예비유아교사의 다문화가정 인식에 관한 연구

박미경(Park, MiKyung) 학습자중심교과교육학회 2018 학습자중심교과교육연구 Vol.18 No.23

본 연구는 예비유아교사들이 다문화가정에 대해 어떻게 인식하는 지 살펴보기 위해 다문화가정과 다문화가정 유아에 대한 인식 수준과 그러한 인식에 영향을 주는 요인이 무엇인지를 파악하였다. 조사는 서울, 경기지역 대학에 재학 중인 예비유아 교사 268명을 대상으로 2015년 9월과 10월에 걸쳐 설문조사 실시 후 2016년 2월까지 수집된 자료는 SPSS 21.0을 사용하여 기술통계, 상관관계, 위계적 회귀분석을 실시 하였고, 2018년까지 최근 선행연구들을 바탕으로 분석하였다. 연구결과를 살펴보면 첫째, 예비유아교사의 다문화가정과 다문화가정 유아에 대한 인식수준은 긍정적으로 나타났다. 하지만 문제가 있거나 붕괴된 가정이라는 부정적인 인식과 다문화가정 유아에 대해서는 도움을 제공해야 한다는 일관되지 않는 인식도 있었다. 둘째, 예비 유아교사의 다문화가정과 다문화가정 유아 인식에 영향을 미치는 요인은 매체를 통한 간접적 다문화경험과 교과목 수강경험, 가족 간의 친밀한 관계경험, 가족의 다양한 구성형태에 대한 수용도가 긍정적으로 영향을 미치고 있었다. 부모의 권위적인 양육태도와 가족중심주의 가치관이 강할수록 부정적으로 영향을 미치고 있는 것으로 밝혀졌다. 따라서 예비유아교사의 다문화에 대한 인식 변화를 위해서는 교사교육 프로그램에서 기존의 이론중심이 아니라 지속적이고 다양한 경험을 제공할 필요가 있다. In this study, We have figure out that the pre-early childhood teachers have how can be the Multicultural families and children Multicultural families recognition and have an effect on recognition factors. Subjects were 268 pre-early childhood teachers while at school in seoul and kyunggi province at from september to October in 2015, and then, data collected by February 2016. The data were analyzed with SPSS 21.0 program in terms of descriptive statistics, correlation and hierarchical regression analysis, In addition, it was analyzed based on previous studies by 2018. The results of this study can be summarized as follows; The first, the recognition of pre-early childhood teachers were positive about multicultural families and children Multicultural families. However, there was also the negative perception that there was a problem or a collapsed family and the inconsistent perception be still in existence that the children of multicultural families should be helped. The second, the results suggests that the recognition about Multicultural families of pre-early childhood teachers are positive affected by the experienced indirectly : mass media and attending a lecture, Family experience and the cognition of family form. The recognition about children Multicultural families of pre-early childhood teachers are negative affected by the authoritarianism of parents and the values of paternalism. Therefore, This results will be used to develop the continuous program of multicultural education in order to the pre-early childhood teachers for a change in cognition, There is a need for not only the existing knowledge, but also the wide variety of experience in receive baseline data.

