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.

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: 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?

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.

비욘드-포스트모더니즘 공연예술 분석 -사이먼 맥버니(Simon McBurney)의 <인카운터(Encounter)>(2015)를 중심으로-

정다은 한국드라마학회 2023 드라마연구 Vol.- No.70

The movement of postmodernism, considered the most representative characteristics of culture and art from the 1960s, began to slow down in the 1990s. This weakening of postmodernism raises the question of what will be next after postmodernism. This study refers to such postmodernism as Beyond- Postmodernism, and confirms the characteristics of Beyond-Postmodernism through analysis of performing arts activities. In this study, this is analyzed through the work of Complicité, a representative theater company that has been active from the 80s to the present. Through the analysis of culture and art in this study, it is possible to confirm how the culture of Beyond-Postmodernism in the 21st century expresses the times in different directions and ways from postmodernism. Through the analysis of <Encounter>, this study finds six characteristics of Beyond-Postmodernism: 1) identity exploration, 2) truth exploration, 3) spiritualism, 4) trust, cooperation, reconstruction, 5)neo- realism, and 6)the use of computers, the Internet, and mass media. 1960년대부터 문화와 예술의 가장 대표적인 특성으로 여겨진 포스트모더니즘 의 움직임은 1990년대에 이르러서는 주춤하기 시작한다. 이 같은 포스트모더니 즘의 약화는, 포스트모더니즘 그 다음은 무엇일지에 대한 의문을 갖게 한다. 본 연구는 이 같은 포스트모더니즘 이후를 비욘드-포스트모더니즘이라고 지칭하 며, 비욘드-포스트모더니즘의 특성을 공연예술 활동 분석을 통해 확인한다. 본 연구에서는 80년대부터 현재까지 활발하게 활동하고 있는 대표적인 극단 컴플 리시테(Complicité)의 작품 <인카운터>를 통해 이를 분석한다. 본 연구의 문화예술 분석을 통해 21세기 포스트모더니즘 이후, 비욘드-포스 트모더니즘의 문화가 포스트모더니즘과 어떻게 다른 방향과 방법으로 시대를 표현해내고 있는지를 확인할 수 있다. <인카운터>분석을 통해 본 연구에서는 1) ‘정체성 탐구’, 2)‘진실탐구’, 3)‘영성주의’, 4)‘신뢰, 협력, 재구축’, 5)‘신사실주의’, 6)‘컴퓨터와 인터넷 매스미디어의 활용’이라는 6가지 비욘드-포스트모더니즘 의 특성을 발견한다.

포스트모더니즘이 헤어스타일에 나타나는 표현 양상에 관한 연구

김가연 한국메이크업디자인학회 2005 한국메이크업디자인학회지 Vol.1 No.2

As 20th century starts, mankind is facing the sudden change of cognition. that is the very postmodernism. At the end of 20th century ,Postmodernism is the spirit of the times reflecting our entire life such as politics, economy, society, culture. Also, one of important aspects Postmodernism includes implies various human thoughts, the point of view and tradition. At present, because hair along with fashion shares the same value of contemporaneous culture, it can be said to be in the category of popular culture. Dissolve , extension, composition of subject that is character of postmodernism expand category of modern hair style, at present, it brought a lot of different hair styles. Therefore, this study researches postmodernism that is giving the new paradigm to every fields and analyze the hair style taken effect of postmodernism. The main purpose of this study is presenting the hair trend of the time to come and make them possible data to be used In study, first arranging the concept and characteristic of postmodernism appeared at the end of 20th century through previous paper, related books and internet. On the basis of case study and paper about expression aspect that postmodernism can have influence on hair style, the hair style of postmodernism is studied. Arranging the results postmodernism has effect on hair style is below. First, mannish, ethnic, africa style appeared as a result of liberation of sex and punk style by deconstruction and Eclecticism. Second, by feminism tendency of postmodernism expressed boysh style in hair style. Third, by reactionism style that revive the past things appeared. Fourth, in 1990s, natural style came out by naturalism.

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?

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.

