• 아동학회지
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• 제19권2호
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• pp.173-184
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• 1998

The present study investigated the effects of a theme-relevant play center on children's play behavior and intersubjectivity with an integrated approach to early childhood education. The subjects were 24 kindergarten children (12 boys and 12 girls). Half of the experimental subjects participated in a novel dramatic play center connected with a specific theme for the duration of 5 weeks. pre- and post-testing was conducted for all children. The theme-relevant dramatic play center wits an integrated approach to early education facilitated a high level of play behavior and children's intersubjectivity.

• 한국의류학회지
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• 제40권6호
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• pp.1085-1099
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• 2016

This article is designed to establish fundamental design criterion for theme park cast costumes in accordance with play type and space. There is an understanding that theme parks act as a play space that is designed to meet diverse playing desires. To analyze cast costumes, the theme park - 'Everland' in South Korea as an example, area was divided into attraction space and non-attraction space. Attraction space is mainly for full-scale play content areas and the non-attraction space is to enforce the attraction space experience. Roger Caillois's play theory states that there are 4 play types; Illinx, Mimicry, $Ag{\hat{o}}n$, and Alea. All 4 play types were shown through attraction and Mimicry at non-attraction. Each cast costume was analyzed in terms of apparel design elements - silhouette, textile, color, detail, and props - related to play type facility and cast role. Criteria for theme park cast costume designs were suggested based on the results. Illinx cast members who fulfill a safety-checking role wear high chroma warm color costumes with the accent on details in bodice cutting lines, collar edges, pockets, buttons and decorative ornaments. A complementary contrast is also used. The guidance cast in Illinx may wear a suit in bright/vivid color. Mimicry guidance cast costumes show meticulous perfection in imitation with the figure in its space. From head to toe, color, textile, and silhouette - every detail and even props should match the character. $Ag{\hat{o}}n$ cast costumes are strictly limited in detail and decorative ornament usage as well as in color, since they are in charge of the management and operation of a competition. Alea cast's role is a self-demonstrator. Alea cast members should be a real tarot card reader. However, a manual should control their costumes. A total of 10 cast roles at a non-attraction space should be designed to show job patterns clearly in accordance with the whole theme at the park.

• 한국보육지원학회지
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• 제8권5호
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• pp.47-66
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• 2012

본 연구는 주제중심 블록놀이 활동이 유아의 메타인지와 사회성에 미치는 효과를 분석하는 데 그 목적이 있다. 연구대상은 총 60명으로 평균월령은 73개월이었다. 실험집단에서는 주제중심 의 블록놀이 활동을 실시하였고, 비교집단에서는 자유 블록놀이 활동을 실시하였다. '메타인지' 검사와 '사회성' 검사 도구를 사용하여 연구 자료를 수집하였으며, 수집된 자료는 t-검증을 통 해 실험처치의 효과를 분석하였다. 연구 분석 결과, 주제중심 블록놀이 활동에 참여한 실험집단 유아들의 메타인지와 사회성 점수가 자유 블록놀이 활동에 참여한 비교집단 유아들의 점수 보다 통계적으로 유의하게 높은 것으로 나타났다.

• 한국실내디자인학회논문집
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• 제16권3호
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• pp.21-29
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• 2007

The communication in a play has a dual structure, which is composed of the communications within a play and in a theatre space. This research focuses on the scene design that creates the background or the theme of a play and communicates theme of a play to the audience. A scene design of a theatre has meta-linguistic aspects, which is the image or mood as the theme of a play. The scene design is composed of various design elements of space and objects as the properties of a play. Design elements and the objects are the design languages in various form; plane, three-dimensional, multi-dimensional form. These design languages have the significant meanings as signs like human language. The play works chooses the rhetorical expression to arouse the audience's sympathy. The scene design is completed with rhetorical expression for communication in theatre too. This research defines the category of meanings that design elements of scene design can create and the rhetorical expression of the scene design language. King Lear directed by Robert G. Anderson was analyzed with the category of design elements as a sign and the pattern of the rhetorical expression. The scene design for a play is completed effectively by the rhetorical expression of design elements as the design language for the communication with the audience in theatre.

• 아동학회지
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• 제16권1호
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• pp.167-181
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• 1995

The purpose of this study was to examine how the intervention of a literacy environment influences young children's literacy behavior in dramatic play. Four classrooms at S kindergarten and Y kindergarten in Seoul were randomly selected for this study. Each of the classrooms was designated as an experimental group: that is, experimental group A (38 children), experimental group B (34 children), experimental group C (35 children) and a Control group (40 children), respectively. Group C was provided with literacy materials, theme of dramatic play and teacher's intervention. Group B was provided with literacy materials and theme of dramatic play. Group A was provided with only literacy materials. It was found that the intervention of the literacy environment in dramatic play brought about an increase in children's total literacy behavior, increase in the frequency of children's reading behavior, and increase in the frequency and function of children's writing.

