• Korean Journal of Logic
• /
• v.18 no.1
• /
• pp.1-39
• /
• 2015

Are properties and relations objects in the Tractatus Logico-Philosophicus? In this paper I will discuss essentially important problems concerning that question. That is, I will try to show that in a sense the concept of objects of the Tractatus is closely intertwined with that of Frege, and moreover the former was suggested to overcome Frege's predicament concerning the concept of objects. In the process of our discussions, it must be kept in mind that these discussions have no relations with metaphysical disputes, but proceed only from a logical point view. Futhermore it is Ramsey that made a most decisive contribution on these problems. In this paper I will try to show that in the Tractatus, properties and relations are objects via the discussions of Ramsey who was under the direct influences of Wittgenstein.

• Journal of architectural history
• /
• v.11 no.4 s.32
• /
• pp.7-19
• /
• 2002

If we compare socio-cultural aspects of the two historical periods known as 'pre-modern' 'modern,' it would seem that the Aristotelian understanding of technology has difficulty explaining techno-cultural phenomenon of modern society. The problems are first that the discourse of scientific technology in the modern period has proceeded without a metaphysical base, and second that nothing in present culture regulates the limitations of scientific technology. The clear distinction between means and ends in the traditional approach is no longer valid in the jumble of interrelationships. Such complexity forces us to acknowledge that means and ends are relative and interchangeable, and that neither has a clear moral superiority over the other. Technology in modern society is no more a neutral means. The products of science do not always exist to serve human ends. In modem architecture and urban design, both its productive and destructive tendencies leave man and his society in an endless confusion of complexity and opposition. These problems of technology still result in unsolved question today. On this point, the discussion another currently prevalent attitude to technology, especially Heideggerian thinking in the below could give a somewhat clearer answer to the problem of modem architecture and technology, although it also comprises limited contemplation in itself.

• Journal of the Korean Society of Costume
• /
• v.59 no.1
• /
• pp.29-46
• /
• 2009

Aiming at finding symbolistic meanings and characteristics of makeup in Chinese Beijing Opera("BO"), this study formulated a theoretical framework mainly from literature in the Symbolism and symbolistically analyzed materials related to BO makeup from literature, internet web pages and illustrated news concerning performing arts. Main objects to analyze are the characteristics of four main roles in BO and the patterns, symbols, ornaments and traditions of Beijing Opera facial makeup("BOFM"). Four main roles are Sheng, Tan, Ching and Chou, categorized by gender, age, social position and personality. The result to analyze symbolistic meanings and characteristics of makeups for the roles in BO are as follows: the patterns and colors of BOFM function as explanations to help audiences understand each role's personality and dramatic situations as well as provide hints about the development and ending of an opera: that is, BO makeup is a communicative intermediary between audiences and actors in BO. It tends to follow the stereotypes, which conventionally dress and exaggerate the characters of roles, and copy the traditional Chinese perception about colors. Thus, by the metaphysical and typical expression of BOFM, Chinese people have not been pursuing the realism in opera but applying BO makeup to a mutual communication method between audiences and performing artists as to share their collective cultural heritages and spirits. Threfore, BO makeup has been an interacting language between the two entities and grown within the history of BO as a beauty art to highlight a BO by its unique systems, ornaments and beauty.

• Korean Institute of Interior Design Journal
• /
• v.18 no.4
• /
• pp.88-96
• /
• 2009

Contemporary hotels adopt distinctive designs in order to symbolize themes of various spaces they consist of. This phenomenon shows that the importance of spiritual values reflected through themes of spaces is emphasized as much as those of basic functions and structures of hotels. Above all, a variety of expression methods pervading throughout spaces of guest rooms consist of thematic spaces, visualization of emotions, as well as mixture of artistic genres, ones that are originated from unconsciousness of symbolic theory of C.G. Jung and widely perceived as variations of archetype. Meanings of symbolic expressions derived from the analysis of various hotels can be defined by attributes of local cultures as well as propensities of mythicism, which feature local pride enlightened by natural environments, the spirit of the times, historical events and other transcendental and fantastic topics. These symbolic expressions are metaphysical forms that are made unconsciously and such symbols are far beyond mere historical and cultural signs which require us profound and mature methods to approach. It is pleasing to know that we are living in the modern society in which progresses are being made to better understand minds and metal states of human beings. Given such a circumstantial advantage, researches on meanings of symbolic expressions should not be limited to only those of hotel designs, but also those of religious architectures and museums in which spiritual values are emphasized throughout designs of the spaces they consist of.

• School Mathematics
• /
• v.7 no.4
• /
• pp.375-389
• /
• 2005

Whitehead proposed that the education proceed through the rhythmic cycle on the basis of his metaphysical philosophy and educational philosophy. 'The Rhythm of Education' means that the intellectual levels of learners are elevated through the rhythmic cycles of stages of romance, precision, and generalization over and over again. As a result of these cyclic repetitions, the learners become truly free of inner prejudice. This study is to seek a method to apply Whitehead's proposition to mathematics education. I devise the curriculum constructing methods to experience Whitehead's three stages meaningfully, the teaching methods interplaying freedom and discipline rhythmically, and the teaching examples which adopt all these.

