• Journal of the Korean Institute of Landscape Architecture
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• v.52 no.3
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• pp.1-17
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• 2024

This study focuses on the landscape architect Jung YoungSun to examine Korean landscaping. To do so, the research focuses on the artist's thoughts, her and Seoan's works, and related discourse (landscape architects, landscape works, and landscape discourse) up to 2014. Research was conducted through interviews (with Jung and related people), a literature survey, and the analysis of design works. As a result, four inflection points of Jung's landscape architecture career emerged, from the time she was introduced to landscape architecture, trained in it, and entered into practice, to the time she operated an independent office, showing different design trends and the depth of design thinking. In this process, excluding the early learning period, Jung's landscapes were categorized into three categories: contemporary landscapes, gardens, and traditional landscapes. Through these three categories of landscaping activities, Jung's achievements include the importation and internalization of modern landscapes (modern landscape theory), the establishment of her own garden theory and its practice (garden theory), and overcoming of tradition complexes and creative succession (traditional landscape theory). In sum, Jung's landscapes can be summarized as the practice of regionalists and auteurist thinking.

• Journal of English Language & Literature
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• v.60 no.2
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• pp.315-338
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• 2014

In The Great Hunger (1942) Patrick Kavanagh opens an Irish postnationalist discourse. Taking advantage of historical revisionism and postcolonialism, he not only demystifies a romantic nationalist ideology rooted in rural Ireland but also searches for an autonomous literary tradition free of the Irish Literary Revival, supposedly an outcome of a colonial influence. As a farmer-poet, Kavanagh deconstructs in two ways myths of rural areas, to which the Revivalists aspire. Contrary to Revivalism, he reveals that rural Ireland is not an idealized place where national identity arises and individual spirits are restored. It is instead a cruel place where farmer Maguire, deprived of health, wealth, and love, is tortured by hard labor in the field, moral regulations imposed by the Church, and his mother's domestic authority, all of which leave him unmarried until age sixty-five. Kavanagh also challenges the Revivalist tradition, led by W. B. Yeats commonly referred to as the poet of the nation, by indicting its reliance on former colonial authority and its lack of a sense of communal autonomy, both of which are diagnosed as "provincialism" by Kavanagh. Given that modern Irish literature has been strongly colored as nationalistic during the course of anticolonial resistance, Kavanagh's critique of the Revival in The Great Hunger, whose proponents blindly beautify the lives of farmers, runs directly against the grain of the founding ideology of the Irish nation-state. His voice, like that of a whistle-blower, disclosing the harsh realities of rural Ireland, ushers in a "post"-nationalist perspective on nation and national myths in Irish poetics.

• The Journal of Art Theory & Practice
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• no.7
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• pp.189-240
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• 2009

This essay aims to develop a critical approach of interpretation in examining the panoptical condition of representation that is said to permeate the tradition of modern realism in novels and paintings. In defining this approach, I am interested in the problem or inability of panoptical representation to tell a coherent story of solitude(solitary confinement, isolation, self-absorption, etc.) in a range of texts from prison documents to paintings and novels, and also what might occasion such an inability including social, material, or stylistic contradictions and conflicting epistemological angles. This task potentially anticipates a trajectory of readings and investigations that cuts through the history of panoptical representation, which is outside the scope of this essay. In this writing, I will engage in a series of debates with what I consider as major theories and views of panoptical representation offered by Jeremy Bentham, John Bender, and Michael Fried. Based on this, I will formulate a conceptual or methodological frame of discourse that would envisage an anti-panoptical approach of interpretation. As an attempt to validate this formulation, I will offer a reading of Henry Mayhew's Criminal Prisons of London and Scenes of Prison Life(1862), a case of panoptical representation that produces a peculiar sense of ambivalence while accounting for sites of penal solitude.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.8
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• pp.31-41
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• 2018

