• Journal of Families and Better Life
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• v.17 no.1
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• pp.139-154
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• 1999

The purpose of this study was to examine the effects of dramatic play on the hyperactive-children's self concept and their hyperactivities. The subjects for this study were 144 five-year old children of Y kindergarten in Seoul. Through the Teacher-Questionary modified by Koung-ja OH(1986) 26 children were assigned to the experimental group and the control group 13 hyperactivity-children (boy:11 girl:2) in the experimental group had dramatic play of which the main themes were positive self concept formation. but the 13 children(boy:11 girl: 2) in the control group did not any dramatic activities. Experimental procedures for the self concept test and the hyperactivity test were pre-test experimental treatment and 2 times post-test by 2 months. Self concept test used for pre-test and post-test was The data was analysed using t-test and paired t-test. The result are as follows: 1. In the pre-test for self concept the scores of the control group showed higher than that of the expe imental group. But there were significantly increased difference between pre-test and the first post0-test in the experimental group. 2. In the second post-test for self concept of the experimental group after 2 months there were no significant differences between the first post-test and the second post-test. 3. In the hyperactivity test there were no significant differences in the control group,. But the experimental group showed decreased hyperactivities in the first post-test. 4. In the second post-test for the hyperactive-children's hyperactivities in the experimental group after 2 months there were no significant differences between the first post-test and the second post-test The dramatic play influenced on the hyperactive-children's self concept positively and the decrease of hyperactive-children's hyperacivities.

• Korean Journal of Child Studies
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• v.18 no.2
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• pp.229-240
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• 1997

This study analyzed the effects of teacher's scaffolding on children's verbal communication in dramatic play. Twenty-four five-year-old kindergarten children participated. The collected data were analyzed with the repeated measures analysis of variance and two-sample t-tests. The results showed that: the frequency of verbal communication strategies and children's episode length increased in the experimental group where the teacher intervened with the scaffolding. Children in the experimental group showed more positive response in the categories of minimal acceptances and enlarged acceptances. No gender differences were found.

• Korean Journal of Child Studies
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• v.24 no.2
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• pp.51-62
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• 2003

This study investigated differences in play types of preschool children with disabilities both in mainstreamed and segregated classrooms. The play behaviors of 50 preschool children with disabilities were observed and videotaped during free play time. Differences were found in children's dramatic and group play. Conclusions were that mainstreamed preschool program emphasizing a play-based curriculum could be an effective model for children with disabilities by providing for a variety of play types. Implications for mainstreaming education and for teacher education were discussed.

• Journal of The Korean Association of Information Education
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• v.17 no.4
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• pp.421-432
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• 2013

The purpose of this study is to develop contents and an instructional model that support children's dramatic play by integrating the robot and augmented reality technology. In order to support the dramatic play, the robot shows various facial expressions and actions, serves as a narrator and a sound manager, supports the simultaneous interaction by using the camera and recognizing the markers and children's motions, records children's activities as a photo and a video that can be used for further activities. The robot also uses a projector to allow children to directly interact with the video object. On the other hand, augmented reality offers a variety of character changes and props, and allows various effects of background and foreground. Also it allows natural interaction between the contents and children through the real-type interface, and provides the opportunities for the interaction between actors and audiences. Along with these, augmented reality provides an experience-based learning environment that induces a sensory immersion by allowing children to manipulate or choose the learning situation and experience the results. In addition, the instructional model supporting dramatic play consists of 4 stages(i.e., teachers' preparation, introducing and understanding a story, action plan and play, evaluation and wrapping up). At each stage, detailed activities to decide or proceed are suggested.

• Korean Journal of Childcare and Education
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• v.7 no.3
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• pp.211-238
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• 2011

This study examined the effects of drama play activities on child's initiativeness. The participants were 34 five-year-old children in two classes of a child care center. Before the experiment, the initiativeness test was conducted on the children of the experiment and control groups. initiativeness was categorized into emotional ability, communication skills, and achievement motivation. Drama play activities were directed to the children of the experiment group while the existing program was applied to the control group. After the experiment, both the experiment and control groups took the post-test. Analysis of data was performed by ANCOVA. According to the result of the research, children of the experiment group participated in drama play activities showed more effects in all sub area of initiative including emotional ability, communication skills, and achievement motivation than children of the control group. This result implied that dramatic play activities are effective teaching-learning method for enhancing child's initiativeness.

