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Biblical Infallibilism in a Pitfall: A Mommonist Twist of the Parable of the Unjust Steward Moon, Kyung Hwan (Yonsei University) This paper centers around the parable of the Unjust Steward appearing at Luke 16:1-13 of the Bible, which strikes one as approaching sheer nonsense, dangerous nonsense at that. How is it that an unfaithful steward, about to be relieved of his position, wins praise from his employer when he carries out his sly plot to steal more from the latter? Biblical infallibilists would maintain that the Holy Scriptures are divinely inspired from beginning to end and therefore are nowhere spotted with any mistakes whatsoever. It is none of their business how one should wade through a murky maze, grappling with the nonsense quiz just mentioned. The crux of the matter, I will argue, has to do with the agelong practice of taking for granted the 'declarative' sentence pattern of Clauses 8 and 9, when they are really questions—'rhetorical questions,' to be more specific—that are pointed at the steward's unfaithfulness, his mammonist attitude. The interrogative reading cracks the puzzle, sending everything back to its place. What we have here, though, is not merely an issue about 'sentence patterns.' We are dealing with a grave situation in which the declarative reading at issue is being capitalized on imprudently—or rather, impudently—by some churchmen who wish to warrant their own earthly purposes. The 'question mark' that this study unearths and retrieves at the ends of the sentences under consideration hopes to bring to a full stop the familiar sorts of mammonist subterfuge that a careless or mindless soul would habitually and conveniently resort to.

On language expressed in Greek myths Kim, Won-Ik (Yonsei University) Human beings have kept two stands on language since they invented their own languages. One is to believe that language is able to perfectly express human thoughts. The other is the skepticism that the language which has to be faulty is not. The minds of the former have been led by analytic philosophy, part of philosophy, while phenomenology have represented the latter. Ancient Greek myth writers, like modern exponents of phenomenology, also harbored their deep-rooted skepticism on the language utility. The stark antagonism and argument we now think shown in the conversations in Greek tragedies explain the rationale for the incompleteness of the language. They indicate that the evident incommunicability through words remains latent in their conversation, making them fail to reach a consensus, which tragically causes one of two parties to fade away. That's why we call the conversation in Greek tragedies “antilogia” instead of “dialogia”. The characters appearing in some Greek myths who seem to have mastery over language are often depreciated as mean-spirited and doomed. As examples, Echo, a chatterbox who ignored the talks of others, succumbed to a tragic end. The house of Rumors Goddess Fama is not just one of rumors, but a place haunted with empty words, which reflects this world's evanescent realities. But ancient Greek myth writers did not idle away while lamenting the limits of language. They tried to deal with the problems with consistency. They frequently employed the sophisticated similes to overcome the language bounds. According to Martin Hose, a simile is a characteristic in the epic style dramatically derived from the struggles of the authors who happen to be thrown into language obstacles. The creators constantly changed God's or character's names in their works, such as Athena-changed-Kythereia or Kythera, and Apollon-changed-Phoibos. The efforts were naturally made from the recognition on the imperfection of language that a given name is unable to denote the essence of an object like when in simile. The state is like “epoche” in phenomenology, where a judgement is pending due to linguistic limitations. The “epoche” is a pause where, to carve out the essence of an object, the concerned person ceased to judge at a point before comprehensively searching for various orientations to establish a certainty. Odysseus was an ideal model in Greek myths for ancient Greeks who had to cope with their language. He was trapped with his life being risked in a cave where Polyphemos one-eyed monster occupied. Odysseus stands for the nominalist language, while the giant represents the absolutist language. When asked to offer his name, Odysseus who saw through the difference produced a disguised name “Udeis” to him. The Udeis means ‘nobody’ in English. Using the false name, he managed to escape from the hands of the monster. Odysseus could exploit the supreme language playing to overturn the language limits. The consummate orator came to find himself as an ultimate trouble-shooter in looming conflicts. The skepticism on the language utility that Greek myth writers of early date had maintained was not, fortunately, led to a defeatist abandonment, but rather triggered a tremendous eruption of energy as seen in Odysseus. Had it not been for profound reflections on language among ancient Greeks, could Iliad, Odysseia, and other great Greek tragedies, have been unmatched treasures for humans, and could they be now?

