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      권정생 아동극의 주체화 = Gwonjeongsaeng’s Children Drama’s Strategy of Subjectivation - Centered on the <Tied God> and <Patjuk Grandmother> -

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      https://www.riss.kr/link?id=A101312560

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      다국어 초록 (Multilingual Abstract)

      Gwonjeongsaeng left the two pieces drama <Tied God >(1982), <Patjuk grandmother>(1985) Gwonjeongsaeng was good at storytelling and puppetry. It is said that children are very funny. This is possible because of how the play was related to t...

      Gwonjeongsaeng left the two pieces drama <Tied God >(1982), <Patjuk grandmother>(1985) Gwonjeongsaeng was good at storytelling and puppetry. It is said that children are very funny. This is possible because of how the play was related to training content of teacher education in the church. <Tied God> is children’s dram a about blue and red villagers people feuding. Able to meet the children and adults. However, even though the children are disturbing the adults meet to kick out the wall and barbed wire. This work is pantomime. <Patjuk grandmother> was constituted by Gwonjeongsaeng listened folktale when he was young. The tiger eated grandmother’s husband and son. And last want to eat grandmother. But grandmother awl, chestnut, hongdukkae, meongseok and is eating patjuk defeated the tiger by gathered forces. You can find ways to help all children to experience the work directly. May utilize the method of puppetry and storytelling. The experience of the body that utilizes the most effective thing improvisation children directly. When this work to the literary experience should be configured to be a problem setting and problem solving experience. It is an experience that changes passive subject to active subject Learners to solve the problem is a collective entity. This is cause to emotional changes.

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      목차 (Table of Contents)

      • Ⅰ. 권정생의 아동극 창작
      • Ⅱ. 권정생 아동극의 주체화
      • Ⅲ. 권정생 아동극의 아동 주체
      • Ⅳ. 결론
      • 참고문헌
      • Ⅰ. 권정생의 아동극 창작
      • Ⅱ. 권정생 아동극의 주체화
      • Ⅲ. 권정생 아동극의 아동 주체
      • Ⅳ. 결론
      • 참고문헌
      • [Abstract]
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