Earticle

This study is to explore the aspects of contradiction observed in the relationship between human and nature, or in the human attitude toward nature. All the environmental problems caused by human beings are considered to stem from the contradictory ontological condition of the human species, that is, the discrepancy between the existential and the perceptual condition inherent in humanity itself. Meanwhile, the practical inconsistencies are shown in the emotional, moral, and literary responses of human beings toward nature. Man is an inconspicuous part of nature in biological terms, while he subsumes the whole world of nature and beyond in his perceptive realm. Man discerns himself, a perceptive center, from nature, considering nature as an external environment. But his body, though a purely natural existence, can never be considered external, but it is himself. Man can never exist as a self-sufficient being completely independent of the natural environment. Nevertheless, he cannot but make a demarcation between himself and nature, and between wildness and civilization in order to survive in the given environment as well as to understand the world and the self. Human beings cannot be completely assimilated into the order of nature as the other species do, but they are a peculiar and self-contradictory species that can survive and thrive only through the act of at once demarcation from, and affiliation with, nature.

The linear and point-like residential buildings, which emerged alongside the rise of urban architectural trends in French residential architecture, are tasked with constructing traditional urban spaces by occupying the periphery of urban blocks while preserving the characteristic forms of modern architecture as geometric objects composed of thin planes. This requires a search for methods for composing both internal and external spaces, as well as the building envelope, in ways that allow for the independent organization of urban and residential spaces facing each other, while also ensuring the protection of private spaces from public areas. Salomon proposed a linear residential building that incorporates a multi-layered spatial structure to articulate urban and residential spaces into multiple thin spatial layers, each assigned a differentiated urban or architectural role, thereby ensuring the independence of individual spaces and facilitating a gradual transition between them. Salomon's multi-layered structure, which enables continuity, differentiation, and articulation between internal and external spaces, can be applied to architectural and urban space compositions that involve conflicting spatial types. It also represents the result of integrating and reinterpreting historical legacies, such as modern architectural spaces, classical architectural envelopes, and ancient urban infrastructural elements.

존재의 정체성은 지속적으로 성장하여 지고의 의식을 분출하고 감싸고 그것의 일부가 된다. 그럼에도 불구하고 그러한 노력은 현상 세계의 실증된 경험이 초래하는 모순과 분열을 정복하고 극복할 수 있는 강하고 단호한 의지를 예상하고 전제한다. 우파니샤드는 비이원성과 이원성을 번성하는 절대자의 형태로 이 문제에 대한 견해를 제시한다. 우리가 살고 있는 세상은 동일한 절대자의 창조적 본능과 창조적 의지의 결과이다. 따라서 정확히 세계 그 자체인 시초가 있지만 지고의 종말이 있으며, 시초부터 종말까지의 움직임이나 진행은 때때로 현전의 방식에서 그러하듯이 명백히 어려움을 겪으며, 다른 경우에는 확인된 부재로 성취된다. 그 정도에 이르기까지 끈기, 인내, 추측, 명상 등의 상태가 존재한다. 사무엘 베켓의 예술적 기교에서 그러한 상황을 다루는 방식은 그의 소설과 드라마에서 등장인물, 상황, 행동, 사건 및 관계가 이 세상의 모순과 다양성을 표현하는 것에서 잘 드러난다. 한편 등장인물들은 압도되는 모습을 보이며, 부재하는 초월적인 것에서 안도감을 찾는다. 실제와 외견은 모순되고 실제는 이해의 필요성에 따라 확장된다. 우파니샤드는 그러한 상황을 이해하는 하나의 틀이 될 수 있는데, 베켓은 그러한 신념체계를 지속적으로 드러낸다.

The identity of existence is contained in an urge to grow and having grown to burst forth, envelope, and become part and parcel of the Supreme Consciousness. Nevertheless, such an effort anticipates and presupposes decidedly a strong and resolute will that would enable one to conquer and overcome the contradictions and divisions which the illustrated experience of the world of appearance brings about. Upanisads expound such a view of the matter in the form of an Absolute that thrives on non-duality and duality. The world in which we live is a consequence of the creative instinct and creative will of the same Absolute. Thus there is a beginning that is precisely the world itself; yet there is the Supreme end and the movement or progress from beginning to end has obvious difficulties in as much as sometimes it is in the manner of presence, and, on some other occasions, it is accomplished in the confirmed absence. To that extent, there are the states of persistence, endurance, speculation, meditation, and the like. In the artistry of Samuel Beckett, such situations find extraordinarily brilliant expressions in that all through his novels and dramas the characters, situations, actions, events, and relations thrive on the contradictions and multiplicities afforded by this world. In the next place, the characters are seen to be overwhelmed and at that, they seek relief in the beyond which is absent. On such an account, the conclusion is brought to the recognition that apparent is contradicted by real, and real is rendered extensive by the necessity of comprehension. It is now a well-thought-out contention that Upanisads prepare the groundwork for such a situation and Beckett goes on to give an effect to each such framework of conviction.

본고는 미쉘 푸코(Michel Foucault)의 헤테로토피아(Heterotopia) 관점을 바탕으로 하여 사진작가 만 레이(Man Ray), 랄프 깁슨(Ralhp Gibson)의 작품, 그리고 영화 기생충을 읽어내는 데에 목적이 있다. 사진은 공간적 형상으로 우리 눈앞에 재현되며, 영화는 그보다 더욱 완벽한 생동감을 펼쳐낸다. 비슷한 듯, 다르게 작동하는 두 매체에 나타난 푸코의 헤테로토피아 이론 속 특징들을 재정립하여, 다각도의 시선으로 해당 작품을 분석해보고자 한다. 만 레이는 관습적 전통 매체의 사용을 뛰어넘어, 추상이 아닌 실제 사물과의 접촉으로 생겨난 기록을 표현해낸다. 그는 헤테로토피아의 특징과 연결되는 데페이즈망 기법을 사용, 모순적 상황을 표출해낸다. 랄프 깁슨의 경우 사진적 재현을 넘어, 일상 속 장소를 재탄생 시켜 무의식의 세계로 관객을 인도한다. 영화 <기생충> 속 공간들은 현실과 이질적인 공간으로 묘사되며, 따라서 다층적 양상으로 이해되고 는 한다. 서사 전개상 극적 사건이 발생하는 거실 공간은 캐릭터의 주체적 의지가 정립되는 욕망의 공간으로 설명할 수 있다. 또한, 끝없이 펼쳐지는 계단 공간은 환상을 넘어서는 환상성을 구현해낸다. 헤테로토피아적 특징을 드러내는 영화 속 계단 모습은 실제 촬영장소와는 전혀 다른 공간이다. 감독의 의도가 반영된, 철저히 구성, 편집된 공간인 것이다.

