포스트모던 시대의 기독교교육학적 태도 ― 벨쉬와 켁의 사상을 중심으로

고원석 한국기독교교육학회 2017 기독교교육논총 Vol.52 No.-

The purpose of this study is to understand postmodernism, which has been a representative expression referring to today’s cultures and societies for the last few decades, and to reflect on the religious educational attitude of this postmodern era. In order to understand postmodernism, I am relying on the postmodern thought of Wolfgang Welsch. He does not consider postmodernism as a sort of anti-modernism or trans-modernism, but as the type of modernism that incorporates the advanced tendencies of the 20th century. In this sense, he defines postmodernism as the required form of modernism, a so called postmodern modernism. Accepting critically the postmodern thoughts of J. F. Lyotard, who analyzed this era as a collapsing of grand narrative, with plurality and paralogy of knowledge, and game narrative, Welsch examines postmodernism. After Welsch, postmodernism is not a concept of time but a manner or perspective of life; it is not a movement against modernism but a radical movement that tries to correct the errors of modernism. So called “postmodern modernism” accepts the changed situation of plural and fragmented knowledges earnestly and demands a new type of thinking, referred to as transversality, rather than universality. On the basis of Welsch’s thoughts on postmodernism, I try to reflect and rebuild our religious education. American biblical scholar Leander Keck gives a excellent theological statement about the postmodern attitude of Welsch: “It is now time! Time to stop worrying about the Bible and to start worrying about ourselves. Time to stop using the Bible and to start living with it. And time to stop telling the Bible what it means and to let its mythological character restore imagination to our thought and praise.” His statement is very meaningful for reflection on religious education. So taking this into account, I suggest adventure, participation and experience as fundamental structures of religious education. 본 연구는 볼프강 벨쉬의 철학사상을 통해 포스트모던 현실을 이해하고포스트모던 시대에 정립해야 할 기독교교육의 과제를 고찰하는 것에 목적을 둔다. 벨쉬는 다원화된 현실을 직시하면서 바른 인식(이성)의 가능성을 찾기 위해 포스트모던을 깊이 있게 성찰한 철학자이다. 그는 포스트모던을 모던의 연속선상에서 고찰하였으며 모던에서 드러난 문제점을 바로잡고 모던의 본래 의도를 완성하기 위한 고통스런 노력으로 이해한다. 즉, 포스트모던은 모던의 이념을 철저하게 추구하기 위한 새로운사유 태도이자 관점으로서 근본적으로 다원화된 현실을 진지하게 수용하면서 가로지르기 이성을 통해 상호 소통을 지향한다. 연구자는 벨쉬의포스트모던 사상과 그것을 신학적으로 재해석하고 있는 켁의 이해를 바탕으로 포스트모던 시대의 기독교교육학의 방향성을 반성하고 기독교교육의 기초적 구조를 모험-참여-체험의 틀로 제시하고자 한다.

포스트모더니즘과 선교

전석재 한국선교신학회 2006 선교신학 Vol.12 No.-

This study is to focus on the contribution and explain in Christian missions toward postmodernism in cultural change. The study can be of interest to Christian missions desiring to be effective in bridge connecting the culture of postmodernism One of the challenge that Korean culture has to face in contemporary society is postmodernism. The study is the different characteristics between modernism and postmodernism. Modernism mentions that the following list represents a variety of characteristics: industrial revolution, nationalism, autonomous self, optimism, natural world, skeptical, didactic, non contradiction, scientific method, and scientists. On contrary, postmodernism explains that the following list represents a several characteristics: information revolution, globalism, authentic community, pessimism, supernatural world, spiritual, narratives, artists, contradiction, and create truth. Concerns for effective bridges of Christian mission is an important issues in this article of how best connect for Gospel to the unchurched people in postmodernism. Some bridges are available to those who would be Christian missions to persons living within the worldview of postmodernism. I have explain some possible bridges connecting for between the gospel and postmodernism. I mention that the following list represents a several bridges that are available to evangelicals: spirituality, community, experiential, and participative. This study revealed the need to develop appropriate missional tasks and perspectives in postmodernism culture. Frist of all, we need to establish the work of mission theology and biblical contextualization in postmodern period. Postmodern society and culture are rapidly changing in various mission fields. These changes profoundly influence to the Christian mission. So Christian mission requires biblical contextualization and mission theology in various mission fields. Secondly, we can be understand thought and pattern of postmodernism culture, for effective mission strategies toward postmodernism culture, we need using movie, multimedia, drama, music, and art for the cultural mission. Finally, the study emphasis on the missional church community toward the unchurched people in postmodern period. The missional church community can respond effectively from the challenge of postmodernism.