워즈워스의 「여성 부랑자」에 나타난 빈곤, 전쟁, 트라우마의 서사와 소통의 공동체

박미경(Park, Mikyung) 한국외국어대학교 외국문학연구소 2015 외국문학연구 Vol.- No.60

William Wordsworth’s “The Female Vagrant” (1798) is one of the poems that foreground the marginalized and dispossessed suffering from poverty and war in the Lyrical Ballads. This paper attempts to explore ways in which a female vagrant (un)wittingly builds an imagined community by virtue of storytelling, while poverty and war conspire to exacerbate the distress of small holders of property including her father and thus disintegrate an idyllic rural community. Thus, she comes to embody the historicity of trauma that is contingent upon a series of social injustices ranging from economic dispossession through the failure of the Poor Laws to the atrocities of war. In particular, set in the American Revolutionary War, “The Female Vagrant” showcases a British war-widow who has been devastated by the systemic oppression from rich neighbors and the war-faring nation. Her storytelling redeems her from alternating traumatic memories and memory loss. Yet it forces her not to be relieved of but to relive the painful past at the very moment of giving an account of herself to the listener-narrator. Nonetheless, this paper seeks to claim that the female vagrant’s voice offers a singular opportunity to recuperate her lost subjectivity from the memories of appalling violence including rape, murder, loss, and begging. The female vagrant’s storytelling of her traumatic experiences allows her silent listener to participate in the construction of an inter-subjective community constituted by herself, the listener, and the reader. Accordingly, it is the force of her narrative that compels the listener to feel sympathetic with her suffering and consequently critiques the administration of the Poor Laws and the social injustices. This paper concludes by pursuing the possibility of creating sympathetic solidarity among the underprivileged like the female vagrant.

워즈워스의 「피터 벨」에 나타난 독자의 역할과 해석의 문제

박미경 ( Mikyung Park ) 한국18세기영문학회 2013 18세기영문학 Vol.10 No.2

This essay attempts to explore the ways in which Wordsworth integrates his audiences in his 1819 poem, "Peter Bell: A Tale," as part of innovating and expanding his relationship with readers. In the 1800 "Preface" to Lyrical Ballads, Wordsworth defined the poet as "a man speaking to men"; hence, his poetry presupposes the constructive relationship between poet and reader from composition through reception. Initially, he planned to publish the poem in the first edition of Lyrical Ballads in 1798 as a counterpart to Samuel Taylor Coleridge`s "The Rime of the Ancyent Marinere." In this regard, this essay claims that "Peter Bell" is the continuation of Wordsworth`s early poetics for the following two reasons: first, readers are constitutive of the poem as the immediate auditors; second, supernatural poetry is replaced by natural and everyday poetry. "Peter Bell: A Tale" showcases the double role of audience as both interpreter and constituent of the poem. To be precise, the poem embraces a framed narrative, through which occurs the sharing of stories as a vehicle for the speaker``s and his neighbors`` contributing to the production and interpretation of poetry. Moreover, the current context of the taleapparently promises the repetition of a similar occasion in which the story is told and heard in a different time and space. Therefore, the relationship between the speaker and his audiences within the text extends to that of the poet and his readers mediated by the print culture. "Peter Bell" foregrounds the multiple layered structures of interpretative voices: first, Robert Southey as a reader of the prologue before publication; second, the speaker``s neighbors as immediate auditors; and finally, the readers whose voices are not heard and yet implied inevitably from the moment of inception. Consequently, the text of "Peter Bell" is produced only insofar as his direct and indirect audiences co-exist. First, in his dedication to Southey, Wordsworth responds to the poet laureate``s negative review of the prologue, advocating his own poetics of everyday as opposed to Southey``s predilection for the supernatural and epic. Wordsworth`s critique of the supernatural entails the transformation of both the speaker and Peter Bell from supernatural to natural, callous to sympathetic hearts. Their change proves partly nature`s correction and partly their voluntary decision to stay close to the humans in their vicinity; but it is far from mystical. Second, challenged by his neighbors and yet engaging them in the narrative, the speaker bears witness to a hermeneutic community represented in the text as well as the readers outside the text. Furthermore, the speaker`s neighbors help him employ the "real language of men," thus affirming Wordsworth`s poetics to replace a hackneyed poetic diction with the experimental poetry inspiredby ordinary rustics as in Lyrical Ballads. Finally, the first-hand audiences`` intervention in and redirection of the speaker``s narrative is contingent upon the poet``s demand for his readers`` active participation in the interpretative community via the print culture. In the middle of hostile reviews, mocking satires and parodies, in particular, Francis Jeffrey`s The Edinburgh Review and Leigh Hunt`s The Examiner, Wordsworth``s poem marked record-sale, thus inducing more aggressive responses from such younger poets as John Hamilton Reynolds and Percy Bysshe Shelley, who wrote Peter Bell: A Lyrical Ballad and "Peter Bell the Third" respectively. These works attest not only to the younger poets`` attack upon the old poet``s affinity with conservative politics but also to their own involvement in the signification of "Peter Bell" as readers.

