• 한국과학교육학회지
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• 제38권5호
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• pp.721-738
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• 2018

최근 유수 과학교육연구자들은 세계 여러 나라의 과학교육 현장은 물론, 과학교육 연구 전통에서 과학의 본성 교육의 중심축을 형성해 온 '합의 과학의 본성 관점'에 대한 비판과 옹호 및 대안적 견해들을 갑론을박 형세로 제기하고 있다. 합의 과학의 본성 관점은 다각적인 경로를 통해 NOS 교육 표준화를 위해 구축한 '보편적 과학 지식의 본성'에 해당한다. 그 교의에는 과학 지식의 잠정성, 주관성, 이론 의존성, 법칙과 이론, 관찰과 추론, 상상력과 창의성, 사회문화적 착근성 주제 등이 포함되며, 몇 가지 선언적 문장으로 구성된 리스트 형식을 취하고 있다. 본 연구자는 지금까지의 서구 과학교육 연구 내 NOS 개념화 전통은 물론, 현 시점에서 논의되는 NOS 교육의 동향을 파악하는 것이 현대적이며 미래 지향적 과학적 소양인 교육을 위해 필수적이라고 판단하였다. 이에 먼저 문헌 연구를 통해, 특히 과학에 대한 전체론적 인식론을 주창해 온 저명 과학교육 연구자들이 제시한 합의 NOS 관점에 대한 논쟁과 비판의 요지를 파악하여 제시하였다. 이어 과학의 본성이 갖는 본유적 가치는 다양한 학문적 렌즈를 통해 과학이 기능하는 실제 방식을 표현하는데 있으므로, 그러한 기능을 충분히 수행하도록 이끌 수 있는 과학의 본성 개념에 다가가기 위해, 여러 대안적 과학의 본성의 내용 요소에 대한 제안 및 과학의 본성 교육에 대한 의견들을 살펴 보았다. 즉 '과학의 본성 개념이 갖는 논쟁적 요소에 대한 교수', '비판적 과학의 본성', '비판적 사고력 과학의 본성', '전체 과학', '과학의 특성', '재개념화 된 가족유사성 접근 과학의 본성' 등을 고찰하여, 현대적 과학철학과 과학지식사회학에 기반을 두어 과학의 본성 내용 지식의 보편성과 다원성을 중심으로 그 함의를 제시하였다.

• 복식
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• 제14권
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• pp.167-183
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• 1990

As an attempt to view Chason costume from a aesthetic perspective, the aesthetic values of the Choson people, as expressed through the aesthetic characteristics of costumes, are pursued in this study. To appreciate the beauty of the traditional Korean costume, the following aesthetic characteristics of Choson costumes are investigated: form, color, pattern, material and ornament. From the view point of aesthetics, this study shows that Choson costume had comfortable and voluminous forms with beautiful curved lines and rhythm. The most favored colors were white and natural colors of materials. However unusual combination of colors such as the contrast of black and white, the harmony of the primary and rainbow colors were often used. Patterns revealed two aspects : while subdued patterns generally prevail, at times the unexpected beauty of primary colored patterns draws our attention. Smooth natural materials were preferred. Ornaments both for practical and decorative purposes were used together with certain colors and patterens, indicating wearer's status and warding off the evil's spirits. The aesthetic values in costumes as expressed through the aesthetic characteristics can be classified into the following categories: the beauty of nature, the beauty of personality, the aesthetics of evil's eye and the beauty of tradition. The beauty of nature, as appreciated by the Chason people through their prevailing nature, the "Pung-rew Spirit" and through their Worship of Heaven, produced aesthetic characteristics in harmony with nature. The beauty of personality influenced by the ethical standard of Confucianism produced aesthetic characteristics in costumes, through which the appropriate personality was shown for the appropriate social status. On the other hand, the aesthetics of evil's eye, rooted deeply in Folk religion and Shamanism, contributed to various aesthetic characteristics, which strongly inclined to sorcery and symbolism through choice of patterns, colors and ornaments. Finally, the beauty of tradition, which was based on the ethics of Confucianism and the Choson people's conservative tendencies, demonstrated the strong tendency to adhere to the external characteristics of the Choson costume. These aesthetic values were the yardsticks of the aesthetic judgment of the Choson people. These values influenced Chason people in designing costumes and in appreciating the beauty of costumes. The aesthetic experience and attitudes of the Chason people, which were based on these aesthetic values, represented their aesthetic consciousness and desires.

