The topics addressed, scope, and approach of this paper involve contemporary postmodern/poststructural critical theory, literary criticism in particular, and Mahayana (大乘)—especially kongan (公案) and hwadu (話頭) Ch’an(Chinese)/Seon(Korean)/Zen (Japanese)—Buddhist thought (佛敎思想) is explained in detail. However, the theoretical ground is only to help the twenty-first century audience to deeply comprehend how literature and film offer us precious opportunity to experience the sublime (崇古)—aesthetic sensibility (美的感覺), through which we glimpse (一見) the ultimate reality (窮極的 現實). It is time now that intellectual (philosophical, critical, academic) explanation and spiritual experience are brought to work together in the common area, literature (文學) and film (映畫). It is important for literary readers to experience someone’s life story in the way of encountering the non-duality (非二重性) of the ultimate reality.

This paper first claims that the Avatamsaka (Sanskrit) Sutra, or the Flower Ornament Sutra (大方廣佛華嚴經) is the best writing among the innumerable Sutras and other books that describe Truth. The Chinese characters in the Avatamsaka Sutra shows infinity, innumerable Bodhisattvas and the infinite Dharma body (無限法身) of Vairocana (毘盧遮那佛). Yet this dimension of the ultimate reality is not simply that of the nihilistic (虛無主義的) nothingness or void. Emptiness is the perfect emptiness with wondrous movement, and it is the most profound source (根源) of all animate existences and inanimate things. I claim that literary reading and watching films have the innate purpose (目的) of having this meditative mind, of which the most profound spiritual vision is presented as Ocean Samadhi in the Avatamsaka Sutra. In the first place, the innate (內在的) guide us to clearly see the binary structure (二元對立構造) of ego (自我). The ego is unstable between good and evil, right and wrong, decency and destitute. In order to let the audience feel free from the ego, we should take a profoundly different way than thematic approach (主題的接近). This way of understanding literary works and films is not to find the author’s intention and the main message implied in the work. Literature, film, and other arts are special areas that lead audiences outside the local, petty ego that is, into the dimension of the true self or the Transmiddle zone (領域) with special power of sensibility (感覺). As a literary text or film constructs the plot, story, and mood, it deconstructs itself (in terms of postmodernism). Ethical deconstruction would lead the audience beyond the limits of time and space into the spiritual dimension. A serious (深奧) literary text or film Great works (傑作) of literature and film direct our attention to break the shell (外觀) of our ego and encounter (直面) the source of life outside the ordinary habit of the ego. The exterior of the ego is the dimension of the pure consciousness. The unveiling process is the way in which it unlocks our spiritual sight (靈的視視) and presents with us a story of the protagonist’s failure (失敗) to flourish (繁榮) in the society (社會). The primal reality of the ego is that it is split into two, and thus fundamentally unstable. The ocean Samadhi (海印三昧) as portrayed in the Avatamsaka Sutra presents us with the vision that the whole cosmos (宇宙) and uncountable atoms are one. In this spiritual light, all phenomena in the whole universe are dependent co-arising or interdependent arising (同時發生); it is possible because everything is empty and has no stable substance. The Avatamsaka Sutra presents that the Buddha-body comprises, and thus it is truly “Emptiness (眞空) as Fullness (充滿).” Phenomena as the variances of Emptiness go through the processes of birth and death, not the Emptiness itself. It is like “empty space.” In the Hua-yen marvelous cosmos of Emptiness as fullness, one and all are interconnected with one another, and it is beyond our intellectual understanding (知的理解). In this way, Chinese characters (漢字) in the Avatamsaka Sutra (華嚴經, 大方廣佛華嚴經) describe (描寫) the infinite Dharma body (無限法身) of Vairocana (毘盧遮那佛). The ultimate truth is nondual (不二), and thus nonphenomenal (非現象的). The truth (眞理) of every existence (存在) is actually the spiritual dimension of not one, not two (不一, 不二). “Not one, not two” is the characteristic nature of the dimension beyond time and space, for it indicates the most fundamental realm (根本領域) of transcendence, where all phenomena are both separate and one.

