• 비교문화연구
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• 제37권
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• pp.267-286
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• 2014

The purpose of this study is to improve the writing skills through activities to read and summarize the internet children newspaper article. The subjects of study are the college students of A2-B1 level in the French writing classes. The range of study was as follows: - As the previous activity of writing, activities of teaching and learning of vocabularies to comprehend the internet children newspaper article. - learn about the rules of summary - writing the summary The children's newspaper used in this study has the advantage that can increase the learning motivation of learners as having a topicality by itself and a level of easy language. The summary activities can be called a comprehensive activities of teaching and learning that combine the critical reading ability that can distinguish important information and secondary one with the creative writing ablility that can reconstruct one's own style from the selected content. In addition, the summary assists the understanding of a text and is a help to its memory. It is the strategy of reading comprehension and also is simultaneously the strategy of writing that can write with one's own vocabulary by newly structuring the text. The results of this study will provide a vitality for the education environment and field of study of French language that have been neglected the writing ability. Moreover it will be the motivation to propose a way of a balanced French language communication to our French language learners weighted on oral communication.

• 영어영문학
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• 제64권2호
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• pp.203-217
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• 2018

Both in terms of frequency and importance, sympathy is one of the most central themes that Mary Shelley's Frankenstein (1818) delves into. While not a few critics have written on the subject, one crucially important aspect has been overlooked in the previous discussions of sympathy in Frankenstein: Shelley's critical intervention in the term's long lasting association with the notion of one body from a single origin. Focusing on the novel's central theme of sympathy, my paper addresses this oversight in the existing Frankenstein scholarship. I argue that Shelley's main agenda regarding sympathy in the novel is to problematize the logic of self-reproduction implicit in the notion of sympathy as an essentially familial tie. The reading of the novel as a warning against human violation of nature has been prevalent both in academia and popular culture. Nonetheless, in terms of sympathy, this paper offers an alternative reading in which the novel questions, not valorizes, the naturalization of nature. Far from valorizing the inviolable sacredness of nature, I argue, Frankenstein is a literary project attempting to disassociate sympathy from the natural bond that one is born into, and instead, re-associate it with fellowship as a second-nature to be continuously reinvented and reeducated.

• 영어영문학
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• 제56권6호
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• pp.1339-1360
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• 2010

An analogical reading of socio-historical context of Harold Pinter's The Caretaker employs some postcolonial discursive analyses of postimperial British capitalistic interests in their post war reconstruction. It is also concerned with causes of so-called broken society. The Caretaker dramatizes minimal actions: a tramp is invited by the elder brother; a job as caretaker is offered; he is reluctant to accept the first offer by the elder brother, but is willing to the second by the younger; eventually, he is excluded because he makes noises while dreaming. These trivial actions produce serious and critical speech acts with their socio-historical implications. The tramp Davies is socially and thereby existentially excluded from the centre of the cold, banished to even colder peripheries. The audience face to the question. Why is Davies excluded? This study tries to answer the question, uncovering deep-rooted capitalistic racism, and reading its symptoms. Even after 50 years The Caretaker was staged, post-imperial broken society tries to operate the betrayals of disparity between the cause and effect of what has gone wrong. Pinter confirms that the action of the play takes place in a house in west London. With the city of London as its capitalistic centre, British imperialism lavished much of its wealth which has only served sectional interests dividing people against themselves. Pinter dramatizes the root of broken society. On the one hand, Pinter foregrounds the very general conflicts between individuals and forms of power; on the other hand, he underlies the very specific strategies of socio-historical exploitation, domination and exclusion.

• 수완나부미
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• 제9권1호
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• pp.109-132
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• 2017

This article is about the emergence of Islamic modernism among Cham Muslim communities in Cambodia and Cochinchina during the early 20th century. Based on a combined critical reading of existing scholarship, historicized first-hand anthropological accounts, as well as archival sources from the National Archives of Cambodia and the Vietnam National Archives II, it argues accounts of modernists in these sources were either (1) cast through a French colonial reading of a Buddhist state lens and (2) cast through a Malay lens, based upon the Kaum Muda/Kaum Tua divide. First, it proceeds with a historical explanation of the emergence of Islam and the discourse used to describe Muslim communities in Vietnamese, French, and Cham language sources. Then, it turns the narrative toward an examination of the emergence of the "Kaum Muda" or "New Group" of reformist-minded modernist Muslims in early 20th century Cambodia. Delineating the networks of these intellectuals as they stretched across the border through Cochinchina, also highlights a pre-existing transnational element to the community, one that well predates current discussions of twenty-first-century transnationalism. Through a combination of the study of multiple language sources and historical methods, the article highlights the importance of polylingualism in the study of the history of Muslims in Southeast Asia.

