임화의 메타비평 연구- 비평적 자의식에 대한 고찰을 중심으로

권성우 상허학회 2007 상허학보 Vol.19 No.-

이 논문은 식민지시대 대표적인 비평가인 임화의 메타비평을 통시적으로 검토하는 것을 목적으로 한다. 임화는 누구보다도 뚜렷한 비평적 자의식을 지닌 비평가였다. 그는 비평의 본질과 성격, 존재방식에 대한 수많은 평문(메타비평)을 남겼다. 그는 비평적 위기가 닥칠 때마다 비평의 존재방식에 대한 근본적 성찰을 전개한 비평가이다. 그러한 메타비평을 통해 임화는 비평에 대한 사유를 인상적으로 보여주고 있다. 임화는 1930년대 중반까지는 마르크스주의 비평을 분명하게 고수했다. 그러나 1930년대 후반부터 임화는 작품에 종속된 비평에 대한 비판을 전개하면서 비평의 사회성과 정치성을 강조했다. 1940년 무렵부터 정세가 악화되면서 일본제국주의의 내선일체 사상과 대동아공영권이 확산되자, 임화는 비평의 독립성과 예술의 자율성에 대한 각별한 관심을 보여준다. 임화의 이러한 태도는 당시 노골적으로 확산되고 있던 일본 제국주의파시즘에 대한 간접적인 저항에 해당된다. 이와 연관하여 임화의 ‘창조적 비평’은 전면적인 억압기나 파시즘이 활개 치는 시기에 지배이데올로기에 대한 저항이 어떤 방식으로 가능한가 하는 점을 보여주는 일종의 시금석이라고 할 수 있을 것이다. 임화의 계몽주의적 비평은 해방직후 다시 적극적으로 분출했다. 그러나 그의 비평적 사유는 그의 정치적 죽음으로 인해 더 이상 지속되지 못했다. 이러한 점은 한국현대비평사의 최대의 아이러니이자 불행이라고 할 수 있을 것이다. The purpose of this thesis is to study Meta-Criticism of Imwha(林和), a representative critic of Korean Colonial Period. Imwha was a critic who had more critical self-consciousness than anyone else. He wrote many critic essays about the essence and characteristics of criticism. His thoughts on criticism are shown impressively in those articles and writings. Apparently, Imwha held on to Marxist Criticism until the mid 1930s. But, since the late 1930s, he developed his critical view on the criticism which was subordinated to literature works and emphasized the historical and political features of criticism. Since 1940, Imwha started to show his strong interest in the independence of criticism and autonomy of arts. This attitude can be considered as an indirect resistance against the Fascism of Japanese Imperialism which was being spreaded openly. He developed actively his enlightenment criticism again since the liberation of Korea. But his critical thoughts couldn’t be developed more because of his political death. This is one of the worst misfortune in the history of Korean Modern criticism.

