Earticle

이 글은 니체와 하이데거의 니힐리즘의 극복에 있는 존재사유에서 실존의 의미를 탐구한다. 이 목적에서 논자는 위버멘쉬(Übermensch)를 중심으로 니체와 하이데거를 교차 분석하고 각자 의 ‘존재의 의미’를 밝히면서 존재자 물음을 극복한 하이데거의 존재물음을 해명한다. 니체는 니힐리즘을 역사적 운동으로 간주하고 가치사상에 입각해 해명한다. 종래의 가치가 무가치해진 허무한 감정에 직면하여 니체는 삶에 새로운 가치를 요청한다. 그리고 니힐리즘의 한 가운데로 뛰어든다. 니체는 새로운 가치 정립자로서 인간존재를 상정하기 위해 전통의 일체 를 거절하고 인간존재의 모든 것이 세계 자체가 되어야 한다고 주장한다. 즉 니체는 인간존재가 ‘위버멘쉬’로서 존재할 수 있어야 한다고 생각한다. ‘위버멘쉬’를 추구한 니체는 끊임없는 자기극 복의 의지를 의욕한다. 니체에게서 자기극복의 의지가 삶의 본질이다. 그러나 하이데거는 니체를 전형적인 니힐리즘으로 간주한다. 니체가 제시한 가치는 근본적으 로 형이상학적인 가치의 극한적인 재현이다. 그러나 하이데거는 니체가 형이상학의 원리에 휘말 려있지만, ‘위버멘쉬’는 실존의 진리에 최초로 진입한 존재라고 이중적으로 평가한다. 우리는 니 체와 하이데거를 추적함에 있어서 이러한 이중적 평가를 간과해서는 안 된다. 그럼에도 불구하 고, 하이데거의 기본적인 논조는 니체가 ‘힘에의 의지’와 ‘위버멘쉬’의 연관성을 본질적으로 사유 하지 못했다고 주장한다. 하이데거에게서 그 연관성의 물음은 존재 자체이다. 따라서 하이데거 는 니체가 간과했던 존재의 본질적인 의미를 묻고, 존재의 자체의 현성을 위해 ‘무’와 연관지어 탐구한다.

This thesis is to examine the meaning of existence in Nietzsche’s and Heidegger’s thought of Being for the overcoming of Nihilism. In this purpose, I am going to take a thing apart Nietzsche's Übermensch and Heidegger's Dasein in turn. But I don't mean to put Heidegger's interpretation to Nietzsche’s thought of Being on the main end of my study. I am going to clear each of their thinking's the meaning of Being and elucidate Heidegger's the distinct question of Being which is overcoming the question of beings. Nietzsche and Heidegger inquire about the question of the meaning of Being distinct from a traditional metaphysics. Nietzsche thinks of 'Nihilism' as the historical movement and lay it down on the idea of value. He demands a new value for life up against a feeling of nothingness that the best value is worthless. Nietzsche denies a entire metaphysical tradition and claims that the whole of man have to become the world itself in order to set themselves as a builder of value. Because he thinks that all man must become Übermensch, that is, the answer for overcoming Nihilism. Nietzsche seeking Übermensch desires self-conquest through Will to power and that is the essence of his life. Heidegger considers Nietzsche's thought of Being as a typical nihilism. Because in Heidegger's view, the new values for human life made by Nietzsche are the radical re-presentation of a metaphysical value. Heidegger evaluates his idea about Being dually-in order words Nietzsche's Übermensch is the beings who enter primally into the truth of existence, although he was involved in the metaphysics's principle of beings; even so, Heidegger's the basic tone of argument takes that Nietzsche couldn't think the essential relation of 'Will to power' to 'Übermensch', the truth of Being itself. Heidegger, thus, asks about the fundamental meaning of Being for ‘an-wesen’

본 논문은 무위적 디자인을 통하여 삶에 유익한 디자인의 방법론을 제시하고자 하였다. 즉, 삶에 유익한 디자 인은 필요에 의해서 이루어져야 한다는 디자인논의로써 무위적으로 접근하는 방법을 살펴본 것이다. 필요에 의해서 이루어지는 디자인을 쓰임에 이로운 결과로 보았을 때 필요가 없음에도 생산된 디자인은 삶에 해로울 수밖에 없는 상대적 관점에서 무위를 중심으로 전개될 수 있는 디자인의 가능성을 논하였다. 논의된 내용으로는 무위에 대한 이해를 기반으로 디자인될 수 있는 현상으로써 전통, 자연, 디자인에서 사례 를 도출하였으며, 방법적 측면에서는‘없음, 안함, 줄임’과 같은 개념을 이론으로 제시하였다. 전체적인 논문의 흐름은 노자 도덕경의 비움(虛)를 통하여 구조화되도록 하였는데, 비움이 시대적 이슈로 보여지 지만 기존 디 자인산업의 현상적 차원에서는 생소할 수 있으므로 무위적 디자인에 대한 올바른 이해 또한 본 논문을 통하여 다소나마 제고되기를 기대하였다.