Zhuangzi's View on Language Suh, DaeWon (Chungbuk National University Wooam Institute) This paper aims to explore Zhuangzi's theory of language. It will focus on ‘expression’ and ‘communication,’ based on the examination of the “Qiwulun” chapter. For Zhuangzi myriad things and humans all exist in the state of constant change. There is nothing that does not change, and no moment that does not flow. Change is the real picture of world that goes beyond human intelligence. Language originates in the moment people come into contact with a thing or things, which means that I who constantly changes every second contact with a thing that also changes constantly. Then, how is it possible that language or learning that grounds itself on the concept ever exist at all? This is the question that ancient Greek philosophers had asked as well. How did Zhuangzi respond to it? Zhuangzi seems to think that ‘chengxin’ is the precondition for the establishment of language. Without chengxin there would be no language and learning. Chengxin is what transforms changing world into language. Chengxin is the active state of mind that has no particular ground. For this reason language and learning dependent on chengxin cannot reflect the real world without distortion. This paper, thus, suggest the distinction of ‘before language,’ and ‘after language’ in Zhuangzi's theory of language, and according to Zhuangzi ‘before language’ can never be the same with ‘after language.’ After all language cannot be the medium of truth. Language serves as a tool for communication, not for truth. Zhuangzi tries to eliminate all the differences among various schools' claim of truth on the basis of the concept of language that we have discussed.

The Essence of Ganhwa-Seon (K'an-hua-ch'an) in Chinese Buddhism and its Aspects of Change Cho, Myoung-Hwa (Seowon University) Ganhwa-Seon is a kind of meditation method proposed and practiced by the Southern school of Ch'an (Zen) in Chinese Zen Buddhism which is quite different from the Indian Buddhism. It means "a way of meditation to attain Enlightenment through contemplating the Kōan (literally a "public case")". The early practice method was a very dramatic one in which the teacher monk and the student monk face each other via sayings and doings to enlighten the student. As time went on, student monks, before interviewing the teacher monk, came to practice meditation through contemplating on the anecdotes (or stories) in the books which contained stories behind the enlightenment of patriarchs and the anecdotes between the ancient teacher monks and the student monks. The anecdotes with records of particular dialogues and actions of patriarchs are called Kōan or Old Regulations(古則). Kōan means a textbook officially acknowledged by the Zen Buddhist order, and the Old Regulations means the laws through which the Zen masters passed for enlightenment. These textbooks had titles for each anecdote, so the title of each anecdote began with “~ talk” and its spoken language was two syllabled “thread of discourse (話頭)”. Zen monks of later periods practiced with a Kōan either chosen by the monk himself in accordance with his own taste or given by his master. In this context, the “thread of discourse” was understood as a gate to Enlightenment. The main characteristics of “thread of discourse” are: the use of ordinary language, and illogical and paradoxical language, and the change of grammatical order. The first Zen master who established Ganhwa-Seon is Ta-hui Tsung-kao (1089-1163) in Sung Dynasty. At this time, collections of Kōans and its commentaries were very popular among Zen practitioners, which resulted in the decline of traditional Indian Buddhist meditation method. Despite its main slogan, “No dependance upon words and letters (不立文字)”, the large production of literature (collection of Kōans with verse and prose commentaries, publishing of speeches and sayings of Zen masters) became very popular in the Chinese Zen Buddhism and this indicates that Zen Buddhism finally came to adhere to the dependance on words and letters. Accordingly, the Ganhwa-Seon becomes a “academic Zen”, which signifies its “secularization”, one of the characteristics of Chinese Buddhism. Korean Zen Buddhism imitated this tendency and even until now maintains these traditions extinct since the Sung Dynasty. There are several reasons why Ganhwa-Seon became dominant in Chinese Buddhism. First, the essence of Ganhwa-Seon is that it is the product of Chinese culture which made much of extraordinary words and speeches, namely, the Sinicization of Indian Buddhism. Second, the theory of Sudden Enlightenment became the mainstream in both the non-Zen Buddhism and the Zen Buddhism. Last, a series of “persecution of Buddhism" were mainly focused on the non-Zen Buddhist sects while the Zen Buddhist sect suffered little from these anti-Buddhist measures

