표상에서 개념으로, 개념에서 표상으로: 헤겔의 학문 체계의 형성에서 표상의 위상과 기능에 대하여

정대훈 서양근대철학회 2022 근대철학 Vol.19 No.-

This study deals with the function and status of representation in relation to concepts, paying attention to the aspect of the formation process of Hegel’s system. It can be widely agreed that the process until the formation of the Science of Logic, the basis of the system, is a process of sublating from representation to concept. In addition to this, this study notes that the formation of the other half of Hegel’s system owes to a process that can be named as the ‘movement from concept to representation’ in various fields of ‘real philosophy’ after the Science of Logic. First, in this paper, ‘movement from representation to concept’ is analyzed from two aspects. First, in Hegel’s system of thought, representation has the dual aspect of being irreplaceable and inappropriate in the process of forming a universal knowledge of the Sache, which leads to a concept (Chapter 2). Second, the inappropriateness of a representation lies in the nature of its synthesis. Because of the flaws of synthesis, the representation has no choice but to proceed to the concept. In this article, I exemplify the synthetic nature of representation in the areas of Phenomenology of Spirit, philosophy of the subjective mind, and aesthetics, respectively(Chapter 3). Next, this paper analyses on the process of forming “philosophical sciences” in each field after Science of Logic, naming it the ‘movement from concept to representation’ process. This analysis has three steps. First, it was through his lectures that Hegel formed a system in each field after Science of Logic. The representation used in the lecture had a systemic aspect in addition to its pedagogical function (Chapter 4). I then argue that the ‘movement from conception to representation’ is important in the formation of the ‘real philosophy’(Chapter 5). Furthermore, in the last chapter of this paper, it is argued that the ‘movement from conception to representation’, which forms the ‘real philosophy’, is once again achieved through a continuous reciprocation between representation and concept, and I illustrate this reciprocating motion through the analysis on the ‘sacrifice’ and ‘Cunning of Reason’ in Hegel’s philosophical consideration of world history(Chapter 6). 본 연구는 헤겔 체계의 형성 과정이라는 측면에 주목하여 개념과의 관계에서 표상이 차지하는 기능과 위상을 다룬다. 체계의 토대인 논리의 학문이 형성될 때까지의 과정은 표상으로부터 개념으로의 지양 과정이라는 점에 대해서는 널리 합의될 수 있다. 본 연구는 여기에 더하여 헤겔의 체계의 나머지 절반의 형성은 논리의 학문 이후 실재철학적 여러 학문 분야에서 ‘개념으로부터 표상으로의 운동’으로 명명될 수 있는 과정에 빚지고 있음에 주목한다. 본고에서는 우선 ‘표상으로부터 개념으로의 운동’을 두 측면에서 분석한다. 첫째, 헤겔의 사상 체계에서 표상은 개념으로 나아가는, 사태에 대한 보편적 인식의 형성 과정에서 부적합하면서도 대체불가능하다는 이중적 측면을 가지고 있다(2장). 둘째, 표상이 갖는부적합성은 그것이 갖는 종합의 성격에 있다. 종합이 갖는 결함 때문에 표상은개념으로 나아갈 수 밖에 없다. 필자는 표상의 종합적 성격을 정신현상학, 주관정신의 철학, 미학의 영역에서 각각 예시한다(3장). 다음으로 본고는 <논리의 학문> 이후 헤겔이 각 분야의 “철학적 학문들”을 형성해 나가는 과정에 주목하여이를 ‘개념으로부터 표상으로의 운동’ 과정으로 명명하고 이를 분석한다. 이 분석은 세 단계를 거친다. 첫째, 헤겔이 논리학 이후 각 분야의 체계를 형성해 간것은 강의를 통해서였다. 강의에서 사용된 표상은 교육학적 기능 이외에도 체계형성적 측면도 가지고 있었다(4장). 그다음 필자는 ‘개념으로부터 표상으로의 운동’이 실재철학의 형성에 중요하다는 것을 본격적으로 논증한다(5장). 나아가, 본고의 마지막 장에서 필자는 실재철학을 형성하는 ‘개념으로부터 표상으로의 운동’이 다시금 표상과 개념 간의 지속적인 왕복운동을 통해 이루어진다는 점과, 그 실례로서 세계사의 철학 영역에서 ‘이성의 책략’이라는 표상이 어떠한 역동적인자로서 기능하는지를 논증한다(6장).

