스타니슬랍스키 시스템의 주어진 상황에 대한 교수-학습 모형(2) -소설텍스트를 매개로-

홍재범 ( Jae Beom Hong ) 한국연극학회 2003 한국연극학 Vol.0 No.20

This study tried to present graduate instruction-learning model that carries out that an actors probable imagination and reflective thought can make a given circumstance of drama text into being-self. If an actor loses actual quality of a given circumstance and is staying at obscure emotion that wasn`t elaborately analyzed, a stage will demolish the authenticity of a specific circumstance. The essential condition that enhances Korean theatre artistic value shall be arranged by actors outstanding capability. More elaborate and effective instruction-learning model and various instructive methods shall be developed vividly. In this study, the instruction of serial training by novel-text has as an object to understand a given circumstance and to see through an actual diversity that cannot be prescribed by abstract word. And beyond them, how a given circumstance divides into external and internal situation and in which to recognize systematic relation with improbable physical and to be oneself are important. This study aims at development of instruction-learning model for those. To carry out instruction of acting by novel-text, the precondition is in removing learners negative inclination toward novel-text. If psychological barrier is removed, a learner will face creatively with steps presented by an instructor. Before regular learning course, an instructor should introduce a learner into fundamental comprehension and sympathy with a character. For this, a learner has better use a text chosen by himself or herself. Even thought a text must be presented to a learner, an instructor ought not to appoint a specific novel-text but to categorize a sphere and make a learner find a novel-text in it. The secondary step is to recognize an external situation by comprehension of historical background in a novel-text. When a given circumstance is obscure, different with general feeling and in a similar given circumstance, a learner shall believe that it can take various shapes in comparison with characters in a novel-text. An instructor has better lead a learner to experience in displaying of rich imagination by distinguishing several features of which external situation are distinct from others among learners chosen characters. The third step is to rediscover creation and action of internal situation by rehearsing each character in a novel-text. An instructor concentrates on that a learner acquires through individual reflective thought how to make a given circumstance more precisely and actually constructed and subsequent to achieve being-self. In this lesson, a learner will be sure that a physical action fully animates a given circumstance and suitably corresponds with what to be probably imagined from a novel-text. This is completed in recognition step of Stanislavsky system. In this system recognition step is that an actor prepares an emotion for creation and an ground for experience in his or her mind through analyzing and puts life into a given circumstance to arise genuine desire naturally.

신생기업의 생존과 성과에 대한 실증 분석

홍재범(Jae Bum Hong) 한국경영학회 2002 經營學硏究 Vol.31 No.6

The link between pre-entry conditions and the post-entry performance of diversifying entries by Korean largest business group so called Chaebol was examined. Pre-entry conditions were measured as industry, competitive interaction, parent-entrant relatedness, parent resource. The pest-entry performance were measured by survival and profitability. This paper showed that the parent-entrant relatedness and parent resource were much more important in the post-entry performance of diversifying entries than industry and competitive interaction. It meant that Korea business groups were the economic institutions to minimize transaction costs prevalent in Korea.