Post-Postmodern Theories: A New Modernity

서영철 새한영어영문학회 2011 새한영어영문학 Vol.53 No.3

Cultural sensibilities beyond postmodernity have appeared in the constantly changing society. What, then, comes after postmodernism? Roughly since the year 2000, each post-postmodern theory has approached the issue beyond postmodernism with its unique perspective in its refutation of postmodernism. First, as seen from a semiotic/dialectic perspective, performatism and critical modernism are future-oriented, but still reminiscent of modernism. Second, hypermodernism and supermodernity present society and culture against postmodernism, toward modernity, in terms of excess. Third, digimodernism and automodernity have strong links with modernity produced by digital innovations. From the three categories of post-postmodern theories, a new modernity as the post-postmodern common factor is deduced. First, they reclaim certain modern tenets as seen from a semiotic/dialectic perspective. Second, post-postmodern theories are formulated in their adoption of cultural sensibilities produced by digital innovations. As a result of change, postmodernism as cultural concept has lasted only a shorter period. On the other hand, postmodernity will not disappear for several hundred years just as modernity still lives on under the postmodern circumstances. If so, who can offer any definite answer for what post-postmodernism is? Or should we wait more for a definite theory explaining what the current post-postmodernism is?

Post-postmodern Theories, Modernism Redux and the Post-Postmodern Framework

서영철 한국영어영문학회 2020 영어 영문학 Vol.66 No.1

Since the 1990s, postmodernism has undergone the distinctively visible changes in the face of globalization and digital technology, as some theorists and critics claim that postmodernism is dead. Consequently, they have proposed many post-postmodern theories on this issue: remodern�ism, neomodernism, trans-postmodernism, performatism, altermodernism, digimodernism, metamodernism, transmodernism, and post-postmodernism not as a comprehensive term but as a cultural theory. As revealed from the rise and development of post-postmodern theories, they emerge as a result of the return to modernism. Therefore, modernism redux is examined to discover how it interacts with postmodernism in each theory: the return to modernism; and the integration or synthesis of modernism and postmodernism. In this context, metanarratives, one of the modern attributes, work as a common factor in the post-postmodern theories. From this study in terms of metanarratives, the post-postmodern framework, while echoing Charles Jencks’s critical modernism and Philip Galanter’s complexism, is expected to reach the goal of unveiling how the modern and postmodern attributes are integrated and synthesized into a new cultural entity on a new dimensional stage through interaction at the time of a paradigm shift. In consequence, the post-postmodern framework is revealed as an evolutionary system where the modern and postmodern attributes operate to create post-postmodernism, a new cultural environment. In addition, this mechanism of evolutionary process within the post-postmodern framework will continue to shape the cultural sensibilities years to come.

정신지체아동 교육에 대한 포스트모더니즘의 인식론적 접근

권주석 한국발달장애학회 2009 발달장애연구 Vol.13 No.1

The study was investigated on epistemology of postmodernism in the education for mental retardation students. To analysis the literature on this subject, the concrete purpose as follows. First what was the educational meanings of the postmodernism. Second, what was the educational meanings on epistemology of postmodernism in the education for mental retardation students. Third, how to design curriculum for the mental retardation students in perspective on epistemology of postmodernism. This study discussed on educational meaning of postmodernism. This issues were discussed on the concepts of postmodernism, the change of an outlook on the world, educational thought. The epistemology of postmodernism were discussed on the concepts on cognitive subjects, the knowledge of postmodernism. The curriculum for the mental retardation students in perspective on epistemology of postmodernism were investigate on general curricular contents and curricular contents for the mental retardation students in perspective on epistemology of postmodernism. 본 연구는 포스트모더니즘의 인식론적 관점에서 정신지체아동의 교육에 시사하는 바를 탐구하는 것을 목적으로 하였다. 관련 문헌분석을 통하여 탐구하려는 구체적인 목적은 다음과 같다. 첫째, 포스트모더니즘의 교육적 의미는 무엇인가? 둘째, 포스트모더니즘의 인식론은 정신지체아동 교육에 어떤 의미가 있는가? 셋째, 포스트모더니즘의 인식론적 관점에서 정신지체아동의 교육내용은 어떻게 구성되어야 하는가? 이를 위하여 구체적인 연구 과정은 다음과 같다. 첫째, 포스트모더니즘의 교육적 의미는 포스트모더니즘의 개념, 세계관의 변화, 교육적 사고 등의 관점에서 분석하였다. 둘째, 포스트모더니즘의 인식론은 인식대상의 변화, 포스트모더니즘의 지식 등의 관점에서 탐구하였다. 셋째, 포스트모더니즘의 인식론적 관점에서 정신지체아동의 교육내용은 포스트모더니즘의 교육과정, 정신지체아동의 교육과정 내용 등에 대하여 탐구하였다.

