白雲禪의 無心과 平等意識

조영미 보조사상연구원 2024 보조사상 Vol.68 No.-

This text endeavors to elucidate the tenets of Baekun's Zen teachings through an examination of his aphorisms. It aims to furnish information conducive to prospective comparative analyses with contemporaneous Zen luminaries such as Taegu Puyu and Yeongung Huikin. Baekun's distinctive Zen is characterized by "patriarchal Zen" (祖師禪). His patriarchal Zen perspective is firmly grounded in the realms of color, sound, and language, epitomized by the aphorism "Patriarchal Zen does not depart from color, sound, and language." Baekun critiques the proclivity for textual fixation and unequivocally states, "I have never spoken a single word," implying that the Buddha's teachings serve merely as expedient means with no inherent need for elucidation or auditory reception. This declaration becomes a recurrent subject of study in Baekun's aphorisms, reflective of his stance of rational inquiry manifesting as a method of self-study, underscored by the pursuit of "自得之妙(self-acquired marvel)." 白雲禪의 無心과 平等意識 / 조영미 41 This mode of study is not confined to any specific locus but is integrally embedded in the everyday milieu. It necessitates acknowledging the absence of discrimination within the objective entity itself and advocates for the renunciation of discriminatory thoughts. Baekun's concept of "無心(no mind)" is characterized as a "direct pointing to the fundamental mind" and the "mind of ordinary non-attachment." It signifies a mind expressed without manipulation or attachment, freely manifesting in ordinary circumstances. The achieved value of "無心" by Baekun materializes as a world of equality founded on an egalitarian mindset. However, this does not imply absolute equality, as recognizing distinctions as they exist is integral to the concept of equality.

셰익스피어 후기극에 나타난 가부장적 통치

조영미 한국중세근세영문학회 2009 고전·르네상스 영문학 Vol.18 No.1

As Shakespeare’s late plays end with the restoration and regeneration rendered possible through the renewed bond between father and daughter, they are often interpreted as celebrating women as protectors and givers of life. However, this paper assumes that they are more patriarchal than they appear. Shakespeare's late plays are his literary response to the social, economic and political change in the early Jacobean period. The most pertinent two changes were the succession to the throne of James I who propagated patriarchy as his ruling ideology and the flourishing of Puritan homilies which also helped strengthen hierarchical relationships in the family by emphasizing a wife's subjugation to her husband. Shakespeare’s late plays served the contemporary patriarchal ideology by naturalizing political power in terms of family relationship and chastening female sexuality that can threaten that power. In his late plays, women of the older generation can be divided into two groups; ones who are exercising their female sexuality in vicious ways to lead a ruler astray from his kingship and the others who perform their duty by issuing legitimate children to them. The former invariably die in the middle or at the end of the plays. The representation of chaste married women is more problematic in that they are also considered potentially threatening and, thus marginalized by mock deaths. Not until they are wholly desexualized and chastened do they come back to stage. The representation of daughters is not very different from that of their mothers. Even though they are spirited and assertive like their counterparts in romantic comedies, they are subdued and chastened with the progress of the plays. In the end, they are transferred to their prospective husbands, who in turn require them to be chast, which guarantees legitimate posterity. Even though Shakespeare's late plays endorse a patriarchal ideology, they also subvert it by letting the audience get a glimpse of the other side. Marina’s survival in a brothel through the use of eloquence, which was particularly attributed as a male quality in the Shakespearean period, does offer a chance to think of what patriarchal control gives to women in and out of the system. Prospero’s ‘perfect’ patriarchal governance is also made problematic as the perspectives of his servants, Ariel and Caliban, are provided complementarily. As Shakespeare’s late plays end with the restoration and regeneration rendered possible through the renewed bond between father and daughter, they are often interpreted as celebrating women as protectors and givers of life. However, this paper assumes that they are more patriarchal than they appear. Shakespeare's late plays are his literary response to the social, economic and political change in the early Jacobean period. The most pertinent two changes were the succession to the throne of James I who propagated patriarchy as his ruling ideology and the flourishing of Puritan homilies which also helped strengthen hierarchical relationships in the family by emphasizing a wife's subjugation to her husband. Shakespeare’s late plays served the contemporary patriarchal ideology by naturalizing political power in terms of family relationship and chastening female sexuality that can threaten that power. In his late plays, women of the older generation can be divided into two groups; ones who are exercising their female sexuality in vicious ways to lead a ruler astray from his kingship and the others who perform their duty by issuing legitimate children to them. The former invariably die in the middle or at the end of the plays. The representation of chaste married women is more problematic in that they are also considered potentially threatening and, thus marginalized by mock deaths. Not until they are wholly desexualized and chastened do they come back to stage. The representation of daughters is not very different from that of their mothers. Even though they are spirited and assertive like their counterparts in romantic comedies, they are subdued and chastened with the progress of the plays. In the end, they are transferred to their prospective husbands, who in turn require them to be chast, which guarantees legitimate posterity. Even though Shakespeare's late plays endorse a patriarchal ideology, they also subvert it by letting the audience get a glimpse of the other side. Marina’s survival in a brothel through the use of eloquence, which was particularly attributed as a male quality in the Shakespearean period, does offer a chance to think of what patriarchal control gives to women in and out of the system. Prospero’s ‘perfect’ patriarchal governance is also made problematic as the perspectives of his servants, Ariel and Caliban, are provided complementarily.