오드리 로드의 시에 나타난 교차성과 퀴어 담론

박미경 ( Mikyung Park ),김성훈 ( Seonghoon Kim ) 한국영미문학페미니즘학회 2020 영미문학페미니즘 Vol.28 No.2

This article examines early concepts of intersectional and queer theory in terms of Audre Lorde’s writing, particularly poems, suggesting that Lorde’s poetry corresponds to her theory. Audre Lorde critiques and resists androcentric ideas of mainstream feminism and the civil rights movement by revealing her complex identity and subjectivity as a black lesbian feminist. Thus, the first section of this article sketches out the representation of Black women by the male-dominated civil rights movement as well as the silencing of their voices by heterosexual second-wave feminism in the 1960s and ’70s in order to show that Lorde’s tropes are rooted within her lived experience as a marginalized woman. The second section specifically analyzes Lorde’s poem, “Who Said It Was Simple” in From a Land Where Other People Live (1973) to demonstrate how she poetically embodies a voice of intersectionality. The last section then offers a detailed analysis of how another of Lorde’s important poems, “A Woman Speaks” in The Black Unicorn (1978), represents the historical, mythical voice and identity of Black women to express the potentiality of Black women’s sexuality and sisterhood.

조이 하조의 변형의 시학: 기억의 변형을 통한 정체성 회복과 여성의 연대

박미경 ( Mikyung Park ),김성훈 ( Seonghoon Kim ) 한국영미문학페미니즘학회 2021 영미문학페미니즘 Vol.29 No.1

This article explores the ways in which the poetics of transformation is gradually embodied and politically enhanced in the poetry of Joy Harjo, focusing in particular on two poems published in 1990 poetry collection In Mad Love and War, “Transformations” and “For Anna Mae Pictou Aquash, Whose Spirit Is Present Here and in the Dappled Stars.” Transformation, as Harjo suggests in In Mad Love and War, is mediated by trickster discourses and Ghost Dance ritual, representing an orature and spirituality that are profoundly based on Native American cultural memory. Indicative of the poetics of transformation, “Transformations” reveals the principles of turning Native American’s fury and fear into love through trickster narratives. An internal transformation that changes self-hatred into love forms the basic stage for an external transformation through restoration of healthy Native American identity, a process that the poet ultimately employs as a driving force for resistance and solidarity among Native American women in order to present a practical poetics of transformation. Another poem, “For Anna Mae Pictou Aquash,” transforms the anger of women, who have been objectified and forced to remain silent, into an instrument for resistance and a driving force for female solidarity by evoking the Ghost Dance that combines dance, singing, and prayer.