Post-postmodern Theories, Modernism Redux and the Post-Postmodern Framework

( Youngchul Suh ) 한국영어영문학회 2020 영어 영문학 Vol.66 No.1

Since the 1990s, postmodernism has undergone the distinctively visible changes in the face of globalization and digital technology, as some theorists and critics claim that postmodernism is dead. Consequently, they have proposed many post-postmodern theories on this issue: remodernism, neomodernism, trans-postmodernism, performatism, altermodernism, digimodernism, metamodernism, transmodernism, and post-postmodernism not as a comprehensive term but as a cultural theory. As revealed from the rise and development of post-postmodern theories, they emerge as a result of the return to modernism. Therefore, modernism redux is examined to discover how it interacts with postmodernism in each theory: the return to modernism; and the integration or synthesis of modernism and postmodernism. In this context, metanarratives, one of the modern attributes, work as a common factor in the post-postmodern theories. From this study in terms of metanarratives, the post-postmodern framework, while echoing Charles Jencks’s critical modernism and Philip Galanter’s complexism, is expected to reach the goal of unveiling how the modern and postmodern attributes are integrated and synthesized into a new cultural entity on a new dimensional stage through interaction at the time of a paradigm shift. In consequence, the post-postmodern framework is revealed as an evolutionary system where the modern and postmodern attributes operate to create post-postmodernism, a new cultural environment. In addition, this mechanism of evolutionary process within the post-postmodern framework will continue to shape the cultural sensibilities years to come.

Post-Postmodern Theories

Suh Young-Chul(서영철) 새한영어영문학회 2011 새한영어영문학 Vol.53 No.3

Cultural sensibilities beyond postmodernity have appeared in the constantly changing society. What, then, comes after postmodernism? Roughly since the year 2000, each post-postmodern theory has approached the issue beyond postmodernism with its unique perspective in its refutation of postmodernism. First, as seen from a semiotic/dialectic perspective, performatism and critical modernism are future-oriented, but still reminiscent of modernism. Second, hypermodernism and supermodernity present society and culture against postmodernism, toward modernity, in terms of excess. Third, digimodernism and automodernity have strong links with modernity produced by digital innovations. From the three categories of post-postmodern theories, a new modernity as the post-postmodern common factor is deduced. First, they reclaim certain modern tenets as seen from a semiotic/dialectic perspective. Second, post-postmodern theories are formulated in their adoption of cultural sensibilities produced by digital innovations. As a result of change, postmodernism as cultural concept has lasted only a shorter period. On the other hand, postmodernity will not disappear for several hundred years just as modernity still lives on under the postmodern circumstances. If so, who can offer any definite answer for what post-postmodernism is? Or should we wait more for a definite theory explaining what the current post-postmodernism is?

