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조효진 漢城大學校 1992 論文集 Vol.16 No.1
Timon of Athens is an intellectual tragedy. After setting up his objectiives to write this work, Shakespeare chose his characters to fit the objectves. He had an intention to awaken his contempories by criticizing and berating the society oriented by Mammonism and corrupted by infidelity. He used his characters as instruments to accomplish his intention. So Timon is presented as a grotesque man, rather than a really tragic figure. The other characters are portrayed as types, not as 'real' men. His treatment of characterization originated from a dramatic technique used on purpose by Shakespeare. This is a forte of this play, not a weakness. We should not detach the characters from their stage. If we should separate the characters from their stage, we would find them dull and grotesque. When we watch the characters play their role on the stage, we will find the stage brisk and vigorous.
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청소년의 부모애착이 진로계획에 미치는 영향: 자존감과 진로자기이해의 매개효과를 중심으로
조효진(曺孝眞),이은설(李銀雪),손보영(孫甫英) 서울대학교 교육연구소 2020 아시아교육연구 Vol.21 No.4
본 연구의 목적은 진로적응모형에서 설명하는 진로단계에 대해 국내 중학생을 대상으로 적용하여 그 타당성을 경험적으로 검증함에 있다. 진로적응모형에서 개인은 진로적응준비도, 진로적응도, 진로적응반응도, 진로적응결과의 단계를 거치게 되는데 본 연구에서는 중학생 단계에서 확인할 수 있는 진로적응반응도까지의 3단계와 진로적응준비도에 주요한 영향을 미치는 것으로 알려져있는 부모애착변인을 주요한 환경변인으로 포함시키고 진로적응준비도에 자존감, 진로적응도에 진로자기이해, 진로적응반응도에 진로계획 변인을 각각 사용하여 모형 검증을 하였다. 이를 위해 경기교육종단연구(Gyeonggi Education Panel Study, GEPS)에서 중학생 1학년을 대상으로 3년간 수집된 자료를 모형분석에 사용하였다. 연구결과 첫째, 부모애착은 자존감, 진로자기이해, 진로계획에 정적으로 유의한 영향을 미쳤고, 자존감은 진로자기이해, 진로계획에 정적으로 유의한 영향을 미쳤다. 진로자기이해 역시 진로계획에 정적으로 영향을 미치는 것으로 나타났다. 둘째, 매개효과분석을 통해 자존감과 진로자기이해가 부모애착과 진로계획을 매개하는 변인임을 확인하였다. 마지막으로 본 연구가 청소년 진로교육에 대해 갖는 시사점과 한계점 그리고 후속연구를 위한 제언을 하였다. The purpose of this study is empirically verify the validity of the career stages described in the Career Construction model of Adaption for Korean middle school students. In the Career Construction model of Adaption, individuals go through stages of Career Adaptation Readiness, Adaptability Resources, Adapting Responses, and Career Outcome. This study included only the stage of Career Adaptation Readiness, to Adapting Responses, which is generally experienced by middle school students and added parental attachment known to have a major impact on children’s career development as major environmental variables. The model was verified by using self-esteem as a variable corresponding to Career Adaptation Readiness, career self understanding as a variable corresponding to Adaptability Resources, and a variable corresponding to Adapting Responses. For this purpose, data collected over three years for first-year middle school students in the Gueongi Education Panel Study(GEPS) were used for model analysis. The outcomes were as follows. First, parental attachment had a significant effect on self-esteem, career self-understanding, and career planning, and self-esteem was a significant effect on career self-understanding, and career planning. Career self-understanding also had a significant effectt on career planning. Second, the significant sequential mediating effects of self-esteem, career self-understanding on the relation between parental attachment and career planning was found and also confirmed that self-esteem and career self-understanding had a significant mediating effect between parental attachment and career planning, respectively. Based on the findings, we discussed practical implications, limitations of this study and suggestions for further study.
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Bartholomew Fair 연구 : 구조적 특성을 중심으로 With a Special Reference to Its Structural Features
조효진 漢城大學校 1985 論文集 Vol.9 No.1
An artistic aim determines its technique. Jonson's aim is to instruct the spetators by showing them the follies of the characters. To effectively gain the goal, he uses a unique plot. Jonson started with his groups of characters whose follies he wished to expose. And then he invented incidents that their follies and human infirmities could be exposed and ridiculed. A number of critics claim that Bartholomew Fair has no plot, and this is true in the sense that we cannot find any central figure who holds every incidents together. But by combining the follies he wished to ridicule, he created a vision of the Fair. The Fair people as well as visitors to it cannot escape from it without exposing their follies given by the writer. The vision of the fair is an "objective correlative" through which Jonson provides us with a knowledge of the world. By this unique method, he achieved not only a unity of the play but also his artistic goal.
