• 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.

• 영어영문학
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• 제55권3호
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• pp.383-398
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• 2009

Based on the Greek myth of Pygmalion and the fairy tale of Cinderella, Shaw's Pygmalion demonstrates a masterful coalescence of these two narrative motifs into a coherent plot scheme. Even more significant is his keen insight into the conflicts created at the tripartite intersection of human activity concerning language/class/culture, which, as the leitmotif, revolves around lessons in language learning. This play basically deals with human transformation and by its very nature, Higgins's experimentation with transforming Eliza cannot stop at language alone. Her cultural transformation ripples over into the realms of gesture and even a unique way of living (modus vivendi) intimately associated with taste and manners, which Bourdieu terms as habitus. By acquiring a new fashion and language, Eliza is reborn as a new lady aspiring to be filled with a newly acquired habitus. While separating her from her old Cockney style, Higgins inculcates Queen's English in Eliza, in which process her changed speech styles gradually transforms and restructures her deportment and manners, finally generating new practices, perceptions and attitudes. The gist of Pygmalion is however less Eliza's ascent into the middle class than her battle for symbolic capital waged at the level of language. By problematizing his contemporary practice of habitus conventionalized and warped by class distinctions based on economic, social and cultural capitals, Shaw creates a new humanist model of man founded on spiritual and rational virtues. In conclusion, Eliza is not a frigid Galatea but a dynamic character that goes through a brilliant transformation of three stages: 1) linguistic; 2) cultural, and 3) humanist. Finally she is built into a "consort battleship" on an equal standing with her sculptor. The process of her character-building cannot be illuminated without resorting to the dynamic notion of habitus, which highlights the process of inculcation, structuring, generation and transposing. Given the overwhelming weight of the heroine's role and the dynamic process of her transformation as the major plot scheme, this play should be christened Galatea in lieu of Pygmalion.