• Korean Institute of Interior Design Journal
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• v.19 no.2
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• pp.99-106
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• 2010

This study is about Foucault's conceptual and methodological relevance for structural analysis of Korean traditional space design history. By Foucault's Theory, regionalism is product of the instrumentality of space, power, knowledge and provide the basis for making the operation of power both spatial and temporal. The purpose of this study is to establish topographical map of historical progress and to shed new light on the forming of identity in Korean traditional space design on the poststructural-archaeological aspect. The process of this study is illustrated as follows: At first, it suggests Foucault's 'Theory of archaeology'. It mentions 'historical apriori' and archive, collateral space and general grammar as theoretical background of archaeological logic. Secondly, it clarifies 'statements' depending on the conditions that is 'episteme' in which they emerge and exist within a field of discourse. And it discuss Korean traditional space design concept as a social product on the situated character of interaction in time-space. Finally, it studies genetic variation process of Korean traditional space design based on the social progress in Korean society. And it analyses practical actions of 'Statements' in terms of general grammar and textuality.

• Journal of architectural history
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• v.8 no.3 s.20
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• pp.91-111
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• 1999

This study tries to compare the architectural thought of Michel Foucault with that of Manfredo Tafuri in order to make clear the architectural identity as a social institution. In Michel Foucault's case, the archeology of discourse and the geneology of power were central method to understand the history of occidental society since the Renaissance. Four him, architecture is assumed as a mechanism of operation which make the power effectively radiate in th space. He thinks that a new discursive space was arranged since the 18th century in Europe, the architecture played a role to coordinate divers powers. Mafredo Tafuri, architetural historian, depends on the criticism of ideology in search of the relation between the economic system of capitalism and modern architecture and urbanism. He thinks that all architecture is an institution. And any attempt to overthrow the institution, is bound to see itself turned into a positive contribution and into an ideology, So all architectural attempts to conceal the contradiction of capitalism are negated. This different perspective on architecture exposes many points of dispute: historical periodization, disciplinary limit of architecture, understanding of Enlightenment architecture, utopia and heterotopia, etc.

• The Journal of the Korea Contents Association
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• v.9 no.6
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• pp.145-152
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• 2009

We are surrounded by so many images these days. These images have their own meanings and have an effect on our subject, whether consciously or unconsciously. Michel Foucault disclosed that upon closer examination the rationalism deeply rooted in Western society was not made autonomously but involuntarily by heteronomous power. Because the emotion of image within this relationship can be effectively conveyed just through its being seen, the image has been used for controlling and mustering people through the adjustment of its meaning by power. With the advance of technology and media of today, the image in this visual power is out of the object for reproduction, and then forms a new paradigm of manipulation, transformation and reproduction and is being changed to the formation of Panopticon power and its corresponding relationship.

• Journal of architectural history
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• v.7 no.3 s.16
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• pp.87-105
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• 1998

Surveying the literature of architecture since the nineteenth century, one can identify two dominant but problematic attitudes, among several, that pursue the task of defining what modern architecture is and should be. The first is the search for meaning and the second is the pursuit of form. This study, following Michel Foucault, asserts that the dual formation of meaning and form is a historical product of modernity and belies architecture's uncritical dependence on language since the nineteenth century. This study is a critique and historical analysis of this pernicious reliance, and constitutes a first step towards thinking of alternative relations between 'words and architecture' in the modern world. In reconstructing this problematic, the paper has called on Foucault's seminal The Order of Things. The study follows his construction of the Renaissance, the Classical and the Modern episteme, and in brief fashion, reconstructs the relation between language and architecture in each episteme. In analysing the Modern, the study focuses on Hegel's Lectures on Aesthetics. Hegel placed architecture in a genre hierarchy within which architecture, because of its material basis, was fundamentally limited in its ability to express the Spirit. For Hegel it was, among the arts, poetic language, and beyond art, the language of philosophy, through which the Absolute Spirit could be atttained. Much of post-nineteenth century architecture has remained within the shadow of Hegel, where architecture's materiality is perceived to be a burden, and in order to secure its relevance in modern society, architecture was deemed to pursue the role of language. As the most recent and sophisticated example of architecture's pursuit of form, the paper analyses the work of Peter Eisenman. Though Eisenman's theoretical writings are replete with post-Hegelian rhetoric, his architecture remains dependent upon the model of language, albeit a structuralist one. The paper concludes that ultimately, the pursuit of meaning and form is unable to face the crucial issue of value in modernity. While the former decides to easily what it is, the latter evades the issue itself. The second installment of this ongoing study will pursue a third possibility alluded to by Foucault, where language remains silent, pointing only to its 'ponderous' material existence.

• Journal of Science and Technology Studies
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• v.13 no.1
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• pp.1-39
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• 2013

How would technoscientists collaborate in their technoscientific practices? Based on the ethnographic research done at NRI(Neuroscience Research Institute), this research shows how collaboration occurs in/outside the interdisciplinary laboratory. As previous studies show, collaboration makes researches possible that otherwise would have been impossible. Korean technoscientists who are situated in the scientific periphery, practice contextualized collaboration in their labs. These collaborations are invisible before opening the black box of the lab. But it acquires visibility after certain incidents such as collaborations, debates and discussions, malfunctioning of the instruments, and networking with other actors occur. These networks again become invisible after the certain incidents end. However these blackboxing and whiteboxing (opening the blackbox) processes occur simultaneously in various levels, it is almost impossible to identify them separately. In real technoscientific practices, blackboxing and whiteboxing do not occur distinctively. They almost always occur at the same time on multi-layered levels, hence forming the 'grey box' of technoscientific practices. Lastly, collaborations inside laboratory have in/visible features, because laboratories function as Foucauldian heterotopias.