This paper aims to explore photographic works of Man Ray and Ralph Gibson together with South Korean film Parasite from the perspective of heterotopia, a concept introduced by Michel Foucault. Photography that creates a spatial form is reproduced right in front of our eyes while film conveys a higher level of—even near-perfect—vividness compared to photography. This paper reestablishes Foucault’s heterotopian characteristics in those two media—both of which work in a similar but different manner—and ultimately investigates the above-mentioned works from various angles. Man Ray goes beyond the use of conventional traditional media, expressing the record of contact with real objects, not abstractions. He expresses contradictory situations by using a ‘Depaysement’ technique that links to the characteristics of heterotopia. In the case of Ralph Gibson, beyond photographic reproduction, the place in his daily life is welcomed and recreated as a fantastic space, leading the audience to the world of unconsciousness. Places in the film Parasite are depicted in a way that they are distinguished from the real world. For such reason, the film is interpreted in diverse ways. Given its narrative development, the living room in the film where a dramatic event occurs can be explained as a subversive place that contains contradictory characteristics. Furthermore, the staircase that is differently organized and edited from the actual shooting place, also exhibits heterotopian characteristics. The staircase that seems there is no end visually constructs fantasy, going beyond just a fantastical element.

This paper is consideration of the patriotism that consistently flows in Miyosi-Tatsuji for the war period and the defeat through the analysis and the contrast of "Nihonginnokyousyu" "Natsukasiinihon" In the war period, Miyoshi was recognized that the nature, the history, and the tradition influenced a national morality in patriotism. And, it has been understood to have thought about the imperial household's existence so in the root. However, to recover people's moralities after war, he demanded the emperor's abdication. It is different like this in the war period. Structural order of the patriotism of Miyosi that appears through his paper after the defeat was in the priority of morality more than imperial household.

本稿は戦争期間中に発表された「日本人の郷愁」と敗戦直後、発表された「なつかしき日本」の分析及び対照を通じて三好達治の内面に一貫して流れている愛国心に対して考察したものである。戦争期間中、愛国心と係わって三好は、自然及び歴史と伝統が国民的な道徳風土に影響を及ぼすと認識していた。そしてその根源に皇室の存在を置いていた。ところが、彼は敗戦後、国民の道徳を立てるために天皇の退位を要求した。このように戦争期間中と違い、敗戦直後の彼の文章を通じて現われた三好の愛国心の構造的秩序は、皇室より道徳的価値を優先視するものであった。

Digital culture does not seem to question the evidence for use of technology in the digitisation of our tasks and of our works. The notions of interactivity, accessibility, ubiquity and connectivity seem to be the most recognised properties. However, its mode of interpretation of the world, based on cybernetics, continues to come up against objectors, particularly metaphysicians. A digital way of thinking and acting thus becomes the object of a divide between two concepts of culture: the sociological and the philosophical. It is appropriate, therefore, to set out the reasons, the limits and presuppositions of this tête-à-tête, and, without claiming to be exhaustive, nor comprehensive to recount the classic concepts which are reworked by digitisation. By the same token, we could outline the approach of a digital identity as creation of possible worlds, requesting new standards for feeling and perceiving.

La culture numérique ne semble pas faire question tant l’évidence d’un déploiement technique rend partout présente la numérisation de nos tâches et de nos oeuvres. Les notions d’interactivité, d’accessibilité, d’ubiquité et de connectivité semblent en être les propriétés les plus reconnues. Pourtant son mode d’interprétation du monde, fondé sur la cybernétique, rencontre encore des objecteurs, particulièrement chez les métaphysiciens. Le numérique devient ainsi l’objet d’un clivage entre deux conceptions de la culture : sociologique et philosophique. Il convient donc d’exposer les raisons, les limites, les présupposés de ce tête-à-tête, et de recenser, sans prétendre être exhaustif ni approfondi, les concepts classiques qui sont retravaillés par la numérisation. Par là même pourrait s’esquisser l’approche d’une identité numérique comme création de mondes possibles par un nouveau statut du corps et de la perception.

Many insist that the cause of Brexit(Britain’s exit from the European Union: Brexit onwards) was the rush of migrants into the UK. However, they seem to neglect something that exists at a deeper level of this phenomenon. Among the possible causes of Brexit at the deeper level, the UK’s welfare contradiction is arguably one of the major ones. Thus, this paper aims to explore the relationship between Brexit and welfare contradiction. This paper suggests that deep and surface structural framework of welfare can be applied as an analytical tool. Based on this analytical tool, this article reinvestigates immigrants’ welfare and the related welfare contradiction. It covers the benefits, which are allocated to migrants in the UK based on records of National Insurance numbers, the benefits related to council flats and houses for foreign nationals, and health tourism. After these issues are discussed, this paper re-emphasizes the welfare contradiction, which is a deep structure. The implication is that the right of free movement, driven by the phenomenon of globalization, can force the reorganization of a welfare state system based on state sovereignty. Therefore, it is necessary to guarantee the right of movement to the people who are in need, not to impair the welfare state system, rather than to lower the entry barriers as a whole.

