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.

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)

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)

With contributions by some of the best and most significant contemporary Korean philosophers, this important volume provides an overview of the different debates, problems, figures and periods that make up traditional Korean Buddhist and Confucian thought. The book highlights the richness and diversity of Korean philosophy as a vital and ongoing philosophical endeavour.

Korean civil society is often criticized because of its dual nature, that is, the paucity of social capital in everyday life and the plethora of collective political actions in the national civil society. Although liberals view such duality as the critical impediment to Korea’s authentic democratization, which would represent a fundamental, liberal-pluralist transformation of Korean society, this article rather acknowledges its cultural uniqueness and utilizes it as the basis on which to construct a Korean non-liberal democracy that is culturally pertinent (...) and politically viable. First, this article critically re-examines the recent neo-Tocquevillian praise for social capital in light of Tocqueville’s original idea on the art of association, and reveals the liberal-individualistic assumption behind them, with which Confucian-Koreans are culturally unfamiliar. It presents a Korean version of Confucian civil society to promote democratic collective self-government and common citizenship, while rejecting modern Western moral individualism. (shrink)

This essay introduces two Korean women Confucian philosophers: Im Yun- jidang and Gang Jeongildang who lived in the latter period of the Joseon dynasty. Im Yunjidang was the first Confucian woman to explicitly claim women possessed an equal capacity to become sages as men. Gang Jeong- ildang made it clear that she was inspired by and sought to develop the thought of Im and added her own unique insights and new perspectives. Though they and their writings differ in many ways, (...) these two women philosophers created a lineage of female sages, marking a turning point in the history of Confucian philosophy. This paper aims to provide the his- torical background that shaped their thought and to introduce some of their writings in the hope of inspiring readers to study further the lives and philosophies of these two remarkable women and to take up and extend the insights they have left behind. (shrink)

With the introduction of zoom and cell group Bible study and fellowship gathering with church members from 6 to 10, congregation members of each Korean church have come to appreciate the diversity within each consistory encompassing multigenerational American born Koreans, foreign expats, diplomats, immigrants from middle class and up from the greater Seoul, South Korea area, political refugees and migrant workers who categorically entered this country with Republic of Korea visa but who originally were able to date back their earlier (...) life from Communist Regimes such as Siberia, China, Vietnam and North Korea (Ibuk chulsin) and other Asian of color looking foreigners and mix-breeds with Korean heritage and other combinations. The focus of their Christian practice has been more passive concept of God’s grace grounded on John Wesley tradition rather than their yoking and making progress in lineal fashion into the future with and by believers out of Christian love. A premium is placed in smooth transitioning from static Confucianism and Christianity embracing education, meritocracy, social harmony and order. (shrink)

Preface to the second edition -- Preface to the first edition -- Psycho-mythology : meschugge? -- Dreams and fantasies : manifestations 0f the mythological unconscious -- African-American dreaming and the "lion in the path" : racism and the cultural unconscious -- "Hapless" the Centaur : an archetypal image, amplification, and active imagination -- Pegasus and visionary experience : from the white winged horse to the "flying red horse" -- The bull, the labyrinth, and the Minotaur : from archaeology to "archetypology" (...) (with an apology to Ariadne) -- Griffins, gold, and dinosaurs : mythology and "fantastic paleontology" -- Dreaming of a unicorn : a comparison of Lacanian and Jungian interpretation -- "Destiny" and the call to heroism : a dream of vocation and individuation -- List of publications by Michael Vannoy Adams. (shrink)

This article investigates whether different religious (mythological) worldviews can be described as alternative and altered states of consciousness (ASCs). Differences between conscious and unconscious motivations for behaviour are discussed before looking at ASCs, Weltanschauung and symbolic universes. Mythology can be described both as Weltanschauung and symbolic universe, functioning on all levels of consciousness. Different Weltanschauungen constitute alternative states of consciousness. Compared to secular worldviews, religious worldviews may be described as ASCs. Thanks to our globalised modern societies, the issue is even (...) more complex, as alternate modernities lead to a symbolic multiverse, with individuals living in a social multiverse.Keyowrds: mythology; Weltanschauung; worldview; symbolic universe; states of consciousness; altered states of consciousness; alternative states of consciousness; symbolic multiverse; social multiverse. (shrink)

