• 아동학회지
• /
• 제25권5호
• /
• pp.41-58
• /
• 2004

This study examined the relations between children's Impulsivity temperament, socio-dramatic play, and self-regulation of 4-year-old children. Subjects were 117 4-year-old children(59 boys and 58 girls) selected from three kindergartens. Each mother completed a questionnaire on her child's temperament. Naturalistic observations of total socio-dramatic play, complex socio-dramatic play, solitary dramatic play and of self-regulation in two classroom contexts - clean-up periods and group circle time - were conducted for obtaining data. Significance was analyzed by Pearson's correlation and multiple regression analysis. Children's Impulsivity was negatively related to self-regulation and to total and complex socio-dramatic play, but impulsivity was positively related to solitary dramatic play. Total and complex socio-dramatic play was positively related to self-regulation while solitary dramatic play was negatively related to self-regulation. Total and complex socio-dramatic play, and solitary dramatic play displayed a mediating role between impulsivity and self-regulation during clean-up periods.

• 아동학회지
• /
• 제19권2호
• /
• pp.159-171
• /
• 1998

This study compared Korean and American children on scaffolding by peers during dramatic play. Thirty Korean and twenty American 5-year-old kindergarteners participated. The data were analyzed by Spradly's (1980) Developmental Research Sequence (DRS), using qualitative methods. The results showed that the categories of scaffolding (theme and communication) occurred more frequently among American children than among Korean children. In both cultures, more capable peers scaffolded children during dramatic play and were able to extend the dramatic play.

• 아동학회지
• /
• 제16권1호
• /
• pp.167-181
• /
• 1995

The purpose of this study was to examine how the intervention of a literacy environment influences young children's literacy behavior in dramatic play. Four classrooms at S kindergarten and Y kindergarten in Seoul were randomly selected for this study. Each of the classrooms was designated as an experimental group: that is, experimental group A (38 children), experimental group B (34 children), experimental group C (35 children) and a Control group (40 children), respectively. Group C was provided with literacy materials, theme of dramatic play and teacher's intervention. Group B was provided with literacy materials and theme of dramatic play. Group A was provided with only literacy materials. It was found that the intervention of the literacy environment in dramatic play brought about an increase in children's total literacy behavior, increase in the frequency of children's reading behavior, and increase in the frequency and function of children's writing.

• 한국생활과학회지
• /
• 제5권1호
• /
• pp.1-14
• /
• 1996

The purpose of this study was to examine children's dramatic play and dramatic play themes in the same-age and mixed-age kindergarten classrooms. The subjects were 45 children in three classrooms of 4-year-olds, 69 children in three classrooms of 5-year-olds, and 60 children in three mixed-age classrooms of 4-and 5-year-olds. Observations were conducted by videotape recordings. Observation periods were of five-minutes duration. There were ten observations of children's indoor free-play periods. Four-and five-year-olds in mixed-age classrooms were more likely to engage in group-dramatic play than 4-and 5-year-olds in same-age classrooms. Four-year-olds in mixed-age classrooms were more likely to engage in domestic and family, war/violence, school, animal, and vehicle play themes than 4-year-olds in same-age classrooms. However, 5-year-olds in mixed-age classrooms were more likely to engage in family and school play themes than 5-year-olds in same-age classrooms. 5-year-olds in same-age classrooms were more likely to engage in vehicle and animal play themes than 5-year-olds in mixed-age classrooms. 5-year-olds in same-age classrooms did not differ from 5-year-olds in mixed-age classrooms on the war/violence themes used during dramatic play. In terms of sex differences, boys were more likely to engage in violence, adventure fantage themes than girls. Conversely girls were more likely to engage in family/marriage static play themes than boys.

• 아동학회지
• /
• 제21권1호
• /
• pp.253-268
• /
• 2000

The social dramatic play of seventeen five-year-old children was videotaped and transcribed for analysis of Intersubjectivity and play role types. The teachers of the children rated children's social competence. Results showed that children's Intersubjectivity in social dramatic play was related to their play role types and peer competence. Children with a high level of Intersubjectivity play leading roles during social dramatic play and were rated as socially competent by their teachers. The results were discussed from the Vygotskian perspective. Implications for early childhood teachers and suggestions for future studies were provided.

