• Journal of Popular Narrative
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• v.25 no.1
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• pp.123-161
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• 2019

The popularity of melodrama indicates that melodrama is composed in a historical context. This is the reason why it is necessary to analyze the imagination of melodrama within a sociocultural context rather than asking the essentialistic question of "What is melodrama?". (2016) and (2018) caused sensations while holding unchallenged top positions in terms of viewing rate and popularity. These dramas indicate the popular imagination and desire of Korean society in the 2010s during a period of upheaval. This paper analyzed imagination in melodrama with a focus on nation and emotions of individuals in and . In preexisting dramas, conflicts are often limited to individuals and families; on the contrary, in and , a nation appears as a motif that forms conflicts between individuals. In these intense situations of conflict, people make rational judgments at first; however, they soon dispose of such judgments and reveal value-oriented attitudes through emotions, which drive actions. Both dramas form poésie mainly through poetic rhyming and the mise-en-scène of objects. The dramas also amplify emotions. The main emotions of these dramas are sympathy and sadness. Such emotions are not consumed in itself; instead, they show moral aims through performativity. Consequently, sympathy becomes solidarity, and sadness becomes mourning. Unlike preexisting melodramas whose endings were simply pursuits of love and happiness within the realm of individuals, and demonstrate a moral imagination that simultaneously reminds us of the individual and community through solidarity and mourning.

• The Journal of Korean Philosophical History
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• no.35
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• pp.415-443
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• 2012

The moral instruction expresses and conveys a abstract objects so called moral. And it pursues occurrence of moral meaning contained a emotion. In these respects, there is a resemblance between moral instruction and artistic symbolic language. Meanwhile, the poetry are a typical form of artistic symbolic language, and especially poetic symbolism is a representative and possible way that expresses accepting a meaning of abstract objects. Then a moral instruction needs to be poetic symbolism. The poetic symbolism that a moral instruction intends to resemble is a linguistic expression, but at the same time that is a expression beyond a linguistic limitation for conveying the metaphysical meaning. For this, the poetic symbolism reveals visible and concrete vehicles that imply invisible and metaphysical tenor. At this point, poetic symbolism is characterized with sameness, implicitness, polysemy, context, allness. The poetic symbolism having these characters appears personal symbol of poet as combined with creative imagination, and is experienced poetic meaning as combined with creative imagination of reader. The moral instruction as a poetic symbolism offers learning experience similar to poetic experience. The moral instruction as a poetic symbolism would be constructed not a logical or prosaic explain but symbolic form that can draw various moral meaning. For this construction, first, we might find a symbolic media for materialization of teaching contents. Second, moral teaching should be constructed to be searching moral meaning of symbolic media. Third, moral teaching should be constructed to be interpreting moral meaning of symbolic media. When teacher can construct moral instruction as possible as similar to poetic symbolism, student can learn moral meaning combined with emotion through their response and interpretation to the teaching. It is very similar to good poem that is sympathized and accommodated poet's theme by reader.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.131-132
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• 2017

영화는 인간이 할 수 있는 상상력을 가능하게 해주며 그것을 간접경험 및 학습 가능한 도구로서, SF영화 등에 사용된 과학기술을 시청각으로 접할 수 있다. 영화의 내용에서 제시된 로봇사회의 긍정적 모습과 부정적 보습을 시청함으로서 인간이 지켜야할 감성과 윤리적 도덕적 교육까지 가능하게 하며 나아가 다가올 미래 사회에서 새롭게 생겨날 직업까지도 생각할 수 있도록 한다.

• (The)Korea Educational Review
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• v.23 no.2
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• pp.31-53
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• 2017

Drawing upon Vygotsky's theory, this paper explores the possibilities of imaginative education and those implications in relation to emotions. Imagination is an important element of future competencies as well as creativity. But there is a big dilemma in an educational intervention about imagination. If imagination is naturally occurring and therefore considered a mysterious ability that is specific to a child, education should not intervent as much as possible so that it can be expressed and preserved. It is linked to Piaget's influence, which regards imagination as a mental immaturity of childhood. Vygotsky who is a developmental psychologist argues that mind is generated from the socio-cultural origins in opposition to Piaget's spontaneous generation and emphasizes that it is a core characteristic of human to create something through interaction with the world. Vygotsky consider that 'imagination' which synthesizes empirical material and creates a new image is a key factor in human creativity. He reminded us of the possibilities and importance of imaginative education by revealing that imagination is not limited to childhood but constantly develops through cultural experience. Especially Vygotsky's understanding has important implications for future education in relation to emotion. Imagination plays a role of expressing and dealing with human emotions. Unlike the reason-centered society in the past, future society demands a big role of imagination in education for dealing with emotional knowledge and morality.

• Journal of Korean Philosophical Society
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• v.137
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• pp.131-149
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• 2016

The main purpose of this paper is to inquire into Johnson's defence of naturalistic ethics, and show how it could escape the intractable conundrum that has bothered moral philosophy ever since the early 20th century. Johnson shares the deconstructivist stance in claiming that moral theories are largely metaphorical constructs, and thus their claim to absoluteness is ungrounded. However, Johnson breaks with deconstructivist philosophers by offering a need for a constructive inquiry into "moral understanding." Then, Johnson's recent discussions are more concerned with moral fundamentalism in which he argues, is not only cognitively incorrect but immoral. It is incorrect in that it relies on the false assumptions on human cognition, and is immoral in that it shuts off any moral discussions. Instead, Johnson sees moral experience as a matter of moral deliberation in which we attempt "dramatic rehearsals" in Dewey's terms. Johnson's constructive offer in moral philosophy reminds us of "the size of moral theory," which fits human moral understanding as an embodied being, and this presents a third constructive way over the dichotomous conundrum of moral philosophy between traditional absolutism and nihilistic deconstructivism.

