디지털 시대 청소년 학습자의 미디어 서사 문식성 함양을 위한 문학교육 방안 연구

오윤주(Oh Yun Joo) 학습자중심교과교육학회 2020 학습자중심교과교육연구 Vol.20 No.13

The purpose of this study is to find new horizons of literary education to cultivate subjective literary enjoyment in learners, focusing on media narrative literacy in the transition to the digital media era. Media narrative literacy can be considered as the ability to sensitively capture and enjoy changes inside the narrative genre. This is a concept that combines media literacy and encompasses the ability to use media and critical reflection, along with aesthetic literacy that enables an aesthetic experience of the media narrative. In this study, those who actively enjoy media narratives were categorized as “media narrative enjoyers.” Their typical characteristics were determined to be “acquisition of media narrative genre competency”; “fusion of aesthetic acceptance capacity, aesthetic reconstruction, and creation competency”; “maximization of social applicability”; and “critical and ethical perspectives on media narrative.” Based on these factors, the study designed and implemented a class for high school learners. Through this class, the study recognized Possibility and Limitation as a Prosumer and the Gap between Enjoyment and Reflection as problem points and suggested educational methods for making these factors the main subject of the digital media era.

미디어 시대의 문학교육 : 디지털 미디어 시대의 서사텍스트의 위상 -자막언어의 서사 미학적 기능을 중심으로-

김중신 ( Jung Sin Kim ) 한국문학교육학회 2011 문학교육학 Vol.36 No.-

In this article the narrative nature of caption Language in TV will be discussed. I will discuss the narrative aesthetic features of caption language. The narrative feature of caption language can be distinguished of the traditional narrative. The traditional narrative is independent of the other media. but the narrative of caption language is complemented by the other media. And the traditional narrative is the traditional teleological narrative for community`s prosperity, however the narrative of caption language is for the entertainment. In addition, the traditional narrative is created by one person, the narrative of caption language is created by a group. So it is solidarity. Discussed in this article, the narrative aesthetic features of the caption language in TV is as follows. First it is the aesthetic of pattern by ``chapter-feature``(章回性) and ``type-feature(類型性)`` oriented. Secondly, it is constantly the aesthetics of contest oriented by the composition of a binary opposition. Thirdly, it often breaks down boundaries of crew and the cast and viewers, so it shows the aesthetic of the betweenness In its final analysis, times may change, but the culture medium will be continue to exist. In the era of digital media, how to accommodate the narrative should be renewed.

스토리텔링의 서사 문화와 서사표현교육론 -TV 방송 매체의 일상성을 중심으로-

김근호 ( Keun Ho Kim ) 국어교육학회 2008 국어교육학연구 Vol.33 No.-

In this paper I have investigated the narrative culture of storytelling in the multimedia age and have searched the contents of the education of narrative expression. Nowadays, the development of multimedia helps us to actualize the narrative desire. The narrative communication and enjoyment seen in the TV, radio, Internet, etc. Education should keep an eye on the ordinariness of narrative desire, to itemize the educational contents of it. However, above all, I argued the problem of the media language in the education of narrative expression. Until now, the theoretical history of the narrative education in Korean education shows the limitation in the language. Human language in the multimedia age must be the multimedia literacy beyond the oral and the written language. I investigated the narrative cultural structure of storytelling in multimedia, centering on the TV broadcasting media. I examined the `Movie vs Movie`, the `storytelling club Eyagee Baljeonso`, and the `Dolbalyeongsang(Pop-Up)`. In these material, I discovered the technical production of narrative media text, the aesthetics of participation in the narrative field, and the self criticism of the narrative media text. These can be reconceptualized into the educational contents of the narrative expression of multimedia. I established three edcational contents. First, the activity of focusing on producing of the narrative text. Second, the activity of focusing on participating in the narrative field. Third, the activity of focusing on reflecting of the narrative culture. These items should be harmonized with each other. But I emphasized the ethical subject of narrative expression in the multimedia age. Fundamentally, the education contains the ethics all the time. Human should follow the self-criticism in expressing, communicating, and reflecting of the narrative activity. Therefore, the education of narrative expression in the multimedia age should be based on the publicity and reflectivity of the narrative activity.