This paper discusses how Western thought would be developed far more with the help of Buddhist philosophy, which pursues the ultimate Truth (窮極 的 眞理) in a direct way. The Chinese characters employed in this paper would make meanings of the words clear. Western metaphysics has been a study of the presence of existence that goes with reason and logic in the dualistic mode of thought (二分法的 思考) with binary opposition, and even the contemporary thought to be called “postmodern ethics” is not fully free from that mode of thought. On the other hand, Buddhism (佛敎) in general has been the religion of “Emptiness”(空) for almost 2,600 years, and especially the philosophy of Mahayana Buddhism (大乘佛敎 哲學) has been “true Emptiness with wondrous movements”(眞空妙有) for about 1,500 years. The true Emptiness has been misunderstood by many Western thinkers with the concept of nihilism. But Emptiness as the ultimate reality transcends (超越) both states of presence and absence and produces both. In this paper, the philosophies of Deleuze and Levinas and affect theory are taken as the supreme examples of contemporary Western thoughts that tries to reach the genuine transcendence that lies beyond/behind/beneath, and also within, phenomena more directly than ever. Shakespeare’s Hamlet and Stevendon’s The Strange Case of Dr. Jekyll and Mr. Hyde are discussed as the representative literary works that show Western literature has pursued Emptiness and led readers to it through the moments of the sublime. The sublime seems to be a weak state of Samadhi , the Buddhist way of reaching the perfect Emptiness. Then this paper demonstrates that the Avatamsaka Sutra presents to us the ocean Samadhi penetrates the whole universe or universes where everything happens in terms of cause and effect, sources and consequences. I am convinced that we as Asian scholars should great efforts to present more ideas on the reality of true Emptiness with wondrous move ments(眞空妙有) to Western scholars and people in general.

Both religions and literature/the arts have the same purpose--to liberate our mind from the limited ontological domain of the ego and reach infinity, the dimension of genuine love, and thus to attain true wisdom beyond the binary opposition of will, intention, and concepts that cause conflicts and struggle. The goal of religions and literature is to make us to deeply experience the real Self, which is the ultimate reality or universal Truth. This paper first discusses the Buddhist notion of Emptiness and Levinas, whose theory embraces Judaism and Christianity. Then the Kantian sublime is discussed as the most profound aesthetic impetus on the reader’s mind. The last part presents my reading of Stevenson’s Jekyll and Hyde. By showing the disappearance of the polar opposites, Jecyll and Hyde, the novella leads the reader to the sphere of the sublime where the reader experiences the spiritual feeling that detaches her/him from ontological perception and conceptualization.

