Abstract:This essay addresses the largely unrecognized art of a former comfort woman, Duk-kyung Kang (1929–1997). Comfort women were forced sexual slaves for the Imperial Japanese Army during the Second World War. By analyzing how both postcolonial and decolonial aesthetics are embodied in her paintings, the potential of her art to challenge colonialism becomes pronounced.

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 208 Seiten: 223-236.

This article gives an overview of Buddhist-oriented meditation techniques that were integrated with art projects for four and five year old kindergarten children at Dong Guk Kindergarten, Gyeongju City, South Korea. The article assesses the effect of this program on the creatvitiy levels of the children.

Cultural factors are operating in the aesthetic experience of pictorial realism, occurring in a transcultural manner, and their effects are salient in beholder’s affective reaction correlated with perceptual-cognitive operation. This paper aims to demonstrate this hypothesis, by developing two analytical tools that might explain the anti-hedonic valence of Hong Taeyong, an eighteenth-century Korean literatus’ aesthetic experience of a Western religious fresco depicting the Lamentation of Christ in a Jesuit Catholic church in Beijing. First, a complex multifold conflict between «actual affect» (...) and culturally modeled «ideal affect», operating simultaneously in his visual experience, might be translated into a highly negative valence of his global affective state. Second, the variance of processing fluencies at different levels would have made his global processing operation less fluid, and it might play a role in his negative affective valence, since the affect is inherent in processing fluency signal. (shrink)

Korean art and music have a long history, but aesthetic research on them has only been around for a little over a hundred years. Critiques and discourses on traditional arts such as poetry, calligraphy, and painting can be traced back to the Joseon or even Goryeo dynasties, but the modern discussion on the common features of Korean aesthetics was conducted much later than that in Western Europe, where the field of aesthetics was established in the mid to late eighteenth century. (...) Early aestheticists who tried to explain aesthetic consciousness in Korean culture and art converged on the concept of Jayeon, which can be translated provisionally as “nature,” seemingly diverging from western aesthetics’ focus on the concept of “beauty.” Jayeon shares the same Chinese characters as ziran, an early Daoist concept, but jayeon in a Korean aesthetic context does not appear to be limited to the connotation of its Chinese origin. This article unpacks the different ways in which jayeon captures the key characteristics of Korean art and aesthetics. (shrink)

Korean Naturalism focuses on inner discipline by taking nature as a criterion. In this context, at the core of Korean aesthetic consciousness are inner virtues beyond superficial beauty. It may be too radical to apply Korean Naturalism to the current practice of new-media art. Nevertheless, some contemporary artists who attempt to bring back Korean tradition from a new perspective experiment with Korean Naturalism. In this study, I consider the method and concept those artists pursue as evolved Naturalism with new media (...) and a new zeitgeist. When a classic Korean painting transforms into a moving image, it is possible to experience an inward immersion and contemplation through the calm instilled in dynamism. In addition, through the installation art that intentionally composes a blank space, visitors can viscerally experience the space and unconsciously fill it with their narratives. The present-day artist's task is to correctly interpret the message contained in the tradition, rather than imitate the appearance of traditional art without the spirit. The artist should inculcate this attitude to accomplish historical continuity, which is an essential element for experimenting with conventional Korean artworks and aesthetic consciousness. (shrink)

Korean Naturalism focuses on inner discipline by taking nature as a criterion. In this context, at the core of Korean aesthetic consciousness are inner virtues beyond superficial beauty. It may be too radical to apply Korean Naturalism to the current practice of new-media art. Nevertheless, some contemporary artists who attempt to bring back Korean tradition from a new perspective experiment with Korean Naturalism. In this study, I consider the method and concept those artists pursue as evolved Naturalism with new media (...) and a new zeitgeist. When a classic Korean painting transforms into a moving image, it is possible to experience an inward immersion and contemplation through the calm instilled in dynamism. In addition, through the installation art that intentionally composes a blank space, visitors can viscerally experience the space and unconsciously fill it with their narratives. The present-day artist's task is to correctly interpret the message contained in the tradition, rather than imitate the appearance of traditional art without the spirit. The artist should inculcate this attitude to accomplish historical continuity, which is an essential element for experimenting with conventional Korean artworks and aesthetic consciousness. (shrink)