Debates on Latin American Postmodern Novels through Solari, Sepúlveda and Bellatin’s Literary Proposals

Eun-kyung Choi 한국라틴아메리카학회 2018 라틴아메리카연구 Vol.31 No.2

In The Transparency of Evil, Jean Baudrillard who is a Euro-North American philosopher on Postmodernity, declares Postmodernity as apocalyptic and thus sentences historical subjectivity, referentiality in history, and the social (the ethical relationship between self and others in the social realm) to death. Nevertheless, in peripheral Latin America under dictatorships and post-dictatorships, we witness different kinds of Postmodernity, filled with the presence of a strong political subjectivity and the nets of the social. In the same way, Euro-North American theorists on Postmodernism view it as a universalizing concept, hence they wrongfully include Latin America’s modern novels under the label of postmodern. This article examines Latin American postmodern novels within the framework of this new kind of citizenship as it evolves during the process of redemocratization and neoliberalism in Latin America. This article focuses on Uruguayan writer Ana Solari’s Scottia (1997), Chilean author Luis Sepúlveda’s El viejo que leía novelas de amor (1993), and Mexican writer Mario Bellatin’s Salón de belleza (1994), to demonstrate the traces of different kinds of postmodern novels. Thus, it will explore the novels’ various political subject positions as examples of the existence of a strong political subjectivity with a strong historical agency in Latin America, all of which was sentenced to death by Euro-North American theorists on Postmodernity. Thus, it denounces the fallacy of the Euro-North American universalizing theory on Postmodernity and Postmodernism, and clarifies the discrepancy between Euro-North America’s definition of Latin American postmodern novels and Latin America’s definition of its own postmodern literary texts.

법학과 포스트모던적 사유

이소영 성균관대학교 법학연구원 2011 성균관법학 Vol.23 No.1

Skepticism towards postmodern jurisprudence would generally be described in relation to one of the following assertions: a)concept of the postmodern is arbitrary, indeterminate, and vastly extensive, b) discourse regarding the concept of postmodern in Korean society had been overrun for a short period like cultural phenomena, thereby blunting the issues of social solidarity or structural contradiction, and moreover c)postmodern mode of thoughts are not adoptable to the field of jurisprudence where rationality and normativity prevails. Thus this article is aimed at illustrating three introductory discourses regarding postmodern jurisprudence, that could provide convincing answers to skepticism toward the very possibility of appropriating postmodern mode of thoughts to legal studies. The first discourse is about defining conceptual boundary of post/modern/nity(ism). It is intimately related to the interpretation and understanding of the 'modern.' This article argues that clear period division could be fallacy, that the boundary of '-modern' is constantly being (re)constructed by articulating with specific epoches, while the understanding of 'post-' may also disperse in between the range of 'late(modern)' and 'anti(modern)'. Moreover, the bewildered blurriness of distinction between '-ity' and '-ism' by itself would be interpreted as a manifestation of hybridity in disciplines. Hence, instead of providing singular definition of postmodern, this article tries to suggest diverse and heterogeneous postmodern's'. Meanwhile the second discourse is focused at the ideological mapping of postmodern thoughts, especially in regard to cynical perspective towards the notion of postmodern, criticizing that such shallow adoption of trendy theories had blurred probematiques of social class and inequality. However this article claims that such cynical understanding could be an overgeneralized assumption on dispersed ideological mapping of postmodern theories. Presuming that the main controversy of the social formationn debates had been 'modernity of Korean society', it may be argued that controversies over the postmodernity had sprouted as the aftermath of social formation debates in Korean society, rather than the mere 'directly imported hot item‘ from the beginning. Meanwhile the third discourse is related to the unique characteristics of disciplinary boundary of legal studies. Though not previously been perceived so, postmodern conditions are already prevalent in the field of law, such as the deconstruction of individual entities as legal subject, fallacy of absolute and transparent 'truth', and undecidability of justice. For instance, the tendency of legal reality being consumed as image or symbol[law as simulation], or the flourishing of alternative dispute resolutions as means to cope with dilemma of constant inter-colliding between legal justice's' [decentralization of law] could be a few among many to be discussed as postmodern conditions in jurisprudence.

