사실동화(事實童話)의 현실 반영 문제

황정현(Hwang, Chung-Hyun) 한국아동문학학회 2011 한국아동문학연구 Vol.- No.20

본 연구의 목적은 ‘사실동화(事實童話)’로 명명(命名)되는 작품의 ‘사실성(事實性)’ 혹은 현실성에 관한 논의를 통해, 어린이의 현실인식 특성을 살피고 그에 따른 사실동화의 반영 문제를 조명하는데 있다. 우리가 사실동화(事實童話)라는 용어를 사용할 때, 흔히 사실성(事實性)의 본질을 간과하거나, 아니면 작품의 어떤 부분에서 외부 사실에 대한 세밀하고 정확한 사실(寫實) 묘사의 수법만으로 오해하고 있지 않은가 하는 문제가 제기된다. 왜냐하면 우리가 어떤 대상을 사실적(事實的)이라고 할 때, 사실성(事實性)은 객관적 실체가 아니라 그 대상을 바라보는 인식 주체의 인식 문제이기 때문이다. 본고는 이러한 문제 제기를 통해 사실동화(事實童話)의 사실성은 현실에 대한 어린이의 독특한 인식에 작동하는 요인으로 인해 성인의 그것과는 구분되는 특성이 있다는 점을 제시하고자 한다. 따라서 사실동화(事實童話)의 현실 반영 문제는 어린이의 독특한 현실 인식에서 비롯되며 이러한 현실 인식의 동인(動因)을 다음과 같이 세 가지로 정리하였다. 첫째, 순진성-의식의 유연성 둘째, 개방성-의식의 포용성 셋째, 감수성-의식의 통합성 이상과 같은 어린이의 현실 인식 동인(動因)은 현실에 대한 어린이들이 독특한 인식 방법으로, 어린이의 사실적 세계를 이해하는 중요한 요소가 된다. An aim of this study is to survey reality of children’s reality story and children’s special perception of reality and to apprend reflection of children’s reality story. Generally we ignore essence of reality when we used term so-called ’children’s reality story’ or misunderstand reality to objective description. Because reality is not objective truth but a critical mind of main agents for perception. According to above address, a critical mind of reflection of children’s reality story is begun with children’s special perception of reality. So I arrange operation facts of children’s special perception of reality into three as follow: 1. Innocence - flexibility of mind 2. Openness - catholicity of mind 3. Sensibility - combination of mind As above, operation facts of children’s special perception of reality are children’s inherent perception ability. So these are important elements to understand children’s reality sense.

증강현실 그림책 현황과 유아의 몰입도

한유미,원순옥,Han, You Me,Won, Soon Ok 한국데이터전략학회 2022 Journal of information technology applications & m Vol.29 No.1

The purpose of this study is to analyze the current status of augmented reality picture books, which have been steadily developed since 2010, as a genre of electronic picture books, and to reveal how children's immersion in augmented reality picture books differs from paper picture books. To this end, 30 augmented reality picture books on the market were analyzed according to genre, life theme, implementation method, and augmented reality scene ratio. As a result of the study, it was found that the genre of picture books was in the order of information fairy tales, daily fairy tales, and historical fairy tales, and there were no traditional or fantasy fairy tales. Animals and plants accounted for about half of the life topics, and in some cases, there were only a few or no other life topics. In the augmented reality implementation scene, it consisted of only one page in the early days, but all pages are now possible to implement augmented reality due to technology development, production cost reduction, and improved hardware performance of smartphones. It was found that the augmented reality implementation method used CD-ROM in the early days, but gradually became possible to implement using only mobile phones and tablets that were easy for readers to access. In addition, after presenting four picture books to eight 5-year-old infants, the immersion time was measured and the immersion behavior was observed. As a result, augmented reality picture books showed higher immersion[immersion time, immersion behavior] than paper picture books, but compared by literature genre, life fairy tales were higher in paper picture books and natural fairy tales in augmented reality picture books. It was higher when presenting augmented reality picture books after presenting paper picture books according to the order of presentation of picture book types. The results of this study suggest that more diverse life topics and augmented reality picture books in the genre of children's literature should be developed to increase the utilization of augmented reality picture books. In addition, considering that there are differences in immersion between types, literary genres, and reading experience [presentation order], it is expected to increase the educational effect by using picture books complementarily.

