• 고전문학과교육
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• 제15호
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• pp.139-161
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• 2008

This study examined the texts of the Late Joseon Dynasty's YEONJEONG GASA, whose authors are unknown, to list the contents of education which can be provided by conventional elements. Most existing discussions on expression education have focused on creativity. However, the perspective creativity based on the concepts of modern individualism and difference believes that creation can be done only by special professionals with inborn abilities and is likely to jeopardize the possibility and need of expression education to reduce the scope of expression education. On the other hand, conventionality has been related to "cliche" and "old-fashioned" and considered the counterpoint of creativity with lacking originality and aesthetical or educational valuelessness. Nevertheless, conventionality is valuable as cultural custom in that it is closely related to the contemporary culture, thoughts, and language. Also, it is the power that creates new text and induces sympathy in receivers. The Late Joseon Dynasty's YEONJEONG GASA by unknown authors include typicality of circumstances, schematism of emotion, and formula in conventionality. The positive aspects of conventionality - familiarity and intimacy - are the basis of sympathy and become the power that encourages the public to participate in creation and enjoyment within the frame of creativity. Ultimately, conventionality of YEONJEONG GASA allows learners to experience the pleasure of expression and has an important meaning for expression education as it provides them with the opportunity to perform expressions to extend sympathy.

• 한국실내디자인학회논문집
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• 제26권4호
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• pp.12-21
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• 2017

This study is on the constructive ways of body perception applied to architecture space. This research also has a purpose of extending the range of possibility of body perception's application. Research on the phenomenological method applied to architecture space was mainly focused on sensation, which made limited awareness on the range of body perception. The scope of body perception includes not only sensation, but also perception, cognition, and human behavior. Therefore this study explicate how operant features of body perception works together. Operant features of body perception are perception as cognition, synesthesia, and Interaction with others. Herzog & de Meuron, Sejima, and R. Koolhaas's works are reviewed to verify these features of body perception.

• 한국연극학
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• 제40호
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• pp.307-344
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• 2010

Cultural Studies built on the critical mind of New Left exposes the relationship between culture and power, and investigates how this relationship develops the cultural convention. It has achieved the new perspective that could make us to think culture and art in terms of political correctness. However, the critical voices against the theoretical premises of Cultural Studies have been increased as its heyday in 1980s was nearly over. For instance, Terry Eagleton, a former Marxist literary critic, declared in 2003 that the golden age of cultural theory is long past. This essay, therefore, intends to show the weak foundations on which the approaches of cultural studies to theatre rest and to clarify the general problem of their introduction to theatre studies. The approach of cultural studies to theatre takes the form of 'top-down inquiry' as it applies a theory to a particular play or historical period. In other word, from the theory the writer moves to the particular case. The result is not an inquiry but rather a demonstration. This circularity can destroy the point of serious intellectual investigation as the theory dictates answers. The goal-oriented narrow viewpoint as a logical consequence of 'top-down inquiry' makes the researcher to favor the plays or the parts of a play that are proper to test a theory. As a result it loses the fair judgment on the artistic value of a play, and brings about the misinterpretation. The interpreter-oriented reading is the other defect of cultural studies as it disregards the inherent meaning of the text, distorting a play. The approach of cultural studies also consists of a conventionality as it arrives at a stereotyped interpretation by using certain conventions of reasoning and rhetoric. The cultural theories are fundamentally the 'outside theories' that seek to explain not theatre but the very broad features of society and politics. Consequently their application to theatre risks the destructive criticism, disregarding the inherent experience of theatre. Most of, if not all, cultural theories, furthermore, are proven to be lack of empirical basis. The alternative method to them is a 'cognitive science' that proves scientifically our mind being influenced by bodily experience. The application of cultural materialism to Shakespeare's is one of the cases that reveal the limits of cultural studies. Jonathan Dollimore and Water Cohen provide a kind of 'canonical study' in this application that is imitated by the succeeding researchers. As a result the interpretation of has been flooded with repetitive critical remarks, revealing the problem of 'top-down inquiry' and conventional reasoning. Cultural Studies is antipodal to theatre in some respect. It is interested chiefly in the social and political reality while theatre aims to create the fiction world. The theatre studies, therefore, may have to risk the danger of destroying its own base when it adopts cultural studies uncritically. The different stance between theatre and cultural theories also occurs from the opposition of humanism vs. antihumanism. We have to introduce cultural theories selectively and properly not to destroy the inherent experience and domain of theatre.