칸트의 표상

최태명(Choi Tae Myeong) 민족미학회 2013 민족미학 Vol.12 No.2

이 글의 목적은 표상을 중심으로 칸트 철학을 이해하고자 함에 있다. 이는 표상을 대상 그 자체로 오해되어 온 점을 불식시킬 수 있으며, 칸트 주체 철학의 정수를 표상을 통해서 보게 하는 의의를 지닌다. 하이데거는 근대를 주체에 의해 세워진 하나의 상, 표상의 시대로 정의했다. 그러면서 세계는 주체에 의해 끊임없이 계산되고 재단되어 진다고 한다. 이것이 탈근대의 단초가 된다. 그러나 칸트의 표상적 사유는 하이데거가 미처 읽지 못한 면이 있다. 인식능력에 의해 드러난 표상은 독립적으로는 의미를 갖지 못한다. 표상들의 연결과 종합을 통해서 인식적 의미를 획득한다. 그 종합의 매개에 도식이 있다. 그런데 지금까지는 초월적 도식에 대해서만 많은 논의들이 이뤄져 왔다. 초월적 도식의 토대가 된 수학적 도식에 대해서는 상대적으로 논의가 적게 이뤄져 온 게 사실이다. 그러나 수학적 도식과 초월적 도식의 공통점과 차이점을 통해서만이 표상적 사유의 정수를 볼 수 있다. 그 중심에 상상력이 있다. 나아가 이성 능력은 초감성 세계로 확장하려는 본성을 지니고 있어서 이성이념을 표상한다. 이러한 이성 표상은 지성과 매개할 수도 있고, 상징을 통해 직관과 관계할 수도 있다. 전자는 이성 표상의 객관적 타당성의 문제이고, 후자는 이성도식의 문제이다. 이성도식은 도덕법칙에 있어 지성의 상징화를 해석하는 잣대가 된다. 그런데 표상은 표상과의 관계를 통해서만 의미를 드러내는 것은 아니다. 표상이 대상의 원인이 될 수도 있다. 나아가 표상은 주체에 영향을 줄 수도 있다. 이를 도덕법칙과 자유, 쾌와 불쾌가 주체에 미치는 영향으로 드러난다. 이러한 논의는 두 가지 의의를 가지고 있다. 첫째는 칸트의 비판철학을 표상으로 재조명할 때, 맥락적으로, 종합적으로 고찰할 수 있다는 점이다. 둘째는 포스트모던 철학이 해체해 버린 주체의 문제를 복권하는 단초가 될 것이다. The purpose of this paper is focused on the representation that Kant"s philosophy is to understand. This representation is not a object in itself. Representations in relation to the object and reveal the meaning. Here is the core of the philosophy of Kant. Heidegger has defined the modern era of the representation. This is the foundation of postmodern. In terms of representation differs from Heidegger and Kant. Meaning representation is obtained through the representation. Recognition is achieved through a comprehensive representation of the connections. Scheme is at the center of a comprehensive representation of the connections. However, until now, only the transcendental schema has been many discussions. Scheme for the mathematical discussion took place less. You can see exactly thinking as a means of representation through transcendental schema and mathematical schema. Imagination is at the center. Reason represented rational ideology. Representations by reason connect with intellect, And with intuition. The former is a matter of rational objectivity of representation. The latter is a matter of rational scheme. Schematic reason in moral law acts as a symbolization of intelligence. However, the relationship between representation and the representation is not only to reveal the meaning. Representations may be the cause of object. Representation may affect the subject. This discussion has two kinds of significance. First, If if we understand Kant"s philosophy of representation, Contextual understanding of Kant"s philosophy will be. Furthermore, the philosophy of Kant will be able to be understood comprehensively. Second, Post-modern philosophy, the subject was dismantled. Representation will contribute to the restoration of the subject.