• Proceedings of the Korea Contents Association Conference
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• 2015.05a
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• pp.197-198
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• 2015

본 연구는 아동들의 창의력 향상과 인성 함양을 위하여 교훈적인 동화 만들기 수업 모형을 제시하고자 한다. 동화는 아동들에게 창의력을 펼쳐 보이고 자신의 능력을 확인해 볼 수 있는 첫 관문 중 하나이며, 자신을 인식하고 성취감을 통한 자신의 감정을 체험할 수 있는 좋은 장르이다. 이 수업을 통해 아동들은 문학 작품의 장르를 인식하고 구별할 수 있으며, 교훈적인 동화를 만들기 위한 알고리듬을 익히고, 이러한 알고리듬을 바탕으로 해서 교훈적인 동화를 만들어 본다. 작품을 만들기 위해 상상하고, 분석하고, 만들어가는 과정 속에서 아동들의 상상력과 창의력 및 언어적 표현력이 더욱 개발될 것이며, 동시에 일상생활에서 삶의 도덕적이고 윤리적인 요소들을 좀 더 면밀하게 살피고 적용하며, 내면화하는 작업을 익히게 될 것이다.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.9-54
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• 2019

Since the birth of melodrama in the early Enlightenment era, it has flowed through various cultures and media. In order to grasp the principle of differentiation of melodrama and the direction of its change, a developmental approach to the formation process of melodrama is necessary. In this regard, this paper examines the formation process of modern melodrama and its aesthetic features around the time of the French Revolution. The modern melodrama was formed in the period between the end of the 18th century and the start of the 19th century. It was born at the intersectional point of the contradictions of the modern imagination and the political paradox of the French Revolution, which demanded an autonomous citizenship but did not recognize a woman as a citizen. The aesthetic of women's sacrifice and tears reproduced in the modern melodrama is a political aspiration to restore a corrupt society by glamorizing a woman as a moral icon. This was an icon to save a society under divide and crisis and a coordination of emotions to conceal sexist violence in the politics of the exclusion of women. The aesthetic of women's sacrifice and tears reproduced in modern melodrama has consistently been considered under negative evaluation such as a play of moral hypocrisy and vulgar drama. However, the academic interest in melodrama in the 1970s has been amplified due to the "Sirk-melo" which is a transition to the new aesthetic of women's sacrifice and tears, encompassing not only women, but also races and classes. In modern society, entering the era of uncertainty, where various social problems, national disasters, and global disasters have become commonplace, 'the aesthetic of women's sacrifice and tears' are shifting from gender differences to various victim narratives. Reviewing new theoretical trends and changes of recent melodrama as well as analyzing specific works are left as follow-up tasks.Since the birth of the melodrama in the early Enlightenment era, it has flowed through various cultures and media. In order to grasp the principle of differentiation of melodrama and the direction of its change, a developmental approach to the formation process of melodrama is basically necessary. In this regard, this paper examines the formation process of modern melodrama and its aesthetic features around the time of the French Revolution.

• The Journal of the Convergence on Culture Technology
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• v.2 no.1
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• pp.45-51
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• 2016

Aristotle said 'Poet is that from who can give happiness, therapeutic effects to the reader.' He say to 'mimoumenon' it means a native Image restored. However, Kant said that Aesthetic is requested not only reappearance but freedom. This result is that between joyful freedom and reason of the judgement of tasted feeling. Because Art ever created is the spirit of the moral ideals, and those who combine the best of the joy. I think need to more communication and joy than their theories. For poet is replaced to be communicated and joyful for our happiness and freedom.

• Development and Reproduction
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• v.14 no.4
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• pp.307-316
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• 2010

This thesis attempts to describe the basis and value system respectively selected by opinions pro and against bio engineering technology and to induce discussions on the basis of the concept called 'two culture' issue by C. P. Snow - science culture, human culture, a teleological ethical theory and a deontological ethical theory, traditional eugenics, and liberalism eugenics. In addition, it will discuss about inconvenient truth about science and bio engineering which we have wrongly understood up to now - a myth on objectivity of science, autonomy of science and a scientist, a hunger of world, science expected to be responsible for all men. Lastly, it will describe study ethics and social responsibility, openness, moral imagination, self-examination, character of a bio engineer as professionalism.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.655-663
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• 2015

The purpose of this study is to inquiry 'instructive fairy tale story making' teaching model developed in Russia to cultivate creativity and character and to present implementation idea in Korea. Fairy tale story is one of first tasks to spread his and her creativity and latent ability, and good genre to identify and express his and her feeling and to accomplish through these experience for children. In process of this teaching model, they are able to recognize and compare good literary works, to know 'instructive fairy tale story making' algorithm and to do 'instructive fairy tale story making' personally. As a result, students' imagination, creativity and linguistic performance would be developed more through 'instructive fairy tale story making', at the same time they will examine closely and apply moral and ethical contents in daily life and internalize.