육아 예능 TV 프로그램 시청에 따른 유아동복 쇼핑 성향

김유나,김예리,김지수,나영주 한국감성과학회 2016 감성과학 Vol.19 No.3

Qualitative consumption is a trend in the children clothing market and watching TV of childcare-entertainment reality programs are becoming popular. This study examines the watching degree of childcare-entertainment reality TV programs of parent buyer (30s) and potential buyer (20s) and we investigate their shopping orientation of children wear. We did the survey research of 200 consumers with SPSS statistical analysis including the review of internet news, paper, and books on children wear shopping orientation. The results are following: first, the longer the watching time of childcare-entertainment reality TV programs, the higher shopping orientation, such as following the fashion of child stars, and the higher the watching preferences on childcare-entertainment reality programs, the greater shopping orientation in following childcare-entertainment reality programs star when they are purchasing children's clothing. Second, potential consumers as well as parent consumers were affected by watching the childcare-entertainment reality programs. Watching childcare-entertainment reality TV programs could give the impact when they were shopping children’s clothing because they wanted to follow the fashion of childcareentertainment reality programs TV star. Accordingly, the exposure of the childcare-entertainment reality programs for children clothing is found to be positive to the both current and future consumers.

시대상에서 살펴본 소파문학의 형성과정

신정아 ( Jung A Shin ) 단국대학교 한국문화기술연구소 2013 한국문화기술 Vol.15 No.-

Pre-researchers who studied about Bang Jeong-hwan focused on analysis of his literature which gives children pleasure on the basis of Bang Jeong-hwan’s love for children. However, I focused on Bang Jeong-hwan’s love for children from his children’s song and educational efficiency of children’s story in my research. Sopa Bang Jeong-hwan chooses literature way which feeling children’s sadness together. At that time, children do not have their motherland song. Bang Jeong-hwan has few creative nursery rhymes, but they have rhythmical elements which makes children easy to sing along such as 「Old Dragonfly」. 「Old dragonfly」also represents Joseon-era people who suffer from Japanese Colonization. There are also many literatures which overcome a national sadness in Sofa’s children’s song. One of them is 「Mother」. The 「Mother」is seen as sympathy about sadness of oppressed nation and maltreated children. Sofa is also produced Gorae children’s story, not only, of course, adapted a foreign children’s story but also adapted an old story. There was no children’s literature development if we do not work on finding a Gorae children’s story or import a foreign children’s story even if it is an inevitable consequence. Bang Jeong-hwan put children’s story needs to give pleasure to children before children’s story is read by children only for educational purposes. For this reason, Sofa’s children’s literature is focused on contents than formalism. However, the meaning of pleasure at this time is not just for pleasure it also teaches the children. Bang Jeong-hwan considered three important things as his children’s story writing methods; first of all, makes story easy for children; second, makes children happy; third, consider educational meaning so do not exclude educational usefulness. Sofa also showed these things through his literature. A representative children’s story, Catching a Bear by Father and Sons in 1930s is storied by One of our proverb, Seeming like father and two sons catch a bear. Like a meaning of proverb; everything could be achieved if sticky power of blood band together; if our people stand together, we could do everything although our people live under the pressure of Japanese Colonization. This story was red widely which giving hope and brave to children in hard reality. Furthermore, the Prince character from one of the Bang Jeonghwan’s famous foreign children’s story; 「Prince and Swallow」, is similar to Sofa’s character. Sofa’s image is overlapped with the Prince who died after he had given everything what he has to disadvantaged children. In addition, every fact about Prince is known to people, so the statue of Prince is remade with all jewels. When Sofa wrote his literature lively, our country is suffered from Japanese Colonization. It’s natural that Bang Jeong-hwan’s literature person is never smooth. The most noticeable from his literature is 「Literature of Tears」that even though the character has obstacle, he never give up and do his endeavor. Although a child has superb display of talent, he is surrounded by a secluded mountain because of his poor conditions. As Bang Jeong-hwan wrote 「Literature of Tears」, he said about sadness of Joseon’s children. Sofa was always thought how to make Joseon’s children in great state and grow correctly. Most of Joseon’s children are poor themselves, even though no more their parents bully their children. Like a Sofa’s word, The power of extending children is dried up and reduced, it was time that country and word are dispossessed. Sofa always said that not scold and bully children but understand and treat them with compliments. These make children have confident and brave. There are lots of poor people in Sofa’s story adaptation or creative children’s story, and these people are described who excellently pass through their crisis. What Bang Jeong-hwan always wanted to say to children is overcome the difficulties with hope and brave. Like this, Bang Jeong-hwan’s literature is connected to educational undertone of Joeson reality recognition. Bang Jeong-hwan always regarded work for children is as a pleasure and what he has to do. The regrettable thing is Bang Jeonghwan made a poor living, but even he did not get a time for curing his disease. Bang Jeong-hwan worried only children when he fought with death until the very end. Even though Sofa passed away at the age of 30, his reputation is still diffused over the eighty years. Sofa’s billow will never dry up forever, and saturated to children’s mind.