This research examines pioneering works of two representative Western modern architects which played a significant role in constructing modernity in the early 20th century: Frank Lloyd Wright's Florida Southern College and Ludwig Mies van der Rohe's Illinois Institute of Technology. These two campuses were constructed and developed at the similar period by two named architects, and these were considered the collections of iconic modern buildings in the States. However, design approaches and principles of these buildings were totally opposite ways: Frank Lloyd Wright's Florida Southern College was in the roof of organic architecture drawn from a great Chinese sage, Laotze, which have more five hundred years history. On the other hand, Ludwig Mies van der Rohe's Illinois Institute of Technology was well embodied the International Style which originated from European tradition in the early 20th century, and Mies was one of the leaders of the International Style. These different approaches could be understood in the discussion of the meaning of the Greek concept of paradoxa which was mentioned by a German philosopher Martin Heidegger. Comparing the paradoxical gestures of these two campuses can reveal the truth of each campus master plans and expand the discourse of modern architectures.

• Journal of The Korean Association For Science Education
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• v.39 no.5
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• pp.681-694
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• 2019

This study intends to delineate the characteristics of various perspectives on the nature of science (NOS) through the textbook analysis. Thus, centering on a science textbook called Science Laboratory Experiments, this study analyzes the elements of the NOS from three different perspectives: the consensus view, features of science (FOS), and family resemblance approach (FRA). While the consensus view highlights the similar elements of the NOS across the topics, the FOS is concerned about empirical ways for doing science. The FRA rather focuses on socio-cultural aspects of science activities. While the consensus view is useful to reify the features of the NOS, the FRA helps to understand science from various viewpoints. Regarding the philosophical account for three perspectives, all of them are ambiguous to some extent. The consensus view holds contradictory dispositions e.g., relativism vs. (post-)positivism, and critical realism and instrumentalism. The FOS supports empirical tradition but cannot effectively cope with the anomalous situation. The FRA is useful to show up the ways of science in both microscopic (personal) and macroscopic (social) viewpoints. However, the broader concept about science may mislead understanding of the NOS. Consequently, this study provides some implication for improving the framework of the NOS and teaching the NOS in the classroom.

• Korean Institute of Interior Design Journal
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• v.17 no.5
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• pp.3-11
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• 2008

'The eye' and 'the gaze' organize the visual system and distinguish the subject from the others. Recent philosophical thoughts have forcefully argued against the tradition characterized by the domination of the eye that assimilates the alterity of the others to one's own, cancels their alterity, and totalizes their differences within himself. In the speculative discourse modeled on the eye, the alienation of self in its other and the reflection of the object are linked together in such a way as to form a totality in which they are reflected into one's another, leaving absolutely no remainder outside. By contrast to this totalizing tendency of the eye, Sartre and Lacan propose the gaze that becomes constitutive of vision. The modern architecture reinforced subject's eye and clearly separated the others from subject Through Descartes's visual paradigm, space became homogeneous and nature was seized by architecture. However, recently the clear boundary between subject and object is disappearing. Lacan insisted that oneself's eye and the other's gaze are mixed up in human sight This means that the boundary between the subject and the other is indistinct and also the boundary between an object and landscape is meaningless in architecture. The overthrow of gaze in contemporary architecture appears in the form of trans-boundary, translucency and widen architectural notion and expression.

• Archives of design research
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• v.17 no.4
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• pp.353-364
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• 2004

In this thesis, I will look into how contemporary Korean Design has changed and been alienated from tradition as well as distorted history (chapter 2, 3); point out what the problem is in finding out the cultural identity of the field of design(chapter 4); and finally, I will present a new starting point for independent discussion regarding the direction of Korean design (chapter 5). The purpose of this thesis is to present an opportunity to reconsider the numerous irrationalities caused by an industrial view of design as an outdated paradigm and a cultural identity distorted by the leading policies of the contemporary political authority. In addition, by proposing a new direction to the following discussion on Korean design, it is my desire to examine a realistic plan for cultural discourse which is essential for Korean design in an information-oriented age.

