• Journal of Korean Philosophical Society
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• v.105
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• pp.423-460
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• 2008

Les positions qu'essait d'expliquer les $probl{\grave{e}}mes$ divers ${\grave{a}}$ propos de la $sexualit{\acute{e}}$, faisaient ressortir les points biologiques des actions $d^{\prime}{\hat{e}}tre$ humain par ${\acute{e}}volutionnisme$ plutot qu'explique les $probl{\grave{e}}mes$ de la nature humaine, $d{\acute{e}}sirs$ sexuelles, par les $sci{\acute{e}}t{\grave{e}}s$, les cultures et les'institutions. En face des questions des $possibilit{\acute{e}}s$ d'explications biologiques sur toutes les actions sexuelles, ils sont $plac{\acute{e}}s$ en crise. Le fait que $l^{\prime}{\hat{e}}tre$ humain est un'etre historique, n'implique pas ce qu'il est evolutionnaire. Pour cette raison, c'est difficile qu'on accepte le determisme biologique, $l^{\prime}{\acute{e}}volutionnisme$, sans conditions. En opposition avec cettes $id{\acute{e}}es$, Michel Foucault voudrait insister sur le fait de penser au sexe comme les $r{\acute{e}}sultats$ des productions sociologiques, politiques. Selon Foucault, la $sexualit{\acute{e}}$ n'est pas $donn{\acute{e}}$ de la nature que le pouvoir essaierait de mater, ou un domaine obscure que le savoir tendrait de $d{\acute{e}}voiler$, mais une sorte de dispositif historique. Donc, dans cet article, j'essaie d'examiner les processus, les differences, et les $probl{\grave{e}}mes$ entre les deux positions, puis je considere les limites philosophiques, des deux argumentations, et ses implications philosophique. Cela permet d'approcher ${\grave{a}}$ l'horizon divers du discours sexuelles de la $compr{\acute{e}}hension$.

• Journal of architectural history
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• v.8 no.2 s.19
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• pp.87-108
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• 1999

Since 1960, the change of architectural trend was dominated by two factors ; the one, the introduction of theory of language (including semantic, syntactic, pragmatic, linguistic, semiotic, structuralism, post-structurism) in design concept, the other, the adaption of high technology in building construction. In particular, the theory of language played an important role in the emergence of new tendency, which could be the alternative of modern architecture. Post-modernism and Typology in the 1960-70s, Deconstructivism in the 1980s and 'Folding' architecture in the 1990s, have continually borrowed a theoretical base from the thee of language. Placing the focus on the relation of contemporary architecture and theory of language with the interdisciplinary view, this study comes to the conclusion that the diverse architectural tendencies since 1960 depend on the 'champ d'enonce', which Michel Foucault, French philosopher, defined in his . The writings of many architects, like Robert Venturi, Micheal Graves, Aldo Rossi, Peter Eisenman, Rem Koolhaas, Bernard Tschumi, Gerg Lynn demonstrate our conclusion. This is an important finding which make possible consistent understanding about contemporary architecture.

• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.805-819
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• 2011

In contemporary society, heterotopia is the law dominates thoughts and is the concept reconstituted spaces calls order in chaos. And that is the place which refuses the paradoxical and social custom and sometimes poses a danger and rise in rebel. The purpose of this study is to study how forms of clothing fluid form images are expressed in modern fashion develop body around in the spatial relationship between the body and its environment. The study method consider changed characterastics of fluid space through the heterotopia thinking system of Foucault Michel. Based on this method, the heterotopia space that appeared in the plastic arts in aspects of artistic significance and aesthetic value was examined. Based on the above discussion on modern fashion Fluid Form were expressed in any formative characteristics were considered. The results of this study are as follows. Fluidity is the transformed interaction. It expanded external representation of organic body structure and reconstructed flexible forms of dynamic structures continuously. Transformation is the new space structure. It constructed invisible transformation and developed convertible dress space by combining a variety of functional overlap and fold. Deconstruction was expressed structural forms, expanding the existing forms in the open structure which have ambiguous boundaries.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.7
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• pp.1052-1063
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• 2007

This study focuses on the analysis of body images appearing in the fashion illustrations since the 1990's and thereby attempts to determine relationship between their expressional features and aesthetic values in reference to theory of post-structuralism. Especially among numerous post-structuralist, Michel Foucault, Gilles Deleuze/Felix Guattari, and Julia Kristeva set unique arguments on body, which provide valuable leads to decipher the image of body. For that reason, body images shown in the fashion illustration are categorized into grotesque body, fragmented body, humanoid body, and post-gendered body, and reviewed their characteristics and aesthetic values based on critics of above three scholars. Findings are summarized as follows: First, image of body entails meaning of an resistance of traditional social concepts and order, and second it serves the purpose of creating a new and unique sense. Finally, it is not an object of representation of physical facts, but rather a representation of the real itself, apart from presenting the original material. Given arguments enhance understanding of images of body in fashion illustration in a broader sense.