외국인 며느리를 둔 여성노인의 영양위험, 스트레스 및 건강관련 삶의 질

박미경(Park, Mikyung),성기월(Sung, Kiwol) 한국보건간호학회 2015 韓國保健看護學會誌 Vol.29 No.2

사회적 연행적 변화로 나타난 굿음악의 전개양상

박미경(Park Mikyung) 한국무속학회 2011 한국무속학 Vol.0 No.22

한국사회의 사회적 연행적 변화로 나타나는 굿음악 양식의 전개양상을 살펴본 이 연구는 그 변화에 따라 굿 연행전통이, 특히 세습무의 의식전통이 예술양식적으로 이룬 고도의 수준에서 저하되어가고 있다는 관찰에서 시작하였다. 굿 현장이 유지해왔던 예술적 수월성이 소멸되어 간다는 위기의식은 문화예술로서의 굿을 부각시키면서 연행전통만을 살렸으며, 의도적으로 재현한 굿, 문화재로서의 굿, 축제로 들어간 굿, 재해석과 재창조를 거친 굿 등으로 굿연행의 다각화 현상을 야기하였다. 다각화된 문맥에서 이루어진 굿연행은 결과적으로 탈 지역, 탈 독점, 탈 장르를 통한 탈전통화로 나아갔을 뿐만 아니라, 그 음악이 다각화된 현장에 맞도록 적응된 양식으로, 예를 들어 공연장과 축제에서는 번안양식이나 혼합양식으로, 잼 연행 유형의 퓨전양식과 새로운 음악만들기로 나타났다. 그러한 탈전통의 현상 끝에는 새로운 사회에 적응하는 새로운 기능을 찾고, 새로운 장르로 재탄생하는 흐름도 보여주었다. 그리고 굿음악의 자원화 방향은 한걸음 더 전진하였으며, 그 걸음은 우리를 굿 연행 전통의 해체와 원형으로서의 기능성을 부각시켰다. 한국사회에서 굿연행 전통의 이러한 흥미있는 전개는 물론 전통음악이 무대화, 현대화, 세계화를 거치면서, 21세기가 문화의 세기라는 인식과 맞물려 나갔기 때문이다. 또한 이는 문화예술을 활성화시키고 문화산업의 국제적 경쟁력을 갖추기 위해 우리 예술전통은 무엇이든 차별화하여 정부지원을 강화시키고자 한 현상을 반영한다. 그러나 그렇게 문화와 예술의 가치가 새롭게 부각되는 과정에서 기존의 개념들이 많이 무너지고 있다. 여기에 무엇보다도 강하게 드러나는 지향성이 있다면 그것은 대중화, 다양성, 창의성이다. 그 지향에서 전통에서 키웠던 고도의 숙련성에 대해 우리가 가졌던 취향이 주변화되면서 이질적인 것들로 혼란스럽기만 한 섞음으로도 인지되지만, 과감한, 어쩌면 창의성을 모색하는 과정이 아닐까 기대를 갖게도 한다. 다만 우리는 현지 굿음악의 정통성을 어떻게 도모할 수 있겠는가라는 과제를 잊어서는 안 될 것이다. 그리고 아직도 현장에서 정통성을 가진 굿음악을 조사하겠다는 목적을 학자들이 각별한 문제의식 없이 단순하게 추구하는 것이 진정성 있는 결과를 도출할 수 있을까를 물어야만 할 것이다. 또 변화가 근원적 현상이라면 우리는 새로운 관심사들로 굿음악을 접근해야만 할 것이다. 사회적 연행적 변화로 전개된 굿연행의 다양한 양상을 관찰하면서 그러한 문맥의 변화가 음악의 어느 측면에 어떠한 변화를 야기했는가를 구체적으로 관찰할 수 있을 것이다. 예를 들어, 굿 연행현장의 다각화에 따른 다양한 양상의 굿음악을 양식적으로 상세하게 비교하는 시도를 비롯해, 굿음악이 무대의 한 프로그램으로 등장하게 되면서 다른 음악장르나 예술에서 받는 영향, 음악가로서의 무당이 다른 장르의 음악을 접촉하면서 생기는 양식적 변화 등 굿음악이 다른 음악장르들과 어떻게 서로 역동적으로 엮이는가도 살펴볼 수 있을 것이다. This study examines the new unfolding phase of kut ritual music style triggered by its contextual change of Korean society recently. It begins with an observation that the excellence of its performing traditions has been disintegrated gradually, especially of those of hereditary shamans. The consciousness of such crises has segregated the traditions as culture and arts from their whole, thus enlivening only their performing aspects. Their performing skills were nominated as cultural treasure, making the rituals rendered in performing stages, where the aspects of their music, dance, and drama were often separately manipulated and enhanced for stage effects. There evolved various new venues for the rituals such as festivals, national and international concert stages. In such multi-angled contexts, the ritual traditions moved toward a breakaway from their long standing monopolistic strength in terms of district identity, hereditary rights, originality in genre. The performing skills of the traditions become now opened to whomever wish to learn, their individual elements becoming free to be utilized. Young generations of non-shaman musicians and dancers not only have participated in the ritual performance in stages, but also have experimented with ritual performing segments in their own stage compositions. As the ritual music scenes were becoming diversified, various kinds of new music making were evolved: jam, fusion, modern and postmodern. At the end of the breakaway trend, there lies a new genre created by the dissolution of the ritual traditions to its archetype.

