Yoon, Il Hwan

In The Gift of Death, Jacques Derrida assesses Jan Patočka’s fundamental and original thesis of Heretical Essays on the History of Philosophy, namely, that the Platonic motif of the care of the soul is the embryo of European life and the starting point of the genealogy of responsibility in the history of Europe, and that only in Christian Europe the motif of the care of the soul is transformed into a true principle of responsibility. According to Patočka, in Christianity, the responsibility of t

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"White Mythology" offers a lengthy, detailed, and a meticulously argued account of the role of metaphor in various texts of the Western philosophical tradition from Aristotle to Gaston Bachelard. But one would be misguided if one took the text as an essay about the deconstruction of philosophy with a nonargumentative, literary, and metaphoric play. The text is not primarily concerned with metaphor but with the difference and its economy between metaphor and concept. In "White Mythology," Derrida

Faced with an unknown and uncertain reality in the early 20th century, W. B. Yeats is poignantly aware of the impossibility of objective truth as well as of ineffectiveness of all traditional modes of acquiring knowledge. He well recognizes that there is no center or a focal point of reference in a reality, which is sought over and over again. “The Second Coming” well expresses the absence of a fixed center or origin of experience in Yeats’s historical system. It shows that there is a non-locus

In Lacan's view, Kant's moral law inevitably brings about sense of guilt in the subject, not only because the moral law is tied up with its prohibition and the subject's consequent desire to transgress it, but also because the law being in the very formal indeterminacy, the subject himself has to assume the responsibility of 'translating' the abstract injunction of the moral law into a series of concrete obligations. The subject, however, suffers from its own being guilty even more when the rele

In T. S. Eliot’s early poetry, the main characters from Prufrock to Gerontion are drifting lonely and alienated without anchoring in the world. They desire reconciliation with the world, but the greater their desire is, the more hurt, divided and drifted they are. Narcissus retreats from the human world and is transformed into various figures of self until he becomes the dancer to God. Prufrock is trapped in constantly overturned and delayed time, as he is divided between the past and the future

???? ??? ??? ??? ???? ??? ????. ??? ???? ????? ???? ??? ???? ??? ??? ??. ? ?? ??? ??? ???? ??? ???? ????. ?? ?? ??? ??? ??? ??? ??? ???? ????? ??? ??? ???? ?? ??? ???? ????. ?? ?? ??? ??? ????? ???? ???? ?? ????? ???? ??? ???? ??? ?????? ??? ???? ???. ??? ???? ??? ??? ???? ??? ???. ??? ??? ??? ???? ??? ??? ???? ???? ??? ???? ???? ??? ?? ????. Yeats in his later poems often presents a double landscape which is both natural and transcendental. His descriptive and mimetic use of the landscape takes

In “The Statues,” Yeats traces a history of civilization through a history of its forms. Focusing on the dialectic between form and formlessness, he explores a movement of forms in civilization—from the Greek sculptural practice shown by Phidias to the intangible form of the Buddha in India in the middle ages and finally to modern Ireland that represents heroic passion associated with Cuchulain. “The Statues” illustrates Yeats’s conception of the meaning of form in art as well as the history of