소설의 시나리오 전환 과정 고찰 : 〈우리들의 행복한 시간〉의 경우

홍재범(Hong Jae-beom) 한국근대문학회 2009 한국근대문학연구 Vol.10 No.1

본고는 소설 〈우리들의 행복한 시간〉이 시나리오로 전환되면서 나타난 세부적인 변화의 원인을 매체의 성격과 결부지어 고찰하고자 한다. 거시적으로는 동일하나 미시적으로는 차이가 발견되는 두 텍스트 사이에서 변화의 동력은 매체와 양식의 차이에서 비롯된다. 원작과 시나리오는 공통적으로 사형제도의 본질적 한계 속에서 유정과 윤수의 사랑과 용서에 대한 발견-깨달음(anagnorisis)의 과정을 형상화하고 있다. 다만 그 형상화 방식에 있어 원작이 모든 상황이 종료된 후 1인칭 화자의 사색적인 반성적 사고의 흐름이 서술되는 것과 달리 시나리오는 영상매체에 부합하는 인물들의 과잉된 감정에서 비롯되는 행위에 의한 시각화가 중심이 된다. 그 과정에서 시나리오는 두 가지 변화를 일으킨다. 첫 번째는 원작의 사실들이 많은 부분 그대로 차용되지만 극양식이 요구하는 극의 문법에 맞게 변형된다. 특히 시간적으로 간격이 존재하는 두 사건을 연속된 시간으로 연결시켜 하나의 장면으로 구성한다. 두 번째는 원작의 화자가 현재적 시점에서 과거의 사실들을 회상하고 평가하는 의식의 흐름이 인물들의 행위로 전환되지 못한 채 삭제될 수밖에 없었다. This study is aimed at speculating on the cause of detailed changes presented in a novel(〈Our happy moments〉) when it was converted to a movie scenario(〈Maundy Thursday〉), by relating it with the characteristics of media. They are comprehensively identical, but microscopic view on the two texts reveal changes, which are derived from the differences in media and style. The original text and the movie scenario commonly embody the procedure of reaching the discovery-recognition(anagnorisis) of love and forgiveness between Yoo-Jeong and Yoon-Soo within the substantial restrictions of death penalty system. However, the mode of materialization between the two texts differ in that the original text predicates the flow of cognitive and reflective contemplation of the first person narrator after all the situations are over, while the movie scenario focuses on visualizing the behaviors of the characters who conform to image medium, which are originated from their exaggerated emotions. Through the procedure, the scenario provokes two changes. First, while it borrows the majority of facts from the original text without modification, they are transformed to fit in the grammar of a drama. In particular, the two incidents with apparent time difference are connected to a consecutive period to organize a screen. Second, the flow of consciousness by the narrator of the original text that reflect and evaluate past facts from the present fails to convert into the characters' behaviors, and is deleted.

연안어업 외국인근로자 고용 실태에 관한 연구

홍재범(Jae-Beum HONG),김병호(Byoung-Ho KIM) 한국수산해양교육학회 2018 水産海洋敎育硏究 Vol.30 No.3

Since the 1990s, fisheries have been working hard to solve problems by using foreign labor as the labor shortage phenomenon becomes more severer due to the phenomenon of avoidance of employment for the `3D industry` and aging of the workforce. However, in the case of fishing vessel fishery, the institution of using foreign labor at present is divided by the Ministry of Employment and Labor and the Ministry of Oceans and Fisheries Affairs based on the tonnage of fishing vessels. Accordingly, the executing agency is also dualized. At present, the two systems for the using of foreign labor differ not only with their management methods and forms into employment, but also in terms of employment stability, such as post-employment turnover rates. As a result, especially coastal fisheries that are procuring their labor force through the Ministry of Employment and Labor have relatively high rates of breakaway compared to offshore fisheries, complaining about the use of foreign labor. The purpose of this study is to find a rational management plan to solve the problem of foreign labor procurement and management system in coastal fisheries. For this purpose, we surveyed employers employing foreign labor force in order to ascertain the current status of problems of the current system. The main contents of the survey are the labor force status of the management, satisfaction with the current system, and satisfaction with foreign workers. And we surveyed the suggestions that have been presented as a way to improve the problems presented in the survey. In the course of these investigations, I was able to confirm the high dissatisfaction with employers. This means that the problems of the system related to the utilization of foreign labor force are now clearly revealed. Based on survey and related overseas cases, I will suggest the necessary improvement measures for using foreign labor in coastal fisheries, and the policy and institutional supplementary measures for that.