김현의 공감의 비평 연구 - 제네바학파 연구와의 관련성을 중심으로

한래희 사단법인 한국문학과예술연구소 2019 한국문학과 예술 Vol.31 No.-

The study aims to review Kim's criticism of empathy focusing on the relation with the Geneva academic circle, The concept of criticism of empathy was not discussed in depth in Kim's critique research compared to its importance. It is hard to find the research the relaton between criticism of empathy and the Geneva academic circle. This study explored the relationship between Kim's criticism of empathy and the Geneva academic research, and explored the development of criticism of sympathy in the 1980s and Kim's strategy of criticism. The sympathy of the Geneva academic circle is not the result of empathy, but the experience of participating in mental adventures to reach transcendental reality. Kim's criticism of empathy is also subjective in that it is a work that sympathizes with and chooses to join the writer's unique spiritual adventure. The tenacity of these criticisms is based on the expectation of individual originality, a rejection of criticism based on ideological or periodic requests. Criticism of empathy starts from an extremely subjective point of view, but there is a peculiarity in that it also plays a critical role in society. Good literature makes one realize that what was considered a personal complex was actually a general complex and has a sense of orientation toward a freer world. Empathy, Compassion plays a critical role as it comes down to rejection of reality through preparation against the Utopian world. The reason why Kim Hyun emphasized his sense of lack is because he wants to find the power to refuse to compromise with negative reality. But the experience of empathy does not always play a social critical role. The state of reconciliation that compassion seeks may strengthen its yearning for a world free of oppression, but it may turn into a base of escape or complacency. Discloser of complex through analysis and the dismantling of negativity of desire emerge as a way to continue to carry out denial of reality through empathy, while preventing these risks. Analytical deconstruction advocated by Kim Hyun in the 1980s is the result of a strategy to maintain the social critical function of criticism of empathy. Kim's criticism of empathy provides a strong response logic to the assertion that the starting point of criticism is a specific ideology, a request from society, or a fact that the judgment criteria of criticism are firm. But to the question of how the critic's special sensitivity and originality can not fall into subjectivism, it can only provide an theoretical, elitist answer to wait for original consciousness and language. 본고는 김현의 공감의 비평을 제네바학파와의 관련성을 중심으로 검토하는 것을 목적으로 한다. 공감의 비평 개념은 그 중요성에 비해 본격적으로 연구되지 않았고 공감의 비평과 제네바학파 연구의 연관성에 대한 연구는 더 찾아보기 힘들다. 여기서는 김현의 공감의 비평론과 제네바학파 연구의 관계를 탐색하고 이를 토대로 1980년대 공감의 비평론의 전개 양상과 김현의 비평전략을 탐색해보았다. 김현이 파악한 제네바학파의 동화는 감정이입의 결과물이 아니라 초월적 실재에 도달하려는 독특한 정신적 모험의 참여를 의미한다. 공감의 비평은 이러한 독특한 모험에 동참하기를 선택한 작업이라는 점에서 주관적인 성격을 띤다. 비평의 주관성의 옹호는 이념·시대의 요청에 기초한 비평의 거부이고 개인의 독창성에 대한 기대의 발로라 할 수 있다. 공감의 비평은 지극히 주관적 차원에서 출발하지만 사회 비판적 역할도 담당할 수 있다고 주장하는 데에 그 특이성이 있다. 공감의 비평의 관점에서 볼 때 좋은 문학이란 개인적 콤플렉스로 간주되던 것이 사실은 보편적 콤플렉스라는 것을 깨닫게 한다. 개인적 콤플렉스에서 시작한 공감은 유토피아적 세계와 현실의 대비를 통해 비판적 역할을 수행한다. 김현은 1980년대 비평에서 결핍의식을 특별히 강조한다. 이는 부정적 현실과의 타협을 거부할 동력을 공감 경험에서 찾기 위해서라고 할 수 있다. 그러나 공감의 경험이 항상 사회 비판적인 기능을 수행할 수 있는 것은 아니다. 공감이 지향하는 화해의 상태는 자유에 대한 동경을 강화할 수도 있지만 도피나 자기만족의 기제로 변질될 수도 있다. 콤플렉스의 논리화와 욕망의 부정성 해체 작업은 이러한 위험을 방지하면서 공감이 비판적 기능을 지속적으로 수행하기 위한 방법으로 등장한다. 1980년대 김현이 표방한 분석적 해체주의는 공감의 사회비판적 기능을 유지하기 위한 전략의 결과물이다. 비평의 출발점이 특정한 이념이나 사회의 요청인 경우 혹은 비평의 판단기준이 확고부동한 진리라 주장하는 경우, 김현의 공감의 비평은 이에 대한 유력한 대응 논리를 제공한다. 그러나 비평가의 특수한 감수성에 기초한 비평이 어떻게 주관주의에 빠지지 않을 수 있을까라는 질문에는 독창적 의식과 언어를 기다리라는 원론적이고 엘리트주의적인 답변만을 제공할 뿐이다.

