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2019, Vol.56, No.

  • 1.

    The Aesthetic Dimension of Science

    Junsik Won | 2019, 56() | pp.3~34 | number of Cited : 0
    Abstract
    The aim of this paper is to identify the aesthetic moments in science and elucidate what a meaning they can have in scientific practices. Here the relation between aesthetics and science is examined in two respects, one being beauty of nature as a purpose of scientific inquires and the other being beauty of scientific theory itself. The former is based on the belief that such aesthetic moments constitute the principles of nature, and the latter presupposes the belief that a beautiful theory is closer to truth. These believes, of course, do not guarantee the truthfulness of the theory. Nevertheless, many great scientific achievements have been made in part based on these believes. According to Thomas S. Kuhn, a scientific theory is not an objective truth, but merely a way of explaining the nature, which is chosen by the scientific community. In most cases the most important criterion for the assessment and selection of a theory is the criterion of empirical adequacy but the aesthetic moments often play an important role in the selection processes. Indeed many scientific theories have been selected in part by the aesthetic criterions, and there may still be a possibility for the better explanations of nature by such criterions.
  • 2.

    Reading and Eating : Interdisciplinary Meaning of Consuming by W. Benjamin's Aesthetics

    Kang Su Mi | 2019, 56() | pp.35~66 | number of Cited : 2
    Abstract
    The purpose of this research is to examine the historical background and theoretical context of contemporary trends in which the various participations and unspecified performances of readers/audiences are highlighted in the field of knowledge and culture and arts. This is a broad topic. So my research focuses on W. Benjamin's aesthetics. Benjamin's short text, which explores the empirical peculiarities of the novel reading and the form of world understanding, juxtaposes the reading with eating. However, that is comprehensively linked to the criticism of Western modernity's epistemology, the methodological demands for educational innovation and relationship between generations, and the expectation of art that plays a role in the social revolution. I explain the theoretical scope and content of Benjamin's juxtaposition of reading and eating, that is, the historical philosophical and materialistic theory of art, through the Benjamin's concept of ‘Einverleibung/incorporation’. At this time, incorporation is an internalization of discipline and follow-up acquisition, which is understood as the meaning of opposition to reading/consuming/education. It is the incorporation in the context of Benjamin, the process of dialectical overthrow, which is instantly destructive but finally constructive. In other words, consciousness and sensory perception are the dialectically interacted ways of consuming and increasing of ourselves, destruction and construction, raw experience and awakening, dismantling and new beginning.
  • 3.

    The Satire on Sciences in Punch : Comparison of public attitudes toward natural and mathematical sciences

    Cho Su Nam | 2019, 56() | pp.67~99 | number of Cited : 0
    Abstract PDF
    Punch, a British magazine of humour and satire, has been considered as a sort of window on thought and culture of the Victorian English by historians. But the historians paid relatively little attention to sciences in Punch despite popularization and rapid developments of sciences during the era. In recent years there have been several studies that paid attention on sciences in Punch, while the sciences were confined to technological inventions, medical themes or Darwin's evolutionary theory. This tendency of overly weighted toward specific fields is due to difficult problems that it is difficult to visually depict theoretical sciences and to search for the articles treating sciences in the massive material of Punch. However, Punch had treated various scientific issues besides evolutionary theory. This paper will show obvious differences between humour on experimental sciences or natural history and ridicule on mathematics or mathematical sciences. Then we may be able to understand the evident differences between public attitudes toward natural sciences and mathematical sciences.
  • 4.

    Utopia of Convergence Art in the Hybrid Age : focusing on Bruno Latour's Cosmopolitics Concept

    Yu HyunJu | 2019, 56() | pp.101~128 | number of Cited : 0
    Abstract
    This paper focuses on introducing cosmopolitics concept as the ideal of convergence art in the hybrid age. According to Bruno Latour, the dichotomous reasoning that distinguishes between subject and object, nature and society, humanity and non-humanity is the thinking system centered on human beings, based on which western-centered asymmetrical cultural anthropology has been developed, without covering many actors other than human beings. The notion of non-modernity, chosen by Latour calls for Dingpolitik, cosmopolitics, as a network of actors whoes existences equally participate as objects. Cosmopolitics is a concept of parliamentary politics of things in the network of actors. The concept of non-modernity proposed by Latour is a practical epistemology that aims to realize cosmopolitics in which all are participating as equal objects both human and non-human in the direction of ecologicalization of life. In contemporary convergence arts, we can experience metaphors of Dingpolitik as cosmopolitics. Such experience is visualized through bricollage used in convergence arts as a means of opening the doors of Dingpolitik. In the example of contemporary convergence arts, we can see that the field of Dingpolitik is metaphorically formed through the aesthetics of bricolage. In conclusion, the utopia of convergence art in the hybrid age calls for the concept of cosmopolitics that constitutes a network of ecologically symbiotic human beings and non-human beings.
  • 5.