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조효진 漢城大學校 1997 論文集 Vol.21 No.1
The post-modern people are afflicted by the unverified fear. What is its origin? In terms of semiotics, the post-modern life is full of too many false signifiers. The post-modern people were accustomed to taking the false signifiers as true signs, and vice versa. To make matters worse, the sings have the infinite power to produce a lot of the signified. It is because there is arbitrariness between the signifiers and the signified. The stage of Icarus's Mother is a metonym of the above-mentioned post-modern society. In the opening scene, the five persons have the different view when they see the white gas which is sprung from the wake of the zet plane. One signifier has two or three signifieds. One of the signifieds is that the pilot is skywriting. It does not make diffierences whether the skywriting is happening or not. Besides this, there are unverfied facts and motiviations. Is the pilot a husband of Pat and Jill? Pat and Jill says that, when they were peeing on the beach, the plane fell down as a sea-gull and soared again. To what extent can we believe this? By what is the crack of the plance caused? Do Howard and Bill have any conspiracy? The more facts are unverified. the more fear are accumulated. The heightened accumulation of fear ends in the explosion of the firecracks. The post-modern people are being seduced by the false signs and they are alienated from the nature God gave us. The artificial and fantastic world that TV shows them is their real world. What makes it possible is that the sign has the infinite power to represent any object, whether it is visible or invisible. The people are losing the power to discriminate the difference between the truth and falseness, between the reality and artificiality. The unverified and embedded fear in the characters on the stage are not brought to light until the firecracks are exploded. In the terms of Shepard's dramaturgy and director's enacting methods, Icarus's Mother has many post-modern traits in language, the actor's action, audio-visual imagery, etc, so that the work makes us overwhelmed by unverified fears, not allowing us to understand. Chubb said, "There's a vague kind of terror going on, the people not really knowing what is happening"(Chubb, et al,196). The stage of Icarus's Mother is a metonym of the post-modern society. Metonym has the infinite power not only to emphasize some aspects while hiding the other aspects, but also to make spectators to fill the stage with their own meanings. In order to disclose the unverified and embedded terror, the director has to stage the work as a metonym of the post-modern society. The director does not have to describe the characters to the actors. He has only to ask the actors to 'do', but to 'act'. The director has to stage Icarus's Mother so that it represent the post-modern society full of the false signs, where the people are afflicted by unknown and unverified fears.
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조효진 漢城大學校 1986 論文集 Vol.10 No.1
The play can be divided into two parts by the differences of the dramatic technique. In the first half (from the opening scene to Act Ⅲ, Scene ⅰ), the character of King Richard is depicted by the objective perspective. Through a series of events including the banishment of Bolingbroke and Mowbray, Richard's appropriation of the Lancaster property to finance his Irish expedition and his choosing of helpless Yoke as a regent, King appears arbitrary, inhuman, tyrannical and headstrong. While Shakespeare was true to the actual historical fact, he made his own inventions to get the heatrical effect. The exchange of retorts between King and his dying uncle, Gaunt, is one of Shakespeare's inventions in which Richard's unfitness for kingly office is fully exposed. The Duke of Gaunt makes King fly into a rage by using his name 'Gaunt' as a pun. Shakespeare compressed time between the events, though in actual fact some time must elapse. These dramatic techniques make the play what is above the mere chronicle play. In the second half (from King's return from Ireland to the end), Richard is no longer the arbitrary and tyrannical king, displaying his absolutism stubbornly against all advice. He returns to find himself with neither an army nor subjects. Scroop, one of his favorites, delays deliberately his report on the defection of Yoke on whom he laid his only remaining hope. In the deposition scene, King is baited by his courtiers like a bear is baited by a few dogs in the bear-baiting. King becomes a poet and player, singing and acting out his anguish to death. Now the audience feel pity for the same Richard they had been angry with in the first half. To get this dramatic effect, Shakespeare used the subjects around King as instruments for Richard to vent his sorrow naturally and lavishly. And the dramatist portrayed all the events in which King appeared through the eyes of Richard. So the audience can see the external world only through the eyes of Richard. These dramatic techniques have us share King's sorrow with ease and, on the other hand, listen to his cry: can it be possible for a subject to depose the anointed king by force? So we can say that the second half has a lot of elements to be found in the expressionistic play. In a sense, the play is a synthesis of chronicle play and tragedy, the realistic play and expressionistic one.
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