Integrating Rhetorical Criticism into Business Communication as an Interdisciplinary Approach

Sangchul Lee 한국경영커뮤니케이션학회 2019 Business Communication Research and Practice Vol.2 No.1

Objectives:The purpose of this paper is to suggest integrating rhetorical analysis and criticism into business communication research and pedagogy. Rhetorical analysis and criticism on public addresses of business leaders can provide important insights into the political and social issues of the community and the economic impact of the participants. Such an analysis would contribute to the development of communication scholarship taking place at the intersection of business communication, rhetoric, and society. Methods:This paper reviews articles on the rhetoric of business leaders published in business communication journals (e.g., Journal of Business Communication, Business and Professional Communication Quarterly, Management Communication Quarterly, Journal of Business and Technical Communication, Technical Communication Quarterly). It examines the purpose of rhetorical criticism in business communication and discusses popular criticism methods. Among the various perspectives on rhetorical criticism in the field of speech communication, this stduy discusses three commonly adopted methods – Neo-Aristotelian criticism, Genre Criticism, and Narrative criticism. Results:Studies on the rhetorical criticism of speeches of business leaders are not systematically integrated into business communication education and research. Rhetorical critics of speech communication are more interested in public speeches by prominent politicians or social leaders, while business communication scholars are more concerned with rhetorical theory and pedagogy. Conclusions:Integrating rhetorical criticism into business communication as an interdisciplinary approach infuses a new approach that goes beyond the domains of contemporary research and pedagogy. Integrating rhetorical criticism into business communication not only improves the quality of discourse in business society but also tests and modifies both the theory and practice of corporate rhetoric.

교육적 미술비평교육의 방법에 관한 연구

이안근 한국일러스아트학회 2021 조형미디어학 Vol.24 No.2

Art criticism is an area of visual literacy for analyzing various visual information as well as works of art. Of course, the essence of art education is creation and nostalgic activities. However, The necessity of criticism education should be emphasized from the viewpoint of properly receiving various visual information. Until now, school art education has neglected the areas of appreciation and criticism compared to the areas of expression. Even though appreciation education was conducted, Most of the appreciation education was conducted centering on the introduction of artists and art history. This cause seems to have affected the part where the methodology for appreciation education was not systematically established. Scholars have different views on the method of art criticism. However, until recently, the most widely applied critical theory in our education field is E. B. Feldman's critical discourse theory. However, concerns have been raised by several scholars about the possibility that Feldman's theory will focus on the transfer of knowledge from a formalist perspective. Among such scholars, Tom Anderson proposed 'educational criticism model stage' that emphasized learner-led criticism by revising and supplementing Feldman's theory. In this study, Anderson's art criticism of art criticism in five stages, eight operations, was expanded to nine operations. In addition, a method of “critical education in the form of integrated education” was proposed by inserting “writing criticism” in the final operation. Criticism writing is proposed as a method of art criticism education in that it becomes a useful learning tool that provides an opportunity for logical expression activities based on aesthetic sensibility and intellectual thinking. 미술비평은 미술작품뿐만 아니라 다양한 시각 정보를 분석하기 위한 시각적 문해력의 영역이다. 물론 미술교육의 본질은 창작과 향수활동이지만, 비평교육의 필요성은 다양한 시각매체의 정보를 바르게 수용하기 위한 관점에서 강조되어야 한다. 그동안 학교 미술교육에서는 표현영역에 비해 감상비평 영역을 소홀히 다루었으며, 감상비평 교육은 대부분 작가 소개나 미술사적인 이론을 중심으로 이루어지는 경우가 많았다. 이러한 원인은 감상교육에 관한 방법론이 체계적으로 정립되지 못한 부분도 영향을 미친 것으로 본다. 미술비평 방법에 대한 견해는 학자마다 관점을 달리하지만, 최근까지도 우리 교육 현장에서 가장 널리 적용되고 있는 비평이론은 펠드만(E. B. Feldman)의 비평적 담화이론이다. 하지만 펠드만의 이론이 형식주의 관점으로 지식전달에 치중될 가능성에 대한 우려가 여러 학자에 의해 제기되어 왔다. 그런 학자 중에서 톰 앤더슨(Tom Anderson)은 펠드만의 이론을 수정 보완하여 학습자 주도의 비평을 강조한‘교육적 비평모델단계’를 제시하였다. 본 연구에서는 앤더슨의 미술비평의 단계인 5단계 8개의 조작을 9개의 조작으로 확대하였다. 그리고 확대된 조작에‘비평문 작성’을 삽입하여‘통합교육 형태의 미술비평교육’방법을 제안하였다. 즉, 문학적 비평문 쓰기와는 다른 비평단계의 해석과 비평을 토대로 논술적인 비평문 쓰기를 하도록 하는 것이다. 미술비평에 의한 비평문 쓰기는 미적 감성과 지적 사고에 의한 논리적인 표현활동의 기회를 제공하는 유용한 학습 수단이 된다는 점에서 미술비평교육의 방법으로 제안한다.

