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The main purpose of this study is to visit once again to the famous debate ‘pure literature-committed literature’ which took place in the years ’60-’70 in South Korea. One of the reasons why we decided to go back lies precisely in the fact that Qu’est-ce que la littérature?, Sartre’s central work that serves the basis of this debate, could not be understood on both sides that participated in this debate. In fact, this theoretical work contains in itself a very enigmatic statement : “There is only art for and by the others.” It could be rewritten in the context of literary theory : “There is only literature for and by the readers.”It seems that the first aspect of this statement corresponds to Sartre’s literary salvation, that is to say that of a pure literature or the literary religiosity and the second, that of literary engagement which emphasizes the emancipatory function of the act of writing. Nevertheless, these two aspects of Qu’est-ce que la littérature? could not be adequately captured by the participants of the debate ‘pure literature-committed literature’. Those who supported the pure literature have neglected the aspect of literary engagement of this book, namely that of ‘literature for the readers’, while those who claimed literary engagement have not done justice to the look of ‘pure literature’. From this stems indeed are derived two needs : the one is to visit once again to this debate which can be considered as one of our country’s morbid symptoms of ’60-’70 years and the other is to review the real history of this debate and reassess all studies about this debate.

Notre étude a pour but de trouver l'application de nouvel espace dans l'art de la représentation contemporaine après révèler les changements de l'espace théâtral dans une variété de changements environnementaux contemporains. L'espace du théâtre peut avoir compris en étapes selon l'espace corporelle que des acteurs représente et l'espace de la scène. Et l'espace scénique est un espace pour accomplir des actes à effectuer. Dans le même temps, il est l'espace scènique et la technologie dans la scène que le spectateur peut imaginer et percevoir. Nous montrons tout d'abord que l'espace scènique large existant dans le théâtre a du changement syntaxique et aujourd'hui l'art de la représentation contemporaine a été contraint d'accepter les technologies de multimédia tels que l'image. Deuxièmement, en reconnaissant l'importance du multimédia que la région est en pleine expansion de jour en jour, nous profitons de ce nouvel espace pour l'art de la représentation contemporaine dans l'adoption de la technologie multimédia. Pour cette étude, nous avons analysé 『Circulation』(1984), 『Beyond the Moon』(2003), 『The Andersen Project』(2007) et 『Das Rheingold』(2010) de Robert Lepage au Canada qui avons développé un théâtre de l'image. Cette étude présente une analyse détaillée de l'oeuvre dans l'art de la représentation contemporaine et l'étude d'un nouvel espace est utilisé.

Die vorliegende Arbeit versucht zu klären, ob die humanistische Identität des Menschen im herankommenden posthumanistischen Zeitalter immer noch ihre Gültigkeit besitzt. Im Humanismus wurde die Identität des Menschen für einzigartig, ungeteilt und unvoraussehbar gehalten. Aber mit der Entwicklung der Biotechologie wird das humanistische Identitätsverständnis in Frage gestellt,vor allem im Bezug auf das Klonen des Menschen. Im Mittelpunkt solcher Entwicklung steht die Annahme, daß nicht nur der Körper, sondern auch die Identität des Menschen planbar und herstellbar sind. Wenn es tatsächlich so wäre, kann die humanistische Identität durch die technisch steuerbare, voraussehbare und berechenbare Identität ersetzt werden. Ch. Kerners Roman 『Blueprint』zeigt ein Beispiel dafür. Das Klon-Kind Siri findet heraus, daß ihre Identität durch Klon-Original Iris bestimmt ist und ausschließlich mit der Identität der Mutter ihre Identität erklärt und existentiell wird. Das heißt, das Klon-Kind besitzt keine Identität und kein Individuum. Ihre Identität zu erkennen, kann Klon-Kind Siri nur durch den Tod ihrer Mutter Iris verwirklichen, nämlich durch ‘Abnabelung’ von dem Klon-Original Iris. Dieses Verhältnis zwischen dem Klon-Original und dem geklonten Menschen wirft ethische Frage auf, weil das Geklonte-nur zum Wohlen des Klon-Originals existieren darf-für ein Ersatz bzw. Ersatzteil des Klon-Originals gilt. Das Geklonte ist ein Menschwesen ohne Identität, und deshalb bleibt es immer noch offen, ob heute aber auch im posthumanistischen Zeitalter solches Menschenbild als unser Menschenbild verstehbar ist.

This Article is to give an explanation of how Ahn Jung Keun rated Korean national bloc. First, Ahn Jung Keun have the negative opinion on a high official. Ahn Jung Keun understood that high official looked after interests of family than interests of nation. Second, Ahn Jung Keun rated high persons acquainted with the international situation. Ahn Jung Keun rated high Lee Sang Seol from a this angle. Third, Ahn Jung Keun prefered to an advocate toward theory of Oriental Peace. Ahn Jung Keun rated high Choi Ik Hyun and Her Wui from a this angle. Fourth, Ahn Jung Keun prefered to persons persued Western Reform. As a result, He rated high persons lead the Kapshin coup in 1884 and Kapo reform in 1894. First, Ahn Jung Keun had the positive opinion on Reform of the Great Han Empire but, on the other hand, had the negative opinion on Reform of the Great Han Empire. Ahn Jung Keun rated low Lee Yong Ik from a this angle. Sixth, Ahn Jung Keun prefered to persons keep loyalty and patriotism. Ahn Jung Keun rated high leaders of a righteous troops from a this angle. Seventh, Ahn Jung Keun run parallel a mass education drive and armed fight. Eighth, Ahn Jung Keun hated pro-Japanese persons.

