처용설화의 무속적 민속학적 해석은 저자인 일연스님의 편집 의도를 무시한다. 처용사건은 특히 신라말기의 경문왕계, 특히 헌강왕 후손들의 왕권계승과 신라의 멸망 사실과 관련이 있다. 그러므로 처용사건은 신라 당대의 역사적 관심 속에서 전복적 해석학과 정치신학의 방법론을 바탕으로 접근해야 한다. 필자는 처용사건의 맥락사를 국인추대, 골품제, 색공제로 구성하고, 이를 ‘법 정초적 위력’, ‘법 보존적 위력’, ‘법 파괴적 위력’이라는 정치신학적 요소들로 파악하고자 한다.BR 신국의 출현과 더불어 화백회의는 최고주권자를 추대하는 정치적 기능을 수행해왔으며, 박씨와 석씨를 막론하고 가장 훌륭한 연장자를 왕으로 세우라는 ‘잇금의 원칙’을 수립하였으나, 무열왕계, 원성왕계, 경문왕계의 태자제도 (...) 확대로 인하여 크게 훼손되었고 권력실세의 의중에 따르는 지경으로 추락하였다. 신성한 왕통을 유지하려는 골품제 역시 족강(族降)과 득난(得難)처럼 당대 왕을 중심으로 재편하여 왕위계승 집단을 축소함으로써 정치적 소요와 반란의 빌미가 되었다. 신라왕실은 골품제의 유지 존속에 필요한 법 보존적 위력 수단으로 왕비족과 색공제를 시행했으나, 진지왕의 경우처럼 색공제는 법 보존적 위력을 넘어서서 법 파괴적 위력으로 작동되기도 하였다.BR 처용사건은 헌강왕과 그의 가족들이 왕권을 계승해나가는 역사적 사실과 직접적인 관련이 있다. 특히 헌강왕이 어색(漁色)으로 얻은 아들 요(嶢)가 진성여왕의 태자가 되어 효공왕으로 등극하는 과정, 국인추대를 통한 박씨왕가의 재등장과 그 몰락, 후백제의 견훤이 세운 경순왕이 왕건에게 색공과 함께 신라를 바친 사실 모두가 처용사건의 맥락사를 이루고 있다. 이로써 신라는 멸망하지만, 그 후예들은 자손 대대로 색공의 은택을 누려왔다. 처용사건은 고대 신라왕실에서 일회적으로 발생한 것이 아니라 천년 동안 반복적으로 일어났던 것이다. (shrink)

오늘날 산업 현장이나 대학교육에서 융복합이 메가트렌드가 되었으며 신화적 힘을 발휘하고 있다. 융복합 교육에 대한 철학적 담론도 지속적으로 이루어지고 있다. 위 담론에서 논자들은 많은 경우 융합학, 융복합, 학제간 연구를 혼용하는 문제를 안고 있다. 심지어 특정주제에 대한 철학적 성찰을 융복합으로 이해하는 경우도 있다. 융복합 시대에 철학의 역할에 대한 논의에 참여하는 논자들은 철학의 본래적 성격에 근거해 융복합 교육에서 철학이 주역이 될 수 있다고 주장한다. 이 논문은 그와 같은 주장의 근거가 약함을 보여줄 것이다. 전국의 많은 대학에서 철학에 기반을 둔 융복합 교과목을 개발 · 운영 (...) 한고 있다. 이와 관련해 이 논문은 기존에 운영되고 있는 교과목들이 융복합 교과목으로서의 요건을 충족시키는데 많은 한계가 있다는 점을 세 개의 사례분석을 통해 보여줄 것이다. 철학은 융복합 교육의 정당성을 부여하는 역할, 융복합 교육의 주역이 되기 이전에 융복합의 신화에 대한 분석과 계몽을 시도해야 한다. (shrink)

