• 한국실내디자인학회논문집
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• 제14권5호
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• pp.133-140
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• 2005

Jacques Derrida, a leading theorist of the post-structuralism, has explicated how the material reality is subordinated to the ideality of form, by noticing the platonic concept, 'chora', which implicates the spatiality as the matrix and also by actualizing its essential meaning as the femininity. On the basis of the idea of the platonic 'chora', the Derridian deconstructive spatiality and its feminist oriented enlargement of Grosz this study is purposed to elucidate the architectural idea of Zaha Hadid that is located in the similar horizon with the deconstructionism. On the one hand it is focused on the explication of the new concept of space, which is dealt with the deconstruction of the traditional concept of space, on the other on the inference of the feminity of the originally understood spatiality. With this inference it is finally intended to reexamine the foundation of the discussion for the architectural space that must be ahead of the discussion for the difference between the masculine and the feminine space. If it is fundamentally and manifoldly executed, not only the architectural paradigm will enter into an renewed phase, but also the various ways toward the new direction of the architecture be explored.

• 복식
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• 제55권5호
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• pp.14-27
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• 2005

These new Phenomenon influences with the new terminology 'fusion' on the way of our life in all areas of our society including the clothes and foods. Along with post-structuralism, which aims at diversification and senses deconstructionalism is a characteristic of this time post-structuralism is based upon the deconstructionalism. Especially the arts in the modern society which is called an information-oriented society lack the totality of a text and become fragmentary, and therefore it follows that traditional values are destroyed and at last a new code such as fusion which is incomprehensible if we would be in mono-linear perspective. Dislikes toward excessively formative and orthodox elements of modern pictures and constructs ; features of kitschs and subcultures against materialism are revealed in diverse objects and materialism. In such a situation of mingling of diversifications with no time to evaluate an object, another diverse forms come into the world and there is no room for evaluating. Therefore, this study will make a light on what are tendencies in the fashion design from the end of 20C to the beginning of 21C, and foreground the concept of fusion in modern fashion which is relevant with digitals and its generative background.

• 한국의류학회지
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• 제19권2호
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• pp.203-215
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• 1995

The funning process in the symbolism of dress can be approached by the semiotics of C. S. Pierce. According to Pearce\ulcorners theory, symbiosis consists of sign, its object, and interpret ant. Especially Pierce classifies the sign into three categories; icon, index, and symbol. The icon is based on the similarity in properties and forms, and the index is based on the actual connection with their objects, while the symbol is based on the association of interpret ant. This classification method can be considered as a theoretical base for symbol of ritual dress. On the other hand, it was discussed the analyzing method of the concept of dress same (symbolic element) by introducing the isolate concept of structuralism for explaining how the symbol reveals itself. So it is discussed the several concepts of structuralism; the concept of relation syntagmatique and relation paradigmatique, the relation binaries, and the units. It would be also necessary to consider dimension of context in addition to dimension of dress itself for the dimension of total symbolic elements of ritual dress. It is proposed that the above developed dress symbol elements should be used for under\ulcornerstanding the society or culture that includes the elements by introducing the symbolic anthropology such as V. Turner's three dimensions of symbol.

• 한국수학사학회지
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• 제18권3호
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• pp.79-90
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• 2005

일차대전 전의 프랑스 수학사는 괄목할 만 하였으나 일차대전 후 프랑스는 독일과 영국에 비하여 완전히 진공 상태였다. 이에 젊은 프랑스 수학자들은 독일로부터 크게 자극을 받아 Bourbaki학파를 생성하고 때마침 사회적으로나 정치적으로 생성된 구조주의(structuralism)와 발맞추어 수학의 구조적 접근을 시도하였다. 우리는 Bourbaki의 생성 과정과 발전 단계를 알아보고 그 구성원들과 그들이 심혈을 기울여 집필한 책들, 그리고 업적에 대하여 조사한 후 Bourbaki학파의 쇠퇴 과정을 살펴 본다.

• 건축역사연구
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• 제1권1호
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• pp.218-227
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• 1992

What is Deconstruction which is now the focus of the current architectural discussion? In order to know the Deconstruction properly, we should review the background of Modernism and Post-Modernism in architecture. As we know, the 1968's serial uprisings of democratic movement in Paris changed human concepts about art dramatically. As the result of that movement new ideas such as Structuralism, Post-structuralism, Deconstruction, and Semiotics arose. In architecture some ideas like construotioniem were not practised fully in 1920's and only the Modernism has been realized as the idea expressing the modern Utopia. In Korea situation to interprete architectural ideas into real buildings are different from those of other developed countries. Korean architects are seemed to use Deconstructionist vocabularies as fashionable styles without being concious of the root and history of Deconstruction. For Koreans the contexts are different. Although Modernism and Functionalism have been practised vigorously in Korea as other countries, the situations are ambiguous and complicated in applying new ideas introduced after Moderism. So they are in chaos. What could be our orthodox ideology to be worth pursuing in arthitecture? There are several sample works of Deconstruction in Korea done by Jo, Geon young, Kim, In Chul and Bae Byung-Gil. Aithough their works cannot be interpreted as real Deconstruction in European or american view-points, I think they are good examples of Korean Deconstruction that express contemporary Korean architecture and its social background.

