• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.114-121
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• 2012

Gilles Deleuze is a philosopher who replaces the world of representation defined as supremacy of identity with the contemporary reason of non-representation in the history of western philosophy that wants to transcend Plato. Deleuze developed his own philosophical concept through philosophical reason and encounter with arts, for which reason he exerted a great influence on artists and architects in diverse fields. Particularly, 'Logic of Sensation' published in 1981 considers the non-representation painting approach through Francis Bacon's painting theory defined as 'invisible force's visibility'. And it is considered that SANAA's architecture among many contemporary architects accepted the essence of Deleuze's philosophy and continuously reflects it on projects. Hence, objective of the present study is to consider how the non-representation constituting a root for Deleuze's reason has been indicated in paintings and architecture through examining the works by Bacon and SANAA. First, a theoretical consideration will be directed to non-representation, followed by an analysis of Bacon's painting works and SANAA's architecture projects from the viewpoints of the force of isolation, the force of transformation, the force of dissipation and the force of time dealt with by Deleuze in 'Logic of Sensation'. Finally, through such analysis, the characteristics of Deleuze's non-representation indicated in architecture and paintings will be derived.

• Journal of English Language & Literature
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• v.64 no.3
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• pp.469-481
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• 2018

When literatures and cultures encounter their counterparts in terms of the big data or statistics of a new reconfiguration in the cognitive map, the tangential points of the borderland will be reduced to what Mitchell calls "a mere abstraction on a map," which nevertheless will provide a vast interstitial zone of "intersections, competition, and exclusions." This zone will be the dynamic vortex for the aesthetics, politics, and ethics of cultural translation. The translated discourse will engage in carrying across the disturbing region of untranslatability and demonstrate how the literary texts of world literature reveal enriching but threatening human experience. This dynamic border of vortex will construct the translational space of world literature, transcending the fragmentary untranslatable nature of the hybrid convergence of the ethnic, racial, cultural and national intermixtures and constructing what Pascal Casanova terms "The World Republic of Letters." In this paper, I will demonstrate how the very concept of scale is related to literary space as well as how distance creates a poetics of literary landscapes which looks ahead of world literature. Also, I will attempt to find the possibility to relate the "micro-scale" with the "macro-scale," and to construct the scale politics of representation. "Glocalization" is a convenient theoretical tool for the double movement of the up-scale and down-scale.

• Asian review of World Histories
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• v.4 no.1
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• pp.35-81
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• 2016

The objective of this essay is to propose a cultural history of cosmography and cartography from the thirteenth to the sixteenth centuries. It focuses on some of the processes that characterized these fields of knowledge, using mainly western European sources. First, it elucidates the meaning that the term cosmography held during the period under consideration, and the scientific status that this composite field of knowledge enjoyed, pointing to the main processes that structured cosmography between the thirteenth century and the sixteenth century. I then move on to expound the circulation of cosmographic knowledge among Portugal, Venice and Lisbon in the fourteenth and fifteenth centuries. This analysis will show how cartography and cosmography were produced at the interface of articulated commercial, diplomatic and scholarly networks; finally, the last part of the essay focuses on the specific and quite distinctive use of cosmography in fifteenth-century European culture: the representation of "geo-political" projects on the world through the reformulation of the very concepts of sea and maritime networks. This last topic will be developed through the study of Fra Mauro's mid-fifteenth-century visionary project about changing the world connectivity through the linking of several maritime and fluvial networks in the Indian Ocean, Central Asia, and the Mediterranean Sea basin, involving the circumnavigation of Africa. This unprecedented project was based on a variety of sources accumulated in the Mediterranean Sea basin as well as in Asia and in the Indian Ocean over the course of several centuries.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.11
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• pp.125-134
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• 2018