• Journal of Korean Home Economics Education Association
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• v.19 no.4
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• pp.137-151
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• 2007

The characteristics of Hyeonmoyangcheo-ism (wise mother, good wife) in the 1950s, which were observed through the girls' school curriculums and homekeeping textbooks, were arranged as follows. Firstly, Hyeonmoyangcheo-ism in homekeeping textbooks in the 1950s stressed the modern housewife. The Confucianwomen's virtues, such as submissiveness, faithfulness and samjongjido (obedience to father, husband and son), that were in girls' moral training and home management textbooks during the Japanese imperialism. This was a part of girls' education built on democracy and equality asserted by a new Korea, the 'modern nation'. Secondly, with the increasing demands for women's labor after the Korean War, women's occupations were reinforced and incorporated in homekeeping textbooks in the 1950s. Even though having a job was a secondary task to the role of a homemaker, the details of women's occupation illustrates the characteristics of Hyeonmoyangcheo-ism in this period of time. Thirdly, The resident practice program emphasized the tradition women's behavior along with the modern homemaker, the rational designer of homekeeping. This seems to have been reinforced from the criticism towards women based on Westernization after the Korean War.

• Journal of the Korean Geographical Society
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• v.39 no.5 s.104
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• pp.735-754
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• 2004

This paper provides an overview of political ecology, a body of theory that focuses on the links between political and economic inequality on the one hand, and environmental degradation on the other. Adopting a tripartite classification scheme that identifies three political ecology traditions -'classical', 'democratic' and 'poststructuralist'- the discussion shows the need for a move within the poststructuralist tradition away from a narrow and quasi-idealistic focus on discourse to a more robust philosophical engagement with ontological and epistemological issues grounded in Gilles Deleuze's development of Nietzschean materialism. From there. the author draws on numerous examples from Canada, and surveys the available literature on 'bioregionalism', a relatively new intellectual tradition evolved from the North American environmental social movements of the 1970s and 1980s. The so-called 'bioregional approach' stresses that administrative units need to reflect (rather than transect) eco-geographical and cultural features. Bioregionalism is described and assessed as a potential pragmatic research framework for geographers and other planners wishing to respond proactively to the call for a revamped, poststructuralist political ecology. The paper concludes that a bioregional approach to political ecology avoids the weaknesses identified by certain critics, provides scope for consideration of fundamental philosophical ideas, and as such, represents a practical development of a poststructuralist political ecology.

• Journal of architectural history
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• v.9 no.2 s.23
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• pp.85-100
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• 2000

This paper is a study of the Beaux-Arts discipline of architecture, as it was established during the late nineteenth century in America. It focuses on trio particular modes of vision and representation that were at the heart of the discipline. The paper argues that Beaux Arts vision was centered on what may be called 'planar vision'; a mode of seeing through which the multiple aspects of the architectural design imbedded in the plan were read and re-interpreted. Similarly Beaux-Arts training in drawing required its student to draw within the multiple layers of historical traces; the new design being in effect a new layer placed on often unseen traces of monumental precedent. The theoretical basis of this practice was not based on history but on the concept of composition. Composition, in the French tradition was regarded more a matter of practice than theory. The Anglo-American discourse on composition, on the other hand, formed a body of theoretical literature based on formalist assumptions. There was, however, a fundamental gap between these formalist theories of composition and the 'layered' modes of vision and drawing involved in the design process. This practice leaned more on the modern romantic notion of 'intuition' for its theoretical basis, once again forming an immanent conflict with the mimetic practice of classical and historical architecture. The paper draws a picture of a discipline centered on a 'theory of the plan,' a potentially modern discipline integrated with classical forms and details. It was clearly effective as a practice. However, structured by conflicts between theory and practice, history and form, mimesis and intuition, the Beaux-Arts was unable to defend itself at the philosophical and theoretical level the modernists engaged their attacks on this system. At the same time, the paper poses the question of how different modern architecture is from this system. Is not the 'theory of plan,' in its many transformations and guises, still the central discipline of twentieth century modern architecture, and is it not structured by basically the same kind of conflicts and paradox that were immanent to the Beaux-Arts system.