본 연구는 데 키리코의 ‘형이상학적 회화(Pittura Metafisica)’에 나타난 니체의 철학적 인간상에 관한 고찰이다. 초현실주의의 선구자인 데 키리코는 니체의 철학을 기반으로 현실과 비현실이 뒤섞인 ‘형이상학적 회화’를 창조한다. 니체의 디오니소스적 정신과 영원회귀, 위버멘쉬는 은유의 방식을 통해 데 키리코 특유의 회화적 형식으로 재탄생한다.BR 데 키리코의 형이상학적 회화의 방식이란 눈에 보이는 표면적 세계 이면에 존재하는 수수께끼와 미스터리를 품은 세계의 발견이자 재현이다. 데 키리코에게 회화의 진리란 이성과 관습을 통한 기억으로부터 멀어지는 방식을 통해 성취될 수 있다. 이것은 원근법의 파괴, 데페이즈망 기법, 마네킹의 형상, 건축적 주제의 반복 (...) 등의 형식을 통해 달성된다. 이는 바로 니체의 철학적 인간상, 즉 영원회귀와 디오니소스적 인간인 위버멘쉬를 함의한 회화적 외침이다. 하나의 진리는 존재하지 않으며 모순적이고 비합리적 상황에 대한 긍정과 자기극복을 형이상학적 회화 속에 함축하고자한 데 키리코의 의지는 바로 힘에의 의지를 포함한다. 니체와 데 키리코의 방식은 논리적 인식에 맞서 진실로 ‘인간이란 무엇인가?’ 진정 ‘삶이란 무엇인가?’라는 인간학적, 존재론적 물음에 대한 성찰이다. (shrink)

개념미술이란 관람자가 아름다움에 대해 깊이 생각하게 하기 위해 미술가가 (무엇인가를) ‘선택’하는 예술이다. 그래서 개념예술은 예술이라는 자기 근본에 대해 다시.

충암 김정은 정암 조광조와 더불어 기묘사화 때 희생된 사림파 인물로서 당대의 도학사상을 대표하는 인물이다. 이런 그가 유학사상 이외에 노장철학사상에 대해 관심을 갖고 심도있는 해석을 제시한 점은 학술적 가치가 매우 크다. 그럼에도 충암사상을 노장철학의 단일 입장에서 면밀하게 연구한 성과는 전무한 상황이다.BR 이에 이 글은『충암집』에 나타난 노장철학사상과 관련한 여러 가지 내용들 가운데 특히 노자출관도(老子出關圖)와 남곽자은궤도(南郭子隱几圖)라는 그림을 보고 충암이 동명의 시작품으로 제시한「노자출관도」및「남곽자은궤도」에 나타난 노장철학의 사유세계를 구체적으로 검토해본 것이다.BR 충암은 두 그림 속에서 장자가 제시한 진인(眞人)의 모습을 확인하고, 노자를 진인으로 묘사함과 동시에 남곽자기 역시 진인으로 (...) 추정케 하는 언급을 남긴다. 이들 진인이 목표로 나아가는 공간적 배경은 신선도교적 성격을 띠고 있는 곤륜산인데, 충암은 노자와 남곽자기라는 진인이 궁극적으로는 신선의 반열에 도달함을 목표로 삼았다고 해석케 할 가능성을 남긴다. 그리고 이를 위해서는 궁극의 도에 도달해야 할 뿐만 아니라 자기 자신을 잃어버리는 자기무화의 과정이 필요함을 역설한다.BR 충암이 본 두 그림 속 노장철학의 사유세계는 변화와 무(無)에 그 사상의 지반을 둔다. 이러한 사유로 인해 충암은 결정적으로 그림은 그림일 뿐 결국 실재가 아니라는 점을 강조한다. 노자와 남곽자기의 삶의 궤적보다 중요한 것은 지금-여기에서 숨 쉬고 있는, 나를 잊은 나 자신이라는 것이다. 이같은 충암의 노장철학 해석의 의의는 인간이라면 언제든지 그 노력 여하에 따라 진인과 신선이 될 수 있다고 하는 가능성을 열어놓았다는 점에서 찾아진다. (shrink)

