• Journal of architectural history
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• v.17 no.1
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• pp.7-28
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• 2008

Colin Rowe was an important historian, theorist and critic in Modern architecture. His significance in Modern architectural history lies in not only historiography which has changed our view of Modernism but deep theoretical involvement in practice. This study is a critical review and analysis on his formalist approach in Architecture. With a view that his position of formalist has indispensible relationship with liberalism from K. Popper's critical rationalism, this study try to show how his philosophical background has an influence upon his way of seeing architecture, history, form, urbanism, and meaning, etc. And this study also try to explain why the principle of architecture as an autonomous discipline which is the main point of view in Rowe's criticism has been so successful and influential. This study also explain what is the possibility and limitation of Rowe's formalist approach and way of reading buildings. His intelligent way of formal analysis can give us new understandings of how the form generates and the process of design goes on. Furthermore it guide us a new horizon of architecture as a language game. Since his early writings showed both side of formalist approach in architecture and it didn't changed a lot. We can understand his 'Collage City' was a his final answer to his formalist way of making architecture and urbanism. we can estemate it as a utopia without utopianism and an ideology without ideological color.

• Journal of the Korean housing association
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• v.18 no.6
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• pp.115-123
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• 2007

This study aims to analyse the method and strategy of spatial composition in the selective works of Italian architect Carlo Mollino. With the continuos renovation of the interpretative frames and method on modernity and in particular on the spatial phenomenon, works of Mollino, once disregarded by the historiography and evaluated for its peculiarity. emerge as important architectural phenomenons. The intrinsic value in his works also enable to comprehend the complexity and multiplicity of modernity in contemporary architecture. In order to achieve this preposition, six important works were analyzed with three key words, to understand comprehensively the process and the significance of each work and Mollino's contribution in the spatial composition of domestic and public spaces. Evaluation of the spatial strategies in conceptual investigations of Mollino had been underestimated to the relative poor conservation or incomprehension of various work, excluded from the categories of architectural elaborations. This study also aims to contribute, in the broad sense, the dialectical significance of modernity by emphasizing the aspects of his work related with Surrealism and vernacular tradition, as well as with its relationship with the various spatial dispositives.

• Korean Institute of Interior Design Journal
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• v.15 no.3 s.56
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• pp.14-23
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• 2006

As a proto-modernist work the Amsterdam Exchange has been regarded as a specimen of Structural Rationalist's architecture. Because of its ma]or steel structure, use of geometry, and reminiscence of Gothic the designer of the building was labeled by Kenneth Frampton as one of the apostles of Viollet le Duc. The architect was Hendrick Petrus Berlage. Contrary to above Nicolaus Pevsner claimed that Berlage's architectural discourse was 'Anti-Rational' because of its anachronistic formal language, Expressionism. In terms of structure Berlage's idea is rational, whilst formally 'Anti-Rational'. These polarised view points were due to the legacies of Modern Architecture that was controled by hegemonic figures in terms not only of practical field but of historiography. The hegemonic figures wanted to see Berlage as what they wanted to see. With this idea, this paper is one of endeavours to collect fragmented history in the early modern architecture. The Amsterdam Exchange has a long term story until the opening. Without understanding the story we have to withhold an evaluation of Berlage's architecture.

• SUVANNABHUMI
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• v.5 no.2
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• pp.29-39
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• 2013

This paper deals with the study of a manuscript on Rakhine history which is deposited today in Oriental and India Office Collection of the British Library as the accession number OR 3465 A. The External Criticism of this manuscript shows that it is a manuscript, which was commissioned Nga Mi to compile by Sir Arthur P. Phayre by making references of the existing Rakhine chronicles in the early colonial period, as Phayre wanted a historical account with an outline of the royal dynasties. The Internal Criticism reveals that the compiler Nga Mi did not invent the writing of his own but drawn the sources from various Rakhine chronicles in compiling his work. And Sir Arthur Phayre who used this Nga Mi Chronicle or OR 3465 A as the chief source in writing Rakhine history. He did not analyse the mythical, supernatural and improbable elements in Nga Mi Rakhine Razawin. Phayre did not problematicize any historical issue from Nga Mi Chronicle. One of the outstanding examples of the legend of King Min Saw Mon is discussed in this paper. As Arthur Phayre took this account from Nga Mi Chronicle and framed the story into a convincing narrative in his "History of Burma", the scholars after Phayre have continued to present the legend as a historical fact.

