하위징아의 놀이이론 관점에서 분석한 조선시대 사대부의 투호

남현지 실천민속학회 2024 실천민속학연구 Vol.43 No.-

조선시대의 투호를 하위징아의 놀이 이론의 관점에서 살펴보는 본 연구에서는 사대부들이 즐기던 놀이의 본질적 속성이 무엇이었는지 논의하였다. 투호는 왕실에서 시작되어 사대부로 전해진 신체 놀이인데 투호를 통하여 신체를 단련하며 사람들과의 친목을 유지하고 또한 왕실에서는 이를 정사의 연장선상에서 활용하기도 하였다. 투호는 신체 활동과 더불어 시문을 짓기도 하였는데 투호아집도에 잘 드러난다. 참가자들은 예를 지키며 시문을 나누며 자신들의 여가 시간을 의미 있게 보내는 모습을 보였다. 이러한 모습은 여가 시간을 잘 활용하던 그리스 귀족의 디아고게의 모습과 닮아있으며 시문으로 놀이를 진행하는 방식 또한 음유시인 바테스의 모습과 빗대어 볼 수 있다. 사대부는 하위징아가 말하는 시간을 ‘잘’ 보내는 방식에 대한 연구를 게을리하지 않았다. 벼슬에서 내려 온 후, 귀양을 간 후, 벼슬을 하는 동안의 시간을 투호를 하였으며 시문을 짓거나 야외에 나가는 등 그 모습은 변하였지만 놀이를 즐기는 사대부는 줄어들지 않았다. 하위징아는 놀이가 ‘무엇’을 하느냐가 아닌 무엇이든 ‘노는’ 그 자체라고 말하였다. 놀이하는 인간인 호모루덴스는 삶의 가치를 노동에 두지 않고 놀이나 여가활동에 관심을 기울인다. 하위징아는 삶을 놀이처럼 살아야 한다고 주장하면서 유희의 본질과 의미를 문화현상으로 파악하였다. 따라서 한 사회를 이해하는 데에 놀이를 분석하는 것은 그 시대와 사회의 문화 전체를 이해하는 것과 같은 의미를 지닌다고 역설한다. 현대를 살아가는 이들은 노동에서 자유로운 그리스의 귀족 혹은 조선 시대 사대부와는 다른 환경에 놓여 있지만 기술의 발달에 많은 부분을 양보한 현대 사회에서 ‘놀이’를 제대로 즐기고 있는지, 놀이를 제대로 하기 위해서 어떠한 인식의 전환이 필요한지는 연구자들에게 던져진 질문이다. Examining the play and leisure activities of the Joseon Dynasty from the perspective of Huizinga’s theory of play, this study discusses the essential characteristics of the games enjoyed by the people of the time. The play of the Joseon Dynasty’s royal court and literati readily exhibits features of Huizinga’s play theory. Specifically, the leisure activities of the literati exemplified Homo Ludens, engaging in play not for profit but for honor, a key aspect of their recreation. Huizinga asserted that play should not yield economic profit and that any rewards should symbolize honor rather than financial gain, which would otherwise compromise the purity of play. Tuho, a physical game originating from the royal court and passed down to the literati, was not only a means of physical training and fostering camaraderie but also a way for the royal court to extend its formal activities. Unique to Korea and distinct from Chinese practices, Tuho also involved composing poetry alongside the physical activity. Participants maintained decorum, exchanged poems, and meaningfully engaged during their leisure, reminiscent of the Greek nobility’s Diagoge, adept at utilizing leisure time. This method of integrating poetry with play also parallels the tradition of Bardic poets like Barthes. The literati did not neglect the study of Huizinga’s notions of ‘well’ spent time. Whether retired from official duties, in exile, or during their tenure, they engaged in Tuho and composed poetry, changing in form but never diminishing in their enjoyment of play. Huizinga posited that play is not about ‘what’ one does, but rather the act of ‘playing’ itself, regardless of the activity. He introduced the concept of Homo Ludens, or ‘playing human,’ who does not anchor life’s value in labor but instead focuses on play and leisure activities. Huizinga argued that life should be lived in the spirit of play, interpreting the essence and meaning of play as a cultural phenomenon. Therefore, he articulated that analyzing play within a society is tantamount to understanding the entire culture of that era and society. In the play of the literati classes during the Joseon Dynasty, one can readily observe the characteristics of Huizinga’s theory of play. This calls for a reconsideration of how the literati of the Joseon Dynasty lived and played, questioning whether modern individuals, amidst technological advancements and different social conditions, are truly enjoying ‘play’ or if a shift in perception is necessary to appreciate and engage in play properly. This question is particularly poignant in contemporary society, where the essence of ‘play’ might be compromised by the demands of labor and economic pursuits.