이 논문은 亂世인 朝鮮朝 末 王室家인물 중에서 정치가이면서 書畵藝術家의 삶을 살았던 石坡李昰應(1820~1898)의 書畵創作에 깃든 審美意識을 고찰한 것이다. 그중에서도 石坡書畵의 畵題에 드러난 審美意識 중 하나인 興趣境界의 偶然欲書的 審美體現을 탐구한 것이다. 우연욕서는 흥취경계를 그 基底로 하는데, 이 흥취는 시서화 등 모든 예술정신의 출발점이자 근본 기틀이 된다. 동양예술은 하나의 작품을 평가할 때 작가의 숙련된 기교의 탁월성보다 그 너머의 예술사상의 특성·풍격·심미성을 기준으로 해서 평가하곤 한다. 이런점은 바로 우연욕서적 심미를 통한 평가 여부가 담겨 있다. 이 같은 우연욕서의 예술적 적용에 해당하는 인물 중 하나가 이하응이다. 조선조 (...) 말의 과정에서 석파 이하응의 인생은 다단한 역정을 겪었다. 宗室의 석파는 조선의 정치나 사회문화에 대한 책임을 지고자 했던 인물이다. 하지만 현실적 상황은 그렇게 녹녹하지 않았고, 이런 상황에서 그는 자신의 심경을 서화예술창작을 통해 표출하고자 하였다. 석파 서화창작의 始終에서 虛和境의 ‘心物統一’, 즉 心物이 性靈으로 통일된 찰나의 興趣境界는 석파의 예술창작정신의 또 하나의 중요한 심미의식이 된다. 석파는 자신의 글에서 반드시 興이 일어나야 그림을 그릴 수 있고, 그 흥은 단연코 기쁨이라 하였다. 따라서 그 興은 偶然欲書이고, 그 기쁨은 그 어떤 외부로부터의 구속이 없는 자유로운 정신상태이며, 우발적인 의지는 그 어떤 목적성이 없는 虛和의 경지이다. 동양미학에서 興이란 ‘感物起情’이다. 主客의 감정은 서로 소통하여야만 興이 일어난다. 즉, 興은 사물에 대하여 직관적으로 감응하고, 나아가 보다 나은 효과를 얻기 위하여 고차원의 경지에 도달하려 한다. 결국 興은 마음으로서 사물을 취함에 주체를 잃지 않고, 그 사물이 마음에 통달되어, 心物이 性靈으로 통일된 찰나의 興趣境에서 예술가의 참 모습으로 체현되고 있는 神韻의 창작 妙法이다. 따라서 석파의 서화를 통한 예술창작에는, 興趣境界의 偶然欲書的인 審美를 體現하고자한 정신이 담겨 있다고 할 수 있다. (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

"Featuring a carefully selected collection of source documents, this tome includes traditional teaching tools from the Zen Buddhist traditions of China, Korea, and Japan, including texts created by women. The selections provide both a good feel for the varieties of Zen and an experience of its common core.... The texts are experiential teachings and include storytelling, poetry, autobiographies, catechisms, calligraphy, paintings, and koans. Contextual commentary prefaces each text. Wade-Giles transliteration is used, although Pinyin, Korean, Japanese, and Sanskrit terms are linked (...) in appendixes. An insightful introduction by Arai contributes a religious studies perspective. The bibliography references full translations of the selections. A thought-provoking discussion about the problems of translation is included.... Summing Up: Highly recommended. All levels." --_Choice_. (shrink)

This paper analyses the attitudes of different genders and age groups toward Italian food in Korea. By asking who consumes it, and with whom, how, when, and why, this paper examines the cross-cultural meaning of Italian food and how it is differently perceived by men and women of different ages in Korea. It argues that Italian food is perceived by consumers as sharing female traits and that this, in turn, lends a particular eating experience.

