• Architectural research
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• v.13 no.2
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• pp.23-30
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• 2011

Critical regionalism has been consistently influential in architecture since the 1980s. While acknowledging its contribution to the discipline of architecture, this article inquires into two co-related issues in critical regionalism as elaborated upon by Kenneth Frampton: critical subjectivity and identity. Regarding critical subjectivity, critical regionalism demands one to stand critical of both tradition and technological development. It assumes that one can locate herself in a neutral zone unshackled from both conditions so that she can make an unbiased judgment. This article criticizes this form of subjectivity by illuminating the situated nature of the subject in the continuity of tradition within which one always stands. The second issue is identity. Keeping the identity of a region through architecture is accepted as a rule in critical regionalism. However, how we shall understand the identity is unclear. This article introduces a notion of identity as rooted in the dialectics of opposites, and demonstrates it by referring to Le Corbusier's architecture and Tetsuro Watsuji's philosophy of climate. The objective of this series of inquiries is not to shake the validity of critical regionalism, but to renew and extend its significance for contemporary architecture.

• Journal for History of Mathematics
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• v.26 no.4
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• pp.245-257
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• 2013

Hermann Grassmann classified mathematics and extended the dimension of vector spaces by using dialectics of contrasts. In this paper, we investigate his mathematical idea and its background, and the process of the classification of mathematics. He made a synthetic concept of mathematics based on his idea of 'equal' and 'inequal', 'discrete' and 'indiscrete' mathematics. Also, he showed a creation of new mathematics and a process of generalization using a dialectic of contrast of 'special' and 'general', 'real' and 'formal'. In addition, we examine his unique development in using 'real' and 'formal' in a process of generalization of basis and dimension of a vector space. This research on Grassmann will give meaningful suggestion to an effective teaching and learning of linear algebra.

• Asian review of World Histories
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• v.2 no.1
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• pp.17-45
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• 2014

Okakura Kakuz$\bar{o}$ (1863-1913), the founder of the Japan Art Institute, is best known for his proclamation, "Asia is One." This phrase in his book, The Ideals of the East, and his connections to Bengali revolutionaries resulted in Okakura being remembered as one of Japan's foremost Pan-Asianists. He did not, however, write The Ideals of the East as political propaganda to justify Japanese aggression; he wrote it for Westerners as an exposition of Japan's aesthetic heritage. In fact, he devoted much of his life to the preservation and promotion of Japan's artistic heritage, giving lectures to both Japanese and Western audiences. This did not necessarily mean that he rejected Western philosophy and theories. A close examination of his views of both Eastern and Western art and history reveals that he was greatly influenced by Hegel's notion of dialectics and the evolutionary theories proposed by Darwin and Spencer. Okakura viewed cross-cultural encounters to be a catalyst for change and saw his own time as a critical point where Eastern and Western history was colliding, causing the evolution of both artistic cultures.

• Journal of Korean Philosophical Society
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• v.146
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• pp.79-114
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• 2018

In this article I investigate the critical fundamental truth of the practical philosophy of Kim Doo-Huhn who has not become known in our Korean society but should be paid respect at any cost in the history of practical philosophy, and whom we should take the important case of a philosophical lesson, focused on 'the Dialectic of Theory of Value' which makes up an essential framework of his practical philosophy.

• The Journal of Korean Medical History
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• v.13 no.1
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• pp.33-45
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• 2000

Through this research author discovered the fact that Na Cheon-ik inherited the 'Bi Wi Nai Sang Seol' of Lee Ko, which bases spleen and stomach as the fundamentals of our body, and stated the importance of rise of the spleen ki. He also stated the ways in which spleen and stomach could be damaged and in doing so, he made sub-divisions into 'Sik Sang Bi Wi Ron' and 'Eum Sang Bi Wi Ron' to explain how the diseases and treatment could be different. As well, he presented the importance of the relationship between the five visceras and the dialectics of triple energizer.