• 한국엔터테인먼트산업학회논문지
• /
• 제13권4호
• /
• pp.157-164
• /
• 2019

드라마 연극이 희곡 텍스트를 무대 위에 재현하는데 관심을 두고 있다면, 포스트드라마 연극은 희곡 텍스트로부터 해방된 연극을 지향한다. 이 과정에서 드라마 연극이 만들어놓은 여러 경계들이 해체된다. 배우와 관객, 허구와 현실, 연극과 비연극, 작품과 사건, 언어와 비언어 등이 대표적인 경계의 이름이다. 이러한 경계의 해체는 드라마 연극에 의해서 잊혀졌던 고대 그리스 연극의 축제적 성격을 복원하는 계기가 된다. 이것은 아리스토텔레스 이래로 연극을 지배하였던 언어중심주의, 희곡중심주의를 해체하고 새로운 연극을 지향하게 한다. 언어중심주의, 희곡중심주의가 연극의 위기를 자초했다면, 포스트드라마 연극은 그것들을 해체함으로써 새로운 문화콘텐츠로서 관객과 소통하는 방법을 찾게 한다. 그 방법은 무엇보다 연극성의 회복에서 발견된다. 드라마 연극이 연극성보다 문학성에 종속된 것에 비해서 포스트드라마 연극은 문학성으로부터 해방된 연극성을 지향하고 있기 때문이다. 연극성이 강화된 포스트드라마 연극의 탈경계적 성격은 대중성 획득의 발판이 될 것이며, 이는 포스트드라마 연극의 문화콘텐츠로서의 가능성을 보여준다.

• 한국생활과학회지
• /
• 제19권3호
• /
• pp.443-453
• /
• 2010

This study analyzed the effects of dramatic play using Economic-fairy tales on young children's basic- economic understanding and the consumer behavior. The participants in this study were 42 young children who attended a kindergarten in G city. The mean age of participants was 70 months. The experimental group participated in 'Dramatic play using Economic-fairy tales' while the control group participated in a 'Discussion activity using Economic-fairy tales'. The experiment used 'The Basic-Economic Concept Test' and 'The Consumer Behavior Test' in the collection of data and T-test was used to statistically analyze the data. Significant differences were found between the experimental group and comparison group in both the post-test score of Basic-Economic Understanding and of Consumer Behavior NOTE. In conclusion, the results of this study suggested that the technique of dramatic play using Economic-fairy tales which was developed in this study are probably effective in developing young children's basic-economic understanding and consumer behavior.

• 아동학회지
• /
• 제19권2호
• /
• pp.173-184
• /
• 1998

The present study investigated the effects of a theme-relevant play center on children's play behavior and intersubjectivity with an integrated approach to early childhood education. The subjects were 24 kindergarten children (12 boys and 12 girls). Half of the experimental subjects participated in a novel dramatic play center connected with a specific theme for the duration of 5 weeks. pre- and post-testing was conducted for all children. The theme-relevant dramatic play center wits an integrated approach to early education facilitated a high level of play behavior and children's intersubjectivity.

• 디지털콘텐츠학회 논문지
• /
• 제17권6호
• /
• pp.531-536
• /
• 2016

이 연구에서는 인간과로봇상호작용(HRI)에서 유아들을 대상으로 로봇을 활용한 증강현실 극놀이 실험을 통하여 아동들이 느끼는 상호작용 분석을 제시하고자 한다. 기존의 극놀이 로봇콘텐츠를 아동들이 상호작용하기에 편하도록 QR 마커의 단점을 개선하여 개발하였다. 또한 로봇을 활용한 증강현실 극놀이에 대해서 로봇 극놀이에 대한 흥미, 로봇분장의 적절성, 로봇이 똑똑해 보이는 정도, 극놀이에 몰입감에 대한 아동의 반응을 분석하여 보았다. 나이가 어릴수록 재미가 높고, 로봇이 똑똑하다고 생각하였고 로봇 사용경험이 없는 아이들이 상대적 흥미가 높고, 로봇분장에 대해서는 로봇사용 경험 있는 아이들이 차이를 인지하는 것으로 나타났다.

• 영어영문학
• /
• 제55권4호
• /
• pp.539-565
• /
• 2009

T. S. Eliot attempted the combining of the liturgy of Anglican Church and a drama in Murder in the Cathedral (1935) and created a modern verse drama which comes most close to the regular tragedy like Greek tragedy today. Eliot chose the drama to deliver his religious insight because of its ritualistic origin and its potentiality to deliver a dramatic world which can contain a complete order. The central theme of this play is the martyrdom. The dramatic action of killing the archbishop Thomas Beckett in this play, however, is not treated as important event enough to be a dramatic climax. He is portrayed as a witness to the reality of God's will rather than a man who wills to give up his own life for any religious belief or cause. In Eliot, a martyr is nothing but "a witness" in its ancient sense. This paper purposes to review the language of this play. The various and new meters and rhythms of the language of this play function enough to bring its playwright to encounter 'the real audience' in 'a living theatre'. The interactions between different verbal models also play a big role to make this play a living theatre. Eliot found the poetry which crosses the various classes and levels of the tastes of audience is the most useful poetry. And the poetry of this play proves as the very thing which intensifies the theme of the play and gives the most powerful force to the play. Especially Eliot's poetry succeeds smost in the various and free meters of chorus, which makes Eliot the first playwright since Aeschylus, who could bring the chorus to undertake the function of extending the dramatic action of the play into the universal meaning. In the theatre the real audience identifies themselves with chorus. And the chorus leads the audience to respond to peace which passeth understanding beyond words and sounds of this play, which is the desired response in Eliot's conception of drama.