• Korean Journal of General Education
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• v.8 no.4
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• pp.339-367
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• 2014

This study aims to provide an intellectual understanding of the problems of Liberal Arts, in the light of the philosophy of Derrida and Ricoeur. Especially, we consent to the 'Right to philosophy' in the thought of Derrida and to the 'Dialogism' in the philosphy of Ricoeur. According to Derrida, the Right to is linked to human rights. If human rights are important to students, the Right to philosophy is also essential for them. For we must apply the Right to philosophy in the Liberal arts. According to the philosophy of Ricoeur, the dialogism can be interpreted by the possibility of communication and the dialogical method. Dialogical method connects two often conflicting or different themes. We can say that it is somehow a discussion between different. This confrontation is to strike a balance between different perspectives. Anyway, thanks to the two themes, the Right to philosophy in Derrida and the dialogism in Ricoeur, Liberal Arts course will be enriching.

• Proceedings of the Costume Culture Conference
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• 1996.08a
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• pp.33-34
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• 1996

• Journal of the Korea Convergence Society
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• v.8 no.1
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• pp.173-179
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• 2017

The purpose of this study is to theoretically explore the pedagogical meaning of Flipped Learning (FL) through the lens of Bakhtinnian Dialogism. Flipped learning has emerged based on technological development, which enables educators to reorganize educational space and time. In the new converged time and space, teachers changed the activities in and out of classes, flipped lectures with students' activity, and redefined the role of teachers and students. These dialogical characteristics of FL results in several educational consequences: first, underscoring educational dialogue, second, extending the participation in the dialogical chain, third, deconstructing the existing authority of knowledge, and escalating the self-directedness of learners.

• The Journal of Natural Sciences
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• v.8 no.2
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• pp.199-224
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• 1996

The value orientations and life styles which are characterized by the postmodern societies have been expanding in korean society. This paper concerns with the postmodernism for in fashion design : at first the complex relationships between the logic of post-industrial society and the culture dynamics of postmodernism will be explained. Then the characteristics of postmodernism in the comparision with the Bauhaus, also "modernism" in design areas will be critically identified, and significant examples which I select in order to criticize the basic elements or orientations of postmodern design will be analized in details.I will make a new perspective which is beyond Bauhaus and postmodernism ; namly 'open dialogism design.'. But in the boundary of its introduction.

• The Journal of the Korea Contents Association
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• v.16 no.10
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• pp.573-587
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• 2016

This study is the one of the first full-scale subsequent research of a TV drama writer who has been out of scholarly pursuits. Along with the 5 advanced research, this study is to analyze Su-Hyeon Kim's difference and her underlying consciousness by applying the Bahktin's dialogism to the author's creating lines instead of existing speech research. Bahktin's dialogism, its core of polyphony, presents a definite purpose to a artistic creation of language. That is to require the author to have 'outsideness' 'boundary carried over' and 'excess of seeing' in a author relation with characters as it leads the characters to 'the whole'. It means an equal relations of mutual independency between the author and the characters. Also this relations accompany by 'unfinalizability of dialogue'. This study ascertains whether the dialogism actually being realized or not in her lines of of her early stage, of melodrama, and of home-drama. The result of this study shows that the she creates 'polyphony', diverse voices of characters, with her mutual independent relations with characters, that is the voices of between characters, between characters' inside. This research also shows that she realizes 'unfinalizability of dialogue' in her drama work itself of open-end as well as in her lines. She has her own consistent distinction of creating lines to be a her drama work itself, that also means to explore language of human beings's existence, and language of perception, instead of using it as a simple tool of making a drama. This study is to explore a subsequent research of the author's lines with another Bahktin's carnivalesque as the lines's importance and the theory's vastness.

• The Journal of the Korea Contents Association
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• v.18 no.10
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• pp.631-643
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• 2018

This study is the first ever attempted series paper of one particular TV drama writer, Su-Hyeon Kim, with diversified and systematic scale. Along with the just before study, proving Su-Hyeon Kim's line's conceptual properties as the Bahktin's dialogism, its core of polyphony, this study is to analyze the concrete method of creation through Bahktin's Canivalistic creation component of 'Grotesque Realism' and 'Unofficial Square Language'. With her work of (SBS, 1992), this study verifies its characteristic creation of lines to be the 'Grotesque Realism' components of overturn, destruction, and creation along with 'Unofficial Square Language' components of the masses, material, physical language, and discourse of self-liberation. In this way, this study is on one hand, to overcome the application problem of Bahktin's theory as a separated one, but also to enhance the quality of the study of the writer and the lines. As a result, she has acquired her own distinction of ambivalence by the way of demotion, overturn with masses' material, physical, unofficial square language along with a stronger execution of acquiring self denial, positivity. liberation, and life. Therefore the writer is highly rated for her fierce cognition of language and her artistic spirit. Also, this paper proposes the following study to appraise the impact of the writer's differentiation and artistic spirit on the creation of Korean TV drama, contents industry, and mass media.

• Korean journal of communication and information
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• v.58
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• pp.178-200
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• 2012

This paper seeks to deal with the point that in order to perform meaningful communication, a conscious act of reflexion must be involved. In other words, performance of communication inevitably requires self-reflexion. It is known that rationality and dialogism function as necessary preconditions and as goals of communication. But these concepts are very ambiguous because the communicational paradox is not considered. The interaction model could be thought to solve the paradox problems, but such solution can ultimately be seen as a result of ignoring the point that personal reflexion is necessary or covering up the logical problem by depending on concepts such as 'legitimation' or 'ideal discourse situation.' Therefore this paper views that the theory of communication based on Luhmann's system theory and constructivism has a more meticulous logics, and considers that the concept of reflexion specifically supplements the interaction model also by examining Schmidt's concept of fiction and Grant's concept of porous communication.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.103-112
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• 2013

This study is the subsequent full-scale research to explore an undisputed top Korean TV drama writer, Su-Hyeon Kim, more profoundly, who has been out of scholarly pursuits. As it begins with discussing her mixed tendency by genre, we discuss about a useful reading method of the writer's relatively conservative genre, a home-drama. For the purpose of the study, it sets up the intertextuality theory. This study assents to that criticism of diminishing in its original meaning of M. Bakhtin's dialogism, which led J. Kristeva to name and fix the term. Therefore this paper mainly applies the Bakhtin's intertextuality theory to analyze common elements of the writer's and . Also it applies the G. Gennette's intertextuality of 'imprints' and 'transformation' between hypotext and hypertext to figure out their correlation. The analysis shows that the writer's home-drama realizes its mutual relationship and intersubjectivity of the Bakhtin's core intertextuality concept, which results in gaining viewers' popularity. And it also explains that the writer uses 'repetition' and 'transformation' method of intertextuality to contain its intended message in her own home-dramas. As the result of the study, to the writer, Su-Hyeon Kim, while a melodrama genre is for her fundamental inquiry of a 'privative', 'fractured' human being, a home-drama genre is for her message of the only solution of a 'family' to that inquiry with her own intention.