신선서사의 뉴미디어적 재생산― ‘계룡선녀전’을 중심으로

최진아 한국중국소설학회 2019 中國小說論叢 Vol.57 No.-

In this paper, we discussed reproduction of Taoist hermit narrative in the new-media era, focusing on webtoons and television drama Gyeryong Sunnyeojeon.. Gyeryong Sunnyeojeon is a story of love between a Taosit fairy who has come down to the human world and a man in the human world. It was completed in 2018 in the form of a webtoon. and was broadcast in the second half of 2018 as a drama on airwaves. In this paper, we made a comparative analysis the structure of Gyeryong Sunnyeojeon' with Liexianzhuan(列仙傳) in Weijin(魏晉) era and the works of the human and god’s love(人神戀愛) type of Tang Chuan-qi(唐傳奇). Consequently, searched for the re-produced form of Chinese classical narrative in webtoons and dramas as narrative in the new-media era. Also, studied how the Korean classical narrative was reflected in the composition of the content of Gyeryong Sunnyeojeon'. Futhermore, in this paper, focused on consumers of Taoist hermit narrative. As a result, we found out that the consumers of Chinese-Korean classical narrative was male, in comparison to that, the consumers of new-media narrative was female or have a tendecy of female identity. Therefore, we have reached the conclusion that this fact affects the structure and content of Taoist hermit narrative in the new-media era. 본 논문에서는 웹툰과 텔레비전 드라마인 ‘계룡선녀전’을 중심으로 뉴미디어 시대의 신선서사에 대해서 고찰하였다. ‘계룡선녀전’은 인간세상에 내려온 선녀와 인간남성의 사랑이야기로 웹툰으로 2018년에 연재완료 되었고 뒤이어 2018년 하반기에 공중파 방송의 드라마로 방영된 작품이다. 본 논문에서는 ‘계룡선녀전’의 서사적 구조를 중국 위진남북조 시기의 《열선전》 및 당나라 전기 가운데 人神戀愛 유형의 작품과 비교분석하여 중국전통서사가 뉴미디어 시대의 서사인 웹툰, 드라마로 재생산된 형태를 탐색하였다. 또한 한국전통서사가 ‘계룡선녀전’의 내용 구성에 어떠한 방식으로 반영되었는지에 대해서도 분석하였다. 마지막으로 본 논문에서는 한, 중 전통서사와 뉴미디어 서사 사이의 가장 변별되는 점인 신선서사의 소비자에 대해서 집중하였다. 즉 전통서사의 소비자가 남성임에 비해 뉴미디어 시대의 소비자는 여성, 혹은 여성주체적 취향임에 주목하였고 이러한 원인은 뉴미디어 시대 신선서사의 구조와 내용, 결론에 모두 영향을 미친다는 결론에 도달하였다.

영화 대 영화 형(型) 방송 프로그램에 대한 미디어 서사교육적 연구 -KBS의 「배칠수의 종횡무진」 분석을 중심으로

김근호 ( Keun Ho Kim ) 한국문학교육학회 2005 문학교육학 Vol.16 No.-

This paper aims to explore theories of media narrative education and suggest the method of educational activity centered on productive narrative culture. Nowadays media education is very important in Korean education, so the study of it is fiercely processed. But the educational content is insufficient. To work out this problem, I give attention to a narrative activity through movie, and investigate the mechanism of it. Nowadays we have the three major Korean broadcasting station. They are KBS, MBC, and SBS. All of them have the program of introducing movies on weekend. Especially, they have the `Movie vs Movie`. `Movie vs Movie` is very interesting to television audience. This corner has the same narrative format. It has four principles as follows. First, a rivalry game format. Second, a interpretative discourse centered on intertextuality. Third, a simultaneity of telling and showing in narrative. Last, a combination of narrative and criticism. These narrative systems are due to new media technology. So Korean education should have the content of media narrative activity. I think it has three levels and methods. First, the investigation of story between two movies. Second, the comparison of structural peculiarities between two narrative texts. Last, the storytelling based on the combination of interpretation and criticism about two movies. This educational activity integrates critical and creative media literacy, and activates productive narrative culture.

