암묵지의 형성을 위한 시 창작 체험 교육 시론(試論)

김혜진 ( Kim Hyejin ) 서울대학교 국어교육과 2021 先淸語文 Vol.49 No.-

This study assumes the concept of Polanyi’s tacit knowledge as a result of education and examines its potential in relation to the ontological aspects of learners under Heidegger in order for poetry creating education to be implemented more effectively, it is necessary to specify learners’ perceptions and experiences in the creative process. First of all, we shared a sense of problem that creative education and literary knowledge education should be reviewed and the essence of creative poetry should be reflected in the contents and methods of education, not the acquisition of techniques through imitation and practice and literary knowledge education shall be expanded to individual, definitive, and compositional knowledge education without bias toward theoretical and propositional knowledge education. In addition, the direction of this study was directed to the design of poetry creating experience education that allows learners to express their desire to express their thoughts in poetry, and the tacit knowledge found by learners as a literary genre of poetry was assumed as a goal of poetry creating experience education. In order to materialize learners’ perception in this poetry creating experience education, we need to reveal what poetry creating experience should be like, so we looked at main agent of creating at an ontological level according to Heidegger’s ‘In-der-Welf-sein’. The main agent of creating forms the world and reconstructs the self through relationships with others in poetic experience. These recognition activities are in line with the composition of ‘In-der-Welf-sein’ as extant beings who understand ‘Dasein’ through relationships with other beings in the world. At this time, Sein does not confront Dasein, but exists only as an understanding of Dasein, so human perception is personal and tacit as an experience and meaning in the world. From this point of view, poem created by Dasein lead to the discussion of Polanyi’s tacit knowledge because they are a world shaped by personal perception as a result. Tacit knowledge is a combination of theoretical and practical knowledge, which implies the possibility of an action that is internalized and executed in an individual, and this knowledge is linguized. In other words, tacit knowledge can be expressed as a creative poem. Therefore, this study believes that the formation of tacit knowledge is possible through poetry creating experience education, and designed education as a step of Provide intertextual material for poetry genres, exploring the problems of life that you want to express in poetry, interiorization experience through poetic language selection and arrangement, self-reflection signifying through sharing in creative poem. As such, this study identified the point that poetry creating education is meaningful in shaping learners’ personal knowledge, but the steps presented by this study promise follow-up research because they need to be embodied by examining aspects of learners’ actual creative experiences.

