이야기 구조 교육 내용 분석 - 초등학교 국어 교과서를 중심으로 -

홍인영 한민족어문학회 2019 韓民族語文學 Vol.0 No.85

Story structure is treated as an important educational content in that it is a basic element of text understanding and a basis for understanding the characteristics of story genre. The purpose of this study is to analyze the specific aspects of story structure education, and the subjects of analysis were limited to the textbooks of elementary school 'Korean Language' and 'Korean Language Activity'. This study focuses on the educational material texts(works) and the learning activities through the unit of elementary Korean language textbooks based on the 2015 revised curriculum that includes key words such as 'flow of text', 'summarizing contents', 'components of story', and 'story structure' in the learning goals and unit names. As a result, story structure education was conducted in the 3rd to 6th grade, and it was conducted in the reading area and the literature area. A number of reading theories are used to understand story texts, and this phenomenon is natural when considering the advantages about comprehension of story texts in elementary reading education. The hierarchization by grade of story structure education was appropriate in terms of learner's language development and sequentiality of activities. A total of 12 texts contained in the story structure unit had a structure suitable for elementary school students to understand the flow of events. However, in the case of learning activities, detailed guidance and elaborated questions have limitations in that they could limit learner's subjective thinking. In this regard, first, it was suggested to expand active intervention of learners in grasping the story structure, and secondly, to move beyond the learning of the basic structure and to give an opportunity for creative structure design. 이야기 구조는 텍스트 이해의 기본이 되는 요소이자 이야기 장르의 특성을 파악하는 데 기초가 된다는 점에서 중요한 교육내용으로 다루어진다. 이 연구는 이야기 구조 교육의 구체화 양상을 살피는 것을 목적으로 하며 분석 대상은 초등학교 『국어』 및 『국어활동』 교과서로 한정하였다. 2015 개정 교육과정에 기반한 초등 국어 교과서 중에서 학습목표 및 단원명에 ‘글의 흐름’, ‘내용 간추리기’, ‘이야기의 구성 요소’, ‘이야기 구조’ 등의 핵심어가 포함된 단원을 중심으로 수록 제재(작품)와 학습활동을 살펴보았다. 분석 결과 이야기 구조 교육은 3학년부터 6학년에 걸쳐 실시되고 있었으며 읽기 영역과 문학 영역에 걸쳐 이루어졌다. 이야기 텍스트의 이해에 다수의 읽기 이론이 활용되고 있으며 초등학교 읽기 교육에서 이야기 텍스트가 갖는 이해도 측면에서의 장점을 고려했을 때 이 현상은 자연스럽다. 이야기 구조 교육의 학년별 위계화는 학습자의 언어발달과 활동의 순차성 측면에서 적합하게 이루어졌으며, 이야기 구조 관련 단원에 수록된 총 12편의 제재들은 초등학생 학습자가 사건의 흐름을 파악하기에 적합한 구조를 갖추고 있었다. 그러나 학습활동의 경우 상세한 안내와 정교화된 질문이 오히려 학습자의 주체적인 사고를 제한할 수 있다는 점에서 한계를 지닌다. 이와 관련하여 이야기 구조 교육을 위한 제언으로는 첫째, 이야기 구조 파악에서 학습자의 능동적 개입을 확대하고, 둘째, 기본 구조의 학습을 넘어 독자 중심의 독창적인 설계의 기회를 주는 방향으로 나아갈 것을 제시하였다.