시각장애 학습자를 위한 음악비평수업모형 개발

이보림 한국음악교육학회 2018 학술세미나 및 연수회 Vol.2018 No.-

The purpose of this study is to develop a music criticism model for the visually impaired learners so that the blind who enjoy music appreciation can have systematic criticism ability. Therefore, the researcher conducted a literature review for the teaching material, and conducted a demand analysis of 13 high school students in the blind school in order to understand the needs and perceptions of visually impaired learners about music appreciation and criticism. After analyzing the literature analysis and questionnaire results, I developed a music criticism model and then conducted Focus Group Interview(FGI) on three teachers in Blind School to diagnose the fit of the model. Through this research process of triangulation, it was found that the students in the blind students had a high interest in appreciation with an average of 4.47(SD = 0.64) and the interest in criticism was 3.62(SD = 1.22). Particularly, students showed a high response to impressionist criticism types among various criticism types. Finally, the results of the evaluation of the 8th grade criticism model, which is a fusion of 5 types of art criticism by Stolnitz and the contextual revision of Feltman criticism stage, were evaluated by 3 experts. The result was positive evaluation from all 3, I was asked to review about the plan and stage.

예술비평과 메타비평 그리고 권력의 변증법

서대정(Suh, Dae Jeong) 민족미학회 2013 민족미학 Vol.12 No.1

신비평(New Criticism)은 그 동안 주류를 이루었던 역사주의적 비평을 구시대의 비평으로 돌리고 새로운 비평의 대안으로 떠올랐다. 신비평은 텍스트 자체에 주목하게 함으로써, 텍스트에 접근할 수 있는 권리나 이를 해독할 수 있는 지식을 가진 비평가에게 막강한 권력을 쥐어주었다. 그로 인해, 비평가의 역할을 무한히 강조되었다. 그러나 1960년대 이후 등장한 후기구조주의적인 사유로 인해, 수용자의 중요성 강조, 저자의 죽음, 다성성, 대화주의와 같은 신개념이 등장하면서 비평가의 역할에 대한 새로운 시각이 정립되었다. 영화비평 또한 이 시기부터 양적, 질적으로 많은 발전을 이루게 되었다. 그러나 영화는 예술장르 중에 가장 친대중적이며, 대자본의 투여가 활발하게 이뤄지기 때문에, 대중의 작품 비평에 대한 욕구는 유달랐다. 그럼에도 불구하고 에꼴과 아카데미는 대중에게 자신의 비평 권력을 나눠주는 것을 용납하지 않았다. 전문가에게 의존하면서 영화에 대한 지식을 습득하던 대중들은 영화잡지나 여타 미디어를 통해서 자신의 욕구를 채우는데 만족해야 했다. 이러한 비평 지형도는 인터넷이 활성화된 21세기 들어서 획기적으로 변하기 시작했다. 더 이상 대중은 비평가에게 의존하지 않고, 인터넷을 통해서 정보와 지식을 습득했으며, 더욱 활성화된 SNS를 통해서 자신들의 비평적 의견을 피력했다. 이제 대중들에게 필요한 것은 의견이 아닌 정보였으며, 대중들의 활발한 비평적 활동은 오히려 전문영화잡지가 사라지게 만들었다. 그러나 아이러닉하게도 아카데미에서 영화비평은 다시 활발해졌다. 전문영화잡지가 일부 수행하던 역할을 대체하게 된 것이다. 그러면서 영화비평은 더욱 더 아카데믹한 영역으로 고립되어갔다. 대중과 비평이 유리된 이유는 비평권력의 독점에 대한 불신에 기인한 것이다. 문학 장르에서 행해졌던, 주례사 비평, 텍스트 물신주의 비평, 덕담 비평과 같은 부정적 비평 행태가 영화 장르에도 비슷하게 적용된 측면을 간과할 수 없을 것이다. 결국 인터넷 시대에 접어들면서 ‘말하기’와 ‘말하지 않기’ 전략이라고 부를 수 있는 비평의 관행에 대해서 수용자들은 등을 돌린 것이다. 그렇기 때문에 어느 순간 비평은 미디어에서 사라지고 인터넷에서는 수용자 개개인의 의견을 피력하는 아마추어리즘이 득세하게 된 것이다. 이러한 비평관행을 깨고, 다시 비평이 제자리를 잡기 위해서는 ‘비평에 대한 비평’ 즉 메타비평이 반드시 활성화되어야 한다. 