문학교육의 ‘교육적 상상력’

최지현(Cboi Ji-Hyun) 국어국문학회 2007 국어국문학 Vol.- No.147

'Imagination' is one of the most important term as the aim and content of literary education in Korean language education. But in generally its conceptual property and practical significance has been dealt with a matter some carelessly. So to speak. imagination is confirmed its reality with evading to refer to. The main approach. as a etymological. genetical. or taxonomical approach. can make an explanation on imagination. The usefulness of the explanation from each approach on literary education is to show us the value in being of imagination and the developmental process of its power. and furthermore to qualify 'the practicable and safe' boundary of imagination. Those approaches try to take the explanatory object of imagination. what is called 'literary imagination' or 'aesthetical imagination'. But in spite of these approaches. the imagination in literary education still remains to be unexplained. The imagination that teachers have assumed as something educative is defined in that way not by its inherent value but by the fact that it is taught. Moreover the imagination corresponding to the imaginary world of a literary work and the educative imagination are not connected intentionally but tuned with the stream of the times. In this study. I examined the three way of teaching imagination. that is. 'transmission'. 'guidance'. and 'influence'. But any of these methods could not teach 'the educative imagination'. According to my investigation. imagination in literary education would co-evolve between teacher and learner. I called this process' co-evolution of imagination'. In co-evolution of imagination learner's imaginary experience is connected with teacher's imaginary experience not his instruction. In co-evolution of imagination not only learner but also teacher. as the subject of literary experience. become to vary and grow. I suggested four consideration to obtain the educative value of imagination in co-evolutionary experiences as follows; The first. make the environment of learning to imagine the unimaginable. The second. admit the various bypasses of imagination without presupposing the logical consequence of it. The third. permit the so-called 'bad imagination' above the obvious. And the fourth. own the imaginary experiences jointly between teacher and learner. Because it is necessary for a literary teacher to grow his own imaginary experience as a learner.

상상력 기반 초등 5~6학년 무용 창작 프로그램 개발

최상철 ( Sang-cheul Choe ) 한국무용예술학회 2013 무용예술학연구 Vol.44 No.5

Under the social situation of widespread sense of crisis for public education, recently, new government emphasizes innovation to the ‘happy education’ as a part to overcome such crisis of education essentially. Such innovation should start from educational practice of encouraging children’s childishness so that they would be able to look at the world in a new viewpoint and exhibit their ‘innocent curiosity’ and ‘free and abundant imagination’ fully. The imaginative education itself is an ideal educational practice that can protect children’s lost ‘childishness’ and ‘innocent curiosity’. It will also be one of the shortcuts to recover the intrinsic value of lost public education and to enhance the competitiveness of public education. In this context, it is necessary to pay attention to the ‘13 thinking tools’ that are recently suggested by Root-Bernstein & Root-Bernstein(1999) while advocating the need for education based on creative imagination. The 13 thinking tools beingsuggested by Bernstein are thinking skills that have been commonly used by the persons showing creativity in a variety of fields until they obtain creative products. And Bernstein defined them as ‘the 13 tools for learning imagination-leading to creation’. The researcher thinks it is worthwhile to consider application of these 13 thinking tools as the teaching-learning principle in the imagination education. In fact, discussions about the educational effectiveness of these tools have been mentioned in many research findings recently. According to these previous studies, as the result of applying these 13 thinking tools to general creativity, gifted inventor, gardening, convergence education of arts and science, robot education and dance education programs, it has been proven that these programs contribute to improving imagination, creativity and flexibility, etc. as the sub-elements of creativity. Results of this study become practical base for proving the effectiveness and justification of applying the 13 thinking tools to educational sites. Therefore, the purpose of this study is to develop and suggest ‘an imagination-based creative dance program for elementary school 5th-6th graders’ by using the 13 thinking tools so that lost imagination would be evoked in the public education and children would be able to stretch their imagination fully. In order to achieve the key objective of this study, first of all, in this paper, the researcher intends to prepare theoretical foundation for the meaning and role of imagination in elementary creative dance education on the subject of imagination and children, and creative dance class as ‘an artistic creation’ play. On the basis of such foundation, the researcher introduces procedures and contents related to development of a program and suggests an imagination-based creative dance program for elementary school students. This study would be meaningful in suggesting one extensive method for elementary school creative dance education.

