• Journal of architectural history
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• v.24 no.4
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• pp.45-54
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• 2015

This research aims at a critical discourse on the relation between the concepts of the uncanny and posthistoire, on the basis of descriptions in The Architectural Uncanny (1992) by Anthony Vidler. For the purpose, Histories of the Immediate Present (2008), another book by Vidler that discusses posthistoire philosophy to which he is not positive, is also investigated along with the former thesis; and various publications related to the themes by the influential writers such as Freud, Lyotard, Vattimo, and Habermas are referred to, too. Firstly, this paper will illustrate an essential understanding of the uncanny, an outgrowth of the sublime, and the history of posthistoire respectively; and then analyse contexts where the posthistoire was mentioned in The Architectural Uncanny. In the 'Introduction' and 'Losing Face' chapters of the book, this paper argues, the two concepts are connected by the notions of 'repetition' and 'losing the classical facade' as well as the uncanny as 'a metaphor for a fundamentally unlivable modern condition'. Though Vidler's recognition of posthistoire in the two chapters are differently interpreted, each as 'the emptiness of capitalism' and 'the decomposition of representation', both can be understood in terms of 'modernity' that is 'still open'. If modernity is 'an unfinished project' as maintained by Habermas, who Vidler relies on, we need to continue innovative experiments and internal investigations in architectural creation beyond the categories of modernism and postmodernism.

• Korean Journal of Cognitive Science
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• v.11 no.1
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• pp.81-92
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• 2000

Elliptical fragments are common in natural language dialogues between humans. Since most elliptical fragments should be interpeted within the context. it is not easy for computers to recognize the speaker's intention from the elliptical fragments. In t this paper we propose a model to recognize speaker's intention from elliptical fragments 1 in Korean by expanding the tripartite plan-based model proposed by Lambert. We add new discourse recipes to define user's discourse actions through elliptical fragments. In order to use plan inference process. we must represent utterances as actions. e. g .. r e elliptical fragments are represented as surface speech acts. In surface speech act representation. we include the information of 'Josa' (case markers in Korean), because t the information of 'Josa' plays a very important role in analysing speakers' intention in Korean. Finally. by using an object and discourse focus theory, the system can recognize the intention that a user is trying to compare between two plans by uttering elliptical fragments

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.2
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• pp.628-633
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• 2010

All the text of housing in 1910s was conveyed in three; hygiene general readings, home economics texts saying women's responsibility of cleaning house, and Japanese's observation and criticizing Korean housing. It stressed sanitary conditions of housing and criticised Korean housing dirty, of which contents and logic were same with the housing discourse in 1900s but much simpler and smaller in amount. It was mainly written by those in medical treatment field like doctors for enlightenment of private hygiene practice to Koreans. Because Choson Government-General(朝鮮總督府) excluded Korean residental areas from urban sanitation project, they remained dirty in 1910s. The practice of housing sanitation remained just as a matter of private sanitary practice. These political and discoursive conditions insinuated a sense that Korean dirty housing was representation of Korean's uncivilized customs and manners and a reason for being colonized. This sense made many Koreans to insist their housings' reforming to sanitary states just for civilization during colonized period.

• Journal of Fashion Business
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• v.24 no.1
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• pp.88-101
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• 2020

The music videos of BTS go beyond the limit of media promoting music and shows their meaning in various ways and complete the visual message of music through fashion style. BTS' fashion style in the music videos shows a change in symbolic representation of the genre of each album and song, of which gender images are changing aligned with the music messages of BTS. The purpose of this study was to derive gender images of fashion style in BTS music videos and to interpret their meaning based on Judith Butler's theory that performativity creates discourse through iterative process. It is conducted as a research method, an analytical study was conducted in parallel with literature studies and empirical case analysis. The scope of the study was limited to 301 costumes that appeared in 21 official music videos from debut single album '2Cool 4 Skool' released in 2013 to the mini album 'Map of the Soul: Persona' released in 2019. As a result of the analysis, the controversial fashion style, challenging fashion style, boyish fashion style, hybrid fashion style, the playful fashion style were revealed. The conclusion of studying the gender image of BTS, interpreted by this analysis using Judith Butler's theory, is as follows. The gender image of BTS is the traditional image that identifies with the dominant gender discourse, the resistive gender image that intentionally distances mainstream culture, the eclectic image parodying the gender of the opposing term, and the deconstructive image that transcends the dominant gender discourse.

• English & American cultural studies
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• v.17 no.2
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• pp.29-61
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• 2017

Said's Orientalism criticized the European representations on the Middle-East by theorizing orientalism as a discourse. In this text, he explored and criticized the colonial forms of knowledge and language that distorted the image of the colonized. The justification of the discourse of orientalism is derived from the binary system that is originated from Plato which Derrida rejects on the ground that it always privileges one term over the other, that is, colonizer over colonized. Derrida names for this traditional heritage of Western binary system logocentrism which regards logos(the Greek term for speech or reason) as the central principle of language and philosophy, whereas mythos derives its meaning from the logos on the basis of binary oppositions. Thus according to logocentrism, the colonized is merely the defined who can have its meaning from the definers, colonizers. In this paper, utilizing Derrida's a (non)concept called supplement which means both to add on as a surplus and to make up something missing as a mere extra, I propose another alternative interpretation towards the critique of colonial representation by raising internal contradictions in the Platonic dichotomy between logos and mythos embedded in western colonialism discourse, orientalism. I attempt to show that logos(colonizer) and mythos(colonized) is inseparable in itself due to the fact that they exist as supplementary. For this purpose, I demonstrate how colonial binary system constituted and was constituted in terms of language. Through this paper I reinterpret the colonial rationality of privileging 'logos' over 'mythos' by substituting the colonial binary system with the supplement.