• 영어영문학
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• 제57권1호
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• pp.27-49
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• 2011

This article proposes to stay away from contemporary critical arguments concerning Michael's value system, which is construed mainly from his choice between his patrimonial lands and his son Luke. Presuming that Michael's value system as have been argued so far could never be the poet Wordsworth's own concern at the time of the composition of the poem "Michael," this article proposes to get back to the all too real socio-historical situation of the early nineteenth-century England. Mere consideration of the socio-historical situation, when combined with a close reading of the poetic text (a close reading of both the poetic story and the poetic history from which the story may be said to have been constructed), directs us to the poet working on the simple paradigm of 'the country and the city at war with each other' but the victory having been given to the city already. The guarantee contract for a supposedly prospering nephew's debt and the letter from another prospering relative in London are undoubtedly the key elements that lead us to the war paradigm. Michael's family members, each and all including Michael himself, and all of their village people, have been imbued with the city's commercial values, which renders them all the more easier victims within the war context. Luke's defeat in the city is viewed as being really the consequence, rather than the cause, of Michael's defeat, which became apparent as soon as the news of the latter's financial disaster reached his ear. Michael should therefore be regarded as one of the typical English countryfolk of the time, with whom Wordsworth often, but not always, identifies himself. Insofar as the economic view or attitude is concerned, there certainly is a distance between Michael and Wordsworth, this article argues.

• 한국간호교육학회지
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• 제22권3호
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• pp.274-282
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• 2016

Purpose: This study is aimed at identifying factors influencing attitudes of Evidence-Based Practice among nursing students. Methods: 202 nursing students were recruited from B city and G district. The questionnaires included critical thinking dispositions, information retrieval skills, knowledge and attitudes of Evidence-Based Practice, and characteristics. Data were analyzed by SPSS/Win 21.0 using descriptive statistics, t-test, ANOVA, Pearson correlation, and stepwise multiple regressions. Results: The average score of undergraduate nursing students for Evidence-Based Practice attitudes was $32.92{\pm}4.57$. Evidence-Based Practice attitudes had positive correlation with critical thinking disposition (r=.53, p<.001), information retrieval skills (r=.45, p<.001) and Evidence-Based Practice knowledge (r=.42, p<.001). Factors influencing Evidence-Based Practice attitudes were critical thinking dispositions (${\beta}=.45$) and Evidence-Based Practice knowledge (${\beta}=.30$). Total variance was explained about 35.3% (F=55.80, p<.001). Conclusion: These results show that teaching strategies that enhance critical thinking dispositions are recommended to improve Evidence-Based Practice attitudes among nursing students. Also, nursing education should include a regular Evidence-Based Practice curriculum to improve Evidence-Based Practice knowledge as is necessary for students to improve information retrieval skill. Reading nursing articles can help nursing students comprehend the up-to-data evidence of clinical practice.

• 영재교육연구
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• 제13권3호
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• pp.87-120
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• 2003

영재교육은 개인이 가진 능력을 최대한 계발하여 자아를 실현하고, 국가 사회가 필요로 하는 인재 육성의 육성이라는 점에서 그 중요성이 강조되어 왔다. 영재교육이 활성화되기 위해서는 제도적인 측면과 함께 그들의 능력수준과 학습욕구에 적합한 영재교육 프로그램이 개발되어야 한다. 이 연구에 참여한 언어 영재 학생은 총 60명인데, 이 중에서 예비 연구에 참여한 30명은 연구자가 개발한 심화학습 프로그램과 언어 문제해결력 검사의 양호도를 평가하기 위한 대상이었고, 실험집단 30명은 10명씩 세 집단으로 나누어 각 집단에 한국교육 개발원 교재, 연구자가 개발한 심화학습 프로그램, 국어 교과서 심화학습 프로그램에 배정하여 프로그램간의 유의도를 비교 검증하였다. 결과를 종합하면, 언어 영재학생에게 연구자가 개발한 체계화된 개별화 심화학습 프로그램을 제공하면 언어 창의적 문제해결력이 향상됨을 알 수 있었다. 한국교육개발원 언어 영재 교재나 국어 교과서 심화학습도 언어 영재에게 읽기 능력을 향상시키는 데 약간의 효과는 있지만, 언어 이해 능력과 언어 표현 능력을 효율적으로 발달시키는 데는 효과가 없는 것으로 나타났다. 한국교육개발원 언어 영재교재나 국어 교과서 심화학습 내용처럼 듣기, 말하기, 읽기와 쓰기를 따로 분리해서 지도하는 것보다 일상생활처럼 듣기, 말하기, 읽기, 쓰기를 종합해서 함께 지도하는 것이 언어적으로 재능있는 영재에게는 더 효과적이라고 나타났다. 또한 지역이나 학교 급별에 따라 언어 영재성의 개념이 달라질 수 있으므로, 그에 알맞은 언어 영재 심화학습 프로그램을 지속적으로 개발할 필요가 있는 것으로 나타났다.