There exists a venerable tradition of interdisciplinary research into the origins and development of Paleolithic cave painting. In recent years this research has begun to be inflected by rapid advances in measurement techniques that are delivering chronological data with unprecedented accuracy. Patterns are emerging from the accumulating evidence whose precise interpretation demands corresponding advances in theory. It seems that cave painting went through several transitions, beginning with the creation of simple lines, dots and disks, followed by hand stencils, then by (...) outlined figures, and finally by naturalistic figures. So far the most systematic evidence comes from Europe, although there are also indications that this sequence could be a universal pattern. The shamanic hypothesis provides a useful theoretical starting point because of its emphasis on the role of performance and phenomenology in the creative process. However, it still tends to reduce this sequence to mere stylistic and thematic changes that were external products of an already fully formed modern mind. Here I show how key insights from semiotics and material engagement theory can advance this explanatory framework to the extent that we become able to postdict the major transitions in the chronology of Paleolithic cave painting. An intriguing implication is that this is at the same time a chronology of cognitive changes, namely from a performative-phenomenological to a reflective-representational mind. (shrink)

This article explores the relevance of the Theory of Planned Behavior to whistleblowing research, and considers whether its widely tested validity as a model of the link between attitudes, intention, and behavior might make it an appropriate candidate for a general theory to account for whistleblowing. This proposition is developed through an empirical test of the theory's predictive validity for whistleblowing intentions. Using a sample of 296 Korean police officers, the analysis showed that attitude, subjective norm, and perceived behavioral control (...) all had significantly positive main effects on internal whistleblowing intentions, but for external whistleblowing intentions only subjective norm was significant. The implications of these findings for applying the Theory of Planned Behavior to whistleblowing research are discussed. (shrink)

This study investigates the relationship among ethical philosophy, thinking style, and managerial ethical decision-making. Based on the premise that business ethics is a function of culture and time, we attempt to explore two important questions as to whether the national differences in managerial ethical philosophies remain over time and whether the relationship between thinking style and ethical decision-making is consistent across different national contexts. We conducted a survey on Korean managers’ ethical decision-making and thinking style and made a cross-cultural, cross-temporal (...) comparison with the results presented by previous studies that surveyed Korean and US managers with the same questionnaire at different points in time. Our analysis revealed that Korean managers have become more reliant on rule utilitarianism for ethical decision-making over the last two decades, which is dominantly used by US managers, corroborating our convergence hypothesis built on social contracts theory. However, as opposed to previous research, we found that managers with a balanced linear and nonlinear thinking style do not necessarily make more ethical decisions compared to those with a predominantly linear or nonlinear thinking style. This study contributes to international business ethics literature by presenting a theoretical framework that may explain the convergence of ethical philosophies employed by managers in different national contexts over time, and that the relationship between thinking style and managerial ethical decision-making may not be universal, but contingent on contextual factors. (shrink)

Comprised of 45 chapters, written especially for this volume by an international team of leading experts, The Routledge Companion to the Philosophies of Painting and Sculpture is the first handbook of its kind. The editors have organized the chapters helpfully across eight parts: I: Artforms II: History III: Questions of Form, Style, and Address IV: Art and Science V: Comparisons among the Arts VI: Questions of Value VII: Philosophers of Art VIII: Institutional Questions Individual topics include art and cognitive science, (...) evolutionary origins of art, art and perception, pictorial realism, artistic taste, style, issues of race and gender, art and religion, art and philosophy, and the end of art. The work of selected philosophers is also discussed, including Diderot, Hegel, Ruskin, Gombrich, Goodman, Wollheim, and Danto. With a volume introduction from the editors and comprehensively indexed, The Routledge Companion to the Philosophies of Painting and Sculpture serves as a point of entry to the subject for a broad range of students as well as an up-to-date reference for scholars in the field. (shrink)

Despite the increase of middle-class people among Asian immigrants to the United States over the past three decades,research has paid little attention to these women. Focusing on women’s paid employment, prior research also tends to overlook the significance of mothering to the analysis of gender relations in immigrant families. By bringing together the literatures on gender and immigration and on mothering in families of color,this article examines how immigration and gender ideology,mediated by a family’s economic situation and the employment prospects (...) for educated women of color,shape the organization of mothering and how each pattern of mothering affects the power dynamics underlying the gender division of labor in immigrant families. Three distinct arrangements of mothering emerge from in-depth interviews with middle-class Korean immigrant women collected from suburbs in New York State: shared mothering based on transnational,transgenerational,and nuclear family networks; isolated and privatized mothering; and mothering after retreat from full-time employment. (shrink)

