• 비교문화연구
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• 제30권
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• pp.31-51
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• 2013

In this paper, I approach corporate social responsibility as a discourse metadiscursively shaping the social relationship between corporations and society. Using a discourse-centered approach to culture, I examine how early discussions (involving legal disputes) on the rights of corporations to give evolved into a public sphere discussion as to how corporations can be viewed and redefined as social actors with capabilities to perform socially meaning actions, which here is "responsibility." I discuss how corporate social responsibility currently operates as a metadiscourse of corporate personhood, ethics, and corporate citizenship. Then, using insights from Mauss, I analyze how corporate social responsibility might be comparable to a Maussian gift exchange. Corporate social responsibility actions that are performed, indeed, are gift exchanges in that they involve the ideology of the free gift and the implicit expectation of a return to the giver. In the meantime, I argue, that in the case of corporate social responsibility, it is not the act of giving gifts (e.g., grants) that can lead to social alliances but rather the talk of gift giving, a departure from the ceremonial gift exchanges observed by Mauss. That is, here, the talk of giving shapes social alliances, thus displacing this function from the act of giving itself. The PR strategies deploy talk of the gift as a metapragmatic strategy, inviting various forms of role alignment on the part of diverse, potential and actual, participants, in a framework of corporate-sponsored gift exchange in which potential recipients compete, again at the level of metapragmatic description, to become the chosen gift recipient.

• 미술이론과 현장
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• 제1호
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• pp.71-92
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• 2003

This study examined the condition of an educational discourse, relating the concept of creativity, culture, culture-centered, and critical thinking, to explore Culture-based Art Education(CBAE). In particular, art education practice was examined using interpretations of creativity and critical theory positions from the field of education. Discourse analysis was used as the research method to contextually situate and analyze the ways in which art education theory and practice of creativity and of critical studies encoded meanings. The study helped build an understanding that creativity was formed as a modernist discourse in the humanistic stance. In education, creativity became the fundamental concern for progressive educators who pursued innate ability of individuals. The way to enhance creative potential of students was to induce their motive, as was the same case in art education, while in artist training, free expression was its main method. In this way, as creativity was intimately connected with the concept of expression, in art education art making is the only course for enhancing creativity. However, because creative process cannot intelligently be regarded as logically distinct from the creative product, and creativity can only be said by product, it seems valid to think that creativity is the quality not to be achieved by teaching. Furthermore, its emphasis on art making resulted in unbalance of art making and art appreciation in art education. It was the late sixties when several alternatives for creative education were made their appearance. Critical studies in art adopted critical theory as its theoretical background has developed as an alternative of creative art education, when research and theory for creativity could not be adequate to deal with the problem of practice. Critical theory is a broad and diverse field of theory and practice drawing on aspects of the modernist perspective of the later Frankfurt School, feminism, Freirean pedagogy, postcolonial discourse as well as postmodernism to construct a practical approach to education. It is very this eclectic nature to provide the mosaic that need to experience cultures from different perspectives in a pluralistic society. Because one's personality is formed by multiple aspects of culture which is very complex and is made up of what we do and value, creativity cannot make part of educational discourse with the philosophy of culture centered. On the other hand, critical studies, as a school art program of critical theory, can perform the role of CBAE, because it would have to deal with the investigation of social and cultural issues form multiple personal, local, national, and global perspectives.

• 동양고전연구
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• 제73호
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• pp.445-473
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• 2018

본고는 한국 한문고전을 번역하는 가치에 대한 담론과 그 번역을 수행하는 번역자상을 다루었다. 연구의 범위를 한국(남한)에 한정하여, 민족문화추진회 등 관련 기관이 창설되고 국가지원을 통해 고전번역 사업이 본격적으로 이루어진 시기인 1960년대 이후를 연구범위로 하여 한국 한문고전을 번역하는 번역가치담론의 변천을 시론적으로 살펴보았다. 1960년대와 70년대에는 민족문화추진회를 중심으로 민족문화 담론과 한학(漢學) 담론이 주조를 이루었다. 민족문화 담론은 근대화와 짝을 이루는 것이었으며, 한학 담론은 근대화 담론에 일정 정도 길항하는 것이었다. 이 시기의 번역자상은 한글을 구사할 수 있는 한학자상에 가까웠다. 민족문화 담론은 정신문화 담론과 짝하여 한국정신문화연구원의 설립을 이끌어 내기도 하였으며, 이후 1980년대에 한국학 담론으로 변화하였다. 또한 80년대 중반 이후 김용옥에 번역학 이론이 소개되어 반향을 일으켰다. 70년대부터 시작한 "조선왕조실록"의 번역은 고전번역 현장의 고전번역 담론을 사업 담론으로 기울게 하였다. 이러한 대형번역사업은 전문역자군을 산출하여, 번역자상으로 전업적 고전번역자상이 나타나게 되었다. 2007년 한국고전번역원의 설립으로 고전번역사업의 안정적 기반이 마련되자 고전번역 담론은 사업 담론의 영역에서 고전번역학을 중심으로한 학술 담론으로 무게중심이 옮겨가게 되었다. 고전번역학의 학문적 정체성에 대한 논의와 함께 고전번역대학원이라는 학문기구의 설립 문제로 논의가 확장되었다. 이 시기의 학문 담론과 짝하여 고전번역자는 고전학자이자 번역자여야 한다는 연구 번역자상이 요청되기 시작한다. 이처럼 고전번역 가치담론은 시대흐름에 따라 변화하였고, 그에 따라 고전번역자상도 변화하였다.