중국의 전통적인 인의(仁义) 도덕은 예법체계에서 매우 중요하며, 오늘날 사회까지 깊은 영향을 미친다. 현대 법률제도에는 일부 법률규정, 사법실천과 전통도덕이 심각하게 충돌하는 상황이 존재하는데, 근년에 발생한 유명한 장커우커우사건이 바로 그 전형이다. 본 논문은 이 사건으로부터 시작하여 중국의 전통적인 복수관념과 그 제도 규칙에 착안하여 중국의 전통적인 복수제도와 중국의 현대 법치 사이에 생기는 모순을 탐구한다. 중국의 전통적인 복수제도는 유교사상의 강력한 지지를 받고 있으며 주로 경서의 규범과 법률규정으로 구성되었으며 일련의 상세하고 번쇄한 제도규범을 구비하여 복수의 제한과 합리화를 최대한도로 달성하였다. 유교경전은 전통적인 복수관념을 확립하였으며 경전은 복수행위의 전제, 대상, 주체에 대해 제한적인 요구를 진행하였고 복수의 결과에 있어서는 목숨으로 대가를 요구하는것으로 표현하였다. 경전의 규범에서 벗어나 점차 복수에 관한 법률 규정을 형성하였다. 비록 국가법은 복수를 금지하는 규칙상태를 나타내지만 유교의 복수관념의 지배하에 여전히 개별사건의 파악과 균형을 이루며 복수는중국의 전통예법 충돌의 문제가 된다. 전통적인복수이념과 관련되어 법제 체계에서 의절이혼제도, 살인이향제도, 살인사화의 금지, 복수처리권의 제한적 규범이 관련된 제도적 규범에 속한다. 중국전통의복수와 현대의 법치는 법률관념, 행위평가, 국가관리모델 등의 측면에서 모순이 존재한다. 이는 역사의 발전과 고금의 변형의 문제이므로 균형을 이루어야 한다. 첫째, 법률과 윤리의 균형, 법률은 친륜 감정의 복수상황과 일반 상해 살인 행위를 구별해야 하며 사법은 복수시나리오의 맥락에 대해 상응한 조사를 해야 하며 특정사건의 판결에서 원한의 공정한 해소를 실현하는데 중점을 두어야 한다. 둘째, 복수와 용서의 균형, 복수행위의 합리성에 대한 제도 설계의 대응, 적절한 방식을 종합적으로 운용하여 피해자의 친척이 받은 상처를 최대한 보충함으로써 복수사건의 발생을 줄여야 한다. 합리적이고 공정한 법제와 증오 범죄에 대한 관용을 수립하고 법치 교육을 추진하여 민중들이 서로 용서하도록 양성함으로써 그들 자신과 친족의 권익이 침해를 당했을 때 적극적으로 합법적이고 합리적인 방식을 찾아 해결하도록 한다. 또한 공동행위규칙을 구축하여 공권력기구와 사회 공중간의 간극 상태를 완화시키고 공중들을 인도하여 공중으로 나아가도록 함으로써 공안기관, 검찰기관, 사법기관의 능동적인 건설을 통해 사회 공중과의 양호하고 우호적인 소통 채널을 구축해야 한다. 지역 자체의 특수한 문제와 중국 본토를 직시하고 현대 법치를 통해 전통적인 복수제도의 저애력으로 국가의 큰 전통과 민간의 작은 전통이 조화를 이루는 한편, 앞으로 유사한 복수를 하는 등 일련의 정(情)법(法) 난제해결에서 참고적 역할을 마련하고 공생의 전통문화를 현대 법치와 서로 어울리도록 구현해야 한다.

The Chinese traditional humanity, justice and morality are very important to Li-Fa system and still have great influence on today’s society. In modern legal system, there are some circumstances that some legal regulations or judicial practice seriously conflicts with traditional morality, the recently well-known case of Zhang Koukou is a typical case. This paper takes Zhang Koukou case as an example, aiming at Chinese traditional concept of revenge and its system and rule to explore the contradiction arising from tradition revenge system and the present-day rule of law. The Chinese traditional revenge system was strongly supported by Confucianism and it was composed of Confucian classics regulations and legal rules and had a set of specific and tedious regulations to make the revenge reasonable. Confucian classics established the tradition concept of revenge, which restricted the premise, the target, and the subject of the revenge and required the revenge result should be life for life. Separating from the Confucian classics, the legal rules and regulations relating to revenge were gradually formed. The law of the country was generally in a status to prohibit the revenge, but under the domination of Confucian concept of revenge the specific case must be balanced, and the revenge became a conflict between Li and Fa. In relation to traditional concept of revenge, the divorce system of “Yi Jue”, the rule that “if one murdered a people, once he was pardoned, he should move to another place”, the prohibition of private settlement on murder case, the regulations of restriction of revenge disposition, were all in the legal system belonged to preventive and compromised system regulations. The Chinese traditional revenge conflicts with the modern rule of law, the legal concept of revenge punishment and retribution theory are reexamined in the theory of modern criminal law theory, the strong emotions of revenge are controlled by the absolute restriction conducted by law to revenge, which can be attributed to the conflict between the traditional rule of man and the modern rule of law. All these conflicts between traditional revenge and modern rule of law are the problems from historical evolution and the transformation from ancient to modern, it should be balanced. Firstly, it should balance the law and the morals, in the legislation, the revenge conducted by relatives and the common assault and murder behavior should be distinguished, judicially the revenge circumstances should be given the corresponding consideration, and the attention should be paid to specific case that its judgment could resolve the hatred and achieve the justice. Secondly, it should balance the revenge and forgiveness, the design of system should give response to the rationality of revenge behavior, to comprehensively use the proper way to maximize the compensation to the family of the victim for the hurt they suffered so that to reduce the revenge cases. The reasonable and justice legal regulations and the forgiveness to the hatred should be established, the legal education should be promoted and the forgiveness of the masses should be trained, which would lead one to actively pursue lawful and reasonable way to solve problem if the rights and interests of his relatives were harmed. Lastly, the common code of conduct should be established to relieve the intense and estranged state between the public authority and the masses, by the way of leading the masses, moving towards the masses, the organizations of public security, the procuratorate and the court forwardly pushing forward, the communication bridge connecting the public authority and the masses can be built. Face our Chinese special problems and make use of our local resources, the obstruction coming from traditional revenge system can be converted helpful in the process of rule of law, which will make country’s great tradition in harmony with folk little tradition and provide reference for the possible similar revenge problems in the future. The prospect of the modern rule of law and the traditional culture mutually reflect each other will be expected.