• Archives of design research
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• v.15 no.4
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• pp.169-176
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• 2002

All kinds of artwork, including multimedia and digital image that has been subliminated into an af mediating two numbers 0 and 1 in recent age, are self-sufficient and autonomous in themselves. Nevertheless, each of those artworks can be realized as a real entity only if its appreciator is capable enough to explore some potential meaning out of it through his or her own perceptual work. According to Mikel Dufrenne, an artwork is composed of three existential tiers: "le sensible" or the sensible material; "fe representation" or the subject(le sujet), and "1′expression." Dufrenne contends that our esthetic perception can be realized by way of three steps that are comparable to those three tiers: perception of the presence of the body("le sensible"), contemplative perception by way of imagination("le representation"), and reflective perception ("1′expression") as a result of dialectics of sense and sensibility. This paper argues on the aesthetic perception with regard to digital image expressed by two numbers 0 and 1, putting focus on the epistemological role of sensibility(감) that explores "1′expression" a la Dufrenne.

• Journal of Family Resource Management and Policy Review
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• v.8 no.3
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• pp.113-125
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• 2004

This study aims to provide philosophical frameworks and approaches, and practical guidelines to interview research. While there are some studies which focus on the practical guidelines, there is a lack of studies which address the philosophical and conceptual issues integral to qualitative interview research. By discussing three different but related philosophical aspects of qualitative interviewing--phenomenology, hermeneutics, and dialectics--consistency among research purpose, research method, research methodology is pursued. Based on this discussion, four stages of interviewing--designing, conducting, analyzing, and writing of qualitative interview research--are presented.

• Journal of the Korean association of regional geographers
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• v.11 no.2
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• pp.155-168
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• 2005

This study gropes for historical geographic approach to regional research in view of new regional geography. A geographical methodology in regional geography pursues the dialectics of concrete totalities. Regional researches think that social processes interact with the uniqueness of regional characteristics and that region is a historical unit which changes dynamically. Time in regional changes is understood in terms of a dialectics of continuity and break. Transition from feudalism to capitalism is the important period which is captured continuity and break simultaneously. Research objects in this research are money, market and city. Money symbolizes transition to capitalism, and market and city have the importance in transition from feudalism to capitalism In Korea, historical geographic approach to money, market and city both in the era of opening ports and in the Japanese colonial times in Korea are important objects in regional geography. Colonial urban research in view of money and market from the era of opening ports to the Japanese colonial times in Korea is a theme which includes a dialectic of concrete totalities in historical geographic approach in regional geography.

• Sijohaknonchong
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• v.21
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• pp.165-183
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• 2004

This paper aims to compare meaning of the seclusion which appeared in Samgukyusa with Kangho-Sijo. There is true meaning of seclusion so that a Bodhisattva implements a spirit. And in Samgukyusa, it has a dialectics logic. There is true meaning of seclusion in order to solve a trouble of a participation-retirement through the moral training. And in Kangho-Sijo, it has a plane-divided logic.

• Journal of architectural history
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• v.11 no.4 s.32
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• pp.99-115
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• 2002

Centered on Durand and Le Corbusier, this study analyses the changing status of the grid and axis in modern architecture. In the Renaissance, the taxis grid operated as a contour grid, defining the elements and space of the building as part of closed harmonized world. In his Pre'cis des lec., ons d'architecture, Durand provides the most explicit demonstration of a new modem grid in which its lines function as spatial and structural axes. In principle these axes are coordinates for the placements of a priori elements but in Beaux-Arts practice, as Durand himself acknowledged, they involve a simultaneous process in which the spatial axis sets up the basic parti and the structural axis is developed into the building's poche'. As a coordinate, Durand's grid provides a place for the 'subject' to enter the architectural process. At the same time, it is the object of the subject's gaze, the dense site of the subject's transformative actions. Though Le Corbusier is noted for his frequent attacks on the academic system, his architecture should be seen within the continuity of the classical tradition. He redefines the Beaux-Arts axis as a moving and seeing observer, and continues the discipline of the plan, the essential discipline of the Beaux-Arts system. In his dialectics, an intellectual scheme which extends to his commentators, the intention and will of the subject must come in tune with the objective material form of the building. Like Durand, Le Corbusier's axis provides the medium for the subject to enter. Unlike the Beaux-Arts system, however, Le Corbusier's mobile subject no longer has a holistic view of the building previously provided by the central axis. If there is a parti for Le Corbusier, it consists of the domino grid as a potential, but nonetheless, tangible form. In comparison with the Beaux-Arts structural grid, his gaze no longer lingers on their lines because they no longer constitute a formal process tied to the development of a thick articulated structure. Le Corbusier's grid constitutes a 'loose' form, one that breaks down the hierarchical nature of the Beaux-Arts system.