• Journal of English Language & Literature
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• v.58 no.4
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• pp.723-752
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• 2012

Although his mythic poetry deals with the fall and resurrection of Albion as the origin of humankind, William Blake (1757-1827) simultaneously links it to the professionalization and unification of disciplinary knowledge itself. He particularly takes a great interest in the cross-referential relation of poetry to science. He argues for the communication of poetry and science on equal footing with each other without the former's prioritization over the latter, or vice versa. In his works Vala, or The Four Zoas (1797-1807) and Jerusalem: The Emanation of the Giant Albion (1804-1820), on which I focus in this essay, Blake's primary problematic is to display strong conflicts among different systems of knowledge. I approach this issue in light of the ideological clash of Newtonian thought, Romantic thought, and postmodern thought. In his poetry, Blake thematizes the very clashes of these different thought patterns. From the standpoint of Romantic thought, first of all, Blake problematizes Newtonian Enlightenment. He criticizes abstract universalization both in poetry and science, which Urizen, one of four Zoas, propagates. Protesting against Urizen's Newtonism, Los values "living form." Thus, Blake demonstrates, through this figure, that poetic imagination and scientific organicism are discursively communicative. Blake, however, also questions the network of Romantic science and Romantic poetry so as to suggest what current critics would call postmodern thought. Blakean postmodernism pursues the self-similarity of organic structure in science and poetry. Precisely, Blake sees polypus as a proliferation of organic body; he arranges four Zoas' self-repetitive stories in a non-linear way. Blake aspires for the conflicting coexistence of different thought patterns.

• Journal of Science of Art and Design
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• v.1
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• pp.189-226
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• 1999

The purpose of this paper is to examine the common characteristics of late 20th century interior design style and the post-modern thinking system. A period has its own predominant spirit which determine the tendency of art, and the ubiquitous power in the spirit decides the period's pattern of art. Therefore the interior design style belongs to general art sphere that has its own individual character derived from the dominant power of the controlling system. Paying special attention to this understanding, the auther has processed this paper by combining the post-modem thinking with special characteristics of each of the 20th century interior design style. Until now, researches have been focused on the individual style of post-modern design; however, a general research comprising the whole characteristics of expression has not been made. Accordingly, the rationale of emphasizing the general point of view is establshed. Also, this study suggests a model applicable to studies concerning other art area. This type of methodology is receving more attention as an approach investigating new art ideology for researching post-modern thinking and late 20th century art styles. The conclusions are as follows: First, the distinctive expressions of postmodernism appear to be characteristic of illusion, metaphor, pluralism, decoration, and symmetry, Those of late modernism appear to be the characteristic of complicated simplicity and symplified complexity, passiveness of symbolism and harmony, indeterminacy of form and space, and unintentional decorativeness. And the characteristics of deconstructionism are spatial difference and temporal defferal, and un-reductive and non formal abstractiveness of the space, unfinishness, chance, and secretiveness of individual style. Second, the disinctive expression seems to share common characteristics with postmodern thinking. The best examples are pluralism, non-formalism, populism, and historicism, originating from the deconstruction of 'meta-narrative'. Third, based on the second conclusion, general distinctive expression could be simplified as chacteristics of plurality, hybridity, and indeterminacy. These expressive chacteristics appear to be automatically connected with general postmodern thinking. Last, in consideration of the above conclusion, the extreme generality could be distinctively clarified as 'textural co-exsistence'. Accordingly, the author might confirm that 'textural co-existence' originated from the text that comes from postmodern thinking. In conclusion, design expression of late 20th century interior design accepts the ?universal theme of ubiquitous postmodern thinking. And universal expressions and supreme generality can be common analysis tools for understanding and studying complicated late 20th century interior design.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.198-199
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• 2004

• Journal for History of Mathematics
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• v.12 no.2
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• pp.135-141
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• 1999

It can be said that postmodernism shows a tendency to be anti-Descartes in the sense that it criticizes modern rationality which has started from Descartes. This paper suggests the relationship between modernism and postmodernism and that between. traditional Mathematics and fuzzy logic in three aspects, and shows that fuzzy logic tends to be a postmodern science in Mathematics.

• Journal for History of Mathematics
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• v.16 no.4
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• pp.45-52
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• 2003

It is said that mathematics is neutral and free from any thought. But the history of mathematics refuses it. This paper aims to investigate modernism and postmodernism in mathematics and to scrutinize them. For this, first modernism is characterized by concentrating on Descartes' philosophy, and next postmodern view which criticizes modernism is discussed. Finally it is claimed that mathematical realism and postmodernism can be comparable in different dimensions.

• Journal of the Korean Society of Costume
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• v.53 no.2
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• pp.71-85
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• 2003

In the turn of the century, fashion designers have not just drawn upon one or two subcultural styles but have extracted elements from many subcultures to use in a single collection. In true postmodern style these are freely combined with historical, cross-cultural and futuristic influences to create new fashions. The process could be explained by bubble-up phenomenon, retroism. pastiche and pursuit of pleasure. In the course of illustrating subcultural styles transformed into mainstream fashion, the case of Punk was studied as a turning point of modernist and postmodern period which have been introduced by high fashion designers since the birth in 1976. The following cases have continued to appear entering upon the third millennium and the aesthetic value of those can be summarized as ambiguity, eclecticism, and deconstruction. In other words. the energy and authenticity of Punk has been considered to be desirable in high fashion, however designers focus on clothing and adornment rather than ideology and lifestyle. The aesthetic property of subcultural style defeats the established notion of standardized fashion and stimulates new consciousness. which allows a room to be diversified and subdivided.