This study aims to present methodology of design which is beneficial to life through Moowee design. That is, this discussion on design argues that design beneficial to life should be conducted by needs and this study identifies how to approach design from a view of Moowee. When design conducted by needs is considered as a beneficial result in use, design produced without needs must be harmful to life. In this relative view, this study identifies values of design with the focus on Moowee. The discussion presents cases of tradition, nature, and design which can be designed on the basis of understanding Moowee. The method of 'nothing, none, and reduction' is developed as a theory. The overall flow has been structured through emptiness of Tao Te Ching by Laozi. Emptiness is an issue of the times, but it may be neglected and distorted from a view of the existing design industry. Thus, it is expected to understand Moowee design properly through this study.

본 연구는 코로나19 팬데믹으로 침체된 공연예술계에서 게임엔진 유니티(unity)를 기반으로 개발한 온라인 극장 낫띵 시어터(Nothing Theater) 사례를 중심으로 온라인에서의공연예술 활동과 극장의 가능성을 살펴본다. 이에 본 극장에서 개발하여 발표한 허윤경의 미니어처 공간극장: 오픈베타 (2020. 12. 28.) 와 차지량의 떠나려는 사람만이모든 것을 본다 2012.12.20. - 2020.12.20. (2020. 12. 31.) 를 대상으로 안무와 신체성그리고 공연과 관객의 정의와 관계성을 분석하여 온라인공연에서 안무의 가능성을 제시하였다. 안무를 구현하던 무대와 신체라는 매개체가 가상공간으로 바뀌었을 때 안무의고유성을 질문하는 것은 안무의 새로운 해석과 담론을 열어주는 계기가 된다. 퍼포머의신체 없이도 공간의 구성만으로 감각되고 공간의 구성과 시점의 사이에서 안무의 고유성을 질문할 수 있다는 점, 가상극장이 관객의 참여와 감각하는 몸을 통해 존재할 수있다는 점을 본 사례연구를 통해 살펴볼 수 있었다.

This study introduces the online theater development case of the Nothing Theater, which Korea’s performing arts scene depressed by the COVID-19 pandemic developed based on the game engine Unity. In the online theater, choreographer Hur Yoon-Kyung’s Miniature Space Theater: Open Beta and Cha Ji-Ryang’s Only People Who Want to Leave See Everything were presented as online performances. This study seeks to present the possibility of choreography in online performances by analyzing the choreography and physicality as well as the relationship between performance and audience displayed in those works. When the stage where choreography is implemented and the human body as its medium are displaced into a virtual space, questioning the uniqueness of choreography opens the way for a new interpretation of and discourse on choreography. In the work of Hur, it was observed that the three designed theaters virtual theater, performance theater, and sound theater were linked and combined through the audience’s movements. In the work of Cha, the audience moves in a three-dimensional space built by twisting and reconstructing a specific space. Suggesting the possibility of online performance, we demonstrate that choreography can be sensed through the composition of space without the physical body of performers and that the online theater can exist through the audience’s participation with their sensing bodies.

This essay aims at uncovering the limited scope of epistemological observation of the early-modern era and alternatively examining the aesthetic dimension of ontological relationality of Shakespearean intelligencing via analyzing the comedy, Much Ado About Nothing. The idea of human perspective as advanced in the Renaissance is not only related to the cognitive experience of the subject but also to the relationality and aesthetic connectivity between the subject and its cognitive object. In the play, Shakespeare deliberately creates cognitive and ontological tensions between his literary creation and the audience in order to provoke interactive communications and thereby comic humor in the theatrical space. While intelligencing exposes characters’ epistemological impulses or their desires to know the truth, their often limited intellectual recognition constantly collides with that of the audience. A character’s desire to know is not simply a part of mimesis or inductive reasoning through sensory or empirical observation, but rather a literary device that Shakespeare uses to construct the intelligencing experience as a part of an ontological system structured within theatrical space. In so doing, Shakespeare illustrates how the theatrical space cognitively mediates aesthetic experience for the audience.

