• Journal of English Language & Literature
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• v.55 no.6
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• pp.937-959
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• 2009

The Queen of the Air, John Ruskin-s highly elliptical publication of 1869, elaborates a complex mythology as a way of responding to the prevalence of scientific thinking, widespread environmental degradation, the pernicious effects of political economy, and mechanistic labor. Benjamin-s desire to rescue human experience from prevailing scientific conceptions is reminiscent of Ruskin-s fear that the peculiar power that shapes the unities of the natural world is simultaneously being "beaten down by the philosophers into a metal or evolved by them into a gas" and obscured by the dreams and theories of philosophers and theologians. As a critic remarks, in Benjamin-s-and, we would add, Ruskin-s-view, "what the modern era lacked was a basis for continuity which would prevent experience from disintegrating into a desultory and meaningless series of events." Despite its frenetic hyper-associativity, then, The Queen of the Air contains a key element that Benjamin believes is necessary for "redemption": the desire for a new form of consciousness that recognizes links to the past and thus to the longings and dreams of our forebears. Thus, although Ruskin most immediately influences Proust, who in turn influences Benjamin, Benjamin-s thought is far more Ruskinian than critics have heretofore observed. Just as Benjamin helps us make sense of the ways in which The Queen of the Air is caught in the grip of the shocking associativity of modern life, so Ruskin assists us in discerning similar impulses in Benjamin-s attraction to a form of archaic consciousness that can, by altering the modern form of perception, reenchant the present.

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.299-304
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• 2020

This paper considers the research content and its historical significance of the Study of Nature conducted by John Ruskin(1819-1900) who had a profound influence on art, architecture, social reformation, and preservation of natural environment in Great Britain. Because Ruskin's Study of Nature would be the key to understand totally the implicative meaning of his various academic trials for integrating a wider contexts among human, culture, and society, without being bound by the rules of conventional disciplines. For Ruskin, 'Nature' is defined as 'a system' governing every aspects of human and non-human beings, formulating certain laws of composition. This system has an ecological quality to form a state of harmony by internal interaction and process. Such organic quality of nature worked as 'a metaphor' in Ruskin's research practices. Therefore, Ruskin's Study of Nature would be the conceptual basis for organizing and connecting its various elements of Ruskin's spiritual world.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.303-308
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• 2021

This paper deals with the meaning of seeing in John Ruskin's aesthetic theory. For Ruskin, seeing is the essential key to define moral insight. To consider the relationship between the education of sight and the delight from experience of seeing in nature within Ruskin's moral thought, I analyse Ruskin's various lectures and texts, including Modern Painters, The Story of Halcyon, Of the Science of Light, Proserpina, and Praeterita. The first section of the body investigates the relations among pleasure, thought, sight which compose Ruskin's moral ecology, and then the second section traces the theoretical logic formed the concept of seeing as moral perception of human being. The third section demonstrates correspondence between aesthetic experience of pleasure and the way of seeing as an education for the mystery of Nature and God. After these theoretical processes, this paper finally insists that seeing is the factor of formation of an ecological sensibility corresponding with development of moral perception generated within the hierarchical structure of human-nature-god.

• Journal of architectural history
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• v.1 no.2 s.2
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• pp.116-136
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• 1992

Architectural essence of John Ruskin's discourse can resolve itself into natural beauty, craftmanship, and truth in structure, surface, and process. His theories became disciplines of modern English school, Art and Craft and Free architecture, in aspects of organic architecture, morality, and rationality. These concepts disseminated continental Art Nouveau and also became it's basic principles. But his empirical theories hated use of machine, and should find a ideal model in medieval romanticism of Gothic. Anti-machine, as a instictive guideline of English modern architecture, couldn't cope with the industrialization of 20th century, and Gothic revival interfered with creating a new style. Muthesius' discourses were taught by the power of group movements and modern concept of form in English school, originally by Ruskin. But he accepted the potentiality of machine and mass production, and stressed creating the new German style suitable with machine. With the progress of Deutscher Werkbund, his theories were advanced to 'quality' connected with craftmanship, to discourse on mechanical 'form', and lastly to 'standardization and type' for mass production. Mechanical functionalism of Muthesius and DWB were sophiscated and handed down to Bauhaus, and then finally helped establishment of the Modern Architecture and Internationalism. Both English and German modern architecture owed their contribution as well as limitation to Ruskin and Muthesius as theorists. Through this comparative study, we can see the priority of theory to practice, the theoretical justification based on insight for its society and future, and the practical character of theory itself.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.3 s.43
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• pp.315-323
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• 1992

