• 아동학회지
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• 제22권1호
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• pp.241-249
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• 2001

This study examined the effect of story dictation and dramatization on children's story construction and decontextualized language. For 12 weeks, the 22 five-year-old children in the experimental group participated in story dictation and dramatization activities while another 22 same-age children participated only in story dictation. The instruments were the children's Decontextualized Language Test(Foley, 1992) and children's Story Analysis(Knipping, 1987), revised to fit Korean grammar. Story dictation and dramatization facilitated high level story construction by children: it raised levels of story coherence and narrative form. Story dictation and dramatization also enhanced decontextualized language of children, raising their use of decontextualized language on a picture description task.

• 영어어문교육
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• 제11권4호
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• pp.305-333
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• 2005

The purpose of this study is to investigate the effects of teaching English through the techniques of storytelling with dramatization upon children's competence of English speaking and listening. These techniques are considered to enable children to have ample opportunity of use in and exposure to English, as well as interest. This study is sequenced as selecting stories by way of consulting literatures, developing a teaching model for practising classes through storytelling with dramatization, and analyzing the data resulting from the pre- and post-listening/speaking tests using the SPSS program. The results of this study can be summarized as follows: the experimental group shows better significance than the control one in the listening and speaking post-test. Therefore, literary units also need to be incorporated into English textbooks in order to improve children's aural-oral competence through the storytelling with dramatization.

• 한국멀티미디어학회논문지
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• 제22권8호
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• pp.974-982
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• 2019

Contemporary narrative and documentary share across boundaries between the 'actuality' and the 'creative treatment.' The documentary has blended modes of representation from various genre to reflect the world changing. The narrative movies also has applied the historicality of 'evidence' and 'documents' from documentary to obtain the new form of realism. Boyhood shows a differentiated realism to retain both the narrative structure and the documentary temporality, containing 12 years of timeline with the limited artificial space time. Boyhood also takes the analogical concept of 'the dramatization of the actual materials' from the early documentary films.

• 정보교육학회논문지
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• 제14권4호
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• pp.561-570
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• 2010

최근에 UCC를 교육의 한 방법으로 활용하는 예를 자주 찾아볼 수 있으나 UCC를 교실에서 쉽게 적용할 수 있는 교수학습 모형은 찾아보기 어렵다. 본 논문은 UCC를 교실에서 적용할 수 있는 교수학습 모형을 제안하고 초등학교 아동 대상의 정보 통신 윤리 교육에 UCC 활용 극화학습 모형 적용이 아동의 자기주도적 학습능력을 향상시키는데 미치는 영향을 분석한다. 본 연구를 위하여 자기주도적 학습 능력 측정 사전검사를 하고 "사이버 범죄의 예방" 이라는 학습 내용으로 UCC 활용 수업 모형을 적용하여 수업을 실시한 후 자기주도적 학습 능력 측정 사후검사를 실시하여 자기주도적 학습 능력 신장 정도를 설문을 통해 측정한다. 그리고 그 결과를 분석해서 시사점을 추출한다.

• 한국언론정보학보
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• 제45권
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• pp.187-219
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• 2009

미디어를 통해 정책의제 설정과 정책홍보가 늘어나면서, 정치인과 정당은 미디어의 표현기법과 뉴스 생산조건에 맞춰 나가야 하는 압박을 받고 있다. 미디어의 생산조건에 맞추는 정치로 정치인들은 정책 설명을 통해 국민을 이해시키려 하기보다는 미디어를 통해 자신의 이미지를 알리기 위한 연출기법을 배우는 데 더 의존하게 된다. 정치인들의 연출기법 차용은 효과적인 정책홍보라는 원칙에 위반되지는 않지만, 정치가 미디어의 생산조건에 맞춰나가면서 점점 더 정책의제 설명보다는 이미지 연출에 의존하는 현상이 두드러지고 있다. 폴리테인먼트를 통한 정치연출은 유권자들에게 정치인 개인에 대한 평가는 물론, 정당의 정책수행 능력평가와 대의 민주주의의 정당성 확보에 이르기까지 광범위하게 영향을 미치고 있다. 또한 미디어 생산시간에 맞춘 폴리테인먼트의 강화는 숙의 민주주의의 합리적인 발전을 어렵게 만들며, 연출을 통한 가상정치의 확산이라는 불합리한 현상까지 발생시키고 있다. 이 연구에서는 미디어 생산시간이 정치과정에 미치는 영향을 알아보기 위해 지금까지 두 차례에 걸쳐 실시된 독일총선에서의 TV토론을 사례로 분석했다. 그 결과 미디어의 연출적 요소가 미디어를 통한 정치적 토론은 물론, 정치 커뮤니케이션 전 과정에 걸쳐 영향력을 행사하고 있음을 알 수 있었다.