교육놀이욕망과 놀이중심 유아과정에 관한 소고: 뒬레즈와 가타리의 욕망이론적 접근에서

오경희,임부연 한국수산해양교육학회 2019 水産海洋敎育硏究 Vol.31 No.6

In this study, through the approach of the theory of desire of Deleuze & Guattari, the true play-oriented early childhood education course was enhanced. To this end, we explored the theoretical topography and nature of desire and playfulness. And it was developed in a way that emphasized the importance of understanding the convergent characteristics of play free educational play and the importance of 'becoming' in play-centered early childhood education courses. Specifically, this is described as follows. First, in the approach of desire theory, it made an issue of the desire to generate desire and emphasized Deleuze and Guattari’s nomad flow and ‘Corps sans Organes’(CsO). And in the approach of the play desire, play was regarded as meaningful and valuable in itself and emphasized the autonomy and productivity of the spirit of play and the play desire. Next, I emphasized that to foster the convergent capacity of free educational play and to become a true play-oriented infant education program, it must be an expressive '-becoming' in each position. It also suggested the need for support in terms of policy, economic and environmental aspects to support teachers' change of perception and on-site practice.

쉴러의 『인간의 미적교육에 관한 편지』에 나타난 ‘놀이충동’의 이해-잉여에너지이론에 대한 재고-

윤미정 한국체육철학회 2010 움직임의철학 : 한국체육철학회지 Vol.18 No.3

스포츠를 설명하는 중요한 개념이 두 가지 있는 데 그것은 경쟁성과 유희성이다. 놀이는 스포츠와 예술의 기초적 형태이다. 놀이에 관한 이론 중 쉴러의 잉여에너지 이론은 놀이 개념의 초기 이론으로 위치하고 있다. 그러나 잉여에너지이론은 단순한 에너지소비라는, 그리하여 그 자체의 목적을 갖고 있지 않는 한계점을 갖는다. 『인간의 미적교육에 관한 편지』에서 쉴러가 주장하는 것은 놀이를 통해 인간의 전체성 회복이 가능한 것이다. 인간성의 이념을 해명하기 위하여, 인간성의 속성으로 감각충동과 형식충동이라는 두 기본충동을 설정하고, 인간성의 통일은 그 두 충동이 조화롭게 결합된 놀이 충동에 의해서 가능하다고 보았다. 그는 놀이 충동에 의해 놀이할 때의 인간을 완전한 인간으로 규정하고 그리스인을 그 전형으로 제시하였다. 이러한 쉴러의 놀이이론은 칸트의 선험적 관점에서 인간학적 관점으로의 전환이라는 의의를 갖는다. 과도한 합리주의, 즉 ‘이성중심주의’를 극복하여, 이성과 감성이 조화된 완전한 인간, 다시 말해 ‘놀이하는 한에서 완전한 인간’이라는 전인적 인간관을 나타내 주는 것이다. 스포츠가 갖는 경쟁의 측면에서 놀이의 측면으로 관심을 전향함으로써 현대스포츠의 과도한 상업주의로 인한 지나친 경쟁과 도덕적 쇠퇴의 현상을 극복할 수 있을 것을 기대한다. This paper intends to investigate the meaning of play in『 On the Aesthetic Education of Man. In a Series of Letters』by Friedrich schiller. Important concepts to describe the sport are competitive and play. And sport and art have common roots. That is Play. Friedrich Schiller advanced the theory that play was primarily motivated by the need to burn up excess energy. However, this surplus energy theory has limitation that it does not have its own purposes. In『 On the Aesthetic Education of Man. In a Series of Letters』, Schiller wrote that play will be capable of recovering the totality of human beings. According to Schiller, there are two impulses of man. One is sensuous material impulse and the other is rational form impulse. Humanity were unified by the play impulse which was a product of the harmonious combination of the two impulse. He regulated perfect human beings by play impulse. And ancient Greeks were presented as examples. Schiller's play theory extend Kant's transcendental philosophy and overcome dualism of rationality and sensitivity, subject and object. We should turn our attention from competitive sport to play sport. So we will be able to overcome excessive commercialism of modern sport and the moral decline of excessive competition.