한국 라디오서사의 갈래 연구

최미진 ( Choi Mi-jin ) 한국문학이론과 비평학회 2008 한국문학이론과 비평 Vol.40 No.-

The radio literature in Korea had long been marginalized in literary research in a disparaged environment for creation. Noting that the theoretical approach to radio literature is almost existent, this study aims at exploring the concept and the genre characteristics of radio narrative and categorizing the Korean narratives during the period between the Japanese colonial rule and the 1970s. Radio narrative refers to a series of stories delivered through an arrangement and rhetorical methods of the radio media. Today's narrative goes beyond the limited rhetorics found in novels and crisscrosses many kinds of media and genres to include diverse literary products and discourses dispersed in human activities. So, it can be said that radio narrative covers quite broad areas, but this study takes a close look only at artistic radio narrative. The categorization of radio narrative is based on the concept of remediation suggested by Jay David Bolter and Richard Grusin, focusing on the correlations between media and genres. Radio narrative can be divided according to the remediation aspects of the existing narrative genres. The remediation of oral narratives include radio historical stories and radio gags, while that of technical narrative genres are radio drama, radio novel, radio essay, radio sound play and radio music play, which have some characteristics of radio drama in common or become similar to it. This means radio drama with pronounced characteristics of remediating other genres is the integral part of radio narrative. In this study, the categorization of radio drama genre is examined separately. There are more criteria to categorize radio drama, but it is important to note that a new experience between the 1950s and 1960s had a decisive impact on the establishment and the popularity of radio drama. Moreover, the remediation of diverse media and genres also has taken deep root in the U.S. broadcasters as well as many competing broadcasters. Korean radio narrative has recently shown a distinctive trend of seeking changes. Facing a competition with television and many other media, radio narrative is trying to converting itself into a visible radio by utilizing advanced digital technologies. At the same time, radio narrative is gaining more ground through audio book service provided by broadcasters. Therefore, reminding that radio narrative has been keeping pace with technological and social changes, it is necessary to conduct more research on radio narrative.

매체 변용 과정에서의 서사의 활용 : 〈포켓몬 GO〉와 〈해리포터: 마법사연합〉을 중심으로

이재학(Jae-Hak Lee),김인주(Ihn-Jou Kim) 한국애니메이션학회 2020 애니메이션연구 Vol.16 No.4

본 논문에서는 증강현실(AR) 게임인 〈포켓몬 GO〉와 〈해리포터: 마법사연합〉을 원천 콘텐츠와 비교·분석하면서 콘텐츠의 매체 변용 과정을 중심으로 나타나는 현상에 대해 살펴보았다. 연구결과, 매체 변용과정에서 중요한 요인으로 매체 적합도(또는 매체 친화)와 매체 적합에 영향을 미치는 원천 콘텐츠의 서사구조를 제시하였다. 콘텐츠는 기본적으로 서사구조를 내재하고 있으며, 수용자들과 어떻게 상호작용하느냐에 따라 매체 적합도가 결정된다. 상호작용의 형태에 따라 서사구조는 열린 서사와 닫힌 서사로 구분된다. 증강현실 매체는 현실에 바탕을 두는 시공간적 일상성이 중요하며, 열린 서사의 경우 적극적인 상호작용으로 매체 적합도가 높았다. 매체의 적합도가 높을수록 해당 콘텐츠의 성공확률도 높아진다. 게임에서 시작한 포켓몬 원천콘텐츠는 게임 친화적인 매체 적합도와 서사구조를 갖추고 있다. 증강현실게임 〈포켓몬 GO〉는 이러한 게임 친화적인 매체 적합도와 함께 증강현실 게임에서 중요한 특징인 열린 서사의 특성을 잘 반영하고 있다. 〈포켓몬 GO〉에서 플레이어는 일상을 중심으로 생활 서사를 능동적으로 만들어갈 수 있으며, 게임 플레이어의 일상적인 서서와 일상의 공간을 담을 수 있는 열린 서사의 특징을 갖는다. 곧, 증강현실의 의미성이 잘 활용된 것이다. 소설 『해리포터』는 기승전결이 분명하고, 정해진 배경과 고정적인 서사구조를 갖는 원천 콘텐츠의 특징에 따라, 이를 활용한 증강현실 게임 〈해리포터: 마법사연합〉은 닫힌 서사의 한계로 인해 증강현실 게임에 대한 매체 적합도에 차이가 있다. 이러한 매체 특성에 맞는 친화성과 변용 매체의 서사구조에 대한 적합성 등은 콘텐츠 비즈니스 측면에서도 참고할 요인으로 여겨진다. Research was conducted focusing on how the function and role of narrative influences the success of the medium in the process of media transformation. This paper compared and analyzed the augmented reality (AR) game 〈Pokemon GO〉 and 〈Harry Potter: Wizards Unite〉 with the original content, looking at the phenomenon that appears centered on the process of media transformation of the content. As a result of the study, the narrative structure of the original content that influences the media suitability (or media friendliness) and media suitability as an important factor in the process of media transformation was suggested. Content basically has a narrative structure, and media suitability is determined by how it interacts with audiences. According to the form of interaction, the narrative structure is divided into an open narrative and a closed narrative. Also, the higher the suitability of the medium to be transformed, the higher the probability of success of the content. In augmented reality (AR) media, everyday life (everydayness) based on reality is important, and the success of AR content is in reflecting and applying the characteristics of the media well. Therefore, in the future, content companies and companies that want to use the content should examine in detail what media characteristics the source of the content intends to use is friendly to what kind of media characteristics, and whether it has a narrative structure suitable for the transformation medium, and use it in the content business.