• The Journal of Art Theory & Practice
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• no.3
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• pp.135-154
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• 2005

In the late decade of 1930, under the Japanese Imperialism, the Korean abstract art which was formed with affection by Japan and Europe. They say the early Korean abstract art is colonized, from a point that it derives from exterior impact. And they say also it is colonized not to be related to the representation of their own life world. On the other hand, the early Korean abstract art in 1930s is told as the prehistory of 'Korean Modernism in Art', which flourished in 1970s followed 'Informal Art Movement' in the late 1950s. Because the status of abstract art in 1930s was not more than a germ of 'Korean Modernism in Art', while they understand until 1950s as a period dominated by representational art based on Chosun Exhibition or Korean National Exhibition, the period until 1970s as a period ruled by abstract art which was accepted as 'Korean Modernism in Art', and the period after 1980s as a period by Min-jung Art and Post-Modernism Art. However, the historical value of Korean Abstract Art in 1930s cannot be passed over, if not trying to understand the development of 'Korean Modernism in Art' especially focusing on not their own history but the impact of Western and Japanese art. In the late colonial period, the Korean early abstract art was the strongest utterance of the time paradoxically, even if not related much to optical representation of the Korean subjectivity. Therefore the existing viewpoints about the early Korean abstract art should be changed.

• Architectural research
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• v.9 no.2
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• pp.19-25
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• 2007

The changes of prison facilities in the age of Enlightenment and Industrial Revolution, implies viewpoints architectural space as a representation of power. The aim of the study is to examine the structuralistic approach based on two authors of Michel Foucault and Robin Evans. Both texts are summarized and analyzed to make comparison. While Foucault concentrates upon the ideas relating to punishment which preceded and led to the prison being adopted, Evans regards the reality of punishment as it was executed in its architectural context. The study compares the fundamental difference between the two texts; the approach that each author takes with regard to the central issue of the history of penality. These two different interpretations dictate the framework of each discourse and has resulted a number of different notions of ideas. By comparing divergence and convergence of the texts, the study analyzes each author's methodology, theoretical position and notions of prison. Keywords are also extracted to articulate the study and each author's arguments as well.

• Annual Conference on Human and Language Technology
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• 2001.10d
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• pp.457-461
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• 2001

본 논문은 동사의 의미표상과 명사의 한정성의 강호관계를 중심으로 목적어의 생략현상을 검토하였다. 한국어는 영어 같은 언어와 달리 주어, 목적어 등이 자주 생략된다. 이 연구는 한국어의 목적어 생략이 단순히 인간성 (humanness), 주체성 (agency), 한정성(definiteness) 등 명사의 의미자질에 의해서만 결정되는 것이 아니라, 다음 두 가지 제약이 결정적으로 작용함을 제안하고자 한다. 첫째, 목적어 생략은 행동양상 (mold of agent act)과 원인 (cause)을 심층적으로 포함하는 소위 '핵심 타동사 (core transitive)'와 선행사의 한정성 정도에 의해 결정되는데, 구체적으로 목적어 생략은 한정성 자질을 가진 선행사가 없는 담화에서는 허용되지 않는다는 제약이다. 둘째, 타동사와 명사의 한정성과는 독립적으로, 한국어의 목적어 생략은 또한, 추론에 의거하여 보다 더 적절히 해석될 수 있는 경우를 실증적으로 보이고자 한다.

• Language and Information
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• v.5 no.2
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• pp.9-20
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• 2001

Barker (1997) has argued that all the three approaches to anaphora, namely, E-type theories, Discourse Representation Theory, and Dynamic Semantics, are faced with the so-called 'double-bind' problem in the quantifier/variable-binding model of anaphora. Recently, in the same journal, Slater (2000) has claimed that the so-called epsilon account (Slater 1991, 1993, 1994, 1997) handles the problem without any difficulty. However, it will be proposed in this paper that the epsilon account has its own problems in handling the quantifier/variable-binding, and that as argued in Yoon (1998), the so-called‘conjunctive paraphrase’account is the correct solution to the problem, which is intuitively supported as well.

• Language and Information
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• v.16 no.2
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• pp.17-42
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• 2012

The issues of compositionality, materialized ever since Frege (1982), are critically re-examined in language first mainly and then in all other possible representational systems such as thoughts, concept combination, computing, gesture, music, and animal cognition. The notion is regarded as necessary and suggested as neurologically correlated in humans, even if a weakened version is applicable because of non-articulated constituents and contextuality. Compositionality is crucially involved in all linguistically or non-linguistically meaningful expressions, dealing with at-issue content, default content, and even not-at-issue meanings such as implicatures and presuppositions in discourse. It is a constantly guiding principle to show the relation between representation and mind, still posing tantalizing research issues.