• 한국콘텐츠학회논문지
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• 제14권5호
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• pp.480-486
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• 2014

본 연구는 영자 신문 발간 활동이 영어 의사소통 능력 향상에 미치는 긍정적인 영향을 확인하며 프로젝트 기반의 출판 과정을 통한 독립적이면서도 협동적인 학습 환경의 구현가능성을 탐색한다. 한국과학영재학교의 첫 번째 영자 신문 발간 기획은 프로젝트 기반의 교수학습 방법을 적용한 일련의 단계를 거쳐서 완성되었다. 영어 능력과 참여도에 따른 학생 편집자 선발 과정을 시작으로 분야와 주제 및 제재를 선택하고 역할과 기사를 배분하며 결과물을 통합 편집하는 과정을 거친다. 전 과정에 걸쳐 참여자들은 최소한의 지도 감독 아래서 독립적이면서도 협력적으로 활동에 참여하였다. 사후 설문조사에 따르면 성공적인 영자신문의 발간이 전반적 영어 능력을 향상 시켰을 뿐만 아니라 긍정적인 학습자 자아인식과 주도적인 학습 태도를 키웠다고 나타났다. 본 연구는 언어 교육 뿐 아니라 통합적인 프로젝트 기반 교수 학습에 있어 신문 잡지 등의 출판 활동이 주는 장점을 논하는 한편, 향후 프로젝트 교수 학습 방법과 영어 의사소통능력 향상과 관련된 보다 심화된 연구가능성을 제시한다.

• 미술이론과 현장
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• 제14호
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• pp.33-51
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• 2012

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner's painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner's painting depicted the actual sinking in 1805 of the East India Company's ship 'The Earl of Abergavenny' off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner's painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner's painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner's Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner's painting was inspired by the re-publication in 1804 of William Falconer's enormously successful epic poem of the same title. Thus, in the final analysis, Turner's painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.