논문 : 현대문학 ; 뉴미디어 시대의 새로운 서사 양상과 미디어 리터러시

최성민 ( Sung Min Choi ) 숙명여자대학교 한국어문화연구소 2013 한국어와 문화 Vol.13 No.-

언제나 ``뉴미디어``가 있었다. 한때 ``신문``도 뉴미디어였고, 심지어 ``봉화``도 뉴미디어였던 때가 있었다. 하지만 최근 ``뉴미디어``라는 어휘는 디지털 전자 기술을 기반으로 한 매체를 지칭한다는 특징을 가지고 있다. 뉴미디어는 몇 가지 속성을 가지고 있다. 첫째는 멀티미디어적 속성이다. 요즘의 뉴미디어들은 각각의 영역이 명확하지 않고 혼성되어 있는 성격을 띤다. 과거의 신문이나 방송도 기존의 매체들이 혼성된 형태로 등장하기 시작했지만, 지금의 뉴미디어들은 더욱 더 복합적인 미디어 환경 속에서 등장하고 사라지기를 반복하고 있다. 그 어떤 미디어도 일방적으로 지배하거나 점령하지 못하는 시대가 도래한 것이다. 두 번째는 미디어의 재매개 과정에서의 ``투명화`` 속성이다. 뉴미디어는 기존 미디어의 콘텐츠를 재매개하는 방식으로 발전되어 왔다. 그 과정에서 미디어 자체를 투명화하는 방식으로 미디어의 역할은 오히려 강화되었다. 근래 가상현실이나 가상세계에 대한 시도는 그 대표적인 예들이다. 세 번째는 상호텍스트적 속성이다. 서사 텍스트들은 다양한 매체로 전환되어 활용되며 소통되는 양상을 보인다. 이러한 양상을 보이는 뉴미디어 시대에 과거의 ``문학`` 개념은 재정립될 필요가 있다. ``책``이라는 매체에 의존하지 않고도 문학적 성찰과 예술적 감수성을 교육하고 공감할 수 있도록 새로운 서사 교육의 방법도 제시될 필요가 있다. 새로운 시대의 미디어에 대한 이해를 강화하는 미디어 리터러시 교육은 그 대안으로 주목되어야 할 것이다. It has always been New Media. The newspaper was a new media, even beacon fire was a new media. However the word ``New Media`` in these days generally means media based on digital and electronic technology. New Media has several attributes. First, they are Multi-Media. New media nowadays look hybrid and don``t have clear borders. It``s same the newspaper and broadcast come on the scene in the shape of mixture of existing media. But the circumstances are much complicated and the appearance and exit are much more rapid. This is the era no media can be fully dominant or occupy. Second, they are ``transparent`` in re-mediation process. New media has been developed by re-mediating existing media. The role of media has been reinforced to make transparent media itself. The trials for virtual reality or virtual world are good examples. Third, they have intertextuality. Narrative texts are changed in various media, utilized and communicated manifoldly. All these aspects require to reestablish the past concept of ``Literature`` in new media era. Also new educational method in narrative education is needed not to depend on only books for literary inquiry and artistic sensitivity. Media literacy education is worthy to notice to reinforce understanding for new media in new era.