이야기의 기독교교육적 차원

양금희 한국기독교교육학회 2010 기독교교육논총 Vol.23 No.-

This study aims to examine the deep dimensions of story and the relationship between story and religious education. Accordingly this study is divided in two parts: the first part is about the nature and characteristics of the story itself, and the second part is about its significance for religious education. The first part investigates the deep dimensions of story, namely the ‘anthropological dimension’, the ‘epistemological dimension’ and the ‘faith dimension’ of story. What results from this investigation is as follows: firstly, story is the most fundamental unit on which we build, memorize and express our experiences. It is also decisive for the formation of our identity. Secondly, story encompasses an import part of our epistemological dimension, which evokes imaginative, intuitional thinking as well as internalization and emotional projection. Thirdly, story is crucial in developing faith and faith community. In the second part of this study the meaning of story for the religious education has been investigated based on the outcome of the first part. The results are as follows: Firstly, the anthropological dimension of story suggests that the religious education itself must be a story formation process. In other words it must be a process of “storytelling”, “story linking”, and “story extending”. Secondly, story could be a possibility to vitalize teaching method as well as to reform the methodology of Christian education due to its context relevancy. Thirdly, story is related not only to the content of faith, but also to the form of faith. In particular, story suggests that religious education could potentially be a best place where the three stories-- -namely ‘cannon story’, ‘faith community story’ and the ‘individual life story’- can most effectively culminate. -To recapitulate, story gives insights to religious education about human being, faith and faith community in it’s own way, and also gives theoretical orientation to reconstruct religious education regarding goal, contents, object of religious education and teaching method. It also could be a new possibility in terms of changing and enriching the methodology of religious education. In this sense story is a new challenge and a relevant task take on. 본고는 이야기의 심층적 차원들을 고찰하고, 그를 바탕으로 기독교교육과 이야기의 관련성을 탐구한 논문이다. 따라서 이 논문은 크게 두 부분으로 이루어지는데, 첫 번째 부분이 이야기 자체의 본질과 특성에 관한 고찰이고, 두 번째 부분이 그의 기독교교육적 함의에 관한 고찰이다. 첫 번째 부분에서 본고는 이야기의 본질과 심층적 차원들을 ‘인간학적 차원’, ‘인식론적 차원’ 그리고 ‘신앙적 차원’을 중심으로 고찰하였다. 이 고찰로부터 본 연구는 첫째, 이야기가 인간이 경험을 형성하고, 기억하고, 표현하는 기초적 단위이며, 자아 정체성형성에도 결정적인 인간학적 차원을 가졌다는 것과, 둘째, 상상적 사고와 직관적 사고, 그리고 감정이입과 내면화 등을 불러일으키는 인식의 방식과도 관련된다는 것, 그리고 셋째, 인간의 신앙형성과 신앙공동체 형성에 결정적 요인이라고 하는 사실을 발견하였다. 두 번째 부분, 이야기의 “기독교교육적 함의”에서는 다음과 같은 고찰이 이루어졌다. 첫째, 이야기의 ‘인간학적 차원’은 기독교교육이 그 자체로 “이야기 형성과정”이 되어야 한다는 통찰을 준다. 기독교교육은 ‘이야기하기’와 ‘이야기 해석하기’, ‘이야기를 삶으로 확장하기’의 과정이 되어야 한다. 둘째, 이야기는 기독교교육의 교수방법으로서만이 아니라, 기독교교육학 방법론으로서 기독교교육을 보다 상황 관련적이게 하며, 더 나아가 기독교교육 실천을 변혁하게 하는 가능성이 될 수 있다. 셋째, 이야기는 신앙의 내용 뿐 아니라 신앙의 형태와도 관련이 된다. 무엇보다 이야기는 기독교교육이야말로 신앙이 일어나는 교차점, 즉 경전의 이야기와 신앙공동체 이야기 그리고 개인의 삶의 이야기가 만나는 최적의 자리가 된다는 통찰을 준다. 이야기는 인간과 신앙, 신앙공동체에 대한 통찰을 줄 뿐만 아니라, 교육목적, 교육의 내용, 교육의 대상, 교수방법 등을 포함하여 기독교교육 전반을 재구성하게 하는 이론적 틀이 되며, 더 나아가 기독교교육학하기의 방법론에도 새로운 가능성을 제시한다. 그런 의미에서 이야기는 기독교교육에게 하나의 새로운 도전이며 과제이다.