대의제를 둘러싼 번역과 정치 : representation의 번역어로서 대의/대표/상징

김태진 한국정치사상학회 2021 정치사상연구 Vol.27 No.2

Representation, which is often translated as a ‘daeyi(代議)’, implies the multiplicity of the concept itself. In the way we commonly understand, representative democracy cannot be understood as choosing someone to discuss on behalf of someone because direct democracy is not possible. This is not only contrary to the history, but also the mistake of hasty generalization. As seen from the etymology of the representation, it means literally to make it appear again. Then, how was representation understood in Japan, where the representative system was first introduced in modern East Asia? This paper aims to examine how various political positions in the Meiji period understood the concept of representation in the process of translating books related to representative government. During the Meiji period, this concept was understood in three main streams; That is, daeyi(daigi, 代議), daepyo(daihyou, 代表), sangjing(shouchou, 象徵). Simply put, first of all, the People’s Right group(minnkennha, 民權派) thought of the representative system as the opposite of the bureaucracy. And this was not simply a quantitative expansion of political participation, but rather a process to find the public reason like 19th political thought in the West. On the contrary, National Right group(kokkenha, 國權派) emphasized the sovereignty of the country while imagining the emperor as symbol of the nation. They negated the logic that Emperor was Japan itself by using the translation terms differently. In that sense, they are asking us again the essential question of what the representation is. It may show the common sense of problem held by the political forces that are divided into the People’s Rights group and National Right group unlike the previous studies emphasized the difference between them. Overlapping translations about the concept on the representation shows what the political represenation mean during the Meiji period in Japan. 흔히 대의(代議)라는 말로 번역되는 representation은 개념 자체의 다의성을 내포하고 있다. 우리가 흔히 이해하는 방식대로 대의제 민주주의(representative democracy)를 직접 민주주의가 불가능하기 때문에 누군가를 대신해 논의할 사람을 뽑는 것으로 이해하는 방식은 비역사적일뿐 아니라, 선거=representation으로 이해하는 과도한 일반화의 오류를 낳는다. 왜냐하면 re-present라는 어원에서 보듯이 이는 다시 나타나게 한다는 것, 일종의 재현(再-現)에 가깝고 이를 누가, 어떻게 재현하는가는 다양하게 나타날 수 있기 때문이다. 그렇다면 근대 동아시아에서 처음 대의제도를 도입한 일본에서 representation 개념은 어떻게 이해되었을까? 본 논문은 대의정부(representative government)와 관련된 책들이 번역되는 과정 속에서 메이지 시기 다양한 정치적 입장들이 representation 개념을 어떻게 이해했는지를 살펴보고자 한다. 거칠게 정리해 보면 우선 민권파들은 ‘대의(代議)’적인 의미에서 유사전제와 반대되는 것으로 대의제를 생각했다. 그리고 이는 단순히 정치참여의 양적 확대라기보다는 기존의 정치체제에서 제대로 재현되지 못한 리(理)나 공(公)을 찾아나가는 작업이었다. 반면 국권파들은 ‘상징’ 내지 ‘표창(表彰)’으로서 천황을 상정하면서 국권을 강조한다. 이는 천황 자체를 일본으로 파악하는 이들에 대해, 천황=일본이 아니라 천황를 통해 어떻게 정치적 의사를 ‘대표’해 낼 것인가에 있었다. 그렇게 보자면 representation 개념의 번역어로서 ‘대의/대표/상징’은 정치적 과정에서 ‘재현’은 무엇을 의미하는가라는 본질적 질문을 우리에게 다시 던지고 있다. 그것은 기존의 관점에서 민권파, 국권파, 천황파로 구별되는 정치적 세력들이 갖고 있었던 문제의식을 어떤 지점에서는 공통되게 보여주는 한편 일종의 ‘정치적 투쟁’의 양상을 보여준다.