CMSY 및 BSS 모델을 활용한 한국의 고등어 자원평가 연구

홍재범(Jae-Beum HONG),김도훈(Do-Hoon KIM) 한국수산해양교육학회 2021 水産海洋敎育硏究 Vol.33 No.5

This study attempted to assess the stock status of chub mackerel(Scomber japonicus), which is one of commercially important fish species in South Korea. Recent studies on stock assessment of chub mackerel have been done, but they have several limitations such as setting up prior information and distributions for major variables. In this study, stock assessment models, Monte Carlo method (CMSY) and Bayesian state-space (BSS) method, that can be analyzed even in limited data and based on prior information and distributions with relatively clear evidence were used. To evaluate the stock status of chub mackerel, annual changes in the amount of biomass and the ratio of the amount of biomass in the last year to B<SUB>MSY</SUB> (the biomass which can produce maximum sustainable yield) were estimated. Results showed that the status of chub mackerel was assessed to be Grossly overfished by CMSY model and Overfished by BSS model, respectively. That is, the biomass of chub mackerel is decreasing and the current level of biomass is much lower than that of B<SUB>MSY</SUB>.

부산지역 말쥐치 종자방류사업의 경제적 효과 분석

홍재범(Jae-Beum HONG),김도훈(Do-Hoon KIM) 한국수산해양교육학회 2023 水産海洋敎育硏究 Vol.35 No.2

This study is aimed to analyze the economic effectiveness of the Black Scraper (Thamnaconus modestus) fry releasing program in Busan, Republic of Korea. Since the 1990s, the catch of Black Scraper has decreased rapidly and has maintained a low level of catch to date. Currently, the fry releasing program is being implemented as one of the efforts to enhance the stock biomass. However, researches that analyze the economic effectiveness of program have been limited. Therefore, in this study, based on the results of fishing investigation and genetic analysis, we analyzed the economic effectiveness of Black Scraper fry releasing program using a benefit/cost ratio method. The period range of the analysis for the program was from 2020 to 2022. As a result of the analysis, we found that there was no economic feasibility of the program both in 2020 and 2021. But in 2022, the benefit/cost ratio was estimated to be 2.4, indicating that the program was evaluated to be economically feasible.

스타니슬랍스키 스스템의 주어진 상황에 대한 교수-학습 모형(1) - 시텍스트를 매개로 하여 -

홍재범 ( Jae Beom Hong ) 한국연극학회 2002 한국연극학 Vol.0 No.19

In this study, the instruction of serial training by poetry-text has as an object to understand a given circumstance and to see through an actual diversity that cannot be prescribed by abstract word. And beyond them, how a given circumstance divides into external and internal situation and in which to recognize systematic relation with improbable physical action and to be oneself are important. This study aims at development of instruction-learning model for those. To carry out instruction of acting by poetry-text, the precondition is in removing learners negative inclination toward poetry-text. If psychological barrier is removed, a learner will face creatively with steps presented by an instructor. Before regular learning course, an instructor should introduce a learner into fundamental comprehension and sympathy with a speaker. For this, a learner has better use a text chosen by himself or herself. Even thought a text must be presented to a learner, an instructor ought not to appoint a specific poetry-text but to categorize a sphere and make a learner find a poetry-text in it. The secondary step is to recognize an external situation by comprehension of discrimination between poetry-texts in identical category. When a given circumstance is obscure, different with general feeling and in a similar given circumstance, a learner shall believe that it can take various shapes in comparison with poetry-texts. An instructor has better lead a learner to experience in displaying of rich imagination by distinguishing several texts of which external situation are distinct from others among learners chosen texts. The third step is to rediscover creation and action of internal situation by rehearsing each poetry-text. An instructor concentrates on that a learner acquires through individual reflective thought how to make a given circumstance more precisely and actually constructed and subsequent to achieve being-self. In this system recognition step is that an actor prepares an emotion for creation and a ground for experience in his or her mind through analyzing and puts life into a given circumstance to arise genuine desire naturally. This study tried to present graduate instruction-learning model that carries out that an actors probable imagination and reflective thought can make a given circumstance of drama text into being-self. If an actor loses actual quality of a given circumstance and is staying at obscure emotion that wasn`t elaborately analyzed, a stage will demolish the authenticity of a specific circumstance. The essential condition that enhances Korean theatre artistic value shall be arranged by actors outstanding capability. More elaborate and effective instruction-learning model and various instructive methods shall be developed vividly.