Religious aspects and the problem of language in Toegye's thought Kang, HeuiBok (Incheon Catholic University) Toegye (退溪) was not only a philosopher who investigated speculatively the origins of being and humanity, but also a poet who was equipped with a deep sensitivity and prominent techniques. Most of his works were produced after the age of 50, and his concern was how to become aware of Mind (心) and Principle (理) and overcome their discrepancies so as to attain the unity of Mind and Priniciple (心與理一). Toegye insisted that True Joy (眞樂) could be experienced only through uniting Mind and Priniciple. Yet, Toegye's understanding and conviction of Principle (理) as the transcendental ground of being, and his notion of the cultivation of Sincerity (敬) could be described as very religious. For Toegye, Principle, which as the ultimate reality possesses the characters of dynamism and superintendence, can hardly be defined by means of human language. To be sure, philosophical speculations, religious practices and artistic expressions are organically united in Toegye's life and thought. In this sense, 'the philosophical (religious) speculations contained in Toegye's poems' and 'the poetic expressions of his philosophical (religious) speculations' are deeply significant in terms of the harm -onious relationship between nature and humanity, the identity of being and thought, and the unity of subject and object.

The Oral Transmission of Indian Texts and Its Implications for the Understanding of Indian classics - The Case of the Aṣṭadhyāyī and the Problem of Its Sūtra Counting Kang, Sung Yong (Seoul National University) The oral transmission of Indian Texts has very peculiar features which have their roots in Vedic religion and culture. The great importance and the strong emphasis placed on the exact oral reproduction of texts are prominent and these aspects can only be understood against the backdrop of Indian religion and culture. The emergence and development of Sanskrit grammatical traditions culminated in the Aṣṭadhyāyī of Pāṇini should be understood in this context, especially against the background of grammatical traditions in Prātiśākhya. The growing interest in Pāṇinian grammar in Korea seems not to be based on the sound understanding of these aspects of text transmission in India. The achievements of Pāṇinian grammar cannot be fully appreciated without the consideration of not only the religious and cultural background but also the unique features of the oral transmissions of Indian texts. This article aims to show how crucial it is in understanding Indian classics to have the proper comprehension of the historical and cultural context of text transmission. Panini’s Aṣṭadhyāyī and the problem of counting the sūtra-s in the work, in particular, are treated in detail as a case in point.

A Study on Oh Gyu-won's Poetry -Focusing on Meta-poems and Poems on Advertisement Jeon, Hyung-Chul (Korea University) Oh Gyu-won succeeded one of the poetic thoughts in the history of modern Korean poetry, represented by destruction of form and challenge to subvert the existing world view. His poetry to negates and criticizes the world by implementing deviation and deconstruction as methodology. The core of Oh Gyu-won's poetry is the spirit of rebellion which questions and doubts the self and existence or order and relation within the world including them. Deconstructing the existing notion and searching for a new methodology, his poetry implicates the characteristics of meta-poetry. Through meta-poetic writing (meta-poems), he concentrates on the language in which the reference is excluded and thereby intends to express his own view on language. His meta-poems contain the evaluation on how the self separated from the object is looking at the object. At the point where this dual strategy and sociological imagination come together, other special feature of Oh's poems, poems on advertisement appear. By inducing peculiar ways of language construction stimulating psychology of purchasing and impulse of spending, he tries to twist the gap between language reality and reality itself. Based on the recognition of the world in which general discourse had collapsed and object existed only as a fragment, his poetry is an outcome of his aesthetic consciousness different from the existing aesthetics of sensibility. Oh Gyu-won's poetry has obtained its meaning in the history of Korean poetry in that it embodies ‘cold aesthetic consciousness’ of modern poetry.

