• Lingua Humanitatis
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• v.8
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• pp.39-58
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• 2006

In Hegels Wissenschaft der Logik wird die Idee als Leben des Begriffes, objektive Vollendung und Einheit von Subjekt und Objekt bezeichnet. Die Idee ist die Einheit von Begriff und dessen Existenz und des weiteren die "allgemeine Bedeutung des wahren Seins". Die Idee ist nicht die Namensgebung einer Abstraktion der Sache als abstrakte Sache oder einer reinen Form, sondern 'das Werden zum Diesem' oder 'das Diese' des konkreten und realistischen Objektes 'Dies hier und jetzt'. Auf einer solchen logischen Bestimmung beruhend, behauptet Hegel in seiner ${\ddot{A}}sthetik$ die Gleichheit zwischen "$Sch{\ddot{o}}nheit$" selbst und der "Idee der $Sch{\ddot{o}}nheit$". "Das $Sch{\ddot{o}}ne$ selbst" ist gleichzusetzen mit der "Idee der $Sch{\ddot{o}}nheit$" und wenn die Idee in einer bestimmte Form hineinpasst, wird dies das Ideale genannt. Hier liegt der Grund, weshalb wir die Idee als Begriff, Begriff des Daseins oder Einheit des Objektes bezeichnen $k{\ddot{o}}nnen$. Die Idee ist die Einheit von Begriff und dessen $Realit{\ddot{a}}t$, jedoch ist die dominierende Kraft der Einheit der Begriff. Die Idee ist die $Totalit{\ddot{a}}t$ der subjektiven Bestimmung und nur das Werk dass mit dem Begriff passend Einheit und $Objektivit{\ddot{a}}t$ hervorbringt, ist wirklich $sch{\ddot{o}}n$. Umgekehrt gesagt bedeutet diese Aussage, dass etwas wirklich $sch{\ddot{o}}n$ ist, wenn dies zu dem Begriff passt, und dass das genau zum Begriff passende ist mit dem Begriff gleichzusetzen ist. Wie bereits $bewu{\beta}t$, hat Kant die $f{\ddot{u}}r$ den kognitiven Begriff verantwortliche bestimmende Urteilskraft und das ${\ddot{a}}sthetische$ Urteil treffende reflektierende Urteilskraft, differenziert. Im Gegensatz dazu $erkl{\ddot{a}}rt$ Hegel die Beziehung zwischen Sein und Denken, Dasein und Begriff, Begriff und Idee mit dem Blickpunkt dass das $Verm{\ddot{o}}gen$ und die Funktion der Urteilskraft selbst eine grundliegend auf Reflektion beruhende Bestimmung ist und eine auf Bestimmung beruhende Reflektion ist. Nach dieser Logik entsprechend $f{\ddot{u}}hrt$ er die Beziehung zwischen der $sch{\dodt{o}}nen$ Sache und $Sch{\ddot{o}}nheit$ zusammen. In dieser $Erkl{\ddot{a}}rung$ verwirft Hegel Kants Begriffe wie Urteilskraft und Geschmack, und verwendet vorwiegend die von seiner Lehre vom Begriff auftauchende Begriffe. Die Zielsetzung dieser Arbeit ist, den Satz in Hegels ${\ddot{A}sthetik$ "Das $Sch{\ddot{o}}ne$ ist die Idee des $Sch{\ddot{o}}nen$" auf den Grund zu gehen. Um dieses Ziel zu verfolgen, wird das epistemologische $Verh{\ddot{a}}ltnis$ zwischen Dasein und Begriff, das logische $Verh{\ddot{a}}ltnisas$ zwischen Begriff und Idee betrachtet.

