• 한국실내디자인학회논문집
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• 제20호
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• pp.84-90
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• 1999

This study is on relations between minimalism, which is one of important theme in the contemporary design, and East-oriented speculatiov. Minimalism, one inclination of neo-modernism is characterized by Essentialism. That is connected with East-oriented thinking, especially Taoism. The paradigm of contradiction and paradox replaces the paradigm of rationality and the law of cause and effect. Minimal tendency is appeared at Modernism in 60's and Neo-modernism in 90's. The differences are originated with their manner on simplicity. Minimal tendency in Modernism is characterized by 'less is more' and that in Meo-modernism is by 'more with less'. The minimizing strategy is not considered as means as in modern age but as purpose in neo-modern age. This paper explains minimal architectural space as spatial problem and recognitions on that, not as the figurative problem. Conclusively the relationships between minimalism and eastern ideas are represented through the boundary and extensity of space, void and solid, de-formalization and Essentialism.

• International Journal of Computer Science & Network Security
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• 제22권8호
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• pp.285-291
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• 2022

The current paper discusses the two most widespread and contradictory educational philosophies of classic German Idealism and modern American pragmatism. Their perspectives of what is truth and what is the best way to distinguish the reasoning idealists from the experienced pragmatists. The implementations of Idealism and pragmatism have affected the education process for several ages and reflect various social changes. The role of schools, educators, environment, teachers, and learners are not the same in both philosophies. However, on reviewing the chronological transmission from Plato's Idealism to Dewey's pragmatism, the resemblances and differences are elaborated here with examples. Furthermore, how these philosophies helped founding advocators for perennialism, essentialism, progressivism, and reconstructionism.

• 대순사상논총
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• 제17권
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• pp.151-171
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• 2004

TAKAHASHI Toru (1878-1967) was one of the most significant Koreanologists in Japanese academic field. He was a professor of Kyeongseong Imperial University in the prewar period and Tenri University (department of Korean studies) in the postwar period. He was majored in Korean intellectual history and literature. His achievements, especially on Korean Confucianism and Buddhism, are still referred and influential. He wrote two pamphlets published by department of education of the Government-General of Korea in 1920. This year was a year after of 3.1 Independent Demonstration. This riot might have demanded Japanese governors to survey about Korean mentality and characteristics. One of outcomes was Chousenjin (Korean People). The pamphlet tried to explain the Korean character in the perspective of a essentialism in Korean race. The other was a simple outline about history of Korean religions entitled Chousen shukyoushi ni arawaretaru sinkou no tokushoku (The characteristics of faith in the history of Korean religions). He explained that Korean religions, especially its Buddhism, were easily influenced by political condition. These pamphlets seemed to be typically colonialistic, since such negative characteristics of Korean made Japanese colonial rule legitimated as the Mission of civilization and enlightenment. His discourses synchronized with the desire of Japanese Imperialism. This article attempted to analyze his discourses in the perspective of postcolonial critics and sociology of knowledge.

• 인지과학
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• 제32권2호
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• pp.55-73
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• 2021

심리적 본질주의에 따르면 사람들은 어떤 범주를 규정하는 숨겨진 본질 속성(essential properties)이 있으며 이것이 그 범주가 가지는 전형적 속성들의 인과적 원인이라는 믿음을 가진다(Gelman, 2003; Hirschfeld, 1996; Medin & Ortony, 1989). 이러한 본질주의적인 믿음은 범주가 단순히 상관을 가진 속성의 집합("clusters of correlated features")이라고 제안한 Rosch (1973, 1978)의 주장에 의문을 제기한다. 속성의 통계적 상관, 즉 가족 유사성만을 가진 범주와 달리 본질화된 범주는 범주간 경계가 매우 뚜렷하며 범주내 개체들이 동질적으로 여겨질 가능성이 높기 때문이다(Gelman, 2003; Prentice & Miller, 2007). 본질주의적 믿음이 범주 표상(범주간 경계, 범주내 응집성)에 미치는 영향을 확인하기 위해 두 개의 실험을 실시했다. 참가자들은 조건에 따라 가족 유사성 범주와 본질화된 범주를 학습한 다음 범주화 과제(실험 1)와 범주 예시들의 빈도 추정 과제(실험 2)를 실시했다. 그 결과 본질화된 범주에서 범주간 경계가 더 뚜렷해졌으며 범주내 응집성이 높아졌다. 이 결과는 범주 속성의 단서 타당도와 범주 타당도가 증가하여 발생한 것으로 본질주의적인 믿음이 범주구조의 거시적인 표상에 중요한 영향을 미친다는 것을 보여준다.