교양교육에서 AI 창작품을 활용한 융복합 시 교육 실제- ‘영상시’ 제작을 중심으로

이현정 한국 리터러시 학회 2024 리터러시 연구 Vol.15 No.2

본 연구는 AI 및 뉴미디어를 통해 교양교육 학습자들의 새로운 읽기와 창의적 표현을 위한 탐구를 진행, 그 의의를 논증하고자 한다. 본 연구는 교양교육 학습자들이AI 시집 『시를 쓰는 이유』와 AI 시극 「파포스」을 접하게 한 이후, 위의 경험을 기반으로 뉴미디어 매체를 활용해 ‘영상시’를 창작하도록 기획하였다. AI 창작물을 통해 교양교육 학습자들은 AI를 활용한 작품에 흥미를 가지고 접근할 수 있으며, 나아가 인공지능 창작품에 내재된 의미와 표현법을 분석함으로써 ‘나’를 탐색하는 계기로 자신의생각과 상상력을 ‘쓰기’로 이어갈 것이라고 가정한 까닭이다. 본 연구는 이와 관련해서, 보다 구체적으로 AI 창작품을 읽은 학습자가 이후 그 감상을 바탕으로 ‘나’와 관련된 시 텍스트를 창작하고, 뉴미디어 매체를 활용한 영상시 기획서를 작성하고 수정하게 했다. 본고가 뉴미디어 매체를 활용한 영상시 제작을 선택한 이유는 다음과 같다. 학습자는 인공지능 시와 시극을 접하면서, 시적 텍스트에 나타난 이미지와 무대 공연 이미지를 이해했다. 하지만 학습자들이 수업의 내용을 바탕으로 당장에 교육 효능감을 획득할 수 있을만큼의 시 텍스트와 시극을 제작할 수는 없다. 그렇기 때문에 본 연구는 영상을 접목한 새로운 창작법을 도입하였다. 그동안 학습자들은 SNS나 온라인을 통해영상 텍스트를 접할 기회가 많았다. 그렇기에 뉴미디어 매체를 활용하여 영상시를 제작한 교육 방법은, 기존의 문학적 ‘쓰기’에서 잠시 벗어나 스스로 성취감을 획득할 수있게끔 하는 현대 IT 시대 흐름에 맞춰 고안된 새로운 ‘쓰기’ 방법이다. 이 수업의 결과를 정리하자면 다음과 같다. 본 연구는 교양교육 학습자들이 인공지능 창작품을 활용한 영상시 제작과 발표를 통해 감상지를 작성케 하였는데, 이들의 감상지를 분석해보면 우선 시나 시극에 흥미를 갖지 못했던 이전과 달리 많은 변화가 일어났다. 나아가 학습자들은 동료 학습자의 내적 고민이 담긴 영상시를 함께 공유하며, 문학이라는 매체 및 장르에 대한 관심과 즐거움을 진지하게 획득할 수 있었다. 위와 같은 교양교육을 통해 궁극적으로 학습자는 자기중심적인 시선에서 벗어나 타자의감정을 이해하고, 다른 이의 글과 영상을 통해 상호 존중하는 태도를 갖출 수 있었다. 본 연구가 설계한 교육 과정은 다양한 전공의 학습자들임에도 불구하고 서로의 내적 ‘주체’와 ‘가치관’을 공감하고 소통하도록 설계된 방법이다. 다양한 전공의 학습자들이 함께 읽고, 쓰고, 발표하는 과정을 통해 상호보완하며 성장할 수 있도록 기획되었다. 특히 본 연구를 통해 기대할 점은, 이미 도래한 미래사회에 대한 대응으로 창의적이고 융·복합적인 교육 이론과 분석을 넘어, 대학 교육의 수업으로 실현했다는 점에서 교양교육의 발전에 도움이 될 수 있다는 점이다. This study aims to explore and argue the significance of using AI and new me dia to promote new reading and creative expression among liberal arts education learners. After exposing liberal arts education learners to the AI poetry book “Why Write Poetry” and the AI poetry drama “Paphos,” this study was designed to create “video poems” using new media based on the above experiences. This is because it is assumed that through AI creations, liberal arts education learners will approach works using AI with interest, and furthermore, they will continue to ‘write’ their thoughts and imagination as an opportunity to explore ‘me’ by analyzing the mean ing and expression inherent in AI creations. More specifically, this study asked learners who read AI creations to create poetry texts based on their impressions and to write and revise video poetry plans using new media. We chose video poetry production using new media for the following reasons. The learners were exposed to A.I. poetry and poetry theater, and understood the im ages in poetic texts and stage performances. However, it is not possible to produce enough poetry texts and poetry plays for learners to gain educational efficacy im mediately based on the contents of the class. Therefore, this study introduced a new creative method that incorporates video. Since learners have had many opportuni ties to encounter video texts through social media and online, the teaching method of creating video poems using new media is a new writing method designed in line with the modern IT era that allows learners to take a break from traditional literary writing and gain a sense of accomplishment. To summarize the results of this class In this study, liberal arts education learn-ers were asked to write an essay through the production and presentation of video poems using A.I. creations, and analyzing their essays, many changes occurred, unlike before when they were not interested in poetry or poetry plays. Furthermore, the learners were able to share the video poems with their fellow learners’ inner concerns, and sincerely acquire interest and enjoyment in the medium and genre of literature. Ultimately, through the above liberal arts education, learners were able to break away from their self-centered perspective, understand the feelings of others, and develop a mutual respectful attitude through other people’s writings and videos. The educational process designed in this study is a method designed to empa thize and communicate with each other’s inner ‘subjectr’ and ‘valuesr’ despite the fact that the learners are from various majors. In particular, what is expected from this study is that it can help the development of liberal arts education by realizing creative, fusion and convergent educational theories and analyses in response to the future society that has already arrived, and realizing them in university education classes.

시교육과 정전의 문제

김창원(Kim Chang-Won) 한국시학회 2007 한국시학연구 Vol.- No.19

Korean modern poetry has been educated centering around the poetic canons. They are composed based on lyricism, nationalism, elitism and anticommunism. They are reinforced by poetry education also. Nowadays, studies on poetry education has succeeded in criticizing and deconstructing poetic canons, but failed to compose a new meaningful canons. Actually, studies on poetic canons and poetry education are political affairs, but there are no meta-analysises about the necessity and sphere of them. I tried some meta-analysises about poetic canons and poetry education in this paper. I classified problems of studies on poetic canons and poetry education to five topics. First, they failed to distinguish educational canon from literary canon. Second, they did not receive the reality that poetry education centered around poetic canons failed these days. Third, they did not consider any readers and students in composing poetic canons for long times. Firth, they misunderstood the nature of national curriculum and textbooks in official education. Lastly, they exaggerated the value of alternative canons and concealed the political nature of studies on canon. I presented three fundamental rules to improve poetry education centered around poetic canons in this paper. First, it needs to slice the concepts of canon by goals and scopes of poetry education. We can teach poetic canons through struggles between diverse concepts of canon. Second, we have to add the concept of 'canonical literacy' to poetic ability as a substance of poetry education. Lastly, it will be more efficient to teach poetic canons by four steps - extensive reading of canons, inquiry into the origin and diversity of many potential canons, composing meta-cognition of poetic canons, and composing a new meaningful personal canon. Some problems remain to be solved to improve poetry education - like as to distinct concept of canonicity, the grounds of studies on poetic canons in modern Korean poetry education, and methods of use results of studies on canon.