선종사에서 무사는 활구의 사상이 등장하기 전에 나타나는 과도기적 경향으로 서술된다. 무사를 비롯한 간화선 이전의 선법은 간화선의 등장을 통해 극복된 불완전한 어떤 것으로 간주되면서 제대로 조명되지 못하고 미리 선취된 결론 안에서 제한적으로 다루어지거나 연구의 대상에서 제외되는 경향이 있다. 이 논문은 무사와 그 이후의 선에 나타난 불연속을 강조했던 기존의 연구와 달리 연속성에 주목하여 무사와 활구를 동일한 전통의 전개로서 고찰하고자 한다. 이를 통해 무사의 다층적인 면모를 제시하고 그것이 어떠한 형태로 이후의 시기까지 지평을 확장하는지 제시한다. 활구를 무사와 연속적인 관점에서 재고함으로써 간화선이 무사를 단순하게 부정하거나 극복하는 데 그치지 않고 새로운 기틀로 재정립함으로써 이후에도 무사의 가치를 향상시키고 긍정하였다는 기본적인 근거를 제시할 것이다. 이를 통해 무사에 대한 이해를 확장시키고 송대 전후의 선사상에 대한 균형 있는 시각을 확보할 수 있을 것으로 기대한다. 무사와 관련하여 활구는 단순히 무사를 대체하지 않고 오히려 무사의 지향을 재정립하여 앎의 범주를 전제하지 않는 완전한 작용의 현전이라는 본래적인 가치를 회복시키는 장치가 된다.

While previous studies have emphasized discontinuity between “observing word”(Kanhua 看話) and “nothing to Do(Wushi 無事)”, this paper examines “nothing to Do” and “living Phrase” as the homogeneous developments derived from the same tradition focusing on their conceptual continuity. In doing so, I aim to highlight how multifarious the concept of “nothing to Do” has been and trace the trajectory for the concept of “nothing to Do” to have expanded its horizon in later days. Particularly, through reexamining Thoughts of “living Phrase” whose establishment has been considered as the overcoming of Wushi Chan(無事禪) from a perspective of seeking continuity, I contend that Kanhua Chan(看話禪) is not a simple denial or overcome of Wushi Chan’s direction but a continuum despite their seemingly heterogenous features. In this paper, my goal does not lie in restoring and reconsidering the status of Wushi Chan per se. Instead, by casting a new light on the transformation of Zen Thoughts, I aim to extend our understanding of Wushi Chan and Kanhua Chan often associated with thoughts of “Living Phrase” to gain a balanced view on the Chan(Zen) Thoughts before and after the Song dynasty.

인간의 움직임과 느끼는 감정을 정확하게 보여주는 것이 배우의 본질이다. 무언가를 표현하고 보여주 는 것이 아니라 인간이 느끼는 내적 감정(內的 晉室)에 대한 외적 표현(外的 表現)이다. 사회화된 인간들 은 자신의 감정을 드러내기보다는 숨긴다. 자신의 진실을 드러내게 될 때 생겨나는 사회적 불편함을 알 기에 이성에 나를 붙잡고 있을 때까지 본인이 느끼는 감정을 드러내지 않는다. 즉, 내적 감정과 외적 표 현이 당연히 달라야 한다. 그러나 연기자들은 무대 위에서 등장인물의 감정을 느끼고 그것을 숨기면서 관객에게 정보를 주는 것이 아니라 관객이 느끼지 못할 거라는 생각에 과도한 정보를 무대 위에 남발해 버린다. 일상에서 아무것도 하지 않지만, 그것은 아무것도 하지 않음이 아니라 표현하지 않음이다. 즉 내 적 감정과 외적 표현이 항상 일치 하는 것은 아니다. 연기에 시작은 일상에 표현이다. 느끼지만 표현하지 않는 것에서 연기에 시작이다. 그래서 본 연구자는 마리 보이드(Mari Boyd)가 말하는 연기자가 욕망에서 오는 즉각적인 행동을 표현하기 위해 요구되는 필수적 요소로써 ‘아무것도 하지 않음’과 헤럴드 거스킨 (Harold Guskin) ‘연기하지 않은 연기’을 통해 내적 진실(內的 晉室) 쌓아나가 외적 표현((外的 表現)으로 연기자의 역할 창조를 할 수 있는 방법을 제시할 것이다. 본 논고는 연기예술의 본질적 핵심이라 이야기 할 수 있는 (연기를)‘하지 않음’에 대한 개념을 구체적으로 기술하고 ‘하지 않음’으로 생긴 공간이 연기자 에게 어떤 영향을 주는지 살펴보고 이러한 상태가 연기자가 등장인물을 표현하는 과정에서 어떻게 신체 를 통해 수용될 수 있는지 살펴보도록 한다.