South Korean industrial conglomerates (chaebols) are discussed in the context of value-based management (VBM). Recent economics and finance literature on the diversion of corporate resources from the firm to the controlling shareholders (tunneling), for which chaebols are notoriously known, is discussed. Chaebols have engaged in empire building and expropriation of minority shareholders, distorting the process of efficient resource allocation in South Korea, and became the root cause of the 1997 financial crisis. We argue that the 1997 crisis should be viewed (...) as a consequence of chaebols’ systematic deviation from the guiding principles of VBM. We use tunneling within chaebols as an example of the need to directly address prohibition of the expropriation of minority shareholders as a primary postulate of VBM. We argue that VBM should require that the value generated by the firm not be expropriated from minorities, or any stakeholders, by dominant shareholders. We also examine moral and ethical considerations and present explanations as to why the unethical practice of tunneling has been tolerated by the South Korean public. We show that public opinion on tunneling is changing and that the treatment of minority shareholders by chaebols’ controlling families is becoming increasingly unacceptable to South Koreans. (shrink)

Aesthetics is not a subject usually associated with North Korea in Western scholarship, the usual tropes being autocracy, counterfeiting, drugs, human-rights abuse, famine, nuclear weapons, party-military dictatorship, Stalinism, and totalitarianism. Where the arts are concerned, they are typically seen as crude political propaganda. One British museum specialist writes that North Korean visual art is an "art under control," and one Russian historian insists that North Korean literature is devoid of the "beauty of language."1 As the short turns of phrase and (...) value judgments indicate, there has been no real attempt in English to engage the North Korean aesthetic on descriptive terms.North Korea is not a liberal .. (shrink)

A hugely important book that rediscovers three crucial, but long overlooked themes in German idealism: mythology, madness and laughter.

The paper aims to investigate the thesis of the so-called Neue Mythologie within the fragment entitled “Das älteste Systemprogramm des deutschen Idealismus” [“The Oldest Systematic Program of German Idealism”]. The latter presents a revolutionary project of social pedagogy linked to the use of the aesthetic character of myth and poetry in the formation of the conscience and the intellect of the people. The program, therefore, formulates a fertile dialogue between the emancipatory potential of the Enlightenment and Jena Romanticism, in that (...) it proposes a re-evaluation of feelings and Sinnlichkeit [sensuousness] in connection to modern rationality and freedom. The links between the rational mythology of the program and Hegelian philosophy will be explored, starting from his early writings, which are strictly concerned with the importance of a popular and sensuous religion (Volksreligion). Secondly, the work will retrace the same sensuous externalization of philosophical ideas within the relationships between art, religion and philosophy in the mature system, addressing the problem of Hegel’s change of heart regarding art and mythology between the two phases of his thought. In the end the value of symbolical mediation of concepts and idea will be established. (shrink)

This chapter contains sections titled: Do Christmas Mythologies Even Exist? The Secular Christmas Mythology: The Santa Story A Sacred Christmas Mythology: The Virginal Conception The Problem of Literal Truth The Philosophical Case Against Literal Truth: Russell's Teapot The Religious Case Against Literal Truth: Tillich's Broken Myths.

In 2017, Korean crisis escalated as Donald Trump began “war of words” with DPRK’s chairman Kim Jong-un. Each threat both leaders made might eventually be understood by the other party as a declaration of war. Donald Trump wanted to “clean up the mess” left by previous US administrations and solve the problem of North Korean nuclear program. However, his actions were inconsistent: he threatened in a very North Korean way “total destruction” only to emphasize later that it was not a (...) “preferred option.” This article explores how “war of words” was a significant cause of the escalation of the Korean crisis. (shrink)

Forty years ago Roland Barthes defined a mythology as those “falsely obvious” ideas which an age so takes for granted that it is unaware of its own belief. An illustration of what he meant can be seen in his 1957 critique of the photographic exhibition, The Family of Man . Barthes declares that the myth it promotes stresses exoticism, complacently projecting a Babel of human diversity over the globe. From this image of diversity a pluralistic humanism “is magically produced: man (...) is born, works, laughs and dies everywhere in the same way....” The implicit mythological background of the show postulates “a human essence.” Barthes exhorts us instead to probe beneath the facile implications of a universal human nature implied by the exhibition’s sentimental juxtapositions. We must try “constantly to scour nature, its ‘laws’ and its ‘limits’ in order to discover History there, and at last to establish Nature itself as historical” (1972:100-102). (shrink)