中国传统的仁义道德于礼法体系举足轻重，影响深远直至当今社会。在现代法律制度中，存在某些法律规定或司法实践与传统道德严重冲突的情境，近年发生的著名的张扣扣案便是典型。本文从该案切入，着眼于中国传统复仇观念及其制度规则，探究传统复仇制度与现代法治之间所产生的矛盾。中国传统复仇制度得到儒家思想的有力支撑，主要由经书规范与法律规制构成，具有一套详细繁琐的制度规范，尽可能实现对复仇的限制与合理化。儒家经典奠定了传统复仇观念，经书对复仇行为的前提、对象、主体进行限制性要求，且在复仇结果上要求以命偿命。从经书规范中超脱出来，逐渐形成一些关于复仇的法律规制。国家法虽大体呈现出禁止复仇的规则状态，但在儒家复仇观念支配下仍要进行个案把握与平衡，复仇成为传统中国的礼法冲突问题。与传统复仇理念相关，在法制体系中“义绝”离婚制度、“杀人移乡”制度、杀人私和的禁止、复仇处理权的限制性规范都属相关的预防性、迁就性的制度规范。中国传统复仇与现代法治存在矛盾，报复刑与报应说的法律观念在现代刑法理论中重新审视，复仇强烈情感也在法律对复仇的绝对限制中被抑制，而归根结底是传统人治进于现代法治产生的矛盾。这些传统复仇与现代法治矛盾是历史演进、古今转型的问题，应当进行平衡。首先是法律与伦理的平衡，立法上应区别亲伦情感复仇的情形与一般伤害杀人行为，司法上也应针对复仇情节予以相应的情境化审视，注重在个案判决中实现仇怨化解的公正。其次是复仇与宽恕的平衡，制度设计上回应复仇行为的合理性，综合运用恰当方式最大限度地弥补被害者亲属所受到的伤害，以减少复仇案件的发生。建立起合理、公正的法制与对待仇恨犯罪时的宽容，推进法治教育养成民众之间的宽恕，使之在自身及亲属权益遭受侵害时积极寻求合法合理的方式解决。最后，还应构建共同行为规则，舒缓公权力机构与社会公众的隔阂状态，通过引导公众、走向公众，公检法机构主动建设，搭建良好友善的与社会公众沟通交流的桥梁。正视中国自身的特殊问题与本土资源，将法治化进程中传统复仇制度的阻力化为助力，使国家的大传统与民间小传统趋于和谐，可为日后类似复仇等一系列情法难题的解决提供借鉴，建构现代法治与传统文化互有照应的共生图景。

Altshuller와 그의 동료들은 창의적이고 혁신적인 발명 특허들이 공통적으로 모순을 해결하였다는 사실을 알아내어 트리즈(TRIZ)를 정립하 였다. TRIZ는 ‘발명 문제 해결 이론(Theory of Inventive ProblemSolving)’을 의미하는 러시아어의 머리글자에 해당한다. 국내외 유수 기업들이 혁신적인 신상품 개발을 위해 TRIZ를 적극적으로 도입하고 있다. TRIZ는 문제의 모순을 해결하는 방법으로써 분리원리와 40 발명원리 등을 제 시한다. 그렇지만 초보자가 TRIZ를 활용하기에는 TRIZ의 내용이 방대하고 복잡하여 실제적 활용에 많은 어려움을 겪는다. 이에 본 연구는 대중 적으로 널리 알려진 키플링의 육하원칙 방법과 가치공학의 도구-대상 분석을 활용하여 모순문제를 정의하고 문제의 해결방안을 도출하는 알고 리즘을 제시하였다. 키플링의 육하원칙 방법을 적용하면 문제의 목표와 해결수단 그리고 문제가 발생하는 시공간을 분석할 수 있는 이점이 있 다. 키플링의 육하원칙 방법을 적용하는 과정에서 모순문제의 목표(Why), 시스템의 추상적인 목표를 구체적으로 달성하기 위한 무엇(What), 시 스템의 목표를 이루기 위한 수단으로써 어떻게(How)를 파악할 수 있다. 이후 적용하는 도구-대상 분석은 시스템의 구성요소들이 어떻게 상호작 용하는지 파악할 수 있다. 키플링 육하원칙 방법과 도구-대상 분석의 연계 과정은 모순문제의 추상적인 목표와 구체적인 해결수단 간의 구조적 인 관계를 정의하게 하며, 이를 시간-도구 테이블에 적용하여 문제 해결을 위한 구체적인 해결안을 도출할 수 있다.

Altshuller and his colleagues found that creative and innovative invention patents commonly resolved contradictions and established TRIZ. TRIZ is an acronym in Russian meaning ‘Theory of Inventive Problem Solving’. Leading domestic and foreign companies are actively introducing TRIZ to develop innovative new products. TRIZ proposes the separation principle and 40 invention principles as a way to solve the contradiction of the problem. For beginners to use TRIZ, the contents of TRIZ are vast and complex, so it is difficult for beginners to actually use TRIZ. This study presents an algorithm that defines the contradiction problem and derives a solution to the problem using the widely known Kipling's six-fold principle method, the tool-object analysis of value engineering that defines the contradiction problem. Applying Kipling's six-fold principle method has the advantage of analyzing the goal, solution, and time and space in which the problem occurs. In the process of applying Kipling's six-fold principle method, the goal of the contradiction problem(Why), what to achieve concretely the abstract goal of the system, and how as a means to achieve the goal of the system can be grasped. After applying Kipling's six-fold principle method, tool-object analysis can be used to understand how the components of a systeminteract. By understanding the components of the systemand their interactions, it can be extracted the definition the structural relationship between the abstract goal of the contradiction problem and the concrete solution by these analyses. After they are done, a specific solution can be derived for solving the problem by using the time-tool table.

하치오지센닌도신(八王子千人同心)은 다케다(武田) 가문의 고비토가시라(小人頭)에 의해 통솔되었던 군사집단으로 에도시대에는 막부의 야리부교(鑓奉行)에 소속된 센닌 가시라 아래서 하치오지를 중심으로 영국내의 경비와 일광동조궁의 경비를 주 임무로 하는 무사의 역(役)을 수행하였지만 신분으로서는 백성으로 간주되었다. 센닌도신은 무사로서의 임무를 수행하는 집단으로 시작되었지만 평화가 계속됨에 따라 박봉으로 인한 경제적 궁핍으로 임무시 이외에는 농업에 종사하여 백성의 역을 겸하는 존재가 되었다. 신분상으로는 농민의 취급을 받아왔으나 18세기에 들어와 무사의 신분의 상징 인 성(姓)의 사용을 주장하였다. 이러한 센닌도신의 주장은 종문개인별장(宗門改人別帳)에 성의 기입을 주장하는 것이었고 이러한 주장은 종문개인별장 작성 담당자였던 나누시(名主)들에게 거부당해 결국 막부에게까지 보고되었다. 그러나 막부에서도 이러 한 주장을 허가하지 않았다. 한편 메야스바코(目安箱)를 통한 소송이나 나누시 겸업의 금지, 봉록이 적어 농업 겸업을 허가한다는 문서, 전답의 소지를 불허하는 등 무사로서 의 취급을 하고 있었던 사료들이 다량 존재한다. 이는 막부가 역(役)을 기준으로 사농 공상이라는 신분제를 사회적 근간으로 채용하면서도 신분간의 경계에 있던 존재들에 게 편의에 따라 신분을 규정하였었다는 점을 지적할 수 있다. 이는 신분이 정치적, 국 가적 질서에 의해 고정되었다는 이시모다 쇼의 주장을 뒷받침해 주는 것이며 에도막부 에 있어 정치적, 국가적 질서는 초기에 막부가 정한 신분제를 유지시키기 위한 모순된 법적용에 의해 유지되었다.