The main goal of this study was to identify factors motivating pragmatic transfer in advanced learners of English. Based on a cross-cultural comparison of requesting behavior between Koreans and Americans, this study determined the impact of individual subjective motives on pragmatic language choice. Two different groups of subjects participated in this study: 30 Korean participants and 30 American college students. Data were collected by using a Discourse Completion Task. Korean participants provided the data for Korean and English versions of DCT. (...) Semi-structured interviews were also conducted with 13 Korean ESL learners who showed the most and least amount of pragmatic transfer. Findings showed evidence of pragmatic transfer in the request responses given by Korean ESL learners in their requestive strategies, level of directness, and perspectives of head acts. The interview data revealed that Korean students were conscious of differing rules for making requests. Learners’ judgment of L2 pragmatic norms, perception of their own language, and their attitudes of the target language influence language use. Furthermore, findings showed that purpose of learning English, different types of motivation, and the length of intended residence contribute to the extent of pragmatic transfer. (shrink)

Resumen: El presente artículo analiza el problema de la afectividad en la concepción de la Fenomenología de la vida del filósofo francés Michel Henry, quien la concibe como fundamento de la subjetividad y esencia de la manifestación. Henry realiza un análisis de la obra del pintor Vasily Kandinsky, y muestra cómo la pintura abstracta, no figurativa, logra expresar en los colores y formas aquello invisible que es la esencia de la pintura y que coincide a su vez con la Vida. (...) La concepción de abstracción elaborada por Kandinsky refiere al contenido invisible e interior, que se expresa a través de colores y formas, pero que es la vida misma en su pathos subjetivo fundamental. De este modo, según Henry, el arte se transformaría en único lenguaje para expresar la radicalidad de la vida afectiva, porque no representa nada exterior o extraño, su contenido es la vida misma.: The present article analyzes the problem of affectivity in French philosopher Michel Henry's conception of Phenomenology of life, conceived of as the foundation of the subjectivity and the essence of the manifestation. Henry analyzes the work of the painter Vasily Kandinsky, showing how abstract and non-figurative painting expresses in colors and forms something invisible, which is the essence of the painting and coincides with the Life. Kandinsky's conception of abstraction refers to the invisible and the inner content, which expresses itself through colors and forms, being the life itself in its fundamental subjective pathos. In this way, the art becomes the only language capable to express the radicality of the affective life, because it does not represent anything exterior or foreign, being its content the life itself. (shrink)

Prior to the discovery of linear perspective in the fifteenth century, European artists based their compositions more on imagination than the direct observation of nature. Medieval paintings, therefore, can be thought of as ‘mental projections’ of space rather than optical projections, and were sometimes regarded as ‘primitive’ by historians as they lacked the spatial consistency of later works based on the rules of linear perspective. There are noticeable differences in the way objects are depicted in paintings of the different periods. (...) For example, human figures in pre-linear perspective works often vary greatly in size in ways that are not consistent with the laws of optics. Some art historians have attributed this to ‘hierarchical scaling’ in which larger figures have greater narrative significance. But there are examples of paintings that contradict this explanation. In this paper we will consider an alternative to the hierarchical scaling hypothesis: that medieval artists used relative size to elicit empathy and to reflect the perceptual structure of imagination. This hypothesis was first proposed by the art historian Oskar Wulff, but has largely been dismissed since. We argue that artists of this period, far from being naïve, used sophisticated techniques for directing the attention of the viewer to a particular figure in a painting and encouraging them to ‘see’ the depicted space from that figure’s point of view. We offer some experimental evidence in support of this hypothesis and suggest that the way artists have depicted space in paintings has an important bearing on how we imagine and perceive visual space. (shrink)