    Study on Ink Orchids of Literary Noblemen in Joseon Period from Confucian Viewpoint

    Choi hyun-woo | 2019, 56() | pp.131~178 | number of Cited : 1
    Abstract
    This dissertation aims to analyze the realm of literary noblemen's ink orchids(墨蘭畵) in Joseon period to a specific aspect that ink orchids were developed from Confucian viewpoint and consequently to clarify the essence of the ink orchids. To lay the groundwork for the aforementioned research goals, the literature review covers ‘Orchid in the hidden valley(隱谷幽蘭) and Zhilan(芝蘭) stories of Confucius’ that serve as theoretical background of ink orchids. As Orchid in the hidden valley story is an important basis for ink orchids to be developed as Confucian art. Zhilanzhishi(芝蘭之室) and Zhilanshengshenlin(芝蘭生深林) show that Confucian likened fragrant zhilan(芝蘭, ganoderma lucidum and orchid) to ‘man of virtue(君子) with pure moral nature and honor’. Thus, the literature review demonstrates the ground that orchid symbolizes man of virtue and ink orchid becomes one of Four Gracious Plants(四君子, plum, orchid, chrysanthemum and bamboo), the Confucian art form, is derived from the two Zhilan stories. Based on the findings from the literature review, this study analyze works of Kwon Donin(權敦仁, 1783-1859), Kim Jeonghee(金正喜, 1786-1856) and Yun Yonggu(尹用求, 1853-1939), Joseon literary noblemen who directly expressed Confucian ideas on ink orchids and the research result is as follows. The realm of literary noblemen's typical ink orchids from Confucian viewpoint is projection of self-discipline and educational meaning contained in Confucius' Yinguyoulan and Zhilan stories ― his teaching that “One should socialize with good-natured people like orchid scent, improve duties as human and cultivate virtues and keep integrity and loyalty in spite of any difficulties”. Also it is found that Joseon literary noblemen discussed ‘attitude and method for painting orchid’ in linkage with Confucian phrases which deepened development of ink orchids with roles to achieve moral training and self-discipline.
  • 6.

    The Identity Issue in the Later Works of Yiso Bahc

    Jungmin Han | 2019, 56() | pp.179~204 | number of Cited : 0
    Abstract
    ‘Identity’ was a lifelong issue for Yiso Bahc. His work can be summarized into phases of ‘recognition of self identity’(1981-1984), ‘setting the problem of cultural identity’(1985-1994), and ‘beyond identity issue’(1995-2004). This paper examined the identity issue in the later works of Yiso Bahc, and suggested the following points. First, after 1995, His works for this period seem to be more like a journey towards the ultimate values of an artist's inner ethics, a fundamental realization of creation of art works, a cliffhanging hope for future and happiness, and the meeting with the Lebenswelt. This is a typical example of “the man who seeks the meaning of life on earth” like the idea of ‘Übermensch’ which Nietzsche presented as the goal of the human being. Second, his works are characterized by the position of ‘nothingness’ or ‘nihilism’. In this sense, what he aimed at was, paradoxically, ‘post-identity’. This was a search for overcoming the denial of the absurdity or the conventional values of the world, and it was also due to the constant self-reflection of the artist who sought the possibility of a free life. In other words, the tendency of Yiso Bahc's later works is very far from the cultural politics or thesis. The art he pursued was “to be concerned about and prepare for the future” in Lebenswelt of ‘here and now’ through ‘the human will to creation’, which has some implications for the discussion on identity in contemporary Korean art today.
  • 7.

    From Mimesis to “Repeating Forward” : The “Disappearing” in <Santa Faz> of Francisco de Zurbarán

    Jimin Son | 2019, 56() | pp.205~235 | number of Cited : 0
    Abstract
    The Spanish baroque painter Francisco de Zurbarán(1598-1664) adopted “monastic” repetition as his major modus operandi to contemplate the biblical legend of Veronica. The aim in this <Santa Faz> was not only to recreate his testimony to the truth of this “miracle”, acheiropoietic by definition, but mainly to contemplate the difference between this truth and its coming into being outside the mimetic realm. In 1658, six years before his death, emerging from his canvas are mere faint traces of a head almost completely devoid of figurativeness. A number of scholars interpreted this non-representational holy face, paradoxically enshrined in a highly ascetic yet realistic mimetic setting as an image, as a divine trompe-l’œil (Caturla), an image to be completed by the spectator’s imagination (Belting and Stoichita), a mimetic presence and paragone (Ostrow) or an image opening up the dialectics of auratic contact (Didi-Huberman). Zurbarán’s staging of the enigmatic disappearance does confirm these accounts, but the specificity of his repetition leading up to this disappearance calls them into question. Our question, which takes Belting’s critique of Deleuze and Guattari as a turning point, is to ask if the disappearing of representation can be understood as aiming for a concept of future beyond the tautological theories of destruction of icon, “zero degree” or differentiation.
  • 8.