포스트모더니즘과 기독교교육

한미라(Meerha Hahn) 한국기독교교육정보학회 2013 기독교교육정보 Vol.36 No.-

본 논문이 제기한 질문은 세 가지이다. 첫째, 포스트모던시대에서 종교 특히 기독교는 살아남을 수 있을까? 둘째, 포스트모더니즘을 우리는 어떻게 이해해야 하는가? 셋째, 포스트모던시대 기독교교육이 나가야 할 향방은 어떤 것일까? ‘예’ 혹은 ‘아니오’의 답을 하기 보다는 첫 번째 질문을 이해하는 네 가지의 기초를 제공함으로서 독자 스스로 답을 찾도록 하였다: 1. 역사의 도전자들, 2. 모더니티의 본질과 특성, 3. 모더니즘과 포스트모더니즘과의 관계, 4. 포스트모더니즘과 종교와의 관계. 둘째, 21세기 포스트모더니즘의 이해를 돕는 필자 나름대로의 준거의 틀을 4가지 키워드로 잡고 그것을 중심으로 설명하였다: 영성, 해체주의, 하이브리드, 상호텍스트성. 셋째, 기독교교육의 나아가야 할 방향은 포스트모던 기독교교육 모델은 가능한가라는 질문으로 바꾸어 그 가능한 방법을 방향성만을 중심으로 간략하게 제시하였다: 1. 모던 교사-포스트모던 학습자 교육모형 2. 포스트모던 교사-모던 학습자 교육모형 3. 포스트모던 교사-포스트모던 학습자 교육모형. 포스트모던 시대의 교수자나 학습자들은 모두 디지털 노마드들이다. 이들의 특성을 고려한 기독교교육방법의 연구가 활발히 일어나야 할 것이다. 새 시대란 언제나 우리에게 다가온다. 그리고 새 시대에 맞는 새로운 디다케의 패러다임을 요구한다. 그러나 언제나 새 시대의 오심(coming)과 새 시대 교육(teaching)사이엔 차연(differance)이 존재한다. There are three questions raised by this paper. First, does Christian education can survive in the post-modern era? Second, how do we understand postmodernism? and the third, what would be feasible Christian education in the postmodern era? Rather than Yes or No answers, readers must find themselves based on the four arguments of understanding postmodernism provided by the writer: 1)challengers against history, 2)essence and attributes of modernity, 3)relationship between modernism and postmodernism, and 4)religion and postmodernism. In order to help the reader understand postmodernism in brief the four key words chosen in this article are presented: Spirituality, Deconstructionism, Hybrid, and Intertextuality. Finally, three feasible way of doing Christian education in this era are suggested: 1)modern teacher vs postmodern student 2)postmodern teacher vs modern student 3)both postmodern teacher and student. In the postmodern era, either teacher or learner are digital nomad. Taking into account of this attribute, some substantial research must be conducted in order to develop a applicable postmodern teaching methods for Christian education. New age is always to come and its new didache demanded as well. However, the “differance” always exists between the coming of new age and its teaching.

포스트모더니즘을 통한 새로운 예술론 연구

이강일 통일사상학회 2017 통일사상연구 Vol.12 No.-

모더니즘은 가치중립이고 합리주의와 경험주의에 바탕을 둔 계몽사상을 계승 한 서구 근대 이성중심의 철학이다. 포스트모더니즘은 인간을 중심한 다양한 가 치수용이 특징이며 서구 이성중심의 합리적이고 과학적인 방법에 문제점을 지적 하고 해체하고자 하며 감성영역에 기대를 건다. 그러나 포스트모더니즘의 많은 철학사적 의의에도 자체가 만들어 놓은 또 다른 문제점의 한계에 봉착하고 있다. 이 논문에서 극복논리는 보편과 개별의 통합, 주 류와 비주류의 통합, 이성과 감성의 통합에 의해서 이루어짐을 설명하고 있다. 특 히 포스트모더니즘의 예술론은 비동일성, 무목적성, 숭고미학, 감각의 논리 등은 모두 감성언어에 의존하고 있음을 알 수 있다. 이러한 감성언어의 바탕에는 예술 을 통해서 새로운 탈출구를 모색하고자 하는 그들의 의도가 숨겨져 있다. 새로운 예술론은 포스트모더니즘이 간과하고 있는 목적성(방향성)에 바탕을 두어야 한다. 목적성이 없는 미학은 불가능하며, 이것은 예술철학인 미학을 바탕 으로 한 창조행위를 진정한 예술이라고 하기 때문이다. 새로운 예술론은 올바른 창조원리와 구조를 바탕으로 성립하기 때문에 예술은 포스트모더니즘이 찾고자 한 기존의 이성중심의 사고를 해체한 결과에서 출발하여 예술의 구조를 통해서 새로운 패러다임을 찾는 연구이다. Modernism is the western modern reason-centered philosophy which adopted value-neutral Enlightenment based on rationalism and empiricism. But the main character of postmodernism is to accept human- centered various values, in attempt to criticize and deconstruct problems with western reason-centered rational and scientific methods, having expectations for the emotional domains. Postmodernism promoted methodology about overcoming reason- centered limits after the 21st century. The academic school continued to have expectations on emotion. In this regard, the purpose of this research study is to consider theories of art through purposes and values of emotion that postmodernism attempted to pursue, placing the significance on seeking new paradigms through theories of art that has inseparable relations with emotional structures. The character of postmodernism means ex-modernism. Ex-modernism was obliged to create a novel massive-discourse based on the possibility of emotion that had relatively been disregarded, after reason-centered massive-discourse came to an end that had, so far, been dealt with. However, it is not easy to create a new massive-discourse because this is possible only when there is a change in general paradigms. Yet, it is considered that postmodernism can overcome its limits through the integration with universal and individual, mainstream and non-mainstream, reason and emotion. And it is identified that all theories of art accommodating nonidentity, purposeless-purposiveness, sublime aesthetics, emotional logic pursued by postmodernism depend on emotional languages. Thus in emotional languages lies the intention to find new ways through arts. The new artistic theory should be based on the objectivity(directionality) that postmodernism overlooks, because aesthetics without purposiveness is impossible, and creation act built on aesthetics as an art philosophy is worth to be called true art. Given that new theories of art are applied on the basis of right principles and structures of creation, this study is to seek new paradigms through art structures, starting from the outcome of the constructivism of the existing reason-centered paradigms supported by postmodernism. In this context, this research study means to provide the new possibility of art theories through the integration of multi-discourses in the process of constructing the existing reason-centered paradigms of multi-discourse to establish the accurate concepts of art. To do it, this study is going to present the structures that reason and emotion intend to integrate, asserting that post-constructivism pursing new ideas must find a clue through theories. of art. The nature of art lies in creation, and art, fundamentally, promotes aesthetics. It can, thus, be found that, since aesthetics promotes purposive directions and purposes within the emotional domains, art exists by constructing the outcomes of the established paradigms through new art structures, where postmodernism intended to pursue.