놀이치료 초기과정에서의 유아의 놀이구조화에 대한 근거이론 연구

박종실,김영희 한국상담학회 2020 상담학연구 Vol.21 No.5

The study aims to understand young child's inner world in the initial stage of play therapy, exploring young child's play theme, play structure, and contextual conditions to affect play structure based on a grounded theory. As the results of the study, the common themes in the initial stage of young child's play therapy were ‘safe protection’ and ‘needs to be taken care of’, and the subcategories were ‘positive parenting’, ‘self-restoration’ and ‘safe-guard’. The core categories of play theme, which were developed from the paradigm model, were ‘safe protection while fighting against scary world’ and ‘meeting needs to be taken care of’. As a result of analyzing the types of play structure focusing on core category, the four structures; confusion/discursiveness, aggression/alert, impulse/outburst and conflict/suppression were determined. The conditions which had influences on play structure were as follows depending on the condition; in the causal condition, ‘vulnerable secure-base’, in the contextual condition, ‘being not loved or taken care of’, and in the intervention condition, ‘controlling fear’ and ‘raising a sense of self’. And ‘controlling fear’ and ‘raising a sense of self affected the central phenomenon, ‘fighting against scary world’ and the action/interaction strategy, ‘fear and fighting back’. 본 연구는 놀이치료에 의뢰된 만 4세~만 6세 유아들이 놀이치료 초기과정에서 표현하는 놀이주제가 무엇인지, 놀이구조 유형은 무엇인지, 놀이구조에 영향을 미치는 조건은 무엇인지를 질적 연구방법인 근거이론을 적용하여 탐색함으로써 유아들의 내적세계를 이해하고자 하였다. 연구의 결과 유아들의 놀이치료 초기과정에서 나타나는 공통된 놀이주제는 ‘안전한 보호와 돌봄이 필요함’으로 도출되었고, 하위 범주로는 긍정적 양육과 자기회복, 안전한 보호막으로 나타났다. 그리고 본 연구에서 도출된 패러다임 모형을 통해 놀이치료의 초기과정에서 파악된 유아 놀이주제의 핵심범주는 ‘두려운 세상과 맞서 싸우며 안전한 보호와 돌봄 욕구 충족하기’로 나타났다. 이러한 핵심범주를 중심으로 연구대상 유아들의 놀이치료 초기과정에서 나타나는 놀이구조의 유형들을 분석한 결과, 혼란/산만 구조, 공격/경계 구조, 충동/돌발 구조, 갈등/억압 구조의 네 가지 구조가 도출되었다. 또한 유아들의 놀이치료 초기과정에서 나타나는 놀이구조의 유형에 영향을 미치는 조건은 인과적 조건인 취약한 안전기지, 맥락적 조건인 나는 사랑과 보호를 받지 못하는 존재로 나타났으며 중재적 조건인 불안감 통제하고 자기감(a sense of self) 높이기는 유아들이 두려운 세상과 싸우는 중심 현상과 작용/상호작용 전략인 두려움 맞서기에 영향을 주는 것으로 나타났다.