키워드 네트워크 분석을 통한‘상상력’ 연구 동향 탐색

심승엽,한기순 대한사고개발학회 2020 사고개발 Vol.16 No.2

The purpose of this study is to find research trends on imagination; by applying to published domestic imagination papers the keyword network analysis method. A total of 4,030 articles carrying the keyword ‘imagination’ were drawn from those published from 2010 to 2019 in the Korean Journal Citation Index (KCI), an academic search database. The network analyses produced the following results. First, among those domestic imagination studies 2,454 were for humanities (60.89%), 579 for arts and sports (14.37%), and 470 for educational studies (11.66%). Second, the word ‘image’ was the most frequently used, followed by the words, ‘literary imagination’, ‘Bachelard’, ‘mythological imagination’, ‘ecological imagination’, ‘creativity’, ‘storytelling’, ‘moral imagination’, and ‘imagination education’. Third, words such as ‘creativity’, ‘convergence education’, ‘imagination education’, ‘empathy’, ‘art education’, and ‘cognitive tools’ were found as keywords with high centrality and frequency. Fourth, analyzing 22 core keywords extracted for community analysis showed four research areas: the nature of science, Dewey's concept of imagination, creativity and early childhood education, and philosophical thoughts. This study has significance in that it presents the trends of domestic imagination research objectively and visually. 본 연구는 텍스트 마이닝 기법을 활용하여 상상력이라는 주제어를 중심으로 국내 교육학 분야의 연구동향을 정리하는데 그 목적이 있다. 이를 위해 2010년부터 2019년까지 한국학술지인용색인(KCI)에 오른 등재(후보)학술지 중 ‘상상력’을 검색어로 하여 총 4,030편을 분류하였고, 연구문제에 따라 주제어를 추출하여 분석에 활용하였다. 그 결과 첫째, KCI 학술지 분류검색 별 국내 상상력 연구 수는 인문학 2,454편(60.89%), 예술체육학 579편(14.37%), 사회과학-교육학 470편(11.66%)순으로 나타났다. 둘째, 국내 상상력 연구 키워드 네트워크 분석 결과 ‘이미지’, ‘문학적 상상력’, ‘바슐라르’, ‘신화적 상상력’, ‘생태학적 상상력’, ‘창의성’, ‘스토리텔링’, ‘도덕적 상상력’, ‘상상력교육’과 같은 단어들의 출현빈도가 높았다. 셋째, 교육학분야 상상력 연구 키워드 네트워크 분석 결과 ‘창의성’, ‘창의융합교육’, ‘상상력교육’, ‘공감’, ‘예술교육’, ‘인지도구’와 같은 단어들이 출현빈도와 중심성이 높은 주제어로 확인되었다. 넷째, 커뮤니티 분석을 위해 추출한 22개의 핵심 키워드를 분석한 결과 과학의 본성, Dewey의 상상력 개념, 창의성 및 유아교육, 철학적 사조 등 네 개의 연구영역으로 구분되었다. 국내 상상력 연구물들의 네트워크 구성을 탐색해보고 그 특성들을 확인하기 위해 진행된 본 연구는 최근 10년간 상상력 연구의 동향을 객관적이고 시각적으로 제시하였다는 점에서 시사점을 제공한다.