It is the essence of an actor to accurately show human movements and emotions. It is not an expression or showing something, but an external expression of the inner feelings that humans feel. And it should not be expressed as doing something, but should be made so that the audience can read it without doing something. In everyday life people do not express their feelings directly. Socialized humans hide their feelings rather than reveal them. In other words, internal emotions and external expressions must be different. However, many actors express excessive in formation on the stage because they think the audience will not feel it rather than feeling and hiding the character's emotions on stage. People don't express anything in their daily lives, but they hide it without expressing it. In other words, internal emotions and external expressions are not always consistent. Acting is an expression in everyday life. Through “doing nothing” and “how to stop acting” which are essential elements in expressing immediate action from Marie Boyd's desires, you can build inner truths and create the role of actors with external expressions. The writer of this article specifically describes the concept of (not acting), which can be said to be the essential core of acting art, examines how the empty space created by “not” affects the actor, and examines how this condition can be accepted through the body in the process of expressing the character. The beginning of acting is an expression in everyday life. Acting begins with feeling but not expressing. Therefore, this researcher is an essential element required by Marie Boyd (2006) to express the immediate behavior that comes from desire, and through "doing nothing” and "Harold Guskin,” he accumulates the role of an internal and external actor (Harold Guskin (2019).

인간 본성에 관한 탐구를 표방하는 인성론은 다양한 논의와 학설을 담고 있으며, 후대에 전개되는 性善이나 性惡으로 표방되는 발전적인 논의의 연원이 되고 있다. 공자의 인성론은 그의 인생관을 아우르고 있으며, 겉으로 드러나는 직접적인 방식이 아니라, 欲이라는 개념을 통하여 간접적이고도 은근한 방식으로 전개되고 있다. 공자의 주된 관심은 인간 모두가 보편적으로 내재하고 있는 도덕적인 성품을 사회에 실현하는 것이다. 그러므로 공자에게 있어서 欲은 금욕적인 측면으로 부정되는 것이 아니라, 사회적 규범 즉, 禮에 부합되는 欲의 실현을 말하고 있다. 도덕적인 삶을 추구하는 사람은 군자이며, 이와는 대조적으로 실리와 명예만을 추구하는 사람은 소인일 것이다. 군자와 소인은 본성이라는 측면에서는 서로 동일하지만, 후천적인 습관에 의해 차별된다. 그러므로 원만한 인격자가 되기 위해서는 습관을 잘 갖기 위한 공부가 절실히 요구된다. 도덕적인 수양을 통하여 물질적인 욕망의 굴레에서 벗어날 수 있으며, 도덕적인 본성에 부합되는 삶을 실현할 수 있다.

The Treatise of Human Nature which aims to search for human nature has various discussions and theories and is also the origin of developmental debates, represented by the theory that human nature is fundamentally good and the ethical view that human nature is evil. The treatise of human nature of Confucius represented his view of life and the treatise developed indirectly and quietly through the concept of secularity, instead of visible and direct ways. Confucius focused his main attention on the realization of moral nature universally immanent to all the human beings in society and in that sense, to him, secularity is not denied in terms of abstinence, but it rather means the realization of secularity that agrees with propriety, social norms. A man of virtue will pursue ethical life, while secular persons seeking after only practical interests and fame in their life. After all, noble men and secular ones should be distinguished each other by their acquired habits although they have common nature. To become a man of character, it is urgently needed that learning helps to get good habits. One could overcome the bridle of desire for materials and realize a life conforming with moral nature through improvement his mind.