• Journal of Korean Philosophical Society
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• v.145
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• pp.143-165
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• 2018

This paper aims to describe the past character of art through Gadamer's interpretation of "End of the Art" thesis of Hegel. His interpretation also reveals that new art can demand a validity as a way of self-understanding that the art understands itself from its past. Hegel declared the end of art in his philosophical system. From Gadamer's perspective, it means that art has past character in the horizon of modern christianity-humanistic self-evidence (II). Then art understands itself as the past and demands its own validity. Gadamer sees that art cannot require common self-evidence which is clearly and universally understood by all in an age of "the end of self-evidence." And according to him, this requirement shows up in the phenomenon of anti-art in post-modernism(III). From his standpoint it is about time to demand new validity of art again and this requirement could be complied through hermeneutical self-understanding. Art exists as a self-understanding artwork in the cycle of understanding in which art understands itself as an understood past. As a play is played by players, artwork exists as participating spectators. This artwork does not demand a common understanding but exists through various understandings of spectators(IV).

• Korean Business Review
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• v.4
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• pp.51-70
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• 1991

For the past few decades functionalism have dominated the epistemological arena in organizational science. However, the positivist-inspired movement of functionalism have proved inadequate for explaining the radical transformations of organizations. During the last decade dialectical theory has been starting to be heard. This paper identifies the dialectic as the unifying principle of a broad and diffuse tradition of thought. Beginning with a excavation of the philosophical foundations of dialectical theory in the thought of Kant, Hegel, and Marx, this paper goes through the various twists and the turns of the dialectic in the major twentieth-century movements of neomarxism, phenomenology, and critical theory. Also, this paper presents the implications of the dialectical approach in organization science. The discipline of organization theory has been imprisoned by its functionalism, therefore, stimulating an awareness through which it can begin to set itself free has become imperative. Dialectical theory, be cause it is essentially a process perspective, focuses on the dimension currently missing in much organizational thought, It opens analysis to the processes through which actors carve out and stabilize a sphere to the processes through which actors carve out and stabilize a sphere of rationality and those through which such rationalized spheres dissolve.

• Journal of the Korean Society for Library and Information Science
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• v.43 no.1
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• pp.27-56
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• 2009

The purpose of this study is to analyze on the main classes of DDC. The DDC is a general classification system which aims to classify documents of all kinds falling in any knowledge domain. At best, the order of the main classes represents a mix of Baconian and Hegelian philosophy adulterated by the practical exigencies of organization a collection of books. Each of the main classes have been subdivided further into what are technically known as divisions. This division of knowledge into the nine main classes mirrors the educational consensus of the late nineteen-century Western academic world. The DDC thus scatters subjects by discipline, and the subjects are subordinated to discipline. The DDC has been criticised for its rigidity of division by ten at every step of its division. Division by the decimal classification has been likened to the Procrustean bed.

• Journal of Educational Research in Mathematics
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• v.10 no.1
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• pp.57-72
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• 2000

In this paper, in order to explicate how mathematics education can contribute to humanity education, I enquired in which position mathematics occupy in Froebel's For this, I examined Froebel's theory of humanity education, his theory of mathematics education, and the applicational problem of his thoughts to nowaday education. Froebel's educational theory is based on the concept of the Divine Unity which is relevant to the notion of 'The Absolute' of Fichte, Schelling, Hegel. He claims that from inanimate objects to human being, all is subject to the eternal law, which is presided by God. So the world itself is the representation of this law of the Divine Unity and education consists in leading man to conscious and free representation of it. The revealing process of the inner law of the Divine Unity can be attained through the awareness of the divinity which resides in the self. And this process of self-consciousness is dialectical movement of the two opposites, i.e. 'inner' and 'outer' Froebel suggests that mathematics is the mediator between the inner and outer world, i.e. he suggests that since both human being and nature are the representations of the Divine Unity, mathematics is both the pure human spirits and the law of nature. Having such a role, mathematics becomes the main discipline in education. Though there are some criticism on Froebel's educational thoughts on mathematics discussed in this paper, it can provide a typical answer to the question about how mathematics education contributes to humanity education.