Hachioji Sennin doshin is a group under the control of the Kobitogasira who served the Sengoku Daimyo Takeda. During the Edo Shogunate era, they belonged to Yari Bugyo, and served as a guard in the territory and a guard of Nikko Dosyogu in Hachioji. That is, they served as a samurai. However, the status was treated as a Hyakusyo. Sennindoshin was born as a group that served as a samurai, but as the period of peace continued, financial difficulties deepened, and they also served as a Hyakusyo in agriculture outside the period of his service. Although they was treated as a Hyakusyo, they began to advocate the use of their surname, a symbol of samurai status, in the 18th century. The allegation of such a Sennin doshin was to request the surname to be entered in the Syuomonaratameninbetutyo. Such a claim was rejected by the Nanushi who were in charge of creating the Syuomonaratameninbetutyo, and was reported to the shogunate. However, the Shogunate also rejected the claim of Sennin doshin. On the other hand, there are many historical materials that have been treated as samurai, such as prohibiting writing in the Meyasubako, prohibiting Nanushi, permitting side jobs in agriculture due to low salary, and prohibiting possession of fields. It can be pointed out that the shogunate adopted the shi-no-ko-sho status system of the occupation based on the role, but defined the status of people who were on the border of status for convenience. This supports Ishimoda Sho’s assertion that his status was fixed by political and national order. Also, in the Edo Shogunate, the political and national order was maintained by the application of contradictory laws in order to maintain the order established by the Shogunate in the early days.

八王子千人同心は戦国大名武田氏に仕えた小人頭の配下にあった集団で、江戸幕府 時代には鑓奉行に属し、八王子を中心に領国内の警備や日光の火の番を勤めた。すなわ ち、武士としての役を勤めた。しかし、身分は百姓として扱われた。千人同心は武士と しての役を勤める集団として生まれたが、平和の時期が持続される中で経済的な困窮が 深くなり、役を勤める時期以外には農業を行う百姓の役も勤めていた。身分上では百姓 として扱われていたが、18世紀に入り武士身分の象徴でもある苗字の使用を主張し始め た。このような千人同心の主張は宗門改人別帳に苗字記入を求めることであった。この ような主張は宗門改人別帳の作成担当者であった名主たちに拒否され、幕府まで報告さ れた。しかし、幕府もこのような千人同心の主張に不可方針を下した。一方、目安箱に 書き入れ禁止、名主倦怠の禁止、俸禄が少ないため農業の兼業を許可、田畑の所有を禁 止するなど武士としての扱いをした史料がたくさん存在する。このことは幕府が役を基 準とする士農工商という身分制を採用しながらも身分間の境界にあった人々を便宜的に 身分を規定したことが指摘できる。これは身分が政治的·国家的な秩序により固定され たという石母田正の主張を裏付けることである。また、江戸幕府において政治的·国家 的秩序は初期に幕府が定めた秩序を維持するために矛盾的な法の適用によって維持され たことである。

Gustave Courbet was a French painter who led the Realist movement in 19th-century French painting. Since After dinner at Ornans in 1849 Courbet’ s subject had been drawn from the actual life or the living human experience, because he believed that art should reflect the realities in actual life. To represent the hero of today, Courbet used “colossal” dimension required of history painting which the Paris Salon esteemed as painter’s highest calling but rejected as unsuitable for a genre painting. And he employed a larger than life-size which is appropriate for a culture hero. He wanted to give everyday subjects the effect of a monumental history painting. This was to be a transgression of the academic principle. In 1855, Courbet submitted fourteen paintings for exhibition at the Universal Exposition. His monumental paintings, The Artist’s Studio and The Burial at Ornans which are his major works of Realism are not admitted to the Universal Exposition. So he decided to organize his own show called The Pavilion of Realism which was a temporary structure that he erected opposite to the Exposition Universe of 1855. In short, he challenged the rigid categories of the Academy not only in a series of his paintings but also in his actual life. The artist disregarded authority and convention of the academy. However, the trace of the academic tradition remains still in Courbet's painting. This means he was not immune from the Salon’s view. In this paper I examine the relation between Courbet and the Paris Salon, focusing on the composition and rhetoric of The Artist’s Studio . As I demonstrate, the composition of the picture relates to the academic history painting’s central composition, especially The Sabine Women of Jacques-Louis David. The Artist's Studio was called allegory by Courbet. Allegory is the principle rhetoric of the academic history painting. In 19th-century salon’s paintings, the purpose of allegory was the personification of an abstract concept. He was interested in the allegory as an indirect or veiled mode of expression rather than the allegorical personifications. He created his own realism simultaneously using the tradition and the difference. In The Artist’s Studio, Courbet's massed figures The Contradiction of Gustave Courbet: on The Painter’s Studio, A Real Allegory Summing up a Seven-Year Phase (1855) Lee, Jaeeun(Sungshin Women's University, Lecturer) locate theirs place in the academic composition and are to be the allegorical personification. The kind of contradiction was due to the Salon’s gaze that controled the mainstream art of 19th-century Paris.

The purpose of this article is to understand the intellectual property law(IPL hereafter) in contemporary China. The Property law in China is in the establishing level. Thought the IPL was established in 1990 in China, it must revise the IPL as entering the WTO in 2001. Historically and basically China had not had the civil and individual property rights and law yet. I set the concept the being of contradiction(maodun) on IPL in contemporary China, because it does not seem to acquire the harmony in Chinese IPL and international standards. China, if want to develop their economy, they should abide international rule and definition. China is making the experiences in civil property right and does protect overseas businesses into China. In conclusion, I suggest that it needs to get the balance between the IPL rule level in micro view of point and historical and people recognition level in macro view of point.