성주류화 전략의 추진 방향과 과제

조영미 한국여성민우회 2008 발간자료 Vol.2008 No.1

데커의 역병 팸플릿에서 드러나는 역병 담론의 정치

조영미 한국중세근세영문학회 2014 고전·르네상스 영문학 Vol.23 No.2

This paper explores Thomas Dekker’s two early plague pamphlets, The Wonderful Year (1603) and News from Gravesend (1604), which were written after the outbreak of the plague in London in 1603. The effect of the great plagues in late 16th and early 17th century London can be compared to that of the atomic bomb in modern times, sweeping away 1/8 to 1/6 of the metropolitan population and devastating the whole city system. Writing about plagues is far from objective, deploying writers’s socio-political perspective. It is especially true in early modern England, in which different disciplines such as medicine, politics, and literature had not been as discrete as they were after the Enlightenment. As Thomas Lodge’s A Treatise of the Plague (1603) typically shows, early modern plague discourses tried to explain the ‘Why?’ and ‘How?’ of the plagues through natural means and supernatural myths, relying on various classical texts and the Bible. They also presented the horrors of the pestilence and suggested to people the ways to survive. They, along with the plague Orders from the London government, usually attributed the origin of the plague to the ‘base’ and ‘immoderate’ poor and their overcrowded housing in the ‘sinful’ suburbs, urging Londoners who had the means to, to flee from the city during the outbreaks. In this sense the plague and the plague Order in the first decade of the seventeenth century served to intensify, highlight, and express an increasing polarization of social conditions based on wealth. Dekker’s plague pamphlets can be posited as one alternative voice among various political voices in early modern England, articulating the interests of the poor. Unlike most pamphlet writers of his times, he pointed out that sin, not contagion, causes the plague, and the greed and selfishness of the wealthy are the root of God’s displeasure. His persistent message is that only charity can bring the cessation of the plague, conveying a pressing need for social reform to alleviate the suffering of the poor. Through Dekker’s pamphlets, we can hear a voice different from the self-representation of the state as well as the powerful and affluent metropolitan elite of the early modern London at the time of the social crisis.

인도-아라비아 기수법의 변천에 대한 고찰

조영미 공주교육대학교 초등교육연구원 2018 敎育論叢 Vol.55 No.1

로버트 그린의 얼뜨기잡기 팸플릿 연구: 인쇄 시장과 대도시

조영미 한국중세근세영문학회 2013 고전·르네상스 영문학 Vol.22 No.2

This paper explores Robert Greene's cony-catching pamphlets (1591-2) in relation with the print market in early modern England and the metropolitan city that contemporary London was changing into. Greene emphasized in the prefaces and epistles to the audience that his stories were based on factuality from his own experience with the London underworld. However, his assertion of factual accounts should be evaluated in the light that they were embodied in the form of pamphlets, the by-products of the early modern print market which required something lighter than classics or religious books to make the presses keep running. Pamphlets, small books usually considered not worthwhile to be bound as books, were the right form for both publishers and audience, as they could bring unexpected fortune to the publishers and also convey the light entertainment that most of the early modern audience wanted. In this sense, Greene's pose as a social commentator can be read as a clever strategy of a professional writer to attract a wide readership. Even though Greene's cony-catching pamphlets were mainly written to give tantalizing entertainment to the contemporary audience, they are worth reading even today as they offer a glance into the depth of contemporary London. Greene's pamphlets thrive on scenes of misidentification coming from the anonymity of big cities. His scrutinization of the codes that rule social exchange further our understanding of the early modern cultural fascination with processes of identification. Moreover, in Greene's world, the threshold between "inlaws" and outlaws is too easily crossed, thus posing a question to the opposition between the licit and the illicit. His episodes verify that "those who cannot dissemble cannot live," as his Cuthbert Cunnycatcher contends. Through Greene's pamphlets, we can read early modern English society where mercantile modes were practiced by all and dissemblance was deemed to be integral to the society. Greene's fiction has generally been appraised as a precursor of English realist novels of the 18th century, but earlier than that, we can see the legacy of his insight into the contemporary cultural values of city comedies where the diverse aspects of the metropolitan city were explored more in earnest.

