스토리 드라마: 사회문화적 구성주의 읽기 교육

김주연 ( Kim Joo Yon ) 서울교육대학교 초등교육연구원 2016 한국초등교육 Vol.27 No.4

This thesis explores story drama as a socio-cultural constructivist approach to teaching reading. There are three types of socio-cultural constructivist approaches in terms of teaching reading which are `expanding meaning field of text`, `meaning making driven by context` `reflective and critical reader`. These place emphasis on different spots so that a problem is raised how to apply these different approaches. A possible answer can be that these can be deployed according to conditions and needs. This study offers story drama as a method embody these approaches. Story drama has a structure to facilitate organizing reading community and the zone of proximal development. Besides, story drama as a social medium allow dynamic social interactions and provokes spontaneous meaning making and expression through employment of feeling, body, imagination and so on. Furthermore, the dual layering of fiction and actuality makes participants discover their contexts and confronts them with difference. This enables them to reflect and crticise their subjective meaning and the social, cultural and historical context which constitutes the subjective meaning.

국어과 ‘연극’의 위상 정립: ‘복합양식성’으로서의 연극

김주연 ( Kim Joo Yon ) 서울교육대학교 초등교육연구원 2018 한국초등교육 Vol.29 No.3

To identify the communicative aspects of drama/theatre, this study explores the theoretical place of drama/theatre as medium language. When various modes are put together, then, it is called multimodality. Multimodality is a concept which challenges the privileged status of language as an unique means to construct and communicate meaning and places language at a same level with other signs. To define drama/theatre as multimodality which is based upon signs, drama/theatre should be interpreted as signs. The cultural theory that art should be interpreted in relation to context provides a perspective on the drama/theater as a visual culture and a framework for interpreting visual culture as signs. In addition, this study presents the concept of drama/theatre as a medium language, embracing that the medium language is hardly possible to approach aesthetic feeling. As a medium language, drama/theatre values the social and cultural context in which drama/theatre is made, and organizes and communicates the drama/theatre according to the interest of the audience. In addition, drama/theatre as a medium language acknowledges the performativity and aesthetic feeling to which it could not get access. The mode of drama/theatre that this study particularly deals with is 'embodied mode'. The 'embodied mode' takes into account the 'co expressiveness of speech and gesture' of an individual. Thus, drama/theatre consists of visual, auditory, and embodied modes.

연극교육의 창의성 - 개인주의적 창의성과 사회문화적 창의성의 통합적 배치

김주연 ( Kim Joo-yon ) 한국드라마학회 2017 드라마연구 Vol.0 No.52

The creativity of current theatre education is grounded on individualist approach so that promotes participants` spontaneous involvement. However, it results in neither employing theatre form and content nor dealing with social, political, cultural issues and articulating development. To complement this, socio-cultural creativity is needed. socio-cultural creativity provides a way for learners to interact with socio-culturally constructed art forms and contents. Socio-cultural creativity requires interacting with socio-cultural signs and tools so that drama/theatre education can be articulated in terms of development. Although individualist creativity and socio-cultural creativity have different aspects, they can be integrated for practical purposes on the basis of individuals` autonomous and spontaneous meaning-making. While including individual`s autonomous experiment of individualist creativity, the frame for experiment is employed from theatre form and content which is the key element of socio-cultural creativity. For this integration, theatre teacher needs to understand learners in terms of their social, political and cultural environments and the organic relationships of theatre form and content. To embody creativity which facilitate learner`s involvement and the creativity of theatre, the current individualist creativity requires to be complemented with socio-cultural creativity.

드라마 관습 활동을 통한 사회세계의 이해

김주연 ( Joo Yon Kim ) 서울교육대학교 초등교육연구원 2011 한국초등교육 Vol.21 No.3

D.I.E. (Drama in Education) is recurrently mentioned as exemplifying how art can be used in teaching social studies. Therefore, various researches about how D.I.E. can be employed in teaching social studies are carried out. However, such researches remain simply making use of some drama conventions. Such approach which simply uses drama conventions might restrain practical and insightful awareness which art can bring out. Beyond simple usage of drama conventions, if the aesthetic principle of D.I.E. is understood and explored in terms of social studies, it will increase the effect of teaching through art. In this sense, this study explores the aesthetic principle of D.I.E. and discovers metaxis and aesthetic engagement as the principle. In addition, it is found that this is the overlapping area with social study. Through applying this principle into classroom, it is found that children`s subjective and psychological understanding is exptended into the cognition of society. In addition, their positive and voluntary desire towards learning social studies is brought out. Therefore, this study suggests that the approach of D.I.E. to social studies needs to be changed from simply using drama conventions to employing aesthetic principle of D.I.E. Then, the understanding will become more practical and insightful in a more fundamental level.