• Journal of English Language & Literature
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• v.56 no.3
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• pp.519-541
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• 2010

A number of recent Victorian studies have participated in a renewed focus on form. E. Warwick Slinn and Monique R. Morgan, for instance, have contributed to enhancing our understanding of the Victorian dramatic monologue. This paper aims to expand what they have addressed by revisiting the mechanics of the dramatic form as a form, in particular addressing two types of dramatic monologue represented with supreme adroitness by Robert Browning and Alfred, Lord Tennyson, both of whom successfully attempted to widen our epistemology through a large act of the poetic imagination and great intellectual power. To this end, this paper lays particular attention to the role of the reader who is regarded as a key element of the dramatic aspect of the genre. In the dramatic monologue proper, real readers are actively brought into dialogic relation with the speaker or the poet, or both, whereby it seeks to represent an act of play among the poet, the speaker, and the reader. What the genre achieves in this fashion is twofold. For one thing, it pushes itself sufficiently to the very centre of the complex of apparently various narrative motives that animate the genre; for another, it honours the world of multiple viewpoints more than any other previous form of literature, all the more so as readers' views vary across their own time, space, and socio-cultural contexts. Incidentally, in one way and another, the dramatic monologue is of kinship with a Jamesian type of fiction, which is noted for its exterior impersonality. So this paper concludes by suggesting some theoretical implications that the dramatic genre assumes for, not only the naturalist novel, but also the (post-)modernist one.

• Korean Journal of Child Studies
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• v.20 no.4
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• pp.247-263
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• 1999

Literacy-related communication and information types naturally occurring in the dramatic play area were observed during free play over a 4 week period. Participants were 21 boys and 16 girls enrolled in a kindergarten class in Taegu. Types of literacy-related communication frequently used during social pretend play were Description, Suggestion, Question, and Answer. Negative types of literacy-related communication, such as Threat, Protest, and Warning were rare. Types of frequently occurring literacy information were about letters & words, and literacy functions. These findings were discussed with respect to curricular implications for the classroom.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.567-596
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• 2009

A staple of feminist literary anthologies which was instrumental in reevaluating the writer Susan Glaspell, Trifles(1916) has received numerous comments from feminist scholars so far. Most of them tend to concentrate on the themes of female solidarity and justice challenging the androcentric system of law and order. Lacking in the plethora of thematic approaches to the play's feminist subject, however, are formal analyses considering the way in which the play's generic form assists in communicating such thematic concerns of feminism. An alternative to the typical scenario at the courtroom whose mistreatment of women must have loomed large to the young Glaspell as she revisited the old trial of a midwestern murderess which she had covered as a journalist for a local newspaper in Iowa, Trifles serves as a corrective to the courtroom dynamics offering a 'dramatic justice' as opposed to a strictly legal procedure. What this article discovers at the heart of this dramatic justice is the celebration of the unsayable, or what Wolfgang Iser termed negativity, of women's experience which has no room for reflection in the legal discourse at the courtroom tyrannized by the sayable and the evident. Examining how the dramatic form of Trifles gives a voice to the unsayable of woman's experience, which can not be properly represented at the courtroom governed by the straightforward and definitive male rhetoric, the article argues that the play is a better form than its fictional adaptation "A Jury of Her Peers"(1917) in that it syntactically suppresses the monopolizing operation of the verbal by giving precedence to the scenic and non-verbal which is constituted of setting, props, gesture and eye contacts. As a theoretical frame of reference with which to examine the modes of the unsayable in the play the article brings the concept of 'negativity,' defined by Iser as textual effects or modes of the unspeakable and unsaid, into the discussion of the taciturnity of the absent heroine and the non-verbal representation of drama.

• Korean Journal of Child Studies
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• v.17 no.1
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• pp.153-171
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• 1996

The purpose of this study was to examine children's social-cognitive modes of play in same-age and mixed-age kindergarten classrooms. The subjects were 45 children. in three classrooms of 4-year-olds, 69 children in three classrooms of 5-year-olds, and 60 children in three mixed-age classrooms of 4- and 5-year-olds. Observations were conducted by videotape recordings. Observation periods were of five-minutes duration. There were ten observations of each child's indoor free-play periods. Observational data were collected by the time sampling method with the social cognitive play behavioral checking list based on an adaptation of one devised by Rubin(1985). The data was analyzed by t-test with the SAS computer program. Four- and five-year-olds in mixed-age classrooms were more likely to engage in "complex" modes of play than 4- and 5-year-olds in same-age classrooms. Four-year-olds in same-age classrooms were more likely to engage in solitary-functional, parallel-functional, and group-functional play than 4-year-olds in mixed-age classrooms. However, 4-year-olds in mixed-age classrooms were more likely to engage in group-constructive, group-dramatic, solitary-game, and group-game play than 4-year-olds in same-age classrooms. Five-year-olds in same-age classes were more likely to engage in solitary-functional and parallel-functional play than 5-year-olds in mixed-age classes. Five-year-olds in mixed-age classes were more likely to engage in group-constructive, group-dramatic, and group-game play than their counterparts in same-age settings.

• Korean Journal of Child Studies
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• v.28 no.1
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• pp.95-113
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• 2007

This study used qualitative methods to understand kindergarten girls' perception of block play and to devise teacher strategies for encouraging block play for girls who had not participated in block play. Results showed that girls preferred art and home-dramatic play over block play. Girls' preference not to play with blocks was based on harassment by boys and confusion about how to build with blocks and the fact that pride in block structures could not be communicated to their parents at home. Consequently, a girls-only block play area was designed with appropriate accessories along with presentation of some Polaroid pictures. Results were that girls enjoyed block play and made ingenious block structures.