• 제목/요약/키워드: Subject matter education

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청공축제의 청소년 관객 공감 양상 연구 - '제3회 청소년을 위한 공연예술축제'를 중심으로 (A Study on the Empathy of the Teenage Audience at the Cheong Kong Festival - Focusing on the 3rd Performing Arts Festival for Youth -)

  • 오판진
    • 공연문화연구
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    • 제39호
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    • pp.609-635
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    • 2019
  • 이 글은 제3회 청공축제 경연에 참여한 공식참가작 5편을 분석하여 청소년 관객의 공감 양상을 분석하였다. 이런 분석에 사용한 준거는 공식참가작의 '등장인물과 연기' 그리고 '배경과 주제'였다. 첫째 등장인물은 대체로 청소년인 학생과 학교 밖 청소년이 주인공이었지만, 이와 달리 청소년과 성인의 관계에 초점을 두거나 청년에 주목한 공연도 있었는데, 청소년 관객들은 청소년이 주인공인 공연을 더 좋아했다. 그리고 연기는 신파극보다는 정극을, 정극보다는 뮤지컬을 더 선호했다. 또한 공연에서 다룬 사건의 배경은 청소년 관객과 가까우면 가까울수록 청소년 관객이 공연에 공감하는 정도가 높았고, 주제 또한 청소년들의 관심사와 가까우면 가까울수록 긍정적인 평가를 받았다. 합평회에서 발표된 청소년 평가단의 의견을 종합해 보면, 첫째 관객 참여형 신파극장, '미스터리 엑스'에 관해서는 청소년의 범위를 20대 청년으로 확장하고, 부정적이며 무거운 현실을 재미있고 유익하게 보여준 공연으로 평가했다. 둘째 공감도 높은 반편견 청소년극, '거북이'에 관해서는 나와 다른 청소년의 모습에 대한 편견을 '가방'이라는 상징을 통해 설득력 있게 형상화하였다고 평가했다. 셋째 70년대 시간여행 복고풍의 청소년극, '콩나물 버스'에 관해서는 잘 만들어진 복고주의 청소년극이라고 평가했다. 넷째 관계의 미학을 절제와 상징으로 보여준, '개기월식'에 관해서는 천체들의 관계처럼 인간관계도 서로 비춰주고, 바라보는 것이란 메시지를 잔잔하게 보여 준 화면 구성이 뛰어난 청소년극이라고 평가했다. 다섯째 뮤지컬로 재탄생한, 'B사감과 러브레터'에 관해서는 100년 전 발표된 현진건의 소설을 뮤지컬로 적절하게 각색하였다고 평가했다. 마지막으로 합평회에서 나온 청소년 평가단이 바라는 공연의 특징은 크게 '공감성'과 '교육성'이 높은 공연이었다. 즉, 단순한 볼거리보다는 청소년의 정서와 생각에 공감할 수 있는 공연을 선호했고, 다른 한편 공감을 넘어서서 자기 세계를 벗어나 세상을 넓게 바라볼 수 있는 공연, 편견을 깨는 청소년극을 보고 싶어 했다. 이 연구에서 분석한 청소년극에 관한 청소년 관객의 평가를 참고하여 청소년극을 만든다면 관객들이 더 많이 공감하는 공연을 만들 수 있을 것으로 보인다.

아산시(牙山市) 탕정면(湯井面) 일대(一帶) 최종빙기(最終氷期) 최성기(最盛期) 이후(以後) 구사면(丘斜面)의 삭박과정(削剝過程) (The Process of Hillslope Denudation Since the Last Glacial Maximum Near Tangjeong-myeon, Asan-si, Central Korea)