교육연극, 방법에서 철학으로: 황정현의 교육연극 접근방식 고찰

김주연 ( Joo Yon Kim ),김병주 ( Byoung Joo Kim ) 서울교육대학교 초등교육연구원 2014 한국초등교육 Vol.25 No.4

Hwang had taken central role for the last 25 years of Korean educational drama history. He actively participated in forming Korea Association for Drama/ Theatre and Education, and he had served as president from 2004 to 2009. During the time, he established M.A. program of Educational Drama, the first-ever in Korea, and essentially constructed foundational work for educational drama in Korea, before his sudden and untimely demise in 2013. Therefore, it is worth exploring what he sought from educational drama. Hwang``s theoretical approaches are divided into two ways. Educational method for whole language approach is at one hand and subject matter education is the other. Hwang discovered the possibility of embodying whole language approach from wholistic meaning making process and the diversity of languages intrinsic in drama``s fiction. In terms of subject matter education, Hwang attempts to establish educational drama as a subject illuminating drama``s cognitive process. To employ educational drama as a method for whole language approach, he pinpointed drama``s wholistic meaning making process and the wholeness of language. This is a new way to seek educational method because educational contents and methods are connected in principle. In addition, his trial to establish educational drama as a subject is another valuable trial. His approaches demonstrates that educational drama operates not only as an educational method but also as a subject, and his approaches may become a blue-print to guide where educational drama need to aim for in the future.

드라마의 교육 방법적 활용 방안 모색 : 과정 드라마를 통한 개념 탐구

김주연 ( Joo Yon Kim ) 한국드라마학회 2012 드라마연구 Vol.- No.38

In 2011, Seoul metropolitan office of education has launched educational drama program which helps teachers teach their subjects with dramatic methods. This attempt reflects a trend that educational drama is rapidly booming nowadays and gives rise to deeper discussion of drama as a learning medium. Specially, the employment of dramatic method is done mainly in primary school so that it remains as simple mechanical applications of dramatic conventions. Hence, dramatic method for acquiring complex concepts is demanded. In this context, this study suggests Heathcote`s process-centered drama which is regarded as a method to encompass a wide range of meaning making. In Heathcote`s process-centered drama, three- layered meaning can be produced: meaning coming from identification; meaning coming from distancing; meaning coming from metaxis. Having included a variety of meaning making, Heathcote`s process-centered drama is appropriate for middle and high school curriculum. Besides, this study provides the principle of process-centered drama which is emotional engagement and critical detachment. To embody this principle, devices are listed: living through drama, interest and consensus, teacher-in-role, finding connection, critical reflection and self-spectatorship. The outcome of application of Heathcote`s process-centered drama into middle school classroom is persuasively positive. Therefore, this study suggests Heathcote`s process-centered drama as an effective learning medium for understanding complex concepts. Emotional engagement and critical detachment are the necessary and sufficient conditions for the process-centered drama. 2011년 서울시 교육청의 중학교 교과연계 연극 교육 프로그램은 교육 방법으로서의 연극 활용이 그동안 진행되어온 소규모 단위에서, 행정 자치 수준의 대단위로 확대되고 있음을 보여준다. 이러한 확대는 초등학교 중심의 매뉴얼식 연극 활용이라는 그동안 진행되어온 접근 방식에 대한 다양화의 필요성을 낳았다. 특히 이번 서울시 교육청 프로그램이 선택한 중학교 교육과정은 복잡한 과정을 요하는 개념과 원리 탐구가 주를 이뤄, 이에 어울리는 교육 연극 방법에 대한 논의가 필요하게 되었다. 이에 본 논문은 중학교 이상 교육과정의 개념과 원리 탐구를 위한 방법으로서 히스코트의 과정 드라마를 제시한다. 히스코트의 과정드라마는 세 층위의 의미-동일시에서의 의미, 거리두기에서의 의미, 메타시스 의미-를 허락함으로써 복잡한 과정을 요하는 개념 탐구에 효과적 방법으로 기능할 수 있다. 더불어 히스코트 과정 드라마의 작동 원리와 그 원리 구현을 위한 장치들도 제시하였는데, 과정 드라마는 감정적 몰입과 비판적 거리두기 원리로 구성되며 이를 위한 장치로 ``살아보기 드라마(living through drama)``, ``관심과 합의``, ``역할 내 교사``, ``연결 지점 찾기`` 그리고 ``비판적 성찰``, ``자기-관객 개념(self-spectatorship)등이 있다. 이러한 원리와 장치를 지닌 과정드라마를 실제 중학교에 적용해본 결과 그 효과가 설득력 있게 드러났다. 따라서 본 논문은 다층적 개념 이해를 위한 연극 교육 방법으로서 과정드라마를 제안하면서, 이를 실제 적용할 시 감정적 몰입과 비판적 거리두기가 필요충분조건임을 강조하고자 한다.