Rimbaud's “poetic disillusion” in the poem Aube(Dawn) Kwak, Min-Seok (Yonsei University) This study aims to examine Rimbaud's poetics in the poem Aube of the Illuminations : primarily to illuminate the various fields of meaning of the poem from an erotic, mythical and poetical. That could lead us to the poet's ultimate goal, either literary or existential The quest of his new relationship with nature, in Rimbaud, begins with the highly voluntary activities, decided to change and also by the refusal of belief, and that of the conventional things already existing real or poetic. In this sense, he wanted to change or repudiate his poetic world to create a new poetic world by introducing the night and day - symbols of light and dark. For this purpose, Rimbaud insisted on the break with the past, the destruction of achievements, including the new resurrection. In this sense, the reformist attitude of the poet is to coordinate the elements of nature to achieve a renewed world, thereby god or magician or creator's attitude. This is the first exchange and a radical renewal of the old poetic, and the quest for new poetic world of the unknown and the infinite, which appear progressively by light of the dawn, as if pale light of dawn revealed a new world chasing the shadows of the night. Thus, Rimbaud uses in his poem, words and images related to myth, fairy tale and eroticism, with destructive senses or creative senses. Rimbaud has shown gradually but clearly the beginning and the development, a constant change and transformation to highlight the emerging of the new world just as the dawn. This poem presents the characteristics of Rimbaud's poetic world and thus it could be seen as the symbolic poem of his poetics, despite his eventual fall as the end of the poem suggests. Because, for Rimbaud, it is just another changed universe, which represents a poetic adieu to the his literary past and opens the new world of literature.

Perspectives on Jean Vigos' A Propos de Nice Yoon, Hak-ro (Kangwon National University) This paper takes an indepth look into the city documentary of Jean Vigo titled A Propos de Nice, utilizing arguments put forward by Walter Ruttmann and Dziga Vertov in what may be summarized as films of ‘City Symphony’. The paper takes a careful examination of Metropolitans of 1920's. 1920's was an era of experiments in films and the films in the genre titled City Symphony was at the forefront, it became the vehicle in understanding the soul and charm of a city. To access the very essence which made up the city, Ruttmann tried to formulate his ideas on formal aesthetics. In contrast Vertov wanted to explore and document the city from a rather satirical viewpoint by exploring carnivals and recreation centers of a city. The two perspective resulted in two quite different images of a city. Vertov in a denotative perspective is close to Ruttmann while in a connotative perspective he is more aligned towards Vigo. The city image suggested and documented by Vertov seems solid and fluid at the same time. When one utilize closeup and long shots the captured image of a city denotes a solidified image. On the contrast, through editing as the sequences bcome faster the images takes on the image of fluidity. Jean Vigo's film A Propos de Nice is as mentionned a documentary film of social viewpoint of a city. The film of Vigo can be summarized as "primal love for the surface of things, its uncanny ability to capture life as it is"(Bill Nichols: 2002), showing the difference from Ruttmann in that he wanted to capture and document the surface not to mention deconstruct the outer image. Vigo while documenting various images that is at the core of soul of city symphony does not forget to document the upcoming death of the bourgeois and the city elements. His films show an influence of his father who supported anarchy, and tries to convey to the public the ‘last breath’ of the city as we know it and prophesies the coming of new society where workers will be the owners of the city.

énoncé of Discourse and technical ‘Einbilden’ Kim, Mookyu (Pukyong National University) This paper is an attempt to explain the issues related to the special characteristics that technical images possess by focusing on the studies of Rodowick. Unlike many other new media theorists, Rodowick argued that technical images carry out the function of expressing énoncé rather than repeating or reproducing meaning. He referenced writings of Foucault and Deleuze, who meticulously systematized the concept of énoncé. Foucault had argued that formalization of énoncé could occur in contemporary painting but Rodowick pushed the idea further and believed that it could also occur in image media such as movies, television, and digital media. This paper agrees with his opinion and aims to show that studies by theorists such as Benjamin and Flusser deal with similar content regarding these perceptions. However, there are still many remaining tasks. More detailed explanations must be forthcoming on whether or not contemporary painting and (post-) modern figural are of the same vein, and which systems of the image media allow the expression of énoncé. These theoretical considerations must be added in order for technical images to be understood as a medium that expresses new forms of language.