이 글에서는 당대(唐代) 회화론 속에 반영된 『장자』를 통해 이 시기 회화가 지향한 예술적 이상의 도가 미학적 측면을 분석해 본다. 『역대명화기(歷代名畵記)』, 『당조명화록(唐 朝名畵錄)』, ｢필법기(筆法記)｣ 등 당대 화론에서는 『장자』 수양론의 핵심을 이루는 개념들이 다양한 회화 창작의 맥락에 적용되어 그 미학적 함의를 확장하는 과정을 살펴볼 수 있다. 화론에서 『장자』가 말하는 기술의 도(道)의 핵심은 회화 창작 과정에 차용된다. 포정(庖丁)이나 윤편(輪扁)의 일화가 상징하는 기술의 도가 회화의 도와 맞닿아 있는 것으로여겨지는 것이다. 이상적 회화의 도는 인위적 노력의 개입 없이 무위한 천지조화와 같이이루어지는 것이며, 그러한 회화의 도에 다다르기 (...) 위한 도야의 과정 또한 『장자』의 기술의도의 핵심과 맞닿아 있다. 또한 당대의 화론은 회화 창작에서 주체와 대상의 관계성뿐만 아니라 감상자의 심미적감응의 기제 또한 장자 의 사상을 통해 설명한다. 회화의 도가 발휘될 수 있는 마음의 상태는 ｢각의(刻意)｣의 순일하고 고요한 마음 및 좌망(坐忘)에 빗대어 설명된다. 진인(眞人) 의 수양의 경지와 화가가 갖추어야 할 마음의 상태가 유비를 이루는 것이다. 더 나아가 당대의 문인들이 회화를 단순한 기예로만 보는 것이 아니라 정신 수양의 방법으로 여기기 시작한 경향 또한 화론에 반영된 장자 를 통해서 이해할 수 있다. 창작 주체의 삶의 태도, 정신적 경지 등이 예술 평가의 중요한 기준으로 대두되면서 도가 사상이지향하는 탈속적 가치관은 문인 예술창작의 핵심으로 자리 잡아 갔다. 기존의 화풍을 탈피해 보다 대담하고 자유로운 용묵을 구사했던 당대 화가들의 초탈적 정신성 또한 해의반박(解衣般礴)이나 심재(心齋) 등 『장자』의 사상을 통해 대변된다. 당대를 거치며 회화의 기술보다는 그것을 창작한 화가의 자질과 그 창작 과정에 초점을 맞추는 경향이 점차 두드러진다. 이 과정에서 회화예술의 다양한 맥락에 적용되어 변주되는 『장자』의 이야기들은 그림과 화가의 역할에 대한 인식 변화를 반영하고 설명하는 매개가 되었던 것이다. (shrink)

Fear, sadness, surprise, anger, lust and love - virtually nothing was more important in the paintings ofthe Golden Age than convincingly depicting human emotions. In this publication, the Frans Hals Museum and Rembrandt expert Gary Schwartz present a selection of masterpieces in which these emotions are sublimely portrayed. According to seventeenth-century connoisseurs, the beauty of a painting was not even half as important as the passions that could be seen in that painting; they formed the soul of the work. Painters (...) such as Rembrandt, Frans Hals, Maerten van Heemskerck and Cornelis van Haarlem were masters at depicting a range of emotions. Their works are presented in a new context - the emotional life - and with a focus on the flourishing scientific study of emotions in our own time. Emotions will be published in conjunction with the first exhibition in the Netherlands to present this essential component of painting. Exhibition: Frans Hals Museum, Haarlem, the Netherlands (11.10.2014-15.02.2015). (shrink)

This article examines the interaction between grammar and multimodal resources by analyzing reported speech in Korean multiparty face-to-face interaction. The operation of two relevancy rules — minimization and recognition in interaction — is examined together with how the absence or presence of grammar is complemented by multimodal resources of various sorts. For the analysis, three categories are posited depending on who the quoted character is in the talk. In quoting oneself or co-participants in the talk, syntactic resources, prosody, sequential organization (...) and embodied participant frameworks collaborate in the interactional management of the quote without overt realization of grammatical resources traditionally proposed for building quotations in Korean. The multimodal character of quoted speech is most weakly realized when quoting a non-present character, not only because of the limitation in body and spatial resources available in the local context to recover various referential terms, but more importantly, because the interactional project that the parties are engaged in makes a distancing device such as the quotative particle -ko relevant. This study provides evidence for the intricate interaction between multimodal resources and grammar through investigation of an important realm of human interaction, that of reported speech. (shrink)