• 비교문화연구
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• 제34권
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• pp.173-199
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• 2014

This study was attempted to suggest a new viewpoint to regulate foundation myth as Akijangsu legend narrative's antistructure. The problem is that Akijangsu legend has been regulated as reversed narrative of foundation myth in precedent research history. Following this viewpoint, it is impossible to explain context that Gangchaeyoon's Akijangsu narrative is collected in Sejong's sovereign myth. But Gangchaeyoon is changed as helper to found ideology order and his Akijangsu narrative is collected in sovereign myth's context. Therefore in this point it is necessary to sound out foundation possibility of new thesis the found myth is reversed narrative of Akijangsu legend. Choosing this standpoint, it is possible to regulate Sejong's sovereign myth as narrative dramatization of successful Akijangsu legend. At the same time it is possible to regulate Cheongkijun as Akijangsu that was situated in Sejong's sovereign myth as antagonist, competing and failing with Sejong to replace existing order by own ideological order. This study investigated that found myth is reversed narrative of Akijangsu legend.

• 한국초등수학교육학회지
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• 제14권3호
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• pp.827-842
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• 2010

이 논문에서는 초등학교 4학년 수학과 교육과정에서 제시하는 '무늬 만들기'의 교수학적 변환과 각색의 실제를 비판적으로 검토한다. 무늬 만들기에서의 그 무늬는 일반적으로 벽지무늬가 아니다 그것을 만드는 방식도 벽지무늬를 만드는 방식과 같지 않다. 벽지무늬 만들기가 아니라는 점에서 보면, 새로운 무늬 만들기의 맥락은 '투명 스티커 붙이기'라고 할 수 있다. 이 논문에서는 이 특정을 전제로 해서 단위조각의 모양, 새로운 무늬 만들기의 방법, 단위조각 이어 붙이기의 규칙에 관해 비판적으로 논의하고 있다 단위조각의 모양은 실질적으로 정사각형이 아니면 안된다. 주어진 단위조각을 사용하여 새로운 무늬를 만들 때, 만드는 방식의 규칙성만 제시할 수 있으면 실제로는 어떤 규칙이라도 무방하다. 주어진 단위조각으로 만드는 새로운 무늬와 벽지무늬 사이의 관계는 분명하지 않지만, 그 둘이 서로 무관하다고 보기 어렵다는 점에서, 무늬 만들기가 '잘못된 초등화(Freudenthal, 1973)'의 한 모습일 수도 있다.

• 비교문화연구
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• 제26권
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• pp.145-171
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• 2012

