• Title/Summary/Keyword: 문법 성취도

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의사소통식 영어 발음지도

  • 김정렬
    • Proceedings of the KSPS conference
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    • 1997.07a
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    • pp.45-60
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    • 1997
  • 의사소통식 영어교수법은 Widdowson (1978)이래, 과거 20여 년간의 여러 외국어 교수 방법들을 (침묵식 교수법, Gattegno; 자연적 교수법, Terrell & Krashen; 전신반웅 교수법, Asher; 집단언어 학습법, Curran; 암시적 교수법, Lozanov) 거치면 서, 이들 중에서 의사소통을 중심으로 한 여러 가지 방법을 총괄하여, 명실공히 외국어 교육 방법의 중심으로 그 자리를 갈수록 확고히 잡아가고 있다. 의사소통식 교수법은 우선 언어란 의사소통을 위한 수단이며, 의사소통은 사회 속에서 일어나는 사회 언어적 행위로 본다. 따라서, 외국어 교육의 목적을 무엇보다도 의사소통 기능의 숙달에 두는 것이다. 일반적인 의사소통 상황을 보면 발화내용의 문법적 정확성은 그 상황에 대한 내용의 적절성 여부에 비하면, 부수적인 것이다. 예를 들면, 사과를 하는 의사소통기능을 공부하면서, 사과하는 표현으로 Sorry라는 말을 썼다고 하자. 이때, 영어는 주어 생략 언어가 아니기 때문에, Sorry 대신에 문법적으로 완전한 문장인 I'm sorry 로 표현해야 한다는 문법적인 문제보다는 사과하는 표현이 그 상황에서 적절하게 쓰인 것인지를 묻는 것에 초점을 맞춘 것이 의사소통식 교수 방법이다. 현재, 초등학교 16 종 영어 교과서도 의사소통 기농들을 적절한 상황에 맞춰서 의사소통식 교수 방법의 정신을 비교적 잘 반영하고 있다. 그러나, 발음에서만큼은 아직도 의사소통식 교수방법을 무시하고, 정확한 발음의 명시적인 설명이나, 예시에 그치는 경향이 뚜렷하다. 이러한 경향은 교육부에서 고시한 제6차 교육과정과 이에 따른 해설서에서 되풀이되고 있다. 발음지도에 많은 관심을 기울여 많은 양의 지면을 할애하고 있음에도 불구하고, 전후에 흐르는 의사 소통식 영어교육의 맥을 완전히 끊고, 단지 정확한 발음의 해부학적 예시와 기술에 그 치고 있다 (임영재 외 1995). 이러한 발음기관의 단면도를 이용한 해부학적 발음의 예시는 특정 자음의 정확한 혀의 위치를 알려 줄 수는 있지만, 발음훈련을 대신하지는 못한다. 예를 들어, 자전거를 타고자 하는 사람이 자전거의 페달을 밟았을 때, 그 동력전달 과정을 자세히 소개한 책자를 읽었다고 해서, 자전거를 탈 수 있는 것은 아니다. 역시, 자전거를 타고자 하면, 실제로 타고 넘어지면서 배우게 되는 것이다. 그리고, 발음훈련의 경우 교재의 내용이나 의사소통 기능은 의사소통식으로 가르치면서도 발음만큼은 아직도 원어민의 입모양을 활용한 듣고 따라하기 식의 전통적인 방법의 발음훈련을 계속하고 있다. 이러한 전통적 발음훈련 방법은 구체적으로 다음 장에서 제시되겠지만, 초등학교에서 듣고 따라하기나 듣고 골라내기와 같은 방법으로 발음훈련을 하면, 많은 학생들이 쉽게 지루해 하고, 아마 영어시간 중에서 가장 싫어하는 시간이 발음연습 시간이 될 가능성이 많이 있다. 현재 의사소통식 교수 방법을 모태로 한 교과서에서도 의사소통식 발음지도법을 쓰지 않았다는 것은 새로이 시작하는 초등학교 영어교육에서 아쉬운 점이라 아니할 수 없다. 초등학교 학생들에 대한 발음 지도의 핵심은 그들의 지적, 정서적, 신체적 특징을 잘 고려해야 한다. 초등학교 학생은 지적, 정서적, 신체적으로 성장기에 있어서, 호기심이 많고, 모방성이 강하며, 감수성이 예민하여 마음에 상처를 받기도 쉽다. 그리고, 무엇보다도, 끊임없이 신체적으로 움직이고 싶어한다. 이러한 학생들의 특정 을 반영하여 발음을 지도하는 길은 역시 초등학교 교과서의 다른 영역들처럼, 학생들은 움직이는 활동을 하면서 재미를 느끼고, 교사는 이들 활동을 통해서 교수목표를 성취하는 쪽으로 맞추어야 한다. 본 논문에서는 먼저 발음지도가 필요한 이유와 요인을 살펴본다. 그리고, 전통적인 발음지도 방법을 일별해 보고, 의사소통식 발음지도법을 제시하는 순으로 논의를 전개하기로 한다.

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The Laughter and Aesthetics of Korea Manwha on 1920-30s (1920-30년대 한국 만화의 '웃음'과 미학적 특징)

  • Seo, Eun-young
    • Cartoon and Animation Studies
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    • s.46
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    • pp.151-179
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    • 2017
  • The purpose of this study is to analyse the characteristics of the 1920s and 1930s to analyze the emotions of laughter in the popular culture, This period, such as the style of comic books, tools, and textures, has been influenced by the influence of the eodi, and it is in its way to establish the aesthetic aesthetics of the colonial Joseon Dynasty. In the pop culture of the 1920-30s, laughter was a new feeling in the gloomy atmosphere of colonial rule. It was the comic media that showed the sensation to the public, owned it, and injured it. Also, the comic book was an important period in which comic books were produced to produce quantitative and qualitative growth. The study explored how the comics interacted with other media in the 1920s and 30s. And the study analyzed what was selected in there. This can quickly explain how the comics gained, or how they obtained them. This shows how the comics gained, in a way, how they obtained laughter.