• 비교문화연구
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• 제21권
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• pp.7-29
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• 2010

Young Tolstoy, when he was an already well-known writer, accomplished his first overseas travel in 1857, which gave him imaginable opportunities to compare his country's social strata with others such as serfdom, monarchical Russia and industrial and capital Europe. The present story is, indeed, the work which is influenced by those experiences by young Tolstoy during his first journey into Europe. Written in the form of booklet-like-small-piece, rather than an artistic work, the text presents the writer's severe criticism on the world of nature and civilization. Close to the nature itself, narod are those common people for Tolstoy, and they represent love, while the nature creates a necessity to love, hope and bottomless happiness of life. On the contrary, the civilized or civilization itself is considered artificial, willy, reasonal, and erotic congruity among people. For the writer, the most unsafe and ugly, seamy side of the westernized society is a lack of necessity to unify people to people. Though in its early embryonic stage, young Tolstoy's worldview is reflected in this work, especially his sharp tongue on the western people and their society is also detected when the write imposes his message under the mask of a gypsy singer. In addition, the narrator who seems an obvious Tolstoy's mouthpiece delivers his own ideas and impression on the western world, history, art, and literature. For this very reason, the present work contains numerous signs from which the reader is able to interpret, understand, and figure out what young Tolstoy imposes for his work.

• 한국실내디자인학회논문집
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• 제26권6호
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• pp.13-23
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• 2017

The purpose of this study is to analyze the expression method according to the planning of townhouse and the healing method that affects residents for communicating with natural environment, in order to propose resident-focused communication with nature for healing. The results are as follows. First, the expression of nature elements can be divided into 'direct' and 'indirect' and healing effects through nature can be divided into 'body' and 'psychology'. The healing method of residents through nature was classified into physical and psychological healing through openness, familiarity, comfort, and stability. Second, as an expression method according to townhouse planning, the arrangement plan induced active communication with nature through the arrangement according to topography and a common garden. In terms of construction plan, a bigger window or door than that of other residential spaces was installed on a wall, ceiling or opening to directly bring the nature of outside visually for more communication. Third, with regard to healing methods of townhouse, 'openness' which reduces depression and increases self-esteem, expands the view of residents. 'Familiarity', the healing method that can relieve the fatigue of eyes and bring psychological warmth and comfort, makes us feel familiar through the pattern and texture of woods and stones that are natural materials. 'Comfort' which heals residents by creating an outside space and bringing the nature elements through a huge window can provide psychological healing such as eased tension in daily life as well as physical healing such as vitamin D synthesis and the recovery of physiological function. Also, 'Stability' gives a comfortable feeling by applying the colors of finishing materials inside or seeing the colors of surrounding nature as it is through big windows. Finally, in order to support the results of this study more objectively, a follow-up study conducting a survey on the residents of townhouse is needed.

• 한국철학논집
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• 제29호
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• pp.231-253
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• 2010

향수(向秀)는 위진현학(魏晋玄學)의 발전에서 자연(自然)과 명교(名敎), 개체의식과 사회의식을 합일을 모색했다. 이러한 그의 입장은 정욕(情欲)과 인륜(人倫)을 중심으로 인성(人性)을 파악하는 관점에서 두드러진다. 향수(向秀)는 인성(人性)이 모든 사물의 생성변화의 근본인 '자연지리(自然之理)'로부터 비롯된다고 하여, 정욕(情欲)과 인륜(人倫)에 타당한 근거를 부여한다. 또한 정욕(情欲)은 이성적 사유능력을 바탕으로 우리의 생명을 충실하게 하는 원동력으로 파악하는 동시에, 부정적 욕망에 대해서는 사회성이자 사회규범이라 할 수 있는 '예(禮)'로써 절제할 것을 주장한다. 따라서 향수(向秀)의 인성(人性)은 긍정적 욕망 충족을 이끄는 동시에 부정적 욕망을 제어하는 주체이다. 이러한 그의 관점은 '임성(任性)'과 '당분(當分)'의 논의에서도 확인할 수 있다. 즉 긍정적 욕망은 충족하고 부정적 욕망은 제어할 수 있는 구체적 내용이 이미 본성에 자리하는 동시에 그에 근거하는 사회 규범과 질서로 마련되어 있다. 이러한 향수(向秀)의 인성론(人性論)은 자연스러운 본성과 욕망 및 도덕성과 사회규범의 통일을 강조함으로써 현학(玄學)의 주요 문제인 자연(自然)과 명교(名敎)의 합일을 꾀하였다.

