• 문화기술의 융합
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• 제6권2호
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• pp.299-304
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• 2020

본고는 영국의 미술, 건축, 사회개혁, 자연 환경의 보존 등 사회의 다양한 분야에 깊은 영향력을 남긴 존 러스킨(1819-1900)의 자연 연구의 내용과 그 역사적 의의를 찾고자 한다. 러스킨의 자연 연구는 어느 특정한 학제에 갇히지 않으며 인간, 문화, 사회의 광범위한 맥락을 포착해 내려 한 그의 시도가 지니는 함의를 총체적으로 이해할 수 있게 해주는 열쇠가 될 것이기 때문이다. 러스킨에게 '자연'은 어떤 구성적 규칙들을 생산하며 인간과 비인간 존재의 모든 측면들을 지배하는 '체계'로서 규정된다. 그 체계는 내부에서의 상호작용과 프로세스를 통해 조화의 상태를 이루고자 하는 생태적 속성을 지닌다. 이러한 자연의 유기적 특질은 러스킨의 연구에서 하나의 '은유'로서 작동한다. 그러므로 러스킨의 자연 연구는 그의 광대한 정신세계를 이루는 여러 요소들을 서로 연결하여 통일성을 형성하는 데 필요한 개념적 기초를 이루었다고 말할 수 있다.

• 문화기술의 융합
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• 제7권2호
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• pp.303-308
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• 2021

본고는 존 러스킨의 미학이론에서 '본다는 것'이 어떤 의미인지를 논한다. 러스킨에게 '본다는 것'은 도덕적 통찰력을 규정하는 핵심적 열쇠이다. 그렇기에 러스킨의 도덕적 사유에서 '보기'의 배움과 자연에서의 '보기'의 기쁨이 서로 어떻게 관계를 맺는지 살펴보기 위하여, 『현대 화가들』을 비롯하여 「할키온 이야기」, 「빛의 과학에 관하여」, 『프로세르피나』, 『프레테리타』 등 러스킨의 주요 강연과 텍스트들을 분석한다. 본론의 제1절에서는 러스킨의 도덕적 생태학의 구성요소인 기쁨, 사상, 보기의 상호 관련성을 규명하고, 이어서 제2절에서는 인간 존재의 도덕적 지각으로서의 보기 개념이 형성되는 이론적 논리를 추적한다. 그리고 제3절에서는 자연과 신의 신비를 향한 배움으로서의 보기 개념을 이루는 보기의 방식과 기쁨의 미적 체험 사이의 조응을 논증한다. 이러한 이론적 검토 과정에 따라, 마지막으로 본고는 존 러스킨의 '본다는 것'은 인간-자연-신의 위계적 구성의 우주에서 발생하는 도덕적 지각의 발전과 상응하는 생태적 감수성의 형성 요소임을 주장한다.

• 건축역사연구
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• 제1권2호
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• pp.116-136
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• 1992

Architectural essence of John Ruskin's discourse can resolve itself into natural beauty, craftmanship, and truth in structure, surface, and process. His theories became disciplines of modern English school, Art and Craft and Free architecture, in aspects of organic architecture, morality, and rationality. These concepts disseminated continental Art Nouveau and also became it's basic principles. But his empirical theories hated use of machine, and should find a ideal model in medieval romanticism of Gothic. Anti-machine, as a instictive guideline of English modern architecture, couldn't cope with the industrialization of 20th century, and Gothic revival interfered with creating a new style. Muthesius' discourses were taught by the power of group movements and modern concept of form in English school, originally by Ruskin. But he accepted the potentiality of machine and mass production, and stressed creating the new German style suitable with machine. With the progress of Deutscher Werkbund, his theories were advanced to 'quality' connected with craftmanship, to discourse on mechanical 'form', and lastly to 'standardization and type' for mass production. Mechanical functionalism of Muthesius and DWB were sophiscated and handed down to Bauhaus, and then finally helped establishment of the Modern Architecture and Internationalism. Both English and German modern architecture owed their contribution as well as limitation to Ruskin and Muthesius as theorists. Through this comparative study, we can see the priority of theory to practice, the theoretical justification based on insight for its society and future, and the practical character of theory itself.

• 영어영문학
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• 제55권6호
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• pp.937-959
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• 2009

The Queen of the Air, John Ruskin-s highly elliptical publication of 1869, elaborates a complex mythology as a way of responding to the prevalence of scientific thinking, widespread environmental degradation, the pernicious effects of political economy, and mechanistic labor. Benjamin-s desire to rescue human experience from prevailing scientific conceptions is reminiscent of Ruskin-s fear that the peculiar power that shapes the unities of the natural world is simultaneously being "beaten down by the philosophers into a metal or evolved by them into a gas" and obscured by the dreams and theories of philosophers and theologians. As a critic remarks, in Benjamin-s-and, we would add, Ruskin-s-view, "what the modern era lacked was a basis for continuity which would prevent experience from disintegrating into a desultory and meaningless series of events." Despite its frenetic hyper-associativity, then, The Queen of the Air contains a key element that Benjamin believes is necessary for "redemption": the desire for a new form of consciousness that recognizes links to the past and thus to the longings and dreams of our forebears. Thus, although Ruskin most immediately influences Proust, who in turn influences Benjamin, Benjamin-s thought is far more Ruskinian than critics have heretofore observed. Just as Benjamin helps us make sense of the ways in which The Queen of the Air is caught in the grip of the shocking associativity of modern life, so Ruskin assists us in discerning similar impulses in Benjamin-s attraction to a form of archaic consciousness that can, by altering the modern form of perception, reenchant the present.