본 논문은 공자가 한편으로는 무도한 때에 자신을 숨기고[無道則隱] 도가 있게 된 후에 자신을 나타내야 한다[有道則見]고 주장한 점과는 반대로 실제 행동에서는 무도할 때 도를 실현하기 위해 세상에 자기를 드러냈다는 모순점을 ‘왈(曰)’과 예고 없이 대명사가 자주 쓰인다는 『논어(論語)』의 텍스트 성질에 입각하여 해결하는 것을 목적으로 삼는다. 대화는 대화의 맥락과 상황이 존재하기에 아무런 예고 없이 고유명사 와 대명사를 사용해도 의미가 통한다는 성질이 있다. 그러므로 대화는 화용론의 관점에서 분석해야 한다. 화용론의 관점에서 볼 때 대화 안에 서 조언이 발생할 시 그 조언이 반드시 조언을 해준 사람에게도 적용된 다고는 할 수 없다. 이것이 모든 사람에게 해당하는 ‘전칭 명제’와 다른 일부에게만 해당하는 ‘특칭 명제’이다. 각 주제에 따라 편과 장이 나누어진 『주자어류(朱子語類)』와는 달리 『논어』는 대화의 전후 맥락이 생략되고 공자의 언술만 갖추어져 있기에 ‘특칭 명제’를 ‘전칭 명제’로 혼동하게 만든다는 특징이 있다. 그러므로 조언 안에서 공자가 자기를 대명사 등으로 지칭하지 않는 한 그 조언은 공자에게까지는 해당하지 않을 가능성이 있다. 『논어』를 ‘특칭 명제’의 시선에서 보면 “무도즉은”은 공자에게 해당하 는 규칙이 아닐 가능성이 있다. 따라서 “무도즉은”의 모순은 ‘왈(曰)’ 앞 에 생략된 어떠한 특정 인물에게 조언한 것이라고 추론할 수 있으며 이 에 따라 공자의 언술과 행위의 모순은 모순이 아님이 증명된다.

This study aims to resolve Confucius' contradiction between his argument for certain timely acts(Shizhong, 時中), which are based on hiding oneself in the absence of Dao[無道則隱] and revealing oneself in the presence of Dao[有道 則見], and his actual acts opposite to his arguments based on the system of Lunyu where Yue and pronouns are frequently used. Conversations have contexts and situations and thus make sense even with proper nouns and pronouns, which means that conversations should be analyzed from the perspective of pragmatics. In addition, when conversations contain some advice, it is not always the case that the rule of the advice is necessarily applied to the person that has given the advice. This points to "general rules" applied to all people and "restricted rules" applied to only some people. Unlike Zhuzi Yulei that divides books and chapters according to different topics, Lunyu offers only the words by Confucius with the contexts before and after a conversation omitted and accordingly makes readers mistake "restricted rules" as "general rules." It is likely that as long as Confucius does not refer himself in a pronoun in his advice, the advice will not apply to him. From this point of "restricted rules", it is possible that this claim does not apply to Confucius himself. This leads to an inference that Gyeongseong Shizhong is his advice to a certain person omitted before "Yue," demonstrating that there is no contradiction between Confucius' arguments and acts.

다자이 오사무(太宰治)의 「토카톤톤(トカトントン)」은 1947년 1월 1일 발행한 󰡔군조(群像)󰡕 제2권 제1호에 발표된 소설이다. 이 작품은 26세의 한 청년이 무언가에 몰두하려고 할 때마다 쇠망치 소리가 들려 모든 의욕이 사라져 버리는 고통을 어느 작가에게 호소하는 편지문 형식으로 구성되어 있다. 본 논문에서는 「토카톤톤」에 드러나 있는 논리적 모순을 중심으로 전후 일본의 양면성, 순수를 향한 욕망, 아이러니 표현의 문제 등을 살펴본 후 다자이의 전후 인식을 고찰하였다. 패전 후 일본은 과거를 극복하고 새로운 일본을 건설하자는 분위기가 팽배했다. 하지만 한편으로는 시대를 역행하여 항전을 계속하자는 사람들도 존재했다. 또 일본의 패전은 일본 국민에게 군국주의의 억압에서 벗어나는 해방과 자유를 의미했다. 하지만 패전 이후에도 GHQ에 의해 점령 정책에 반하는 창작물에는 가차 없는 검열이 이루어졌다. ‘소설 창작’, ‘우체국 일’, ‘연애’, ‘노동자들의 데모’, ‘스포츠’, ‘암거래’ 등 「토카톤톤」에서 청년이 몰두하려고 하는 대상은 모두 어긋난 전후 공간을 상징하는 기호이다. 청년의 좌절은 그 자체로 ‘전후의 좌절’이고, 어긋나 있는 전후를 상징하고 있다. 이렇게 「토카톤톤」에서 전후의 양면성을 그려내는 표현 방식은 다자이 오사무가 한 때 참여했던 일본낭만파의 ‘아이러니’ 표현방식과 공통점을 보인다. 다자이 오사무의 ‘아이러니’적 표현은 겉으로 드러나는 것과 반대되는 이면을 순환적으로 되풀이하면서 드러내는 구조에 있고, 그 결과 진실을 알 수 없게 만드는 것에 있다고 할 수 있다. 다자이에게 일본의 전후 공간은 자유와 억압, 신일본 건설의 희망과 그에 어울리지 않는 비루한 현실, 순수한 이상과 ‘더러운’ 속세가 혼재한 해석불가능의 아이러니한 공간이었던 것이다.

Osamu Dazai’s (太宰治) Tokatonton(トカトントン) novel was published in Volume 2, Issue 1 of Gunzō (群像), on January 1, 1947. The novel is written in an epistolary format, where a 26-year-old young man complains to a certain writer about the pain of hearing a hammering sound and losing motivation, every time he tries to focus on something. The present paper contemplates Dazai’s post-war perceptions, after examining issues of post-war Japan’s ambivalence, desire for innocence, and expressions of irony, with a focus on the logical contradictions revealed in Tokatonton. Japan’s defeat in the war, brought about a surging desire to overcome the past and build a new Japan. This contradicted with those who wanted to go against the times and continue fighting. To the Japanese people, Japan’s defeat also meant liberation and freedom from the oppression of militarism. However, even after the defeat, the General Head Quarters (GHQ) ruthlessly censored creative works that went against the occupation policy. The issues that the young man in Tokatonton want to focus on, such as ‘writing novels,’ ‘post office work,’ ‘dating,’ ‘workers’ demonstrations,’ ‘sports,’ and ‘black market dealings,’ symbolize the misaligned post-war space. The young man’s frustration itself is ‘post-war frustration,’ which symbolizes the same. Hence, the method of expressing post-war Japan’s two sides in Tokatonton is similar to the method of expressing ‘irony’ in Japanese Romanticism, where Osamu Dazai had once participated. It can be said that, Osamu Dazai’s ‘ironic’ expressions have the structure in which, the side revealed openly and its opposing hidden side, reveal themselves cyclically, thus making it impossible to know the truth. For Dazai, Japan’s post-war space was ironic and impossible to interpret, with coexisting freedom and oppression. The hope of building a new Japan and the pitiful reality that did not match, neither did the pure ideals and the ‘dirty’ worldliness.