This study examines Dalibor Vesely's theoretical proposition of communicative space and tries to develop it through a review of the contemporary architectural case. Vesely poses a critical question about communication: how do the situational conditions of our everyday life and the spatial characteristics of the natural world in which we live communicate through representation. He emphasizes the spatial and situational conditions and the role of representation in communication, arguing that architecture should create the formation of communicative space to restore its primary role as the corporeal foundation of culture. This study thus focuses on one of the critical concepts of his theory: "the communicative movement," which is, according to him, ontological and situational because it animates and transforms human circumstances as a whole. Further, it pursues some practical knowledge of creating the communicative space, by examining the design theory and practice of Zaha Hadid, who thematizes communication and movement in her architectural approach. This study analyses the different levels of representation and modes of movement in her architectural space to reveal the possibilities and limits of its communicative roles. We will find that the representation of Hadid's architectural space is not the formal representation of reality, but a mathematical and projective representation of abstract concepts. Despite its apparent aesthetic consistency, the inward and self-referential relation between the individual elements of the architectural space reveals its limit for the communicative space.

• Parasites, Hosts and Diseases
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• v.25 no.2
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• pp.207-209
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• 1987

A systematic mosquito taxonomic study in Korea was established by Lee in 1971. Since then, many species have been recorded as new to Korea. However, much of this taxonomic information has been distributed in a number of scientific publications. This fork attempts to combine this information into a single document, as well as to synthesize revised taxonomic synonyms of species cccurring in Korea. Four species, Culex vora.x, Culex kangi, Aedes kobayashii and Culiseta kanayamensis listed in our previous paper, are synonyms of Culex kalifaxii, Cutex jackseni, Aedes alehtorowi and Culiseta bergrothi, respectively. Culex annulus is a misidentified species of Culex pseudovishnui. The subspecies Cutes pipiens quinquefassiatus and subgenus Manscnia (Ccquillettidia) were treated as full species and genus respectively in a catalog of the mosquitoes of the world. However, not all current authors agree to those specific and generic treatment. Based on available publications the total number of mosquito species recorded in Korea is now 52 representing 9 genera. Forty-five of these 52 are confirmed species with preserved specimen representation. As collection of specimen continues, there is a possibility that representative of 7 unconfirmed species will be found. 1 hope this paper will provide useful information for entomology workers who are interested in mosquito taxonomy in Korea.

• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.106-113
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• 2013

Since the 1960's, diverse movements that oppose the uniform design tendency of modernism appears in Italy. Especially, Gaetano Pesce, who opposed uniformity and standardization that are based on mass production system, had interests in making unique product, not an identical product, while accepting modern production technology. Therefore, the purpose of this study is to comprehend Pesce's design, which creates diversity by arranging contingent, non-predictive, and episodic aspects in creative and acceptance processes according to the intension of the designer within mass production system, as a non-representational characteristic, which appears widely in modern thought and the arts, and examine how it is materialized in detailed design work. The study methods are first examining non-representation with theoretical contemplation and dealing with the design philosophy of Pesce based on the examination. Next, in order to discover non-representational characteristics that appear in the work of Pesce, it examines from introducing worker's creativity, user's possibility of choice, openness in the working process, and the aspects of researching materials. And a specific application method will be drawn through case analysis centered on furniture design. Gaetano Pesce's design that denies the world of representation based on the sameness comes to possess non-representational characteristics that acknowledge contingency and ceaselessly create difference by intentionally arranging during the working process.

• The Research Journal of the Costume Culture
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• v.28 no.2
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• pp.245-264
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• 2020

This study identifies Kim Jihaye and Lee Jeanyoun as actor-networks with cultural values and meanings. It analyzes the process of reorganizing their works into Korean orientalism via an action of co-construction with formative techniques. First, the historical context of orientalism formed in the fashion world will be studied, followed by the design characteristics of orientalism, and the correlation between the Korean orientalism of these designers on the world stage influenced by the globalization discourse of Korean tradition since the 1980s. Next, works of Kim Jihaye and Lee Jeanyoun from 2000 to 2012 will be analyzed, revealing aspects of Korean image reproduction. Consequently, this study finds that the Korean image is restructured socio-culturally through technological imagery as a reproduction of reality by the production subject. This study reminds us of the reflective and cultural meaning of fashion designers in the area of image reproduction, sociocultural practice, and materials and technology.