이와 더불어 실명비평문화가 정착되어야 진정한 비평의 시대가 도래 할 것이다. 자신이 행한 비평활동이 누군가에게 또 다른 비평의 대상이 될 수 있다는 자기 반영적인 자세, 비평을 하는 자신에 대한 철저한 내적 성찰이 이루어질 때 메타비평은 유의미한 예술 활동이 될 것이며, 이와 더불어 다시 예술 비평에도 새로운 전기가 마련될 것이다. New Criticism sprang up as current of 1920’s, simultaneously Historical Criticism faded away into the art history. By paying attention to the text itself, New Criticism gave powerful authority for access to the text to critics who have special knowledge to decord the text. That emphasized the role of critics limitlessly. But new paradigm such as death of authors, multivocality, dialogism and emphasizing role of user was established by post structuralism. Film criticism progressed quantitatively and qualitatively in many developing at this period. Since film genre has a powerful inclination of pro-people so audiences in Film genre has totally different demand for criticism from users in other genres. Nonetheless ecole and academy not allow people to divide critic power and consequently people who obtained information and knowledge about film was depending on specialist in film had to satisfy the needs through other media such as news paper, magazine, broadcasting etc. This topographical map has changed in the beginning of the 21th century due to activated internet. People do not depend on critics, get information and knowledge through internet and demonstrate their thoughts and opinions by activities in SNS. Therefore people do not need view or opinion of specialist any more. They really want only information about film. Ironically, film criticism is activated in ecole and academy. They substitute for the role of special film magazines. In doing this, film criticism has returned to more academic field. This is because distrust exists between critics and people. They disgust and hate the negative attitude for criticism was taken place in literature genre such as text fetishism criticism, praise criticism, officiating ceremony criticism, etc. In other words, so called ‘the strategy of speak and no speak’ make turn users back on the criticism. For this reason, criticism disappears in media at one point, and amateurism which can afford individual viewpoint of audience in film genre became prevailed. In order to breaking the traditional practice in criticism and to settle criticism in place, criticism on criticism: Meta criticism must be activated. In addition, if real name criticism arrived, authentic era of criticism will appear in front of us. Self reflexible attitude which can be another text on criticism, inner self-reflexivity in his criticism will be needed in meta criticism, at that time meta criticism make new standard in art criticism.

