• Journal of architectural history
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• v.14 no.4 s.44
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• pp.117-135
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• 2005

This paper is a study of the possibility of experience and expression in the architecture of Louis I. Kahn by focusing on the characters of entrance, court and window/wall of his public buildings. In the course of composition, Kahn defined the entrance, court and window/wall as an connecting elements and elements of boundary. The characters revealed by these elements or rooms give the clue to insight Kahn's thought of relation of interior and exterior space or inner and outer space. Following are the characters of these elements. First, a entrance reveals the fact that inner space separates from outer space by connecting these two space and giving the value to inner space as the entity and totality like outer space. The entrance gives its ontological being to human subjects not by vision but experience and expression which is the essence of commonness, that is, Silence. Kahn made the possibility of activity amplify in this common and silent space. Second, this entrance is connected with wide and huge central space not individual spaces of interior space. This extreme procedure of entering makes human subject feel sublime of intoner space. And the central spaces becomes another exterior or another world in the inner world of architecture by the lights from above and by having the boundary wall which shows same pattern of exterior wall. Third, Kahn regarded a window as the giver of lights not as the medium of vision connecting inner space with outer. He tried to connect interior with exterior through the being and character of the light expressed in the interior. And in his buildings, interior space is connected with exterior by expressing the purpose of building, composition of inner space, structural truth and construction facts through the Form, a pattern of wall, details and ornamental joints. By practicing this thoughts in the real buildings, Kahn tried to gave aura to both the interior space and entity of architecture which is regarded as micro universe like flowers, rocks and human beings.

• Journal of Korean Philosophical Society
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• v.105
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• pp.401-421
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• 2008

The purpose of this paper is to examine the achieved role of Kant philosophy in restructuring Deleuze philosophy from either a positive or effective perspectives. On top of this foundation, I will demonstrate the major part largely unknown in a composing structural elements of Deleuze philosophy as follows: 1. I will draw a bird's-eye view of the triad of Bergson, Nietsche, and Spinoza regarding Deleuze philosophy. Especially I will spare time in analyzing Deleuze's late works like and then demonstrate the structure of Deleuze movie philosophy. 2. The line of Kant's position in that circumstance will be clarified as well. 3. Through that, the meaning of Kantian attempt and its effect will be examined. Finally the connecting Kant with various levels of Deleuze's Copernicusian revolutions based on will certainly bring about a meaningful fruitification.

• Journal of the Korean Institute of Rural Architecture
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• v.25 no.2
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• pp.43-50
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• 2023

This study is an architectural and landscaping analysis view to rural landscape paintings painted by Vincent van Gogh in the late 19th century. The purpose of this research is to discover the expressive techniques of Western art that Van Gogh's landscape paintings have, and to understand the characteristics of the architectural object in his landscape paintings from February 1888 to April 1889 in Arles, southern France. The method of this study is to analyze the landscape paintings of Van Gogh painted during 15 months in Arles. Among the total paintings in Arles, 47% of the paintings he made were landscapes. The following conclusions have three views. First, Vincent van Gogh was born into a Protestant family in the Netherlands and become an artist in his late twenties. While living in Arles, he painted prolific landscapes. Farming, farmers, and rural area related to normal living are the main subjects of paintings. It can be seen as showing the view that everyday life is sublime and should be included as a unitary value. Second, Gogh's rural landscape paintings were painted with linear and aerial perspective with other the expressive techniques, and plane painting structure that leads to two dimension. Third, from an architectural point of view, Van Gogh's paintings depicted simple vernacular architecture such as traditional rural house, mas, thatched houses, and mills in southern France. This means the normal value of the rural landscape through the eyes of the painter.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.2
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• pp.37-51
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• 2016