徐渭曲論探析

趙美娟 韓國外國語大學校 外國學綜合硏究센터 中國硏究所 2004 中國硏究 Vol.33 No.-

This article examined Xu Wei drama theory and its significance in Chinese literature, in particular, in Chinese southern play. Xu Wei was a Ming Dynasty writer, who excelled in a wide range of art fields such as poetry, calligraphy, essays. painting and so on. He underwent all sorts of miserable hardships throughout his life, accordingly, his works showed his queer character and behavior as the major feature and style of his works. It can be said that Xu Weis Drama theory is a prominent work in the thriving field of drama in the middle and late of Ming Dynasty. Nam-Sa-Se-Rok written by Xu Wei is a sole work regarding Chinese southern play in the Ancient Chinese Drama history. This work has been regarded as an important study in the Chinese southern play, since, for the first time, it drew attention to the Chinese southern play and explained a critical aspect of drama theory. Xu Wei explored the area of the Chinese southern play that had have been neglected by men noble of birth in Ming Dynasty. In those days, drama had a tendency to set a high value on poetry and prose, elegance and gentleness. However, Xu Weis deep and critical views regarding drama broke down this tendency of the drama in Ming Dyanasty. Based on the ancient philosophy and literary thoughts, Xu Weis drama theory was gradually developed and accomplished. In the area of philosophy ideas, Xu Weis drama theory was influenced by Wang Yang Myung thoughts, Buddhology, Taoism. In the area of literature thoughts, Xu Wei accepted literature notions and views of the conservatism and Dan-song-Pa that placed high value on private citizen works in the middle of Ming Dynasty. Mainly, Xu Weis drama theory can be found in Nam-Sa-Su-Rok and in this work, Xu Wei explained the history of Nam-Hui and how it had have been developed in those days. Moreover, focusing on Nam-Hui, Xu Wei broadly dealt with the crucial problems founded in the field of the drama theory. Xu Weis drama theory can be categorized into four studies: the study of its origin and development; the study of truth; the study of nai¨ve emotion and the study of rythem. Free from the traditional notions, Xu Wei studied the Particular features and rules in writing drama, and examined the forms and changes of drama works as well. These Xu Weis artistic behaviours had have been influencing a lot of drama theorists. Accordingly, it can be said that a lot of drama theories were driven from the view of Xu Weis drama theory. In this sense, it is obvious that Xu Weis drama theory had have been influencing significantly upon Chinese drama theory.

놀이의 심리적 기제와 방법적 기제 : 피아제의 놀이이론의 재조명

김덕영(Deok-Young Kim) 한국도덕교육학회 2017 道德敎育硏究 Vol.29 No.3

본 연구의 목적은 피아제의 놀이이론을 그의 인지발달 이론과 관련하여 규명함으로써 놀이가 정신구조의 확충 과정과 맺는 관련을 밝히는 데에 있다. 이에 관건이 되는 것은 피아제가 인지발달의 심리적 기제의 하나로 언급하고 있는 동화와 조절 개념이다. 동화와 조절은 정신구조와 대상 사이의 상호작용으로 정신구조와 대상 사이의 끊임없는 순환을 의미한다. 피아제의 정신구조는 바깥의 대상을 인식하기 이전에 이미 갖추어져 있는 타고난 것이라고 보아야 한다. 그러나 피아제는 정신구조를 이전의 지식에 한정하여 파악하고 있다. 피아제가 규명하고 있는 인지발달―개념획득―이 가능하기 위해서는 정신구조의 생득적 측면을 받아들이지 않으면 안 된다. 피아제에 의하면 아동은 인지발달의 첫 단계에서부터 놀이와 모방을 시작하며, 놀이는 그 인지발달 단계에 상응하여 놀이의 세 유형―실행놀이, 상징놀이, 규칙놀이―을 거치며 정신구조를 확충해간다. 놀이에 관한 피아제의 설명은, 놀이는 동화가 조절보다 두드러지게 작용하여 나타난다는 점에 집중되어 있다. 그러나 동화와 조절은 개념상 구분해낸 것일 뿐 그 두 가지 과정은 동시에 일어난다. 이 점을 정당히 존중한다면 놀이는 아동의 유희에 불과한 것이 아니라 지식을 통하여 획득되는 개념과 함께 정신구조를 확충하는 또 한 가지의 경로로서 의의를 가진다고 볼 수 있다. The purpose of this study is to turn out how play is related with the process of building schema by examining Piaget’s theory of play on the relationship with his theory of cognitive development. The key point to examine Piaget’s theory of play is the conceptions of assimilation and accommodation which he suggests as psychological mechanisms of cognitive development. Assimilation and accommodation are interpreted as the interaction between inner schema and the outer object, which indicates the continuous circulation between them. Piaget’s schema should be considered to be early existed and innate prior to recognizing the outer object, but Piaget regards schema to former knowledge. To make cognitive development(concept acquisition) possible that Piaget examines, the innate aspect of schema should be kept in mind. According to Piaget, a child starts play and imitation at the first stage of cognitive development and play shows three types(practice play, symbolic play, play with rules) in correspondence of the stages of cognitive development(the process of schema building). Piaget’s explanation for play focuses on the fact that play is the primacy of assimilation over accommodation. However, assimilation and accommodation are the conceptual distinction to explain the process of cognitive development, which means they are two aspects of identical process. Play has great significance as a tool and way to build schema in collaboration with the concept which is acquired through the knowledge.