진도씻김굿의 음악적 가치와 의미

박미경(Park, Mikyung) 한국무속학회 2013 한국무속학 Vol.0 No.26

진도씻김굿 음악양식은 오랫동안 필자에 의해 여러 측면에서 세세하게 분석되고 종합되면서 그 실체가 총괄적으로 접근되었다. 이 노력은 진도씻김굿음악이 어디에서 왜 매력적으로 느껴지는가의 질문에 대한 답과 다름 아니다. 필자의 연구가 이끌어낸 그 결과에 근거해 이 글은 진도씻김굿음악의 음악적 가치가 무엇인가, 그리고 그러한 가치가 지금 우리에게 갖는 의미가 무엇인지를 논의하였다. 씻김굿은 전라도 전역에 뿌리를 내렸던 전통이지만 급변하는 사회에서 쇄락을 겪고 있다. 진도씻김굿이 문화재지정을 계기로 그 전통을 전승 유지하려는 활동이 전개되었으나 무대화와 공연예술화를 거치면서 종교적 의례보다는 예술양식에 관심이 집중되었으며, 이 과정에서 진도씻김굿이 그 대표성을 띠게 되었다. 필자는 진도씻김굿 음악의 질적 특성이 더 이상 다른 지역의 씻김굿에서 발견되지 않는 가치이고, 이를 작동시킨 다음과 같은 네 가지 고유한 원리를 이 논문에서 제시하였다 : 1) 연행양식의 기반 : 구조와 체계; 2) 연행자들의 같이 음악하기 : 합일을 기반으로 한 즉흥성; 3) 개별 연행자의 개성 : 수월성과 독창성; 4) 연행전통의 역동성 : 전통과 창조의 역학. 최근에 공연예술화 되면서 진도씻김굿은 그 연행전통과 연행양식에 많은 변화가 나타나고 있다. 이러한 변화는 그 음악양식을 담아 끊임없이 정제하는 음악문화가 붕괴되고, 연행자 양성과 계승의 다변화가 이루어져 연행양식이 다양성 축소와 고착화 되는 현상으로 진행되고 있다. 그 과정에서 무엇이 남고 무엇이 사라졌는가의 질문은 구체적이고 학술적인 답을 필요로 한다. 전승자들에 의해 양식은 피상적으로 유지되고 있는 듯하나 그 정수가 사라지는 현상이 관찰되면서 그 진단에서 질적 특징을 유지하였던 작동원리의 부재라는 구체적 현상분석이 주어졌다. 진도씻김굿 음악전통에서 추출된 원리가 우리 음악전통의 창의성 발휘의 기재의 하나였음을 가정하며, 그 기재의 소실을 현재 우리 음악문화에서 점차로 드러나는 고질적인 문제의식과 연결시켜 진도씻김굿음악의 의미를 재인식시켰다. The true nature of the rituals music of Jindo Ssikkimgut has been researched comprehensively through the analysis in detail by the author previously. This study attempts to answer the question of where and why the music of Jindo Ssikkimgut gives a feeling of beauty. Based on the results derived by the author’s research, this paper discussed what musical value of Jindo Ssikkimgut is and what such value means to us. Ssitgimgut is the tradition that took root across Jeolla-do but is experiencing slowdown in the rapidly changing society. The activities to hand down and maintain the authentic tradition were developed through the designation of Cultural Property and performing arts but focused on the art form rather than religious ritual and in this process, Jindo Ssikkimgut came to have the representativeness of the Jeolla-do Ssikkimgut because of its musicality. In this paper, the author presented that the qualitative characteristics of Jindo Ssikkimgut music are the value not found in Ssikkimgut of other areas any longer and there are following four unique principles that operated it : 1) Basis of performance form : structure and system; 2) Music together of performers : improvisation based on unity; 3) Personality of an individual performer : excellence and originality; 4) Dynamism of performance tradition : Dynamics of tradition and creation. Through recent performing arts, there have been many changes in performance tradition and performance form of Jindo Ssitgimgut. These changes are leading to the collapse of music culture constantly purifying it by containing the music form and the phenomenon of reduction and fixation of diversity of performance forms due to the diversity of performer cultivation and succession. The question of what remained and what disappeared in the process requires the specific and academic answer. As the phenomenon that the form seems to be maintained superficially by successors but the essence disappears is observed, the specific phenomenon analysis of the absence of working principle that maintained the qualitative features in the diagnosis was given. Recognizing that the principles derived from Jindo Ssikkimgut music tradition was one of materials for creativity exercise of our musical tradition, the author reconsidered the meaning of Jindo Ssikkimgut music by connecting the loss of the material with a chronic critical mind gradually revealed in our present music culture.

