• Journal of Christian Education in Korea
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• v.62
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• pp.75-99
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• 2020

What means the Waldorf school based on integrative imagination to our educational reality in our days? This is the key question in this article. This article seeks to the fundamental meaning of the Waldrof school to know our educational problems. For this purpose this article explore understanding on the theosophy of Rudolf Steiner in the insufficient research until now. The theosophy of Rudolf Steiner in this article is investigated with the understanding of Triune God, human, and educational arts. The understanding of triune God is identified as the critiques to the view point of materialism, the meaning of logos in the scripture of John, the Christ as the foundation of all creatures. The understanding of human being is distinguished as the nature of body, soul, and spirit in the theosophy. Especially the nature of spirit is to see the invisible in the visible things through the eyes of mind that means esoteric spirituality not unrealistic spirituality of monasticism but integrative spirituality of overcoming the dualism between spirit and material. The educational characteristics for the integrative spirituality and imagination is called as the educational arts by Rudolf Steiner. The educational arts includes contents of the soul life, the education of freedom with individuality, and integrative education. The educational arts intends to the wholistic education with harmonious interaction of intellect, feeling, and willing to equip the individual human being in the spirit. And the educational arts educates with the harmony of story, play, art, and integrative curriculum of subject contents. The educational arts is to intend for reformation in christian education including church school and alternative school, etc. The Waldorf school needs to emphasizing the christian spirituality in the educational arts.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.57-67
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• 2012

There is much confusion with the relationship between character and actor. Under the pressure of 'becoming' a character, the actor tends to begin his work apart from his own senses, imagination and memory, and is most likely to fall into the trap of artificiality and clich$\acute{e}$. Like every other art, the actor has to begin honestly with himself who, in nature, has unfathomable possibilities. To be and live as a character, the actor has to experience. To experience, to react. To react, to see with all the senses. Like ours, each character's life goes on from reaction to reaction, reacting to the images from the imagination and the memory. "You are what you see." The actor is put into the extremely unfamiliar circumstances of drama, given only with his own senses, imagination and memory. Fear comes in. However, fear cannot stop the actor's challenging journey to self-discoveries. The actor does and acts, not because he is certain but because he is not. The actor challenges himself to go beyond the limit and uncertainty, so that he will finally come to know and truly understand human beings from the challenges of his own. In a nutshell, acting is a journey to the unknown and the unfamiliar in which the actor unceasingly discover new 'I's.

• Korean Journal of Childcare and Education
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• v.1 no.1
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• pp.125-146
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• 2005

This study examined the interactive effects of physical environment of childcare centers and teachers' creative teaching approaches on the level of young children's creativity. To do so, the study conducted an assessment called TCAM(Thinking Creativity in Action and Movement) that was developed by Torrance to 182 young children. Also, it utilized questionnaires to ask 28 teachers concerning physical environment of childcare centers and their creative teaching approaches level. The findings of this study were: First, the gender of young children didn't affect the level of young children's creativity but the age of young children positively affected the level of their imagination that is the subordinate area of creativity. Second, the high level of physical environment of childcare centers positively affected the level of young children's creativity. Third, teachers' actively creative teaching approaches positively affected the level of young children's creativity. Forth, both physical environment of childcare centers and teachers' creative teaching approaches interactively and positively influenced the level of young children's creativity. Fifth, both physical environment of childcare centers and teachers' creative teaching approaches positively affected the level of young children's creativity. The result of this study implies that the level of young children's creativity increases when childcare centers demonstrate high quality of physical environment and teachers deliver creative teaching approaches actively.

• Cross-Cultural Studies
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• v.29
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• pp.113-131
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• 2012

