• 건축역사연구
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• 제24권4호
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• pp.45-54
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• 2015

This research aims at a critical discourse on the relation between the concepts of the uncanny and posthistoire, on the basis of descriptions in The Architectural Uncanny (1992) by Anthony Vidler. For the purpose, Histories of the Immediate Present (2008), another book by Vidler that discusses posthistoire philosophy to which he is not positive, is also investigated along with the former thesis; and various publications related to the themes by the influential writers such as Freud, Lyotard, Vattimo, and Habermas are referred to, too. Firstly, this paper will illustrate an essential understanding of the uncanny, an outgrowth of the sublime, and the history of posthistoire respectively; and then analyse contexts where the posthistoire was mentioned in The Architectural Uncanny. In the 'Introduction' and 'Losing Face' chapters of the book, this paper argues, the two concepts are connected by the notions of 'repetition' and 'losing the classical facade' as well as the uncanny as 'a metaphor for a fundamentally unlivable modern condition'. Though Vidler's recognition of posthistoire in the two chapters are differently interpreted, each as 'the emptiness of capitalism' and 'the decomposition of representation', both can be understood in terms of 'modernity' that is 'still open'. If modernity is 'an unfinished project' as maintained by Habermas, who Vidler relies on, we need to continue innovative experiments and internal investigations in architectural creation beyond the categories of modernism and postmodernism.

• 복식
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• 제50권5호
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• pp.143-157
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• 2000

The pastiche is one of the most unique characteristics in the post-modern period. The pastiche fashion design is an intentional imitation expressed by deconstructivity of the design. It has become the major creation method of post-modern fashion by expressing the image from the variety and creativity. The concept of imitation in pastiche is the important fashion subject which lead the dynamics and creativities of fashion when It has freshness and spiritual energy. The values of creative area of pastiche are as fellows - firstly, it provides the delightness through the disharmony by being released from the restraint and stress of the restricted society. Secondly, the characteristics of restoration generated by development and reproduced from imitation has become an origin of creation. Thirdly, the boundary between subculture and high-class culture would be dismantled and the elements of these culture are mixed to become a unique image through its abundance and compromise vague public culture. Fourthly, the pastiche fashion dismantles the basic structure of clothes to endow avant-garde esthetic appreciation. Fifthly, the folklore fashion representing the culture of minority and neighboring countries would become a new destroying the historically fixed clue. sixthly, the reinterpretation of pastiche fashion discovers the new regulations and beauties from Imitation to provides tow Important elements of post-capitalism fashion, dynamics and creativity. Lastly the consistent adaptation of image of fashion design with strong technical and theoretical basis can establish new fashions of this era with its unique creativeness.

• 한국실내디자인학회논문집
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• 제27권3호
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• pp.41-48
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• 2018

This thesis is a paper comparing Adolf Loos and Antoni Gaudí's 'theory of ornament', based on their text. Adolf Loos and Antoni Gaudí are architects who had worked from late 19c, just before advent of Modernism architecture, to early 20c. When 'ornament' had started to be excluded from architecture according to development of industrialization and capitalism, Loos and Gaudí have both written about 'ornament.' Generally, Loos is known to have possessed rational mind and designed modern building with no ornament, and Gaudí is known to have possessed romantic mind and used splendid ornaments. For those reasons, it was assumed that two architects would have contrast opinions regarding ornaments. However, analysis of two architects' major text reveals that their theories of ornament are fundamentally analogous. Loos and Gaudí both argue dissolution of past normative 'ornament' and claims that rational 'ornament' that fits modern time is possible. Interestingly, intentionally adopted ornaments exist considerably in architecture of Loos. On the other hand, in Gaudí's architecture, there are many points where Gaudí had restrained ornaments. This thesis organizes similarity and differences of two architects' 'theory of ornament' through their texts and works. Moreover, this thesis suggests that then today's architecture aims to restart a debate on 'ornament', it is worth reviewing texts of Loos and Gaudí.

• 한국실내디자인학회논문집
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• 제14권3호
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• pp.73-83
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• 2005

Recently, by the expansion of Industrial Capitalism and the development of Information Technology, the qualify of humans' life came to have various aspects. In this era of variety, among all the different attempts Rem Koolhaas(OMA)'s architectures attract attention for their architecture's new point of view in architectural design. On the basis of the objective fact in the modern world, as a construction which expresses the language naturally, and a democratic architecture of a faithful part for the whole, these kinds of approach shows the similarity and the properties of Neue Sachlichkeit which has appeared in the colloquy and photographs in Germany at the end of the 20th century in the past. The main purpose of this study is to recognize the understanding and development of Neue Sachlichkeit's properties in architecutre - the Neue Sachlichkeit's influence on the architecture from elementerism, Constructivsit International, ABC Group and Holland's 'the De 8 and Opbouw's' architecture's move to the Holland's architecture - in colloquy and photographs from 1910 to 1930 which had the similar aspect and chronological situation of the modern world.