Modern optical mechanisms slanted toward Ocular-centrism have neglected diverse functions of vision, judged objects in abstract and binary perspectives, and organized spaces accordingly, there by neglecting the function of eyes groping objects. Recently, various experiences have been induced through communication with other senses by the complex perception beyond the binary perception system of vision. Haptic perception is dynamic vision that induces accompanying bodily experiences through interaction among the various senses; it recognizes the characteristics of material properties and various sensitive stimulations of human beings. This study elaborates on the major features of haptic perception by examining the theoretical background of this concept, which stimulates the active experience of the subject and determines how characteristics of haptic perception are displayed in picturesque gardens. In order to identify the major features of haptic perception, this study examines how Adolf Hildebrand's theory of vision is developed, expanded, and reinterpreted by Alois Riegl, Wilhelm Worringer, Walter Benjamin, Maurice Merleau Ponty, and Gilles Deleuze in the histories of philosophy and aesthetics. Based thereon, the core differences in haptic perception models and visual perception models are analyzed, and the features of haptic perception are identified. Then, classical gardens are set for visual perception and picturesque gardens are set for haptic perception so that the features from haptic perception identified previously are projected onto the picturesque gardens. The research results drawn from this study regarding features of haptic perception presented in picturesque gardens are as follows. The core differences of haptic perception in contrast to visual perception can be summarized as ambiguity and obscureness of boundaries, generation of dynamic perspectives, induction of motility by indefinite circulation, and strangeness and sublime beauty by the impossibility of perception. In picturesque gardens, the ambiguity and obscureness of boundaries are presented in the irregularity and asymmetric elements of planes and the rejection of a single view, and the generation of dynamic perspectives results from the adoption of narrative structure and overlapping of spaces through the creation of complete views, medium range views, and distant views, which the existing gardens lack. Thus, the scene composition technique is reproduced. The induction of motility by indefinite circulation is created by branching circulation, and strangeness and sublime beauty are presented through the use of various elements and the adoption of 'roughness', 'irregularity', and 'ruins' in the gardens.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.2 s.115
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• pp.80-98
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• 2006

This study originated from following questions. What can we understand the conception of deconstruction, which has been the core idea of new discourses developed in various ways since modernism? How can this question be interpreted in landscape design? What is the conceptional frame of integration the prominent hybrid post-genre movements and phenomena? The frame can be epitomized with the deconstruction phenomenon. 'Deconstruction' is the core conception appeared in late or post-modern ages in the embodiment of modernity and can be viewed as an integrating or a hybrid phenomenon between areas or genres in formative arts. Therefore, the author regards the hybrid movements widely witnessed in the post contemporary formative arts as one of the most important indicators of de-constructive signs. It is safe to say that the phenomenon of this integration or hybridism, of course, does not threaten the identity of landscape design but serves as an opportunity to extend the areas of landscape design. One of the consequences of this integration or hybridism is the voluntary participation of users who have been alienated in the production of the meanings of design works and hybrid landscape design with the hybridization of genres that is characterized with transformation in forms. This view is based on the distinction between hybridization of interactions between the designer (the subject) and the user (the object), and hybridization of synesthesia. Generally speaking, this is an act of destroying boundaries of the daily life and arts. At the same time, it corresponds to vanishing of modern aesthetics and emerging of post-contemporary aesthetics which is a new aesthetic category like sublimeness. This types of landscape design tries to restore humans' sensibility and perceptions restrained by rationality and recognition in previous approach and to express non-materialistic characteristics with precaution against excessive materialism in the modern era. In light of these backgrounds, the study aims to suggest the hybrid concept and to explorer a new landscape design approach with this concept, in order to change the design structure from 'completed' or 'closed' toward 'opened' and to understand the characteristics of interactions between users and designs. This new approach is expected to create an open-space integrating complexity and dynamics of users. At the same time, it emphasizes senses of user' body with synesthesia and non-determination. The focus is placed on user participation and sublimity rather than on aesthetic beauty, which kind of experience is called simulacre. By attaching importance to user participation, the work got free from the material characteristics, and acceptance from the old practice of simple perception and contemplation. The boundaries between the subject and object and the beautiful and ordinary, from the perspective of this approach, are vanished. Now everything ordinary can become an artistic work. Western dichotomy and discrimination is not effective any more. And there is 'de-construction' where there is perfect equality between ordinary daily life and beautiful arts. Thus today's landscape design pays attention to the user and uses newly perceived sensitivity by pursing obscure and unfamiliar things rather than aesthetic beauty. Space is accordingly defined to take place accidentally as happening and event, not as volume of shape. It's the true way to express spatiality of landscape design. That's an attempt to reject conventional concepts about forms and space, which served as the basis for landscape design, and to search for new things.