사회적, 교육적 교실 즉흥극의 생성 원리 탐구 : "의미 구성"을 중심으로

김주연 ( Joo Yon Kim ) 한국드라마학회 2015 드라마연구 Vol.0 No.45

Theatre or drama has become varied for the last 25 years. O``Toole divides these theatre into four categories in terms of aims, linguistic/communicative purpose, expressive/developmental purpose, social/pedagogical purpose and aesthetic/cognitive purpose. Especially, as social/pedagogical purpose of classroom drama has been increased, this study attempt to explore the principles of meaning-making of social/pedagogical classroom drama. When social/pedagogical classroom drama is interpreted in the wider sense, it points to ‘the change of understanding of self and the world’. This drama is based on improvisation which features ‘identification’ and is built upon role which involves historical, social, philosophical meaning. Since role and context have these dimensions, social/pedagogical meaning can be produced. At this point, metaxis effect needs to be encouraged and peer-participants and teacher need to intervene in order to expand meaning. Metaxis effect expands meaning from fiction to reality and the intervention of peer-participants and teacher brings about change of present participants`` cognitive level. Participants produces meaning from within fiction and go to expand meaning from fiction to meaning across fiction and reality. Finally they reaches the change of their present cognitive level. Such expansion of meaning needs to go through the experience of fiction, metaxis effect, the intervention of peer-participants and teacher. Eventually, the expanded meaning is holistic understanding which is cognitive, emotional and affective. These principles are variously embodied in T.I.E(Theatre in Education), forum theatre and process drama. T.I.E and forum theatre embody meanings brought about by metaxis effect due to materials close to reality. Process drama can produce the change of present cognitive level depending on active conversation among participants. 지난 25년간 학교에서 연극은 다양화되었다. 오툴(O``Toole)은 다양화된 학교 연극을 목적측면에서 범주화하여 언어적/소통적(linguistic/communicative), 표현적/발달적(expressive/developmental), 사회적/교육적(social/pedagogical), 미적/인지적(aesthetic/cognitive)으로 분류하였다. 특히 사회적/교육적 목적의 학교 연극은 계속적으로 증가하고 있어, 본 글에서는 사회적/교육적 학교 연극의 의미가 어떤 원리로 생성되는지 탐구하였다. 사회적/교육적 학교 연극은 광의로 해석했을 때 ‘자신과 세계에 대한 이해의변화’를 목적으로 이뤄지는 연극을 일컫는다. 이는 주로 동일시(identification)의 성격을 띤 즉흥극으로 진행되는데, 역사적, 사회적, 철학적 함의를 띤 역할을 허구세계 구축의 기본바탕으로 삼는다. 역할(role)과 배경(context)을 기본 축으로 삼았을 때 사회적/교육적 의미를 생성할 수 있기 때문이다. 이때 생성되는 의미를 확장하기 위해서, 메탁시스 효과 발생과 동료와 교사의 개입이 필요하다. 메탁시스 효과는 허구세계에 머무를 수 있는 의미를 현실세계에 까지 확장시키는 효과를 낳으며, 동료와 교사의 개입은 현재의 수준에 머무르기 쉬운 참가자들의 이해수준에 변화를 가져온다. 허구세계 경험, 메탁시스 효과, 동료와 교사의 개입 과정을 거쳐 참가자들이 형성하는 의미는, 기존의 이해수준에서의 허구세계의 의미, 그리고 현실세계에 대한 의미 그리고 최종적으로 기존의 이해수준의 변화로 확장될 수 있다. 이러한 과정을 거쳐 형성되는 지식은 인지적, 감각적, 정서적 이해를 아우르는 통합적 이해가 된다. 국내에서 실행되고 있는 사회적/교육적 패러다임 교실 즉흥극의 대표적 실천들인 티아이이(T.I.E), 토론연극, 과정드라마를 허구세계 내 의미 구성, 허구세계와 현실세계에 대한 메탁시스 의미 구성, 현존하는 의미체계의 변화라는 측면에서 분석해보았다. 현재 티아이이는 현실과 밀착한 소재를 선택하여, 메탁시스 의미 구성을 자연스럽게 일어나도록 한다. 본드에 의해 시도되고 있는 보편적 의미로의 확대라는 삼차적 의미는 국내에서 실천되지 않는 경향을 보인다. 토론연극은 드라마 세계 내 갈등의 문제 해결을 관객들의 적극적 개입으로 탐구하는 형식을 띠고 있어, 소재는 현실과 더욱더 밀착되어 메탁시스적 의미 구성이 더욱 용이하도록 구축된다. 드라마적 몰입과 비판적 거리두기로 이뤄진 과정드라마는 반추 활동의 상호작용정도에 따라 삼차적 의미 구성까지 가능하다. 학교연극에서 허구세계 즉 ‘극’을 어떻게 구성할것인가에 대한 논의는 활발했던 반면, 이를 통해 의미는 어떻게 형성되고 어디까지 구성될 수 있는지에 대한 논의는 활발하지 않았다. 본 글은 학교연극의 사회적/교육적 목적을 실현하는데 있어 의미가 어떻게 구성되는지 탐구함으로써 현재의 모습과 앞으로의 방향을 가늠해보려는 시도 중의 하나이다.