에른스트 블로흐가 제시한 희망철학의 기본정신은 그의 프로메테우스 해석으로부터 나온 것이다. 희망의 가능 근거는 미래 시간의 지평이며, 그로부터 우리는 ‘아직-아님’이라는 시간성의 계기를 발견할 수 있다. 블로흐는 역사의 참된 창조는 세계의 시초에 있는 것이 아니라 그 마지막에 있다고 보았다. 세계 종말에서의 참된 창조는 기존의 것에 대한 부정에 그치지 않고 새롭게 하는 혁명적 사건에 의해서 실현된다. 블로흐는 이를 수행할 수 있는 인간상을 프로메테우스 신화에서 찾았다. 다른 그리스의 신들과는 달리 프로메테우스는 인간에게 불과 기술을 전수하려고 했음에도 불구하고 종교적 신앙의 대상이 되지 못했다.BR 프로메테우스는 운명과 죽음 (...) 앞에서 무력해지는 올림포스의 신들과는 달리 앞에서만 본 예술종교의 한계를 넘어서서 현실적 고통과 폭압적 질서에 굴복하지 않고 해방과 자유를 성취하고자 노력했다. 프로메테우스는 아이스퀼로스의 비극 속에서 종교적 의미를 얻게 되었고, 괴테와 블로흐 등을 거쳐서 희망철학적 인간상으로 정립될 수 있었다. 블로흐가 희망철학에서 구축한 인간상에 가장 근접한 자가 바로 프로메테우스인 것이다.BR 희망은 학문의 역사에 한 번도 등장한 적이 없는, 이른바 ‘아직 이루어지지 않은 것’, ‘아직 완성되지 않은 것’에서 ‘아직-아님’의 성격을 가지고 있다. 블로흐는 자신의 희망 사유에서 미래, 전초, 새것의 범주를 새롭게 도입한다. 이전 철학자들이 말하는 ‘본질’은 ‘과거적 본성의 총체’이다. 그러나 블로흐는 단호하게 본질은 결코 과거 속에 있지 않으며, 세계의 전초에 있다고 말한다. 그것은 우리에게 아직 이루어지지 않은, 아직 달성되지 않은 ‘고향’의 문제이기도 하다. 이러한 블로흐의 희망사유는 카드모스, 아이스클레피오스, 오르페우스, 디오니소스, 예수 그리스도로 이어지는 ‘프로메테우스 영향사’를 통해 확립되었다. (shrink)

1. Tasi chʻannŭn kyŏngjŏn -- 2. Tasi ponŭn yŏksa.

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

The theory of Yin and Yang and the Five Movements is based on the concept of cyclical time. This ancient cosmological model postulates that when expansive energy reaches its apex, mutual life-saving relations prevail over mutually conflictual societal relations, and that this cycle repeats. This cosmic change model was first presented in ancient Korea and China, by Hado-Nakseo, via numerological configurations and symbols. The Hado diagram was drawn by a Korean thinker, Bok-hui (?-BC3413), also known as Great Empeor Fuzi (...) or Fu-hsi in Chinese mythology. Confucius once recognized him as the father of I Ching (Book of Changes). The Eastern cosmology was further developed by King Wen and the Duke of Zhou and compiled by Confucius (BC551?-BC 479) during the Spring and Autumn Period and the Warring States Period. Nakseo diagram was first discovered by the famous King Wu of China, who founded the Xia dynasty. In contrast to the harmonious mathematical matrix of Hado, Nakseo symbolizes the conflictual and dynamic expansion of the universe. In the Nakseo world, masculine energy is structurally greater than feminine energy, continuously breeding disequilibrium and conflict. The Yin and Yang model suggests that everything in the universe exists as a combination of opposing dynamics. At any given time, one of the two dynamics grows while the other declines. When Yang energy is at its peak, Yin energy is at its nadir; then, a reversal occurs; and envetually the whole cycle repeats. It would thus be logical to express that when conflictual energy has reached its apex harmonious energy begins to wax. It can be argued that since the state of disequilibrium within the universe represented by Nakseo cannot indefinitely sustain its dynamic of expansion, harmonious international relationships eventually come to pervade the world. This argument represents a unique applicationof the concept of Yin and Yang logic to international arms race and arms control. This cyclical dynamics can explain the long-term process of arms build-up followed by eventually by nuclear standoff and subsequent nuclear arms control regimes as NPT, CTBT, MTCR, SALT, START, PSI and etc. One can boldly claim that Yin and Yang logic offers a clue to creating a theory of structural peace by discovering a constructivist element in the model. The esoteric matrixes of ancient Korea and China thus provide humanity with an new vision for nuclear disarmament and a sustainable peace. (shrink)

Largely neglected today, the work of Karl Philipp Moritz was a highly influential source for Early German Romanticism. Moritz considered the form of myth as essential to the absolute nature of the divine subject. This defence was based upon his aesthetic theory, which held that beautiful art was “disinterested”, or complete in itself. For Moritz, Myth, like art, constitutes a totality providing an idiom free from restriction in the imitation of the divine. This examination offers a consideration of Moritz’s aesthetics (...) and mythography, before turning briefly to consider his influence on the authors of Early German Romanticism. An understanding of the role of Moritz’s thought supports a number of recent claims that challenge the conventional reading of Romanticism. At the same time it allows us to see Romanticism’s unconventional realist theological programme, permitting us to overcome the problematic secularising readings of the movement. I would like to thank Kurt Mueller-Vollmer, as well as Fredrick Beiser and Lars Fischer for their help with this project. (shrink)

The book deals with the influences exerted by Social Darwinism upon Korea’s modern ideologies and discourses in the 1880s-1900s. It argues that Social Darwinism constituted the main keystone for many pivotal discourses in early modern Korea, especially nationalism.

