2016, Vol., No.63

Landmark and the Twentieth Century Urban Planning - Landmark’s Symbolic Transformations and its Implications for Urban Planning -

JongMan Moon | 2016, (63) | pp.5~34 | number of Cited : 6

The purpose of this paper is to investigate the basis of philosophical interpretation of a landmark’s symbolic meaning as well as its transformation in modern urban planning. Literally “landmark” is formed from the words ‘land’ and ‘mark’. In a modern sense, landmarks are usually referred to as recognizable natural objects and artefacts used for navigation. It can also be applied to smaller structures or features that have become local symbols. Differing from this modern perspective, landmarks were originally symbolic: a place where since the advent of society the sky, land and humans were connected as one. From then on, the landmark effectively functioned on the one hand as a site for patterns of collective action, periodically through rituals, worship, and the use of language; the landmark helped to strengthen social integrity. On the other hand people reinterpreted the landmark as a means to solve social problems in times of social duress. Landmarks functioned not only as the symbolic from of societies, but also as a centre that produced and reinterpreted social meanings. In this study, I concentrate more on the latter role of a landmark rather than the former in order to emphasize the meaning of philosophical interpretation of the landmark. Departing from this definition of the landmark, I then focus on the implication of the landmark on urban planning by exploring a 20th century dispute concerning urban planning. When it comes to urban planning, I analyze the viewpoints of three urban planners: Le Corbusier, Lewis Mumford, and Jane Jacobs; all of who still influence contemporary urban planning field. In modern times, the landmark has broadened to include a variety of cultural objects, becoming blurred. The landmark has become an object of focus involved in the dispute between ‘city’ and ‘cityness’ or ‘urban planning’ and ‘good life of the urban community’. In order to explain the strained relationship between landmark and urban planning, I use Claude Lefort’s concept of ‘empty place’; impossible to occupy, to the extent that those who exercise public authority cannot claim to appropriate it. By ‘empty space’, I refer to the indeterminism of the social, so opens the possibilities for various interpretations. As a result, I show that Le Corbusier thinks of ‘empty space’ as a transcendental geometry, Mumford regards it as a source of new imagination and possibility to realize the purpose of urban planning, and Jacobs thinks of it as a social flag by extending the meaning of the ‘cityness’. Lastly, the results of these studies shed light on the present state of our urban planning, which is related to the landmark.

The Philosophical Consideration on the Placeness of Alley - A Suggestion for the Future of the City -

Kim, Jong-Gyu | 2016, (63) | pp.35~65 | number of Cited : 2

An Existential Analysis on the City Park as a Base of Rest - On the Possibility of Philosophical Research on the City Park -

Min kyu hong | 2016, (63) | pp.67~99 | number of Cited : 1

Jew and the Ritual Murder - An Italian Case in the Second Half of the Fifteenth Century -

Byung-Chul Lim | 2016, (63) | pp.101~129 | number of Cited : 4

A Study of the Historical Flow and the Operating Systems of Dongyanggeukjang in the 1940s

kim nam-seok | 2016, (63) | pp.131~163 | number of Cited : 1

Posthuman Dilemma - A critical Analysis of the Post-Human Enhancement and the Post-Body -

Eung Jun Kim | 2016, (63) | pp.165~194 | number of Cited : 15

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The Philosophical Therapy Approach to the Investigation of Things and Extension of Knowledge - Introspection for the Understanding of the World, Myself, and Others -