• 영어영문학
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• 제64권4호
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• pp.651-672
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• 2018

Death of a Salesman is centered on Willy Loman trying to achieve the American dream and taking his family along for the ride. This paper explores the meaning of his suicide in the work through the Adorno's theory on the individual's reification and commodity by an exchange value in the capitalism and argues that Bourdieu's capital classification shows the cause of his tragic decision. Reification refers to "the structural process whereby the commodity form permeates life in capitalist society." and Adorno called the reification of consciousness an epiphenomenon. The social-psychological level in Adorno's diagnosis serves to demonstrate the effectiveness and pervasiveness of late capitalist exploitation. According to Bourdieu, cultural capital can exist three forms: in the embodied state, in the objectifed state and in the instituionalized state. He states embodied capital is argued to be the most significant influence; however unlike other forms of capital (social, economic, etc.) obtaining embodied capital is largely out of the individuals' control as it is developed from birth. In conclusion, I suggest Death of a Salesman can be interpreted as a text criticizing the internalization of the subject, which is the result of the self-destructive mechanism of the subject in the logic of modern subject formation.

• 인삼문화
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• 제4권
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• pp.38-58
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• 2022

박완서의 소설은 여성문제, 자본주의 체제, 노년 문제 등을 현실감 있게 다룸으로써 문학계는 물론 여성학, 사회학 등 많은 분야에서 사회 현상의 분석 도구로 활용된다. 박완서 소설의 특징은 본인이 체험했던 사실들을 소설의 배경으로 배치한다. 하지만 소설 「미망」은 예외적으로 그가 경험하지 못한 일들을 전해 내려오는 이야기와 취재를 바탕으로 줄거리를 구성했다. 이는 잊지 못하는(未忘) 고향 개성 이야기를 통해서 시대정신을 보여 주려 한 것이다. 「미망」은 인삼재배와 상업을 기반으로 거대 자본가로 성장한 전처만과 그의 가족을 중심으로 한 4대에 걸친 가족 연대기가 줄거리를 이룬다. 19세기 후반부터 한국전쟁이 끝나는 시기까지를 배경으로 소설은 역사적 격동기에 살아왔던 인물의 행적을 중심으로 인삼과 개성상인이 상징하는 시대적 의미를 풀어낸다. 개성은 고려인삼의 메카로서 인삼과 개성상인 이야기를 빼고는 개성의 전형을 그릴 수 없다. 실재했던 사실들을 토대로 픽션이 가미된 「미망」은 근대사의 사료적 가치, 개성의 풍속사 뿐만아니라 미시사로서 인삼 역사의 소중한 증언이 담겨있다. 「미망」에는 개성의 시대상과 인삼 상인의 정신, 식민지 시절 일본의 인삼 약탈과 삼업인의 저항, 인삼 자본의 근대 자본주의로 전환 등의 흔적이 화석처럼 박혀있다. 특히 의미가 깊은 것은 소설 속 이야기들이 역사적 사실과 조응해 인삼사의 한 장(章)을 구성한다는 것이다. 「미망」에서 나타난 인삼의 상징성은 크게 세 가지로 볼 수 있다. 첫째, 고려인삼의 정기를 보여 준다. 인삼 농사의 정성과 까다로움, 삼업(蔘業) 정신과 자부심을 통해 인삼의 영물(靈物)스러움을 드러낸다. 둘째, 일본의 인삼 수탈을 민족수난사로 상징한다. 이를 지키려는 인삼 상인들의 노력과 독립운동 지원을 중요한 테마로 풀어내 민족정신을 나타낸다. 셋째, 지주, 상업 자본에 머물지 않고 생산 자본으로 전환, 근대기업화하고 사회에 기여하는 개성 인삼 상인의 근대 자본가적 진취성을 보여 준다. 세 개의 상징성은 그 당시 인삼 상인이 추구하던 시대정신을 보여 주는 것으로 우리 민족과 인삼의 관계를 더욱 명징하게 드러낸다.

