• Journal of Korean Philosophical Society
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• v.129
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• pp.23-51
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• 2014

Christine M. Korsgaard believes that constructivism can respond to moral skepticism without depending upon moral realism. The purpose of this paper is to examine Korsgaard's kantian constructivism and her positions on moral realism. According to Korsgaard moral realism cannot answer normative questions in that it sees the function of moral concepts as describing the reality and so accepts the model of applied knowledge for action. In contrast Korsgaard insists that constructivism is better at justifying normativity since it regards moral concepts as representing the solutions to practical problems and so shows that moral principles are necessarily involved in the practical problems of agency. Korsgaard's constructivism has antirealistic elements such as pure proceduralism, the constitutive model to exclude ontological, metaphysical meanings, and the account of human beings as the sources of values. In spite of those antirealistic elements it is difficult to jump to a conclusion that Korsgaard's constructivism is antirealism. Korsgaard, in the early book, The Sources of Normativity, says that kantian constructivism has something to do with a form of realism, or procedural moral realism. And in the following books she argues that constructivism is compatible with realism although she pays attention to the practical implications of constructivism and then sets aside its ontological relevance. That is, Korsgaard does not want that her constructivism results in antirealism. Korsgaard's realism, however, is too weak to be called as realism. There is, also, a question why one would rather take a constructivist approach if one holds on to realism.

• (The)Study of the Eastern Classic
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• no.32
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• pp.279-310
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• 2008

In this research, the writer investigated the thought in realism and view on education appeared in the text, GUANZI("管子") roughly. The thoughts and contemplation in GUANZI mostly contain practical issues of politics, law and economy, as well as military policy and also get involved in the education pursuing an organic relationship therewith. In GUANZI, the rule of law and morality were applied to the politics in a harmonious fashion. Although the text upheld agrarian-oriented policy in connection with nation's economy, it, however, succeeded to secure the national wealth by having implemented the polices concerned with industry and commerce in an appropriate manner. In addition, he established strong military organization through political stability and by securing economic strength. In short, this is the policy in order to pursue 'a rich nation with a strong military.' Under such situation, education made a positive contribution to meet the realistic needs in order for reinforcement of politics, economy, and military. In the level of moral education that will set right the decorum and proprieties of the people, and their loyalty and integrity, vocational training that enabled the four divisions of society, that is, the official class, farmers, artisans and merchants, to carry out their given jobs successfully was highly valued in GUANZI. These are substantial efforts in order to establish the order of community by means of putting emphasis on people's morality and loyalty, and also to create the public weal through reinforcement of producing activities of each class of society. After all, the realistic thought and view on education appeared in GUANZI can be understood as an expression of strong will to accomplish national prosperity and military strength in order to overcome disturbing situations in the society in those days.

• 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.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.323-331
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• 2024

The concept of 'Han' is a psychological characteristic formed by Koreans through long-lasting national hardships. It has deeply influenced every Korean as a form of collective unconscious and has merged with various forms of art over time. Director Bong Joon-ho's works, rich in social consciousness, symbolically visualize sensitive issues like social class, presenting harsh satire on class oppression. His movies continuously emphasize human desires, the homogeneity of good and evil, insurmountable class barriers, and moral decay caused by desires. They produce a wealth of symbols filled with layers and power dynamics. Bong Joon-ho dramatically portrays and directs various forms of symbols. The metaphorical symbols in his movies provide a unique research value for delving into the deeper meanings of the films.This study examines the theme of 'class Han' in six of Bong Joon-ho's films, exploring the 'Han culture' of Korea. It applies semiotic concepts by categorizing into character and non-character symbols for an in-depth analysis of the films. The representative works from the late 1990s to the late 2010s articulate the class layers of the 'visible' and the 'invisible' through a blend of realism and surrealism. The study analyzes Bong Joon-ho's films in the sequence of 'satire-exposure-hope', examining the culturally critical nature of 'Han culture' on class and its psychological and cultural impact on the general public.

• Cartoon and Animation Studies
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• s.41
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• pp.279-306
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• 2015

This paper is a study of the changing nature of software for virtual Cyborg self and the virtual body that occur in the game from a philosophical point of view. Looking broadly, the cyborg concept refers to the combination of man and machine. Specifically, there is a hardware cyborg organism to combine human and restoration of machine In addition, there is software cyborg by electronic the human brain of converting a virtual body. Virtual games are cases software-Cyborg applied. In the game , There seems to have characteristics of virtual body and ego that different from general cyborg meaning. To analyze the features, I applied the concept of software-cyborg of Hans morabek and the multiple selves in cyberspace properties of Kim Sun-Hee. generally, software cyborg cloning the brain type tended to invalidate the body due to the nature of the virtual world. But If you look at third-person's view and the game character that made from real actors, it is pursuing the realism of photographic images and it stressed the need for a virtual body in order to maintain the psychological identity of the player. And, The game player crosses the eight characters to choose while completing the mission. This is a big role in the reality ego leads to the desired final ending with the selection and experience to be experienced as self-replication to multiple. These cyber multi-ego looks for an active and positive features compared to the multi-ego in the real world and highlights the advantages of the software cyborg. Game The characteristics of the final result varies depending on the selection of the player. The life and death of a friend is determined by the relationship between the characters friendship. In this case, the virtual self is empirically through trial and error, moral, and try to select the desired setting the standard for intuitive and self own choice. Also It can be fused to the knowledge of multiple selves as one step is formed by a high spiritual introspection. This process is a positive interpretation of the world and their own forms of mental reflection through self-overcoming human, Nietzsche is said that the process is Wibeomenswi.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.95-124
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• 2021

As the symbolic images of girls besides its definition have varied according to the age and society, a posthuman girl character recently appears in the digital cinema. This study aims to analyze its cinematic representations and the social contexts in which they are created. For this purpose, the study focuses on what extent the society allows its imagined figurations as a future female body and the meanings revolving around the image of 'technologically body-enhanced female fighter'. Current digital visualization technology has developed to the extent any imaged future humans can be represented, but posthuman girls' representations have its limitation that only a human-like figuration can be allowed in accord with the traditionally idolized image of girls. It is because of the representation logic in which digital cinema is visualized based on perceptual realism that values audiences' experiences. Despite such less critical figuration which does not dare to cross the boundary between the image of human and inhuman, the posthuman girl characters create a new category of the 'dangerous girls' who are both void of sexual femininity and independent of motherhood and heterosexual romance narrative. Of course, they support the modern human-centered belief that humans can take entire control of technology with their moral behaviors and dispel the fear about the negative impact the nature of technology may have on society at large by showing their child-like figuration protecting ethical values. However, the new character of 'unruly girl' exerts her subversive act that seeks to fight against the human-centered liberal humanistic values and melancholic feeling and vulnerability that the neoliberalism and technocracy enforce. When posthuman girl characters are considered to be a marker through which we can see how different social forces are intervening and competing each other in the upcoming posthuman age, the limited figuration of the posthuman girl characters in South Korean movies illustrates the opinionated thoughts toward the instrumentalism in technology but their bloodshed struggles reveal how the corporate or state-governed techno-biopower has oppressively treated and appropriated the human body as the technology-object and also provide a meaningful opportunity to rethink its unethical violence.