• Journal of architectural history
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• v.2 no.1 s.3
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• pp.126-135
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• 1993

Italian Rationalism held a specific position in the Modern Movements of Architecture, due to the fact that Italian Rationalism could not totally escape from the classical tradition of Italy. Until the seventies, Italian Rationalism had been criticized for having made no contribution to the progressive aspects of the Modern Movements owing to the very keeping of tradition. After the seventies, however, there emerged a movement which tries to reinterprete the Modern Movements of Architecture in relation to tradition and under this new situation, Italian Rationalism is believed to have a historical possibility of unifying tradition with modernity. This study is to show how Italian Rationalism struggled with the issue of tradition, why Italian Rationalism was under-evaluated and which historic lesson we can learn from it in the contemporary days of the revivalistic Post-Modernism.

• Journal of English Language & Literature
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• v.64 no.4
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• pp.617-628
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• 2018

The aim of this essay is to discuss the relationship between Korean literature and Korean intellectual scenes. Since its first introduction to the local context, literature as a genre has served as a field in which colonial and post-colonial intellectuals have attempted to win the accreditation of Western enlightenment. Literature has been regarded as a crucial instrument of liberal arts and education in Korea. Literature has functioned as a social movement in Korea since its inception. During the colonial period, radical intellectuals and literary writers published essays and articles in literary journals. This status as a social movement is still a distinctive characteristic of Korean literature. From the outset, Korean literature has functioned as an enlightenment project for cultural development. As such, Korean literature retains a political meaning of "literariness," which reshuffles the hierarchy of the sensible and creates novelty against given aesthetic regimes. As a result, in the process these regimes are thereby de-purified of their status as purely aesthetic movements; their perspectives thereby come into contact with other discourses and practices outside the art world. This essay argues that as a genre, Korean literature always functions as "world literature" in Korean intellectual scenes.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.1 s.114
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• pp.92-106
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• 2006

The process of designing Cheonggyecheon Entrance Plaza began with researching four keywords: plaza, restoration. modernity and icon. The outcome of the research was reinterpreted into and informed the design. An urban plaza must not only be a stage for civic life but should also be a portrait of the city to which it belongs. Many Korean plazas, however, are treated as if they are parks. Yeouido Park, which was originally a vast urban void, and Seoul Plaza, recently paved with grass, are good example. The strong 'green myth' can hinder socio-political activities. Cheonggyecheon cannot be said to have been 'restored', since it is still disconnected from its origin and upper streams, and the water is circulated by electricity. So it is better understood as an artificial urban waterfront, rather than an ecologically restored stream. This fact might diminish its ecological value, but not its recreational one. The entrance plaza therefore should reflect that the new stream brings back an 'experience', not only water itself. At the same time, the catch phrase of this restoration project was 'post-modern'. The demolished Cheonggye Expressway represents the 'economy drive' of the 1970s, so the newly opened Cheonggyecheon serves as a perfect counterpart to it. But modernity in Korea is the spirit that made many of the good things, not only its shortcomings, we have now. And from the philosophy of this restoration project, we can see that it is still an ongoing attitude in a way. Remnant of Cheonggye Expressway can evoke our nostalgia for the era. There are plenty of symbols in Seoul, both as architecture and objects. But none of them provide citizens with experience, other than the experience of looking at them. Cheonggyecheon Entrance Plaza is a good place to serve as an icon for a dynamic Seoul. From the research, the designer concluded that this plaza should commemorate the incomparable horizontal experience of Cheonggyecheon and the old expressway, amid the vertical metropolis. The Pedestrian Sculpture, which people can stroll on and look out over Cheonggyecheon, is to be made of steel cladding with a core structure and represents the dynamism of the stream, Seoul and contemporary Korea. The choice of material and the steel structure are also ways of creating the icon. The Water Plaza, the space underneath the ramp, will accommodate people and their urban activities, providing an opportunity to play with water. The Waterblades will be a device for the dramatic beginning of the stream, simultaneously camouflaging ugly openings in the outlets. The Wall of Archaeology is to be made with pre-fab resin blocks, translucent enough so that people can see through any archaeological findings of the site. The strong water-resistant character of resin makes the wall steady throughout the flood season as well. Cheonggyecheon restoration project is an effort to combine contemporary urban demand with the once-existing physicality by evoking our nostalgia for it. The project itself shows many socio-political issues of present-day Korea. The entrance plaza design thus is focused on suggesting an icon for the metropolis, simultaneously celebrating the stream itself. Within this space, people will be exposed to a unique experience that any 'green myth' cannot offer.