The image of St. Petersburg is an integral part of Russian art, in particular, in watercolor painting. This article is devoted to the analysis of the work of Russian watercolor artists, identifying the specifics and characteristic features of the image of the city on the Neva in their work. The object of the study is watercolors by Russian artists, the subject is expressive means, techniques and methods through which the image of St. Petersburg is embodied. On the example of watercolor (...) works by E.P. Gau, I.A. Vladimirova, A.S. Vedernikov, A.P. Ostroumova-Lebedeva, P.P. Grigoryants, G.P. Fitingof, A. Ermolaev, V.V. Proshkin, K. Kuzema, V. Kolbasov, O. Litvinenko, etc. the historical transformation of the artistic image of St. Petersburg, its conditionality by cultural and historical factors and the nature of the life of the inhabitants of the city is shown. The study concluded that the image of St. Petersburg is important for Russian artists, as well as a significant variety of its creative interpretations. Each watercolor work demonstrates the subjective attitude of artists to St. Petersburg, thanks to which real urban landscapes acquire spirituality and unique expressiveness. The complex historical fate of this cultural and artistic center of Russia, which was once a magnificent capital, experienced revolutionary events and went through military destruction, determined the versatility of creative approaches to the embodiment of the city, as a result of various turns of history, it lost, then regained its greatness, beauty and attractiveness. Petersburg in watercolors is invariably filled with vitality, lyrical feelings and the love of artists. (shrink)

ABSTRACT The contextual dimension of ren or li is celebrated in English studies of Confucian ethics. However, it often gives way to the issue of individual practice in studies concerning the relationship between ren and li due perhaps to an excessive focus on personal moral development. Inspired by a painting metaphor from the Analects, the present study reassesses this unbalanced approach to the ren-li relationship through the proposed theme of contextual individuality. In the wake of relationally constituted individuality in Confucian (...) philosophy, this study shows that the moral endowment of caring for others in human nature, which constitutes the moral foundation of ren and li, calls for a contextually practical approach to the ren-li relationship. This approach is crucial for the recognition that one’s moral development may not be truly accomplished unless undertaken in the context of the moral development of fellow human beings. (shrink)

Resumen: La concepción estética en la pintura tradicional china es un concepto esencial en el antiguo pensamiento estético chino y sirve como criterio estético supremo perseguido en la creación pictórica clásica. Los artistas utilizan obras únicas para mostrar la concepción estética en la pintura tradicional china, destacando así los rasgos distintivos de la pintura china. Este artículo realiza un análisis genealógico de la concepción artística en la pintura tradicional china y lo combina con símbolos culturales específicos para su interpretación, con (...) el objetivo de desvelar las ideas filosóficas y los conceptos culturales concentrados en la pintura tradicional china. (shrink)

A variety of stakeholders including investors, corporate managers, customers, suppliers, employees, researchers, and government policy makers have long been interested in the relationship between the financial performance of a corporation and its commitment to business ethics. As a subject of research, the relations between business ethics and corporate valuation has yet to be thoroughly quantified and investigated. This article is an effort to amend this inadequacy by demonstrating a statistically significant association between ethical commitment and corporate valuation measures. Consistent with (...) anecdotal evidence, we have found a significant association between the ethical commitment of Korean companies and their valuation on the Korean stock market. However, the result reveals that the association between ethical commitment and financial performance is not significantly supported. (shrink)

Employing Porter and Kramer’s corporate social responsibility framework, we explored the strategic CSR programs of two Korean and two Japanese electronics multinational enterprises in Indonesia. We observed that the sample MNEs engage in strategic CSR either through investment in competitive context or the transformation of value chain activities. In addition, these firms strongly favor strategic CSR over responsive CSR, not just because of the economic benefits offered by the former, but also its advantages in managing the programs and communicating with (...) stakeholders. Furthermore, they have developed varied organizational methods and tend to manage their key CSR programs centrally to effectively link them to the competitive strategy. Lastly, the results of our analysis suggest that Korean MNEs have customized their strategic CSR programs for emerging countries more actively than Japanese MNEs. In sum, our analysis elucidates several important features of strategic CSR employed by the MNEs in emerging countries. (shrink)