• 한국생활과학회지
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• 제16권2호
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• pp.237-250
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• 2007

This study was to provide date for developing a effective educational program which would be helpful for teachers to understand children's daily activities more properly. From two kindergartens, 20 children were observed for 3 consecutive hours. The observer followed the target child, gathering data during 30-second "windows". This observation lasted for three hours per day and each child was observed 60 times. The proportion of major activities such as education, play, work, and conversation in children's daily activities was compared. Results showed that children of Waldorf program were more exposed to and engaged in play than children of Theme-based program, whereas children of theme-based program were exposed to and engaged in academic activities than those of Waldorf program.

• 한국콘텐츠학회논문지
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• 제16권1호
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• pp.274-284
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• 2016

본 연구는 테마형 박물관 중 하나인 춘천 애니메이션 박물관의 어린이 놀이공간(에어바운스)을 대상으로 실제 공간을 이용하는 어린이들의 놀이행태와 놀이환경을 분석하였다. 이를 위해 어린이들의 특성을 고려하여 사용자 조사법 중 사용자 관찰법과 사용자 행동 인터뷰 조사를 병행하였다. 사용자 관찰법을 통해 연구 대상지의 어린이 놀이행태를 분석한 결과, 신체 운동, 정서, 인지, 사회성 발달과 관련된 놀이행태가 모두 관찰되었으나, 매달리거나 역할놀이와 같은 일부 행동은 관찰되지 않았다. 사용자 관찰법과 인터뷰 조사 등을 종합하여 이용밀도(수용력) 제한, 연령별 공간구분, 동반자 대기공간 조성, 아동과 동반자간 친밀감형성을 위한 공간 조성, 안전요원의 배치 등의 다양한 계획적 함의들이 도출되었다. 이러한 연구결과는 추후 유사한 어린이 놀이공간의 계획 및 설계단계에서 유용한 가이드라인으로 활용될 수 있을 것이다.

• 고전문학과교육
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• 제15호
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• pp.501-521
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• 2008

For bringing about a revolution in studying the classic literature the positivism must be overcome and the imaginative power about the history, literature and religion must be exercised. The theme of the monk-mask-play had been interpreted from the both viewpoint; the traditional mask play is the profane drama, but, on the other hand, it is the sacred drama. Judging from the social viewpoint, the sexual union of the old monk and the beauty symbolizes the reconciliation between the governing class and the production class. Judging from the viewpoint of the equalitarianism, that symbolizes the harmony of a masculinity and a femininity. Judging from the viewpoint of the education, that symbolizes the unification of reason and sensitivity. Judging from the viewpoint of the religion, that means the resurrection.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2007년도 춘계학술대회 논문집
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• pp.176-180
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• 2007

The stage space in theatre for the performance of a play requires two aspects of the physical space for a play and the image as the background or the theme of a play. This research focuses on the scene design that creates the background or the theme of a play and communicates it to the audience. The scene design is composed of various design elements of space and objects as the properties of a play. Design elements and the objects are the design languages in various form; plane, three-dimensional, multi-dimensional form. These design language have the significant meaning as a sign like human language. The scene design is completed with rhetorical expression for communication in theatre. This research defines the category of meaning that design elements of scene design can create and the rhetorical expression of the scene design language. King Lear directed by Robert G. Anderson was analyzed with the category of design elements as a sign and the pattern of the rhetorical expression. The scene design for a play is completed effectively by the rhetorical expression of design elements as the design language for communication with the audience in theatre.

• 영어영문학
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• 제55권4호
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• pp.539-565
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• 2009

T. S. Eliot attempted the combining of the liturgy of Anglican Church and a drama in Murder in the Cathedral (1935) and created a modern verse drama which comes most close to the regular tragedy like Greek tragedy today. Eliot chose the drama to deliver his religious insight because of its ritualistic origin and its potentiality to deliver a dramatic world which can contain a complete order. The central theme of this play is the martyrdom. The dramatic action of killing the archbishop Thomas Beckett in this play, however, is not treated as important event enough to be a dramatic climax. He is portrayed as a witness to the reality of God's will rather than a man who wills to give up his own life for any religious belief or cause. In Eliot, a martyr is nothing but "a witness" in its ancient sense. This paper purposes to review the language of this play. The various and new meters and rhythms of the language of this play function enough to bring its playwright to encounter 'the real audience' in 'a living theatre'. The interactions between different verbal models also play a big role to make this play a living theatre. Eliot found the poetry which crosses the various classes and levels of the tastes of audience is the most useful poetry. And the poetry of this play proves as the very thing which intensifies the theme of the play and gives the most powerful force to the play. Especially Eliot's poetry succeeds smost in the various and free meters of chorus, which makes Eliot the first playwright since Aeschylus, who could bring the chorus to undertake the function of extending the dramatic action of the play into the universal meaning. In the theatre the real audience identifies themselves with chorus. And the chorus leads the audience to respond to peace which passeth understanding beyond words and sounds of this play, which is the desired response in Eliot's conception of drama.