• 복식문화연구
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• 제25권5호
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• pp.629-647
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• 2017

As fashion has concentrated increasingly on inner values, it has become more directly connected with human life and society. This study analyzed anti-fashion, a movement that resists mainstream society and culture, which it views as causing inner conflicts such as competition, mammonism, consumerism, and egoism by fixating solely on the pursuit of growth and improvement. The study examined Kinfolk, an independent lifestyle magazine, to determine the essential values and principles that comprise this movement's refusal of mainstream modern society. The analysis of Kinfolk identified the following characteristics of, the Kinfolk lifestyle: essentialism, nature-friendliness, retro sensibilities, socio-ethical awareness, and diversity. Essentialism refers to the pursuit of essence, brevity, innovation based on tradition and slow life. Nature-friendliness involves communion with nature and humanity, animal-friendliness, de-industrialization, de-urbanization, and nomadic behavior. The components of the retro sensibility include nostalgia, and interests in vintage culture, and handcrafts. Diversity encompasses commonplaceness, various subcultures, agelessness, genderlessness, acceptance of other cultures, and new understanding. The analysis identified the tendencies of anti-fashion in Kinfolk magazine as simplicity, naturalism, resistance to novelty, ethics, and inclusiveness. Anti-fashion pursues the essential values of human life that have been lost or forgotten in modern society. It is important to pay constant attention to the values of minority, non-mainstream and indie cultures that represent anti-fashion. It exerts considerable influence and has great potential as an area for the development of various style-based paradigms rather than as a single fashion direction.

• 인지과학
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• 제31권3호
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• pp.77-102
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• 2020

복장이나 언행에서 유사성이 높고, 다른 범주와 구분이 용이한 군인이나 수녀들이 가진 속성은 일반화되기 쉽다는 범주 응집성 효과 연구에는 어느 정도 진전이 있었다. 그러나 이러한 범주 응집성 효과의 근본에 어떤 심리적 기제가 있는지에 대한 직접적인 연구가 드물었기에 본 연구에서 다루어보고자 한다. 이를 위해 본 연구는 응집성이 높은 범주(수녀, 군인, 비행기승무원)와 낮은 범주(통역사, 웨딩플래너, 플로리스트)를 선정한 후, 두 가지 실험을 진행하였다. 실험 1은 응집성이 높은 범주에서 [속성X]가 반복 관찰될 때가 응집성 낮은 범주에서 [속성X]가 반복 관찰될 때보다 해당 범주 구성원이 [속성X]를 선호할 만한 이유가 있을 것으로 추정하는 정도(선호의 이유 추정 정도)가 높아지는 현상을 관찰하였다. 실험 2는 응집성이 높은 범주의 경우, 일상적으로 드물게 나타나는 [속성X](기저율 30%)이 관찰될 때는 선호의 이유 추정 정도가 높아지지만, 일상에서 자주 나타나는 [속성Y](기저율 70%)가 관찰될 때는 선호의 이유 추정 정도가 낮아지는 현상을 관찰하였고, 응집성이 낮은 범주의 경우, 일상에서 드물게 나타나는 속성과 자주 나타나는 속성 모두 선호의 이유 추정 정도가 낮은 경향을 확인하였다. 즉 범주 응집성과 기저율의 이원 상호작용이 선호의 이유 추정 정도에 미치는 효과가 유의하였다. 본 연구가 심리학적 본질주의, 고정관념 형성에 시사점을 가진다는 것에 대해 논의하였다.

• 헤리티지:역사와 과학
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• 제47권3호
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• pp.172-187
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• 2014