The purpose of this research is the new experimental approach to the methodology of the costume history 'study. The basic frame is structured by the concept of the type. This is developed to the decoration type of the costume, originated by the classification of the decoration type of Ruskin. Using this, the researcher could analysis the decoration type of the costumes in the 19th century. In the result, the researcher could find that the change of the decoration type had the regular orientation of the oscillation through the periods. It is the experimental frame for the analysis of the styles. But it will provide the more extensive analytical frame on condition that catagorizations are completed. And it will be able to imply to the 20th century's costume.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.12
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• pp.135-144
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• 2018

This paper deals with preservation and restoration as a universal approach to conserve architectural heritage. The questions on how to preserve or restore them have been always major issues for many old buildings. Reading changes in ways of the thinking to solve such matters in the past helps to grasp the fundamental concepts to conserve cultural heritage at this point in time. The method is an important stage that leads to change our current attitude. Both the ways of the thinking for preservation and restoration should be re-interpreted to preserve memory or to restore identity depending on the current situation, and even should no longer be understood as two opposite options. Therefore, this paper focuses on the epistemological notion and reveals the origin and premise of modern historical perception that has become disconnected from the past works. By taking the writings of $Eug{\grave{e}}ne$-Emmanuel Viollet le Duc, John Ruskin, and Camillo Boito into consideration, the thesis shows that their thought, in the common denominator of the time, is a kind of reflection of consciousness according to particular historical contexts and that their ideas echo three dialectical paradigms derived from past and present, memory and forgetfulness, and history and truth.

• Architectural research
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• v.18 no.3
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• pp.103-111
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• 2016

This paper investigates the characteristics of preservation of Korean modern architecture through Western historic preservation theories and philosophies. This research focuses on the Japanese Government-General of Korea (1926-1995) which was built in 1926 and used as the chief administrative building in Seoul (Keijo in Japanese) during the Japanese colonial period (1910-1945). After Korea was liberated from Japanese rule in 1945, this building was used until 1995 for the South Korean National Assembly, the United States Army Military Government in Korea, and the National Museum of South Korea. Although it served a variety of roles, this building was the most controversial case of historic preservation in Korean modern architecture. To analyze the peculiarities and characteristics of Korean modern architecture and its preservation, this research applied Western historic preservation theories, not exclusively from classical historic preservation theories developed by Viollet-le-Duc and John Ruskin, but also from modern historic preservation theories by Theodore H. M. Prudon, Daniel Blunstone, and Frances A. Yates. This cross-cultural and comparative study of historic preservation helps identify Korean modern architecture's characteristics. It can also be a useful reference in finding the origins of Korean modern architectural identity.

• Architectural research
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• v.12 no.1
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• pp.33-38
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• 2010

Many theorists acknowledge that Modern architecture denied the architect's crafty gesture for the sake of pure formal and compositional status of a building. As well, modern technology in construction has been prevailing as the sole support for modern architecture. But there exists architects who proposed a dialectic development of traditional and modern techniques. This thought was prominent in Germanic circle where technological development was in advance. Throughout $20^{th}$ century, the works of Adolf Loos, Mies Van der Rohe, and Peter Zumthor are representatives in each period. A common point begins from their apprenticeships as craftsmen: Loos and Mies as stonemasons, Zumthor as a cabinetmaker. More than this fact, their craftsmanship is embedded in their works and express creativity of architects. While mass production system raises non-participatory practice that merely require assemblage of products, the adjusted techniques with craftsmanship brings forth a participatory practice that does not limit the creativity of architects.

• Archives of design research
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• no.18
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• pp.199-207
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• 1996

Today craft design becomes of the declining ind-ustry by the advanced machine technology. Criticism of Ruskin and Morris about the industrial Revolution has a great influence until the present. The purpose of this study is to develop a new craft movement to conceived new craft's social role is placed emphasis on education for the whole man.

• Asian Journal of Business Environment
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• v.6 no.3
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• pp.21-31
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• 2016

Purpose - The purpose of this research is to determine the impact of word of mouth on customer perceived value for restaurants in Malaysia. The objectives of this research include determining how word of mouth (WoM) factors - frequency of word of mouth messages, reputation of word of mouth messenger, richness of word of mouth message, dispersion of word of mouth conversations and manner of word of mouth delivery impact customer perceived value in Malaysian restaurant industry. Research Design, Data, and Methodology - The research follows causal / explanatory research method based on quantitative data. A sample of 150 restaurant customers in Kuala Lumpur, Malaysia was selected using convenience sampling technique. Likert scale questionnaire is used to collect data and data is analysed using regression analysis through SPSS 22. Results - The statistical analysis revealed that independent variable 'manner of delivery' significantly and positively impacts customer perceived value for restaurants in Malaysia. Conclusions - To build strong positive customer perception, Malaysian restaurants can enhance word of mouth campaigns' 'manner of delivery' by making them passionate, exciting and with high emotional appeal.