• Asian review of World Histories
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• v.3 no.1
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• pp.81-112
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• 2015

This essay interrogates the category of the 'global' in the emerging domain of 'global intellectual history'. Through a case study of the Indian social-religious reformer Rammohun Roy (1772/4-1833), I argue that notions of global selfhood and rights-consciousness (which have been preoccupying concerns of recent debates in intellectual history) have multiple conceptual and practical points of origin. Thus in early colonial India a person like Rammohun Roy could invoke centuries-old Indic terms of globality (vishva, jagat, sarva, sarvabhuta, etc.), selfhood (atman/brahman), and notions of right (adhikara) to liberation/salvation (mukti/moksha) as well as late precolonial discourses on 'worldly' rights consciousness (to life, property, religious toleration) and models of participatory governance present in an Indo-Islamic society, and hybridize these with Western-origin notions of rights and liberties. Thereby Rammohun could challenge the racial and confessional assumptions of colonial authority and produce a more deterritorialized and non-sectarian idea of selfhood and governance. However, Rammohun's comparativist world-historical notions excluded other models of selfhood and globality, such as those produced by devotional Vaishnava, Shaiva, and Shakta-Tantric discourses under the influence of non-Brahmanical communities and women. Rammohun's puritan condemnation of non-Brahmanical sexual and gender relations created a homogenized and hierarchical model of globality, obscuring alternate subaltern-inflected notions of selfhood. Class, caste, and gender biases rendered Rammohun supportive of British colonial rule and distanced him from popular anti-colonial revolts and social mobility movements in India. This article argues that today's intellectual historians run the risk of repeating Rammohun's biases (or those of Hegel's Weltgeschichte) if they privilege the historicity and value of certain models of global selfhood and rights-consciousness (such as those derived from a constructed notion of the 'West' or from constructed notions of various 'elite' classicized 'cultures'), to the exclusion of models produced by disenfranchised actors across the world. Instead of operating through hierarchical assumptions about local/global polarity, intellectual historians should remain sensitive to and learn from the universalizable models of selfhood, rights, and justice produced by actors in different spatio-temporal locations and intersections.

• Journal of architectural history
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• v.13 no.4 s.40
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• pp.55-74
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• 2004

This study researched the art-educational thoughts as a modern idea influenced with the social and philosophical transitions in the 19th century. Moreover, this study focused on Frank Lloyd Wright's educational thoughts, because those educational revolutions had appeared as one of the results that Western society's character was rapidly changed by those revolutions, so called, Industrial Revolution, American and French Revolution, and Cultural Revolution of Romanticism, from late 18th century, and eventually because that revolutionary educational ideas had closely and basically many relations with Wright's thought. As a result, even though Wright's education such an apprenticeship was a traditional shape, which was not the old-fashioned educational method discipling to the skillful man, but against the existing education through the self-learning from experiences in nature. That is similar to transcendentalists such as Emerson who searched for having an inspiration in Nature. Namely, Wright himself had struggled against the existing dualistic educational concepts through Wright's monistic thoughts on art-education including architecture based on not naturalism but the philosophy of nature by romantic idealistic philosophers such as Shelling, Fickle, Kant, Hegel including with his Master, Sullivan, and by revolutionary educators such as Freobel, Ruskin, Dewey, and above all by his Unitarian doctrine. However, Wright's thoughts was at that time so radical, and as Wright himself acknowledged that, 'because the philosophy back of it, of course, as you know, is midway I guess between East and West', such all philosophical objects to influence on Wright were so abstruse idea which is usually called 'Romantic' or 'Mystic' that is mingled with East's and West's essence. That is, because Wright himself catched that the theories and methods of the art-educational thoughts would not be easily perceived, and he judged that in a word as a character which could not be taught. After all, Wright's romantic progressivist art-educational thoughts have not been perceived, disseminated in general and widely.