Jamake Highwater is a master storyteller and one of our most visionary writers, hailed as "an eloquent bard, whose words are fire and glory" (Studs Terkel) and "a writer of exceptional vision and power" (Ana"is Nin). Author of more than thirty volumes of nonfiction, fiction, and poetry, Highwater--considered by many to be the intellectual heir of Joseph Campbell--has long been intrigued by how our mythological legacies have served as a foundation of modern civilization. Now, in The Mythology of Transgression, he (...) uses his remarkable narrative powers to offer a personal and extraordinarily far-ranging examination of how people who stand outside of society--by dint of their sexual orientation, physical appearance, ideas, artistic inclinations, or ethnic heritage--often achieve lasting, even profound influence upon the culture at large. Drawing from a stunningly rich variety of sources ranging from the arts and literature to biology, physics, psychology, and anthropology, Highwater looks at his own outsider status--as a gay man, an artist, and an orphaned Native American--in an attempt to explore how mythologies from ancient times to the present have shaped the ways we think about social "abnormality" and alienation. Throughout, he points to a paradox at the center of Western values--the competing notions that the outsider is at once sinful and wise, that in everyday life the transgressor is ostracized, while in our most durable folklore and religious legends, heroes must break the rules to achieve greatness. Focusing in particular on homosexuality as a modern metaphor of transgression, Highwater brilliantly mixes personal anecdotes with wide ranging research, leading us on a tour through the history of social conformity and rejection, citing examples that span from Judeo-Christian-Islamic doctrines of good and evil, to the Navajo Nation's ambivalence toward the nature of sexuality, to Carson McCullers's treatment of physical deformity in the novella Member of the Wedding, to Descartes's theories of dualism. He also pays special attention to the debates currently raging in science regarding the biology of homosexuality and provides an engaging discussion of why we are motivated to seek a genetic basis of sexual orientation in the first place. Jamake Highwater has long been celebrated as a writer uniquely suited to give voice to the social outsider. Often provocative, always fascinating, The Mythology of Transgression is a tour de force of eloquent scholarship, a book that will prompt discussion and debate on the subject for years to come. (shrink)

Can mythology be a form of critical theory in the service of right? From the standpoint of an Enlightenment tradition, the answer is no. Mythology is characterised by irrationality, and works to mystify reality, whilst critical theory is set against the irrational, its entire force directed at demystifying reality. In a post-Enlightenment tradition, reason, including critical reason, may take mythological form—indeed, there is identity as much as non-identity between the two forms, a mimetic relationship in which the rational cannot be (...) freed of the mythological any more than myth can stand outside reason. However, the work of critical theory remains essentially the same. Whether in the form of rational myth or mythological reason, critical theory must remain in the service of right in the sense of ‘the true’, and thus remains an enlightenment project. In contrast, the aim of this essay is to put forward a model of critical theory that is sympathetic with mythology, not only in its form, but also in the work that it does, which is not in the service of the true but of the good. That model is Peter Fitzpatrick’s seminal work of jurisprudence, The Mythology of Modern Law. After addressing how Fitzpatrick’s Mythology is in the form of a negative mythology, the essay elaborates the critical work of such mythological critical theory. In the case of Mythology, that work involves creating the conditions for a mythological legal pluralism, through the decolonisation of law. (shrink)

Sous le titre quelque peu énigmatique de Mythologizing Performance, Richard P. Martin (R.M.) a réuni dix-sept essais publiés à différentes occasions. D’une manière ou d’une autre ces essais, plus originaux les uns que les autres, font tous suite à l’ouvrage fondamental paru en 1989, dans la même belle collection « Myth & Poetics » dirigée par Gregory Nagy à Cornell University Press, soit The Language of Heroes: Speech and Performance in the ‘Iliad’. Assurément, le recenseur ne dispose pas des...

In Schelling’s Lectures on the Philosophy of Art, he outlines an aesthetic theory of the novel and how it communicates truth, based around his Identitätssystem. In doing so, he understands truth as symbolic, where the symbolic is tautegorical. In his later lectures on mythology he instantiates a new understanding of ontology and mythology as tautegorical, and makes gestures towards how to understand aesthetic forms based on these new accounts. This paper explores how that new aesthetic understanding of truth, ontology, and (...) aesthetics can be used to create a new Schellingian theory of the novel. To explore this, the paper looks at the worldview presented in Thomas Mann’s Doktor Faustus, arguing that it could be seen as the late Schellingian novel and as such, present a new paradigm for understanding truth as communicated through literature. (shrink)