전쟁은 물리적 충돌이 끝난 이후에도 기억이라는 새로운 전장에서 계속된다. 그 대표적인 사례로 베트남전쟁은 기억의 재현을 둘러싸고 미국 내 정치 담론, 문화산업, 그리고 디아스포라 공동체 내부에서 심각한 갈등과 윤리적 불균형을 야기해왔다. 베트남계 미국 작가 비엣탄응웬(Viet Thanh Nguyen)은 이와 같은 문제의식을 바탕으로 픽션과 논픽션을 넘나들며, 전쟁 기억의 소외된 주체를 복 권하고, 기억과 망각의 윤리적 조건을 재정의하려는 문학적 시도를 이어왔다. 본 연구는 그의 소설 동 조자와 논픽션 아무것도 사라지지 않는다를 통합적으로 분석함으로써, 전쟁 기억의 형평성과 감정 의 윤리 사이의 관계를 탐구한다. 기존의 연구들이 탈식민적 혼종성, 남성성, 난민성과 같은 정치·문화적 정체성에 초점을 두었던 반면 에, 이 논문은 감정 자체를 윤리적 판단의 핵심으로 보며, 마사 누스바움(Martha Nussbaum)의 감정 윤리학 중 연민(compassion), 분노, 용서, 서사적 상상력 이론을 이론적인 틀로 삼는다. 연구 방법으로 응웬의 두 저작을 대상으로 감정의 인지 구조, 윤리적 반응 가능성, 그리고 기억의 책임성을 중심으로 한 서사 분석을 수행하였으며, 픽션과 논픽션의 상호텍스트적 상응 관계를 해석하였다. 동조자는 전 쟁을 기억하는 분열된 주체의 내면을 통해 감정의 윤리적 훈련 가능성을 탐색하고, 아무것도 사라지지 않는다는 이를 철학적·비판적 언어로 구조화하여 ‘공정한 기억(just memory)’과 ‘공정한 망각(just forgetting)’이라는 핵심 개념을 제시한다. 연구 결과, 기억의 공정성은 감정의 형평성과 밀접하게 연관되어 있으며, 적의 고통에 감정적으로 반 응할 수 있는 능력은 기억 정의의 윤리적 출발점으로 인식된다. 이는 누스바움이 주장한 감정 훈련을 통한 정의로운 공동체 형성과도 깊은 접점을 이루며, 응웬의 문학이 단순한 증언 서사를 넘어 감정 윤 리학의 문학적 실험으로 기능함을 보여준다. 본 연구는 문학이 감정, 윤리, 기억을 통합하는 실천의 장 으로 작용할 수 있음을 입증하며, 감정의 정치성과 기억 정의의 철학을 문학적 감응을 통해 재조명하는 데 기여한다. 나아가 세계시민교육, 탈식민 기억 공동체 형성, 디아스포라 감정 공동체 등의 분야로 이 론적 논의를 확장할 수 있는 가능성을 열어준다.

War does not end with the cessation of physical conflict; it continues on a new battlefield called memory. A representative example is the Vietnam War, which has triggered serious conflicts and ethical imbalances over the representation of memory within U.S. political discourse, cultural industries, and diasporic communities. Vietnamese American writer Viet Thanh Nguyen, motivated by this critical awareness, has engaged in literary efforts that cross the boundaries between fiction and nonfiction. Through his works, he aims to restore the silenced subjects of war memory and redefine the ethical conditions of remembering and forgetting. This study conducts an integrated analysis of his novel The Sympathizer and nonfiction work Nothing Ever Dies, in order to explore the relationship between the fairness of war memory and the ethics of emotion. Whereas previous studies have focused on political and cultural identities such as postcolonial hybridity, masculinity, and refugee subjectivity, this paper places emotion itself at the center of ethical judgment. Drawing on Martha Nussbaum’s ethics of emotion—particularly her theories on compassion, anger, forgiveness, and narrative imagination—the study conducts a narrative analysis of Nguyen’s two texts. It examines the cognitive structures of emotion, the possibility of ethical response, and the responsibility of memory. The Sympathizer explores the potential for ethical training through the emotionally fractured inner self of a memory-bearing subject, while Nothing Ever Dies systematizes this affective dimension into philosophical and critical discourse, advancing the core concepts of “just memory” and “just forgetting.” The study finds that fairness in memory is closely tied to emotional equity, and that the ability to respond affectively to the suffering of the enemy constitutes the ethical foundation of memory justice. This conclusion resonates with Nussbaum’s vision of a just community grounded in the training of moral emotions, and it highlights Nguyen’s literary project as an experimental model of emotional ethics rather than a mere testimonial narrative. Ultimately, this research demonstrates that literature can serve as a practical space that integrates emotion, ethics, and memory. It contributes to rethinking the political and philosophical dimensions of emotion and memory justice through literary responsiveness, while opening possibilities for theoretical expansion into areas such as global citizenship education, postcolonial memory communities, and diasporic affective solidarity.