이 글은 문화재보호제도에서 전통이 구체적으로 어떻게 정의되고 통용되어 왔는지를 고찰하는 데 그 목적이 있다. 우선 오늘날과는 다른 의미로 쓰이던 '문화재'와 '전통'이 조우하게 되는 역사적 과정과 그 결합 양상을 살피고, 두 용어의 관계맺음이 이후 문화재보호법에 어떻게 반영되는지, 또 그 제도 운영 과정에서 서로에게 어떤 영향을 어떻게 미치는지를 고찰했다. 그러고 나서 문화재보호제도에서 견지해온 전통론이 균열되는 지점과 그 원인을 총괄적으로 짚어보았다. 이 글은 전통을 '과거로부터 현재로 전승된 모든 것'이라고 정의하는 기존의 통념과 달리, 과거와의 필연적인 연속성을 내세우려는 헤게모니적 실천을 통해 비로소 현재화된 것이라고 보는 비(非) 본질주의적 관점을 견지했다. 이 관점에서 보자면, 문화재와 전통의 관계를 살피는 것은 곧 국가 헤게모니 속에서 전통이 공식적으로 어떻게 정의되어 왔는가를 고찰하는 것에 다름 아니다. 문화재야말로 국가 차원에서 운영되는 제도의 산물인 까닭이다. 1920년대부터 이어져온 문화재 관련 제도의 변천 과정 속에서 전통은 고정적이고도 본질적이며 순수한 실체로 개념화되었다. 이러한 본질주의적 전통관은 그간 문화와 문화재를 천착한 수많은 연구들 속에서 비판의 대상이 되었음에도 불구하고, 제도적 관점으로 줄곧 지속되어 왔다. 그러나 오늘 우리는 이 전통관에 균열이 생기기 시작했음을 목도하고 있는 바, 급변하는 세계 경제 질서와 유네스코 무형문화유산을 둘러싼 등재 경쟁은 기존의 제도를 지탱해온 지적 담론으로서 전통론의 전격 선회를 견인하고 있다.

• 패션비즈니스
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• 제8권4호
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• pp.33-44
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• 2004

In this study, based on the postmodern feminism were investigated in the non-fashion areas of painting, advertising and fashion areas. And, fashion illustrations were analyzed visually in the aspect of the essentialism and deconstructivism that constitute the postmodern feminism. In addition, it was examined how women images were expressed in fashion illustrations that reflected the postmodern feministic ideas. The research results first, in fashion illustrations were the essen tialistic women images were grouped in the opening of women bodies and actively emphasize. the opening of women bodies were expressed bodies the fetishistic, ecstatic images, actively emphasize features were expressed the sexual, and realistic images. Secondly, and fashion illustrations the deconstructivistic women images were grouped androgynous features, genderous features, the distorted feminine gender features, complex features. androgynous features were expressed the powerful, grotesque, humorous, androgynous image, that genderous features of immature, boyish image, that the distorted feminine gender features of simple, ethnic, techno-cyber image, that complex features of complex images.

• 건축역사연구
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• 제24권6호
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• pp.35-44
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• 2015

The purpose of this study is to critically investigate the ways in which scholars and architects in Korea have theorised the tradition in Korean architecture from the early 20th century to the present. After opening the door to foreign powers, the most important issue to be resolved in Korea architecture has been the modernization of the traditional architecture. The successful modernization of Korean traditional architecture depends on successful theorization of the tradition. However, many attempts to theorise the uniqueness of tradition in Korean architecture had not been instrumental to the modernization of Korean traditional architecture. The reason why they were not successful lies in the lack of philosophical and methodological reflection upon how to approach the tradition. They were either trapped in ambiguous essentialism without systematic methods and theories, or simply inventing the tradition from the vantage point of the present. This paper argues that in order to theorise the tradition, one need to translate the tradition into contemporary architectural vocabularies. What is important in translating the tradition is not to directly apply contemporary concepts and perceptual frame of architecture to traditional architecture but to find the gaps and differences between the two. This will open hermeneutic spaces to translate the tradition into useful principles and vocabularies of comtemporary architecture.

• 미술이론과 현장
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• 제10호
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• pp.85-103
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• 2010

Mona Hatoum and community make unlikely bedfellows. From her beginnings as a teenage exile to her maturity as an internationally celebrated artistic nomad, Hatoum defies classification within any single geographical or cultural community. Attempting, however, to locate specific points of contact between her and certain communities in terms of artist-in-residence projects in which she participated might be a particularly fruitful way of circumventing her notorious critical resistance to identity and her refusal of homogeneity. This paper starts with Miwon Kwon's critique of contemporary practices in community-based art, which locate an essentialising force that isolates a single point of commonality and overlooks authentic differences. It then turns to Jean-Luc Nancy's reconceptualization of community as 'unworked' and 'being-in-common' to provide analytical tools for avoiding the dangers of essentialism. By examining the three residencies that Hatoum accepted in the mid-1990s in the light of Nancy's observations and theories, and by bringing the idea of artistic nomadism and that of community into juxtaposition, we hope to show that Hatoum succeeds in finding an equilibrium between art and community, and that this sheds new light on the issues raised in recent discussions on such relationship.