lee giwon | 2016, (63) | pp.195~224 | number of Cited : 2

Nietzsche’s Thought of Science and Culture

Kwang-Yul Seo | 2016, (63) | pp.225~248 | number of Cited : 1

The Double Meaning of Gold in German Tales

Lee, Hye Jeong | 2016, (63) | pp.249~280 | number of Cited : 2

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Gold is a piece of metal representing treasure throughout the ages, but is also understood as a material representing human greed as the word ‘gold almighty’ suggests. Gold mainly performs a function of leading human beings to ruin in myths and legends. However, gold in folk tales entirely does different functions. The meaning of gold in folk tales is very positive, and characteristic. It is associated with a heroine in particular, and gold in folk tales appears as a symbol which shows the maturity of a heroine who grows into a main and genuine character. It is because the view of the world in myths and legends are different from that of folk tales. Earth can be put into the same category as women and night. Gold, too, functions as a symbol representing the productivity of women and earth. In Frau Holle, for example, a girl goes deep into the well to take out a bloodstained reel and, in reward for her efforts to help a grandmother, comes back soaked by golden rain. It means that she has matured like gold under the ground. When a girl bleeds in folk tales, it means that she experiences menstruation or has reached a mature, marriageable age. It also means that she came to have production capacity. Therefore, gold in folk tales is used as a motif meaning maturity and the truth of a girl. In a myth in particular and a legend in general, gold is considered to have developed into an icon of ruin that a human being should not possess. In a German myth Edda, Andvari casts a spell, saying, “All the people owning gold will be ruined” and the whole world, including that of gods, is wrapped in flames. Like the case of Heldenlieder, the latter part of Edda, the extraordinary heroes in Das Niebelungenlied, die after being embroiled in fights over gold amid strifes and betrayal. Nevertheless, gold in Edda is not a decisive factor that brings the world of gods to the end. Although gold in German myths was a detestable matter that cheats people and brings about disaster, gold in Edda is utilized as a spiritual existence. Because many gods including Odin have the golden magic tools (weapons) that could help redouble their strength and capability. It is a legendary situation that gold was recognized as treasure which make human beings covetous of property. Gold also functions as the possession of a legendary hero. In Siegfried, gold symbolizes the absolute treasure which a hero must have with a sense of heroism and absolute power. However, the legendary hero can never own the treasure. Although gold is categorized as metal, it functions differently according to German folk tales, myths, and legends in terms of meaning and aspects. Whereas folk tales focused on the productivity of earth and the moon, myths and legends were mostly based on the world view of the sun and therefore disparaged the elements worshiped in folk tales and transformed them into the image of devils. Therefore, gold is one of the most important motifs that could explain the changes of the solar and the lunar views of the world and the characteristics of folk tales.

A Study on the Psychological Mechanism and Aesthetic Modernity in Kim, Seung ok’s Novel - Chapter 0 under the moonlight of Seoul - Centering around the Interrelation between the Formal Structure of the Novel and the Social Framework -

Kim Jung Kwan | 2016, (63) | pp.281~320 | number of Cited : 7

This thesis is going along with the purpose of illuminating the social meaning which is expressed as the immanent aspect in the text and the novelistic value through the consideration of the aesthetic form in Kim, Seung ok’s novel Chapter 0 under the moonlight of Seoul. ‘Imitation of another’s desire’, ‘melancholy’ and ‘allegory’ become the important aesthetic forms which the novelist uses for expressing the social structure of the 1970s with the deepened materialistic phenomenon. The psychological mechanism of the imitative desire which constitutes Chapter 0 under the moonlight of Seoul replaces the intermediate Phenomenon by the exchange value which the society of the 1970s generates with the indirect pursuit method of the desire in the novel. In the novel, the thing which damages the hero’s desire and leads into heteronomous and indirect direction is the influence of the sign of the exchange value which is rampant in those fetishistic days. Meanwhile, the narrative structure of Chapter 0 under the moonlight of Seoul unfolds the picture of the society of the 1970s which the consume of the desire and pleasure feeds back and becomes corrupt in the commutation relationship catching the allegorical thought and image through hero’s melancholic symptom. All the hero’s interior monolog which spread out in the novel being crossed by desire and hatred of his divorced wife are the groomy allegory for the fetishistic phenomenon and the erosion of the value in the Korean society in the 1970s. Chapter 0 under the moonlight of Seoul skims off the romantic illusion which the existing novel looks forward to the main character, and gets the social meaning and novelistic value by pointing out the author, reader and the novel’s hero with the era and society as one through the psychological mechanism of the imitative desire and the ‘allegory’ form.

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Journal of Humanities 2023 KCI Impact Factor : 0.6

2016, Vol., No.63