In our days, we live in the world of image and imagination. Now we think that the images and imaginations are no more selective but indispensable elements in our life. The status of imagination is dramatically changed since 20 century. Many philosophers like G. Bachelard, G. Durand, Paul Ricoeur, H. Corbin, G. Deleuze made great contributions and we think that the studies of imagination began since 20 century. But the change of the status of imagination was not made in one day. In the long history of human life, the imagination kept his own value, and never stopped to give his influence to the human mentalities. The concept of imagination was born from the Plato's notion of phantasia. Plato thinks that the phantasia is a kind of drawing capacity in mind in the process of recognition. But the image which phantasia makes is not real one but pseudo one. So it is necessary to banish those false images from our recognition. Aristotle thought phantasia as an afterimage of object of sense. The sense is always true, but the phantasia is very possible to be an error. After Plato and Aristotle, the notion of phantasia developed into that of imagination, but it was always a problem full of contradictions. According to G. Durand, we can say, in some sense, the history of western philosophy is a kind of struggle against the image and imagination. In Middle Age, the iconoclasm tried to exclude image from their religion. Thomas Aquinas tried to explain the image by the rationalistic christianisme. In 16-17C Galilei and Descartes solidified the exclusion of imagination from the philosophy in the name of science and reason. The empiricism and positivism was the final and the most conclusive philosophies which exclude the imagination definitively from the field of philosophy. But the imagination continued his influence in the field of art. In the age of Renaissance, the imagination found his way of liberal expression, and this trend was inherited to Baroque. From the middle of 17c many philosophical theories supported the imagination by many philosophers like J.-B. Dubos, Baumgarten, A. Becq, J.-J. Rousseau etc. The Romanticism was the first significant wave which made the imagination come forward in front the art. The romanticism broke the narrow frame of rationalism and expand human's view of the world to the cosmos. From the romanticism, the imagination became a faculty which expresses the unity of human and nature. That was impossible by the rational thinking of rationalism. The concept of new imagination made a new future of human, 'the imagining conscious' and this imagining conscious provided a solid base of next generation's symbolism and surrealism.

• Cross-Cultural Studies
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• v.34
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• pp.93-114
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• 2014

Gaston Bachelard had a revolutionary progress in the field of human understanding by proposing his theory of image and imagination. His theory of the new image was so powerful, almost all areas of human science, particularly that of literary criticism, were strongly influenced and this influence continues until today. Today almost everyone accepts his theory of the image without much objection, but not rarely asked where began his transfer from the philosophy of science to the images. We propose a hypothesis that the beginning of the new concept of Bachelard's image was inspired by studies of contemporary science, especially quantum mechanics. The Heisenberg's uncertainty principle was the core of quantum mechanics, and opens new perspectives on the material world. We could summarize the message of the uncertainty principle : the material world is made up of various layers, and the material can not be measured by the location and movement at the same time. So we must have a new point of view of another dimension to know this material world. Bachelard had accepted this view of Heisenberg and developed his own theory of epistemological rupture. What is revolutionary in the theory of Bachelard's image is the fact that he looked at the images with the new perspective. The human psyche is another world compared to the rational world that dominates our daily lives. Bachelard insists that the image can not be explained by the concept. The fantasy world is a totally different world to that of rationality. That is why it can not be explained by the language of rationality as the concept. The imaginary world exists independently of the real world, but it is superimposed on the real world. These two worlds are influencing each other, and it is between these two world where our daily lives continues. The declaration of Bachelard 'image is a specific reality' is never a metaphor or rhetorical expression. This is an ontological expression that must truthfully. The imaginary world is a world built on the image and it works according to its own law. It is not a representation or copy of the real world. But the world of imagination are not alone. It exists in the same time and space with the world of science. It is superimposed with the world of science. Both two world influence each other. Bachelard has made a revolutionary change by studying the images. He gave them their own place. It has changed the views on the images that were treated as mere representations of reality. Thanks to him, the image can have its own value, that of a factor that creates reality. Bachelard shows how we can go deep into the source of being and the universe if we look at the pictures with the eyes of other dimensions.

• Journal of Christian Education in Korea
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• v.67
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• pp.415-447
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• 2021

The purpose of this study is to explore the direction that Christian education should take as an ecological education in the crisis of climate change. What climate change shows is that it is impossible to survive even if the Earth's temperature rises by only 2-3 degrees. However, our current appearance is concerned about the crisis of climate change as long as we do not change our lives. First, the meaning of climate change and its causes were examined. The anthropocentric worldview, modern industrial, scientific and technological growth, and consumption-oriented social structure can be cited as the causes. An anthropocentric worldview justifies everything from the human point of view, and nature is the subject of human domination, but one regarded as a tool. In addition, as the scale of human economic activity increases, energy consumption increases, and the threat of ecosystem destruction increases with the increase in energy consumption. Individual affluence and increased consumption are exacerbating ecosystem tensions. In order to solve the problem of climate change, ecological education clues were found in the Bible. Through creation, the relationship between humans and nature was identified as coexistence and coexistence. Through the principle of sabbath, it is possible to bring about the restoration of humans and nature, and from the point of view of the incarnation, the world was understood as the 'body' of God. Based on these clues, the direction of Christian ecological education was explored by suggesting a transition to an ecological paradigm, restoration of creative spirituality, and cultivation of ecological imagination. In the crisis of climate change, it is hoped that the recovery of the earth will take place and that we will be able to stand again as a responsible being through the Christian ecological educational approach.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.2
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• pp.739-744
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• 2021

