• Journal of Korean Home Economics Education Association
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• v.19 no.3
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• pp.149-168
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• 2007

The purpose of this study was to analyze the home economics education items in the teacher recruitment examination for secondary school. To achieve the purpose, all the home economics education items, which were carried out for seven times from the school year 2001 to the most recent year 2007, were compared and analyzed. The form of items was analyzed by frequency and rate. Behavioral domain of items was analyzed by content analysis. In this study, some recommendations were suggested for the quality of home economics education items through discussion of science education and society education items, which were abstracted from the school year 2001 to the most recent year 2007. The results of this study were as follows. First, the score ratio of home economics education items was fluid as 20-30% from the school year 2001 to 2004 but it fixed as 30-35% since the school year 2005. In subcategory of home economics education, curriculum items accounted for highest ratio(43%). In the next thing, items of teaching-learning method(35%), evaluation(19%) and philosophy(3%) related to home economics education were followed in order. Second, the form of home economics education items was coexistent form of single item and subordinate item from the school year 2001 to 2004. But it was changed into form of single item by 100% since the school year 2005. Third, regarding the content of home economics education items, most of the curriculum items were related to the content of the 7th National Curriculum. Teaching-learning method items were taken mostly from model of teaching-learning. Evaluation items were taken mostly from performance assessment. Philosophy items related to home economics education were taken only from Habermas's three systems of action on the school year 2005. Fourth, about behavioral domain of home economics education items, most of the curriculum items were level of 'simple knowledge or memory'. Therefore, it was suggested that behavioral domain of curriculum items had to be changed into 'complex knowledge or comprehension and application'. The behavioral domain of teaching-learning method items and education evaluation items was mostly 'complex knowledge or comprehension and application'. However, to bettering the items it was suggested that the behavioral domain of them has to be changed 'comprehension' into more 'application'. Fifth, regarding the coverage of home economics education items, curriculum items were limited only superficial content of the 7th National Curriculum. Therefore, it was suggested that coverage of curriculum items had to be extended to theoretical content, which was philosophical background and various principles of curriculum. It was suggested that coverage of teaching-learning method items had to be extended to the content including various teaching-learning theories and the practical reasoning home economics instruction proved effective as home economics instruction recently. Evaluation items were taken mostly from performance assessment. Therefore, it was suggested that coverage of evaluation items had to be extended to analysis of evaluation result, item validity and reliability, and evaluator's philosophical perspective.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.