뉴미디어가 대중들의 서사적 사고를 추동하는 방식에 대한 서사교육적 탐색

김태호 한국초등국어교육학회 2024 한국초등국어교육 Vol.79 No.-

뉴미디어의 생산 주체가 허위 정보, 조작 정보를 의도적으로 전파하여 대중들을 선동 하고 경제적 이득을 취하는 세태가 만연하고 있다. 대표적인 뉴미디어 유튜브의 경우, 유튜브 저널리즘이란 용어가 생길 정도로 기성 언론의 역할을 대체하고 있지만, 실상을 들여다보면 허위⋅왜곡⋅과장 정보를 전시하여 대중들의 이목을 끌고 수익을 올리려는 경향이 강하게 나타난다. 이에 이 연구에서는 ‘한강 대학생 사망 사건’을 두고 일부 유튜브 콘텐츠 생산자들이 어떻게 허위 정보를 전시하는지를 분석하였다. 그 결과 신뢰할 수 없는 정보가 유포되 는 데에 서사적 사고의 작용이 있음을 확인하였다. 일부 유튜버들은 수용자들의 서사적 사고를 추동하여 사건을 그럴 듯하게 해석하도록 전시한다. 그리하여 근거가 없고 확인 되지 않은 정보도 ‘서사적 진실’처럼 오인하게 한다. 이러한 문제를 해결하는 한 방안은 서사적 사고에 대한 메타적 인식 교육이다. 학습 자들에게 인간이 서사적 존재이고 서사적 사고를 기반으로 경험을 해석함을 교육하는 것이다. 그러면 학습자들은 특정 사건을 이해할 때, 그것이 객관적 사실이 아니라 개연 성 있는 가설적 추론임을 자각할 수 있다. 이에 이 연구에서는 뉴미디어 시대 유튜브의 비판적 읽기를 위해 서사적 사고에 대한 메타적 인식이 필요함을 논의하였다. The phenomenon of new media producers intentionally spreading misinformation and manipulated information to incite the public and gain economic benefits is becoming widespread. In the case of YouTube, a representative of new media, the term “YouTube journalism” has emerged, indicating that it is taking over the role of traditional media. However, upon closer examination, it reveals a strong tendency to display false, distorted, or exaggerated information to attract public attention and generate profits. This study analyzes how some YouTube content creators presented false information regarding the “death of a university student at the Han River.” The findings confirm the influence of narrative thinking in the dissemination of unreliable information. Some YouTubers stimulate the audience’s narrative thinking to interpret the event in a plausible manner, leading to unsubstantiated and unverified information being mistaken for “narrative truth.” One proposed solution to this issue is education on meta-awareness of narrative thinking. By educating learners that humans are narrative beings who interpret experiences based on narrative thinking, they can become aware that their understanding of specific events is not objective fact but a plausible hypothetical inference. Thus, this study discusses the need for meta-awareness of narrative thinking for a critical reading of YouTube in the new media era.

문학 매체로서의 웹 환경과 경계 넘기의 서사학

정도미 전남대학교 인문학연구소 2025 용봉인문논총 Vol.- No.66

본 연구는 웹툰 <정년이>의 사례를 통해 디지털 매체와 웹 환경에서 비롯된 특징적 자질들이 서사의 안팎으로 개입해 담론적 효력을 발휘하는 국면을 확인하고자 한 시도이다. 오늘날 전통적 출판시장의 경쟁력이 약화되는 분위기 속에서 디지털 매체와 웹 환경이 문학의 새로운 유통경로로 자리한다는 사실에는 의심의 여지가 없다. 이에 본고는 문학 매체로서의 디지털과 웹 환경이 서사의 외적 형식을 변화시키는 데에만 그치지 않고, 여기서 한발 더 나아가 서사를 둘러싼 상호작용 전반에 개입할 여지가 있다고 판단하였다. 이를 토대로 본고는 디지털 매체와 웹 환경의 자질들이 웹툰 <정년이>의 서사와 조응하는 국면을 분석하는 비평적 작업을 수행하였다. 그 결과 <정년이>에 나타난 웹툰 특유의 수직적 시각 동선이 서사 공간의 분할로 이어져 겹의 서사를 생성하고 시‧공간적 횡단을 이루는 국면, 쌍방향성과 비선현성에 입각한 독자의 수행적 참여가 현재진행형의 서사를 빚어내는 국면, 웹 환경에서의 의사소통 창구를 통해 독자들의 집합적 관심사와 언표가 발현되는 국면을 차례대로 확인하였다. This study discusses how the characteristics of digital media and web environments intervene in both the internal and external aspects of narrative, exerting discursive effects. To clarify this, the study uses the webtoon <Jeongnyeoni> as an example. Today, the competitiveness of the traditional publishing market is gradually weakening. As a result, digital media and web environments have become new distribution channels for literature. As literary media, digital and web environments not only alter the external forms of narratives but also intervene in the overall interaction surrounding the narrative. Therefore, this study analyzes how the characteristics of digital media and web environments are manifested in the narrative of the webtoon <Jeongnyeoni>. As a result, it was confirmed that the vertical visual movement in the webtoon leads to the division of the narrative space, resulting in the creation of two distinct narrative threads. Additionally, it was confirmed that the process of rewriting within web media fosters an active form of narrative. Finally, it was also confirmed that empathy and communication transcend both time and space.