스토리 맵 중재가 실어증 환자의 이야기 이해와이야기 다시말하기 능력 향상에 미치는 효과

이주현,최상배 한국청각언어장애교육학회 2017 한국청각·언어장애교육연구 Vol.8 No.2

The purpose of this study is to find how the intervention of story map in mild aphasic patients influences their improvements in their story understanding and story retelling. Study subjects were three mild aphasic patients with more than 76 points of AQ(Aphasia Quotient) who experienced acquired-brain-damage. To find the intervention effect of story map, this researcher set story understanding and story retelling as independent variables, and story map as a dependent variable. The study results are presented as follows: First, the intervention of story map was effective at improving mild aphasic patients' ability of story understanding. It means that in order to understand a story, it is required to have a lot of cognitive abilities, including recall of specific contents, understanding of causal relation, classification of real information, and inference of implications. Writing a story map is effective at improving the abilities and improving the understanding of a story. Secondly, the intervention of story map was effective at improving mild aphasic patients' ability of story retelling. The story recall based story retelling requires active composition of story information. As shown in the results of previous studies, writing a story map contributes to not only developing the sub categories of language ability, but to understanding a grammar structure of a story and improving the ability of story composition. Key words : story map, aphasia, story understanding, story retelling. 이 연구에서는 스토리 맵 중재가 실어증 환자의 이야기 이해와 이야기 다시말하기에 미치는 효과를 알아보고자 경도의 실어증 환자 3명을 대상으로 대상자간 중다간헐기초선설계를 실시하였다. 연구 결과는 다음과 같다. 첫째, 스토리 맵 중재는 경도 실어증 환자의 이야기 이해 능력 향상에 효과가 있었다. 둘째, 스토리 맵 중재는 경도 실어증 환자의 이야기 다시말하기 능력 향상에 효과가 있었다. 효과크기 측면에서는 이야기 이해와 이야기 다시말하기에서 대상자 B와 대상자 C에서 각각 ‘강함’ 또는 ‘중간’의 효과크기가 있었다. 이 연구 결과는 스토리 맵 중재가 이야기 이해에 필요한 내용의 회상, 인과관계 파악, 사실적 정보 분류 및 함축적 의미 유추 능력 등을 향상시키고, 이야기 다시말하기에 필요한 이야기 문법 구조 파악 및 구성 능력을 향상시키는 데 기여함을 시사한다.

유삼저(劉三姐) 이야기의 양식적 변용 특징 연구

권응상 ( Kwon Ueng-sang ) 한국중국어문학회 2016 中國文學 Vol.86 No.-

Story of Liusanjie, a story of Ethnic Minority group, gained countrywide popularity with its charm. Later, it transformed and adopted into various theater scenes; Starting with Caidiao Opera, Movies, Dramas, Real scene play and etc. Caidiao Opera depicts Liusanjie as a figure of persecuted lower class, reflecting current class and cultural conflict. It gained popular appeal by configuring Liusanjie as a pertinacious fighter. It pursues image of Liusanjie being a modern women in 2001 and 2010 version of the movie, focusing on independence in < New Liusanjie > and considerate and wise in < Looking for Liusanjie >. Luisanjie being a character who reflects zeitgeist of the revolution time, was welcomed by not only public but also the politics. Popularity of Liusanjie promoted its position from “Daughter of Ethnic Minority” to “Daughter of China”. Caidiao Opera was made into movies in 1960s and 1970s, in attempt to get on the bandwagon of revolutionary time. Story of Liusanjie had also been made into a very detailed long drama with additional episodes. Liusanjie in the drama is similar to the one in the movie < Looking for Liusanjie >. Adding new conflicts along with the stories that have never been mentioned in different genres made the whole story more complex and in depth. < Impression Liusanjie > which incorporates with five different colors, on the other hand, is consist of folder type texts full of signs without the actual context of the story and class conflict theme. It forces the audiences to discover meaning of the story only via the signs presented. Five different `impression`s links each different scenes, and leads to the author`s ultimate intent. This is a new narrative skill that can`t be found in existing current forms of Liusanjie stories, is a transformation of stories following formational characteristics of Real scene play and `Impression` stagecraft. Story of Liusanjie, story of Ethnic Minority of southwest region, has become one of China`s representative cultural contents through many transformations. Each different transformations seem to reflect its timeline, it could be divided into three distinctive types according to the timeframe. First timeframe, time of the movie < Liusanjie > and Caidiao Opera < Liusanjie >, took place in mid-1950s to 1960s. It`s a time when story of Liusanjie was spiced up with political factors of culture and class conflict and gain popular appeal. Second timeframe appears after long pause of the Great Cultural Revolution, being initiated between late 1970s and early 1980s with the movie < Liusanjie > by Guangxi Caidiao Opera Company in 1977 and < Liusanjie > of Wuyonggang in 1978. This was the time after the Great Cultural Revolution when cultural desires contracted during the recession pours in, the excitement hugely impacted on revised story of Liusanjie-story. The story doesn`t have much difference from the prior period`s, however, it once again confirmed unchanged love of Chinese towards the story. After another vacant phase, many literacy work appears; a series book of Liusanjie in 1996, TV musical drama < Liusanjie > in 1998, and movie < New Liusanjie > in 2001 expecting another literacy peak. Story of Liusanjie reaches its peak after premiere of < Impression Liusanjie > being performed at the real-life scenery stage in a small town called Guilin Yangsuo in March 2004. In July of 2005, after 200 artists` 3 years of work, they created Liusanjie as a new version of big dance drama spicing up with pan-flute, tap-dancing and other modern techniques and performed countrywide touring. Liusanjie in many different literal form has appeared as follow; the movie < Looking for Liusanjie > and 30 parts TV series < Liusanjie >. Third timeframe bases its background as economic growth accompanied with the Chinese reform. For this reason, combative and resolute figure of Liusanjie was replaced with beautiful and independent women of 21st along with comic and romantic atmosphere of the stories. Adjustment and reformation of Liusanjie followed by new era really enthralled the Chinese. From pertinacious Liusanjie who stands up for class and cultural conflict in the first timeframe, to symbolic figure of rebounded popular culture after longer than 10 years of cultural dark ages, and to figure of modern women who fits with economic wealth and capricious current time.