대리와 위임 : 개정 프랑스 민법의 대리에 관한 일반법을 중심으로

이재우(Lee, Jae Woo) 충북대학교 법학연구소 2019 法學硏究 Vol.30 No.2

Representation and mandate have something in common that makes them act for others and their legal effects occur to others. Representation and mandate are often incorporated into one contract. There are many different forms of work to be entrusted to others and to be entrusted to others. The current representation and mandate have not emerged since the first such phenomenon took place a long time ago. Gradually, as the legal system was reorganized and the law developed theoretically, the legal method of substituting other people s work and attribution of its legal effect to themselves was also evolved. Representation and mandate seem to overlap in some ways, and in some ways they do not seem to match each other And the legal meaning and scope of the system varies from period to period and from country to country in the present era. Generally, representation and mandate are provided in a contract. On a cyclical basis, representation has successively been detached from the mandate, integrated into the core mandate. They are developed as theories and the legal system developed. Today, it is again on the trend of looking at it separately. In particular, the French Civil Act, which has long been entrusted to civil law enforcement, introduced general regulations on the representation through contracts in the form of orders in 2016, distinguishing representation and mandate as it did in Korean civil law. The ordinance introduces a general law of representation into the Civil Code, which is a novelty. This general law is largely inspired by the system of agency contracts which is the archetype of representation. The mandate articles that inspired these new provisions are reproduced. The order does not abrogate these sections, which remain applicable to the agency. They regulate both perfect and imperfect representation. They also deal with the scope of powers and the sanction of default or overstepping of powers and parties in opposition of interest. They reintroduce interactive action. In short, the agency is responsible for the important function of handling other people s affairs in terms of legal conduct and in terms of contracts dealing with the harmonization of legal conduct, thereby expanding and supplementing private autonomy.

“과거는 낯선 나라다” ―재현의 욕망과 욕망의 재현―

김기봉 한국사학사학회 2008 韓國史學史學報 Vol.0 No.17

Representation of the past in the discipline of history has heretofore consisted of historiography, with letters as its medium. The genre of history came into being with the appearance of histories in letters. Herodotus is referred to as the father of Occidental history because he was the first writer of history in letters for people to read, as opposed to oral history for listeners. However, in the postmodern age, in which people gain information via the internet rather than the book, the age of history in letters is increasingly giving way to the age of history on the screen. The medium of letters and that of the screen, or 'hot media' and 'cool media' according to the categorization of Marshall McLuhan, each has its strengths and weaknesses. If the medium of the screen is emotional language, easily understood without in-depth thinking, the medium of letters is intellectual language, requiring complex reasoning. In the postmodern age, which devotes itself to the pursuit of politics of desire rather than the project of enlightenment, people are increasingly becoming fascinated by the latter rather than the former. Accordingly, we can talk of a "Medium Turn" of historiography by “historiophoty”. Related to this Medium Turn, this article will first take a look at <Radio Days> and <Once Upon a Time>, two cinematic representations of modernity under colonization. The recent Kyeongseong syndrome, initiated with books and expanded to television and the screen, shows a tendency to seek a “Disneyland” in history by discussing history of small letters rather than capital letters. In history's Disneyland, there is a world of dreams absent from reality. People project this world of dreams into the past, immersing in its nostalgia. This turns the past into an object of longing, like a home left long ago. When people begin to have the desire to represent the past in this way, desire for such representation is inclusive of desire to project losses of the present into the past. We may discuss the past hundred years of modernity in Korea as a process of seeking modernization and democratization. Depending on which of the two is stressed, there may be different ways of representation. The second focus of this article is a film historicizing the democratization movements in Korea, The Past is a Foreign Country. The present is derived from the past, but the two are different countries. The historian attempting representation of the past has to endeavor not only to reflect the continuity of the past and the present, but also the discontinuity. From the understanding of this discontinuity stems the conception of the past as a foreign country, and the historian feels “desire of representation”. The historian, awakened to the idea of history according to which the past exists not as history prior to the present, but as the “past future” unrealized by the present, and this leads to “representation of desire”. The dialectics of “desire of representation” and “representation of desire” becomes the dynamics of newly created history and the rewriting of history. Representation of the past in the discipline of history has heretofore consisted of historiography, with letters as its medium. The genre of history came into being with the appearance of histories in letters. Herodotus is referred to as the father of Occidental history because he was the first writer of history in letters for people to read, as opposed to oral history for listeners. However, in the postmodern age, in which people gain information via the internet rather than the book, the age of history in letters is increasingly giving way to the age of history on the screen. The medium of letters and that of the screen, or 'hot media' and 'cool media' according to the categorization of Marshall McLuhan, each has its strengths and weaknesses. If the medium of the screen is emotional language, easily understood without in-depth thinking, the medium of letters is intellectual language, requiring complex reasoning. In the postmodern age, which devotes itself to the pursuit of politics of desire rather than the project of enlightenment, people are increasingly becoming fascinated by the latter rather than the former. Accordingly, we can talk of a "Medium Turn" of historiography by “historiophoty”. Related to this Medium Turn, this article will first take a look at <Radio Days> and <Once Upon a Time>, two cinematic representations of modernity under colonization. The recent Kyeongseong syndrome, initiated with books and expanded to television and the screen, shows a tendency to seek a “Disneyland” in history by discussing history of small letters rather than capital letters. In history's Disneyland, there is a world of dreams absent from reality. People project this world of dreams into the past, immersing in its nostalgia. This turns the past into an object of longing, like a home left long ago. When people begin to have the desire to represent the past in this way, desire for such representation is inclusive of desire to project losses of the present into the past. We may discuss the past hundred years of modernity in Korea as a process of seeking modernization and democratization. Depending on which of the two is stressed, there may be different ways of representation. The second focus of this article is a film historicizing the democratization movements in Korea, The Past is a Foreign Country. The present is derived from the past, but the two are different countries. The historian attempting representation of the past has to endeavor not only to reflect the continuity of the past and the present, but also the discontinuity. From the understanding of this discontinuity stems the conception of the past as a foreign country, and the historian feels “desire of representation”. The historian, awakened to the idea of history according to which the past exists not as history prior to the present, but as the “past future” unrealized by the present, and this leads to “representation of desire”. The dialectics of “desire of representation” and “representation of desire” becomes the dynamics of newly created history and the rewriting of history.