• (The)Study of the Eastern Classic
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• no.50
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• pp.295-318
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• 2013

The purpose of this study was to define the 'caligraphy as a modern concept of art. For this purpose, it was necessary to exclude the elements betraying 'the caligraphy as a pure art' in reference to 'autonomy' as an indicator of modernity in order to reflect on the current topology of the caligraphy in our age. Checking the current conditions facing the caligraphy from the pre-modern, modern and post-modern perspectives will clarify the current topology of the caligraphy and further exploring 'the caligraphy as a post-modern art concept. To this end, this study defines the caligraphy 'as a pure formative art' and thereby discusses it in terms of nature and form. In terms of nature, the caligraphy should be subsumed into a spacial art, but it has a nature of a temporal art created and appreciated over time. Hence, among the spacial arts, the painting is most similar to the caligraphy, while among the temporal arts, the caligraphy is most similar to such rhythmic (of high mobility) or performing arts as music and dance. Merely, the painting does not reveal the flow of time on the canvas, while music and dance leave no residual in terms of audibility and visuality. All in all, the caligraphy is sort of 'temporal-spacial art' like dance in that the visible letters express the artist's sense of life on the plane over time like music. In terms of form, this study compares the caligraphy with engraving, wood print and character design to define the caligraphy as a pure art concept. The caligraphy as a modern art concept, namely, the autonomy of the caligraphy is associated with legibility and meaning in addition to the question whether it is an applied or a pure art. The legibility and meaning of the characters are not only the essential elements of the caligraphy but also are the factors limiting its autonomy, which must be a paradox. All in all, the legibility and meaning of the characters must be the key criteria for determining the caligraphy as a practical art or literary art or as a pure figurative art. In this context, this study discusses the caligraphy as a pure art by comparing it with the spatial art 'painting' and the temporal art 'music.' It might be impossible to define the caligraphy or a genre of art as an autonomous art of self-perfection and categorical identity. Moreover, any attempt to define the caligraphy would fail to interpret the caligraphy appropriately. Merely, we are obliged to position the caligraphy in the process of localizing 'their modernity' and thereby, discuss how to respond to their scheme.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.184-190
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• 2000

If we take account of the Architectural Tradition which aims a construction of better environment, we can see that this tradition has ended historically toward Utopia. It is a continual trend from ancient to contemporary epoch especially in each transitional periods. Utopia is an ideal commonwealth in which inhabitants exist under perfect conditions, ideally perfect places or state of things. But, Dystopia implies skeptical perspective on the future which has emerged as a result of the increasing awareness about crisis concerning negative aspects highlighted by progress of science and technology since Modern era. Dystopia is the opposite of Utopia which was a propaganda used by Modern architecture and has characteristics of Post-Modernity. Utopias plans are complete projects of image, its goal is an improvement according to the eras. Its plans are characterized by rigid geometrical pattern as circle and square, which contain generally center·axis·enclosure·boundary·symmetry. Recent architectural circumstances no longer reflect utopian visions. Dystopias plans have described extreme mechanism, destructive offense, expression of fragmentation and differentiation in contemporary architecture. Therefore, as the Utopian architecture describes characteristics of the era unlike the continuity of its concept, the Dystopian architecture will find its expression differently while maintaining its basic concept and intention.