• The Journal of Art Theory & Practice
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• no.16
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• pp.7-40
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• 2013

Historian Eric J. Hobsbawm once said "the task that historians have is to analyze the meanings of the past within the context of society and to track the changes and implementation." It would not be too far of a stretch to apply Hobsbawm's quote to art historian since art history, although quite specific, is still history. In addition, Hobsbaum also asserted that, "a mold called the past continuously forms the present or at least thought to be." It is my recognition that the major westernization of the last century took place under the Japanese colonization which served as the channel to usher in western art; however, the current 20thcentury Korean art history fails to recognize that the mold of the past, namely western art in this case, has formed the modern art of the present. Based on this recognition, attention was given to what lacked in the analysis of the current 20th-century Korean art history in terms of "Informel" which was identified as the turning point towards "modern art" in the Korean art history as well as the following "experimental art." My belief is that the art history of Korea has to be reassessed from, a socio-cultural perspective as well as adopting multi-level and diachronic understanding. However, the existing Korean art, especially the one between the end of 1950s to the 1970s was based on the perspective of "severance"; thus, raising the needs for the starting point of a new perspective. It is my conviction that meta perspective on writing is most essential in order to lay a solid basis for the Korean art scene to have a productive discussion. I feel the utmost necessity to reinterpret the typified history analysis and criticism which stemmed from the trauma under the Japanese colonization. The most urgent task is to avoid academic closeness and to share the research. Painting is an individual expression of the artist, but the act of expression is not free from the cultural and societal influence to which the artist belongs.

• Journal of architectural history
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• v.20 no.6
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• pp.57-76
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• 2011

This study is on the pedagogical convention of architectural history in Korea, especially that of Western Architecture. Recent institutional change in architectural school in Korea has caused overall restructuring of academic program. In spite of extension in the field of history there was no progress of method and way of thinking. There is no change in the point of view to see the western architecture and its history as a unique and specialized phenomenon in the civilization of mankind. Because of no recognition about for what, for whom, and how to, and because of orientalism, the cultural position of western architectural history and its narrative was not asked. With the help of post-colonialism, de-constructivism and critical historiography this paper tries to show the fundamental premise of western architectural history as a myth and show its prejudice as not being justifiable. The background of the discourse there has been a representation effect with regard to knowledge as a power. we need to escape from this kind of cognitional frame With the analysis of the its premise and narrative we can find it is a historical construct that was made in the age of imperialism. In fact it has a lot of false information and problematic point of view. The Identity and originality of western architecture and its history has no logical reason or foundation if we think that it depends on the difference and comparison with other civilization. For example the explanation of its historical origin western architecture has big difference with Islamic architecture in spite of the resemblance each other. This paper try to show several reasons that discourse of western architectural history can not be survived any longer. So we need to reconstruct new pedagogy with deconstruction for the students of non western, or Korean students. Because it has important effect to see and think about architecture and its history.

• Lingua Humanitatis
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• v.8
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• pp.175-198
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• 2006

Quite a few historiographers of language science have measured the applicability of the term 'revolution' toward the line of work initiated by Chomsky, with the conclusion to the positive or negative effect as the case may be. This paper starts out with a brief review of this issue, with an interim conclusion that, while Chomskyan linguistics may be regarded as revolutionary in certain aspects, terms like 'revolution' and 'paradigm' are hardly applicable here in the way they were originally intended by Thomas Kuhn. It can be said, nontechnically, that the model of theory under discussion is at once 'revolutionary' and 'evolutionary' - in the sense that revolutions in linguistics have not resulted in abrupt loss of continuity with past 'paradigms', if there were any such. Chomsky's theory of language plays the same role of consolidation and refinement of structuralism that, say, the neogrmmarians played in their day. It has continued some fundamental traits of its predecessor, recovered others, and unwittingly rediscovered still others. But this is not the main thrust of the present paper. For, even if Chomskyan theory were to be looked upon as straightforwardly 'revolutionary', that revolution has not been a felicitous one. Some critic (Pieter A. M. Seuren, to be specific) goes as far as to say that "largely as a result of Chomsky's actions, linguistics is now sociologically in a very unhealthy state $\cdots$ to the point even of threatening to make that whole school of linguistics intellectually irrelevant." Besides, under the present state of language science that strikes one as typical of what Kuhn has characterized as "pre-paradigmatic" insecurity and disharmony, an unhealthy situation might take place if we were to think of the theoretical disagreements as conflicts between 'incommensurable' viewpoints-between 'rival paradigms' as it were-thereby avoiding or evading rational discussion. Another danger concerns the bandwagon effect, with linguists prematurely boarding each novel theory seemingly destined for popularity, for fear of being left clinging to an outdated 'paradigm.' Here lies another reason why the notion of 'revolution', Kuhnian or not, might as well be put aside, in the historiography of linguistics at the least.

