• Korean Journal of Logic
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• v.5 no.2
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• pp.23-38
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• 2002

시간에 따른 개체의 변화를 설명하기 위해서는 한 개체가 다른 시간에 서로 다른 속성을 소유할지라도 동일한 하나의 개체로 취급되어야 한다. 그러나 이러한 사실은 개체의 개별화를 위한 라이프니츠의 법칙에 적용될 경우 모순을 야기한다. 개체의 변화와 관련된 이러한 문제를 해결하려 시도한 가장 대표적인 이론은 루이스의 이론이라 할 수 있다. 루이스는 개체의 변화와 관련된 문제를 해결하려한 시도는 e-존속이론과 p-존속이론으로 구분되는데 자신의 이론인 p-존속이론만이 개체의 변화와 관련된 문제를 성공적으로 해결할 수 있는 대안이라 주장하고 있다. 그러나 필자의 생각으로는 그의 이론도 시공 속에서의 개체들의 변화에 대한 실질적인 설명을 포기한 것으로 보이고 시간적 부분이란 설명되지 않은 형이상학적 개념을 도입하고 있다는 결정적 약점을 안고 있다.

• Journal of Korean Philosophical Society
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• v.123
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• pp.27-56
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• 2012

Das Ziel dieser Abhandlung ist die Unterscheidung zwischen der kognitiven und ontischen Ununterscheidbarkeit. Jene zeigt sich als die Ununterscheidbarkeit, die aus dem Fehler des Identifizierens erfolgt. Diese besteht in der $Selbstidentit{\ddot{a}}t$ jedes individuellen Seienden. Um der Untersuchung der zwei Arten der Ununterscheidbarkeit willen soll die $Identit{\ddot{a}}t$ als Begrifflichkeit von dem Identifizieren als der subjektiven $T{\ddot{a}}tigkeit$ unterschieden werden. $W{\ddot{a}}hrend$ das kognitiv Ununterscheidbare nicht immer das Identische sein kann, ist das ontisch Ununterscheidbare notwendig das Identische. Durch diese Unterscheidung zwischen den beiden Konzeptionen der Ununterscheidbarkeit kann der Sinn des Leibniz'schen Satzes der $Identit{\ddot{a}}t$ des Ununterscheidbaren (principium identitatisindiscernibilium) deutlicher erhellt werden, indem diese Unterscheidung die kritische $Verst{\ddot{a}}rkung$ seines Satzes impliziert. Die Denkbarkeit der Duplikate, die intrinsisch $v{\ddot{o}}llig$ identisch qualifiziert sind, gilt als der bedeutsamste Einwand gegen seinen Satz der $Identit{\ddot{a}}t$. Aber der $Identit{\ddot{a}}tssatz$ - principium identitatis indiscernibilium - ist noch $g{\ddot{u}}ltig$, weil diese Duplikate letztendlich mittels der raumzeitlichen Relationsbeschaffenheit unterscheidbar sind. Hierdurch wird die grundlegende bzw. unentbehrliche Funktion der $Subjektivit{\ddot{a}}t$, die die raumzeitliche Relationsbeschaffenheit $erm{\ddot{o}}glicht$, $erl{\ddot{a}}utert$. $Daf{\ddot{u}}r$ wird Hegels $Erkl{\ddot{a}}rung$ vom $Identit{\ddot{a}}tsbegriff$ und Leibniz bearbeitet.

• Korean Journal of Logic
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• v.2
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• pp.7-33
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• 1998

최근 에체멘디는 초과생성과 미달생성의 문제를 들어 타르스키의 모델이론적 논리적 귀결의 정의의 외연적 적합성을 공격하였다. 그러한 공격의 기저에는 우연성 문제가 도사리고 있다고 보이고, 실질적으로 타르스키류의 정의를 적용함에 있이 무만 공리를 통해 논리외적 요소기 개입할 위험이 있다는 것이 그의 근본적 가정이라 생각된다. 이 글에서는 무한 공리가 논리적 진리일 기능성을 조심스레 타진이고, 논리상항과 비논리상항을 기리는 문제가 에체멘디가 생각하듯 신화가 아니라 논리적인 것과 논리외적인 것을 구별하는 문제와 동일한, 진정한 철학적 문제임을 보이는 데 노력한다.

• Transactions of the Korean Society for Noise and Vibration Engineering
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• v.21 no.4
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• pp.315-324
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• 2011

This paper presents a historical study on the derivation of the differential equation of motion for the single-degree-of-freedom m-k system with the harmonic excitation. It was Euler for the first time in the history of vibration theory who tackled the equation of motion for that system analytically, then gave the solution of the free vibration and described the resonance phenomena of the forced vibration in his famous paper E126 of 1739. As a result of the chronological progress in mechanics like pendulum condition from Galileo to Euler, the author asserts two conjectures that Euler could apply to obtain the equation of motion at that time.