• The Journal of the Korea Contents Association
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• v.18 no.3
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• pp.361-368
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• 2018

This study analyzes movie by individualiztion theory of JUNG. It is about the mother and the boy who killed the family and a lot of people based on the original novel of the same name. Movies based on maternal love express the maternal sublime devoted to their children, or act as a genre film that introduces maternity even against social myth or ethics. It expresses the desire of a woman to clash with maternity and raises questions about maternal ideology.The maternal ideology was a modern product had fixed sex role in industrialized societies.As a resukt, maternal love is identified with femininity unlike paternal love. Women are emphasized to be responsible for raising safe social members beyond individual responsibility. The movie develop story about crime that occurred in motherson relationship which lacks attachment formation in fostering process. This is not a recuurence of the maternal ideology of mother who miscarried child because she lacked motherhood. Mother Eva projected a conflict that is between maternal ideology and her desire on motheson relationship.Son Kevin also experiences a projection that influenced his persona through his mother. In this paper, I analyze through JUNG's individualization theory that The characters face their projected ego and realize self-fulfillment by searching of their own life goal out of external role or ideal.

• Korean journal of communication and information
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• v.31
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• pp.85-111
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• 2005

This paper aims at dealing with the communication of Korean gong sound. It is based on 'music-spirit theory' of Han-Gi Choi and Mead's 'symbolic interactionism', and does this by interpreting the message of gong sound that is mentioned in Korean literature. The gong sound brings out the message of symbolizing evaporation of Korean people's joy and regrettable matters in the playing yard by regulating of breathing according to the steps. By the novel "Gong Sound" of Sun-Tae Moon Korean gong sound has a message of people's joy, anger, avarice, anxiety and sorrow. In Jeong-Rae Jo's novel "Arirang" the Korean Gong Sound includes a message of evaporation of people's regret and raises the national spirit during the Japanese Imperialism. By Jeong-Ja Yoo's collection of poems, "The sound of flower breathing carried by gong sound", the Korean gong sound carries a message of a roar of spirit and breathing of the spring flower. In conclusion, the Korean gong sound is a sublime sound of sky which carries the message of symbolizing evaporation of people's joy and regrettable matters through the sound communication in the open space, and awakes us to a method of breathing with sky.

• The Journal of Art Theory & Practice
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• no.14
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• pp.33-51
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• 2012

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner's painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner's painting depicted the actual sinking in 1805 of the East India Company's ship 'The Earl of Abergavenny' off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner's painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner's painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner's Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner's painting was inspired by the re-publication in 1804 of William Falconer's enormously successful epic poem of the same title. Thus, in the final analysis, Turner's painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.

• (The)Study of the Eastern Classic
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• no.62
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• pp.209-229
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• 2016

This thesis is to discover the meanings of boundary through East Asian thought so as to make rooms for discoursing on it. First of all people have their own boundaries of 'Me', and they make others as persons or objects in their thoughts. Originally boundary has represented nation's frontier, and it indicated the worlds of space in Buddhism of East Asian culture. It is represented by loka or visaya in Sanskrit and region, dominion, boundary, border in English, which means the worlds that people would fancy in their minds over domains of politics, societies, culture, arts ect, not to be simple. Accordingly we must not approach to its meaning simply like 'beyond border'. There are many boundaries, which are similar to the sublime, for us to arrive in our lives. Spiritually there are also many boundaries(regions) that are made by our desires, wills and concepts. In a while there are limit or problem in our recognizing things, for example, of human's five senses that would be, to an extent connected with Buddhistic understanding of boundaries. Boundaries resulted from partiality in understanding of objects must be got rid of eventually. In regard of these matters, this thesis discusses the meanings of boundary, those that are inevitably made by human's consciousness, and negative ones to be got over from recognition systems of person or any groups.

• Cross-Cultural Studies
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• v.47
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• pp.77-100
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• 2017

Memoirs of Hadrian is a representative historical novel of Yourcenar which focuses on the personal history of the Emperor Hadrian of Rome and on his inner side. This study focuses on the love story of Hadrian and Antinous, and examines the specificity of their love in relation to the homosexual culture of ancient Greece, especially pedophilia. Through this topic, we have analyzed the causes of the tragic death of Antinous by capturing the progression of a cycle of pedophilia, a young boy (Eromenos), that grows into manhood as Erastes. This study defines the emperor's efforts to restore Antinous in his own way after a failed love, as a passion toward totality. Therefore, we see the two figures as a process of mythology in which the pie of tragic destiny is transferred to the myth of androgyny that becomes one body and one unity in pedophilia. We see this ancient myth as a concept contrasting with the sense of pedophilia of the emperor, who arbitrarily distinguished between love and pleasure, and believed that the affection calculated with calmness and indifference was a harmony of love. This study explains the intention of Yourcenar in her work to present the value of empathic love, especially sacredness and sublime, which should be a part of sensual love. It also reminds us of the importance of sagacity that a person with power must hold in the happiest and most loving moments of life.