F.CHOPIN ETÜDE OP.25에 관한 고찰

조영미 서원대학교 미래창조연구원 1998 예술문화논총 Vol.7 No.-

협력학습을 활용한 한국문학 교육 사례-해외 대학(대만, 홍콩) 수업을 중심으로

조영미,한혜민 한중인문학회 2021 한중인문학연구 Vol.70 No.-

본고는 해외 한국(어)학 부전공자들의 한국어 수업과 한국문화 수업에서 협력학습(collaborative learning)을 활용한 한국문학의 교수-학습 방안을 제시한다. 대상은 대만 내한국학 부전공 과정의 <한국유행문화개론>과 홍콩 내 한국어 부전공 과정의 <미디어로 배우는 한국어>의 수강생들이다. 한국문학은 한국 사회와 문화, 한국인의 사고방식과 행동 양식을 이해할 수 있는 훌륭한 교육 자료임에도 해외 한국학 및 한국어 교육 현장에서의 한국문학교육을 시행하기에는 몇 가지 어려움에 봉착하게 된다. 가장 큰 난제는 바로 부족한 강의 시간과 학습자들의 한국어 능력과 학습 배경의 상이, 전문 인력 부족 등이다. 이에 본 연구에서는 위와 같은 문제점을 해결하는 방안으로 한국문학 수업에서 협력학습을 교수-학습에 적용한 사례를 제시하였다. 본 연구에서 제시한 수업 사례가 유사한 상황에처한 해외 한국(어)학 과정 및 국내 외국인 유학생 대상 한국(어)학 수업을 담당하는 교수자들에게 효율적인 교수-학습 방안으로써 활용되기를 기대한다. This paper attempts to suggest a teaching-and-learning method utilizing collaborative learning in Korean language and culture classes designed for Korean minors in foreign colleges. The subjects are students of the class <Korean Popular Culture> as a part of the minor course in Taiwan, and <Korean Through Media> as part of the minor course in Hong Kong. Although Korean literature provides exceptional educational materials assisting learners to understand Korean culture, society, mindset, and behavior, it faces numerous problems when being put into place in educational settings. Some of the major difficulties include a lack of lecture time, disparity between the learners’ Korean abilities and learning background, and shortage of professional workforce. As such, this research provides cases where collaborative learning was applied to the teaching-and-learning process in Korean literature courses to address those challenges. The authors expect the class cases provided in this research to serve as efficient teaching-and-learning methods for instructors struggling with said difficulties teaching Korean-related classes internationally or to foreigners in Korea.

