• Asian review of World Histories
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• v.4 no.1
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• pp.35-81
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• 2016

The objective of this essay is to propose a cultural history of cosmography and cartography from the thirteenth to the sixteenth centuries. It focuses on some of the processes that characterized these fields of knowledge, using mainly western European sources. First, it elucidates the meaning that the term cosmography held during the period under consideration, and the scientific status that this composite field of knowledge enjoyed, pointing to the main processes that structured cosmography between the thirteenth century and the sixteenth century. I then move on to expound the circulation of cosmographic knowledge among Portugal, Venice and Lisbon in the fourteenth and fifteenth centuries. This analysis will show how cartography and cosmography were produced at the interface of articulated commercial, diplomatic and scholarly networks; finally, the last part of the essay focuses on the specific and quite distinctive use of cosmography in fifteenth-century European culture: the representation of "geo-political" projects on the world through the reformulation of the very concepts of sea and maritime networks. This last topic will be developed through the study of Fra Mauro's mid-fifteenth-century visionary project about changing the world connectivity through the linking of several maritime and fluvial networks in the Indian Ocean, Central Asia, and the Mediterranean Sea basin, involving the circumnavigation of Africa. This unprecedented project was based on a variety of sources accumulated in the Mediterranean Sea basin as well as in Asia and in the Indian Ocean over the course of several centuries.

• Architectural research
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• v.12 no.1
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• pp.25-32
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• 2010

This paper investigates the development of attitudes to historic conservation from the turn of the nineteenth century when certain theoretical opinions on the protection of buildings began to be developed, through the time when the Venice Charter was established, to recent international trends in historic conservation. This paper also explores the contribution of these attitudes and ideas towards an international approach for historic conservation. This paper demonstrates that the Venice Charter is the acme of progress in the European stance towards restoration, reflecting European values of architecture and its conservation, and thus it is not sufficiently 'universal' to be unequivocally applied in non-Western countries. Secondly, recent international trends in historic conservation subvert the notions of Western cultural hegemony which have permeated global conservation practices, and accept the diversity of value criteria for heritage and its conservation in different cultural context. Thirdly, this paper argues that the conservation approaches in Asian societies need to move further into the retention and extension of the spirit and naturalistic sensibilities inherent in the architecture. Historic conservation is an expression of different cultural values attached to heritage resources by different societies. For conservation program to be effective, conservation should take place within a socio-cultural context.

• Cross-Cultural Studies
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• v.50
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• pp.483-507
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• 2018

Shylock in Shakespeare's play, The Merchant of Venice has been considered as either a devilish villain, or as a victim who was persecuted unfairly by the Christian society in Venice. By focusing on the matter of the Other, which has been summarily overlooked in literary texts and the literary criticism, it is noted that the New Historical and Cultural criticism interpreted Shylock as the racial, religious, and economic Other in the Venetian society which at the time was dominated by Christian ideals. The purpose of this paper is to show how Shylock becomes an abjected Other, that is, the abject, based on Julia Kristeva's theory of abjection. According to Kristeva, an abjection is the process of expulsion of otherness from society, through which the subject or the nation tries to set up clear boundaries and establish a stable identity. Shylock is marginalized and abjected by the borders drawn by the Venetian Christian society, which in a strong sense tries to protect its identity and homogeneity by rejecting and excluding any unclean or improper otherness. The borders include the two visible borders like the Ghetto and the red hats worn by the Jews, and one invisible border in the religious and economic fields. By asking for one pound of Antonio's flesh when he can't pay back 3,000 ducats owed, Shylock tries to cross the border between Christians and Jews. Portia frustrates Shylock's desire to violate the border by presenting a different interpretation of the expression, 'one pound of flesh,' from Shylock's interpretation. And in doing so she expels him back to his original position of abject.

• Korean Association of Arts Management
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• no.50
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• pp.177-212
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• 2019

In an effort to understand the global standing of artists from Japan, China, and Korea, this article presents an analytic study of data from auctions, notable international contemporary art galleries, notable international art museums, contemporary art biennials, and the Venice Biennales' award. We also look at select art exhibitions as they have been covered by international art magazines to analyze the geography of international contemporary art. Our analysis of international art magazines shows that the global position of the three Asian countries we consider is low in comparison with select Western countries. Auction data, on the other hand, reveals that Chinese and Japanese artists are highly regarded in economic terms, while the visibility of Japanese artists is emphasized in the data we consider from art biennials. In the permanent exhibitions and contemporary art biennales we look at, we note that the visibility of Chinese artists is much higher than that of Japanese and Korean artists, who also demonstrate remarkable visibility. We find that Korean artists represent an important presence in our analysis of the Venice Biennale awards, with Japanese and Chinese artists holding noteworthy positions. Through these myriad criteria, we develop a clear idea of the nature of the global position of artists from Japan, China, and Korea. The Asian art world can profit from these findings by considering them when developing strategies for managing the growth of its artists on the international contemporary art scene.

• Journal of Contemporary Eastern Asia
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• v.20 no.2
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• pp.278-297
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• 2021

Despite competing strategical interests over Southeast Asia that have emerged in the last decade, with the launch of wide scope geopolitical strategies Chinese and Japanese initiatives have been characterized by a certain degree of implicit coordination, particularly in offering support to the Myanmar state's territorializing strategies for economic development. The case of the Thilawa Special Economic Zones (SEZ) is exemplary, as it was a Japan-led project which became a model and benchmark example for similar development initiatives supported by the People's Republic of China.