In John Fowles’s The Collector, the conflict between a Few who sees human life as an artist’s work and a Many who sees it as a reproducible product is drawn in one space. Clegg who represents the Many can be considered as a commercial novelist while Miranda who represents the Few, as an artist. The Collector does not show the aspect of overcoming the contradiction of abstract space through mutual understanding and harmony between a Few and a Many. It only shows the contradictory situation of modern society where abstract space is overwhelming, such as photographs and butterfly specimens symbolizing automatic reproduction, through the rural house. Miranda’s death by Clegg reveals that the absence of differential space is reality. The Collector paradoxically depicts the fact that we must face the reality, overcome the contradiction of space, and aim for the differential space. It can be linked to Fowles’s worries about novels, worries that can go beyond the separation between repetitive and reproducible products and unique works of art, even if they are contradictory. Fowles's troubles about the paradoxical relationship between life and art are revealed through the allegory of contradictory space in The Collector.

플라톤의 『에우튀데모스』에서 ‘모순이 가능하지 않다(ouk estin antilegein)’는 논변, 즉 ‘모순 불가능성’ 논 증이 디오뉘소도로스에 의해 제시된다(286a4-b7). 그리고 이 논증이 끝나자마자 플라톤은 프로타고라스 및 그를 따르는 자들이 이 논증을 무척이나 많이 그리고 자주 사용했다고 보고한다(286b8-c3). 이러한 보고에 기 대어 다수의 현대 학자들은 프로타고라스와 ‘모순 불가능성’ 논증 사이의 상관성과 관련하여, 논증에 대한 상 대주의적 독해, 헤라클레이토스적 독해, 그리고 아리스토텔레스 모순율의 선행형태(예기)로서의 독해라는 세 방식의 접근법을 시도해왔다. 이 연구는 ‘모순 불가능성’ 논증에 대한 탐구와 관련하여 세 가지 목적을 가진다. 첫째, 이 논증이 가진 역사성 을 검토하여 프로타고라스가 이 논증을 사용했다고 이해하는 것이 마땅하다는 바를 밝힌다. 둘째, 현대 학자 들에 의해 제시된 독해법들이 사실 ‘모순 불가능성’ 논증을 정합적으로 이해하는 데 적합하지 않다는 점을 보인다. 마지막으로, 프로타고라스가 ‘모순 불가능성’ 논증을 자신의 수사적 전략의 목적을 위해 사용했다는 이 해를 가능적으로 제시한다.

An argument for the ouk estin antilegein(impossibility of contradiction: 'it is not possible to contradict') doctrine is displayed by Dionysodorus in Plato's Euthydemus(286a4-b7). As soon as the doctrine and the argument in its support are finished, Plato reports that this doctrine is used much by Protagoras and his followers(286b8-c3). On the grounds of this report, modern scholars have suggested three readings of the doctrine; a relativist reading, a Heraclitean reading, and a reading as anticipation of Aristotle's Priniciple of Non-Contradiction. This paper has three aims in studying the ouk estin antilegein doctrine. First, on the basis of close examination about the historicity of the doctrine, it is fair to believe that Protagoras indeed used the doctrine much. Second, the suggested readings of the doctrine by modern scholars are in fact inappropriate for coherently understanding (the argument for) the doctrine. Lastly, it seems plausible to assume that Protagoras used the doctrine for the sake of his rhetorical strategy.

국립 9.11 뮤지엄의 목적은 기억, 인식, 회복에 있으며, 9.11을 어떻게 기억할 것인가의 문제가 주요 논점이었다. 특히 기억은 9.11에 대한 미국의 기억이 탈역사, 탈기념의 맥락에 있음을확인시켜 주었다. 초기에 형성된 ‘거리 추모비’나 마이클 아라드의 <부재의 반추>, 시민 참여의공모전, 공청회, 포럼 등은 모두 기억의 목적을 향하였다. 그러나 테러 1주기 이후, 9.11에 대한기억은 점차 전통적인 기념 방식으로 회귀하였다. 전시된 생존 오브제들은 예외주의의 수사로기능하였으며, 자유수호의 의지, 불의에의 저항 등 국가 정체성과 관련된 서사가 내재되었다. 또한 함께 전시된 빈 라덴의 벽돌은 국가적 보복행위의 상징물로서, 애도의 빚을 청산하려는 자기모순을 보였다.

The purpose of the National 9.11 Museum is remembrance. Yet the question of how to remember has been a major issue for its architects and designers. The memory of 9.11 has been so distinct that it could neither be aligned to ‘history’ nor be compatible with traditional memorials. Street memorials, Michael Arad’s Reflecting Absence, and public conferences and forums all aimed to remembering 9.11. In the years following the first anniversary of the tragedy, however, remembrance gradually regressed to the traditional way of commemoration. ‘Survivor objects’ are presented as rhetoric of American exceptionalism. Phrases promoting national identity-such as the will of freedom and resistance to injustice-dominate the narrative of the display. Osama bin Laden’s brick is exhibited as a symbol of national retaliation. These demonstrate that remembrance has regrettably devolved to the alleviation of the burden of continued mourning or to self-contradiction.