오태석 희곡 <환절기>와 세 겹의 미메시스

홍재범(Hong Jaebeom) 한국현대문학회 2014 한국현대문학연구 Vol.0 No.44

이 논문은 <환절기>의 두 가지 수용양상의 맥락을 폴 리쾨르의 세 겹의 미메시스의 관점에서 논구한다. 텍스트 생산자의 재현행위는 역사문화적 맥락과 허구적 서사물의 규약의 조건 속에서 이루어진다. 이것이 수용자와 소통하기 위해서는 양자 사이의 공통된 이해의 구조가 필수적이다. 형상화로서의 미메시스Ⅱ는 줄거리를 구성하는 행위를 통해 전형상화(전이해)로서의 미메시스Ⅰ와 재형상화(후이해)로서의 미메시스Ⅲ를 매개한다. <환절기>의 미메시스Ⅱ는 대빈이 정신병원에서 요청한 형주와의 만남을 수락함에서 시작하여 형주의 돌려보냄으로 끝난다. 텍스트가 하나의 전체적 행위로 통합되기 위해서는 사건의 인과적 배열을 통해 이질적인 연대기적 시간과 비연대기적 시간의 종합을 수행해야 한다. 이로써 텍스트 내부의 세부적인 행동이나 부수적인 사건들을 ‘전체로서 고려하기’가 가능해진다. 이것은 끝맺음의 구조적 기능에 크게 의지하는데, <환절기>의 끝맺음은 도시적 삶을 영위하는 젊은 남녀의 애정관계의 모호성을 사랑의 진실성이라는 측면에서 상징적으로 보여준다. 미메시스Ⅰ은 행동의 세계에 대한 전이해를 뜻한다. 이는 완결된 형태로 고정된 형상화로부터 전이해로 소급해 올라가는 상상력을 요구한다. <환절기>의 공간적 배경에 대한 전이해에 따라 미메시스Ⅲ의 단계에서 두 가지 양상으로 분리된다. <환절기>에서 당시 현실과의 연관성을 보다 강하게 발견한 이들은 사실주의로, 인간 삶의 보편적인 문제를 발견한 이들은 비사실주의적인 재형상화 양상을 보인다. 이는 수용행위란 텍스트의 지평과 수용자의 지평이 융합하는 과정임을 분명하게 확인시켜준다. 이러한 향유 과정을 통해 수용자의 허구적 서사 수용은 그의 존재 지평을 확장시킨다. This study thoroughly discusses the context of two aspects of the reception of Hwanjeolgi (Change of Seasons) from the perspective of threefold mimesis by Paul Ricoeur. A text producer’s act of representation is done in historical and cultural contexts and conditions of the rules of fictional narratives. For this to communicate with a recipient, the structure of common understanding between both parties is essential. Mimesis II as configuration mediates Mimesis I as pre-figuration (pre-comprehension) and Mimesis III as re-figuration (post-comprehension) through an act of composing a plot. Mimesis II in Hwanjeolgi starts with Dae-bin"s accepting a meeting with Hyeong-ju requested by a mental hospital and ends with sending Hyeong-ju back. For a text to be integrated in a whole act, a synthesis should be made between heterogeneous times: chronological time and non-chronological time through the causal arrangement of an event. By this, detailed action or accompanying event in the text can be ‘considered as a whole.’ This greatly depends on the structural features of closing, and the closing of Hwanjeolgi symbolically shows the ambiguity of the romantic relationship between a young man and a young woman who are leading a city life in terms of the integrity of love. Mimesis I means pre-comprehension of the world of action. This requires imagination to trace from configuration fixed in a completed form to pre-comprehension. Recipients are separated depending on pre-comprehension of the spatial background of Hwanjeolgi into two aspects in the phase of Mimesis Ⅲ: People who found stronger associations with the realities of the times in Hwanjeolgi show an aspect of realist re-figuration while those who found common problems of human life stronger show that of non-realist re-figuration. This clearly confirms that an act of acceptance is a process in which the horizon of a text fuses with that of the recipient. Through this process of enjoyment, the recipient"s accepting a fictional narrative extends the horizon of his or her existence.