한국어 교육에서 한국 현대시 교육 연구의 동향 분석 - 국어 교육 연구와의 비교를 중심으로 -

오지혜 ( Oh Jihye ) 서울대학교 국어교육과 2021 先淸語文 Vol.49 No.-

The purpose of this study is to draw implications for the future research on teaching modern poetry in Korean education as a foreign/second language by examining < research on teaching contemporary poetry education > conducted in the field of Korean language education as a foreign/second language and Korean language education as a mother tongue for the past 10 years. Accordingly, a total of 170 prior studies, that is, 129 papers in 16 academic journals and 41 papers for master’s and doctoral degrees published over 10 years from 2011 to 2020 in the field of Korean language education as a foreign/second language and as a mother tongue were analyzed. Above all, in relation to the texts of modern poetry, the frequency and tendency of poets and works were examined. Next, in terms of modern poetry education methodology, it was divided into approaches, educational contents, and teaching-learning. First. The approach was divided into educational purpose and epistemological point of view, and the latter was further categorized into theoretical foundation, perception and perspective on poetry education. Second, the contents of modern poetry education were divided into educational elements, attributes, and items. Third, modern poetry teaching-learning was examined by dividing it into principles, methods, activities, and materials. Based on the above framework, we compared and contrasted researches on Korean language education as a foreign/second language and as a mother tongue to examine what modern poetry education as a literary education has in common in both of them. In addition, unlike Korean language education, we looked at what is specifically reflected in Korean literature education as a foreign/second language. Based on the results of the analysis, it is expected that it will be possible to set the direction for the study of modern poetry education in the field of Korean language education as a foreign/second language in the future, and furthermore, for the field of education.

‌교양으로서 현대시 교육에 대한 검토와 방향

김낙현 한국교양교육학회 2014 교양교육연구 Vol.8 No.4

The purpose of this article is to examine the contemporary poetry education as a general education course and to seek the desirable direction of the poetry education. The educational method with the analytical criticism of new criticism which dominated the early poetry education used to examine the elements of poetic style piece by piece and was constructed with one-sided analyses and explanatory notes of the instructors. In consequence, the passive learners recognized poetry not as the subject of enjoyment and pleasure but as the burden which learners had to memorize and learn. In an attempt to improve and reform these problems, Aesthetics of Reception and Reader-Response Criticism were introduced as an alternative. Focusing on learners' cognitive progress while understanding the meaning of poetic texts, this teaching method attached importance to diversities of understanding and appreciation in poetry. However, this method was also confronted with the problems of various understandings without objective criteria and of a gap between desirable readers and lacking readers. Subsequently, the poetry education shifted its focus to writing a poem. After studying these situations, this article is to seek the desirable direction of the poetry education as follow. First, reconstruct the existing way of the poetry education and apply it to the poetry education in accordance with unification and communication. In other words, there are pros and cons in the respective theories and from a unified and communicative view they should be combined and reflected into the poetry education. Second, to make learners take part in the lecture more productively and actively, a communication-centered learning model should be introduced Third, to concretely develop and intensify the communication-centered learning model, the educational circumstance should be set up that learners write their own poet, introduce them at class and discuss or share the opinions one another. The contemporary poetry education should be accomplished by the mutual communication and discussion between teachers and learners. Above all, it is desirable that the poetry education as a general education course should be achieved under the circumstance learners appreciate poems without constraint and accept and share others' perspectives and opinions so that they could enhance and improve rational communication skills. 본고는 대학 교양으로서 현대시 교육에 대한 검토와 이를 바탕으로 시 교육의 방향을 모색하는데 목적을 둔다. 초기 현대시 교육을 지배했던 신비평의 분석주의에 의한 교육방법은 시의 형식적 요소를 낱낱이 쪼개서 파악하였고, 교수자(전문가)의 일방적인 분석과 주해에 의해 진행된 교수·학습법이다. 그 결과 수동적으로 전락한 학습자는 시는 더 이상 향유하고 즐기는 대상이 아닌 익히고 암기해야할 구조물로 인식되었다. 이와 같은 문제를 개선하기 위한 대안으로 제시된 교육방법이 학습자 중 심의 수용미학과 독자반응비평 교육이다. 이 교육방법은 학습자가 시 텍스트의 의미를 형성해가는 인지적 과정에 관심을 두고 시 해석과 감상의 다양성을 중시하였다. 그러나 이 교육방법 역시 이상적인 독자와 현실적인 독자의 간극의 문제, 그리고 객관적인 기준이 없는 시 해석의 다양성의 문제에 봉착하였다. 이후 시 교육은 문학적 표현을 강조한 시 쓰기의 문제로 변화되었다. 이와 같은 상황을 검토하여 본고는 다음과 같은 현대시 교육의 방향을 모색하였다. 첫째, 기존의 시 교육의 방법을 재구조하여 통합과 교섭의 원리에 따라 교육에 적용하자는 것이다. 각각의 이론이 장, 단점이 있기에 이를 통합과 교섭의 견지에서 현대시 교육에 반영하자는 것이다. 둘째, 보다 더 생산적이고 적극적인 학습자의 참여를 이끌어내기 위해서 대화 중심 학습 모형을 도입할 필요성이 있다. 셋째, 대화 중심의 학습 모형을 구체적으로 심화, 발전시키기 위해서 학습자들이 창작한 자작시를 발표하고 이에 대한 토론을 병행하는 교육방향을 설정하자는 것이다. 현대시 교육은 교수자와 학습자, 학습자 상호간의 대화와 토론을 통해 이루어져야하고 교수자는 학습자들에게 적당한 자극을 줄 수 있어야한다. 무엇보다도 교양으로서 현대시 교육은 학습자들이 시에 대한 자유로운 감상을 통해 서로 다른 관점과 사고를 인정하고 공유함으로써 동시대를 살아가는데 필요한 합리적인 의사소통 능력을 신장시키는 방향으로 유도되는 것이 바람직하다.