• Journal of architectural history
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• v.17 no.2
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• pp.67-81
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• 2008

Aldo Rossi explained Roman Forum as a significant urban artifact, because Roman Forum analogically showed not only an image of Roman Empire but also a figure of primitive design for its region. Thus the comparison and analysis between characteristics of Aldo Rossi's architectural works which are based on the theory of 'Analogical city' and the forums, the urban artifacts, was proceeded in this study. Consequently, it was discovered that Aldo Rossi had used his analogical thinking from the forum for his architectural languages such as gable roofs, square windows with depth, columns and so on. His analogical use of organizing spaces, such as courtyard type and pillar corridor type, has also shown that their types came from forum spaces. His analogical aspects of the forum: a space where urban images are analogically formed; were expressed in the 'Theater of Science' with the urban architecture form as the actor and the Theatre as the stage for analogical urban performances. Nevertheless, the expression of primitive design which divides the Roman Forum from other forums was actualized in 'the Theater of the World'. He not only analogically used types from Roman Forum in architectural design but also used boat in Water space, which decided the lifestyle and culture of Venice even before the civilization, to express the primitive design of Venice. Consequently, Aldo Rossi, by aiming the severance from the tradition, provided the possibility of explaining the newest modem type within the historical meaning by forming type which finds its continuance in history through 'the Theater of the World' and through analogical thinking along with the level of modern culture, to our urban architectural atmosphere that has lost its historical meanings.

• Cross-Cultural Studies
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• v.19
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• pp.149-179
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• 2010

This article is concerned about the symbolic meaning of the transvestism Renaissance perspective through analysis of Triumph Over Persecution work and The Merchant of Venice, and Jealous Ioan Tornese. The transvestism is frequently present in the comedies of the golden age. A woman author Maria de Zayas has a special interest in female identity with critical and defying view. Also the subject of the transvestism in Spanish literature originated in Italian tradition. In Italian literature, there were two types of disguised women, who urge for love and warrior-heroine(amazon). Both types are also listed in Spanish literature. The dress-crossing heroine of Triumph Over Persecution displays a type of heroine, who corrects a male prejudice and reset a harmonious order. Shakespeare is also one of the Renaissance writers under the influence of the Italian Renaissance novel. Heroine of Merchant of Venice symbolizes a triumphant challenge against the blocks of the patriarchal system. In spite of the social system blocks, cross-dressing women may receive in the patriarchal scenes without problems. Based on the notion of paradox and irony, the Italian novel reflects popular psychology of the time when the link between the internal identity and social outside puts into question. The cross-dressing Torneses' wife, symbolizes the mockery or renaissance deception. Their deception emphasis on an ironic way in the point view of inhuman man who consider women material belongs to the man without any free-will. The costume of the characters make it possible to change their original identity into the other. From this point of view, we can say that the transvestism in these works could be interpreted in two ways: first, the destruction of the traditional categories of women's identity and second, the burlesque contempt on the patriarchal renaissance society.

• Architectural research
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• v.14 no.2
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• pp.67-73
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• 2012

The purpose of this study is to reveal the meaning of ramp of Le Corbusier's Carpenter Center for the Visual Arts focused on experience of architectural promenade. The Carpenter Center was completed in 1964, only a year earlier than the death of Le Corbusier and also, this building is the only building actually constructed in North America. Despite these important facts, the meanings of the ideas of this building have not been paid attention as much as other buildings constructed at the same period, such as, Venice Hospital and Un Pavillion D'exposition in Zurich. In his book, 'Oeuvre Complete 1957-1965', Le Corbusier mentioned Carpenter Center as an architectural experiments of his ideas. The study of carpenter center will be an important architectural subject to clarify the meaning of his later works and ideas.

• 제어로봇시스템학회:학술대회논문집
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• 2004.08a
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• pp.1110-1115
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• 2004

Water covers two-thirds of the earth and has a great influence on the future existence of all human being. Thailand has extensive coastline and near shore water that contain vast biological and mineralogical resources. The rivers and canals can be found around the country especially in the Bangkok, which once called the Venice of the East. Autonomous underwater robot (AUR) will be soon a tool to help us better understand water resources and other environmental issues. This paper presents the design and basic control of a six-degree of freedom AUR "Chalawan", which was constructed to be used as a testbed for shallow. It is a simple low cost open-frame design, which can be modified easily to supports various research areas in the underwater environment. It was tested with a conventional proportional-integral-derivative (PID) controller. After fine-tuning of the controller gains, the results showed the controller's good performances. In the future, the dynamic model of the robot will be analyzed and identified. The advanced control algorithm will be implemented based on the obtained model.

• Computers and Concrete
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• v.20 no.3
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• pp.351-360
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• 2017

This paper presents an efficient membrane finite element for the cyclic inelastic response analysis of RC structures under complex plane stress states including shear. The model strikes a balance between accuracy and numerical efficiency to meet the challenge of shear wall simulations in earthquake engineering practice. The concrete material model at the integration points of the finite element is based on damage plasticity with two damage parameters. All reinforcing bars with the same orientation are represented by an embedded orthotropic steel layer based on uniaxial stress-strain relation, so that the dowel and bond-slip effect of the reinforcing steel are presently neglected in the interest of computational efficiency. The model is validated with significant experimental results of the cyclic response of RC panels with uniform stress states.