공간, 영화, 영화-공간에 대한 미학적 고찰 ―헤르만 슈미츠의 신체현상학적 이론을 중심으로

하선규 현대미술학회 2008 현대미술학 논문집 Vol.1 No.12

The matter of 'space' has been a key theme of human culture. Today, we are discussing it in daily life or theoretically from various point of view. We are using the concept of space in various meanings such as physical space, geographical space, architectural space, space as a landscape, aesthetic space, social space, media space, cyber space and so on. Yet, when asked what the exact meaning of space is, we can't properly answer the question. Considering these difficulties about definition of the meaning of space, this paper examines firstly the theory of space of Kant because his theory of space still has a classical significance in two aspects. It suggests systematic theory on physical-objective space as well as tries to approach phenomenologically to the matter of space. Secondly this paper deals with the problem of space experience by focusing on German philosopher, Hermann Schimitz's theory of space. His body-phenomenological access reveals various aspects and implications that the spatial experience of human includes. Specially his explanation on three dimensions of space experience - 'expansion-space' 'direction-space' and 'location-space' - has a remarkable systematic value and theoretical persuasion. In addition it is extraordinary impressive that he emphasizes spatial character of emotion. His body-phenomenological theory of space is thought to have productive potential regarding film theory. Therefore this paper discusses thirdly the reason why the film is regarded as a proper medium that expends and strengthens our space experience. It also analyzes the way in which genuine properties of film are related to spatial experience of film spectators. Film can be defined as a medium that more vitally expresses the direction-space, movement and spatial situation of emotion than any other art form. The deep understanding of space experience will be applied to reflect perceptional process and aesthetic properties of other art forms such as painting, sculpture, play, opera etc. Furthermore through such differentiations of space experience we can precisely interpret the meanings and effectiveness of cultural systems like media forms or political events. The matter of 'space' has been a key theme of human culture. Today, we are discussing it in daily life or theoretically from various point of view. We are using the concept of space in various meanings such as physical space, geographical space, architectural space, space as a landscape, aesthetic space, social space, media space, cyber space and so on. Yet, when asked what the exact meaning of space is, we can't properly answer the question. Considering these difficulties about definition of the meaning of space, this paper examines firstly the theory of space of Kant because his theory of space still has a classical significance in two aspects. It suggests systematic theory on physical-objective space as well as tries to approach phenomenologically to the matter of space. Secondly this paper deals with the problem of space experience by focusing on German philosopher, Hermann Schimitz's theory of space. His body-phenomenological access reveals various aspects and implications that the spatial experience of human includes. Specially his explanation on three dimensions of space experience - 'expansion-space' 'direction-space' and 'location-space' - has a remarkable systematic value and theoretical persuasion. In addition it is extraordinary impressive that he emphasizes spatial character of emotion. His body-phenomenological theory of space is thought to have productive potential regarding film theory. Therefore this paper discusses thirdly the reason why the film is regarded as a proper medium that expends and strengthens our space experience. It also analyzes the way in which genuine properties of film are related to spatial experience of film spectators. Film can be defined as a medium that more vitally expresses the direction-space, movement and spatial situation of emotion than any other art form. The deep understanding of space experience will be applied to reflect perceptional process and aesthetic properties of other art forms such as painting, sculpture, play, opera etc. Furthermore through such differentiations of space experience we can precisely interpret the meanings and effectiveness of cultural systems like media forms or political events.