  • 박지훈;장동호
    • 한국지형학회지
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    • 제15권2호
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    • pp.67-83
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    • 2008
  • 아산 지역에 있어서 최종빙기 최성기 이후 구릉사면의 삭박과정을 밝히기 위하여 매곡천 하류부에 위치한 '아골'의 곡저에서 트렌치 작업을 행하여 채취한 분석시료를 대상으로 층상해석과 탄소연대 측정을 실시하였다. 그 결과는 다음과 같다. 조사지역의 트렌치 MG1, MG2, MG3 지점에서 무기물층과 유기물층은 각각 11매와 8매, 7매와 3매, 5매와 3매가 확인되었다. MG1 지점에서 배후 구릉사면의 불안정한 환경하에 발생했던 사면삭박 즉, 사면물질이동은 총 11회 (약 2,900yrBP 이전에 8회, 약 2,900~1,900yrBP 사이에 2회, 약 1,900yrBP 이후에 1회)이다. 그리고 상대적으로 배후 구릉사면의 안정된 환경하에서 형성된 저습지의 횟수는 최소 총 9회(약 3,000yrBP이전에 5회, 약 3,000~2,800yrBP 사이에 2회, 약 2,200~1,900yrBP 사이에 1회)이다. MG2 지점에서 배후 구릉사면의 삭박은 총 7회(약 1,900yrBP이전에 4회, 약 1,900yrBP 이후에 3회)이고, 저습지의 형성은 총 3회(약 1,900yrBP이전에 2회, 약 1,900yrBP 이후에 1회)이다. MG3 지점에서 배후 구릉사면의 삭박 횟수는 총 5회(약 1,900yrBP이전 3회, 약 1,900yrBP 이후에 2회)이고, 저습지의 형성은 총 3회(약 1,900yrBP 이전에 2회, 약 1,900yrBP 이후에 1회)이다. 따라서 아골 곡저를 둘러싼 구릉사면은 1회가 아닌 수 회의 삭박에 의해 형성되었으며, 다양한 유형의 무기물질이 토사류 또는 토석류와 같은 사면물질이동에 의해 조사지역의 곡저에 매적된 것으로 밝혀졌다. 그리고 구릉사면의 삭박주기는 약 $10^2{\sim}10^3$년 시간규모에 수렴되는 것도 알 수 있었다. 이 결과는 아산 주변에 분포하는 구릉사면의 삭박과정 및 제4기 후기의 기후변화 복원에 중요한 기초자료가 될 것이다.

특용자원식물(特用資源植物)의 연구(硏究) - 한국임학회지에 게재된 논문을 중심으로 - (A Study on Researches of Resource-plants for Special Use or Purpose - Based on the Articles Published in the Journal of Korean Forestry -)

  • 이재선;김철우;배찬호;송재모;강효진;황석인;문흥규
    • Journal of Forest and Environmental Science
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    • 제19권1호
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    • pp.85-98
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    • 2003
  • 한국임학회지 (1962년의 1호~2002년의 91권 6호)에 게재된 특용자원식물 관련 논문에서 식 음용식물, 약용식물, 사료식물, 조경식물, 섬유식물, 산업용식물 및 밀원식물로 분류하고 그 내용에 따라 입지환경, 생태, 생리, 번식, 조림(또는 무육, 재배), 유전 육종, 분류(또는 식별), 병 충해와 방제, 동물피해와 방제, 성분분석, 식생정보, 생물공학, 경영 경제 빛 총설로 나누었다. 총 1,434편의 발표 논문 중 유용식물자원을 대상으로 한 논문은 27.6%를 차지하는 396편이었고, 내용은 식생정보 60편(15.2%), 생리 56편(14.1%), 유전 육종 56편(14.1%), 번식 53편(13.4%) 및 생태 37편(9.3%)이었다. 조림(무육 재배)은 11편(2.8%) 으로 특용자원식물의 규모경영이 이루어지지 않고 있음을 시사하고 있으며, 이것은 경영 경제 분야가 6편(1.5%)인 것과 맥을 같이 하고 있었다. 연구대상 식물은 잣나무(42편), 아까시나무(23편), 밤나무(14편) 및 은행나무(14편) 순으로 높았고, 이 식물들과 관련한 연구내용은 번식, 생리, 유전 육종, 생태 및 병 충해 순이었다. 연구의 목적, 내용, 결과 및 대상식물 등을 고려하여 보면, 1) 초본식물에 대한 보다 많은 연구, 2) 타산업 또는 학분 분야와의 공동연구, 3) 자원 보전적 연구 및 4) 연구주체자 간의 연구결과의 공유 등이 매우 요망된다.