• The Southeast Asian review
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• v.23 no.1
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• pp.89-126
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• 2013

The Red shirts came to attract attention of the international community during April to May in 2010 by successfully organizing explosive popular demonstrations. The momentum was the military coup on September 9, 2006. The Red color was chosen amid movements against the new constitution instituted under the military junta. In discourse struggles, the Red shirts compared their resistance against the Democratic Party government lead by Abhisit Vejjajiva to that of phrai (commoner or serfs) against ammart (aristocrats or bureaucrats) under the pre-modern reign of sakdina. The Red shirts strongly accused Prem Tinsulanonda, the chief of the Privy Council, of being a mastermind of 2006 military coup, who symbolically represents the cohesion between the palace and the military. It has constituted an unprecedented defiance towards national taboo where the trinity of Nation, Religion, and King has been consecrated. The objective of this article is to review the Red Shirts' ideology, organizations and activities in terms of the modernized phrai's struggles for expanding counter-hegemony. While Antonio Gramsci focused on why socialist revolution had failed to materialize in capitalist Western Europe, I pay attention to why political liberalism has failed to wash away pre-modernity and take root in capitalist Thailand, applying the Gramscian concept of hegemony by contrasting 'hybrid ammart' with 'modernized phrai'.

• Journal of the Korean Society of Costume
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• v.40
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• pp.5-23
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• 1998

The main purpose of this study was intended to analyze the image of N대-Expressionism represented in the late of 20th century fashion design. By the late 1960s and the early 1970s. the prevailing notion of modernity, which had pushed the limits of art beyond previous boundaries, had begun to lose its urgency. Critics called the new pluralistic era which the West was entering Post-Modern. Furthermore, the predominance of America and the New York scene is diminishing, and artistic leadership is now international. Post-Modernism dialectcally made denial of Modernism as likely as New Image Painting and Decorative Pattern Painting Art in 1970's and it was availed as a dialectcal means for the pre-diction of new comings that would be appeared at painting art in 1980's. New Image Painting has been called as Neo-Expressionism. The N대-Expressionists selected human's feature because appeared flankly, directly irregular agitation in the visual effect and they believed human's destructive and amputate body was cruelty. So they express it on the surface canvas. Under the these background, the image of Neo-Expressionism was represented in the late of 20th century fashion design such as the upside-down image of human feature, the image as ameditation on German myth and history, culture, the ecletic image is made of use a mixture of material. The properties of composition, line, color, texture, and form, common to all plastic art, are now more readily recognized and historically valued in every work. That is, individuality, humanity, and the human condition have been at the core of most Western art and Fashion design. Especially Fashion design has been one of the principal instruments used to examine our nature and to promote the notion of growth, self-understanding, and change.

• Lingua Humanitatis
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• v.1 no.2
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• pp.3-20
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• 2001

The concept of "modernism" has always posed problems in definition from the beginnings of "early-modernism" to our age of post-modernism and multi-culturalism. And yet, the concept has been consistently aligned with the search for new paradigms of thinking about "modernity" as the age experiences it. In this sense, this study tries to explain the meaning of the term "modern," why it still matters in the study of literature, and how to apply it to the examination of Kim Soo-Young′s poems. Kim is one of the leading poets who understood the importance of modernism in the development of Korean modern poetry. But, despite his dedication to the western literary style and modernism, Kim also attempted the renewal of traditional Confucian thought in his poems. The result of such efforts can be seen in poems such as "Difficulties of Confucius ′Everyday Life," in which Kim tries to juxtapose the ancient life of Confucius with life in a much-westernized modern Korea. Another poem "Grass" shows his eagerness to transform traditional eastern aesthetics into a new mode of thinking that encompasses both the influence of the west and changes in 20th-century Korea. Through the study of Kim′s poems in relation to the critical reception of modernism in Korea, we can conclude the following: that Kim led the modernist movement in Korea; that modernism still matters in post-modern Korean literature; and that, because Kin tried to bring together the ideas of western modernism and traditional Confucianism, his poetry not only spoke to his own time but speaks also to our multi-cultural age.