Green-UX-Story: 온라인-오프라인 자연 체험을 통한 사용자 스토리 창출 및 공유

최민아(Min A Choi),권두영(Doo Young Kwon) (사)한국CDE학회 2010 한국CDE학회 논문집 Vol.15 No.6

These days, it is getting important to have more chances to visit natural environment for the wellbeing life. The advancement of digital technologies allows us to get useful information regardless of time and location. In this paper, we investigate a way of improving user experience in the natural green environment using the digital technologies. This paper proposes a system called Green-UX-Story which supports users to create and share their story through the online and offline green experience. The system consists of two main systems: the “Story-Field” and the “Story-Tree”. The Story-Field consists of a certain number of the Story-Trees allocated to a certain green site. In the Story-Field, users can see the Story-Trees that are owned by other users and share their stories. The Story-Tree contains the user-story in each branch and green information that are captured by the user on the web. The Story-Tree is generated using the L-system algorithm as the user adds stories. The main purpose of the system is to enable users to write their green stories from the both online and offline experiences. This paper describes the system configuration and the user scenario of the Green-UX-story.

Green-UX-Story: 온라인-오프라인 자연 체험을 통한 사용자 스토리 창출 및 공유

최민아(Min A Choi),권두영(Doo Young Kwon) (사)한국CDE학회 2010 한국 CAD/CAM 학회 학술발표회 논문집 Vol.2010 No.1

These days, it is getting important to have more chances to visit natural environment for the wellbeing life. The advancement of digital technologies allows us to get useful information regardless of time and location. In this paper, we investigate a way of improving user experience in the natural green environment using the digital technologies. This paper proposes a system called Green-UX-Story which supports users to create and share their story through the online and offline green experience. The system consists of two main systems: the “Story-Field” and the “Story-Tree”. The Story-Field consists of a certain number of the Story-Trees allocated to a certain green site. In the Story-Field, users can see the Story-Trees that are owned by other users and share their stories. . The Story-Tree contains the user-story in each branch and green information that are captured by the user on the web. The Story-Tree is generated using the L-system algorithm as the user adds stories. The main purpose of the system is to enable users to write their green stories from the both online and offline experiences. This paper describes the system configuration and the user scenario of the Green-UX-story.