This study multi-dimensionally analyzes a sport documentary, All or Nothing: Manchester City, which is an original content on Prime Video, an American Over-The-Top (OTT) platform. Due to the success of South Korean soccer player Heung-min Son who plays Tottenham Hotspur of England, the popularity of the English Premier league is recently the greatest in South Korea along with the fact that soccer has been a popular sport for a long time. This study focuses on the success of the soccer club, Manchester City, which has become a rising star with its huge investment from United Arab Emirates; Manchester City won the league four times since 1992/1993 season. Also, during the 2017/2018 season, the background the documentary, Manchester City won the league title with new records, which shows the greatness of Manchester City. Especially, this study examines the documentary by 1) Story 2) Type of Scene 3) How to watch. Thus, this study explores not only the aspects of team-themed sport documentary that shows how and why Manchester City is excellent, but also the traits of the original content that explores the structure of the media platform.

One of the issues that has influenced correctional policy since the 1970s has been the evaluation of the outcome of correctional treatment programs. While the public supports the concept of rehabilitation and correctional officials value them as effective means of changing inmates, there should at least exist an expectation that those programs will reduce recidivism. The ‘nothing works doctrine’, derived from Martinson's article, contributed in the disappearance of expectation and faith for correctional treatment programs. The reasons why Martinson's article of 'nothing works' have been so influential to academic as well as societal and political areas are explained in various respects: social and political climates of the 1960s-1970s characterized by anti-war moods, racial problems, poverty issues, and women's liberation, the changes of middle-class & liberal criminologists' attitudes towards crime and crime control, the politicization of crime problems, the domination of sociological approaches in criminology, and the lack of knowledge and skills in crime predictions by academics. In the US, rehabilitation as a correctional ideology had been retreating since early 1970s and almost disappeared in the mid 1980s as a goal of punishment, indicating that the retribution paradigm had returned. It is persuasive that such shifts resulted from political and societal reactions of conservatives and liberals toward crime, and are shown in correctional areas. In this context, some scholars has said that the society must move beyond the naivete and exuberance that marked the advocacy of rehabilitation in the 1950s and early 1960s and beyond the cynicism and pessimism that has reigned for much of the last three decades.(Palmer, 1992) This notion has received widespread support. New evaluation studies, including meta-analyses done after Martinson's article in 1974, indicate that correctional treatment programs could be effective in reducing criminal recidivism. And they have demonstrated that juvenile correctional intervention is more effective than intervention programs designed for adults. It has been known that behavioral/cognitive treatment, on average, produces larger effects than other treatment. Intensive, in-prison drug treatment is effective, especially when combined with community aftercare. Education, vocational training, and prison labor programs have modest effects on reducing criminal recidivism and increase positive behavior in prison. Evidence on sex offender treatment intervention program is less positive, probably because the target population is heterogeneous and treatment needs to be tailored to specific offender deficits.(Gaes et al., 1999) The results of meta-analyses seem to show that the programs for probationers or juvenile offenders with community aftercare are inclined to be more effective. There have been major theoretical and methodological advances in the juvenile and adult correctional treatment literature since Martinson's assessment study. Expecially, adaptation of the psychological learning model and meta-analysis as a statistical technique to criminology and corrections have been known to contribute in formulating principles for successful treatment programs though those principles need further clarification and empirical assessment. The following are suggested as principles of successful correctional treatment: linkage with criminogenic needs, multimodal programs for various deficits, matching client learning styles with staff teaching styles, treatment based on risk differentiation, providing skills oriented to cognitive-behavioral treatment, implementing programs with continuity of care and sufficient dosage, and involvement in both program development and evaluation by researchers.