대리와 위임 - 개정 프랑스 민법의 대리에 관한 일반법을 중심으로 -

이재우 충북대학교 법학연구소 2019 法學硏究 Vol.30 No.2

Representation and mandate have something in common that makes them act for others and their legal effects occur to others. Representation and mandate are often incorporated into one contract. There are many different forms of work to be entrusted to others and to be entrusted to others. The current representation and mandate have not emerged since the first such phenomenon took place a long time ago. Gradually, as the legal system was reorganized and the law developed theoretically, the legal method of substituting other people's work and attribution of its legal effect to themselves was also evolved. Representation and mandate seem to overlap in some ways, and in some ways they do not seem to match each other And the legal meaning and scope of the system varies from period to period and from country to country in the present era. Generally, representation and mandate are provided in a contract. On a cyclical basis, representation has successively been detached from the mandate, integrated into the core mandate. They are developed as theories and the legal system developed. Today, it is again on the trend of looking at it separately. In particular, the French Civil Act, which has long been entrusted to civil law enforcement, introduced general regulations on the representation through contracts in the form of orders in 2016, distinguishing representation and mandate as it did in Korean civil law. The ordinance introduces a general law of representation into the Civil Code, which is a novelty. This general law is largely inspired by the system of agency contracts which is the archetype of representation. The mandate articles that inspired these new provisions are reproduced. The order does not abrogate these sections, which remain applicable to the agency. They regulate both perfect and imperfect representation. They also deal with the scope of powers and the sanction of default or overstepping of powers and parties in opposition of interest. They reintroduce interactive action. In short, the agency is responsible for the important function of handling other people's affairs in terms of legal conduct and in terms of contracts dealing with the harmonization of legal conduct, thereby expanding and supplementing private autonomy. 대리와 위임은 다른 사람을 위한 행위를 하고 그 법적 효과도 다른 사람에게 발생시키도록 하는 공통점을 갖고 있다. 대리와 위임은 하나의 계약에 합쳐져 있는 경우가 많다. 다른 사람에게 일을 맡기고, 또 다른 사람의 일을 맡아 하는 경우는 다양한 모습으로 나타난다. 아주 오래전에 처음 이런 현상이 일어날 때부터 지금의 대리와 위임의 모습이 나온 것은 아니다. 차츰 법적 제도가 정비되고, 법률이 이론적으로 발전하면서, 타인의 일을 대신해주고 그 법적 효과는 본인에게 귀속시키는 법적인 방법도 진화하게 되었다. 대리와 위임은 어떤 면에서는 중복되는 듯이 보이기도 하고 또 어떤 점에서는 서로 일치하지 않는 모습을 보이기도 한다. 그리고 양제도는 시대별로, 또 현재의 동시대에서도 국가별로 그 법적 의미와 범위가 다르다. 연혁적으로 대리와 위임은 주기적으로 대리가 위임에서 분리되었다가, 또 위임의 중심에 자리잡는 식으로 전개되었다. 오늘날은 다시 이를 분리해서 보는 추세에 있다. 특히 오랫동안 민법전에 위임만을 두고, 이를 통해서 대리제도를 운영해온 프랑스 민법이 2016년에 명령의 형식으로 계약으로 대리에 관한 일반규정을 도입함으로써 우리 민법과 같이 대리와 위임을 민법에서도 구별하게 되었다. 일반원리로서의 대리를 입법화한 것이라 할 수 있는데, 위임의 규정과 관련하여 대리의 일반규정의 독자성을 확인하는 것이 가장 중요한 목적이었다. 그럼에도 불구하고, 실제로는 많은 부분 위임에서 영감을 받았다. 또, 완전대리(représentation parfaite)외에 폭넓은 불완전대리(représentation imparfaite)의 개념을 세웠다. 또한 이 규정들은 그동안 해결되지 않는 질문인 대리권이 흠결되거나 남용된 경우에 대한 제재를 담고 있다. 또한 이 규정들은 대리인이 포함된 이익의 충돌을 규정하고 대리권의 범위에 관한 확답촉구권(action interrogatoire)을 도입하고 있다. 요컨대, 대리는 법률행위의 측면에서, 그리고 위임은 법률행위의 일치를 다루는 계약의 측면에서 타인의 사무를 처리하고 이를 통해 사적자치를 확장하고 보충하는 중요한 기능을 담당하고 있다