• Journal of the Daesoon Academy of Sciences
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• v.16
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• pp.151-166
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• 2003

Contemporary Buddhist scholarship in Korea has been strongly affected by its origins in the Victorian era, when Western religious scholars sought to rationalize and historicize the study of religion. Modern Korean scholars, trained within the Western scholarly paradigm, share this prejudice which tends toward the rational. The result is a skewed understanding of Buddhism, emphasizing its philosophical and theoretical aspects at the expense of seemingly "irrational" religious elements based on the direct experience of meditation practice. This paper seeks to look at the historical context in which modern Korean Buddhist scholarship had been shaped during the colonial period of Japan. Two case studies will be examined particularly in the light of post-colonial perspectives of Buddhist studies: the case of Jonghong Bak(1903-1976) and the case of Donghwa Gim(1902-1980), two pioneering scholars in the field of Buddhist studies. They share similarities as well as differences. Both were born and active at almost the same period, during which Korean peninsula experienced modernization forced upon by Japanese colonialism. And thus, the experience of colonialism and modernization brought them into conflict between tradition and modernity. Their responses, however, were different. Pak, originally trained in Western philosophy, especially German philosophy, wanted to study Korean Buddhism in the context of the so-called Korean Philosophy per se. He was motivated to seek for the national and cultural identity of Korea. And thus his scholarship on Korean Buddhism naturally led him to look for an original Korean Buddhism distinct from the Buddhism of India, China and Japan. On the other hand, Gim, who became a monk in his youth, later went to Japan for college where he was exposed to modern Buddhist scholarship. He was the first to introduce modern Buddhist scholarship to Korea, and since then, contemporary Korean Buddhist scholarship owes much to his contributions. Despite his contributions to contemporary Korean Buddhist scholarship, if we look at his efforts in the light of post-colonial perspective, his ideas need to be reevaluate.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.2 s.115
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• pp.80-98
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• 2006

This study originated from following questions. What can we understand the conception of deconstruction, which has been the core idea of new discourses developed in various ways since modernism? How can this question be interpreted in landscape design? What is the conceptional frame of integration the prominent hybrid post-genre movements and phenomena? The frame can be epitomized with the deconstruction phenomenon. 'Deconstruction' is the core conception appeared in late or post-modern ages in the embodiment of modernity and can be viewed as an integrating or a hybrid phenomenon between areas or genres in formative arts. Therefore, the author regards the hybrid movements widely witnessed in the post contemporary formative arts as one of the most important indicators of de-constructive signs. It is safe to say that the phenomenon of this integration or hybridism, of course, does not threaten the identity of landscape design but serves as an opportunity to extend the areas of landscape design. One of the consequences of this integration or hybridism is the voluntary participation of users who have been alienated in the production of the meanings of design works and hybrid landscape design with the hybridization of genres that is characterized with transformation in forms. This view is based on the distinction between hybridization of interactions between the designer (the subject) and the user (the object), and hybridization of synesthesia. Generally speaking, this is an act of destroying boundaries of the daily life and arts. At the same time, it corresponds to vanishing of modern aesthetics and emerging of post-contemporary aesthetics which is a new aesthetic category like sublimeness. This types of landscape design tries to restore humans' sensibility and perceptions restrained by rationality and recognition in previous approach and to express non-materialistic characteristics with precaution against excessive materialism in the modern era. In light of these backgrounds, the study aims to suggest the hybrid concept and to explorer a new landscape design approach with this concept, in order to change the design structure from 'completed' or 'closed' toward 'opened' and to understand the characteristics of interactions between users and designs. This new approach is expected to create an open-space integrating complexity and dynamics of users. At the same time, it emphasizes senses of user' body with synesthesia and non-determination. The focus is placed on user participation and sublimity rather than on aesthetic beauty, which kind of experience is called simulacre. By attaching importance to user participation, the work got free from the material characteristics, and acceptance from the old practice of simple perception and contemplation. The boundaries between the subject and object and the beautiful and ordinary, from the perspective of this approach, are vanished. Now everything ordinary can become an artistic work. Western dichotomy and discrimination is not effective any more. And there is 'de-construction' where there is perfect equality between ordinary daily life and beautiful arts. Thus today's landscape design pays attention to the user and uses newly perceived sensitivity by pursing obscure and unfamiliar things rather than aesthetic beauty. Space is accordingly defined to take place accidentally as happening and event, not as volume of shape. It's the true way to express spatiality of landscape design. That's an attempt to reject conventional concepts about forms and space, which served as the basis for landscape design, and to search for new things.