I pose the following dilemma for Millikan's teleological theory of mental content. There is only one way that her theory can avoid Gauker's [(1995) Review of Millikan's White queen psychology and other essays for Alice, Philosophical Psychology, 8, 305-309] charge that it relies on an unexplained notion of mapping or isomorphism between mental state and world. Mental content must be explained in terms of the mapping relation that is required for mental state producing and consuming mechanisms to perform their biologically (...) proper functions, i.e. producing mental states that are consumed in systematically adaptive practical inferences. However, this proposal leads to unacceptably counterintuitive ascriptions of content to mythological beliefs and related desires: such beliefs and desires must "map onto" environmental states that make them adaptive, not onto the mythological states of affairs that (would) make them true or fulfilled. I conclude by discussing the merits and drawbacks of a potential solution to this problem: the view that the contents of mythological beliefs and desires are determined by the non-mythological concepts out of which they are constructed, rather than by the environmental states that make them adaptive. The affinities of this proposal with Pascal Boyer's recent theory of mythological concepts [(2001) Religion explained, New York: Basic Books] are also discussed. (shrink)

It’s a cornerstone of epistemology that knowledge requires truth – that is, that knowledge is factive. Allan Hazlett boldly challenges orthodoxy by arguing thatthe ordinary concept of knowledge is not factive. On this basis Hazlett further argues that epistemologists shouldn’t concern themselves with the ordinary concept of knowledge, or knowledge ascriptions and related linguistic phenomena. I argue that either Hazlett is wrong about the ordinary concept of knowledge, or he’s right in a way that leaves epistemologists to carry on exactly (...) as they have, paying attention to much the same things they always did. (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)

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)

“Nunchi” is a Korean term that indicates an expert facility in social interactions and especially the ability to interpret and utilize indirect communication with ease and alacrity. In this paper, I introduce and discuss the concept of nunchi with a focus on two main senses in which it is used: as a skill and as a burden. Then, I discuss the relation of nunchi to well-being and flourishing, both in specifically Korean cultural contexts and in social contexts more generally. Finally, (...) I argue that because of nunchi’s close relation to well-being and flourishing, that there is a strong case to be made for treating it as a virtue. (shrink)

On the 24th and 25th of December every year two very different stories are told: one in people’s homes, by the fireplace or Christmas tree, to pyjamaed but excited and sleepless children; the other to people of all ages in the more imposing setting of candlelit churches and cathedrals. I want to ask, in this essay: Does the telling of these two stories have anything in common? What can we learn by comparing them? The first one, the one I call (...) the ‘secular’ mythology, is the story of Father Christmas. The second, ‘sacred’ mythology is the religious reason why Christmas was ever celebrated as Christmas at all. Although the figure of Santa partly originated in an early Christian bishop (and partly in pagan figures), he has these days become rather more secularized—even, for some, a symbol of secular commercialism. I want to compare these two mythologies as they might effect the way in which we think about Christmas today. I think that philosophical reflection along these lines will allow us to draw some interesting conclusions relevant to theology and the philosophy of religion. (shrink)

Habermas explained the attraction of German Idealism to twentieth century Jewish philosophers by appealing to the impact of kabbalah on the German Idealists. Schelling was his principal example. In this article, I trace two lines of Jewish reception of Schelling in the nineteenth century. Among German-Jewish thinkers, Schelling was attractive because of his philosophy of mythology, not because of his relation to kabbalah. Among Galician-Jewish thinkers, Schelling was attractive because of what they took to be his non-mythological version of kabbalah. (...) In both cases, Schelling offered a middle road between, on the one hand, traditionalist rejection of modernity and non-Jewish philosophy and, on the other, varieties of antinomianism. (shrink)

This article argues that the turn to the animal is a return to mythology. By reading multispecies scholarship as narrativization of contemporary mythology, I claim that the field voices anxieties about human futures through figures of animal others. Multispecies ethnography implicitly grapples with an apocalyptic mythos prevailing in the wake of modernity’s seemingly abandoned dreams. I reconsider the cultural function of multispecies research through two moves. First, I read Thom van Dooren’s Theory, Culture & Society article on ‘Authentic Crows’ as (...) such a quasi-allegorical account. Second, I develop how animal anthropology captures the contemporary mythos in an ‘affirmationist’ register that counters the pessimistic affect of late industrialism. Ultimately, the critical politics of such research may be redeemed through efforts to work closely with scientists and to render explicit the accounts’ situatedness within late-industrial mythology. (shrink)