본 논문은 서양의 문학과 예술의 비평역사에서 가장 근본적이면서도 중심적 문제로 다루어져 온 숭고미를 동양의 종교인 불교의 철학, 특히 선(챈, 젠)불교와 접목시켜 더욱 발전시키는 데에 그 목적을 둔다. 문학과 예술작품을 감상할 때에 경험하게 되는 향유(enjoyment; jouissance)가 가장 고조되는 순간이 숭고미의 순간이라 함이 맞는 말일 것이다. 이것은 불교에서 보면 독자의 생각을 형성하는 이분법의 양변이 없어지고 중도를 통해 공에 접근하는 경험이다. 유뿐 아니라 무의 개념도 초월하여 개념이 성립하지 못하는 영역을 잠시나마 접하는 경험이다. 이러한 목적과 취지로, 본 논문은 우선 데리다, 라캉, 들뢰즈 등의 이론을 조명함으로써 왜 레비나스의 윤리학이 자아의 바깥인 타자를 가장 근본적으로 접근하고 동양철학과 가장 근접해있는 이론인가를 살펴본다. 그 다음은 불교철학에서의 개념들을 유대교와 기독교에 큰 영향을 받은 철학자인 레비나스의 생각과 접목시켜서 서양의 문학비평이론에 위치시키는 작업이 뒤따른다. 서양의 절대 신과 불교의 공의 개념의 개념을 비교하며, 그 툴이 생각과 언어가 미치지 못하는 가장 깊은 차원에서는 하나의 뜻을 지녔음을 설명한다. 이러한 점에서 본 논문은 생각과 체제의 차원에서는 엄격히 다른 종교들이 결국 추구하는 바는 같고 그것이 문학의 목표이기도 함을 논의하는 것이다. 레비나스의 "순수자아"는 불교의 "진아" 또는 "참나"와 같으며, 그것은 가장 깊은 내면에서 자아가 자기해체를 하며 절대적으로 자신의 외계(단순히 무시 받는 남으로서의 타자가 아닌)인 타자를 직면하는 자아이다. 문학서적을 읽음으로써 독자가 생각의 이분법을 넘어 자신의 외계를 일견하는 것은 이러한 종교적 의미보다는 작은 개념으로서, 텍스트가 마치 선불교의 "공안"과 같은 구조에 의해 형성되었음을 알 수 있다. 즉 텍스트의 총체성을 해체시키는 읽기는 마치 이성의 힘, 생각의 차원 이상을 목표로 하는 선문답과 같은 형태를 갖고 있는 것이다. 독자는 문학텍스트를 읽음으로써 향유와 숭고미를 경험할 때 그 의식이 텍스트와 하나가 되며, 텍스트의 총체성 뿐 아니라 자신의 인생의 의미를 규정하는 자아의 틀까지 해체하게 됨으로, 이것은 곧 (언어와 행동의 틀을 가지고 있는 "도덕"이 아닌) 절대윤리를 대변하는 것이 된다. 화엄경 등에 나오는 공과 무한에 대한 말들이 어떻게 현재의 포스트모던 윤리학과 그것을 이용한 문학비평 형성의 발전에 공헌될 수 있는가가 논의된다. 결국 독자의 문학택스트 읽기의 최종점은 부처의 마음과 지혜에 도달하는 것인데, 큰 규모가 아니라 단지 섬광과 같이 그 무한한 공의 상태를 숭고미를 통해 맛보는 것이다. 마지막에는 필자의 생각인 "숭고주체"가 설명된다.

This experiment was carried out to clarify the effect of light qualities on the growth characteristics and yield of fruiting body in the cultivation of Lyopyllum ulmarium. The intensity of illumination by type of light was in the order of white light(2,270Lux), yellow light(1,750Lux), blue light(460Lux) and red light(400Lux). An investigation of fruiting body showed these results that the pileus size and stipe diameter of fruiting body on CBM (Chungbuk mushroom)-1757 were much larger than Hypsizigus marmoreus, and an effect of yellow light seemed to be better than those of another light. In comparison with Hypsizigus marmoreus, the growth duration of CBM-1757 was shortened by 8 days which included 2 days for fungi culture, 1 day for first pinning requirement and 1 day for growth. The growth duration in yellow light illumination was about 70 days showing the tendency of 2~4 days reduction. There were no differences in results such as number of effective stem and fresh weight. The yield of fruiting body per bottle in CBM-1757(95.6g) was little higher than Hypsizigus marmoreus(94.8g). By a white light’s standard, the yields of blue and red light illumination were decreased by 2~9%, but that of yellow light illumination was increased by 8%. The chromaticity results showed that brightness, red and yellow coloration of CBM-1757 were higher than those of Hypsizigus marmoreus, and yellow light treatment was more effective than another light.

We investigated the spatiotemporal variations of dissolved inorganic nutrients along a saline gradient to estimate nutrient fluxes in the Seomjin River estuary during dry (March 2005, March 2006, March 2007, and March 2008) and rainy seasons (August 2005, July 2006, July 2007, and July 2008). Dissolved inorganic nitrogen concentrations were similar in the endmembers of freshwater for the rainy and dry seasons. In contrast, the concentrations of dissolved inorganic phosphate and silicate in the rainy season were approximately 2-3 times higher than those in the dry season. River discharge was approximately 10 times higher in the rainy season (212 m3 sec-1) than in the dry season (21 m3 sec-1). The fluxes of dissolved inorganic nitrogen, phosphate, and silicate were 2.91, 0.004, and 2.51 tons day-1 in the dry season and 7.45, 0.421, and 30.5 tons day-1 in the rainy season, respectively. Although the range of nutrient concentrations were similar to previous results from investigations in the Seomjin River estuary, the nutrient fluxes were differed according to river discharge for different survey periods.