• Korean Journal of Logic
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• v.18 no.2
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• pp.217-241
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• 2015

Brandom upholds the anaphoric theory of reference. On this theory, reference is a relation of anaphoric dependence between linguistic items rather than a substantial relation between linguistic items and non-linguistic objects. In addition, 'refers' is a pronoun-forming operator, which is used to form anaphorically indirect descriptions such as 'the one referred to as "Leibniz"'. Recently, Arbid $B{\aa}ve$ raises three objections against this theory. First, the anaphoric theory distinguishes between ordinary descriptions and anaphorically indirect descriptions in terms of iterability. But this condition is not an adequate ground for asserting that anaphorically indirect descriptions form a distinctive semantic category. Second, sentences containing a pronoun such as 'he' and sentences containing an anaphorically indirect description such as 'the one referred to as "Leibniz"' have different modal statuses. Consequently, indirect descriptions are semantically different from paradigmatic anaphors. Third, on the anaphoric theory, expressions of the form 'a' and the corresponding indirect descriptions of the form 'the one referred to as "a"' are intersubstitutable. But we can make an equivalent claim by using the more general semantic concepts such as equivalence and intersubstitutability, instead of using notions such as 'anaphor' and 'antecedent'. So the anaphoric theory is explanatorily idle. In this paper I argue that these objections do not pose a serious problem for the anaphoric theory of reference. I argue thereby that the anaphoric theory of reference is a promising theory which provides us with the right understanding of the expression 'refers'.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.59-67
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• 2012

Eugenio D'Ors, the writer of 'Lo Barroco' called Baroque in the 17th century as the ultimate nostalgia of humanity we can see anywhere, and when our exclusive mental state, classic consciousness, is weakened, countless things within self get to be expressed without limitation. He defines this as Baroque ego. In other words, the abyss of a being is expressed within self, and it gets to come into the abyss of art and be settled in it. Thereupon, this study focuses on the characteristics of such effects of abyss expressed in Baroque art to amplify the depth of space in art and architecture and also its productive effects and considers in what types the abyss gets to be expressed in art and architecture. As a result, it shows nonlinear characteristics whose outline of the model and structural body is invisible, depth resulted from overlapping, unity from formal repetition, and temporal continuity from movement. In other words, formative elements which extend the unit area of space conceptually can be summed up by nonlinearity, overlapping, unity, and movement. Also, in art and architecture, this accelerates men's emotional functions and at the same time, has productive effects to extend space visually. Baroque abyss can be seen as a proper solution to overcome problems which modern architecture implies ultimately, that is, the limitations of area definition.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.130-146
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• 2007

Thought of postmodernism accepted between variety and differentiation is characterized by variability and indeterminacy aimed at continuous change. For that reason, modern fashion has been grouping a lot of manners for creation of the various different form and structure. This paper studies the characteristics of the folding system, which expands efficiency of the spatial utility and shows various forms. Folding system expressed in modern fashion could be divided the pleats, which were made of the folding, and the dreaperies, which were made of bending. This selects the pleats as a enlarged concept of the folding system that contains between the former and the letter. Pleats did not mean two dimensional folding surfaces, but three dimensional spatial structures. For understanding of the folding system as a three dimensional spatial structure, this is utilized with the thought of the 'le pli' of G.W.Leifniz and G.Deleuze. The pleats expressed in modern fashion can subdivided into 4 sets; crinkle system, origami system, fractal pleats by folding system, and drapery system. And Formative characteristics of the pleats are analyzed with enlargement, fluidity, deconstruction, irregularity.

• Communications of Mathematical Education
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• v.26 no.4
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• pp.351-362
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• 2012

Until the 1950s, linear algebra was considered only as one of abstract and advanced mathematics subject among in graduate mathematics courses, mainly dealing with module in algebra. Since the 1960s, it has been a main subject in undergraduate mathematics education because matrices has been used all over. In Korea, it was considered as a course only for mathematics major students until 1980s. However, now it is a subject for all undergraduate students including natural science, engineering, social science since 1990s. In this paper, we investigate the early history of linear algebra and its development from a historical perspective and mathematicians who made contributions. Secondly, we explain why linear algebra became so popular in college mathematics education in the late 20th century. Contributions of Chinese and H. Grassmann will be extensively examined with many newly discovered facts.

• Communications of Mathematical Education
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• v.31 no.2
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• pp.139-152
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• 2017

In this paper, we examine how secondary school mathematics textbooks on calculus introduce the history of calculus. In order to identify the problem, we consider the Babylonian integration by trapezoidal rule, which was made to calculate the location of Jupiter in 350-50 B.C., and the integration by the method of the rotating plate of ibn al-Haytham in Egypt, about 1000 years. In conclusion, our secondary school mathematics textbooks describe Newton and Leibniz as inventing calculus and place their roots in ancient Greece. The origin of the calculus is in Babylonia and the Faṭimah Dynasty (909-1171) (Egypt) and it is desirable that the calculus is developed in Europe after the development of the power series in India, and that the value of Asia Africa is introduced in the textbooks.

• Journal of Korean Philosophical Society
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• v.117
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• pp.249-273
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• 2011

In this paper, I suggest a discourse on some delicate relations between the philosophy and the cinema, or between the visualizing philosophical reflection and the contemplating cinematic imagination. In this context, G. Deleuze is not a simple philosopher and Director Hong, not a director. Each is a kind of metonymy. Deleuzean style of philosophizing asks for Hong's nomadic style of producing cinema. and of course in the same manner, the latter asks for the former. The latter visualizes the speculative empiricism of the former, the former crystalizes the visual esthetics of the latter. To speak with Deleuzean vocabularies, it is not possible for the State Apparatus to capture the diverse works of director Hong. Because each of them is a kind of War Machine which always slips from every tackle of State Apparatus. Deleuzean key word 'genetic becomming' is a main concept of Hong's works. The point is not to dispose the theses 'becomming' of his works in the line of series but to release them in the line of rupture. My paper would show the sharp ridicules director Hong had poured on the conservative circle of the cinema in the context of Deleuzean nomadology.