Author's Life Represented in His Works Kim, Gye-sook (Sangmyung University) Most writers say there are nothing to do with between their works and their private lives. Therefore, when someone asks the relationship between the works and author's lives, they usually deny the relationship. But there are many works of which characters are the mirror up to the author themselves. Especially Pinter's Betrayal illustrates his own marital crack-up. Pinter's plays are commonly triggered by a sharp memory of some personal experience. Pinter had utilized not just his own experience but also that of friends and acquaintances. He was to do the same in Betrayal. It is a play about the way of betryal of oneself and others through the whole system of human relationship. It also shows Pinter, more than in any of his previous plays, using directly the circumstances of his own life. As the author writes about actual events, his friends and lovers who see the play come out saying, “Oh, it's the story of my life.” Then using these materials is the author's moral dilemma? Author takes what he needs from actual experience and invests it with dramatic signification. But as Pinter says “there are some things one remembers even though they may never have happened.” At the same time in place of the audience, we can sympathize liable characters more than ever before.

The level of Feeling Verb : in the case of Anger words Choi, Sukjae (Korea University) This paper aims to describe level's associated with Korean language's feeling verb. It is known that feeling verbs have a level which can be described by a number. However it has not been searched statistically as of yet. For survey, we narrowed the targets down to 60 words which has ‘anger’ meaning to raise the results' confidence. And we surveyed university students and adults who were 25 years and over. Results showed ‘chiddulda(치떨다, grind one's teeth)’, ‘nobaldaebalhada(노발대발하다, furious)’, ‘yeokeopda(역겹다, disgusting)’, ‘jeongohada(증오하다, abhorrence)’, ‘keoknohada(격노하다, rage)’, ‘heomohada(혐오하다, aversion)’, ‘jinjeorinada(진저리나다, be choked)’, ‘jinnohada(진노하다, wrath)’ have high anger level over 7, and ‘pyorotonghada(뾰로통하다, sulky)’, ‘jiruhada(지루하다, boring)’, ‘saemnada(샘나다, jealoysy)’, ‘sikundunghada(시큰둥하다, sassy)’, ‘kuichanta(귀찮다, annoying)’, ‘pyeonchanta(편찮다, unwell)’ have low anger level of below 4. We compared university students and adults, and male and female. Generally, university students showed higher score than adults on the same word, and men also showed higher score than woman.

Joyce's “Revolution of the Word”: Language and Its Dis/contents Kiheon Nam (Seoul National University of Technology) In Finnegans Wake, which has been regarded as unreadable, Joyce succeeds in the “revolution of the word,” in that he not only rejects the linear convention of narration, but also problematizes the stability of signification by multiplying possibilities of malsings. Joyce's idea of language must have been influenced by hcatcontemporary linguistics theories, but he incessantly embraces as wbll as rejects any one theorem, thus producing the ever-moving displacement of meanings. Joyce deploys the biblical myths of Incarnation and the Tower of Babel throughout Finnegans Wake, in order that he disrupts the mimetic nature of language. By displacing and transforming national identities, he seems to valorize the universality of signification, but actually he tries to debunk the primacy of English in his own work. For example, he demystifies the sacredness of Incarnation by apposing the earwig's biological invasion into the human ear. Joyce's another tactics is to debunk as well as to restore Irishness by comparison of Englishness. His focus on racial and language differences is a detour to the recovery of his own Irish identity, which will be once again interrogated in his self-mockery. Joyce's employment of etymological analysis functions as a critical thrust into the origin of language. In other words, Joyce's Wake is already postmodern in that it deconstructs the essence and origin of identity. In conclusion, Joyce's “revolution of the word” is not just a stylistic or philological one, but rather is political in that he never alienates himself from Irish history and political conditions, even though he was self-exiled. So Finnegans Wake is a product of Joyce's delve into his own particular history and identify.