이 글은 서구에서 논의된 복지모순이론에 기초하여 우리나라 복지프로그램 중에서 그 효과가 생각한 만큼 나타나지 않아 복지모순에 가까운 사례를 설명하려는데 그 목적이 있다. 서구에서 논의된 복지모순은 거시적 차원으로 정당화기능, 축적기능, 체제유지기능 등 세 가지 유형의 기능 사이에는 모순이 있다는 주장이다. 이 글의 핵심은 거시적 분야에서뿐만 아니라 그 외의 영역에서도 복지모순이 존재하며 따라서 복지모순 논의를 확장시켰다는데 의미가 있다. 우선 복지모순을 복지분야에서 ‘A [또는 both A and B]’가 정책목표이지만 사회적 비용을 고려하면 'either A or B'가 되어 어느 하나를 선택할 수밖에 없거나, 심지어는 ‘neither A nor B’로 산출되어 정책목표를 기대한 대로 이룩하기가 불가능한 상황으로 정의한다. 이 복지모순의 관점에서 희망근로사업을 사례로 살펴본다. 희망근로사업이 실시된 지도 1년이 넘어서 이제는 객관적으로 평가할 시기가 되었다. 희망근로사업의 경우 단기적 일자리 사업을 통해 고용사정이 일시적으로나마 개선되었으며, 지역 경기 활성화에도 어느 정도 기여한 것으로 나타나고 있다. 그러나 재정투입이 중단되면 그 효과가 사라져버린다는 측면 외에도, 노동시장의 교란이나 희망근로사업 참가자들에 대한 실업급여의 증대로 인한 고용보험 재정의 핍박이라는 사회적 비용을 야기할 수 있음을 주목할 때, 보이는 정책의 실적치가 기대치보다 낮아 그 공식적 발표가 문제있음을 제기하고 따라서 복지모순을 초래했다고 주장한다.

This paper aims at the explanation of welfare contradiction (or welfare paradox) in Korean welfare programs, focusing on the Project Hope (a public work program). Welfare contradiction was discussed in the Western countries which includes the three main functions of legitimation, accumulation and system-maintenance which cannot be harmonized. It means that if one function was emphasized, the other functions should be ignored. This was discussed in the macro level. This paper enlarges the concept to the micro level, in other words, to Korean welfare program, which is the Project Hope. This paper defines welfare contradiction as follow: even though the original goal is A (in some cases both A and B), the effect of a program results in either A or B (in some cases neither A nor B), considering social cost. The Project Hope contributed to short-term employment and economy-activation in community, which were the positive effect based on the support of finance. It means that if the support of finance stops, the positive effect goes off. The achievement of the Project Hope could be overvalued by the government which lead to the overestimation of the welfare project. This paper tries to find the welfare contradiction in the Project Hope program.

철학적 논변과 소피스트의 궤변들을 구분 짓고자 하는 대화편인 『에우튀데모스』에서 소크라테스의 대화상대자들 중 하나인 디오뉘소도로스는 ‘모순이 가능하지 않다(ouk estin antilegein)’는 논변, 즉 ‘모순 불가능성’ 논증을 제시한다(286a4-b7). 그리고 플라톤은 이 논증을 또 다른 대화상대자인 에우튀데모스에 의해 제시된 ‘거짓이 가능하지 않다(ouk esti pseudē legein)’는 논변, 즉 ‘거짓 불가능성’ 논증과 동일시하며(286c6-7), 대인논증을 통해 극복하려 한다. ‘모순 불가능성’ 논증에 대한 분석을 시도하는 본 연구는 세 가지 목적을 가진다. 첫째, 논증에 대한 분석을 통해 이 논증이 파르메니데스의 논리를 차용하여 구성되며, 따라서 상대주의적 입론이라기보다는 오히려 객관주의적 성격을 가진다는 것을 보인다. 둘째, 이 논증은 그리스어 einai, 로고스 그리고 프라그마가 가진 다의성에 기초하여 구성되었으며, 그 결과 애매어의 오류를 범하고 있다는 것을 밝힌다. 마지막으로 ‘거짓 불가능성’ 논증에 대한 분석을 통해 그것의 논증적 성격과 문제점을 발견하고, 아울러 이를 ‘모순 불가능성’ 논증과 동일시하는 플라톤의 입장과는 달리, 논증의 구조적 차이와 논증 구성을 위한 전제 조건의 상이성으로 인하여, 두 논증이 동일한 논증으로 간주될 수 없다는 것을 확인한다.

In a dialogue where Plato tries to distinguish the philosophical arguments from the invalid sophisms, Euthydemus, Dinoysodorus, one of Socrates' interlocutors in the dialogue, suggests an argument for the impossibility of contradiction doctrine, known as 'ouk estin antilegein' (286a4-b7). As soon as the doctrine and the argument in its support are displayed by the sophist, then Plato equates it with the impossibility of falsehood doctrine, known as 'ouk esti pseudē legein', suggested by Socrates' another interlocutor, Euthydemus (286c6-7), and attempts to refute it by a type of ad hominem strategy. This paper which runs through an exhaustive analysis of the impossibility of contradiction doctrine aims at three main points. First, this doctrine is established on an objectivist assumption, vividly adopting the Parmenidean argument for the impossibility of speaking and thinking of what is not. Second, the doctrine vividly utilizes the multiple meaning of the Greek words einai, logos, and pragma for its construction, then commits the fallacy of equivocation. Third, by analysing the impossibility of falsehood doctrine and pointing out its character and logical problems, Plato's equation of this doctrine with the impossibility of contradiction doctrine is not fairly acceptable, due to the argumentative differences and the premisses for the construction of the doctrines.

The study proposes multiple TRIZ contradiction solution strategies for addressing PC (Physical Contradiction) and TC (Technical Contradiction) by implementing TRIZ cause-and-effect tree. The problem associated with TC of the ends is solved by PC of means which employs a causal relationship between causes and effects. The TRIZ contradiction solution strategies demonstrated in this research are classified into 3 types of combined strategy as follows: 1. To-Be PC and AS-Is PC, 2.To-Be PC and As-Is TC, 3.As-Is PC and To-Be TC. The combined strategy of To-Be PC and As-Is PC is similar to a divide-and-conquer technique. This strategy adopts parallel strategies using 4 separation principles in time, in space, between parts and the whole, and upon condition of two reversed-PCs. Moreover, its application elucidates the conflict relationship of two TCs from the study. The integrated 4 separation principles and 40 inventive principles present an effective synergy effect from the combination, and further addresses the problems in the TRIZ contradiction resolution strategies. Combined strategy of To-Be PC and As-Is TC implements the 40 inventive principles that To-Be PC of the means resolves the As-Is TC of the ends. Combined strategy of As-Is PC and To-Be TC also uses inventive principles to the As-Is PC of the means to solve the To-Be TC of the ends. In addition, propositional and logical relationship of necessary and sufficient conditions between TC and PC is used to support the validity of 3 TRIZ contradiction solution strategies. In addition, 3 other strategies of necessary and sufficient conditions validate the contraposition relationship of the truth table. This study discusses TRIZ case studies from National Quality Circle Contest from the years between 2011 and 2014 to provide the usage guidelines of TRIZ contradiction solutions for quality purposes. Examining analysis from the case studies and investigating combined strategies allows the users to obtain comprehensive understanding.