증강현실 그림책의 읽기방법에 따른 유아의 반응 비교

현은자 ( Eun Ja Hyun ),연혜민 ( Hye Min Yeon ),최경 ( Kyoung Choi ) 한국어린이문학교육학회 2011 어린이문학교육연구 Vol.12 No.2

본 연구의 목적은 증강현실 그림책을 일반 종이그림책처럼 읽는 방법과 증강현실 기술을 적용하여 읽는 방식에 따라 유아의 반응에 어떤 차이가 있는지 조사하는 것이다. 이를 위해 만 5세 유아 34명을 17명씩 각각 두 집단에 무선 배정하고 한 집단은 일반 그림책처럼 읽게 하고 다른 집단은 증강 기술을 이용해서 읽도록 했다. 종속 변인으로는 책을 읽는데 소요되는 시간, 만족도, 이해도, 단어 회상능력을 측정하였다. 연구 결과는 첫째, 증강 그림책을 일반 그림책처럼 읽을 때 한 페이지 당 소요되는 시간, 한 권 전체를 읽는데 소요되는 시간 모두 증강그림책으로서 읽을 때 보다 더 많은 시간이 걸렸다. 둘째, 증강현실 그림책의 읽기방법에 따른 유아의 만족도에는 두 집단 간 유의미한 차이가 없었다. 셋째, 증강현실 그림책보다 일반그림책처럼 읽을 때 내용 이해도가 더 높았으나 등장인물 이해도에서는 두 집단 간에 유의미한 차이가 없었다. 넷째, 유아의 단어회상능력은 두 집단 간에 유의미한 차이가 없었다. 본 연구의 결과는 증강현실 그림책을 유아들이 어떻게 경험하고 있는지를 밝힘으로서 증강현실 그림책의 개발 시 고려해야 할 사항과 새로운 미디어를 이용한 읽기, 쓰기 지도 방법에 대한 연구가 필요함을 제안한다. The purpose of this study is to investigate whether there is any differences in children`s responses to an AR picture book between two groups who read the AR picture book in two different ways respectively. Participants were 34 5-year old children who attended two classes of M kindergarten in G City, Gyeong-gi Province. The findings of this study are as follows : First, young children who read the picture book not activating AR technology spent more time reading the text and the images of the book than their counterparts. Children who read the book activating AR technology were likely to turn the pages of the book as soon as the augmented reality images appeared on the computer screen. Secondly, there was no difference in children`s level of satisfaction with the books between two groups. Thirdly, young children who read the augmented reality picture book like a normal printed picture book, were able to comprehend the story of the book better than those who read it using augmented reality technology. Finally, there was no difference in children`s word recall between two groups. The most important finding was that children were likely to focus on augmented images rather than the text, not paying much attention to the story of the book. This study would provide some considerations in utilizing AR picture books in more developmentally appropriate ways for young children as well as a new way of literacy education for young children growing up in a new media environment.

김수영과 김종삼의 동시(重詩)에 나타난 현실 인식 : 「나는 아리조나 카보이야」와 「오빤슈사인」을 중심으로

김지녀 인천대학교 인문학연구소 2023 인문학연구 Vol.40 No.-

This study focuses on Kim Soo-young’s “I’m an Arizona Cowboy” and Kim Jong-sam’s “My Brother Is Shoeshine,” comparing and analyzing the perceptions of reality within their children’s verses. Initially, the aesthetic characteristics of children’s verses by Jeong Ji-yong and Park Mok-wol, representative of the older generation post-liberation, were examined, revealing a focus on portraying the pure innocence of children rooted in traditional nature or daily life. However, the children’s verses of Kim Soo-young and Kim Jong-sam, emerging after the April Revolution in 1960, diverged significantly from their predecessors. Kim Soo-young, employed satire and humor to humorously depict the absurd reality in “I’m an Arizona Cowboy,” while Kim Jong-sam captured the lives of impoverished children with a calm tone in “My Brother Is Shoeshine.” Kim Soo-young advocated for a revolution in social structure, emphasizing the need for a fair foundation for children to engage with verses. In contrast, Kim Jong-sam maintained an ethical stance, portraying the lives of underprivileged children and expressing hope for them to rediscover their childlike hearts. Both poets encouraged children to confront reality, participate actively, and address negative societal aspects rather than disregarding ethical consciousness. Their approach significantly influenced the evolution of children's literature in the 1960s, reflecting the senses and ideologies of the new generation, thus expanding the scope and diversifying creative methods within children’s verses.