• Korean Institute of Interior Design Journal
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• v.23 no.1
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• pp.23-33
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• 2014

This is a study on the application of a dialectic way of thinking in terms of design methods, and has contents about the formation of new visual and the ways of process that are triggered by cognitive introspection. A ccordingly, the study has its purposes in interpretation and recommendation of new methodological systems around dialectic principles and ways of thinking on the works of the Dutch Architecture Exhibition carried out in Korea in 2013, with the theme of "Reuse" among the aspects expanding since the reflexive modernization. Firstly, the basic features of Dutch designs were connected to dialectic ways of thinking. After studying the basic concepts of dialectics from Greek philosophies to Kant, Hegel, Marx and Benjamin, the aspects of applying them onto creative works such as art, architecture and design were methodologically systematized. Through this process, it was confirmed that the existing concepts are newly rearranged rationally, logically and scientifically based on dialectic ways of thinking rather than subjectively or emotionally. From the study of the 12 art works, it was confirmed that the value of use and potential obstacles have been used as a design solution. Also, the process which is juxtaposed with the result by itself has been expressed and causes the alienation effect. Therefore, such dialectic ways of thinking was organized into a procedural flow of contradictory recognition on situations, drive due to negativity, mutual penetration, mutual transformation, abstraction, verbalizing and creation of new concepts, and it was confirmed that such finding was valid in securing creative possibilities as 'New Uses' rather than 'Re-uses'.

• Journal of architectural history
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• v.24 no.1
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• pp.29-40
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• 2015

This study is on historiography of Modern Architecture since its beginning to present. As a critical review of the history of the writing history of Modern Architecture, this study tends to be a meta-history and criticism of historical text. This study try to analyse historiographical project of Modern architecture at specific phase since the beginning of modern architecture. The historiography of Modern architecture shows that writing a history is making a discourse of Modern architecture as a imaginative representation to define and justify Modernism in architecture. The analysis of canonic text since early 20th century proves that the history of writing history of Modern architecture played a critical role not only to shape of our ideal but the practice of architecture with a ideology construction in retrospect. With a name of truth or morality they made myths about the modernity in architecture. So we can find deep 'Hagelean Unconscious' in writing history of Modern architecture not even the first generation of historians but the second generation who were influenced by earlier writer in spite of their intention of revision and overcoming, which is in itself the key concept of Hegel's philosophy of History. Under this kind of 'operative' discourse our view point of Modern architecture were confined and the historiography of Modern architecture itself was narrowly defined as a kind of melodrama that a few architect and work of art matters. The rise of critical history fundamentally has changed the way of seeing and writing the history of Modern architecture. but it has also a new kind of dilemma as regard to writing history and involving practice. This review of historiography traces the texts of historians as like Pevsner, Giedion, Banham, Rowe, Tafuri, Frampton, and Curtis relating to different discours making. When we consider Benjamin's famous concept of constellation, writing history necessarily is a kind of montage making in time and we always need to recognize the historicity of historiography.

• Journal of Korean Philosophical Society
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• v.142
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• pp.165-192
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• 2017

The purpose of this thesis is to explain the difference between Heidegger's hermeneutical philosophy and Gadamer's philosophical hermeneutics. The difference is to say that Heidegger's philosophy begins with Aristotle's theory of category and transcendental philosophy. On the other hand, the beginning of Gadamer's philosophical research is Plato's dialog, philosophy and Hegels dialectic. 2. Heidegger regards humanism as a variant of the modern ideal of human beings. On the contrary, Gadamer understands humanism as a place where romantism leads to the ideals of human education. 3. Heidegger says that the hermeneutical circle is still a logical and existential structure of the circle. On the contrary, Gadamer understands the circle as a circle between the whole and the part. This circle is the law of traditional hermeneutics derived from the tradition of rhetoric. 4. Heidegger says Plato's philosophy is the first beginning of the substance metaphysic, Hegel's philosophy the end of the subject metaphysic. On the contrary, Gadamer says the hermeneutical understanding and the hermeneutical interpretation is endless. 5. Heidegger's ontology is as Sein zum Tode a future oriented and eschatological. On the contrary, Gadamer's hermeneutic is as Sein zum Text always the way to a past, the infinite openness.