현재 의사결정 시스템을 위한 데이터 웨어하우스는 데이터베이스 분야에서 비약적인 발전을 해오고 있다. 이 분야에서 중요한 사항은 사용자의 질의에 대한 응답시간이다. 사용자로부터 질의가 요구되면 과거의 많은 데이터를 분석하여 적절한 시간 내에 분석결과를 되돌려 줄 수 있어야 하는데 데이터 웨어하우스의 특성상 대용량의 데이터를 저장하고 분석 시에 많은 데이터를 검색해야 하므로 질의 응답시간에 많은 시간이 소요된다. 이 논문에서는 Chunk based caching 기법에 의해서 새로이 요구되는 질의에 대해 이미 메모리에 캐시 되어진 내용을 이용하는 방식을 통해 디스크의 I/O 횟수를 줄임으로서 질의 응답시간을 단축시키는 기법을 소개한다. 또한 chunk miss에 대한 처리를 병렬로 수행함으로써 메모리에 캐시되지 않은 내용을 디스크로부터 로드하는 시간을 단축시키는 방법도 아울러 소개한다.

This paper attempts to read Egbert’s dilettantism, described in being “ineffectual” and “amateurish” in “England, My England,” as a way of ‘affirmative scepticism’ of the time, rather than a fatal weakness of the protagonist. While many critics have considered the narrative of the story features a ‘evasive’ subtlety, though accepting this view, this paper focuses on the way in which Egbert serves to quite radically make the whole structure of the story uncertain and unrealistic. In the middle of the story, the narrator says “[I]t was that he stood for nothing,” and, after this, the protagonist portrayed as being passive and ineffectual becomes conspicuously disconnected from the reality as well as from the relationships with his family. This radical dissolution of Egbert from the reality upsets not only Winifred but the readers. Egbert’s unrealistic relation with the reality seems relevant to Lawrence’s position toward the time as presented in his letter “I will stand outside this time.” And Lawrence’s ‘untimely’ meditation is quite similar to Lev Shestov’s position in All Things are Possible which Lawrence translated with his Russian friend, S. S. Koteliansky. Just as Shestov undermines ‘the generally accepted truths,’ the unrealistic characterization of Egbert unsettles the whole structure of the story. In so doing, Lawrence conveys the sense of ‘a time of dissolution’ and also searches for the significance of being ‘outside the time.’

Disaster is a problematic thing because it is the subject of humanitiesresearch and the basis for asking what the humanities are. The disasteritself asks what humans are, makes them reflect on the past time, andevokes imagination about the upcoming community. After Disaster, memories and traces of pain do not disappear quickly. The trauma of disaster persists. Difficulties in representing disasters reachthe dilemma of whether it is possible to reproduce invisible things suchas silence, darkness, voice, and so on. We are accustomed to dividing disasters in literature and art into (un)representable. However, literature and art cannot replicate the pain andscars of disasters as they are, and that is not the ultimate purpose of doingso. The image of disaster in literature and art simultaneously reminds usof the (im)possibility of reproducing the traces of pain and wounds causedby the disaster. The aim of this paper is to study the way disaster traumais reproduced so that we will refer to records of various genres such asrelated literary works, movies, essays, and testimony. As this paper showed outline, we should try to discover the possibilityof historical healing trauma through cross-reading various records. Bystarting from the study of the East Asian area, this overview looks forwardto connecting and sharing the global problems with disasters of historyor history of disasters. Such examinations combine with representing trauma, the testimony of images, changes of sensitivity, etc.

한 여름밤의 꿈에는 현실적인 것과 비현실적인 것, 가시적인 존재와 비가시적인 존재들이 우주의 구조를 반영하며 유기적으로 조화롭게 융해되어 있다. 이렇게 이질적인 요소들이 하나의 극에 조화롭게 결합될 수 있는 것은 셰익스피어의 시적인 상상력이 그의 작품 활동 중기에 도달한 실상에 대한 탈 이원적인 비전과 깊은 관련을 지닌다. 그는 초기 극 헨리 6세 1부에서부터 독립적으로 분리해서 사용한 “공기”(air) 와 “무”(nothing)를 이 작품에 이르러 존재("air")와 무("nothing"), 현상과 본체, 내재와 초월을 결합하는 미분화된 심미적인 “희미한 무”(airy nothing)로 통합시키고 이 원초적이고 보편적인 개념을 통해 우주의 실상과 복잡한 현상을 조망한다.우주적 실상을 “희미한 무”로 이해하는 셰익스피어의 탈 이원적인 비전은 “아름다운 천둥” “음악적인 혼란” “비극적인 흥겨움” 등과 같은 반대의 일치가 이루어지는 전관으로 이 작품은 물론 이 작품 이후의 비극과 낭만극의 저변에 놓여 있는 포섭(包攝)적 조화를 보다 충분하게 이해할 수 있는 인식론적인 기초를 제공한다. 이 작품에 나타나는 유기적이고 원융적인 조화는 일차적으로는 자연과 인간의 조화로 나타나며, 이는 다시 존재와 가치의 융합, 더 나아가 현상과 본체의 조화로 이어 진다셰익스피어의 시적인 비전인 “희미한 무”와 관련해서 보면 이 극이 보여주는 결말은 단순한 음악적인 조화나 질서가 아니라 반대와 모순이 조화롭게 일치되는 포섭적인 조화이며 “에어리” 비전이 제공하는 부조화의 조화(discordia concors)이다. 질서는 정적이거나 항구적이지 못하며 “희미한 무”의 끊임없는 생성과정 속에서 존재했다가 사라지는 동적이고 일시적인 것이다. 각각의 사건은 완전히 발현된 뒤에는 그 독특함과 유일성을 상실하는 것이다. 따라서 이 극의 움직임은 단순히 무질서에서 질서로, 혹은 불화에서 화합으로 진행되는 직선적인 과정이 아니라, 궁극적인 실상으로서의 “희미한 무”가 상호 교섭적이고 동적으로 이루어가는 항구적인 과정이며 외견상으로 나타나는 무질서와 불화의 저변에 놓여 있는 융합적이고 화해적인 조화이다.