• Journal of architectural history
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• v.21 no.1
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• pp.27-46
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• 2012

The core idea of the critical regionalism could be summarized as a self-conscious synthesis between universal civilization and world culture. After World War II, it has been applied to architecture for overcoming the problem of Industrial Capitalism and uniformity of 20th century Modern Architecture. Naturally, religious architecture cannot also be an exception in this cultural trend, thus we can also apply the critical regionalism to the Korean Catholic Church Architecture with the basic premise that the Traditional Western and Modern Style Church Architecture should be regarded as universal civilization, and the Traditional Korean Architecture and endemicity as one of world culture. In the context, this article attempts to analyze the regionality of Korean Modern Catholic Church Architecture constructed between the 19th century and 1980's, and how it has been differently transformed with the view of the critical regionalism. Its analysis will be carried out within three types; transformation of the Traditional Korean Architecture and the influence of Japanese Modern Architecture, representation of the Traditional Korean Architecture, and abstraction of the Traditional Korean Architecture with each advantages and disadvantages.

• International Journal of Costume and Fashion
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• v.5 no.2
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• pp.68-77
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• 2005

In contemporary advertising market, one of main trends is to speak surrealistic visual language which provides 'enjoyable spectacles'. Specially, in the beginning of 21st century, there discovered more and more exhibitions and discourses about surrealism reinterpreted from the viewpoint of postmodernism. Surrealism as a creative style of expression based upon free association, has been a great inspiration for fashion ads for commercial communication as well as fashion design since its origin. However, there has been ignored the idea of analyzing surrealistic image expressed in fashion ads in spite of their flood. Accordingly, the purpose of this study is to grasp its cultural meaning through analyzing aesthetic characteristics of surrealistic image expressed in fashion ads. It will provide a better understanding of surrealistic image in fashion ads reflecting popular taste and preference directly as popular visual culture, focusing on post modern context. A case study of surrealistic fashion ads limits to TV or print commercials and digital ads as image ads stimulating visual expressions. The Results can be summarized as follows. Surrealism is an avant garde style which deconstructs the established meaning system as well as the existing formalistic order and then put them together in the frame of 'dream' and 'unconsciousness'. Defamiliarization questioning the whole edifice of representation can be adapted to. By means of paradox and metaphor, unfamiliar new visual world can be represented. The plastic characteristics of surrealistic image in fashion ads are founded as surrealistic styling of time and space, distortion of object by methods of automatism, depaysement, parody and trompe-l'oeil which bring about the deconstruction of gestalt. Aesthetic values of surrealistic fashion ads appear as dualistic representation, allegoric symbolism, fantastic romanticism. Ultimately they lead to marvelous. mysterious, humorous visual effects. Foster reinterpreted these effects of surrealism from Freud's 'Uncanny Concept'. 'Uncanny' means the phenomenon recurring to familiar being defamiliarized by repression. Surrealistic fashion ads strengthen this shocking effect more and more dramatically in company with our post modern needs for fantastic adventure and thrilling spectacle. It can be thought that surrealistic fashion ads reflects uncanny as an alternative which can relieve us of our stress and anxiety and which realize our potential desire in contemporary post industrial stage.

• Journal for History of Mathematics
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• v.20 no.4
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• pp.153-174
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• 2007

The concept of Function is not just a single concept but an integrated concept that includes various mathematic topics such as arithmetics, geometry and so on. Therefore, the concept of function is the basic principal underlying mathematics. Moreover, we should think of function as conceptual expedient for understanding the phenomena in the variously changing real world. Therefore in this article, I would like to consider the concept of an integrated function through historical investigation. Especially, from the middle ages to the 19th century, representation which related to the function has been evolved, and therefore, I will consider function as an integrated concept through changing the concept of function.