The background of historical Jing-Ju is a history, but the history Chinese wants to watch on the stage is the history dramatized by talented actors/actresses, not the history they want to learn. This thesis intends to examine traditional repertories whose background is historical people or accidents, among the lots of Jing-Ju repertories by each period, grasp periods, accidents, people, etc. preferred by Chinese and examine how they were dramatized. The general characteristics of historical Jing-Ju, grasped by each period, are as follows. The first, for the reason that there are lots of historical Jing-Ju in opera repertories, it can be mentioned by Chinese descriptive tradition and historical tradition. As lots of Chinese novels and drama works were written by history, basic models are suggested and clear development is shown, so there is an aspect which is advantageous for dramatization. Also, there are lots of works whose material is history for not only opera but also drama, TV drama because of the characteristics of China where historical books such as "史記", "戰國策", etc. The second, the period which is the background of historical Jing-Ju focuses on 漢 period, 三國 period, 隋唐 period, 宋 period and 明 period. It seems to be reflected by Chinese superiority to some degree if considering Jing-Ju was extremely popular during the 民國 period. The third, there are many characters who have patriotism loyalty among the historical Jing-Ju. It seems to be the result of discovering lots of materials for appealing patriotism in the situation they were dominated by Japan and the West during the 民國 period. The forth, the most single material is "三國志" among the historical Jing-Ju. This material has the factors of traditional idea, loyalty, fidelity, etc, but there are the most interesting characters and they were popularized by novels, etc. The fifth, in the historical Jing-Ju, the contents and character forms can be sometimes changed by character's skill because character's artistic achievement can play a great role for the completion of Jing-Ju.

• 한국연극학
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• 제40호
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• pp.401-450
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• 2010

This thesis purposes to suggest that creative stage directors have copyright ownership and we make them create high-quality of theatre direction. Stage directors are sincere creator of the theatre stage today. We have little judicial precedents about stage directors, no artistic examination related directing. Stage directors are performers who have neighboring rights, there is a problem that they won't have the exclusive right of making derivative works in this country. Others will make creation (such as cinemas, animations, novels) based on stage expression without permission, because stage directors don't have exclusive right of making derivative works. Copyright law can't protect the concept of stage directors and building blocks of them which are drama text, actors and theatre space, because copyright law don't protect idea according to idea/expression dichotomy. The expression of stage direction is belong to five fundamentals which are composition, picturization, movement, rhythm, pantomimic dramatization that are come from Dean & Carra's work. Directors' work is to make theatrical works based on literary works. Therefore, theatrical works are derivative works which based on drama texts. Also, theatrical works are able to be joint works. In the case of that stage directors write drama text and create expression on the stage, they have to own authorship of both works. Merger doctrine should not apply theatre directors' works strictly like any other functional works because stage directors usually create noble expression which have been not before. We need shift of the definition of theatrical works which are derivative works or joint works to protect theatre directors' creativity. Hereafter, the special legal section for dramatic(theatrical) works including the flexible legal definition for performing arts should be established, and 'contract form' for stage directors should be made. Acting edition(literary works) should be published to grant creative directors compensation. I emphasize to grant ownership of copyright to creative stage directors, to encourage directors' works. Therefore, copyright law will be the support for development of cultural arts institutionally.

• 공연문화연구
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• 제35호
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• pp.339-371
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• 2017

이 논문은 1929년 조선극장에서 개봉한 나운규의 영화 "벙어리 삼룡"을 고찰한 연구로, 현재 남아 있는 부분적인 장면과 관련 시나리오 그리고 원작 작품을 비교하여, "벙어리 삼룡"의 경과와 구조를 재구하고, 이를 고찰하려는 목적 하에 집필되었다. 영화 "벙어리 삼룡"은 나도향의 동명 소설 "벙어리 삼룡이"를 원작으로 삼고 있지만, 각색 과정에서 나운규의 의도가 짙게 반영된 작품이었다. 이러한 각색 의도를 살피는 연구는 현재로서는 남아 있는 장면을 재구하여, 관련 시나리오 혹은 원작과 비교하는 연구 방법에 의존할 수밖에 없다. 비록 이러한 연구 과정에서 명확한 결론을 추려내기 어려운 상황이 도출될지라도, 한국 영화사의 잃어버린 한 대목을 복원하려는 목적을 멈출 수 없다면, 이러한 연구 정황 자체를 용납하지 않을 수 없다. 본 연구는 지금까지 작품(필름)의 부재와 관련 자료의 부족으로 중단되었던 이러한 연구를 시행하기 위해서 고안되었다.