• 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.

• Asian Journal for Public Opinion Research
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• v.9 no.2
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• pp.161-187
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• 2021

To address threats to the natural environment, the government in Pakistan has banned the use of plastic bags for shopping. The concept of governmentality presented by Michel Foucault explores the techniques of governance and defines law not just as the manifestation of sovereign power but also as a technique of governance involving a range of organized practices designed to shape mentalities to achieve certain desired ends in subjects which claim to be for the welfare of the population. The present study explores the perceptions of the consumers regarding the rationality of the government behind the ban and also highlights the effectiveness of the use of law as a technique of governance. A qualitative approach was used by conducting fifteen interviews with young consumers selected through convenience sampling. The findings suggest that the rationality of the government behind the ban was received well by the consumers and the ban was viewed as a positive and pro-environmental step. The use of law as a technique of governance also proved to be effective in the said case because the people did not perceive the law as coercive despite the radical change it brought to their shopping practices. The present study contributes to the development of the theoretical understanding of governmentality and its sub-concept of the use of law as a technique of governance.

• Trans-
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• v.3
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• pp.55-86
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• 2017

This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.

• The Journal of the Korea Contents Association
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• v.9 no.10
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• pp.102-109
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• 2009

What Michel Foucault has interpreted about Jeremy Bentham' Panopticon in the point of power relationship of ones's gaze is put in comparison with the characteristics shown in the modern media and mutual meanings are interpreted in the respect of a power relationship of modern gaze. Modern people communicating through media are placed in certain type of power relationship. This study analyzed the difference of it in the respect of the power of gaze in Panopticon and the consumption of information. Panopticon assumes single-network supervision, that is, one-way gaze. However, in modern media, interactive communication is possible based upon the development of information telecommunication technology. Therefore, this study aims to compare and study modern single-network supervision and multi-networks supervision based on information telecommunication technology. The development of various media such as internet, mobile phone and smart card has changed the single-network supervision system structured since modern times into the multi-network supervision system. 'Gaze-power' presented in the relationship to media enables us to discuss the problem of mutual receptiveness, the presence of various powers according to information structure and consumption power. In particular, the form provided by modern media has the complexity of mutual communication in the relationship of multi-networks, rather not assuming only one-way nature of single-network. Therefore, the approach of communication issue provided by modern media in the respect of multi-networks relationship was done by the power relationship of gaze in the respect of information communication. Gaze determines the power of watching. In addition, the visualization format aims at the power.

• Korean Journal of Social Welfare
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• v.61 no.3
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• pp.129-153
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• 2009

This study aims to examine the formation of Japanese Social Welfare Studies based on Michel Foucault's Genealogical perspective related with power-knowledge relationships. Namely, this study reveals that Japanese Social Welfare Studies has been built through interactions of power-knowledge relationships in the context of scholars' individual experience and social circumstances. For the study, 40 literary works of Japanese Social Welfare Studies written by 26 authors have been selected to construct the resourceful main data. From the main data, 671 concepts have been abstracted and shortly introduced in 3 parts: authors' individual experiences, social circumstances related with Social Welfare Studies, and composed contents of Social Welfare Studies. The resulted Genealogy of Japanese Social Welfare Studies from the categorization is emerged and analyzed as follows: 1) scholars' individual experience and dichotomous formation of Social Welfare Studies, 2) missionary's activities and development of social welfare, 3) searching essence of social welfare and formation of scholars' genealogy, 4) prosecution of wars including ups and downs of economy and social welfare, and 5) expansion of social welfare and enlarging of Social Welfare studies.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.103-110
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• 2000

The material world around human is normally composed of opaque one, with which human has made the spaces. The opaque material to make space has played a role to control the relationship among people and has produced socio-cultural things since the history started. The opening of opaque material(wall) connects one space with the other. Therefore, the meaning of opening is a connection among people who are in different spaces in terms of sociology. In conjunction with this, socio-cultural situation has been deployed differently. In the traditional european domestic space, the glass has been applied to this opening since they found the glass. It disconnects two spaces physically but connects them visually. Therefore, without blocking the opening visually, the glass became to protect people with their interior space from outside environment. The important thing is that the application of the glass in a building had been restricted because of opening size. However, after Industrial Revolution with the advanced technology of architecture, the glass came to be applied to the building and it became widen. So, the concept of glass window became to be the one of glass wall. This change made a transformation of visual character between two spaces which are separated with glass wall. This means that the glass wall gave two directional visibility while the glass window gave one directional visibility from inside to outside of space. This is because the amount of the natural light to the interior space increased due to widen glass in a space. This gave a change of visual authority and the space of surveillance(interior space) became to the one of communication. The space of surveillance, Michel Foucault mentioned in his book surveillance and punishment, is a very private one that is not visually permeable from the people outside, while the space of communication is a public one which needs other eyes. In the space of publicity, there needs a rationality, morality and ethics because of public surveillance and in the space of privacy, there restores a desire for sex and assaults.