AI-guided Story Generation Framework with Automatic Storyline Generator

Juntae Kim,Yoonseok Heo,Inkwon Lee,Jungwook Han,Jongho Nang 한국차세대컴퓨팅학회 2022 한국차세대컴퓨팅학회 학술대회 Vol.2022 No.10

A story generation task is to develop a system that can continuously generate natural, consistent, and coherent stories for consecutive scenes. Recently transformer-based language models have shown considerable results at the sentence-level generation for learning human-writing ability. However, it is very crucial to understand the way of developing the story using a combination of various contents. Recent works have mainly focused on human-guided AI story generation methods in which humans as guidance determine the next storyline, and the system creates a story that reflects the storyline well. This study focuses on the way of replacing the human role with the AI-based model. Based on this, this study deals with the methodology for creating a long story spanning multiple scenes rather than creating a story at the level of one scene. In this regard, we propose a novel AI-guided story generation framework with automatic storyline generator. It is a pipeline structure consisting of two modules such as a storyline generator and a story generator, which enables the continuous creation of coherent stories. Particularly, we transform the storyline generation problem into a multiple-choice QA problem to predict the next storyline. This study shows the possibility of generating continuous stories for multiple scenes without any human intervention.

이야기꾼 유형분류와 이야기의 시원 - <인문주의자 무소작씨의 종생기>를 중심으로 -

장영우 돈암어문학회 2019 돈암어문학 Vol.36 No.-

‘Story’ is not a lower genre of ‘novel’, but a fundamental element of the fiction. A major concern in the relationship between story and novel is related to the intention to explore the nature of story(or novel) from an evolutionary point of view. Benjamin's identification of “farmer/sailor” types of the storyteller does not offer detailed criteria for a classification or specific illustrations. The Bokdujang(crown maker) of ‘the story of King Kyeungmun’ in Samgukyusa(『三國遺事』) and Scheherazade in Arabian Nights(『千一夜話』)can be seen as extended examples that are related to ‘fact’ and ‘fiction’, and offer a better understanding of the two different types of the storyteller. Bokdujang(as a documentary storyteller) and Scheherazade (as a fictional storyteller) are considered as storytellers that illustrate the qualities of two different types of the storyteller. Lee Chung joon's nevel The Life Story of the Humanist Mr. Mujojak(『인문주의자 무소작 씨의 종생기』) is a work that examines the relationship between ‘story’ and ‘novel’ through a biography of an outsider who has been a storyteller for his lifetime. Mr. Musojak became a storyteller because of the advice(wisdom) from the listener that true life(story) has no boundary between life and story. The story presupposes the speaker and the listener. While the story is a genre that allows unrestricted communication between the speaker and the listener, modern fiction is almost impossible to communicate directly. Mr. Musojak listened to the honest advice from the listener and understood the problems of his story. Through the self reflection and criticism, he could improve his story and became a true storyteller. ‘이야기’는 ‘소설’보다 격이 낮은 양식이 아니라 소설(小說, novel)의 근간을 이루는 요소다. 그러므로 이야기와 소설의 관계에 대한 관심은 이야기(혹은 소설)의 본질을 진화론적 관점에서 탐구하고자 하는 의도와 무관하지 않다. 벤야민의 ‘농부/선원’형 이야기꾼 유형화는 분류 기준이나 구체적 예화가 누락되어 있다. 그에 반해 『삼국유사』 경문왕설화의 복두장(hat/crown maker)이나 『아라비안 나이트』의 세헤라자데는 ‘사실’과 ‘허구’와 관련한 흥미로운 예화의 주인공이란 점에서 이야기꾼 유형화의 새로운 범례로 삼을 만하다. 복두장이 사실적 이야기(documentary)꾼이라면 세헤라자데는 허구적 이야기(fiction)꾼의 특질을 전형적으로 보여주고 있어 이야기꾼 유형으로 분류할 조건을 갖춘 것으로 판단한다. 이청준의 <인문주의자 무소작 씨의 종생기>는 평생 객지를 떠돌다 이야기꾼이 된 한 사내의 일대기를 통해 이야기와 소설의 관계를 살핀 소설이다. 무소작이 이야기꾼으로 거듭나게 된 배경에는 삶이든 이야기든 안팎의 경계가 존재하면 참된 삶(이야기)이라 할 수 없다는 청중의 조언(지혜)이 있다. 이야기는 화자와 청자를 전제로 이루어진다. 이야기는 화자와 청자의 자유로운 소통이 가능한 장르인 데 반해, 근대소설은 직접적 소통이 거의 불가능하다. 무소작은 청자의 솔직한 조언을 듣고 자기 이야기의 문제점을 이해했고, 자기성찰과 비판의 시간을 거치면서 이야기의 완성도를 높여 참된 이야기꾼이 될 수 있었다.