한국교회의 설교비평

Ryoo,Eung-Yul 개혁신학회 2008 개혁논총 Vol.9 No.-

This writer tries to examine the current situation regarding the sermon criticism of Korean churches and propose a few things to establish the foundation of biblical preaching in Korean churches through this paper. In fact, the word, sermon criticism is being used very rarely not only in the Korean churches but also in the Western churches. And it can not be easily found in the western homiletic world as far as books or papers regarding the sermon criticism are concerned. In the midst of this current situation, Korean churches begin to have a great interest in a sermon criticism.But the sermon criticism based on the wrong theology might be cause for wrong preaching and a great danger to impede wholesome words. On the other hand, the interest regarding the right sermon criticism based on biblical theology will play a far bigger part in making the pulpit as the word of truth. For this purpose, I will take a look at the history of sermon criticism in Korean churches. Then secondly, I would like to analyze the contents of the sermon criticism and evaluate its validity. Finally, I try to make five suggestions in order to make right sermon criticism settled in Korean churches. First, the biblical homiletic theology should be in a triangular position for the right sermon criticism of the pulpit of Korean churches. Second, for the balanced criticism, preachers and their sermon must be studied simultaneously. Third, sublation of criticism with a critic's viewpoint to his heart's content and a hermeneutical critique attitude toward analyzing the sermon with respect of preachers’intention must be provided. Fourth, the same interest not only in the preachers’body of sermon but also in the delivery of sermon must be needed as well. Fifth, a sermon must be comprehended under the live worship circumstance on account of a sermon being dynamic in the background of every service. The word of God through preaching is not an object of a critique but the object of obedience. But preaching can be developed by the creative criticism. I hope that the pulpit experiences the holy change in every sermon in accordance with sermon criticism positioning as a constructive academic field, and with the sermon of Korean churches putting down new roots in the Bible drastically, and permeating into auditors’lives accurately.

고등학교 음악비평문 지도방안 연구: 작품비평을 중심으로

안소영,최은식 학습자중심교과교육학회 2024 학습자중심교과교육연구 Vol.24 No.4

Objectives The purpose of this paper is to provide teaching methods for guiding music criticism in Music Appreciation and Criticism, one of the High School Music Career-related Subjects. Methods The authors have reconstructed Stolnitz's art criticism and presented three musical criticisms, contextual criticism, intrinsic criticism, and impressionist criticism; we have applied Feldman's four critical stages, description, analysis, interpretation, and evaluation to the three types of musical criticism. We have also presented a model of what should be included in each stage so that students can actually write criticism of musical works. Results In the first stage, explanation, students can obtain some information on the composer's biography and background of the work from textbooks and introductory books, and describe musical surface such as tonality, beat, rhythm, etc. When guiding students on the second stage, analysis, let them identify the components of the music and the characteristics of the piece. In the next stage, interpretation, students are asked to find musical meaning based on the analysis, describe the work in a social or historical context, or contextually reveal their subjective feelings about the work. In the final stage, evaluation, the teacher makes students judge the meaning and value of the piece. Conclusions This study is significant in that it systematizes and presents a framework for writing in high school music criticism classes. Through this study, we hope that discussions on music criticism will be actively conducted and contribute to school music education.

디지털 시대의 새로운 ‘형식’과 ‘활동’으로서 영화비평: 시네 토크, 팟캐스트, 비디오 비평을 중심으로

이선주 한국디지털영상학회 2023 디지털영상학술지 Vol.20 No.2

This paper aims to examine new trends in contemporary Korean film criticism, in which the mode of existence of cinema and the forms of criticism are diversified and expanded due to the easy accessibility of film information and knowledge through the Internet and the changes in the media environment. The period since the mid-2000s, after the rise and fall of film magazines that began in the mid-1990s, is often perceived as one of crisis or decline in film criticism, with the disappearance of centralized film journals and the decrease of professional critics. However, the period has also witnessed the diversification of the themes and approaches of film criticism both in online and offline spaces, which is evidenced by the emergence of verbal and visual criticism beyond written language across public and personal media, as a notable new tendency of contemporary film criticism. In other words, these new forms and practices attest to the ways in which the paradigms of film criticism have been dynamically expanded and reconfigured more than ever before in dialogue with the shifting ontology of cinema. Therefore, investigating film criticism in the digital age demands attention to newly differentiated and reorganized ‘forms of criticism’ and transmedia ‘para-critical practices,’ rather than relying on discourses institutionalized or centralized through traditional methods such as the ‘idea of film criticism,’ ‘film criticism generation,’ and the ‘primacy of print media.’ This paper places importance on the expansion of critic space and the implication of amateurism of the millennial critic generation who was born digital natives and going through cinema critic's institutionalized gatekeeping, in terms of generation. Accordingly, it discusses two new trends in the forms and practices of contemporary Korean film criticism that emerged around the 2010s: talking criticism (cine talk and podcast) and video essay. While keeping in mind the essence of criticism that has been important in historical and traditional critical discourses (aesthetics, evaluation, purification, etc.), we would study the change of roles and functions of the new forms and differentiation of criticism generation, sustainable form of critic and activities related with the transformation of media and reorganization of the media industry in the view of challenges and possibilities.