• Archives of Plastic Surgery
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• v.40 no.2
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• pp.109-115
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• 2013

Background Breast reconstruction refers to the rebuilding of a woman's breast using autologous tissue or prosthetic material to form a natural-looking breast. It is increasingly offered to women undergoing mastectomy for breast cancer. However, there is no systematic analysis available for the expanding area of research on breast reconstruction. Methods A bibliometric method was used to obtain a view of the scientific production about breast reconstruction by data extracted from the Institute for Scientific Information (ISI). Specific parameters were retrieved from the ISI. Articles about breast reconstruction were analyzed to obtain a view of the topic's structure, history, and document relationships using HistCite software. Trends in the most influential publications and authors were analyzed. Results The number of articles was constantly increasing. Most highly cited articles described the methods of flap construction in the surgery. Other highly cited articles discussed the psychological or emotional aspects of breast reconstruction, skin sparing mastectomy, and breast reconstruction in the irradiated breast. Conclusions This was the first breast reconstruction scientometric analysis, representing the characteristics of papers and the trends of scientific production. A constant increase in the number of breast reconstruction papers and also the increasing number of citations shows that there is an increasing interest in this area of medical science. It seems that most of the research in this field is focused on the technical aspects of surgery.

• Journal of the Korean Society for Library and Information Science
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• v.42 no.1
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• pp.335-358
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• 2008

According to Wayne A. Wiegand in the 1998, he research to The "Amherst Method": The Origins of the Dewey Decimal Classification Scheme. Although a debate about the origins of the Dewey Decimal Classification Scheme has been going on for generations, historical consensus remains elusive. This paper contributes information to the historiography on the origins of the scheme: 1) by grounding an account of Dewey's thinking as he was crafting the DDC on an analysis of a large body of sources than previous classification historians have consulted; and 2) by expanding and deepening historical understanding of the contextual forces influencing on the classification structure. Because the DDC idea as it first occurred to M. Dewey in Amherst in 1872-73 is an important in the history of library development in the world. He outlined the first draft of his decimal scheme and submitted it to the Amherst College Library Committee on 8 May 1873. This paper analysis to "Three Genetic Paper", that is 1) The Merits of the System, 2) Library Classification System, 3) Its Special Adaption to our Library.

• Asian review of World Histories
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• v.1 no.1
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• pp.5-44
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• 2013

This essay offers a historically based critique of the idea of "alternative modernities" that has acquired popularity in scholarly discussions over the last two decades. While significant in challenging Euro/American-centered conceptualizations of modernity, the idea of "alternative modernities" (or its twin, "multiple modernities") is open to criticism in the sense in which it has acquired currency in academic and political circles. The historical experience of Asian societies suggests that the search for "alternatives" long has been a feature of responses to the challenges of Euromodernity. But whereas "alternative" was conceived earlier in systemic terms, in its most recent version since the 1980s cultural difference has become its most important marker. Adding the adjective "alternative" to modernity has important counter-hegemonic cultural implications, calling for a new understanding of modernity. It also obscures in its fetishization of difference the entrapment of most of the "alternatives" claimed--products of the reconfigurations of global power--within the hegemonic spatial, temporal and developmentalist limits of the modernity they aspire to transcend. Culturally conceived notions of alternatives ignore the common structural context of a globalized capitalism which generates but also sets limits to difference. The seeming obsession with cultural difference, a defining feature of contemporary global modernity, distracts attention from urgent structural questions of social inequality and political injustice that have been globalized with the globalization of the regime of neoliberal capitalism. Interestingly, "the cultural turn" in the problematic of modernity since the 1980s has accompanied this turn in the global political economy during the same period. To be convincing in their claims to "alterity", arguments for "alternative modernities" need to re-articulate issues of cultural difference to their structural context of global capitalism. The goal of the discussion is to work out the implications of these political issues for "revisioning" the history and historiography of modernity.