• 건축역사연구
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• 제11권4호
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• pp.71-86
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• 2002

Since Modern period which is characterized by the governing of technology and capitalism, the production and aesthetics of building became a main issue of architectural discourse. Morever, Modern architecture tends to be a kind of media in which the visual image of building plays a far more important role than building itself. Institutionalized discipline of Architecture in modern system set aside the dwelling aspect of building and destructed close relationship between dwelling and building. This study analyzes the essential meaning of dwelling with a viewpoint of building and vise virsa in order to have a deep reflection on contemporary architecture and modern crisis of dwelling. For this purpose this study first reviewed linguistic and mythical narratives on the origin of dwelling and building. Secondly, reviewed the thought of Heidegger on dwelling and building and his thinking on authenticity of dwelling. Thirdly, reviewed drastic change of idea and reality of dwelling recent days, especially from settlement to nomad. Lastly reviewed E. Levinas' thinking on bodily dwelling or primordial mode of dwelling before poetic dwelling of Heidegger. With these review we can figure out following things on dwelling and building. Physical building or its visual image can not take the place of dwelling in itself. Dwelling and Building happens simultaneously and understood as an event in life world. Today's alienation of dwelling from building reduced our conception of architecture to a physical setting and mere technique. Building must be a ontological and cultural phenomenon beyond physical building. Nomad in this age of information and globalization may be a new mode of dwelling. But it can not exclude traditional way of dwelling on concrete space, because human being as a physical being can not abandon dwelling place that gives a primordial comfort with and within our body.

• 한국실내디자인학회논문집
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• 제26권5호
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• pp.75-82
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• 2017

The aim of this study is to find phenomenological characteristics in the background and contents of Kenneth Frampton's architectural theories and their contribution to architectural phenomenology. His theories reflect on the interpretations of Modern architecture synchronically and diachronically. This difference makes Frampton have more concrete direction for architectural phenomenology. Hanna Arendt, who contribute to form Frampton's architectural theory, introduced various concepts of Heidegger's phenomenology to Frampton. And criticism of image centered late capitalism also act as a background for Frampton to relate to phenomenology. Frampton emphasized the importance of 'critical regionalism' and 'tectonic' as a poetics of construction as the resistance of globalization. All of these have relations to 'place' and 'perception' that are main themes of phenomenology. Frampton explains his theory with phenomenological terms and above all things, he assimilates concerns of architectural phenomenology with critical thinking. In these aspects, his theories can be recognized as playing an important role to the development of architectural phenomenology.

• 미술이론과 현장
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• 제10호
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• pp.25-46
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• 2010

Street art operates within an already given visual order: the visuality of the modern city in which the regimentation of the image has become fully adaptive to-what Fredric Jameson termed-the logic of late capitalism. What is the relationship between street art and the hegemonic forms of the image dictated by the "city's rulers"? Does street art evoke an alternative kind of spectatorship? Can the unsolicited visual intervention in the life of the city open up an "optics" that resists the reifying patterns of the contemporary gaze? This paper follows Baudrillard's pioneering analysis of graffiti, arguing that the visuality of a certain kind of street images carries an important potential of challenging the hegemonic manner in which the contemporary image has come to dominate the field of vision.

• 기독교교육논총
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• 제67권
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• pp.267-299
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• 2021

본 연구의 목적은 신자유주의 특성과 교육의 한계를 논의하면서 이에 대응하는 차원에서 기독교교육의 역할을 제시하는 데 있다. 신자유주의는 시장을 유토피아로 전제하면서 완전한 시장 질서에 모든 것을 맡기는 경제우선주의 사상이다. 이는 단순히 하나의 경제원리에만 머물지 않고 인간 삶의 모든 영역에 영향을 주면서 특히 자본주의와 연결하여 종교성을 나타낸다. 여기에 속한 인간은 신자유주의 시장에 맞는 유연한 노동력으로 이해된다. 그런 까닭에 신자유주의는 교육의 도구화 현상, 자유와 평등에 대한 왜곡, 전통적 가치에 대한 상실, 그리고 정체성을 잃고 표류하는 인간상을 심화시킨다. 본 연구에서는 이런 점들을 비평적으로 논의하면서, 시장에 대하여 성경에 기초한 균형 잡힌 이해, 교육의 도구화 현상에 대응하여 교육 본연의 목적 회복, 그리고 기독교인간학에 기초한 통전적인 인간상 규명과 적용에 있어서 기독교교육의 역할을 제안하였다.