무의미시학과 시적 자율성의 시교육 : 김춘수의 무의미시와 시론을 중심으로

이은정 한국초등국어교육학회 2007 한국초등국어교육 Vol.34 No.-

지금까지 시교육은 시작품 안에서 시학습자가 자신의 삶을 읽고 나아가 인간과 세계를 이해하는 방향으로 강조되어왔다. 물론 이것은 문학교육의 가장 핵심적인 지향점이자 의미있는 교육방법이다. 그러나 시교육의 과정에서 작품의 이념이나 시에 재현된 인간 삶에 대한 이해를 강조해옴으로써 시학습자들에게 시 읽기는 주로 반성(反省)적이고 의도화된 양상으로 이루어져왔다. 이로 인해 시학습자들은 독립된 시독자가 되었을 때 삶에 지표가 되는 시들에 치중하거나 역으로 반교과서적인 시들이나 달콤하고 읽기 쉬운 시들에 편향되는 양상을 보여왔다. 시교육의 과정을 통해 주체적이고 유연한 독자로 성장해 시를 향유하거나 수용하는 데 한계가 있었으며, 또한 삶의 공리적인 효용성과는 무관한 미적 자율성과 절대적 예술론의 작품을 수용하고 비평하는 독자층을 형성하지는 못했던 것이다. 본 논문은 시교육의 과정에서 비중있게 다루어야 할 텍스트로 김춘수의 무의미시와 시론을 살피고 무의미시 교육론을 제안하고자 한다. 무의미시는 언어의 도구적 유용성을 부정하고 시가 인간의 삶에 직접적인 효용으로 작용하는 것을 거부한다. 즉 시의 본질은 무상(無償)의 감동에 있으며 진정한 시의 향유는 놀이와 유희에 가까운 것이라는 주장이 무의미시학의 요체이다. 무의미시는 삶을 위한 문학교육과 더불어 공존해야 할 시적 자율성과 절대적 예술론의 시교육에 대한 의미있는 텍스트라고 할 수 있을 것이다. The education of poetry has been emphasized so far on understanding of human beings and the world by letting the readers read their own life within the poems. Of course, this can be said to be the essential aim for the education of literature, and in this respect the education of poetry has had a full significance. Because of the excessive emphasis on reading of life and understanding of human beings in terms of education of literature, however, the reading of poetry has been mainly limited to the aspect of reflection only without understanding of its genre or extension toward the art theory. Accordingly, even the independent poem-readers had a tendency to search for the poems that could be a concrete guide for life or the poems of anti-textbook, sweet love poems or easy-reading poems. That is, there was the limitation in enjoying or accepting the poetry through the process of poetic education as independent readers. Furthermore, it has the limits not to be extended to the ability to understand independent aesthetic autonomy and absolute art theory which is irrelevant to the utilitarian matters of life in poetry and art. This thesis is analyzing such points through what emphasized in the poetry education until now and its problems. Based on the analysis it is dealing with the education of literature that has given emphasis to ideology or theme of life and human beings, the procedure of selecting the text for education of meaningless poems, and the values of literary educators and literary learners on meaningless poetry and their ways of acceptance. And then, the meaningless(or nonsense) poetry of KIM, Choon Soo is introduced as a text to be dealt with a great deal of weight in poetry education, and the theory of meaningless poetry education is suggested in the thesis. The enjoyment of poetry is not the imitation of life but something like mind of play. The cardinal point of the meaningless poetics is to achieve free impression and to reach the playing space of mental liberation through the useless poetry. As such, the meaningless poetics of KIM, Choon Soo is a poetic theory and art theory, beyond one poet's assertion, that is passing through the history of Korean poetry. On that account it can be said an important text of aesthetic autonomy and absolute art theory that should coexist with literature reading for life in poetry education. By analyzing the meaningless poetry and poetics of KIM, Choon Soo and studying the methodology of meaningless poetry education, this writer intends to find the methodology of poetic education for the understanding and the way of enjoyment about the aesthetic autonomy of poetry and modern art theory.