상상력의 열림과 닫힘

이도흠(Lee Do-Heum) 국어국문학회 2007 국어국문학 Vol.- No.146

Imagination generates and operates between sign and image, metaphor and metonymy, mimesis and fantasy, ideology and utopia. I examined these binary mental principles and aspects on which our imagination generates and operates. The imagination is opened by our desire and intentionality but oriented concretely and deeply by social-cultural-environmental contexts. That is to say, our imagination spreads on the basis of dream, desire, absence and path of death on the hand, and at the same time it become concrete with reality, pression, presence and path of living life on the other, The imagination is not only our mental floating energy but also our rationality; it is necessary to remove the ambiguities in the concept of imagination which we have discussed, in the large part, on its floating aspect. Firstly, a pair of images and signs. We can reach to our early years' unconscious with the images, mental or not, while, with the signs, we can drag down our imagination into the logic and reason for analysing the objects. Secondly, a pair of metaphor and metonymy. The metaphor is 'a metaphysical. desire for the originality'. As an exchanging activity between two existences, the metaphorical imagination becomes more active between the tenor and the vehicle when their relationship could be less assumed. But the metaphorical imagination comes always back to the originality or the identity of these two existences. The metonymical imagination is contradictory to the metaphor and destroys it in the end because the former moves down to materiality of existence while the latter moves up to the ideality. Hence, when the metaphorical imagination represents the reality in its extreme ideological aspect, the metonymy can destroy all of cultural representations and their social formations. Thirdly, a pair of mimesis and fantasy, The phantasm conducts us to a vacant pleasure without relation of our realities. The mimesis conducts us to a fixed contextual realities. But the phantasm and mimesis operate each other in the perpetual interaction which the realities move down to our contextual conscious and move up to our free imagination. Thus, the textual meaning reveals constantly; the text becomes closed for reading by the mimesis and opened for interpreting by the phantasm. The reality, the politic and the historicity overcome their limits in this interaction. We recognize that the ideology extends our imagination on the time and space and gives us some new perspectives and epistemological mind. But it is also necessary to recognize that it excludes, by repressing our imagination, our stable perspectives on the world and epistemological mind which we have established. The utopia, built by our imagination, penetrate into the ideological formation of dominating power and renewals our mind, especially our ideality on the world. Of course, when the negativity of the utopia is burnt down and becomes an another type of ideology, the utopia repress our imagination again. This is the place where a power struggle for the hegemony is under way between the dominating power and the utopia, their own discourses and interpretations. We knew already that the readers spread their imaginations according to this hegemony but most of all are under the dominating one. Without images and imagination, we cannot reach to the unconscious dimension which leads us to overcome our own rationality and to think about the originality of being while we can neither solve our humane problems, nor criticize these corrupted and degenerated socities without our thought and self-refletion based on the rationality.

바슐라르의 물질적 상상력과 디자인 창의성 연구

강성중 ( Kang Sung Joong ) 한국디자인트렌드학회 2011 한국디자인포럼 Vol.31 No.-

Gaston Bachelard gave new meaning and value into imagination which reason-based Western culture had underestimated. This study aims to explore the concept of material-imagination, and to examine applicable methods into design creativity. Material-imagination is rooted at the Four Elements of western culture, Bachelard explored his imagnation theories with respect to water, fire, earth, and air. Material-imagination is image not for form but for matter, it distinguishes from form-imagination based on visual appearance. Bachelard calls the directness of imagination activity as `culture complex``, which has to do with symbolic system of society. Folkmann addresses that creativity in design creates a specific connection of abstract concept and concrete view, wherein imagination is the interaction between consciousness and the exterior aspect of the material world. Material-imagination is evolved to dynamic imagination, and archetypical imagination. Image is the result of imagination, imagination is a energy for creativity. Bachelard`s imagination theories bring us explanation for extracting abstract concepts, theoretical base for subjective design methodologies, direction of culture design through culture complex, and connection with humanities. His theory has limitation of dependence with language, and subjectiveness. Material imagination could be applied as expansion of creativity activity, approach to form and matter, and tool for culture design in design education.

