2024, Vol., No.92

A Study on the Corresponding Korean Adverbs for the Chinese Reflexive ‘自己’

ZHOU XIHONG | 2024, (92) | pp.005~024 | number of Cited : 0

A Case of Developing an Experiential Class Program in a University Liberal Arts Class - For “the Kyeongbu Railway Song” -

Kim, Tai-woong | 2024, (92) | pp.025~051 | number of Cited : 0

The Greenhouse at the End of the World - A Geostory in the Anthropocene Centered on Plants as Agents -

song eun ju | 2024, (92) | pp.053~087 | number of Cited : 0

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Plants have traditionally been perceived as passive and inert entities, viewed either as resources for human use or as integral components of the environment. However, the recent “Nonhuman turn” within the Anthropocene paradigm urges a reevaluation of the agency of non-human entities. This shift calls for a rewriting of ‘geostories’, instead of an anthropocentric History, with the active participation of non-humans. Therefore, there has been a surge in human-plant studies from a posthuman perspective. This paper examines Kim Choyop’s science fiction, The Greenhouse at the End of the Earth, as an illustrative instance of geostories. The narrative describes a catastrophic disaster of extreme dust, caused by a failed geoengineering attempt to reverse climate change. On the brink of extinction, a pivotal role is played by the artificial plant Mosbana, engineered by the cyborg scientist Rachel. It saves the planet by mitigating the dust concentration. However, it defies easy classification within the artificial versus natural dichotomy; it possesses its own agency, although shaped by human creation but not entirely under human control. The plant’s capacity to recognize and adapt to environmental changes, undergoing transformations that influence both itself and its surroundings, resonates with contemporary research on plant intelligence, which requires a post-anthropocentric redefinition of intelligence. In the novel, Mosbana also prompts a reconsideration of intelligence that extends beyond anthropocentric perspectives. The planet’s salvation is attributed to the symbiotic relationship between Mosbana and its human creators, highlighting the potential for common world-making between humans and non-humans. It is illustrated in Anna Tsing’s Mushrooms at the End of the World, who suggests “multispecies world-making.” The tale of Mosbana and the humans involved in its creation and dissemination serves as a compelling example of alternative geostories. This narrative challenges anthropocentrism by envisioning a shared and co-constructed reality between humans and non-humans.

Friedrich Schlegel's Turn to Romanticism

Jung, dayoung | 2024, (92) | pp.089~114 | number of Cited : 0

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The Limits of Legal Interpretation of Double Jeopardy and Ethical Judgment

Daeseok Jeon | 2024, (92) | pp.115~150 | number of Cited : 0

This article primarily analyzes the limits of legal interpretation and application of double jeopardy based on the concepts of event and personal identity. From a legal standpoint, double jeopardy or the principle of double punishment prohibition is generally traced back to the principle of ‘ne bis in idem.’ Double jeopardy and double punishment prohibition fundamentally prohibit the re-prosecution or punishment of the ‘same crime or offense’ to protect and secure the interests of citizens. Therefore, in order to apply double jeopardy, the question of how to define ‘the same offense’ or ‘the same event’ must be clarified. The doctrine of the sameness of basic factual relations is considered to be a good implementation of double jeopardy by requiring the identity standard to be found in the living experience of the general public. However, careful analysis is required to apply the two important judgment factors of double jeopardy, the close relationship, and incompatibility conditions, to actual cases. Additionally, it is possible that an act protected by double jeopardy may not be free from moral responsibility. This is a case where legal judgment and moral judgment do not agree. This article, in order to address these questions, first examines the general contents of double jeopardy and the principle of double punishment prohibition, which are rooted in the principle of ‘ne bis in idem’. Then, through a thought experiment, it considers the limits of legal interpretation and application of double jeopardy. To do this, it examines the two important judgment factors of double jeopardy, the close relationship, and incompatibility conditions, and analyzes and evaluates these conditions by applying them to the thought experiment case. Finally, it briefly explains the reason why the agent cannot be free from moral responsibility even though he or she may be acquitted on legal grounds in cases involving double jeopardy.

The Messages of Caricatures in Contemporary Society - Focusing on McLuhan’s Media Theory -

Kim, Byung-Min | 2024, (92) | pp.151~182 | number of Cited : 0

The purpose of this paper is to analyze the messages of caricatures in contemporary society, focusing on “Reproductive Caricature” and “Playful Caricature”. Unlike general graffiti and disparaging expressions, “Reproductive Caricature” refers to representational paintings that have been accepted as part of art history. Of course, even before representational caricatures, there were paintings that were morphologically similar to caricatures, such as simple graffiti and disparaging expressions. This type of painting is sometimes misunderstood as a caricature because it shares external characteristics with contemporary caricatures. However, graffiti and simple disparaging paintings, which can be called “Primitive Caricatures”, cannot be strictly considered caricatures. This is because primitive caricatures have a connection with caricatures in that they anticipate some of the unique characteristics of representational caricatures after modern times, but they are not directly related to caricatures themselves. Therefore, primitive caricatures are not covered separately in this paper. On the other hand, while caricatures were accepted by people as part of art history, they influenced the visual system of those who appreciated them and later influenced art history. However, these caricatures do not still have the same influence in contemporary society, as there are enough painting media to replace their influence today. In this situation, caricatures are influenced by capitalism and self-narratives, exhibit playful elements and inner exploration, and convey new social and cultural messages. The so-called “Playful Caricatures” help solidify the cultural narrative that people should be able to derive pleasure through consumption and take care of their inner selves. This paper is expected to have academic value in that it discusses the possibility of multi-faceted use of caricatures today by analyzing the messages of caricatures in modern society.

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Journal of Humanities 2023 KCI Impact Factor : 0.6

2024, Vol., No.92