This article describes the first results gained from a problem solving test that was administered to grade 4 students in the Netherlands. The students involved are all high achievers in mathematics. The analysis of the student responses gives cause for concern. The often-heard belief that teachers do not need to worry about the better students is clearly in need of revision. It turned out that when high achievers in mathematics are challenged to take on non-typical problems, their abilities are more limited than expected. The study revealed that the students wrote down hardly anything on their scrap paper to solve certain problems. Also it was found that they were not very persistent in their looking for a solution. In this paper we illustrate these first findings by discussing the results of one of the test problems.

Subjected to the sustained campaign of the scientifically-oriented grammarians of the nineteenth century, the semicolon fell into disrepute and disuse in English prose, particularly in America. It has virtually disappeared, even in artistic prose, at least since Ernest Hemingway, and has been the target of ridicule by writers such as Kurt Vonnegut, Jr. Yet the semicolon had enjoyed an illustrious career in England, where it rose as a significant punctuation during the seventeenth century. We trace the ascendancy of the semicolon by comparing the landmark sixteenth-century publications such as William Tyndale’s translation of the New Testament and Cranmer’s 1549 Book of Common Prayer, where the pairing of comma and colon sufficed as marks used to divide independent clauses. In the 1662 version of the Book of Common Prayer, however, semicolons are given prominent roles, replacing and supplementing both commas and colons. The conscious use of semicolons added a new layer to the prose rhetoric of English writing, one that activated a literate text-based code that only comes to life when seen by the reader. Such visual appeal of the semicolon led it to prosper in printed fictional prose, invented from the outset for mute private perusal. From Bunyan through Defoe, and all the way to George Eliot and even Virginia Woolf, semicolons had been artfully deployed to represent the mental and subjective state of the characters.

With the radical re-examination of Platonic logo-centrism built upon Being and its subsequent epistemological revolution, the East Asian concept of nothing has become a focal point for contemporary discussion in both philosophy and literary criticism. Shakespearean criticism has not ignored the concept. Yet Western literary scholars, whose language is a substance-oriented one, do not seem to have critical discourse which reflects an understanding of “airy nothing” as an organic, creative life-producing principle. Shakespeare develops his “special nothing” through certain plays from A Midsummer Night’s Dream’s “airy nothing” to The Tempest’s “thin air.” This development demonstrates that Shakespeare’s “thin air” is neither mere “air” nor pure nothing; it has connotations of “the empty, vast and wand’ring air,” cosmic vital “airy nothing” which incorporates existence and non-existence, appearance and reality, immanence and transcendence. Shakespeare’s concept of the ontological “airy nothing” is closely correlated with the Taoist concept of “Ch’i” as the fundamental substance by which all processes of the universe can be explained. To borrow the Taoism’s “Ch’i” provides a meaningful concept to explain more fully many aspects of Shakespeare’s poetic “airy nothing” and his “airy” vision of man and the universe. The “Ch’i” approach to Shakespeare’s “airy nothing” also illuminates in a broader cultural-philosophical context his tragicomic vision, his vision of comprehensive harmony, his tragic heroes’ behavioral mode of “let be,” and an aesthetic order that can serve to establish a new epistemological foundation of a “brave new world.”