시교육사 서술의 관점과 방향

김창원 ( Chang Won Kim ) 한국문학교육학회 2011 문학교육학 Vol.35 No.-

Perspectives and Directions of the History of Modern Poetry Education Kim, Chang-Won In order to add the depth of poetry education theory and improve its actual application, it is essential to evaluate the history of poetry education. As textbook publishers have recently changed from the government to private businesses, systematic archive of the poetry education history will contribute its improvement. This paper discusses about considerations upon the poetry education history archive, in terms of perspectives and directions. Previous studies on the poetry education focus on descriptive studies based on paper documents. For the poetry education history to have its value, a study methodology that clarifies problems and provides positive feedbacks of poetries and the poetry education is essential. At this moment it is important to be aware that objects of poetry education history differ from that of normal poetry education studies for it having higher dimensions. Further, focuses of poetry education archive, from description, interpretation, evaluation to prospect, must be distinguished from one another. By organizing the history of poetry education with all considerations counted, finally, the theory and actual of poetry education could be elaborated.

『논어(論語)』 인용시(引用詩)의 시교론적(詩敎論的) 이해(理解)-인용(引用) 주체(主體) 및 해석상(解釋上) 문제(問題)를 가진 특정(特定) 인용시(引用詩)를 중심으로-

진예숙 ( Jin Ye-suk ) 근역한문학회 2017 한문학논집(漢文學論集) Vol.48 No.-

유학의 대표적 경전인 『論語』에는, 孔子나 그 高弟, 또는 三家와 隱者에 의해 引用된 詩가 총 8편이 있는데, 이 중 <雄雉>와 <淇奧>, <巧笑?兮> 등 3편의 引用詩에 대해서는 이미 孔子의 學問觀과 文質論을 중심으로 연구를 진행하였다. 나머지 5편의 引用詩들도 비록 錯簡 및 학자들 간의 異見, 詩 引用의 주체 등 여러 問題들을 안고 있으나 그 引用의 정황과 성격이 독특하다는 점과, 孔子의 핵심적인 思想은 물론 그 門人들의 性向과 價値觀 및 學問的 成就 등을 유추하는 데 중요한 端緖들을 찾아볼 수 있다는 점, 孔子의 詩敎論的 敎育 意圖가 내포되어 있다는 점 등에서 그 연구 가치가 높다고 본다. 本稿는 기존의 연구 성과를 바탕으로 하여, 이 5편의 引用詩를 중심으로 孔子와 그 門人들의 詩敎 및 價値觀 등을 조명하고, 詩 引用 상황과 목적, 詩 引用을 통해 열리는 새로운 가치 세계에 대해 분석함으로써 그 意味를 심도 있게 탐색하고자 하였다. 또한 學派나 學者들의 觀點에 따른 詩 解釋의 다양한 見解를 살펴보고, 孔子 詩敎의 敎育的 意義를 규명하고자 하였다. 먼저 孔子의 仁 實踐 意識과 詩 引用에서는, 錯簡說을 적극 수용하여 孔子가 詩 引用을 통해 仁에 대한 抽象的 定義보다 實踐하고자 하는 意識과 확고한 實踐 意志가 중요함을 詩敎로 깨우쳐주고 있다고 보았다. 둘째로 孔子의 節義論과 詩 引用에서도 여러 학자들의 견해 중 程朱의 錯簡說을 수용하여, 齊景公과 伯夷叔弟의 극명한 대비를 통해 결국 영원히 칭송받는 것은 富貴가 아니라 節義와 같은 그 사람의 德이란 점을 詩敎로 강조하려는 의도였다고 보고, 이를 儒學의 節義論的 觀點에서 분석하였다. 셋째로 曾子의 孝敬觀과 詩 引用에서는, 본인이 終身토록 실천한 孝敬을 弟子들에게 몸소 보여주면서 實踐의 중요성을 강조하고 敎育하기 위해서인 것으로 파악하였다. 이는 孝道와 恭敬을 평생 實踐했던 자신의 굳건한 意志를 보여줌은 물론, 孔子로부터 가르침을 받아 완성된 孝敬觀을 詩敎로 弟子들에게 전수한 살아있는 敎育으로서 큰 의미가 있다고 하겠다. 넷째로 他人의 詩 引用에 대한 孔子의 反應과 價値觀에서는, 詩 引用의 주체보다는 孔子의 反應에 초점을 맞추어 그 가치관을 파악하는 데 중점을 두었다. 三家에 의해서 周頌 <?>이 참람하게 使用되자 孔子는 <?>을 斷章하여 言及하면서 三家에게는 강한 경고를 보내고, 弟子들에게는 正名의 중요성을 일깨우는 詩敎論的 敎育 效果를 거둘 수 있었다고 보았다. 또한 <匏有苦葉>과 관련해서는, 儒學의 義理論 중 가장 기본적 양상으로서의 出處에 관한 信念과 가치기준이 명확하게 드러난다는 점에서 의미가 크다고 보았다. 孔子가 詩를 인용하거나 언급해서 弟子들을 敎育했던 이유는, 학문의 진보와 인격의 성장에 시가 기여하는 측면이 매우 크며, 때로는 자기의 뜻과 理想을 전달하는 데 효과적이기 때문이었다. 孔子 詩敎의 특징은, 대체로 자기 내면에서 저절로 우러나오는 感發과 自發的인 懲創을 통해 더 높은 인격의 진보로 자연스럽게 弟子들을 인도하는 것이지만, 때로는 詩를 통해 實踐의 중요성을 일깨워주거나 가치 판단의 기준을 명확하게 제시하기도 한다는 점이다. 그것은 바로 孔子가 이러한 人才들로 인해 사회적 혼란과 분쟁이 終熄되고 理想的인 사회의 건설이 가능할 것이라는 기대를 걸고 있었기 때문이었으니, 이것이 바로 孔子가 『論語』에서 詩의 중요성을 강조하고 詩敎를 통해 敎育에 적극 활용하고 있는 이유라고 할 수 있겠다. One of representative scriptures of Confucianism, Analects of Confucius contains total eight poems quoted by Confucius, his eminent disciples, three families, and hermits. Of the poems, <雄雉>, <淇奧>, and <巧笑?