• 한국가정과교육학회지
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• 제33권2호
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• pp.57-80
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• 2021

본 연구는 시민성 교육의 일환으로서 비판적 리터러시 역량을 향상시킬 수 있는 주생활 교육과정을 개발하는 것을 목적으로 한다. 이를 위해 비판적 리터러시 관점에서 현행 2015 개정 가정과 교육과정 주생활 영역의 내용 체계와 성취기준 및 교과서를 분석하였고, Laster(1986)의 비판과학 관점의 교육과정 개발 과정을 적용, 미국 위스콘신 주의 식생활 교사용 지도서 "A Teacher's guide : Family, Food and Society"(Staaland & Storm, 1996)을 참고하여 주생활 교수·학습지도안을 개발하였다. 본 연구의 결과를 요약하면 다음과 같다. 첫째, 교과 목표 및 주생활 영역 성취기준, 학습요소, 평가방법에서는 비판적 리터러시 내용이 포함될 수 있는 실천적 문제해결 교육과정으로 구성되어 있으나, 교수학습방법에서는 실천적 추론과 비판적 사고 기술이 포함되어 있지 않았다. 또한, 3개의 교과서 주생활 영역의 텍스트를 분석한 결과, 대부분 현재 문화에 적응, 대처하는 내용으로 기술되었고 비판적 해석과 사회행동에까지 이를 수 있는 문제 제기나 사회적 이슈가 거의 없었다. 둘째, 현행 교육과정과 교과서를 분석한 결과를 바탕으로 주생활 교육과정을 개발한 결과, 주생활의 지속적인 관심사, 가치를 둔 목표, 학습내용선정 및 조직, 그리고 총 7개 모듈로 된 13차시 교수·학습지도안과 읽기 자료, 학습지, 영상자료 등 총 학습자료 26개를 개발하였다. 본 연구결과를 토대로, 차기교육과정과 교과서에서 비판적 리터러시를 활용할 수 있는 주생활 관련 사회적 이슈와 다양한 계층의 주생활 모습을 다루어야 하며, 학생들이 실천적 추론과 비판적 사고 등의 모범이 되는 교사를 지원하는 교사공동체 및 연수가 운영되어야 할 것이다.

• Asia pacific journal of information systems
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• 제22권4호
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• pp.31-49
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• 2012

In this essay, we problematize the problematics of the KMIS SOLOMO research agenda. We propose that the SOLOMO agenda is a conditioned product of the various assumptions, biases, premises, and presuppositions that the field of IS collectively succumbs to and shares, and thus needs to be problematized to arrive at a new set of research questions for the field. The problematization begins with the ontology that underlies the agenda. We argue that the agenda is largely drawn from a dichotomic, deep ontology of Human vs. Technology. While such ontology is neither right nor wrong in its own right, we suggest it is what underlies and influences the field's whole mode of inquiry including its research agenda. We propose an alternative ontology, the Actor-Network Theory (ANT), which as a flat ontology provides a radically different set of research questions for the field. Next we take issue with the teleology of the SOLOMO agenda, and suggest that the telos of the agenda, and of the field of IS and the whole of Management discipline together, are anchored upon the capitalist episteme so that it creates a significant hole in its teleological scape. While not in any sense calling for an ideological demagogue, we propose that the field of IS should open itself to an alternative teleology including a leftist perspective. We draw upon the Critical Management Studies (CMS) to explore how further problematization can be made on the SOLOMO agenda, generating questions about its performativity, denaturalization, and reflexivity. As a result of the discussions, a list of new problematized research questions for the SOLOMO agenda is generated. In the end we state the motivation of the essay and call for a critical refurbishing of the field of IS.

• 미술이론과 현장
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• 제2호
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.