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1980년대 민중미술론의 기원과 형성 (The Origin and Formation of Korean Public Art Theories in the 1980s)

  • 최열
    • 미술이론과 현장
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    • 제7호
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    • pp.37-64
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    • 2009
  • The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

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중재합의와 중재판정에 관한 소고 -건설분쟁을 중심으로- (Brief Observation on Arbitration Agreement and Arbitral Award - Focusing on Construction Disputes -)

  • 조대연
    • 한국중재학회지:중재연구
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    • 제14권1호
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    • pp.273-314
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    • 2004
  • There is a belief in the construction industry that the traditional court system may not be an ideal forum to effectively and efficiently resolve construction disputes due to the protracted proceedings and the three tier appeal system resulting in a long delay in the final and conclusive settlement of the dispute, relatively high costs involved, the lack of requisite knowledge and experience in the relevant industry, etc. Hence, they assert that certain alternative dispute resolution ('ADR') methods, such as mediation, conciliation, arbitration or a new system for dispute settlement in the form of any combination thereof should be developed and employed for construction disputes so as to resolve them more promptly and efficiently to the satisfaction of all the disputants concerned. This paper discusses certain merits of such assertions and the need for additional considerations for effective resolution of the construction disputes in light of the complexity of the case, importance of expert witnesses, parties' relationship and non-level playing field of the construction industry and so on. At the same time, however, given the inherent nature of disputes rendering the parties involved in an adversarial position, it would rather be difficult, if not practically impossible, to satisfy all the parties concerned in the dispute. Accordingly, in this study, it is also purported to address the demerits of such assertions by studying the situation from a more balanced perspective, in particular, in relation to the operation of such ADRs. In fact, most of such ADRs as stipulated by special acts, such as the Construction Industry Basic Act of Korea, in the form of mediation or conciliation, have failed to get support from the industry, and as a result, such ADRs are seldom used in practice. Tn contrast, the court system has been greatly improved by implementing a new concentrated review system and establishing several tribunals designed to specialize in the review and resolution of specific types of disputes, including the construction disputes. These improvements of the court system have been warmly received by the industry. Arbitration is another forum for settlement of construction disputes, which has grown and is expected to grow as the most effective ADR with the support from the construction industry. In this regard, the Korean Commercial Arbitration Board ('KCAB') has established a set of internal rules end procedures in operation to efficiently handle construction disputes. Considering the foregoing, this paper addresses the most important elements of the arbitration, i.e., arbitration agreement and arbitral award, primarily focusing on the domestic arbitrations before the KCAB. However, since this parer is prepared for presentation at the construction disputes seminar for the public audience, it is not intended for academic purposes, nor does it delve into any specific acadcmic issues. Likewise, although this paper addresses certain controversial issues by way of introduction, it mainly purports to facilitate the understanding of the general public, including the prospective arbitrators on the KCAB roster without the relevant legal education and background, concerning the importance of the integrity of the arbitration agreement and the arbitral award. In sum, what is purported in this study is simply to note that there are still many outstanding issues with mediation, conciliation and arbitration, as a matter of system, institutional operation or otherwise, for further study and consideration so as to enhance them as effective means for settlement of construction disputes, in replacement of or in conjunction with the court proceeding. For this purpose, it is essential for all the relevant parties, including lawyers, engineers, owners, contractors and social activists aiming to protect consumers' and subcontractors' interests, to conduct joint efforts to study the complicated nature of construction works and to develop effective means for examination and handling of the disputes of a technical nature, including the accumulation of the relevant industrial data. Based on the foregoing, the parties may be in a better position to select the appropriate dispute resolution mechanism, a court proceeding or in its stead, an effective ADR, considering the relevant factors of the subject construction works or the contract structure, such as the bargaining position of the parties, their financial status, confidentiality requirements, technical or commercial complexity of the case at hand, urgency for settlements, etc.

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