    A Study on the Relationship among Psychology, Ethics and Dogmatics in the Philosophy of S. Kierkegaard : focused on the “Introduction” of the Concept of Anxiety (1844)

    Sun-Kyu Ha | 2019, 56() | pp.237~271 | number of Cited : 0
    Abstract
    The Concept of Anxiety published by Kierkegaard in 1844 is considered a groundbreaking work of Western philosophical anthropology. But the “Introduction” of the book comes up like a “huge wall” which frustrates normal readers of today. In this paper, I intend to clarify as much as possible the entire structure and core contents of the intricate “Introduction”. In order to facilitate the work of clarification, I focus on elucidating scientific character and relation of psychology, ethics and dogmatics. First, I give a concise explanation the whole 20 paragraphs of the “Introduction”, subdividing it into 8 steps according to the development of its argumentation. Second, I discuss the intrinsic connection between anxiety and sin and the academic nature and limitations of psychological considerations. Third, I examine the inherent anthropological meaning of the concept of sin and significant features of the new “second ethics” that is inevitably required due to the reality of sin of individuals. And fourth, this paper then reconstructs how the “Introduction” critically explains the academic nature and realistic situation of dogmatics. The “Introduction” of The Concept of Anxiety can be regarded as a critical treatise on the crisis and the helplessness of Western metaphysics and philosophical tradition, which forget the genuine existential freedom of individuals. At the same time, the “Introduction” is a powerful declaration urging that the character and contents of existing psychology, ethics, and dogmatics should be completely reformed.
  • 9.

    Erschütterung und Intensivierung : Das Erhabene nach Adorno und Lyotard

    Young Yoon Kwak | 2019, 56() | pp.273~293 | number of Cited : 1
    Abstract
    In diesem Aufsatz handelt es sich um die Erklärung und den Vergleich von dem Adornoschen und dem Lyotardschen Begriff des Erhabenen. Die beiden Ästhetiker verteidigen die gegenwärtige Kunst, die die formale Schönheit und die abbildende Darstellung ablehnt. In seiner Ästhetischen Theorie setzt sich Adorno kritisch mit dem Kantischen Begriff des Erhabenen auseinander. Kant erklärt das Erhabene als ein subjektives Gefühl der Überlegenheit des autonomen Subjekts über die Natur. Dagegen meint Adorno, dass der Vorrang des Subjekts vor der Natur in Wahrheit die Unterdrückung des leiblich-lebendigen Subjekts durch das geistig-denkende Subjekt sei. Deswegen konzipiert Adorno die Erfahrung des Erhabenen als ästhetische Erfahrung der Wahrheit über das Subjekt, nämlich dessen Hinfälligkeit und Nichtigkeit. Diese Erfahrung bezeichnet Adorno als Erschütterung. Dabei stellt er fest, dass die Sinnlosigkeit der Kunstwerke keine absolute, sondern eine höher-stufige Sinnlosigkeit sei. Im Gegensatz dazu meint Lyotard in seinem Vortrag über Das Erhabene und die Avantgarde, dass die Sinnlosigkeit der avantgardistischen Kunst eher eine Möglichkeit der neuartigen Wahrnehmung der Kunst sei. Denn der Schrecken aus der Unverständlichkeit könne in eine Lust an der Intensivierung der Lebensenergie umgewandelt werden. Doch ich bin der Ansicht, dass die Ästhetik von Adorno fruchtbarer ist als die von Lyotard, wenn man die Kunstwerke interpretiert.
  • 10.

    The Application and Critical Reception of Methodologies of New Museology

    Lee Phil | 2019, 56() | pp.295~321 | number of Cited : 1
    Abstract
    This essay explores methodologies of the New Museology emerged in the early 1980s to force the institution to re-evaluate its basic assumptions. It examines criticisms of ‘the neutrality of the museum’ from five key methodological perspectives. First, the museum as the ideological tool, second, ethnography, multicultralism, and politics of the other, third, the shaping and structuring of knowledge, fourth, Foucaudian surveillance, and lastly, postmodern archeology. I analyze how these critical approaches revealed problems of the exclusivity of the modern museum and allowed heterogeneity and diversity in various types of museums. Though I look what they have overlooked and the problems that arise when applying their theories to the reality of museum practices, I recognize that they have produced productive discourses and significantly changed museum practices. I argue that these approaches are still valid in understanding the nature and function of contemporary museums and that they can provide Korea with critical tools necessary for self-criticism in establishing her own museology. Lastly, I discuss problems of ‘the other's’ reception of colonialism and multicultralism that originated and formed from/within the context of EuroAmerica. I draw attention to the fact that the lack of critical understanding of the history and methodology of New Museology in relation to ‘the position of the subject and the other’ will only cause confusions in establishing Korea's own Museology.