This study set out to point out that the interpretations of Kim Hwan-gi’s works had been usually inclined toward capitalist or nationalist ideologies and propose their alternatives. In South Korea, Kim’s works are mainly enjoyed in two ways: one is to consider the quantitative aspects(goods) of the values granted to his works, and the other is to fetishize the subject of nation by calling his works “Korean.” Those ways, however, are far from enjoying an artistic work itself because they are for the subjects of capital and nation and further the existence of their system. The author himself is not free from the matter since he also embodied ideologies and tried to justify them through various words. However, there are some things not restored to ideologies in his words. As seen in the examples of his “contradicting” expressions from the perspective of Freudian slips such as his usage of the concept of his local community while talking about the subject of nation, the non-ideological subjects are visualized in the context of his words. It might be inevitable at a certain standpoint as his concept(the symbolic) of nation contradict his concept(the imaginary) of local community he acquired through experiences. It is from such separation that his unique singularity stems. Analyzing such cases, the study aimed to examine Kim’s own uniqueness as a writer and explore the possibility of enjoying the subjects of singularity derived from the writer himself and differentiated from others instead of enjoying his works as the ideological subjects.

‘The Road since Structure’ published in 1991 seems to be the paper which shows his final philosophical position. I will discuss the philosophical view he shows in that paper. He, in his paper, treats rationality, relativism, realism,truth, and incommensurability. The word which plays a key role in his argument is incommensurability. In order to discuss incommensurability, Kuhn introduces and uses concepts such as ‘lexicon’ and ‘lexical taxonomy’. Lexicon is actually identical, in its meaning, with paradigm which he had been using. In ‘The Road since Structure’, Kuhn is supposed to defend accurately the concept of incommensurability. While he hold the possibility of lexicon-dependent truth, he denies the correspondence theory of truth and foundationalism. He interprets Hacking’s ‘styles of scientific reasoning’ as a similar view to his own view of lexicon-dependent truth, but here Kuhn’s some misunderstanding on Hacking’position intervenes. Eventually, Kuhn’s final philosophical position is not different from his prior position. Rather, we should say that he is intensifying his prior position.

This paper examines the ripple effect of exhibit education through the experience of War Memorial that is one of state’s official organizations. From the works of contemporary photo artists, this paper particularly pays attention to the transmission pattern from the exhibit experience to ‘the cultural memory,’and ‘autobiographical memory.’ This paper addresses the changes of photo artists’ works along with the analysis of 2009’s revised education course (art department) to foresee the future influence of unification education that will be actualized by state’s institute. The building intention of War Memorial and the purpose of exhibit education are basically the transmission of ‘official memory.’ In particular, War Memorial in South Korea is the very place where people are educated the ‘cause’ of divided country. In this sense, War Memorial functions as ‘the space for creating official memory’ that educates people state’s identity. However, when we examine the ideal human character or the educational objectives that 2009’s revised education course pursues, this function of War Memorial that emphasizes state’s viewpoint does not fit to the aim that government departments or public education institutions pursue. Considering the revised education course that particularly focuses on ‘experiential activity’ in community cultural facilities,their different direction can influence not only art department but also state’s cultural competition. Under the circumstances, this paper objectifies War Memorial that uses official memory for ideology to focus on the photo artists who dissemble official memory and understand history in value-neutral and object point of view or who criticize war itself. These artists sublimate this official memory to art with their independent and critical appropriation. Here, we can find the accordant point with current revised education course. In this respect, War Memorial is a dynamic space where the collision and also the accordance with the education purpose appear. There is nothing equal to ‘war’ that spreads images and information fast. As much as its rapid speed, it requests critical thoughts to verify the meaning of information. Therefore, it is time to realign War Memorial as the space where restructures the knowledge for ‘universal peace education’ by closing the distance between generations. It can be a place both for critical thinking and for the sense of national security.

The purpose of this study is to consider background of discussions about Chunqiuxue found in Jeongbaekgeukdaneoeon in Dongraebakui written by the Chinese scholar, Dongrae Yeo Jo Gyeom, and to analyze and criticize the Chunqiuxue. Yeo Jo Gyeom wrote Geunsarok together with Zhu xi and successively held various posts related to studies. He had a different view of Chunchujwajeon from Jwassi, as found in Dongraebakui. It is about the story of Jeong Jang Gong and Gong Suk Dan. In terms of this story, Jwassi pitied for Jeong Jang Gong who failed to beat his mother and grew evil in his brother, while Yeo Jo Gyeom brought a charge against him who made all the people cheated by his deliberate plans. It can be determined that Yeo Jo Gyeom’s view is clear and precise. However, it can be said that Yeo Jo Gyeom is clumsy in treating Jeong Jang Gong’s faults. That is because it was possible to make a smooth solution by presenting methods by brothers of Jobi and Josik, or Sun and Sang. It can therefore be said that he made narrow-minded application. So Dongrae Yeo Jo Gyeom had an excessive bent for justice and failed to be clearly fair-minded, although he was more accurately aware of Jeong Jang Gong’s thought and troubles. In this respect, it is hard to accept his logic,which is somewhat doubtful. It is right to give the first priority to justice between an emperor and feudal lords, or between brothers, with the second priority given to behavior.