• 대한건축학회논문집:계획계
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• 제34권12호
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• pp.135-144
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• 2018

This paper deals with preservation and restoration as a universal approach to conserve architectural heritage. The questions on how to preserve or restore them have been always major issues for many old buildings. Reading changes in ways of the thinking to solve such matters in the past helps to grasp the fundamental concepts to conserve cultural heritage at this point in time. The method is an important stage that leads to change our current attitude. Both the ways of the thinking for preservation and restoration should be re-interpreted to preserve memory or to restore identity depending on the current situation, and even should no longer be understood as two opposite options. Therefore, this paper focuses on the epistemological notion and reveals the origin and premise of modern historical perception that has become disconnected from the past works. By taking the writings of $Eug{\grave{e}}ne$-Emmanuel Viollet le Duc, John Ruskin, and Camillo Boito into consideration, the thesis shows that their thought, in the common denominator of the time, is a kind of reflection of consciousness according to particular historical contexts and that their ideas echo three dialectical paradigms derived from past and present, memory and forgetfulness, and history and truth.

• Architectural research
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• 제18권3호
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• pp.103-111
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• 2016

This paper investigates the characteristics of preservation of Korean modern architecture through Western historic preservation theories and philosophies. This research focuses on the Japanese Government-General of Korea (1926-1995) which was built in 1926 and used as the chief administrative building in Seoul (Keijo in Japanese) during the Japanese colonial period (1910-1945). After Korea was liberated from Japanese rule in 1945, this building was used until 1995 for the South Korean National Assembly, the United States Army Military Government in Korea, and the National Museum of South Korea. Although it served a variety of roles, this building was the most controversial case of historic preservation in Korean modern architecture. To analyze the peculiarities and characteristics of Korean modern architecture and its preservation, this research applied Western historic preservation theories, not exclusively from classical historic preservation theories developed by Viollet-le-Duc and John Ruskin, but also from modern historic preservation theories by Theodore H. M. Prudon, Daniel Blunstone, and Frances A. Yates. This cross-cultural and comparative study of historic preservation helps identify Korean modern architecture's characteristics. It can also be a useful reference in finding the origins of Korean modern architectural identity.

• 영어영문학
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• 제57권3호
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• pp.457-472
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• 2011

The word "subject," like its apparent antonym "agent" is ambiguous. By "speaking subject" I intend both meanings: the spoken about, and the speaker, and the spoken about, in more or less that order. The paper contrasts the way women are spoken about in the 19^th Century debate over the role of women between John Ruskin and John Mill, and then in literary criticism of feminists nearer our own time, Kate Millet and Elizabeth Langland. I then move on to women as speaking subjects, first in the form of an imaginary speaking subject created by a male speaker, Charles Dickens channeling the confessional journal of Esther Summerson in Bleak House. The comparison with Elizabeth Gaskell, a genuine speaking subject, is highly instructive. I draw attention to symmetrical, in the sense of opposite, narrative strategies. Where Dickens begins in journalese, with a gritty, realistic opening that only gradually reveals a Cinderella in the ashes, Gaskell begins with a nursery rhyme, in an actual nursery, but goes on to reveal some rather sordid economic facts. Where Dickens creates a ventriloquist's doll, Gaskell succeeds in creating recognizable, if not always admirable, female voices. I conclude that just as the novel may be read as a real utterance in a real conversation, it is also possible to read the true emergence of women novelists in the 19^th Century as nothing more and nothing less than the creation of the first truly womanly words about women: women as speaking subjects in both senses of the word.

• Architectural research
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• 제12권1호
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• pp.33-38
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• 2010

Many theorists acknowledge that Modern architecture denied the architect's crafty gesture for the sake of pure formal and compositional status of a building. As well, modern technology in construction has been prevailing as the sole support for modern architecture. But there exists architects who proposed a dialectic development of traditional and modern techniques. This thought was prominent in Germanic circle where technological development was in advance. Throughout $20^{th}$ century, the works of Adolf Loos, Mies Van der Rohe, and Peter Zumthor are representatives in each period. A common point begins from their apprenticeships as craftsmen: Loos and Mies as stonemasons, Zumthor as a cabinetmaker. More than this fact, their craftsmanship is embedded in their works and express creativity of architects. While mass production system raises non-participatory practice that merely require assemblage of products, the adjusted techniques with craftsmanship brings forth a participatory practice that does not limit the creativity of architects.

• 한국인쇄학회지
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• 제2권1호
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• pp.35-43
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• 1984

현재 시판되고 있는 국산 Polar Zoom Lens 80~200mm(1:3.9) 와 일산 (日産)Nikkor Zoom Lens 80~200mm(1:4)를 실사(室寫)에 의한 화질을 비교하였으며 화질검사 방법은 日本千葉大學 다무라미노루(田村 稔)의 hawlet chart를 이용하였다. Polar Lens나 Nikkor Lens가 모두 평균화질이 6.9였으나 양상 화질 면적은Polar Lens는 86% 이고 Nikkor Lens는 92%가 나왔다. 이것은 국산 Lens의 수준이 국제수준에 도달하였음을 알 수 있었다.