급변하는 글로벌 사회에서 음악장르를 다시 생각하다

박미경 ( Mikyung Park ) 세계음악학회 2021 음악과 문화 Vol.- No.45

It is surprising to face the global music environment. It is, in almost every way, a change in intensity and depth that has not been experienced in previous societies. As our conventional perception of a music genre suddenly becomes a problem in a changed environment, it becomes a dilemma that we can't do now, or a chronic problem that must be finally solved somehow. As we continued to discuss these issues, we realized that we had to reconsider the genre of music in a global environment. We have reached a point where we have to ask something new in a global society that has already achieved a paradigm shift in the 21st century by dealing with the problems of reality and the scholars' problems of confusion that has begun to arise in academic discussions about music genres. Finally, the point at which we delve deeply into genre issues was a reflection and wave of global reality.

‘Andragogy Today’ 학술지의 연구 동향 분석: 내용분석 및 키워드 네트워크 분석을 중심으로

박미경(Mikyung Park),김미숙(Meesook Kim),고광숙(Kwangsook Ko),김성길(Seonggil Kim) 한국성인교육학회 2021 Andragogy Today : International Journal of Adult & Vol.24 No.3

본 연구는 2001년부터 2020년까지 ‘Andragogy Today’에 게재된 논문 512편을 대상으로 내용분석과 주제어에 대한 키워드 네트워크 분석방법을 활용하여 성인교육학 분야의 연구동향을 고찰하고자 하였다. 분석 결과 첫째, 내용분석에서 대학교 소속의 연구자가 가장 많았고 연구형태로는 단독연구가 많았다. 성인교육기관 및 단체를 대상으로 한 연구가 가장 많았으며 연구방법은 문헌연구가 가장 많았으나 점차 감소하고 있는 것으로 나타났다. 둘째, 키워드 네트워크분석에서 가장 많은 빈도수를 나타낸 키워드는 ‘평생교육/학습’, ‘성인교육/학습’, ‘성인학습자’, ‘HRD’, ‘노인교육’ 순이었으며 ‘평생교육진흥기본계획’의 목표 및 추진과제와 비교하여 검토한 결과 연계하여 시기별 키워드가 변화하는 양상을 보였다. 키워드 네트워크 중심성 분석결과 ‘평생교육/학습’, ‘성인교육/학습’, ‘성인학습자’, ‘HRD’, ‘경험학습’ 등의 키워드가 네트워크의 중심을 지배하며 성인교육학 분야에서 강한 영향력을 발휘하고 있는 것으로 나타났다. 이상의 결과를 토대로 논의와 시사점을 제시하였다. By focusing on content analysis and keyword network analysis methods, this study aimed to analysis research trends in the field of adult learning and education for 512 papers published in ‘Andragogy Today’ from 2001 to 2020. According to the research, first, in terms of form of research, the most research utilizing content analysis is undertaken as independent research level and the most researchers are mainly based in universities. In terms of subjects of research, research on adult educational institutions and organizations were undertaken the most, and literature research method is mainly used. But at the same time, literature research method was became gradually decreased. Second, keywords that represented the largest frequency in keyword network analysis were “lifelong education/learning,” “adult education/learning,” “adult learners,” “HRD,” and “education for the elderly learning,” and compared to the goals and tasks of “lifelong education promotion plan,” keywords were changed at each time periods. According to the results of keywords network centrality analysis, it shows that keywords such as “lifelong education/learning,” “adult education/learning,” “adult learners,” “HRD” and “experience learning” etc. were the most dominated keywords of the network and have a strong influence in the field of adult education. Based on the above results, this study provided meaningful discussions and implications.