• 미술이론과 현장
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• 제15호
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• pp.7-30
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• 2013

This is a study on the ecological view of Robert Smithson's reclamation projects. Smithson was a pioneer of Earth art in the late 1960's. Robert Smithson believed that he could transform industrial wastelands, such as an abandoned oil rig and a no longer used quarry, into "Earth Art." In the early seventies, he conceived of land reclamation as a new art form and called this art "Reclamation Projects." His attention regarding industrial ruin started from the American political and social situations in the 1960's. In the late 1960's, American society was in chaos from the right of movement of African Americans, the women's rights movement and from the strike for renunciation of the Vietnam War. The intellectual class seemed to believe that it was the destiny of a closed system's society to run in the direction of entropy. Smithson, who was skeptical about the system of American society, also thought that entropy was the proper diagnosis to describe America's situation in the 1960's. The 1960's civic movements like the civil rights movement and antiwar movements expanded into the environmental movements based on ecological views of the 1970's. The government had also started to worry about environmental pollution. Thus, the reclamation act was also established in 1972. Smithson believed that the relation between art and social background are closely related and affect each other. He was concerned with how art can join society, and the result was reclamation projects. Such reclamation projects lie on man-made wastelands, like abandoned oil rigs and no longer used quarries, which was an allegory of entropy. He also thought that Frederick Law Olmsted was a pioneer of earth art. The aesthetic category of Olmsted's view of landscape is to be based on the picturesque of Uvedale Price and William Gilpin. So Smithson, who considered Olmsted as his touchstone, also accepted the picturesque. Such reclamation projects aim to change with nature by adapting the creative power of artists to the ruin which has the highest level of entropy in industrial society. Smithson wanted this to become the bridge between man and nature. His reclamation project's aim, which shows the system interacting between man and nature as a network, is not different from the ecological view of the 1970's environmental movement.

• 동의생리병리학회지
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• 제16권1호
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• pp.1-7
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• 2002

The development of life science has given many insights into life phenomenons to mankind. Nevertheless, many questions for various phenomenon in life has not been satisfied. Recently, scientific development in human's knowledge showed the limitation of science comparing With the variety of life phenomenon. The fundmental reason of the limitation is thought that the subject of study in life science has been material, and so life has been thought a matter of material in life science. The thought of Hu Jun about this problem, the nature of living things is an important interest in Korean Traditional Medicine, Haneuihak(韓醫學). In this study, the view of human body and disease of Hu Jun(許浚) about the nature of living things which was appeared in 『Donguibogam』 was illuminated. The content of 『Donguibogam』 was edited in the order of Naekyung(內景篇; internal part of the body)ㆍOuihyung(外形編; external part of the body)ㆍJabbyung(雜病篇; diseases)ㆍTangaek(湯液偏; medicinal decoction)ㆍChimgu(針灸篇; acupuncture and moxibustion). The part of Naekyung(內景篇; internal part of the body) is thesis about basic theories and his thought about human body and life, which was seen in ‘Shinhyungjangbu-do(身形臟腑圖; figure of body and shape, and the organs and viscera)’ㆍthe part of ‘Jeong(精)’ㆍ‘Gi(氣)’ㆍ‘Sin(神)’ theory. In this study, the parts which were related with his view of life were selected and compared with the China philosohy of those days to elucidate what is his thought of life appeared in 『Donguibogam』.

• 정보화정책
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• 제23권2호
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• pp.3-18
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• 2016

지능사회의 등장은 급격한 패러다임 변화를 몰고올 것으로 예상된다. 역사상 처음으로 사물이 지능을 갖게 되고, 그 결과 사회의 모든 영역에서 예상치 못한 변화가 초래될 것으로 보인다. 이 글은 지능사회의 변화 방향을 전망하기 위해 우선 세계관의 변화 이슈를 분석하였다. 인간과 자연을 두 축으로 하는 이원적 세계관과 인간-기계-자연으로 이루어진 삼원적 세계관을 비교한 후 '기술이 매개하는 이원적 세계관'을 지능사회의 세계관으로 제안하였다. 이 세계관에 기초하여 지능사회의 패러다임 변화방향을 네 가지로 요약하여 전망하였다. 1. 지능의 외부화, 2. 생산성 폭발, 3. 플랫폼 사회, 4. 자기조직화 사회가 그것이다. 지능기술의 발전으로 인간은 지능증강, 생산능력 제고, 자기조직화 효과 등 다양한 이점을 누리겠지만, 다른 한편으로 기술에 대한 통제력이 약화되어 시스템 실패 가능성도 높아진다. 결론적으로 지능사회의 변화는 가치중립적이기 때문에 인간의 선택과 노력에 따라 유토피아가 될 수도 있고 디스토피아가 될 수도 있다.

