galleries and museums, where he was seen using a variety of common materials for site-specific installations and performances. Staged in different parts of Manhattan, these acts of art making traverse seemingly opposite communities and cultures, often blurring their boundaries. Hammons's artistic practice can label him what Abdul Jan Mohamed calls "specular border intellectual", revealing as it does the symbiosis of binary oppositions that is basic to the experience of communnal living.

• 미술이론과 현장
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• 제15호
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• pp.167-198
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• 2013

This paper explores rich and complex implications of Marcel Duchamp's Mile of String which he created for "First Papers of Surrealism," the Surrealist international exhibition in New York in 1942. Part of a larger project devoted to investigating Duchamp's role in Surrealist exhibitions and his relation to the avant-garde group, this paper focuses on Duchamp's exhibition installation in the 1942 show. Under the title of "g$\acute{e}$n$\acute{e}$rateur-arbitre" Duchamp played an important role as installation and exhibition designer in a series of major Surrealist exhibitions in the 1930's-1960's. The "First Papers of Surrealism" was held by Surrealists who exiled in New York during World War I, and Duchamp created a labyrinthine installation of string for the exhibition, which physically blocked the spectator and optically hindered his or her contemplative view. Unraveling the intricately related meanings of Mile of String as an independent work of art and an installation for a specific exhibition, I examine the work on two levels: first, how the work was situated in the context of Duchamp's oeuvre, particularly his earlier work employing string or thread; second, how and in what way the installation rendered a critique on Surrealism as a group and an avant-garde movement. More specifically, by exploring the concepts of 'pataphysics' and voluntary 'nomadism' implicated in Duchamp's work, I suggest that his Mile of String asserted a critical stance against nationalism and collective identity of Surrealism and manifested a radical individualism founded upon what he called the spirit of 'expatriation.'

• 미술이론과 현장
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• 제16호
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• pp.71-103
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• 2013

This paper explores the key figure of minjung misul ("the people's art"), Kim Bongjun, and the art collective Dureong in the relationship between 'dialogue' and the dissidents' structural critique of Korea's modernities. During the 1980s' prodemocracy movement, the minjung artists and other dissident intellectuals used the notion of dialogue as metaphor for and allegory of democracy to articulate not only Koreans' experience of modern history, which they saw as "alienating" and "inhumane," but also the discrepancies between Koreans' predicaments and their political aspirations and their working toward the fulfillment of those ideals. Envisioning alternative forms of modernities, Kim Bongjun and other Dureong members paid attention to the fundamental elements of art, which consist of art as a modern institution, as well as the everyday lives of people as the very site of Koreans' modernities. They endeavored to create "art of life," which presumes its being part of people's lives, based on the cultural and spiritual traditions of the agrarian community. They also participated in the national culture movement, the minjung church, and the alternative-life movement to radically envision everyday lives through the indigenous reinterpretation of democratic values. Despite the significant role played by the church mission and its community involvement, its effects on minjung misul have received little attention in the relevant studies. Thus, I consider in particular the minjung church's and the alternative-life movement's confluence of multiple cultural and social constituencies in relation to Kim and the Dureong collective's vision of a new art and community.