포스트모더니즘과 디지털 영화 미학의 상관관계 연구

정헌(Jeong, Heon) 강원대학교 인문과학연구소 2016 인문과학연구 Vol.0 No.48

이 글은 포스트모더니즘과의 연관성 속에서 디지털 영화 미학의 주요한 특징과 가능성을 탐구한다. 1990년대 중반 이후 컴퓨터 시뮬레이션과 합성 이미지에 근거한 디지털 영화들은 포스트모더니즘의 문제를 새로운 차원에서 제기한다. 이미지 구성 방법론의 측면에서, 포스트모더니즘의 시뮬레이션 이미지, 패러디, 꼴라쥬, 혼성모방 등은 이후 등장하는 디지털 영화 미학의 주요 방법론으로 작동한다. 또한, 이미지 존재론의 측면에서, 디지털 영화는 필름의 복제 이미지를 넘어 컴퓨터 합성의 기술적 기반 위에서 실현된다. 컴퓨터 시뮬레이션은 현실의 사진적 재현을 넘어 이미지 합성과 변형의 차원을 전면화한다. 디지털 테크놀러지의 발전은 실제의 현실보다 더욱 현실적인 하이퍼리얼 이미지를 창조한다. 그럼에도 불구하고, 디지털 영화 미학은 포스트모더니즘의 한계를 넘어서 간다. 포스트모더니즘과 디지털 미학 사이의 역사적 겹쳐짐과 미학적 유사성이 여전히 존재하긴 하지만, 디지털 합성 이미지의 적극적 주체 개입과 상호작용성의 미학은 포스트모던의 탈역사성과 하이퍼리얼리티로부터 분리된다. 디지털 기술의 도움으로 영화의 현실 지표성과 리얼리즘의 재현 미학은 오히려 더욱 강화된다. 이 글은 리얼리즘과 모더니즘의 양 방향에서 디지털 가상성의 새로운 미학을 검토한다. 한편으로, 포스트모더니즘의 이미지 편향성을 넘어서는 새로운 리얼리즘의 의미를 모색한다. 다른 한편으로 모더니즘 작가주의의 측면에서 포스트모던 비관주의를 넘어서고자 한다. 디지털 가상성 미학은 물질 현실과 가상 이미지, 지표성과 조작성, 복제와 혼성모방, 결국 리얼리즘과 포스트모더니즘 사이의 이분법으로부터 벗어나고자 하는 시도이다. 컴퓨터 시뮬레이션과 디지털 상호작용성에 기초한 디지털 가상성의 미학은 현실의 지표성과 함께 영화의 상상적 표현력을 동시에 확장한다. This article investigates the main trait and potential of digital cinema aesthetics in relation to the postmodernism. Firstly, I examine the similarity and difference between postmodernism and digital aesthetics in the information society and digital revolution. Postmodernism is focused on the de-historicalization and hyper-reality against the authenticity of reality. In particular, it suggests the cinematic aesthetics of simulated images beyond the representative aesthetics of realism and the rational skepticism of modernism. Postmodernism is associated with the commercial mass culture and the cultural products of capitalism. The digital cinema based on computer simulations and synthetic images since the 1990s takes new issues with the postmodernism. In terms of the methodology of image composition, postmodern techniques like simulation, parody, collage, and pastiche function as a main methodology of digital cinema aesthetics. In addition, digital cinema is based on computer-simulated images beyond filmic reproduced images, in terms of the ontology of cinematic images. The computer-simulated images suggest the new stage of synthesis and transformation of cinematic images beyond filmic representation and reproduction. The evolution of digital technology opens a new age of hyper-real images that the simulated images are more real than the reality. Here the digital synthesis of cinematic images is related with the hyperreal aesthetic of postmodernism. Nevertheless, the aesthetics of digital cinema goes beyond the postmodernism. Historically, the end of postmodernism is associated with the beginning of digital aesthetics. The advent of digital network society provides the technological foundation beyond the postmodern passivity and recession. Although the historical imbrications and aesthetic similarity between postmodernism and digital aesthetics still remain, the digital aesthetics of activity and interactivity is distinguished with the postmodern aesthetics of dehistoricity and hyperreality. The cinematic aesthetics of indexical and representative realism is reinforced with the help of digital technology. Therefore, the cinematic aesthetics in digital era should search for the new relationship between reality and hyperreality, representation and simulation, indexicality and symbolicity, and actuality and the virtuality. This article examines the new aesthetics of digital virtuality in the direction of realism and modernism. On one hand, I investigate the possibility of new realism beyond postmodern hyperreality. On the other hand, I try to go beyond postmodern pessimism in terms of modern auteurism. The cinematic aesthetics of digital virtuality departs from the dichotomy between material reality and virtual images, indexicality and manipulation, reproduction and pastiche, and realism and postmodernism. It is an historical hybridity and ontological complexity of traditional cinema aesthetics. The aesthetics of digital images reinforces the contradiction of cinematic indexicality and expressive imagination.