KJC Korea
Journal Central

In the 2003 novel Oryx and Crake, Atwood speculates on the human-nature relationship and the definition of humanity while describing the extinction of humankind and the creation of a humanoid species known as ‘Crakers’. By showing the fatal consequences of their genetic engineering experiments, Atwood depicts the novel’s scientists as irresponsible and careless in their abuse of anthropocentric-based science and technology. Crake, a decidedly talented scientist, attempts to exterminate the entire human race and replace it with Crakers, whereby revealing the negative extremes of rationalism where the human will controls everything, including life itself. In contrast, Jimmy, Crake’s ex-childhood friend, holds a humanistic viewpoint. Jimmy possesses virtues such as responsibility, sensitivity, and empathy. Jimmy's empathy is not limited to other humans but extends to non-human beings. However, he is powerless to resist Crake’s society as he internalizes the prejudices of the Craker society. In seeking a new path for humanism, the female figures of Jimmy’s mother, Sharon and his lover, Ory xgive new insights. Traditional rationalist humanism silences the female voice, but in this new form of humanism, their voices must be heard. In particular, we should not disregard those who possess awe for life and natural order in the name of rationality and reason. For example, Jimmy and Oryx’s attempt to overcome prejudice based on love and empathy should also be considered important. Furthermore, the humanoid Crakers force us to rethink our concept of humanity.

Subjectivity is a socially mediated process and a matter of empowerment and power. Therefore, the emergence of new social subjects is a process which involves a collective project external to the self as well as its deep-seated structures. Rosi Braidotti’s vision of the posthuman, which is both post-humanistic and post-anthropocentric, makes it clear that posthuman subjects are, and should be, embedded and embodied, transversal and relational. As she insists, posthuman subjectivity is a work-in-process which constantly involves experimentation with what we are capable of becoming in the face of posthuman predicaments as well as opportunities. Rosi Braidotti’s vision of posthuman subjects and her critical posthumanism, which she developed in The Posthuman in 2013 and Posthuman Knowledge in 2019, are important platforms from which workable concepts of posthuman subjectivity worthy of the times might be formulated and developed.

This study analyzed SF works representing metamorphosis motif under the conditions of 'machine' and 'evolution'. I tried to find out how the metamorphosis of the machine human being is represented and analyze it with literature. thematic theory. In the process, I looked at the similarities and differences between the metamorphosis of myth and modern texts in terms of cultural and technological civilization. Humans have had various desires for metamorphosis in various histories and cultures. Metamorphosis motif of our time have more unique characteristics than any other time. The reason is that while the transformation of myth was made by divinity and fantastic imagination, the transformation of our time is supported by science and medical technology. In particular, 'machinery' and 'evolution' are representative conditions for metamorphosis motif in SF. The machine of human technology itself, the creature of man, exists between man, god, and nature(animal), mediates the organic connection between man and God, nature(animal), and also desires to be completely human. Evolutionary imagination allows humans to fly into the future, meet humans who have evolved into new species, make Android more human than humans, and transcend from the body of the body to the digital subject. Through this analysis, I was able to find the post-human that goes beyond individual metamorphosis to the metamorphosis(evolution) of species.

This article focuses on the role and efficacy of material media in the process of confusing the relativity and universality of values. This article argues that modern-day Korean society mistakenly views relative value as a representation of the ‘party’,a universal value as a symbol of literary arts, and the transversal value of culture as their interactive result. The impetus for this article was the idea that the boundary of a territory could be mistaken and the opportunity toco-exist across each other could be exploited. Furthermore, the issue of co-existence seems to be caused by the transcendent utility of information processing in the medium. In other words, the media has an inherent error in using transcendent utility to ultimately degrade human sensitivity and information processing. And when the error is combined with the structural and essential contradictions inherent in a social system, a threat to social co-existence arises. As mentioned earlier, one of the potential misuses of the media's inherent qualities is that it can isolate the user from the scene and thereby subsume the perception and sensitivity of individual or social units. The relativity of each sphere of decentralization in modern Korean society has the potential to explode with these characteristics of the media. But at the same time, it is captured in an organized, three-pronged game-like board between ‘media-marketc apital-political powers’. The forces that will make it possible to coexist in countless varieties are being used by the game board's owner, who wants to turn the game of truth distortion into a kind of 'breakout game.' From a problem consciousness perspective, the purpose of this article is to establish the status and role of the humanities in the context of confusion of mutually agreeable universal values and to manipulate each phase of the value, and to derive the humanistic practice to carry it out. In other words, this article isa search process for humans as the prototype of the medium to discover and correct errors in the use of the material medium, in the so-called ‘media era’in which people perceive the world and exercise individual consciousness and energy through the medium. At the same time, it is also a kind of conceptual process for utilizing interactive tools in non-material domains. This article points out the problem of biased survival that the media uses to cause society to be divided and hierarchical. This article further examines human nature to overcome it, and the methodology of its manifestation from a humanistic point of view.

This article is the genesis of a discussion to prepare for the 4th Industrial Revolutionary Age from the perspective of Korean literature. The aim is to design a plan of tourism cultural contents to make the Korean folk tale, the <Hansung Baekje myth>, the original text and prototype. The myth is not only Seoul‘s representative folktale but also an ancient Korean representative myth. The tourism cultural contents to make the Korean folktale the original text and prototype is a theme park <tema park> based on a fixed structure. This article uses technology such as Virtual Reality (VR), Augmented Reality (AR) and MixedReality (MR) to reparametrize the <Hansung Baekje myth> into a theme park.

Gossip has an informal nature of content and form. So, rather than being documented, gossip can be spread publicly through a cultural art with a strong old-fashioned personality like pansori. <Gewusa> is a novelized version of the 19th-century pansori <Musugi-tayeong>, which shows pansori performed as a form of gossip.The character ‘Musugi’ in <Gewusa> is a typical 19th-century 'Walja' andis a celebrity of the day. 333 is the object of attention to those who enjoy the surrounding people and the narrative, but a negative connotation, which is analogous to gossip, surrounds it. <Gewusa> lists, exaggerating wealth and falls through repetition, which reflects the interests of the hedges of it. The cologne of <Gewusa> reveals vicarious satisfaction and jealousy through ‘Musugi’s’ story, leading to criticism and omens through norms.<Gewusa> is predicated on curiosity about other people's lives. So,‘Musugi’s’ tragedy also lacks seriousness because of the factual mechanism of deception. In <Gewusa> the story of the rich and the bankruptcy of ‘Musugi’ become the gossip of the working class because of the platonic expression. These stories are meaningful in that they show that the pansori format can be an informal discourse medium for gossip.