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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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Since modern reason emerged the controling idea of the trend of modernization in the middle of 18th century, it's been interpreted in various way in terms of substantial function and real connotation. Under the given circumstances, it facilitated to take modern society up to higher level and modern citizens were easily fascinated. In the meantime some literary avant-garde attempted to analyze and disoriented the essential meaning of modern reason. Consequently, a sense of plurality of real meaning of it became the main argue point and created lots of different interpretation.
Dostoevsky also focused on what kind of effects modern reason could come up with from the aesthetic standpoint. In terms of human emancipation from dogmatic structure of religious hierarchy Dostoevsky evaluated highly the positive role of modern reason, at the same time, however, he insinuated the negative side of it through metaphysical hypothesis of protagonists of his narratives. Therefore in the eyes of many critics, Dostoevsky's work has disintegrated into a collection of independent philosophical structures defended by his heroes.
Of modern reason Dostoevsky had got an unique interpretation. But he didn't have any intention to reveal it, so Dostoevsky juxtaposed the concept of modern reason and the inner voice of the protagonist who believed that his mission is devoted to build up the most crystallized theory. In doing so, Dostoevsky's creative imagination was concentrated on ultimate culmination of modern reason.
In his treatment of hypothetical concept of 'suffocative unity of reason' and 'superman theory' Dostoevsky reveals his aesthetic interpretation of modern reason. The reason might be the fundamental structure for tragic experience of the protagonist, because his painful struggle to grasp his freedom only with logical methodology repeatedly failed him and finally freedom denied him. At this stage he assume that modern reason can easily be the subject and symbol of evil with inevitable failure of communication with others.
Dostoevsky forces his heroes to experience physical reality more painfully than in everyday life, sometimes allowing them to quench their ontological thirst in circular time of eternity, in a harmonious and unreal reconciliation with universal being. Through this process the world of Dostoevsky's novels is obsessed with fantastic reality of evil concept. So as a conclusion we can assume a hypothetic theme that the novels of Dostoevsky are massive architectural and orchestral works of interrelationship of symbol of evil and real meaning of modern reason.
Dostoevsky also focused on what kind of effects modern reason could come up with from the aesthetic standpoint. In terms of human emancipation from dogmatic structure of religious hierarchy Dostoevsky evaluated highly the positive role of modern reason, at the same time, however, he insinuated the negative side of it through metaphysical hypothesis of protagonists of his narratives. Therefore in the eyes of many critics, Dostoevsky's work has disintegrated into a collection of independent philosophical structures defended by his heroes.
Of modern reason Dostoevsky had got an unique interpretation. But he didn't have any intention to reveal it, so Dostoevsky juxtaposed the concept of modern reason and the inner voice of the protagonist who believed that his mission is devoted to build up the most crystallized theory. In doing so, Dostoevsky's creative imagination was concentrated on ultimate culmination of modern reason.
In his treatment of hypothetical concept of 'suffocative unity of reason' and 'superman theory' Dostoevsky reveals his aesthetic interpretation of modern reason. The reason might be the fundamental structure for tragic experience of the protagonist, because his painful struggle to grasp his freedom only with logical methodology repeatedly failed him and finally freedom denied him. At this stage he assume that modern reason can easily be the subject and symbol of evil with inevitable failure of communication with others.
Dostoevsky forces his heroes to experience physical reality more painfully than in everyday life, sometimes allowing them to quench their ontological thirst in circular time of eternity, in a harmonious and unreal reconciliation with universal being. Through this process the world of Dostoevsky's novels is obsessed with fantastic reality of evil concept. So as a conclusion we can assume a hypothetic theme that the novels of Dostoevsky are massive architectural and orchestral works of interrelationship of symbol of evil and real meaning of modern reason.
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