• 복식
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• 제61권10호
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• pp.1-15
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• 2011

Constructivism is an avant-garde movement that began in 20th-century Russia, which rapidly turned into an industrial society. This was one of the most experimental art movements, that wanted to be at the center of social and political-ideological change as it pursued a unique style, which portrayed the true essence of art and humanity. Russian constructivism greatly influenced modern fashion and suggested a new artistic standard. First, the artistic elements of Russian constructivism include photo montages, geometrical structures, color abstraction, and an asymmetrical order, through which the ideals of the Russian Revolution were substantiated, idealized, and materialized into an artistic form. Second, the different forms of Russian constructivism have various artistic characteristics such as popularity, spatiality, structuralism, decorativeness, and mobility, which were then expressed in modern fashion elaborated below. This study intends to reconstruct the meaning of Russian formalism and reflect it on fashion; thereby reconsidering the characteristics and the meaning of Russian constructivism in the context of today's fashion. This will broaden the meaning of constructivism and suggest a new direction for modern fashion.

• 대한수학교육학회지:수학교육학연구
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• 제10권1호
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• pp.73-84
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• 2000

This study, after careful consideration on Piaget's structuralism, showed the relationship between Bourbaki's matrix structure of mathematics and Piaget's structure of mathematical thinking. This, studying the basic characters that structure of knowledge should have, pointed out that 'transformation' and to it, too. Also it revealed that group structure is a 'development' are essential typical one which has very important characters not only of mathematical structure but also general structure, and discussed the problem that learners construct the group structure as a mathematical concept.

• 동의생리병리학회지
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• 제29권2호
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• pp.127-132
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• 2015

In order to grasp the clear concepts and variables to treat Shanghan diseases which has complex meaning by each medical literature, several concepts and analytic method of structuralism from early to late stage encompassing Saussure and Derrida were used. Main concepts are langue and parole, signifiant and signifie, syntagme and paradigme, denotation and connotation, synchronie and diachronie, identity of structure and differance etc. and methods are substituting these concepts to historical Shanghan theories from Zhongjing to Ming-Qing dynasty and comparisons of synchronie about their era. Essential qualities of Shanghan diseases are pathologic phenomena under the order of unification of nature and man formed through concrescence between individual human body and geo-climatico-socio-cultural environmental conditions, neither injuries by cold pathogen nor five types of exopathogenic febrile diseases. The former environmental elements can be inferred from general traits of desires and public pathological aspects of social members, and the latter personal factors from corresponding features to those pathogenic variables. In addition, the concepts of Shanghan disease are added successively up to now via Jin-Yuan's four great masters and Wenbing masters, and thus the new concepts of denotation became another connotation obtaining new signifiant. In this way, for the treatment of Shanghan diseases, new theories should be made for ranging prescription over the wenbing field; reflecting not only climatical variables but also each patient's physio-pathological features and sociocultural variables. Thereby an appropriate and reasonable therapeutical systems can be designed and can guide research direction hereafter.

• 대한지리학회지
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• 제36권3호
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• pp.292-312
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• 2001

오늘날 생태위기는 흔히 주체와 객체, 인간과 자연간의 데카르트적 이분법에 기초하여 자연을 대상화하고 도구적으로 정복한 근대성의 결과라고 이해된다. 이에 따라 근대성에 반대하고 나아가 생태위기를 해결하기 위한 새로운 환경론이 중요한 의미를 가지게 되었다. 본 논문은 근대성에 반대하여 새로운 담론 및 정치를 구축하고자 하는 포스트모던 패러다임 특히 탈구조주의자들의 주장이나 이론들 속에 함의되어 있는 생태학적 논의들을 검토하고. 나아가 이러한 포스트모던 생태학에 근거한 환경정의론의 가능성을 모색함을 목적으로 한다. 이를 위해 본 논문은 우선 탈구조주의 일반에서 찾아 볼 수 있는 생태학적 논의와 환경윤리적 함의를 검토하고, 탈구조주의자들 가운데 가장 명시적으로 생태학적 논의를 담고 있는 들뢰즈의 철학에서 '행동학'과 '리좀적 자연주의'에 초점을 두고 그의 뛰어난 생태학적 통찰력을 고찰하며, 끌으로 포스트모던 관점에서 '차이'를 이론화하고자 한 생물지역주의 그리고 특히 들뢰즈의 생태학에서 핵심을 이루고 있는 공생과 타이를 환경정의의 입장에서 이해하고자 한다.

• 한국융합학회논문지
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• 제9권6호
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• pp.191-201
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• 2018

본 연구는 일본 건축가 단게 겐조(丹下健三)의 건축에서 1960년대를 기점으로 나타났던 중요한 변화에 대해 그 원인과 결과를 분석하는 것을 목표로 한다. 일본의 초기 현대건축을 성공적으로 이끌었던 단게는 1960년 무렵부터 일본의 새로운 시대, 새로운 건축을 위해 자신이 추구했던 기존의 기능주의적 경향에서 벗어나 구조주의적 방법을 제시했다. 따라서 본 논문에서는 단게가 1960년대 이후 지향했던 구조주의적 경향이 이전 시기의 기능주의적 경향으로부터 어떤 발전과 변화를 이루어 결과적으로 어떤 차이를 보이는지, 또한 구조주의적 경향으로의 변화에 영향을 미친 원인들은 무엇인지 등에 대해 연구한다. 결론적으로 단게의 이론은 기존 기능주의의 개념을 부정하는 대안의 제시라기보다는 기능주의와 구조주의 모두를 포괄하는 것으로서 기능요소와 그 구조화를 통해 오히려 기존의 기능주의가 가졌던 단점을 보완하면서 효율적인 기능의 재정비를 이루었다고 할 수 있다.