What are the states of consciousness in themselves, those pulses of mentality that follow one upon another in tight succession and constitute the stream of consciousness? William James conceives of each of them as being, typically, a complex unitary awareness that instantiates many features and takes a multiplicity of objects. In contrast, Brian O?Shaughnessy claims that the basic durational component of the stream of consciousness is the attention, which he understands to be something like a psychic space that is simultaneously (...) occupied by several experiences. Whereas, according to the first conception, emotion is a feature of a temporal segment of the stream of consciousness and colors through and through each consciousness state that instantiates it, the second conception considers an emotion to be a distinct one of a system of simultaneous experiences that interact with each other, for example, limiting each other?s number and intensity. Among other matters discussed is the two theorists? mutually contrasting conception of how the non-inferential awareness which we have of our states of consciousness is accomplished. (shrink)

This descriptive study was undertaken to identify the degree of ethical sensitivity of staff nurses and to analyze the differences in ethical sensitivity in terms of both general and ethics-related characteristics. Participants were 236 staff nurses working in general hospitals in Korea. Ethical sensitivity was measured by means of an instrument developed by the researchers. The results showed that the mean score for the degree of ethical sensitivity was 0.71 out of a possible maximum score of 1 (range 0.30 to (...) 0.97). For general characteristics, there was a significant difference in ethical sensitivity according to age (F (df 2233)-3.99, P-0.02). For characteristics related to ethics, there was a significant difference in ethical sensitivity according to attitude towards the nursing profession (F (df 4231)-2.94, P-0.03). It is therefore recommended that a training program reflecting these variables be developed to enhance staff nurses’ ethical sensitivity. (shrink)

This study examines the Korean aesthetic consciousness of colour by focusing on the preference far white in clothing culture. A nation's symbolic use of certain colours develops over time as a tradition representing the national sentiment and philosophy of life. In this way, traditional colours not only influence the senses but also evoke ideas about a country's social customs. Far example, white clothes without bleaching, artificial processing, or fancy patterns have a simple and pure beauty. This paper discusses the (...) Korean partiality toward such clothing as representative of the spiritual virtues of purity and holiness. A comparison is drawn with China and Japan, where traditional clothes feature other colours despite some shared concepts across the cultures, such as yin-yang and the five elements. (shrink)

I discuss various aspects of the Lvov-Warsaw School: its past, present and future; its location, evolution, mathematics; the variety of its members. I develop this analysis on the basis of my 25-year experience with Poland.

This paper investigates why some legislators tend to switch parties frequently while others tend to stay put. On the assumption that the ultimate goal of legislators is to be reelected, I argue that voters' demands for local/individual benefits, or pork, and legislators' lack of access to resources for such benefits are likely to lead the legislators to switch parties in order to improve their electoral chances in the subsequent election. By analyzing party switches by legislators from 1988 to 2008 in (...) South Korea, where the president controls access to the pork pipeline, I find that the president's party members are less likely and independents are more likely to change party affiliations, irrespective of voter demands for pork or national public policies. However, I also find that opposition party legislators who are elected from less-developed districts, where voters tend to desire pork over policy, are more likely to switch parties than those elected from more-developed districts. These findings suggest that interaction between voter demands and party access to resources influences politicians’ party loyalty: voter demands for pork (or policy) tend to lead politicians to be less (or more) loyal to their current parties. Voter demands, however, have little impact on the party loyalty of those who are already in parties with access to the pork pipeline. (shrink)

This paper asserts that the dominant mental models of a social system are shaped by the conditions at the time when the society first gains its identity and unity,and that the basic traits of these models are maintained to a great extent throughout that society’s subsequent social evolution. Based on this assumption, some basic traits of the mental models’ characteristics of today’s civilisations are expected to have their origins in the mental models of early human agricultural societies and city-states. Since (...) Mesopotamian myths constitute some of the earliest available records originating from that ancient period, several of these myths are analysed here to examine the roots of some fundamental epistemological assumptions of our contemporary society. (shrink)