‘사고와 표현’ 교과목에서의 콘텐츠 비평 교육 설계를 위한 신입생 비평 글 분석

이지선 한국사고와표현학회 2023 사고와표현 Vol.16 No.3

이 연구에서는 ‘사고와 표현’ 교과목에서의 콘텐츠 비평 교육 설계 방향을 제안하기 위해, 신입생들이 작성한 콘텐츠 비평 글을 독자 반응 비평 이론의 관점에 입각해 분석하였다. 신입생을 대상으로 하는 교과목 운영 상황을 고려할 때, 비평 이론을 처음 접하는 학생도 비교적 쉽게 접근할 수 있는 독자 반응 비평 이론의 비평적 지향점이 유용할 수 있다. 2장에서는 이론적 검토를 통해 텍스트비평 과정을 비평자가 자신의 미적 판단을 정당화하여 독자를 설득하는 과정으로 전제하고, 비평이 서술, 해석, 평가로 구성되며, 각 요소의 유기성이 중요하다는 점을 조명하였다. 또한 주관적 독자 반응 비평의 관점을 원용해 독자 지향적⋅현실 지향적⋅경험 지향적 반응 중 경험 지향적 반응이 읽기 경험을 공유하는 데 유용하다는 점을 살폈다. 3장에서는 2장의 틀을 활용하여 학생 글을 분석하였다. 분석 결과 학생의 글 중 독자 지향적 반응과 현실 지향적 반응에 초점을 둔 글은 자신의 미적 판단을 정당화하는 과정이 누락되고 텍스트와 독자의만남으로서의 읽기 경험을 설득력 있게 설명하지 못하는 양상을 보였다. 또한비평의 요소 중 서술이 과소하거나 과대한 경우 독자 지향적이거나 현실 지향적반응에 그치고 경험 지향적 반응으로 나아가지 못하는 경향이 보였다. 텍스트의내적 요소에 대한 서술과 해석이 부족한 경우에도 자신의 미적 판단에 대한 정당화가 충분히 이루어지지 못했다. 이러한 분석 결과를 바탕으로 이 연구에서는읽기 대상에 대한 감상을 설득력 있는 비평으로 정교화해 나가는 교육 지향점을제안하였다. The purpose of this study is to suggest the direction of content criticism education design in the ‘Thinking and Expression’ subject. Content criticism articles written by freshmen were analyzed based on the perspective of reader response criticism theory. The critical orientation of the reader response criticism theory can be useful in consideration of the course management situation for freshmen. This is because many freshmen are new to critical theory. Chapter 2 presupposes the text criticism process as a process in which a critic justifies his or her aesthetic judgment to persuade the reader through a theoretical review, and highlights the importance of the organicity of each element. In addition, it was examined that, using the perspective of subjective reader response criticism, experience-oriented reactions among reader-oriented, reality-oriented, and experience-oriented reactions are useful in sharing reading experiences. In Chapter 3, student writings were analyzed using the framework of Chapter 2. As a result of the analysis, the process of justifying one’s aesthetic judgment was omitted in articles that focused on reader-oriented and reality-oriented responses among students’ writings, and the reading experience as a meeting between text and readers was not convincingly explained. In addition, when the description was insufficient or excessive among the elements of criticism, there was a tendency to stop at a reader-oriented or reality-oriented response and not move toward an experience-oriented response. Even if the description and interpretation of the text’s internal elements were insufficient, justification for one’s aesthetic judgment was not sufficiently achieved. Based on these analysis results, this study suggested that critical education should aim for a process in which responses to content, which is a hobby of students in their daily lives, are elaborated from appreciation to criticism.