• English & American cultural studies
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• v.10 no.2
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• pp.149-207
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• 2010

Written simultaneously with Prometheus Unbound, Shelley's "Julian & Maddalo" is a masterwork of dramatic poiesis, of doubling embedded in its couplets, dialogic debate on human nature and contrasted symbolic emblems. The emblems mirror each other and are themselves sites of generative paradox: the "heaven illumined" but "dreary tower" of the Maniac and the glorious sunsets on the "ever-shifting sand" of the Lido, a wasteland that is a place of self discovery but also of "abandonment" and barren mingling figured, inter alia, in its "amphibious weeds," a trope of the poem's personae. This essay also explores the poem's dramatic structure and various rhetorical devices, beginning with the Preface, a threshold of complex identity disguise that Shelley uses for veiled self-presentation, as in "Alastor," mirroring and literary references replete with nuanced ironies. I focus mainly on the complex figures of liminality Shelley uses to develop his own thoughts (as well as his ongoing debates with Byron) about man's potential for growth in thought, insight and empathy, in political reform and interpersonal and individual healing. Advancing Shelley's most optimistic ideas, Julian, escorted by Maddalo observes the Maniac, -- a living ruin whose pained eloquence reveals the link of eros to poiesis and the limits of the latter's ability to 'transform a world.' The Maniac is the core of muse-work (remembering, thinking and song) and Shelley presents him as its emblem. He also is prefigured in and reflects the quintessentially liminal Lido with its "barren embrace" of sea and land. Yet it is less the Maniac's feeling that his grief is "charactered in vain…on this unfeeling leaf" than Julian's rationales for leaving the site of pain that point to Shelley's final comment on poetry's transformative limits. As the primary haploids of the drama's meiosis re-combine and two of them, Maddalo and the maniac fall away, an analogy I briefly develop and embedded in the erotic dynamics of poiesis, Shelley suggests, as he did at the beginning of his poetic lyricism in "Alastor" and at its end in "the Triumph of Life"that images mislead and delude; that "the deep truth is imageless" and redemption is not in but beyond figuration.

• Journal of Korean Philosophical Society
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• v.116
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• pp.371-387
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• 2010

On the one hand Aristotle seems to insist that practical acts are intrinsically good. On the other hand his doctrine of certain connected concepts is such that as a consequence practical acts must be considered good due to their being means to eudaimonia. This Aristotelian dilemma challenged by commenters. Cooper bases his attack on a consideration of Aristotle's account of deliberations. Deliberation is not just concerned with means in a strictly causal sense, but with things that contribute to the end. And these may also be constituent parts of complex ends or particular things that a given end may be seen to consist in. The difference between energeia and kinesis implies the distinction between praxis and poiesis. In kinesis such as 'building a house' and 'trying to save a child from drowning' we cannot sever, logically, 'the act' from the intended act-result, since no act will be left once that logical operation has been performed. The definition of poiesis relies on the possibility of such severance. But the fact that an act is kinesis has no implications whatever for the question whether it is a praxis or poiesis.

• The Journal of Art Theory & Practice
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• no.1
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• pp.7-22
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• 2003

What is 'Art Theory'? In the western sense, the term poses a vague ambiguity, and in the eastern, it is rather an abstract and metaphysical concept. As for etymology, theory is derived from theoria and theoria from theoros. It refers to an act of viewing or seeing, of course not in a metaphysical sense. Plato understood it as 'eide'. During the time of Plotinus, theoria encompassed gazing at every possible reality, and this gazing, that is theoria, is closely related to reality as aunit that theoriacan perceive. However, we tend to distinguish, as other scientists of dualism have done, studio art from theory since a pre-modern approach to art has been particularly tuned to studio practice, set apart from theory. Therefore, in studio classes, students are expected to learn the subject based on the foundational curriculum methods such as medium, genre, technique:, rather than bringing out their own interpretations and discussing theories. As a result, students have become artists, who are not able to understand their own art. Art professors who conduct class in studio are required to proceed with specific 'theories' as well as 'intellectual reflections'. In this respect, this thesis presents poiesis and an idea of 'acting out'. Although art history and aesthetic theory tend to view art as a finished product, actual art-making and related theories should not only be acknowledged as 'completion' (finition) but also be accompanied by theoretic interpretations of the act itself and process. Accordingly, it is to accept and appreciate art as finished result in view of current theory and aesthetics thus boils down to aisthesis. Likewise, poietics starts from a point where an artist is related to studio and examines the 'work process' that extends as far as to the exact end of work. Through the study of such relationship, it is possible that theory understands 'studio' and 'process', and an artist can grant an independent meaning to studio where s/he pours her/his heart out creating a work of art. Theory is a study on artistic discovery thus should be equipped with functions that can accommodate fortuity, imitation, thinking, culture, and surrounding.