• Korean Journal of Social Welfare
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• v.67 no.4
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• pp.79-101
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• 2015

What is the role of welfare discourse? Michel Foucault suggests the power and knowledge relation that power in a particular society and period controls the society and members by creating knowledge affecting the formation of cognitive and normative systems. Having the formation of exclusions(constraint of cognition), and materiality and reality(normative system) as an analytical framework, this article attempts the exploration of welfare discourse analyses with public statements relating to welfare subjects of the four former Korean presidents. As a result, It is found that dominant epistemic system is formed by balancing welfare and growth and regarding jobs as the best welfare(the linkage of welfare-growth-employment), emphasizing individual economic responsibility and self-reliance, pursuing welfare selectivism, and excluding comprehensive welfare provisions. At the same time, it is observed that power is not always formulating systematic knowledge and that there is a gap between cognition and norm. While the Foucauldian discourse analysis provides a causal inference about low social welfare expenditure, excessive focus on the role of power as knowledge generator and infuser causes a question of how to accommodate contemporary changes into knowledge system.

• Cartoon and Animation Studies
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• s.43
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• pp.255-284
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• 2016

This article aims at a discourse analysis on the selected 1970s Myungrang Manwhas, in the cases of Ggubungi, Doggaebi Gamtu, Yochul Balmyungwang. For the analysis, the history, pre-censorship, and distribution structure of Myungrang Manwha are referenced, as well as the considerable changes and developments on the definition of 'myungrang' since the 1920s. In employing Foucauldian discourse analysis to the texts, the selected Myungrang Manwhas are analyzed as discursive formation, which emerged within the social relations of the era; the characters' dialogues are analyzed as statement. The analysis examines the discourses that the texts disseminated, and the social context of the utterance. It is demonstrated that the Myungrang Manwhas are forms of representation, which implies 'the contested acquisition on capital and power', 'the emphasis on nationalist aspects', and 'the interpellation and discipline of subject active' of the time. Moreover, it is revealed that the forms of control, such as pre-censorship, were the articulation of the will to power, which drove the discoursive formation to function as an apparatus that meticulously constituted the ruling ideology. In conclusion, the Myungrang Manwhas are rather texts that encompasses political and social context of the era than a mere comic relief.

• Journal of Fashion Business
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• v.22 no.2
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• pp.61-73
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• 2018

Power is the driving force of society, and the generation of power is inevitable. as long as society is rganized hierarchically. According to Michael Foucault's discourse modern power operates as a mechanism of 'panopticon', a system that monitors the 'body' of man through discipline. Moreover. fashion as acts as a symbol of beauty that continues to co-exist with power for the purpose of exposing status and authority, and for displaying the trends within a culture. So, it is necessary to study fashion design according to the changing power structure that exists in society. The aim of this study is to suggest types of creative fashion design process by visualizing the Foucault's power discourse through the image associative action. The four types of creative fashion design that have been drawn by visualizing Foucault's power discourse are as follow: disciplinary power, imprisonment power and knowledge power. The first type of fashion design method is to emphasize the shoulder by using shoulder pads, strings, tabs, and incisions in the clothing. The second method is to expose the body by using see-through material and manipulating its composition to expose the body. Third method is to borrowing elements of underwear. Fourth method is to utilize patterns that represent power, such as weapons, bones, blood, muscles, skulls, and various human imagesin the clothing. Through this study we expect to utilize creative fashion design to visualize concepts of the humanities, such as philosophical discourse.

• Journal of the Korean association of regional geographers
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• v.16 no.1
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• pp.76-84
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• 2010

This study is to critically examine a variety of perspectives of seeing the interactions among space, people, and society. According to Tuan, place is a center of meaning constructed by people's experience, and its attributes consist of natural and built-up environments. Entrikin suggests a way of seeing place from a contrary perspective, that is, the subjective and existential sense of place and the objective and naturalistic conception of place. Lefebvre examines the historical transformation of social space through the dialectics among the perceived space, the conceived space, and the lived space. Social space is (re)produced and changed through the conflictual unit of the spatial triad. The project of Foucault's spatial metaphor is to tightly combine three critical concepts, power, knowledge, and space. Those concepts are not objectively existed regardless of specific times and spaces, but they are socially and culturally constructed through the networks of people under particular environments. In the following papers, it is needed to comparatively examine the various perspectives mentioned above to make a new conceptual framework of understanding the interactions among space, people, and society.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.395-402
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• 2018

This study aims to analyze the film "Never Let Me" by human value which is to be realized in the social structure suppressed by the power of life and the power of discipline in Foucault 's power theory. After 18century having changed monarch power holding the power of life-and-death that enforced corporal punishment, bio-power that corrected body and granted ability suitable discipline to people makes people worked like machine. In control of the bio-power, human achieved safe desire that cure disease and prolong life-span and worked as producer goods. School controls body and make people internalized rule using discipline for working bio-power efficiently. There is differentiation between this movie and the other about human clone. The clones adapt role as organ donator without resistance and there is no conflict between original and copy. Instead of preexistence novel and movie that is set in future, it is a form of past retrospect from the 1970s to 1990s. having emotions, They find independence ego and realize value of life in finite living by depending relation or undergoing loss.