이야기 만들기의 치유적 가능성 – 대학생 우울과 DAS 이야기의 상관성을 중심으로 –

김기호 한국사상문화학회 2011 韓國思想과 文化 Vol.58 No.-

This study is to inquire into the therapeutic possibility of story-making by analyzing the correlationship between the depression of university students and DAS story. To do this, the three procedures are carried out. Firstly, how is the depression level according to the narrative structure aspects of DAS picture story? Secondly, how is the depression level according to the mark of sentiment contents in DAS picture story? Thirdly, how is the depression level according to the self-image mark of DAS picture story? The results are as follows. Firstly, the DAS story's structure shows a difference between the nondepression group and the depression group. A lot of stories made by the nondepression group are framed into 'deficiency-process of solving problem-sufficiency'. On the other hand, a lot of stories made by the depression group are framed into 'deficiency-process of solving problem-deficiency'. It means that there is a significant correlationship between the depression index of university students and the structure of the story. Secondly, the sentiment contents in DAS story shows a difference between the nondepression group and the depression group. The sentiment contents of the story made by the nondepression group has a high mark, that they are positive. On the other hand, the sentiment contents of the story made by the depression group has a low mark, that they are negative. It means that there is a significant correlationship between the depression index of university students and the sentiment contents. Thirdly, the self-image in DAD story shows a difference between the nondepression group and the depression group. The self-image in the stories by the nondepression group has a high mark. It is a pleasant fantasy or image of satisfying his own desire. On the other hand, the self-image in the stories by the depression group has a low mark, that the image is an unhappy and abnormal one. It means that there is a significant correlationship between the depression index of university students and the self-image. The characteristics of university students with high depression index and low depression index are cleared out by way of analyzing the DAS stories. As part of effort to make the depression degree better for the university students with high depression degree, it is necessary to carry out a task to make the abnormal DAS stories into a new, positive ones. To do this task, it helpful to use the techniques of narrative therapy. It enables students, especially students with high depression index or level, to separate the matters or problems in the DAS stories, to seek an experience of new possibilities, and then to make an alternative story by way of the newly-chosen experience. If the narrative therapy, the sphere of the clinical therapy, is unified into the sphere of DAS in which literature and art are combined with 'an intermediate therapy', the story-making, at least, a multilayering therapeutic process for the betterment of the depression is possible. 본고에서는 이야기 만들기(story-making)의 치유적 가능성을 모색하기 위한 작업의 일환으로 명제, ‘대학생이 만든 이야기는 그들의 우울 지수를 반영한다.’를 입증하고자 하였다. 목적을 달성하기 위해 첫째, DAS 그림 이야기의 서사 구조 양상에 따라 우울 수준은 어떠한가? 둘째, DAS 그림 이야기의 정서내용 점수에 따라 우울 수준은 어떠한가? 셋째, DAS 그림 이야기의 자기상 점수에 따라 우울 수준은 어떠한가? 라는 세부 문제를 설정하였다. 분석 결과는 다음과 같다. 첫째 DAS 이야기 구조는 비우울집단과 우울집단 간에 차이를 보인다. 비우울집단에서 만든 이야기의 상당량은 ‘결핍-문제해결과정-충족’으로 구조화 된다. 반면 우울집단에서 만든 많은 수의 이야기는 ‘결핍-문제해결과정-결핍’으로 구조화 된다. 이것은 대학생의 우울 지수와 이야기 구조 사이의 유의미한 상관성을 의미한다. 둘째 DAS 이야기에 반영된 정서 내용에서도 비우울집단과 우울집단 간에 차이를 보인다. 비우울집단에서 만든 이야기의 정서 내용은 높은 점수로 표시될 만큼 긍정적이다. 반면 우울집단에서 만든 이야기의 정서 내용은 낮은 점수로 표시될 만큼 부정적이다. 이것은 대학생의 우울 지수와 정서 내용 사이의 유의미한 상관성을 의미한다. 셋째 DAS 이야기에 투영된 자기상에서도 비우울집단과 우울집단 간에 차이를 보인다. 비우울집단에서 만든 이야기의 자기상은 높은 점수로 표시될 만큼 유쾌하고도 자기 욕망 충족적인 이미지이다. 반면 우울집단에서 만든 이야기의 자기상은 대부분 낮은 점수로 표시될 만큼 병적이고 불행한 이미지이다. 이것은 대학생의 우울 지수와 자기상 사이의 유의미한 상관성을 의미한다. DAS 이야기 분석을 통해 이야기 만들기의 치유적 가능성 모색의 가설로서 제시한 ‘대학생이 만든 이야기는 그들의 우울 지수를 반영한다.’를 입증하였다. 이 가설을 토대로 우울 지수가 높은 학생을 위해 DAS 이야기를 새롭게 긍정적으로 만드는 작업을 할 것을 제안했다. 더하여 새롭고 긍정적인 이야기 만들기 작업을 위해서 이야기 치료의 기법을 도입하는 것은 유익하다고 보았다. 이야기 치료의 기법을 도입한다는 것은 DAS 이야기 내 문제를 분리하고, 새로운 가능성의 경험을 찾고, 새롭게 선택된 경험을 통해 대안의 이야기(alternative story)를 만드는 일련의 과정을 도입한다는 것이다. 만약 임상치료영역인 서사치료가 문학과 미술이 결합되어 있는 DAS 영역에 ‘매개적 치료요법’인 이야기 만들기를 가지고 통합이 되면 최소한 우울 개선을 위한 다층위적인 치유 과정이 가능할 것이다.