兮> have been topics in researches focused on Confucius' views of study and Munjil theories. The remaining five quoted poems have several problems including the wrong chapter orders, different opinions among scholars, and subjects of quoting the poems, but they hold great value in terms of research in that the circumstances and nature of their quotations are unique, that they provide important clues to infer Confucius' core ideologies and his literary figures' tendencies, values, and academic achievements, and that they contain Confucius' values and also his education intentions in terms of poetry education theory according to his values. This study set out to shed light on the poetry education and academic achievements of Confucius and his literary figures based on these five quoted poems by consulting the findings of previous studies. It also aimed to conduct an in-depth inquiry into the meanings of the quoted poems by analyzing the circumstances and purposes of their quotations and the new world of values that was opened by their quotations. Lastly, it intended to examine various opinions about poetry interpretations according to different perspectives of different schools and scholars and investigate the educational significance of Confucius' poetry education. First, the sections on Confucius' consciousness of practicing In and quotation of poetry accepted the theory of wrong chapter orders actively and found that he tried to make the point through poetry education that the consciousness of practice and the firm determination for practice was more important than the abstract definition of In by quoting poems. Second, the sections on his integrity theory and poetry quotation accepted Jeongju's theory of wrong chapter orders among the opinions of various scholars and found that he emphasized through poetry education that it was one's virtue such as integrity rather than one's wealth that would be praised for eternity through striking contrast between Jegyeonggong and Baekisukje. His emphasis was then analyzed from the perspective of the integrity theory in Confucianism. Third, the sections on Tsengtzu's viewpoint of filial duty and poetry quotation found that he emphasized and educated the importance of practice by demonstrating himself his lifelong acts of filial duty to his disciples. His teachings hold huge significance as living education that exhibited his solid determination of practicing filial duty and respect throughout his life and transmitted his viewpoint of filial duty, which he completed with the teachings of Confucius, to his disciplines through poetry education. Finally, the sections on Confucius' reactions and values to others' quotation of poetry focused on figuring out his values by concentrating attention on his reactions rather than the subjects of poetry quotation. When the three families arrogantly used <?> by Jusong, Confucius mentioned it through its Danjang, which generated two effects of sending a strong warning to the three families and making his disciples realize the importance of Jeongmyeong. His mentioned about <匏有苦葉> hold huge significance in that they clearly reveal his convictions and value criteria about sources as the most basic pattern of the Ui-ri theory in Confucianism. Confucius taught his disciples by quoting or mentioning poetry because poetry made considerable contributions to the progress of study and the growth of personality and was sometimes effective to convey his intentions and ideals. His poetry education was characterized by his natural guidance of his disciples to the progress of personality to a higher level through Gambal naturally emitting from one's inside and voluntary Jingchang. He also awakened his disciples to the importance of practice and clearly presented the criteria of value judgment to them through poetry from time to time. He brought up talents with much more mature study and personality and clear criteria of value judgment through poetry education, expecting them to put an end to the social confusion and disputes and build an ideal society. These were the reasons why he emphasized the importance of poetry and made active use of it in his education for his disciples in Analects of Confucius.