페어플레이의 원칙에 대한 재조명과 Richard Arneson에 대한 답변

정훈(Hun Chung) 한국철학회 2012 철학 Vol.0 No.110

우리가 정부에 대해서 가지는 정치적 의무를 설명하기 위해 제시된 “합의이론”이 가지는 여러 단점들을 인식하기 시작한 많은 윤리학-정치철학자들은, 그것에 대한 대안으로 “페어플레이의 원칙”에 관심을 가지기 시작하였다. 페어플레이의 원칙에 의하면, 만약 누군가가 어떤 협동체계로부터 생산된 성과나 결실을 향유하게 되었다면, 그 사람은, 그것을 공짜로 즐기는 무임승차자가 되어서는 안되며, 자신에게 부여된 몫을 기여해야 할 의무가 있다. 많은 윤리학-정치철학자들은, 어떤 협동체계가 누군가에게 기여의 의무를 제대로 부여하기 위해서는, 의무의 당사자가 그 협동체계로부터 발생한 결실들을 자발적으로 수용해야 할 것이 요청된다고 주장을 하며, 페어플레이의 원칙이 실제로는 합의이론으로 환원된다고 주장하였다. 그러나 Richard Arneson은 이러한 주장을 거부한다. Arneson에 따르면, 자발적 수용은 페어플레이의 원칙이 누군가에게 의무를 발생시키기 위한 필요조건도 충분조건도 아니다. 더 나아가서, Arneson은 만약 협동체계가 정의롭기만 하다면, 단순히 그것의 결실을 향유했다는 것만으로도 기여의 의무가 발생하며, 이때 협동체계의 다른 참여자들은 비-기여자들에게 그들에게 할당된 몫을 기여하도록 강제할 수가 있다고 주장을 한다. 본 논문의 한 가지 목적은 Arneson의 이와 같은 주장들이 근본적으로 잘못되었다고 밝히는 것이다. Arneson의 주장을 반박하기 위해, 나는 우선 공정성의 원칙에 자체에 대한 정확한 설명을 하기 위해 노력할 것이다. 그 이후에 나는 Arneson은, 자발적 수용의 불필요성을 주장하는 과정에서 실제로는 자발적 수용이 의무발생에 있어서 필수적이라는 것을 역설적으로 전제하고 있다는 것을 밝힐 것이다. Many political theorists who saw the shortcomings of “consent theory” turned their attention towards “the principle of fair-play (also known as the principle of fairness)” to account for the political obligations we have towards our particular governments. The principle of fair-play claims that if one has enjoyed certain benefits that were produced by a cooperative scheme, then one has an obligation to contribute his/her own share of the cooperative scheme and not become a free-rider. Many philosophers have argued that the principle of fair-play actually reduces to consent theory, since it seems that one would have to consent or voluntary accept the benefits of the cooperative scheme in order for one to be obligated to contribute one"s share. However, this is not how Richard Arneson thinks. According to Arneson, voluntary acceptance is neither a necessary nor a sufficient condition for the principle of fair-play to generate obligations. Furthermore, Arneson argues that provided that the cooperative scheme is just, mere receipt of the benefits is sufficient to generate obligations and the other members of the cooperative scheme would, then, have rights to coerce non-contributors to contribute their share. One major purpose of this paper is to argue that Arneson"s major arguments are fundamentally flawed. In order to argue against Arneson, I first provide what I believe to be one of the most detailed and accurate representations of the principle of fair-play itself. After that, I show that Arneson actually commits himself to the view that voluntary acceptance is essential to the generation of obligations when he tries to argue against it.