학령전기 아동의 연령에 따른 이야기 회상 산출 능력

김기순(Kisoon Kim),신지철(Jicheol Shin),이기학(Ki Hak Lee),배소영(Soyeong Pae) 한국언어청각임상학회 2007 Communication Sciences and Disorders Vol.12 No.1

본 연구에서는 학령전기 아동의 이야기 회상 산출 능력을 살펴보았다. 방법: 이 연구에서는 4~6세 일반 아동 60명을 대상으로 이야기 회상 산출 능력을 양적으로 분석하였다. 검사 도구는 ‘그네 이야기’와 ‘공 이야기’를 사용하였으며, 분석은 이야기문법 총점, 낱말로 본 평균절길이(MLC-w), 형태소로 본 평균절길이(MLC-m)를 산출하여 연령간 평균의 차이가 있는지를 알아보았다. 결과 및 결론: 이야기문법 총점, 낱말로 본 평균절길이(MLC-w), 형태소로 본 평균절길이(MLC-m) 모두 연령에 따라 유의미하게 증가하는 것으로 나타났다. 이를 통해 이야기문법과 평균절길이(MLC)로 학령전기 아동의 이야기 회상 능력이 양적으로 증가하는 것을 알 수 있었다. 또한 이야기 평가시 이야기문법과 평균절길이(MLC)로 분석하는 것이 이야기 발달을 보는데 적절하고 효율적임을 확인할 수 있었다. The purpose of the study was to evaluate story retelling abilities of preschool children. Methods: The participants comprised 60 preschoolers aged 4 to 6 years. Two Korean stories written by Soyeong Pae, “The Swing Story” and “The Ball Story” were used. We showed the story cards to the children, told a story corresponding to the cards, and asked the children to retell the story after removing the cards. The total scores of story grammar, MLC-w(Mean Length of C-units by words), and MLC-m(Mean Length of C-units by morphemes) were compared to determine differences in story retelling performance according to age. Results & Conclusion: The total scores for story grammar, MLC-w, and MLC-m significantly increased with age. The use of story grammar and MLC are considered effective measure of children’s story intelligibility. Implications for future study were discussed.