• Korean Journal of Logic
• /
• v.21 no.2
• /
• pp.175-207
• /
• 2018

Since Kit Fine's influential paper, Essence and Modality (1994), many philosophers have doubted the prospects of modalism, according to which we can analyze the concept of essence with that of de re modality. However, some philosophers have tried to save modalism against Fine's counterexamples seriously. In this paper, we examine two such attempts which appeal to some kind of 'impossible possibilities.' We argue that such attempts have strong tendency to end in either a metaphysical picture which is very similar to Fine's or a concept of essence which is quite different from Fine's. For this reason, we claim that Fine has no reason to worry about such attempts.

• Korean Institute of Interior Design Journal
• /
• v.23 no.4
• /
• pp.149-156
• /
• 2014

In the Russian 'spirituality' which played an important role in realization of 'abstraction' in modern arts, the three elements of Universalism - Oriental thoughts, Universal ideas, and Froebelian influence - can be found with no difficulty. More notable is the fact that, along with theosophy, the emergence of modern existential thoughts such as Bergson, Schopenhauer, Nietzsche is a new search and a new recognition of nature and human as views of panentheism and humanism, essentially of Humane and Divine. Therefore, it goes without saying that the thoughts constituting the Suprematism or Constructivism in Russia are, in a word, implicit in the existential humanistic ideas of Panpneumatism or Panentheism that is explained as the nature of Russian religious ideas. Furthermore, which is not only Suprematist's metaphysical principle but also the expression of universal thoughts; interestingly, which is closely akin to several Oriental mystic ideas including Taoist thoughts, as well as the contents of Universalism including mystic Christianity, by extension, which ideas and principles have a remarkable resemblance with thoughts and principles of Froebel.

• Korean Institute of Interior Design Journal
• /
• v.17 no.4
• /
• pp.42-49
• /
• 2008

Design concepts of light can be divided into two respects, visual plastic and metaphysical meaning. The current research focuses on the second respect. The meaning of light is abstract characteristics(for example, divinity, spirituality, or image) ultimately expressed by visual plastic. Because it makes architectural space abundant, it have been expressed frequently in architectural space until now. The purpose of this paper is to conceptualize and explain and arrange the meanings of light in the category that have been expressed in architectural space from ancient to current. The method of this study is content analysis and case study, and this is supplement by theoretical consideration on the meaning of light(relationship between perception and meaning, elements to form meaning etc.). This study consists of three steps. Firstly, through the content analysis of existing literature and documents, 17 meanings of light are confirmed. Secondly, these 17 meanings are defined and explained in 3 categories(symbolic, esthetic, and experiential character). Thirdly, they are additionally explained and articulated by case study. In the result, various meanings of light that have been fragmentarily expressed in architectural space until now is clearly arranged at a glance. Those suggested design concepts will be basic conferential material, available to the interior designers and students who want to utilize the organised study concepts.

• Korean Institute of Interior Design Journal
• /
• v.18 no.1
• /
• pp.27-34
• /
• 2009

Architect Bernard Tschumi had explored a new architectural conception through his own notional devices such as space, event and movement during 1970s. But, among these notions, the concept of movement was ambiguous and difficult to adopt it for architectural design strategy. Because the movements in everyday's behaviour or in dancing art are significantly different from architectural thought. However he had succeeded in coining the creative notion of movement as almost real body's and of living flesh. He invented an acute methodology and bold interpretation for his early experimental works. So, this paper tried to understand and analyse his concept of movement focused on his early works. The results of this paper's discussion are as follows; First, Tschumi's movement concept Is dynamic one operated by desire and can violate space in physical level as well as metaphysical level. Next, the movement performs the role of generator which deforms space or even generate it. Third, his movement can be readable only when you go down and bring it in practice. Also it Is unblocked potentiality, undetermined sequential material and unfinished practice. Fourth, when Tschumi's movement could be thought as walking, this walking movement makes up a story through rhetorical speech acts that are presented by turns and detours.

• The Journal of Korean Medicine
• /
• v.43 no.1
• /
• pp.42-59
• /
• 2022

Objectives: This study was done to establish the anatomical meaning of the term 'Geun(筋)'. Methods: Through analysis of 《HwangJeNaeGyeong(黃帝內經)》, the meaning of 'Geun(筋)', 'GeunMag(筋膜)', 'Yug(肉)', and 'Gi(肌)' were established. Based on analysis, the anatomical meaning of the 'Meridian-muscle(經筋)' was studied by comparing it with anatomy. Results & Conclusions: 'Gyeong(經)' is recognized as a metaphysical expression and "Geun(筋)" means myofascia in anatomy. The concept of 'Geun(筋)' includes the epimysium and perimysium, as well as tendons and ligaments, which are extensions of these. 'Fascia', refers to the fascia of the whole body, and also appertain to 'Geun(筋)'. 'Yug(肉)' means endomysium, muscle fiber, and adipose tissue and layer. The word 'GeunMag(筋膜)' used in the 《HwangJeNaeGyeong(黃帝內經)》 means anatomically a 'tendon'. Therefore, 'Muscle' should be translated as 'GeunYug(筋肉)' in Traditional medicine. 'Meridian-muscle(經筋)' can be defined as the longitudinal muscle and fascia system, which is the basis of whole body encompassing dynamics.