무용교육에서 표상의 의미 탐색

이재정 ( Jaejung Lee ) 사단법인 아시아문화학술원 2021 인문사회 21 Vol.12 No.6

예술적 표상의 형태는 예술유형에 따라 다르기 때문에 개별 예술표상에 따른 상대적 특성을 탐구할 필요가 있다. 본 연구는 무용교육에서 표상능력의 의미와 특징을 탐색함으로 표상능력향상 활동으로서 무용교육의 의미를 찾는 데 목적이 있다. 연구방법은 문헌분석으로 발달이론에서의 표상이론과 예술교육에서의 표상에 대한 분석을 바탕으로 무용교육과 표상에 대한 의미를 탐구하였다. 연구결과 무용표상은 첫째, 상징성, 창조성, 관계성, 상대성 등의 특성을 보이며, 모방성에 대한 개념적 틀이 내적 상징으로 표현되기에 무용에서의 창작관련 활동은 발달단계에 따른 표상활동 특성에 따라 조정하고 적용해야 한다. 둘째, 무용 움직임 기본요소의 활용과 적용은 표상체계에서 3차원의 이해를 전제로 상징적 표상으로서의 의미를 가지는 것으로 분석되었다. 본 연구는 표상활동으로서 무용교육 활동에 대한 기초자료로 활용할 수 있을 것으로 기대한다. Since the form of artistic representation differs according to the type of art, it is necessary to explore the relative characteristics of individual artistic representations. The purpose of this study is to find the meaning of dance education as an activity to improve representational ability by exploring the meaning and characteristics of representational ability in dance education. As a research method, literature analysis explored the meaning of representation in dance education and representation based on the analysis of representation theory in developmental theory and representation in art education. As a result of the study, dance representation shows characteristics such as symbolism, creativity, rationality, and relativity first, and since the conceptual framework for imitation is expressed as an internal symbol, creative activities in dance are adjusted according to the characteristics of representational activity according to the developmental stage. And should be applied. Second, the use and application of basic elements of dance movements were analyzed to have a meaning as a symbolic representation on the premise of a three-dimensional understanding in the representation system. It is expected that this study can be used as a basic data for dance education activities as a representation activity.