• English Language & Literature Teaching
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• v.11 no.3
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• pp.25-38
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• 2005

Postmodern American science fiction authors often dramatize the human fear and hope for the newly emerging artificial life forms. For example, Helen as an advanced artificial intelligence Richard Power's Galatea 2.2 shows that the student's memorizing efforts for exams can be useless someday. In Neal Stephenson's Snow Crash machines are liable to be infected with viruses like human bodies. In He, She and It, Piercy's parallel of an artificial human (Yod) and a mythic personification (Golem) allegorically reveals the pandora-like unpredictable effect of advanced technology. More than the mechanical entities (the diffusion and linear models for Latour), these biologically artificial entities reveal the limitations of even the fantastically idealized technology simply because the human being as the creators or impersonators of these machines are not perfect. Compared to illustrative mechanism, biologically artificial entities (Latour's transition or whirlwind models) are inherently rebellious because of their closeness to the creators. The Butler's organic environmental interaction of the Earthseed convincingly demonstrates how the wrong use of science ruins the holy earth and also how human beings survive through the right use of effective science with the aid of anthroposophy.

• Journal of Korean Academy of Nursing
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• v.34 no.3
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• pp.389-399
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• 2004

Purpose: The purpose of this study was to illustrate the main stream of postmodernism which has influenced theory and research in the nursing science, and then to consider the meaning and value of what the postmodern perspective has meant to nursing science in the 21st century. Method: Derrida and Foucaults philosophical thoughts that characterized postmodernism through the interpretation of their major literature was studied. Based on their philosophy, it was shownhow Derrida's idea could be applied in de constructing the core paradigm in modern nursing science. In terms of Foucault's post-structuralism, reinterpretation of the nursing science in relation to power/knowledge was completed. Result: Postmodernism created multiple and diverse paradigms of nursing theory as well as nursing research. This was accomplished by de constructing the modernism of nursing science which was based on the positivism and medical-cure centralism. Specifically, the post-structuralist perspective revealed issuesaround the relationship of power and knowledge, which dominated and produced modern nursing science. Contemporary nursing science accepts pluralism and needs no unitary meta-paradigm, which can reintegrate multiple and diverse paradigms. Conclusion: In considering the issue of nursing science in postmodernism, it can be summarized as follows: the postmodern thinking discovers and reveals diverse and potential nursing values which were veiled by the domination of western modem nursing science. These were motivated to create nursing knowledge by conversation in interpersonal relationships, which can contribute to practical utilities for the caring-healing situation.

• Journal of architectural history
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• v.22 no.3
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• pp.15-26
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• 2013

This research takes as its object a body of historical researches by a new generation of French architects in the 1970s, who tried to confront the deep crisis in architecture since the years 1960. The research begins by noting that the ideology of the architect as an autonomous and transcendental subject, an ideology held by the architects of the previous generation, was a main target that young architects wanted to criticize and overcome. From this observation, the research focuses on a antihumanistic project which gave basis for a significant number of historical researches on modern architecture and was the result of a reappropriation of the French structuralism intensively developed in the human and social sciences of that time in France. After a series of textual analyzes, we argue that a new perspective on the city and the relationship of the latter with the architecture on the one hand, and the proposal for an "modest" architect as an alternative figure after rejection of the autonomous and transcendental one on the other hand, have been derived as the outcome of anti-humanist historiographic works. Finally, we assume that these historical adventure gave conceptual basis for postmodern architecture in France, freed from the modern myth of unity of author and that of work of art, but tinted by a moralism requesting modesty to architects.

• Journal of the Korean Society of Costume
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• v.38
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• pp.369-392
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• 1998

In order to identify and describe the central core of fashion desire, the concept of“anti-aesthetics”and“open fashion”were analyzed based on the discourses of postmodernism dis-cussed in the field of sociology, culture, art and philosophy. In this paper, first, the new perspectives of fashion related to modernism and postmodernism were proposed, open concept, anti-aesthet-ics which is ephemerality but eternal ideology. Key principles of postmodernism as anti-aess-thetics mean the philosophy of nihilism proposed by Nietzsche indeterminency, the endd of original art(the death of art), the sublimity provided by Lyotard, and the pluralism to release human from the closed way of thinking, value, ideology. Second, the old and classical definition of fashion,“the differentiation of class”proposed by Veblen and Simmel has been changed into the“differentiation of taste”in postmodern condition. Third, the dichotomous system, that is, ration vs emotion, soul vs body, male vs female, culture vs nature, and so on has been deconstructed and disolved in the postmodern fashion phenomenon using the technique of anti-formalism, such as pastich, parody, bricolage an kitsch for the expression of sublimity and freedom of human.