• (The)Korea Educational Review
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• v.22 no.3
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• pp.67-87
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• 2016

The paper has tried to analyze the sense of 'meta-praxis' in the educational discourse. Against the dichotomy of theory vs practice, the senses of practice and 'meta-praxis' can be hold under the Greek conception of human activities such as theoria, poiesis and praxis. We can establish the meaning of meta-praxis contrasted with one of metaphysics, not with one of meta-theory. Some significant points included in the concept then have been minutely examined so as to lead us to get the recursive structure and practicability. The Buddhist notion such as 'Well-Rounded Discretion' and the linguistic one such as 'Grand Father' throw light on the educational practice and discourse. These are ones that we never fail to recognize in terms of 'meta-praxis'.

• Journal of architectural history
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• v.31 no.1
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• pp.77-88
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• 2022

Architecture had played a significant role model in philosophy because the construction of building represented doing philosophy. 'Architecture as metaphor' made it possible that doing philosophy was a kind of construction of thinking and western philosopher considered himself as an architect of idea. As a system of system, architectural analogy gave philosophy a chance to insist himself as a theory of theory. So architecture had always been a privileged model of discourse system and also a fundamental metaphor in philosophy. Because of its original meaning, Architecture as techne could be considered as poiesis, that was the special building(making) in western culture. The archi(arche) - structure(techne) was a ideal model and mechanism of philosophy because with this analogy doing philosophy became a kind of building act to make a logical system of idea. This kind of tradition in philosophy, especially metaphysics, made the characteristics of western philosophy 'architectonic' that implied the meaning of the rational, stable, hierarchical and holistic. But this kind of tradition exposed the problem of philosophy that focused on Identity and excluded the others. The logocentrism of western philosophy was also the limitation of architectonic thinking and its reductionism became a grand monologue which only allowed systematic, rational discourse. Its ideological position Inevitably caused the anti-architectural thinking in modern age as a diverse form of new trend of thinking as like postmodernism or deconstruction. Even Deconstructivism, or 'informe', non-representation in architecture depends upon anti-architectural thinking. Relationship between architecture as metaphor and the building of philosophy is problematique issue.

• Korean Journal of Cognitive Science
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• v.25 no.4
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• pp.343-384
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• 2014

In order to unravel the problems of the mind, today's cognitive science has expanded its perspective from the narrow framework of the past computer model or neuronal network model to the wider frameworks of interaction with the brain in interaction with the body in interaction with their environments. The theories of 'the extended mind', 'embodied mind', or 'enactive mind' appeared through such processes are working on a way to move into the environments while the problem to unravel the complex process of interactions between the mind, the body and the environments are left alone. This problem can be traced back as far as to Gibson and Maturana & Varela who tried at first to unravel the problem of the mind in terms of interaction between the brain, the body and there environments in 1960~70s. It's because Gibson stressed the importance of the 'affordance' provided by the environment while Maturana & Varela emphasized the 'autonomy' of auto-poiesis of life. However, it will be proper to say that there are invariants in the affordances provided by the environment as well as the autonomy of life in the state of structural coupling of the environment's variants and life's openness toward the environment. In this case, the confrontational points between Gibson and Maturana & Varela will be resolved. In this article, I propose Benjamin's theory of mimesis as a mediator of both theories. Because Benjamin's concept of mimesis has the process of making a constellation of the embodiment of the affordance and the enaction of new affordance into the environment at the same time, Gibson's concept of the affordance and Maturana & Varela's concept of embodiment and enaction will be so smoothly interconnected to circulate through the medium of Benjamin's concept of mimesis.

• Journal of Korean Home Economics Education Association
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• v.19 no.2
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• pp.13-34
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• 2007

This study approached the concept of practical or praxis in Family and Consumer Science based on the review of the concept of phronesis in Aristotle's Nicomachean Ethics. Aristotle divided human soul into rational part and irrational part. A virtue related with rational part is intellectual virtue and a virtue related with irrational part is moral virtue. Rational part is divided into calculative part and scientific part. Phronesis is one of an intellectual virtue in calculative part of soul. Aristotle defines phronesis as a state of soul that issues in praxis. Phronesis in narrow sense is a virtue which leads to praxis and it is differ from either sophia or techne. Phronesis in broad sense it includes both praxis and poiesis. Phronesis is closely related with moral virtue. Because moral virtues are habits according to right reason, hence right reasons should be considered, and this is intellectual virtue. It is called for attention that what the concept of practical or praxis in Family and Consumer Science Education should be for the determination of the relation with Practical Arts and Technology. This study proposed a tentative conceptualization of praxis and phronimos in context of Family and Consumer Science Education.clothing planning and the most categories(83.3%) had connections of repetitions. In the clothing material section, categories evaluated as gaps and developments were 55.6% and 44.4%. The clothing construction.