• 한국게임학회 논문지
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• 제18권1호
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• pp.135-148
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• 2018

본 연구는 Pym이 제시한 모방 이론(Copying Theory)이 게임을 번역하는 데에 효과적인 전략임을 제시하고자 한다. 게임에서 사용되는 언어는 대부분이 영어인데 이는 게임이 주로 미국을 중심으로 발전되어 왔기 때문이다. 사람들은 게임을 하며 효율적인 의사소통을 추구하며 때문에 그들은 번역된 단어들을 간단하게 축약시키거나 원어를 그대로 발음되는 대로 사용하며 이는 의사소통에 있어서 효과적인 전략으로 작동하고 있다. 이러한 양상을 통해 게임을 번역하는 데에 있어서 외래어를 그대로 사용하는 것이 번역가의 선택 가능한 효과적인 전략 중 하나임을 알 수 있다.

• 아동학회지
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• 제37권4호
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• pp.159-168
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• 2016

Objective: This study investigated the age at which monolingual children can understand that different languages are different conventional systems of communication. In particular, we investigated when children can suspend using the mutual exclusivity (ME) assumption that a label solely refers to one category when interpreting novel words from foreign languages. Methods: Two-year-olds (n = 16) and 3-year-olds (n = 16) participated in the procedure, which consisted of three blocks. In the first block, a Korean speaker taught the children a novel word, muppi, referring to a novel object. The children were presented with two objects, muppi and another novel object. The Korean speaker then asked the children to find a referent of either muppi or the other novel Korean label, kkati. In the second block, a foreign language (either English or Spanish) speaker asked children to find the object for a foreign novel word, sefo, presenting two objects: muppi and the third novel object, which had not been presented before. The procedure of the third block was identical to that of the first block. Results: Three-year-olds exploited the ME assumption when interpreting a Korean novel word but not when interpreting a foreign novel word. In contrast, 2-year-old children did not use the ME assumption when interpreting native and foreign words. Conclusion: Children acquire an understanding that native and foreign languages have different words for an object at least by 3 years of age.

• 한국콘텐츠학회논문지
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• 제9권11호
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• pp.175-183
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• 2009

본 연구는 학문적 연구 대상에서 소외돼온 텔레비전 드라마 작가에 관한 본격적 연구로, 한국 텔레비전 드라마 역사를 써 온 김수현 작가의 최근작 멜로드라마 <내 남자의 여자>를 연구 대상으로 삼아 김수현 작가의 차별성과 경향성을 분석하고 있다. 김수현 작가는 연구 대상 작품을 통해, 불륜이라는 선정적 소재를 '심리 추적과 이분법 파기'라는 장르 문법을 구사함으로써 사랑에 관한 '자기 성찰'의 메시지를 전달하는데 성공한다. 이는 한국 텔레비전 멜로드라마에 제기돼 온 상투성과 이분법, 비현실성, 감정 과잉의 텍스트 문제점을 극복하는 결과이다. 또한 김수현 작가는 서사와 인물화를 통해 기존의 가부장 중심 성 이데올로기를 전복하는 진보적 경향성을 보이는 것으로 분석됐다. 본 연구는 김수현 작가의 이 같은 장르 문법 차별성이 한국 텔레비전 멜로드라마에 끼칠 수 있는 영향에 관한 후속 연구를 제안한다. 또한 멜로드라마에서 보여준 진보적 경향성이 김수현 작가의 다른 장르 작품에도 투영되는지에 관한 후속 연구를 제안함으로써, 지속적인 드라마 작가 연구의 필요성을 강조하고 있다.