현대문학과 상상력의 총체성

김현자(Kim Heon-Ja) 국어국문학회 2007 국어국문학 Vol.- No.146

Imagination, the most common, archetypal mental activity of the human mind, and now becoming a major issue of our era, related with the new sense of the times, has always been alive deep inside our minds, operating actively on our life. Nevertheless even in our society where the Confucian value of order was respected, as well as in the west where the traditional dichotomy of philosophy strictly divided emotion and reason, it has been underestimated as a peripheral value. From the beginning of the 20th century, however, the real value of imagination has been appreciated in earnest and positively: S. T. Coleridge, I. A. Richards, Gaston Bachelard, and Gilbert Durand analyzed it as a source of human mental activities and a power to create the unlimited world of emotion. Especially facing the rapidly changing period of technology starting from the latter part of the 20th century, we expect imagination will be the key to ‘the multimedia extension’ because it can combine contradictions, integrate homogeneous and heterogeneous elements, arouse sympathy, connect writers to readers through metaphor, symbolism, myth, allegory, and so forth, and further create brand new literary worlds. Discussions about imagination in the Modern Korean literature began with poetics of Kim, So-wol. His suggestion that poems are produced by poetic holy spirit transcending time and space seems very simple, but his point of view is important in that he recognized the power of imagination that departs from a usual and habitual way of looking, and destructs the dualism of things, Cheong, Ji-yong refused an artificial poetic methodology, connected imagination to the procedure of poetic creation which means he already knew the function of imagination to invent new worlds with language and to expand our cognitive base. Kim. Ki-rim argued on the importance of the scientific mind and the order of poems, introducing I. A. Richards and his theory of poems. His logic matters in that he inquired actively into the nature of imagination and endeavored to extend poetic language through constant contact with the spoken language at that time. As a literary critic, Song, Wook organized longstanding debates about imagination, and what is typical of him is to lay emphasis on the responsibility of poets by analyzing anew the theory of Coleridge. His point of view draws our attention since he showed a new way to understand Korean literature, and widened the world of criticism by vigorously accepting western literary works and theories on imagination. It is the power of imagination, the core of literary originality, that grows the seeds of universal themes in literature, like love, nature, fear, friendship, and exploration of types of human, into trees of diverse literary works. We can see every poet and novelist representing the Modern literature achieve excellency in the respect of various applications of imagination. Through the timeless process of recognizing personal past and present as an archetypal continuum of time by reconstructing the elements of personal novels, Seo, Jeong-ju told us the unchanging human conditions beyond his personal memories. He, in other words, pursued the harmony and oneness with the world through imagination. Meanwhile, the power of imagination may challenge the world and crave for differentiation from it. Imagination for difference introduces anti-poetic languages, destructs the convention of poems, and separates an individual self and the world, making the dissociation foregrounded by means of detachment of subject and object This kind of imagination rejects the traditional view of arts which has believed poems are an authentic art of language, and in doing so, it creates a new world. With the swift development of the multimedia period, there is a need for literature to communicate with more diverse media than before. The literary imagination is expected to find a way to communicate writing symbols with the other media, as w

상상력과 지식교육: 이건과 비고츠키를 중심으로

곽덕주 ( Kwak Duck-joo ),최진 ( Choi Jin ),김회용 ( Kim Hoy-yong ) 한국교육철학학회 2016 교육철학연구 Vol.38 No.4

This essay attempts to examine the role of imagination in knowledge education, which has been one of the hottest issues these days in Korea in the name of creativity education. What is theoretically at stake in this task is to find a way of integrating imagination and rationality in teaching and learning knowledge, the roles of which have been wrongly considered separate and even contradictory in the function of the human mind. To do so, it first reconstructs a Canadian educational philosopher Kieran Egan`s philosophically historical review of the concept of imagination. This will lead us to establish an educationally constructive concept of imagination, the concept which has been traditionally underestimated in its educational utility due to its subordinated status to reason or rationality in constituting human consciousness or intentionality. Secondly, it will examine Lev Vygotsky`s developmental theory of imagination to draw some pedagogical implications in teaching and learning, namely how to develop and foster imagination in an educationally meaningful manner. The reconstruction of Egan`s view on the conceptual development of imagination will show how the concept has been evolved along with the change in our world view, making a shift from the secondary human faculty being in service of the absolute God in the pre-modern world gradually into the primary human faculty to construct and create human meanings and values as the source of active thinking in the modern world. Parallel to the conceptual shift, our examination of Vygotsky`s theory of imagination traces his ideas on how the imagination in childhood develops into the imagination in the adolescent; the imagination in two stages takes completely different forms and paths in their development. According to Vygotsky, the imagination in the adolescent is critical to the development of the higher mental functions of human faculties including conceptual thinking, which has been one of the critical concern in knowledge education. Here the distinction and collaboration between visual conceptualization as a form of generalization and abstract conceptualization as a form of abstraction are addressed with a great importance to reveal their independent and interactive roles in the higher functions of the human mind. Lastly, this essay concludes with Egan`s idea of deep learning, which shows the importance of imagination in knowledge education. It is suggested as an educationally proper response to the malaise of exam-obsessed culture of knowledge education in Korea. For learning in depth is a form of learning for higher mental ability which requires the development of imagination, first and foremost.