웹기반 협력적 문제해결학습에서의 문제해결 과정 분석: 스캐폴딩 유형에 따른 상호작용 내용패턴의 차이

임규연 ( Kyu Yon Lim ),김주연 ( Joo Yeun Kim ),김혜준 ( Hae June Kim ),김영주 ( Young Joo Kim ) 한국교육공학회 2016 교육공학연구 Vol.32 No.4

This study aims to investigate the communication patterns of two groups in terms of the amount and the sequences in web-based collaborative problem solving. The two groups were provided with different types of scaffoldings. A content analysis framework suggested by Pool and Holmes (1995) was used to analyze communication patterns for problem solving process. The results showed differently for two groups both in the amount and the sequences. Students provided with supportive scaffoldings went through Problem Analysis (PA) patterns most often in their communication, whereas students provided with reflective scaffoldings frequently showed Solution Development (SD) patterns. In terms of sequences, it was the most frequent path from Orientation (OO) to Problem Analysis (PA) in the supportive scaffolding groups. On the contrary, it was the most frequent path from Orientation (OO) to Solution Development (SD) in the reflective scaffolding groups. By exploring collaborative problem-solving process, this study suggested implications on designing efficient web-based collaborative problem-solving learning environment.

창의적 사고기법을 활용한 문제해결학습에서 스캐폴딩 유형이 문제해결력과 성취도에 미치는 영향

김주연 ( Joo Yeun Kim ),박효선 ( Hyo Sun Park ),임규연 ( Kyu Yon Lim ) 한국교육정보미디어학회 2015 교육정보미디어연구 Vol.21 No.1

This study aims to investigate the effects of scaffolding types on problem solving ability and achievement and the changes of the scaffolding effects over time in problem solving learning with creative thinking method. Treatments for the experiment were supportive scaffolding for domain-specific knowledge and reflective scaffolding for meta-cognitive knowledge. Participants were 76 undergraduate students, who were assigned to two experimental groups and one control group. They worked on problem solving learning with creative thinking method for six weeks. The given problem solving task was to create instructional materials and use them according to the original purpose, and then present another creative ways to reutilize the materials. To compare the effect of each scaffolding types and analyze the changes over time, the students` problem solving abilities and achievement were measured three times throughout the problem solving activities. One-way ANOVA and repeated measures ANOVA were used for statistical analysis. The results reported that there were statistically significant differences in learner`s problem solving ability and achievement according to scaffolding types. Also, there was a statistically significant interaction effect between scaffolding types and time.

문제해결학습에서의 동료피드백: 피드백 수용도의 매개효과 탐색

임규연 ( Kyu Yon Lim ),김영주 ( Young Joo Kim ),진명화 ( Myunghwa Jin ),김주연 ( Joo Yeun Kim ) 한국교육공학회 2017 교육공학연구 Vol.33 No.2

This study aims to investigate the relationships among peer feedback quality, emotional trust on peer feedback provider, feedback acceptance and academic achievement in problem-solving learning. The participants were 52 college students of early childhood education, and they were asked to design a lesson plan based on ASSURE model in the educational methods and technology class. The results were as follows. First, feedback acceptance did not mediate the relationship between the quality of peer feedback which students received and achievement (academic achievement, satisfaction). Second, feedback acceptance fully mediated the relationship between emotional trust and satisfaction. The results indicate that the higher the emotional trust on the feedback provider, the more the feedback provided by a peer is accepted. That is, the emotional trust on the feedback provider positively predicts satisfaction, and feedback acceptance plays an important role in this process. Therefore, feedback acceptance should be considered important to enhance satisfaction.