시적 상상력을 통한 시 창작 교육 연구

김영관(Kim, Yeong-gwan) 우리말교육현장학회 2011 우리말교육현장연구 Vol.5 No.1

문학 교육에서 창작 교육의 중요성은 날로 증대되고 있지만, 교실 수업에서 창작 교육이 제대로 이뤄지지 않고 있는 실태를 지적하고, 그 이유로 감상 위주의 교수-학습 형태와 창작을 개인의 천부적인 소질로 취급하여 교육의 대상에서 빼 버려도 무방하다는 분위기를 지적하였다. 또한 그 동안의 연구 성과가 ‘시 교육론’이나 ‘시 창작론’에 치우쳐 있어 ‘시 창작 교육론’에 대한 연구 성과가 미비함을 지적하였다. 본고는 이러한 문제의식에서 출발하였으며, 전문 시인의 입장이 아닌, 시 쓰기 과정에 참여하는 학습자, 즉 창작 주체의 입장에서 상상력을 통한 시 창작을 논의하였다. 관찰과 체험을 통한 시적 상상력에서는 세상에 대한 세밀한 관찰과 체험을 통해 남들이 보지 못하는 것을 볼 수 있고, 남들이 들을 수 없는 것을 들을 수 있는 ‘개성적 안목’을 기를 것을 요구했다. 이것은 시적 상상력을 확장하기 위한 출발이며, 창작뿐만 아니라 다른 시를 감상할 때도 중요한 요인으로 작용한다는 것을 지적하였다. 명상과 체험을 통한 시적 상상력에서는 시 창작에 앞서 정제된 시상(詩想)을 이끌어 내는 데 있어 명상의 중요성을 말하고, 연상을 통해 상상력을 확장하고 극대화하는 방법을 논의하였다. 교사는 창작 주체로 하여금 명상과 연상을 통하여 상상력의 이미지를 자유롭게 기록하게 한 후, 시가 될 수 있는 것과 시가 될 수 없을 것을 해석해 주어야 한다. 기억과 재생을 통한 시적 상상력에서는 과거의 경험을 어떻게 현재에 재생하는지, 재생하는 과정에서 상상력의 확장이 어떻게 작용하는지를 살펴보았다. 과거와 현재의 시간적 간극은 상상력을 더욱 자극시킬 수 있으며, 그것은 현재의 상황에 맞게 재해석 되고 굴절될 수 있다. 기억이 갖고 있는 다양한 서사적인 요소를 창작 주체가 추출할 수 있도록 도와주고 그것에 상상력과 여러 가지 시적인 요소가 어떻게 가미되는지 도와줄 필요가 있다. 필자의 의도와 고민은 시를 잘 쓰는 창작 주체를 양성하는 데 있지는 않다. 교사는 큰 고민이나 어려움 없이 시 창작을 교수-학습할 수 있고, 학습자는 시 창작이 특별한 것이 아닌 장르를 달리하는 단순한 글쓰기로 생각하기를 바라는 데 있다. 그래서 감상 위주의 문학 수업이 창작과 감상이 적절하게 균형을 맞추는 역동적인 수업이 되길 바란다. The introduction pointed out that writing education had not been provided properly in classroom lessons even though the importance of writing education had increased in literary education every day and that the situation was derived from the atmosphere that considered appreciation-oriented teaching and learning and writing as parts of individuals’ innate talents and assumed it would create no problem to leave those areas behind in the field of education. It also pointed out that there had been poor research findings on “theories of education on poetry writing” as research efforts had been inclined toward “theories of poetry education” and “theories of poetry writing.” Taking a start in those issues, the study discussed poetry writing through imagination in the shoes of a learner in a poetry writing process or a subject of creation rather than a professional poet. Poetic imagination through observation and experience asked the students to develop “distinctive eyes” to see what others cannot see and hear what others cannot hear through the detailed observations and experiences of the world. It is a starting point in the expansion of poetic imagination and serves as an important factor in poetry appreciation as well as in poetry writing. Poetic imagination through meditation and association addressed the importance of meditation, which pulls purified poetical ideas out of an individual before poetry writing and discussed how to expand and maximize imagination through association. The teacher needs to let the subjects of creation write down the images of their imaginations freely through meditation and association and interpret them to tell which of them can be poetry and which of them cannot be poetry. Poetic imagination through memory and reproduction examined how past experiences could be reproduced in the present and what kind of role the expansion of imagination would play in the reproduction process. The time gap between the past and present may stimulate imagination further and be reinterpreted and refracted according to the current situation. The teacher needs to help the subjects of creation extract a variety of narrative elements contained in memory and add imagination and various poetic elements to them. The investigator did not intend to produce the subjects of creation that are good at poetry writing through those purports and contemplations and wanted to help the teachers teach poetry writing with no particular worries or difficulties and the students regard poetry writing as a different genre of writing rather than something special, hoping appreciation-based literary classes will be dynamic with proper balance between creation and appreciation.