• 한국철학논집
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• 제39호
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• pp.53-83
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• 2013

이 글은 황윤석(1729-1791)을 사례로 삼아 18세기 조선 지식인들에게서 천인관계 문제가 어떻게 변화해 가고 있었는가를 검토하는 데 목표를 둔다. 천인관계 문제는 유학의 변화를 가늠하는 중요한 지표로서, 전통적으로 유학사의 핵심 주제 가운데 하나로 자리 잡아왔다. 황윤석은 주자학의 바탕 위에서 서학(Western Learning)을 수용한 인물이라는 점에서 이 문제를 검토하기 위한 좋은 사례의 하나이다. 황윤석의 학문은 주자학의 범위를 거의 벗어나지 않았지만, 어려서부터 고학(古學)에 심취했고, 이를 바탕으로 서학(西學)에 관심을 가졌다. 이수(理數)는 고학과 서학을 관통하는 핵심 개념으로서, 종래의 선험적이고 신비적인 진리에서 부분적이나마 경험적이고 실용적인 지식을 함축하는 개념으로 확장되었다. 황윤석은 천문 현상에 대한 이해에서 사실중심적 접근법과 가치중심적 접근법을 병행하였다. 서양 천문학은 그로 하여금 사실중심적 접근법의 측면에서 많은 진전을 이루도록 해 주었지만, 그럼에도 불구하고 그는 가치중심적 접근법을 통해 일 월식을 비롯한 천문의 변리(變異)에 대해 재리논적(災異論的) 관점을 유지할 수 있었다. 사실 가치의 이분법은 당시 주자학이 새로운 지식의 유입에 맞서 스스로의 정체성을 고수하기 위한 방법의 하나였다고 할 수 있다. 그것은 '천도(자연) 인사(인간)' 방향의 간섭을 배제하는 것일 뿐, '인사(인간) 천도(자연)' 방향의 관심까지 부정하는 것은 아니었다. 자연의 감계적 기능을 긍정적으로 강조하는 그가 보기에 천인관계론은 여전히 중요한 논제였다.

• 비교문화연구
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• 제23권
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• pp.81-100
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• 2011

The term of world literature is now becoming an issue and lens through which we need to rethink the value of literature on a more universal dimension so as to imagine newly the location of the local or regional literature that has been alienated from the field of world literature. This kind of recognition leads us to consider the term world literature in relation to globalization and universality and to locate it on a problematical territory rather than to understand it in the traditional and Western way. Therefore the concept of world literature is now given to us as a task to resolve from our particular, or more precisely, peripheral context. The peripheral context could best operate as a possibility of reforming the West-centered order of world literature particularly in the way in which world literature obtains a more universal value. When we discuss world literature we need to consider the way of practice to re-highlight the possibility of periphery and pre-modernity without neglecting the 'light' of modernity and center. In this respect, the discourse of 'East Asia' may be useful for a transnational approach to world literature which focuses on the criticism of all kinds of centrism by foregrounding the concepts of othering and de-homogenization. For this I emphasize the attitude and methodology of 'post' which includes the power of othering and de-homogenization. The 'posty' theories such as post-colonialism, post-structuralism, post-nationalism and post-humanism allow us to indicate properly and acutely our aim by means of freer play of thought and at the same time more just definition and practice of our thought; that is, only by embracing both indication and play can we maintain the universal value of world literature. Here we can say that the global and local enterprise of ethics is the fundamental basis of world literature.