• 건축역사연구
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• 제7권4호
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• pp.113-130
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• 1998

This is a study on the ㄱ-shaped church in Korean Protestant churches. Since the Protestantism had been introduced into Korea, the style of ㄱ-shaped church was the popular style that have been fashioned in all the country of Korea. When the Protestantism was introduced into Korea, ideology which ruled over the Society of Chosun Dynasty was the Confucianism that emphasized the precepts, for example, the loyalty for the King, distinction between the sexes and so on. The Korean Protestants built the church which had ㄱ-shaped plan, so that they solved the second problem : 'distinction between the sexes'. The style of the ㄱ-shaped church is one of the characteristics which distinguish the Korean church from other nations'. Actually the ㄱ-shaped churches had been built by Korean Protestant denominations, from the early days of introducing the Protestantism till the end of 1920's. Even though most of the style of the ㄱ-shaped church is replaced with the modern style according to the extension of religious influence, luckily the ㄱ-shaped two churches : Kumsan Church(1908), Toodong Church(1929) are in existence in the Provice of ChonBuk. The purpose of this study is to make the architectural characteristics of the ㄱ-shaped church clear. This study is based on the actual survey of the ㄱ-shaped churches in existence: Kumsan Church, the Toodong Church and on the documents, photographs, interviews and so on for investigation not existing one now. The ㄱ-shaped church have the plan to separate men's side from women's with a right angle and have a pulpit which was placed at the meeting point of the front part of men's and women's sides. Generally, seen from the court, the churches have men's side in left and women's one in right. There was a screen blocking both sides in the church. But it disappeared in 1920's according to the change of the social conventionality. Most of its structural form is the Korean wooden style. The ㄱ-shaped church appeared in a transition period of the Korean church architecture.

• 한국실천공학교육학회논문지
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• 제2권1호
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• pp.95-105
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• 2010

산업사회의 발전은 우리를 풍요롭게 변화시키고 삶의 질을 높인 반면에 각종 재해로 인하여 근로자 본인은 물론 가족들의 고통을 안겨다 주었다고 볼 수 있다. 이 연구의 목적은 산업재해 예방을 위한 산업안전보건교육프로그램 중 회사 자체교육과 전문교육기관 위탁 관리감독자교육프로그램에 대한 실시 현황 조사와 산업안전보건관리 감독자 교육프로그램의 위탁교육과 자체교육이 산업안전보건법에서 정한 관리감독자 직무를 수행하는 대상의 연령, 업종, 교육이수횟수, 상시근로자수별로 통계적으로 유의한 차이가 있는지를 조사 분석하였다. 그 대상은 안양권역에 근무 하는 관리감독자를 대상자로 하였다. 연구 결과, 기업에서 실시하는 자체교육보다 전문교육기관에서 실시하는 위탁 교육이 더 관리감독자직무에 도움이 되었다는 결과이며, 이는 산업안전보건법의 계속된 개정에 전문교육기관에서 실시하는 위탁교육 이 좀 더 유연하게 대처해왔고 수요자의 요구조사에 더욱 충실하여 틀에 얽매이지 않고 교육 과정을 끊임없이 개발하고 연구해왔다고 해석될 수 있다.

• 대중서사연구
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• 제25권1호
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• pp.249-280
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• 2019

본 연구는 텔레비전 드라마 <백일의 낭군님>을 통해 퓨전사극의 관습이 무엇이며, 이를 바탕으로 장르 내부에서 개성적인 변주가 이루어지면서 대중성을 확보해가는 과정을 확인하고자 한다. <백일의 낭군님>은 퓨전사극의 관습을 심화하는 방식으로 오히려 관습성을 탈피하고자 하였다. 기존 드라마에서 반복된 갈등의 역사를 종합적으로 제시함으로써 시청자들이 쉽게 몰입할 수 있도록 하였고, 궁중 암투를 그리면서도 이와 분리된 공간을 설정하여 남녀의 로맨스를 충실하게 그려내었다. 두 개의 개별적인 수수께끼를 제시하여 내러티브를 풍부하게 만들었다. 또한 '비혼'과 기득권의 횡포라는 사회문제를 이야기하고, 시대상을 반영한 인물과 신조어와 줄임말을 활용한 대사 등 현대 문화의 조선적 해석을 시도하여 과거로 오늘을 보는 것이 아니라, 오늘의 시각으로 과거를 보는 시점을 취하여 새로움을 선사했다. 드라마 콘텐츠의 성공은 관습에서 벗어나는 것이 아니라, 이를 바탕으로 무엇을 변화시킬 수 있는가를 고민해야 하는 데 있다. <백일의 낭군님>은 퓨전사극의 현재와 가능성을 확인할 수 있는 드라마이다.