시교육과 문명 인식의 문제

김종태 ( Kim Jong-tae ) 한국현대문예비평학회 2021 한국문예비평연구 Vol.- No.70

본고는 시교육과 문명 인식의 문제를 논의하였다. 시는 인간 삶, 나아가 자연과 우주를 형상화한다. 인간의 삶은 문명 현실과 항상 연결되어 있다. 본고는 한국현대시의 흐름을 시기별로 세 분야로 나누어서 문명 체험을 형상화한 작품과 시교육의 문제를 연결시켜서 논의해 보았다. ‘2. 일제강점기 시의 문명 체험과 시교육의 제언’에서는 일제강점기에 발표된 작품들 속에 나타난 문명 체험을 시교육적 관점에서 논의하였다. 이들 작품은 신문명에 대한 체험을 객관적이거나 혹은 주정적으로 형상화하려는 경향을 보여주었다. 교사는 근대화 초기라는 일제 강점기의 특수성을 고려하여 이들 작품을 학생들에게 가르쳐야 할 것이다. ‘3. 산업화시대 시의 문명 부정과 시교육의 제언’에서는 해방 이후부터 1970년대에 이르는 시기에 발표된 작품들 속에 나타난 문명 부정을 시교육적 관점에서 논의하였다. 이들 작품들은 문명적 현실에 대한 부정 의식을 중심에 두고 문명을 인식하려는 경향을 보여주었다. 교사는 산업화시대의 모순과 폐해라는 문제를 고려하여 이들 작품을 학생들에게 가르쳐야 할 것이다. ‘4. 정보화시대 시의 문명 불화와 시교육의 제언’에서는 1980년대부터 최근까지 발표된 작품들 속에 나타난 문명 불화를 시교육적 관점에서 논의하였다. 이들 작품들은 문명적 현실에 대한 불화 의식을 중심에 두고 문명을 인식하려는 경향을 보여주었다. 교사는 정보화시대의 특성을 고려하여 이들 작품을 학생들에게 가르쳐야 할 것이다. This paper discussed civilization awareness with Poetry Education. Many poets embody the reality of civilization. This paper divided Korean contemporary poetry into three periods, discussing the matter of poetry education and works embodying civilization awareness. "2. Japanese colonial era Poetry‘s Civilization Experience and Poetry Education's Advice" discussed the civilization experience in the works published in Japanese colonial era in terms of poetry education. These works tried to objectively embody the experience of civilization. A teacher Teachers should teach these works to their students, considering the characteristics of the Japanese colonial era "3. Industrial Age Poetry's Civilization Denial and Poetry Education's Advice" discussed the civilization experiences in the works published in the 1945-70s in terms of poetry education. These works recognized civilization with a critical spirit. Teachers should teach these works to their students, considering the characteristics of the industrial age. "4. Information Age Poetry's Civilization Discord and Poetry Education's Advice" discussed civilization discord in works published from 1980 to the present in terms of Poetry Education. These works recognized civilization with the spirit of discord. Teachers should teach these works to their students, considering the characteristics of the information age. Poetry embodies nature and transcendence, and civilization and reality. This paper Discussed works having civilization awareness. This paper discussed the right way to teach these works to students.