병적 도박의 질병 표상

이홍석,이흥표,권선중,이상규,고효진 大韓神經精神醫學會 2007 신경정신의학 Vol.46 No.2

Objectives : In our studies, we have made efforts to compare illness representation among the pathological gamblers, social gamblers, the family members of gambler, the gambling industry employees, and general adults and to investigate what kinds of illness representation make an estimate of therapy intention. Methods : 222 gambling users, 125 family members of gambler, 95 employees in gambling industry, and 1383 general adults were included in this study. Symptom representation, negative characteristic representation, negative consequence represen-tation, internal and external attribution representation, spontaneous recovery representation, recovery representation through therapeutic help of speciality, time lapse representation were constructed and included for illness representation of pathological gambling. Results : 1) Pathological gamblers had lower symptoms, negative characteristics, negative consequences and therapeutic help seeking representation than other groups, on the other hand higher external attribution representation and spontaneous re-covery representation. 2) Families of problem gambler have inconsistent characteristics higher external attribution and negative consequences and lower therapeutic help seeking representation. 3) It was founded that negative consequences representation and external representation were low in gambling industry employees. 4) The more symptom representation increased and external attribution decreased, the more therapeutic intention increased in case of problem gamblers and their families. Conclusion : Pathological gamblers have the lowest awareness and acceptance on mental problem caused by excessive gambling. However, suggested that family members of gambler and gambling industry employees also have partially Self defen-sive and contradicted representations, It was suggested that awareness on seventy of symptom and internal attribution repre-sentation needs to be increased in order to participate therapeutic place.

Proposal of a New God-Representation for Modern People : Selfobject God

Park, Sang-Hee 한국실천신학회 2023 신학과 실천 Vol.- No.85

I began this study after finding that many counsel clients were having dysfunctional God-representation as the cause for their pain. God-representation is not innate one but the one to be acquired through experiences. Freud and religious psychologists proved that it is formed for a long time based on emotions experienced with their nurturers at childhood.For individual happiness and healthiness, the wrong psychological representations should be corrected. And those ranges include the self-representation, interpersonal representation and God representation. For the change of dysfunctional God representation, the individual’s psychological bruises should be cured, and their mind-structure should be re-organized. For such objective, in this study, I focused on Heinz Kohut’s self-psychology, and especially on selfobject concept. The selfobject is defined as the object to be perceived as a part of oneself. It provides psychological oxygen to the self, helping to escape from distorted dysfunctional representation and to replace them with correct and function ones. Then, if the healthy and functional God representation is so important, which one would be the case? In this paper, I proposed “selfobject God-representation” as the one needed for bruised people of modern society. The newly suggested God-representation should differ from the conventional, patriarchal and despotic representation of God, which has inflicted the human-being for a long time. The one we need for our era should embrace relatedness and diversity, as well as providing love and protection. And in my view, it is worth paying attention to the three sound characters of selfobject, which mirrors, becomes idealizing object and becomes the existence like the twin. That is because, in many respects, it is analogous to the nature of Trinity God who loves, protects and accompanies the human-being. Therefore, proposing selfobject God-representation would cast a new paradigm fitting the current era. And by this, we would be able to re-define the nature of God which is nurturing, embracing and cooperative, while it has been historically distorted as hierarchical, unilateral and patriarchal one. To explain about the selfobject God, I employed metaphorical theology as the main theological methodology. The nature of selfobject God is relational and is in various forms.

수학교육에서 시각적 표현에 관한 소고

이대현 한국수학교육학회 2003 수학교육 Vol.42 No.5

Visual representation is very important topic in Mathematics Education since it fosters understanding of Mathematical concepts, principles and rules and helps to solve the problem. So, the purpose of this paper is to analyze and clarify the various meaning and roles about the visual representation. For this purpose, I examine the status of the visual representation. Since the visual representation has the roles of creatively mathematical activity, we emphasize the using of the visual representation in teaching and learning. Next, I examine the errors in relation to the visual representation which come from limitation of the visual representation. It suggests that students have to know conceptual meaning of the visual representation when they use the visual representation. Finally, I suggest some examples of problem solving via the visual representation. This examples clarify that the visual representation gives the clues and solution of problem solving. Students can apprehend intuitively and easily the mathematical concepts, principles and rules using the visual representation because of its properties of finiteness and concreteness. So, mathematics teachers create the various visual representations and show students them. Moreover, mathematics teacher ask students to design the visual representation and teach students to understand the conceptual meaning of the visual representation.