상상 개념의 확장: 상호주관적 의미, 세계 형상화, 선구적 상상

설민 대한철학회 2025 철학연구 Vol.176 No.-

Today, imagination is called upon as a force for re-envisioning and reconstructing the world. It is actively summoned not only in art and literature, or in myth, religion, society, and politics, but even in science and technology. For imagination to meet this demand, a philosophical reconceptualization is needed—one that breaks with the familiar equation “imagination = mental imagery.” To this end, I first appeal to Husserl’s phenomenology to show that imagination—including fantasy—takes place not within the “mind” of a single subject but within an intersubjective domain of meaning. Next, following Kant’s notion of ‘productive imagination’, I briefly examine the idea that imagination is not simply a particular act of consciousness but functions at the very basis of our overall experience of reality. I then loosely draw on Heidegger’s notion of “world-building” to argue that such productive imagination operates not only at the level of the horizon of objectivity but at the level of the horizon of the world itself. Although world-building occurs primarily in reproductive and leveling modes, it sometimes, in contrast to such ordinary modes, envisions the world horizon in a pioneering way. I call this “pioneering imagination,” and I argue that it opens anew what it means for nature, history, art, the human being, or society to be. Finally, I will show that Charles Taylor’s discussion of the “social imaginary” of modernity can be interpreted as a concrete form of this account of world-building and pioneering imagination. I aim to contribute to the renewal and expansion of the concept of imagination in accordance with the demands of our time.

과학적 상상력과 시적 상상력의 구분은 정당한가?

박치완 ( Tchi Wan Park ) 고려대학교 철학연구소 2014 철학연구 Vol.0 No.49

모든 ‘학계’에서는 더 탁월한 설명력을 가진 이론체계, 즉 더 객관적 이론 체계의 정립에 모든 에너지를 쏟는 경향이 있다. ‘하나의 논리’, ‘하나의 이론’, ‘하나의 세계’를 위한 지적 모험은 인간이 존재하고 학문이 지속되는 한 멈추지 않을 것이다. 우리는 그러한 모험의 결과로 정립된 무수한 이론체계의 ‘역사’를 공유하고 있다. 상상력 개념 또한 그 논정(論定)의 역사를 지니고 있다. 그런데 주지하듯 이미지, 상상력 개념은 철학자들에 의해 오랫동안 주로 부정적으로 언급되어왔던 게 사실이다. 이미지와 상상력이 지성이나 이성 개념의 폭력을 고스란히 감내해야 했던 이유가 여기에 있다. 이러한 부정적 의견을 일소시킨 학자가 본고에서 우리가 소개하려고 하는 가스통 바슐라르(Gaston Bachelard)이다. 그의 시학 정신(l’esprit poetique)을 인류학적·사회학적·인식론적으로 확대·심화시키고 있는 그룹에서는 이미지와 상상력은 새로운 인간관과 세계관을 위한 실천철학으로까지 해석하고 있다. 이들의 지속적인 연구에 따르자면 상상력은 부정적 의견을 가진 철학자들이 항용 비판의 빌미로 삼았던 환상적인 것(l’illusoire)이나 허구적인 것(le fictif)과는 하등 관련성이 없다. 바슐라르가 역설한 상상력은 어디까지나 고행을 동반하는 ‘이성의 작업’이며, 따라서 우리는 그의 상상력 이론을 ‘과학적 상상력’과 대비시켜 ‘시적 상상력’이라는 옹색한 평가를 내리는 것으로 만족해서는 안 될 것이다. 본고에서 우리가 <상상하는 것 = 사유하는 것>이라는 새로운 정의를 통해 바슐라르의 철학을 소개해보려는 이유가 여기에 있다. There is no theoretic system more valuable than others. That is to say that, all theory has its own value. However, in this country, Academia is willing to prefer and regard an objective and scientific system as a supreme one. The intellectual adventure pursuing only one logic, one theory, and one world never stop, which produce the history of theory. This paper criticizes this tendency with shaping of the conception of imagination, which summarized as two contradictory perspectives on one movement. One the one hand, imagination, along with the concept of image, has been falsely and violently accused, by many philosophers, as an enemy of intelligence and reason. It was Gaston Bachelard the French philosopher that challenged this intellectual trajectory, and his l’esprit poetique(spirit of poetics) has been embraced by the group whose anthropological, sociological, epistemological studies on him and his work on image and imagination developed into a practical philosophy of a novel view on man and world. Contrary to the argument of many offensive philosophers on image and imagination, it is revealed that imagination has nothing to do with l’illusoire(something illusive) or le fictif(something fictive). Bachelard argues that imagination is an agonizing process of reason, thus his notion of imagination cannot be highlighted as poetic imagination contrasted with scientific imagination, because to imagine is to think and to think is, of course, to imagine.