지난 10여 년간 동화 · 아동소설의 흐름과 장르 문제

선안나(Sun An-na) 한국아동청소년문학학회 2010 아동청소년문학연구 Vol.- No.6

This paper is the third writing, among the series planned to investigate the genre of children’s epic literature. In the Japanese occupation period, children’s epic literature was divided into children’s story and children’s novel clearly and then, they were marked with two parts stably till the seventies. But after the eighties, the genre marking was started to be unclear so in the 2000s, the genre names were combined by ‘children’s story’. This paper revealed that two parts of children’s story and children’s novel had been still created by examining publishing situation of children’s books and main works which have been included in Korean publish yearbook for the past 10 years. But, it evaluated that people concerned in children’s literature were mainly discussing about novels whose object was relatively high age group and pointed that they overlooked the value of book and children’s story genres for readers of tender age. In addition, it opens the future’s direction by making a diagnosis of reasons for the reality that signifiers of children’s story are sufficient but it’s difficult to find true children’s story and there are full of children’s novels.

방송동화집 『왕소년과 도적』 연구

최미진(Choi, Mi-jin) 한국문학회 2015 韓國文學論叢 Vol.71 No.-

이 글은 발굴자료인 방송동화집 『왕소년과 도적』을 중심으로 당시 서울중앙방송국 《어린이시간》의 어린이문학이 놓인 자리를 가늠하는 데 목적을 두었다. 『왕소년과 도적』은 1954년 장왕사에서 출간되었는데,라디오방송의 일회성을 앞세운 계몽주의적 기획의 혐의가 짙었다. 방송시기조차 정확하지 않지만, 종전을 전후한 시기 창작 등의 과정을 거쳐 방송된 작품들을 수록한 것으로 간주되었다. 우선, 이 작품집은 '방송동화집’이라는 부제와 다른 체제를 보여주었다. 이전의 선집체제에 따라 동화, 소설, 동극으로 나눈 것으로 여겨지나, 방송동화를 앞세운 뚜렷한 이유는 불분명하였다. 최대 난제는 작가를 밝히지 않은 점이었으며, 그것은 당시 작가부족에 허덕이던 방송 현실에 더해 실명을 밝히지 않았던 관행이 초래한 결과라 하겠다. 다음으로, 『왕소년과 도적』은 형식면에서 라디오매체의 특성을 살려 내는 높낮이가 매우 달랐고, 그만큼 《어린이시간》의 내실을 다지는 데 힘겨웠음을 반증하였다. 내용면에서는 환상성을 앞세운 동화에 비해 소설과 동극이 사실성과 결합하여 교훈성을 강하게 드러내었다. 특히 동극은 당대가 요구하는 어린이상을 통해 국가주의의 면면을 드러내었다. 작품집만 두고 본다면 《어린이시간》 또한 이데올로기 국가기구인 라디오방송의 한 부분으로 프로파간다 역할에 치중했음을 확인할 수 있었다. This study aims at examining the position of Children's literature of «Children's Time» of Seoul Central Broadcasting Station focusing on excavation material, [A King Boy and a Thief]. [A King Boy and a Thief]was published in 1954 by Jangwang Publisher where remained intact in the risk of war. Considering the timing of publication and the character of publisher, led by one-off of the radio broadcasting of enlightenment project was significantly let suspicion. First, as looking at the systemic aspect, this anthology was carried children's literature of prose of radio broadcasting, unlike the subtitle of 'broadcasting fairy tale collections’. Nevertheless Broadcast time was also not accurate, it could be seen the 'historical' works broadcasted over the course of creative period before and after the end of the war. In accordance with the previous selectional system, it considered to be divided into fairy tales, children's fictions, children's dramas, but it was unclear to put forward fairy tales. The biggest challenge was not revealed the author, because of the practices that broadcasts did not reveal the real name due to the lack of the writer and the tough reality of the broadcasting. It was only two or three pieces which estimate the writers except for the adaptation among contained works, six pieces of fairy tales, three pieces of fictions, four pieces of children's dramas. Then, in the contextual aspect, [A King Boy and a Thief ]showed the strong lesson combined with contemporary achievements of children's fictions and children's dramas than fairy tale which headed by the fantasy and the amusement. Particularly Children's drama carried the instructive story which imagine and practice the nation. It could glimpse the effort to put the emotional strategies of persuasion which obvious works of creation of broadcasting. However, to revive the characteristics of the radio media is very different, So that disprove the hardness of the ensurance internal stability of «Children's Time». With only look at anthology «Children's Time» is also focused on the role of propaganda as part of the ideological national institution of radio broadcasting.