1930년대 휴머니즘론 연구(1)-백철의 '인간'개념을 중심으로-

홍재범(Hong Jae-beom) 한국현대문학회 2001 한국현대문학연구 Vol.10 No.-

채만식소설과 희곡의 교섭 양상 : 〈심봉사〉의 경우

홍재범(Hong, Jaebeom) 한국현대문학회 2020 한국현대문학연구 Vol.0 No.62

이 논문은 채만식의 소설과 희곡이 상호작용하는 교섭 양상을 논구하여 창작방법론을 구명하는 것을 목표로 한다. 물론 이는 시론적 작업일 수밖에 없다. 채만식 문학의 패러디에 대한 연구는 원텍스트와 채만식의 텍스트 간의 비교분석이 대다수인데 이 논문은 그것과 달리 그의 텍스트 내부의 상호텍스트성에 주목했다. 이는 그의 문학 전반을 관통하는 창작방법을 탐구하기 위한 첫걸음이라 할 수 있다. 채만식의 〈심봉사〉는 두 편의 소설과 두 편의 희곡으로 창작됐다. 1936년 희곡 〈심봉사〉는 〈심청전〉의 사건 진행을 따라가다 마지막 맹인잔치부터 변화를 주어 심봉사의 돌발적인 자해행위로 끝나 관객을 당혹스럽게 만들었다. 1947년의 희곡 〈심봉사〉는 심봉사의 행위를 유발하는 근원적 욕망에 대한 추가를 통해 서사적 개연성을 확보한다. 이런 발전이 있기까지 그 중간에 1944년의 소설 「심봉사」가 있다. 채만식은 심봉사의 내면에 자리한 개안 욕망의 뿌리에 대해 서술하면서 심봉사의 자해를 수용할 수 있는 장면을 추가할 필요성을 자각했을 것이다. 그 결과 〈심봉사〉(1947년)의 첫 장면이 추가됐다. 또한 송달과 홍녀를 등장시킴으로써 현실성을 강화했다. 이런 변화로 결말에서 심봉사가 자신의 눈을 찌를 수밖에 없었던 이유를 관객들이 무리없이 납득하도록 만들었다. 이러한 과정을 통해 채만식은 극이 요구하는 내적 형식의 완성에 도달하게 된다. This paper aims to explain the creative methodology by discussing the negotiation aspect in which Chae Man-sik’s novel and play interact. Of course, this is a theoretical work. Most of the research on parody of Chae Man-sik’s literature is a comparative analysis between the original text and Chae Man-sik’s text, and unlike that, this paper noted the intertextuality inside his text. This is the first step toward exploring creative methods that penetrate his entire literature. Chae Man-sik’s Simbongsa was created with two novels and two plays. Simbongsa, a 1936 play, follows the proceedings of Simcheongjeon He changed from the last blind party, embarrassing the audience by ending up with Simbongsa’s sudden self-inflicted act of self-inflicting. The 1947 play “Simbongsa” secures narrative probability by adding to the fundamental desire that causes Simbongsa to act. In the middle of this development is the 1944 novel, Simbongsa. Chae Man-sik must have been aware of the need to add scenes to accommodate Simbongsa’s self-inflicted injuries, describing the roots of the desire to open the eyes that lie within Simbongsa Temple. As a result, the first scene of Simbongsa (1947) was added. It has also strengthened its realism by featuring delivery and Hongnyeo. This change made the audience understand why Simbongsa was forced to poke his eyes at the end. Through this process, Chae Man-sik reaches the completion of the inner form required by the play.