체육철학 : 프뢰벨의 놀이이론과 체육사상

김옥태(KimOgTae) 한국체육학회 2004 한국체육학회지 Vol.43 No.1

Froebel, as a representative educator of the early nineteenth century set a high value on the educational value of play in infants, and first introduced play in the educational system as a method of children`s education. This research aims to inquire and to illuminate the theory of play and the thought of physical activities in Froebel`s work and thought.Froebel didn`t regard children`s play as simply only a physical one, but laid stress on the spiritual and internal meaning. Moreover he thought that play was the highest method of children`s development, and the purest spiritual activity of man. Especially, Froebel knew the true worth of physical play. He firmly believed that physical activity was very effective not only for physical development but also for intellectual, emotional, and social development. Therefore, games or physical activities were very important in the curriculum of his kindergarten.Froebel side that the physical activity, using the whole body, from infancy through childhood, was necessary. He also believed that a child`s posture could be straightened, and misconduct could be corrected, through lawful physical training. For that, he believed physical training had to be conducted strictly with the degree of training and training course connected with the spiritual needs of the child.After all, we can say that Froebel was not only a representative pedagogist but also an unknown great scholar of physical education in infant physical education. We can say that his theory of play and thoughts on physical activity are standout these days, and they are very suggestive not only in preschool education or the education of children but also in juvenile education or adult education.

욕망으로 흐르는 영아 놀이: 들뢰즈(Deleuze)와 가타리(Guattari)의 욕망이론을 중심으로

동풀잎,신미영 한국열린유아교육학회 2024 열린유아교육연구 Vol.29 No.1

본 연구는 Deleuze와 Guattari의 욕망이론을 바탕으로 2세반 영아들의 바람 놀이의 시작과 변화 과정을 추적하며 그 속에서 형성되는 생산적인 욕망에 대해 탐구하였다. 연구자들은 Deleuze와 Guattari의 이론과 함께 5개월간 만 2세 영아들의 놀이를 참여관찰 하였으며, 담임교사와 비형식적 면담과 놀이관찰기록, 사진, 동영상, 메모 등의 자료를 수집 및 분석하였다. 본 연구에서 주목한 바람 놀이는 영아의 몸, 바람, 종이, 리본, 선풍기 등과의 우연적이고 구성적인 배치 속에서 서로 얽히며 새로운 움직임과 놀이를 생성하였다. 또한 영아들에게 보이지 않는 바람이라는 존재가 종이와 리본 등과의 물질과 접속 및 배치되며 그들만의 감각적 체험으로 이어져 보다 창의적인 새로운 놀이들로 이어졌다. 본 연구는 영아들의 감각적이고 역동적인 놀이를 이끄는 에너지이자 새로운 아이디어, 그리고 끊임없이 탈주를 시도하는 힘의 원동력을 욕망으로 바라본다. 이러한 관점은 기존의 결핍된 수동적인 영아의 개념에서 벗어나 보다 생산적이고 능동적인 영아의 존재와 놀이에 대한 새로운 관점을 제시할 수 있을 것으로 기대한다. This research explores the productive desires of 2-year-old infants during play through the initiation and transformative processes based on Deleuze and Guattari’s desire theory. We conducted participatory observations of 2-year-olds’ play activities for five months. Additionally, data were collected from informal interviews with teachers, play documentations, photographs, videos, and researchers’ notes. Play activities of 2-year-olds using wind involved the unintentional and intentional use of the wind, paper, ribbons, fans, and their bodies, which generates new movements and activities. Furthermore, play activities using paper and ribbons in the wind enriched toddlers’ sensory experiences and generated creative win play. This study considers children’s sensory and dynamic play as productive desires, which propels new ideas and a constant impulse to explore. It also The argues that we should move beyond the conventional notions of passive infancy care and seek a more productive and active understanding of infants, toddlers, and their play.