통합 표현예술치료 방법연구-Bottom-up과 Top-down 기술을 중심으로

조영미,채연숙 사단법인 인문사회과학기술융합학회 2018 예술인문사회융합멀티미디어논문지 Vol.8 No.1

Since the 1960s and 1970s, Western countries have developed integrated art therapy that combines not only language but also art work into psychotherapy. This is the result of efforts to overcome the limitations of language-based psychotherapy and develop the psychotherapy method effective and diversified. The main purpose of this study is to present theories and techniques of integrated expression art therapy of body and language. Particularly, the study focused on Bottom-up and Top-down, which are key technologies of integrated expression art therapy of body and language. Consequently, participants of 'integrated expression art therapy' based on <Top-down, Bottom up> method will be encouraged to restore human health, develop creativity and contribute to their own independent lives. This study will utilize the movement-oriented expressive arts therapy used atthe Tamalpa Institute in the United States as the representative method of bodily therapy, and the literary therapy used atthe Fritz Perls Institutein Germany as the representative method of language therapy. Numerous theories and techniques exist regarding integrating thetwo methods into thebody-language integrated expressive arts therapythis study aims to conduct research with a focus on the "top-downand bottom-uporiented" approaches as its core technique. Carl Rogers saw a human being as a possessor of conscious experiences, a phenomenological being, a person with the potential for self-realization, and a free individual. The body-language integrated method of expressive arts therapy based on the top-down and bottom-up oriented approach could help restoring therapy participants to the complete human beings described by Rogers. 1960년~1970년대 이후 서구에서는 언어뿐만 아니라 예술작업을 심리치료에 통합하는 통합예술치료가 개발되어 왔다. 이는 언어 중심 심리치료의 한계를 극복하고 심리치료의 방법을 효율적이고도 다각화 하기 위한 노력의 결과인 것이다. 최근에는 몸 감각이나 동작을 심리치료에 활용하는 심신통합치료 분야가 개발되었다. 그러나 몸 감각을 심리, 즉 정서나 인지의 심리적 현상과 통합하여 유의미한 치료의 결과를 얻으려면, 몸을 이해하는 약간의 지식이 필요하며 다양한 접근법이 시도되어야 한다. 이에 필자는 몸 감각을 자각하여 언어로 표현하고, 또 언어를 몸 감각으로 환원시켜 심신의 상호교류, 혹은 심신 통합적 방법을 탐색해보고자 한다. 본 연구에서는 미국 타말파 연구소(Tamalpa Institute)의 동작중심 표현예술치료와, 독일 프리츠 펄스 연구소(Fritz Perls Institute: FPI)의 통합 문학치료 방법을 통합하여 적용하였다. 본 연구의 핵심 목적은 몸과 언어의 통합적 표현예술치료 이론과 기술을 제시하는 것이다. 특히 몸과 언어의 통합적 표현예술치료의 핵심기술인 Bottom-up과 탑 다운 Top-down을 중심으로 연구하였다. 이러한 심.신 통합적 치유방식은 로저스의 말대로 의식적 경험 소유자로서 몸과 정서가 통합된 인간, 그리고 현상학적 존재로서 몸, 정서, 인지가 통합된 인간으로 전체성을 이룰 수 있도록 도울 수 있다. 그리하여 <Top-down, Bottom-up>방식에 기반한 ‘통합 표현예술치료’ 참여자들에게 인간의 건강성을 회복하고 창의성을 개발하여 주체적인 삶을 사는 데 기여하게 될 것이다.

초등학교 수학에서 평행과 평행선 정의에 관한 고찰 - ‘한 직선에 수직인 두 직선’을 중심으로 -

조영미,유현주 한국초등수학교육학회 2021 한국초등수학교육학회지 Vol.25 No.1

이 논문에서는 초등수학에서 평행의 정의에 등장하는 ‘한 직선에 수직인 두 직 선’이라는 문구에 주목하고 그것이 어떤 쓰임이 있는지 알아보았다. 이를 위해 우 리나라 중학교 교과서와 초등학교 교과서를 대비하여 초등의 특징을 찾고, 일본과 싱가포르의 초등학교 수학 교과서에서는 그 특징이 나타나는 양상을 살펴보았다. 이어 제1차부터 현재까지 초등수학 교과서에서 평행과 평행선이 어떻게 정의되어 왔는지를 살펴보고 각 교과서에서 ‘한 직선에 수직인 두 직선’이 어떤 쓰임을 가졌는지를 조사하였다. ‘한 직선에 수직인 두 직선’은, 평행선 여부 판정하기, 평행선 긋기, 평행선 사이의 거리 구하기, 사각형에서 평행 여부 판단하기, 평행사 변형 그리기 등 모두 다섯 가지 쓰임이 있다. 5차와 6차에는 이 다섯 가지 쓰임이 모두 교과서에 드러나 있는 반면에 2015 개정 교육과정에서는 상당히 축소된 것으 로 나타났다. 교사나 교과서 저자들이‘한 직선에 수직인 두 직선’이라는 아이디 어가 평행 지도에서 어떤 의미가 있는지를 인식하고 더 나아가 교과용 도서에 이 를 어떻게 반영할 것인지 판단할 때 이 논문이 기초 자료가 될 수 있을 것이다. In this paper, we wanted to find out why the idea of 'two straight lines perpendicular to one line' is contained in the parallel definition of elementary school mathematics. To this end, we examined how parallel and parallel lines have been defined in the primary math textbooks presented from the first to the present, and what use 'two straight lines perpendicular to one line' in each textbook was. The "two straight lines perpendicular to one straight line" had five uses. While all five were shown in textbooks in the fifth and sixth rounds, the 2015 revised curriculum showed a sharp reduction. In elementary mathematics, the mathematics education community needs to recognize what the idea of "two straight lines perpendicular to one line" means in parallel lines and reflect them in textbooks.