본 연구는 코로나19 이후 우리 사회에 광범위하게 퍼진 백신 반대 움 직임의 논리를 비판적으로 고찰한다. 백신 반대자들은 두 가지 잘못된 논리적 오류에 빠져 있다. 첫째, 그들은 공중 보건의 문제를 개인의 선택 문제로 돌리는 원자론적 환원주의의 오류를 갖는다. 사회적 존재로서 우 리는 질병, 특히 전염병에 대해 공공의 관점에서 접근해야 하지만 백신 반대자들은 개인적 자유의 문제로만 생각한다. 둘째, 백신에 부작용이 전 혀 없는 것은 아니지만 대체로 안전하다는 사실을 합리적 근거 없이 배 척하는 인식론적 오류를 갖는다. 백신에 대한 그들의 공포는 과학적 합 리성을 결여한다. 백신 반대자들은 질병에 대한 개인적 경험을 절대시하 면서 질병 치료의 인과적 힘을 찾는 대신 자신들의 생각을 강화할 근거 만을 찾아 나열한다. 그러한 태도는 음모론과 연결되기 쉽다. 본 연구에 서는 비판적 실재론의 관점에서 백신 반대 운동을 검토하고, 백신에 대 한 올바른 접근을 위해서는 실재론이 필요함을 설명한다.

This paper is focused on Damheonseo(湛軒書), an anthology written by Hong Daeyong, and I deal with Chinese Architectural views which he had experienced in his itinerary to Beijing, and the vivid pictures of Joseonkwan (called the Koryo or Joseon Embassy) located in Beijing at that time. He was a scholar of great erudition over astronomy, mathematics, military science, politics, and so on. He was interested in practical sciences at early time, and criticized secular scholars full of vanity who had presented purposeless articles. In his age of 35, Qianlong(乾隆) 30 (1764, Youngjo 41), he, a military escort, accompanied by Hong Uk, Joseon envoy and his uncle. Before his itinerary, he self-studied Chinese. Also, during a long journey he got new experiences and information around each area, deviating his group whenever he had some times. He could get more variant experiences than others because of his character full of curiosity, and his observations from the vivid lives of the time helped us get various views between Chinese and Korean architecture. Likewise, although he denounced Qing(淸) scathingly as a barbarian, he mentioned several points about the characteristics of Chinese architecture at that time. First of all, totally Chinese architecture had strong rational and practical points. Secondly, based on bountiful products, buildings along streets shown in Chinese city had sophisticated compositions, and luxurious and magnificent appearances. Thirdly, using the brick from walls to houses was so universal. Fourthly, the layouts of building with three- or four-closed courtyard had very orderly shapes, and the structure of street was also so arranged. Finally, because of stand-up lives, the scales and appearances of interior space were even more extended, and storages were less developed than those of Joseon. As another points, I found that Joseonkwan was moved next to Shushangguan(庶常館)from Huidongnanguan(會同南館) around Hanlimyuan(翰林院), and had been remodeled into a house with Korean custom in using the inner spaces, although it was followed by a closed courtyard style. Likewise, I recognized that Ondols were sure to be established in all temporary houses during the journey to Qing, and felt their strong traditional residential custom in such mentions. Now that the past pictures have disappeared and ways of life and our values have been largely changed, this study has very important meaning in comparing the ancient Chinese and Korean architecture.

Realistic films have now become an indispensable and important part of the global film genre. Based on the background of humanities and social sciences in China and South Korea, this paper analyzes how the creators of “Parasite” and “Sheep Without A Shepherd” pass through the film plots. The profound reflection of family relations and social contradictions, as well as the role relations and drama contradictions in the family, come to achieve a strong criticism of realism. Through the analysis of the plot setting and lens usage of the two national realism films “Parasite” and “Sheep Without A Shepherd” in China and South Korea, scientific references and suggestions are put forward for the development and re-creation of realism films in China and South Korea.