• 인문언어
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• 제6권
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• pp.51-75
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• 2004

Is there a pattern in history? How and why does social change occur? Are we to distinguish between the methods to be employed in the study of man and the study of nature? How does linguistic, or 'philological', knowledge contribute to unearthing historical facts? These are the queries that Vico grappled with throughout his life. Vico, however, was an outsider to the intellectual atmosphere of his own day, dismissed as obscure, speculative, and unsound. Only after his death did he begin to inspire enthusiasm among diverse readers, and as long as we remain concerned with the queries mentioned above, Vico's reflections will come alive with contemporary relevance. Actually he has been regarded as the founder--unrecognized by his contemporaries--of the philosophy of history and as a thinker whose ideas anticipated such later intellectual movements as historicism, pragmatism, existentialism, and structuralism. There are many among modern minds who find Vico fascinating for his view of myth as concrete thought and of an age of myth as a necessary age in the intellectual evolution of the human race. James Joyce, for one, was deeply impressed by Vico's view on myth, on metaphor, on Homer, on language, on psychology, and much else besides. 'My imagination grows when I read Vico,' he once confessed, 'as it doesn't when I read Freud or Jung.' Some philosophers, critics, psychologists, social scientists and even geographers would describe themselves as 'Vichians', sharing the view that Vico was a poet and a lawyer, a platonist and a baconian rolled into one. His refusal to be confined within any one discipline, his imaginative effort to understand different cultures, and his insight in dealing with some fundamental problems in the study of humanity all compel admiration and deserve to be emulated in our age--an age when the split between the literary and the scientific approaches to the understanding of society is widening into a chasm. Vico has left some of his most important ideas underdeveloped or even undeveloped, to be excavated and polished by us afier our own fashion. It is surprising that Vico is still a man of obscure name in the academia of our country, Korea.

• 철학연구
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• 제139권
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• pp.239-263
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• 2016

오늘날 많은 현대인들이 힘들게 살아가는 것은 본질적인 문제를 외면하고 물질주의에 너무 깊이 빠져 있기 때문이다. 부귀영화만 쫓을 것이 아니라 삶의 본질을 밝혀낼 수 있는 죽음을 공부함으로써 삶의 진정한 의미를 찾아내야 한다. 장자는 죽음을 초탈한 사람이다. 장자의 죽음관은 아름답다. 이 논문은 "장자"의 죽음관을 통해서 오늘날 현대인들이 어떻게 살아가는지 반추해보고, 그것을 바탕으로 올바른 생사관을 정립하고자 하는 목적으로 쓰여졌다. 그리고 그의 죽음관이 오늘날 우리들에게 무엇을 시사(示唆)하고 있는지 함께 살펴보려고 한다. 죽음만큼 좋은 공부는 없다. 살아가는 데 있어서 죽음 이상의 큰 스승은 없다. 죽음을 생각하면 어떻게 살아야 할지 해답을 찾을 수 있다. 그래서 죽음 공부는 삶의 공부이다. 우리는 죽음을 통해서 삶의 의미와 가치를 발견할 수 있다. 보통 죽음에 대한 문제는 기성종교를 통해서만 해답을 얻을 수 있다고 생각을 하기 쉽다. 하지만 장자의 죽음관을 보면 종교에 의존하지 않고도 얼마든지 죽음의 문제를 해결할 수 있다는 것을 알 수 있다. 장자는 죽음을 긍정적으로 생각하게 만들고 죽음에 대한 두려움도 경감시켜 주는 역할을 하였다. 그는 자연의 변화에 순응하면서 사는 것이 가장 잘 사는 길이요, 그렇게 살면 죽음도 편안하게 맞이할 수 있다는 것을 우리에게 가르쳐 주었다.