Augmented Reality Based Information Systems: An Exploratory Study of Understanding Children’s Perception

최시영,이경진 한국정보관리학회 2024 정보관리학회지 Vol.41 No.1

Augmented Reality (AR) is a mix of the real world that is enhanced by virtual objects from computer-generated information. AR is currently used in a variety of information systems and library services. AR technologies are also being developed for today’s children, who are digital natives and are exposed to various technologies even earlier. To assist librarians who need to accurately understand users’ information needs and perceptions of the technology being used in their libraries, we conducted a study of AR perceptions among children. We conducted two online co-design sessions using “Would you rather?”, a co-design technique that facilitates research into children’s opinions. Through the co-design sessions, we found that children were psychologically wary about AR technology due to a lack of trust in the technology, and realism had a significant impact on these judgments. We also identified that children considered AR technology environments as an extension of the real world. Their real-world values directly influenced their perceptions of AR. This research provides insights into the wariness that libraries need to be aware of when developing AR content for children in the future, and how libraries can use AR as an educational tool.

현덕 유년동화의 놀이 모티프에 나타난 현실 인식 -노마 연작을 중심으로-

방재석 ( Jae Seok Bang ),김하영 ( Ha Young Kim ) 건국대학교 동화와번역연구소 2015 동화와 번역 Vol.30 No.-

본 연구는 현덕이 놀이모티프를 활용한 유년동화에서 자신이 인식하고 있는 현실의 문제를 제기하는 방식을 살펴보고자 하였다. 이를 위해 현덕의 유년동화39편 가운데 놀이 과정이 형상화 된 16편에 나타난 놀이 모티프를 유형별로 분류하고 그 의미를 분석하였다. 로제 카이와의 놀이 구분에 따르면 현덕 유년동화의 놀이모티프는 아곤, 미미크리, 아곤과 미미크리의 혼재가 나타나는 놀이로 분류할 수 있다. 현덕은 아곤형놀이를 통해 현실의 계급 문제를 제기하고, 미미크리형 놀이를 통해 문제의 해결책을 강구한다. 아곤과 미미크리가 혼재된 현덕의 작품에서 계급적 질서가 투영된 세계는 아이들이 제시하는 다른 놀이를 통해 새로운 질서를 가진 세계로 재구성된다. 현덕이 제기하는 현실의 계급적 문제는 현덕의 소설이나 소년소설에서도 나타난다. 그러나 유년동화에서 제기되는 계급 문제는 타 장르에 비해 간접적으로 드러나고, 놀이 모티프를 장치로 사용함으로서 부유한 환경의 아동마저도 포용하는 대안적 세계를 제시한다는 점에 주목할 필요가 있다. 현덕 유년동화에서 놀이 모티프의 활용은 아동 모두를 포용하는 세계를 재구성하는데 기여하고 있다는 점에서 매우 중요하다. This research aims to study about how they question problems in reality that they recognise reflecting to the play motif of Hyunduk children’s story. It is toassort the play motifs on episode 16, which the play process is exemplified, of the whole 39 series by type in order to analyse the meaning. According to Roger Caillois’s play sort, the play motif of Hyunduk children’s story can be sorted as agon, mimicry, and combination of agon and mimicry. Hyunduk suggests hierarchy problems by agon game, and looks for a solution by a mimicry type game. In Hyunduk’s work of the combination of agon and mimicry,the world reflecting to hierarchical order is re-created as a new world with a new order through another game suggested by the children. The hierarchical problems in reality that Hyunduk suggests appear in Hyunduk’s works and adolescence novels. However, hierarchical problems suggested in children’s stories appear indirectly comparing to that in other genres, and as using a game motif as the tool, it is worth looking at the point that it suggests an alternative world embracing children with wealthy backgrounds. It is very important to notice that the use of a game motif in Hyunduk children’s story contributes to the reconstitution of a new world embracing all children.