소설과 영화를 통한 상상력 신장 교육의 한 방법

이종섭 국어교육학회 2009 국어교육학연구 Vol.35 No.-

The imagination has been considered as essentiality to the poets for a long time. Besides poem creation, the imagination strongly influences to the narrative creation. Also the imagination influences acceptance as well as creation. The thing which the imagination affects largely while reading literature shows clearly the imagination's effectiveness at literature education. Because enhancing the student's imagination is the basic element of literature class. In this study, I distinguish the writer's imagination and the reader's imagination. For this, I give an example the novel and the film. The novel and the film are the typical genre of the narrative. The similarity between the novel and the film is proved from the fact that many films are transformed from the novels. The Lee, Chang-dong's film, ‘Secret Shine’ is transformed from Lee, Chung-jun's novel ‘Bule-iyagi’. As the original and the adaptation is totally different, except the core of the narrative, the two works' differences are very big. The cause is that the variant imagination operates while creating the work. For promoting the student's imagination, recovering hidden story and composing next story are very useful. The two methods are very useful to enhancing the student's imagination. 상상력은 시인들이 필수적으로 갖추어야 할 요소로 오랫동안 인식되어 왔다. 그러나 상상력은 시뿐만 아니라 서사물의 창작에도 크게 작용한다. 또한 상상력은 창작의 과정에서뿐만 아니라 수용의 과정에서도 간과할 수 없는 영향력을 미친다. 수용 과정에서 상상력이 크게 작용한다는 점은 상상력의 문학 교육적 효용을 극명하게 보여준다. 학습자의 상상력을 신장시켜 주어야 한다는 것은 문학 수업의 기본 전제이기 때문이다. 이러한 인식을 바탕으로 이 연구에서는 서사물에 작용하는 상상력을 창작 과정에 작용하는 상상력과 수용 과정에 작용하는 상상력으로 나누어 살펴보았다. 이를 위해 소설과 영화 작품을 예로 들었다. 서사물을 대표하는 형식은 소설과 영화이다. 두 장르의 친연성은 많은 소설 작품들이 영화화된 데서 증명된다. 이청준의 소설 <벌레 이야기>는 이창동 감독의 영화 <밀양>으로 재탄생했다. 원작 소설과 각색 영화가 서사 구조상 많은 변화를 갖듯이, 두 작품 역시 서사의 핵심만 동일할 뿐 상당한 변이 양상을 보였다. 이는 창작 과정에 서로 다른 상상력이 작용했기 때문이다. 학습자의 상상력을 신장시키기 위한 방안으로 생략된 이야기 연결하기와 이어질 이야기 구성하기 활동을 해 보았다. 소설을 통해 중간에 생략된 장면을 상상해 보게 한 활동을 한 결과, 학습자들은 앞뒤 문맥을 바탕으로 생략된 내용을 추리한다는 점을 확인할 수 있었다. 영화를 통해 뒷이야기를 구성해 보게 하는 활동을 한 결과, 학생들은 생략된 장면을 구성하는 활동보다는 다양한 반응을 보였지만 대체로 이야기의 문맥적 흐름에서 크게 벗어나지 않는다는 점도 확인됐다.