• 한국융합학회논문지
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• 제12권11호
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• pp.319-328
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• 2021

본 연구는 델파이 조사 방법을 활용하여 영재교육 핵심역량을 개발하고, 역량별 정의를 토대로 행동 요소 선정 및 척도 문항을 제시하는데 목적이 있다. 먼저 문헌 분석을 통해 영재교육 핵심역량을 선정한 후 각 역량의 정의가 역량명에 적합한지를 확인하기 위한 1차 델파이 조사를 진행하였다. 이후 2차 델파이 조사를 통해 핵심역량 함양을 위해 요구되는 능력을 행동 요소로 표현하여 세부 문항을 개발하고 타당화 작업을 수행하였다. 2차에 걸친 델파이 조사를 통해 태도와 실천의지, 의사소통과 협업, 정보처리와 도구 활용, 창의적 문제해결, 융합과 응용, 고등 추론, 공동체 의식, 학습성취지향의 8개 핵심역량을 최종적으로 선정하였다. 본 연구는 영재교육이 사회적 요구에 부합하는 목표를 추구하기 위해 필요한 영재교육 핵심역량과 행동 요소를 선정하고, 역량 함양의 정도를 측정할 수 있는 도구를 제시하였다는 데 의의가 있다.

• 한국보육지원학회지
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• 제5권2호
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• pp.1-20
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• 2009

본 연구에서는 예비유아교사의 창의적 인성과 교사효능감의 상관관계에 대해 알아보고자 하였다. 연구대상은 보육실습과 교육실습의 경험이 있는 경기지역에 소재한 S대학, Y대학 유아교육과 3학년 학생 165명이었다. 측정도구로는 하주현의 창의적 인성검사와 김순남에 의해 수정된 TEBI(Teaching Eefficacy Belief Instrument)교사효능감 검사를 사용하였다. 수집한 자료는 일원변량분석, schaffer 사후검증, 적률상관계수, 중다회귀분석을 이용하여 분석하였다. 본 연구의 결과는 다음과 같다. 첫째, 예비유아교사의 배경변인(성적, 연령, 임원활동)에 따른 창의적 인성의 차이는 유의하지 않았다. 둘째, 예비유아교사의 배경변인에 따른 교사효능감의 차이에서 '연령'은 교사효능감과 정적인 상관관계를 보였으며 특히 개인 교사효능감에 유의한 차이가 있었다. 셋째, 창의적 인성 점수가 높은 예비유아교사들이 교사효능감도 대체로 높았으며 특히 개인 교사효능감에서 더욱 유의미한 상관관계를 나타냈다. 예비유아교사의 교사효능감을 예언해주는 창의적 인성 요인은 자기 확신, 상상, 개방성'인 것으로 나타났다. 연구결과를 토대로, 예비유아교사의 창의적 인성과 일반 교사효능감의 관계를 인식하고 이를 촉진하는 교육과정 운영방안에 대해 논의하였다.

• 한국엔터테인먼트산업학회논문지
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• 제14권8호
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• pp.487-499
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• 2020

본 연구는 자아존중감 증진을 위한 초등 다문화교육 프로그램을 구안하는 데 목적이 있다. 이를 위해 교육현장의 적용력을 고려하여 교수체제설계인 ADDIE모형을 재구성하여 분석, 설계, 개발, 평가의 과정에 따라 연구를 실시하였다. 이를 위하여 자아존중감과 관련 있는 집단 간 이론과 사회정체성 이론을 분석하고 자아존중감 증진을 위한 초등 다문화교육 프로그램의 내용에서 고려해야 할 핵심개념을 정체성, 편견, 협력, 평등으로 구성하였다. 네 가지 핵심개념은 자아존중감의 하위요소 개인, 가정, 학교, 사회에 따라 세부 학습목표를 설정하고 학습내용을 선정·조직하여 전체 16차시로 구성하였다. 교수-학습방법은 대상학생의 특성과 흥미를 고려하여 모둠으로 한 게임, 퀴즈, 토론 등 다양한 방법을 활용하도록 하였으며 각 차시는 주제-학습목표-활동(인식하기-탐색하기-명료화하기)으로 구성하여 전개되도록 하였다. 이후 3인의 전문가 검토에서 나온 의견을 토대로 내용을 수정하여 최종 프로그램을 제시하였다. 본 연구에서 구안된 프로그램은 효과를 검증하는 후속 연구가 요구되며 교육현장에서 효율적인 다문화교육으로 활용되기를 기대한다.

• 한국치위생학회지
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• 제11권6호
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• pp.973-983
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• 2011

Objectives : The oral care during early childhood plays an important role to maintain sound oral health during adulthood. As the number of children's using child care facilities is on the rise recently, the children's oral health awareness and behavior of the educators at nurseries and kindergartens are to be examined. Methods : A self-recording survey was conducted on 194 educators at the nurseries and kindergartens in Chungnam region. Results : The most frequently given snack was milk, 91.8 percent of the facilities had children brush their teeth, 63.4 percent made them apply fluoride and 56.2 percent kept children's toothbrushes in an ultraviolet rays sterilizer. There was a meaningful difference in the awareness of the necessity to educate children about oral health according to the offer of the opportunity to apply fluoride (p<0.05). A meaningful difference was found in the recognition of the necessity to educate children according to their grade (p<0.05) and to train teachers themselves (p<0.05). The most desirable persons in charge of oral health education were dentists in health centers (46.9%) in order. The more experience in teaching they have had (p<0.05), when they're married (50.5%) (p<0.05) and when they're not homeroom teachers (52.6 percent), the more regular checkups they have had (p<0.05). As for the importance of oral health and the results of regular checkups, those who had answered 'very important'(42.4%) showed higher rate of regular checkup (p<0.05) than those who had answered 'important'(23.9%). When teachers have the experience to get trained about oral care (96.3%), the practice frequency of brushing teeth was proved to become higher (p<0.05). Conclusions : The educators for children should recognize the importance of oral health education, educate children to practice oral health care, and the environment and systematic foundation should be established which the educators manage effectively.

• 미술이론과 현장
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• 제8호
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• pp.33-58
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• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.