This study examined the fantasy drama series Tale of the Nine Tailed, which uses the world view of a folktale and adopts the motif of reincarnation. Tale of the Nine Tailed adopted a cyclical structure where the fate of the past repeats itself in modern life. The traditional Korean folktales that are used in the drama series all share the same topic, but they also vary slightly by region or era. Tale of the Nine Tailed changes people's common negative perception of the nine-tailed fox. First of all, the series portrays the nine-tailed fox as an attractive male, rather than a seductive female. It also incorporated various episodes to tell the story of a heroic nine-tailed fox that uses supernatural powers to save not only those whom he loves, but also the general public. Furthermore, it was a new attempt to bring the nine-tailed fox together with other characters from different folktales into a story to make different world views merge into one. This study analyzes how the narrative structures of traditional folktales are adapted and changed in fantasy drama series, and it explains how various types of result can be created from the storylines of traditional folktales and the imaginations of the authors.

• 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.

• Journal of Korea Entertainment Industry Association
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• v.14 no.1
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• pp.97-106
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• 2020

The mainstream of cinema animated film in today's world is the animated film produced by film companies such as Disney, DreamWorks, and 20th Century Fox. These animated films are influenced by Hollywood blockbusters, high cost, and big-budget, which have brought a gorgeous and splendid audio-visual feast to the global audience. DreamWorks Studios founded in 1994 has become noted in just over ten years. It has produced many high-quality animated works which are well-known all over the world. This achievement is no doubt inseparable from its superior external animation industry environment, and benefited from the American animation industry which commercially operated for almost 100 years. However, in addition to these external environmental factors, DreamWorks' achievements have also come from the extraordinary and superior creation of the animated film scripts, strong narrative script ensures the logic and appeal of animated films. This article takes Kung Fu Panda series, Shrek series, The Prince of Egypt, The Croods, Chicken Run, Megamind and other representative films produced by DreamWorks as key analysis object, using Jean Baudrillard's simulation and imaging theory, Syd Field's screenwriting skills, and Hegel's aesthetic point of view, explores the Creative Style of DreamWorks' Animated Film Script which contains the following four aspects. The script is exaggerated and novel, and the subject matter is rich and targeted. The script creation is very imaginative and can fully express the visual beauty. The structure of the story is well controlled, the space comes from reality but full of imagination. The characters have distinctive personality and the dialogue is moderated but forceful.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.33-69
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• 2019

This thesis aims to reveal the meanings of SF as a genre in Korea. Most of the studies on the characteristics of SF novels in Korea have revealed the meanings of characteristic elements of SF, or peripherally reviewed the characteristics of works. However, these methodologies have a limitation, such as analysis through the existing methodologies, while overlooking the identity of SF texts with the characteristics as a genre. To clearly define the value of texts in the SF genre, an understanding of the customs and codes of the genre is first needed. Thus, this thesis aims to generally handle matters like the historical context in which Korean SF was accepted by Korean society, and the meanings and characteristics when they were created and built up relationships with readers. In addition to fully investigating SF as a popular narrative & genre narrative that has not been fully handled by academic discourses, this thesis aims to practically reconsider the present/future possibilities of SF, which is currently being reconsidered given that the scientific imagination is regarded as important in the 21^st century. This thesis considers the basic signification of Korean SF texts in academic discourses. Through this work, numerous Korean SF that have not been fully handled in the area of literature and cultural phenomena will be evaluated for their significance within the academic discourses, and also reviewed through diverse research afterwards. As a result, this work will be helpful for the development of discourse and the expansion of the Korean narrative area that has been diversely changed since the 21^st century.