A Study on the Motif of 'Book Travel' in Korean Web Novel -Focused on Romance Fantasy Genre (한국 웹소설의 '책빙의물'의 특성 연구 -로맨스판타지 장르를 중심으로)

  • Ahn, Sang-Won
    • Journal of Popular Narrative
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    • v.26 no.3
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    • pp.87-120
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    • 2020
  • The study noted the characteristics of the web novel's 'Book Travel' motif, which reflects the characteristics of popular culture content, which is free to use familiar genre grammar or code. The imagination of the main character entering the work he read in the real world is a reinterpretation of the existing genre grammar of the web novel, and studying the motif is meaningful in reviewing the intertext of the genre. This motif, summarized as 'Book Travel' differs from other genres in the romance fantasy genre, which can also be used to reveal the gender characteristics of the genre. The study noted that the 'Book Travel' motif was born from an interactive interpretation of existing narratives, thus having a affinity with dimensional shift, regression, and alternative historical objects, and referring to the writing norms of Fanfiction. Through this, it was predicted that the re-combination of existing narratives and interference between genres would continue in the future. Next, the original move in the romance fantasy genre was seen as quite conservative and revealing the logic of self-improvement even though people around him became the main characters and overthrew the narrative. The characters should use their knowledge of the future of the real world to fight in a world of survival where destruction has been predicted. The appearance of an ethical and self-help subject is interesting, but on the other hand, I could look at conservatism in that romance is a way of survival and achievement of characters. The research is meaningful in that it reviewed the characteristics of the original transfer motif, which started fairly quickly in the romance fantasy genre, and reviewed its appearance background and characteristics. There was a limit to the collection of physical works and limited platform. The above limits are intended to be supplemented by further reviewing and supplementing later works.

The Characteristics and Significance of 'Wanpan Changgeuk' Written by Heogyu (허규 연출 '완판 창극'의 특징과 의의)

  • Kim, Kee-hyung
    • (The) Research of the performance art and culture
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    • no.20
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    • pp.5-30
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    • 2010
  • It has been diversified and serious attempt to establish the identity of Changgeuk, but it is still independent dramaturgy or the current unformed progressive art. In this situation, exploring works of the identity of changgeuk that is base on the performed individual and specific works in the title of Changgeuk is needed. The 80s and 90s Heo, Gyu was leading an active life as a director who was responsible for directing of Changgeuk. He dramatized Siljeon Pansori -which is a group of Pansori missing text- as well as 5-remained Songs in Pansori and he presented a number of creative Changgeuk works on stage. Especially, the completion of dramatizing 5-remained Songs in Pansori under the name of 'Wanpan Changgeuk -which means full version performance without omit-' is the one of his big achievement by performing "Heungbojeon" on the stage 1982 and "Jeokbyeokga" 1985. The purposes of this research are confirmation of Heo's direction of the formulation and considering its characteristics & significance through 'Wanpan Changgeuk' which written by Heo. Heo was a practical play who was interested in the subjective formulation of national culture and creative transmission for Korean traditional performance. He tried to formulate Changgeuk to a representative performance of Korea. In the process he pointed out those problems, (1) interpretation of a work problem, (2) actor's creative problems, (3) structure problem of theater for Changgeuk. He indicated that the other challenges are to use of the stage & device, to overcome sentimentalism, to stylize acting, to improve own quality, to control the speed and length of the song, to choose the suitable musical accompaniment, to create new repertories problems, and etc. Changgeuk is classified in 3 group by origin, (1)dramatizing of 5-remained Songs, (2)dramatizing of 7-missing Songs, (3)creative dramatizing. It contains all of 3 types that Heo's work. The dramatizing of remained 5 Songs are the great importance among those works. Heo hoped that Chaggeuk has become the most representative art work of Korea by performing 'Wanpan Changgeuk' compiled heritage of Korea's outstanding artistic achievement. The characteristics of 'Wanpan Changgeuk' can be summarized following four. (1) Directing attitudes that emphasizes tradition, (2) Accepting the elements of traditional performance actively, (3) Valuing the classy and ethic, (4) Emphasizing humor and active utilizing of the secondary characters. Heo's 'Wanpan Changgeuk' shows a peak of the artistic level which Changgeuk can be reached. He want to make Changgeuk a Korean representative artistic performance by compiling Pansori heritage and accommodating Korean traditional performance. Heo continued his effort to present Pansori's authenticity and to dramatize from beginning to end without missing. It shows very well that 'Wanpan Changgeuk' takes 4~5 hours for playing. It looks Heo's achievement in the 'Wanpan Changgeuk' influenced Changgeuk significantly since then. Heo's 'Wanpan Changgeuk' is matrix of 'Wanpan JangMak Changgeuk' attempted in the 1990s. Especially, their intent is consistent to synthesize texts and to show all the virtue of Pansori. But 90's 'Wanpan JangMak Changgeuk' aim for large stage, fancy device & costume and variety contents compared with 'Wanpan Changgeuk'. Recently, producers have tried not to make a impressive Changgeuk but to make a interesting one. They usually organize performance within 2 hours and prefer orchestral music to its unique sound. In those point of view, it seems that Heo's idle in 'Wanpan Changgeuk' has become one of target to conquer in these days.