조명암의 「남사당」연작시 연구

전영주(Jeon, Young-joo) 국어국문학회 2012 국어국문학 Vol.- No.161

Jo Myung-am"s or, Jo Young-chool wrote the poem and popular-song poem in 1930s and 40s as Japanese colonial era at the same time and defected to North Korea in 1948 at the age of 35. He was a presentative lyricist of Korean popular song changing over from Korean popular song faltered by Japanese popular songs to the fresh lyrics matching Korean sentiment. However, Jo Myung-am has published very meaningful poems in not only poem but song poem. The result of the study was insignificant so it was judged that the poetic value and meaning weren"t properly proved. "NamSaDang" is a presentative poetry. "Namsadangpae poetry" includes 6 kinds such as ⓛNamsadang, ②Sogo chum(tabor dance), ③Sangmu chum, ④Mudeung chum ⑤Boy ⑥Custom etc. Because the poems of Namsadang is one of poems continuing the tradition of few custom poem in Korean poem history, it is considered as a valuable literary property itself. However, these poems were from an unknown source so it has been studied being left out all the while. Therefore, this article was intended to search the literary significance and to reconstitute the poetry of Jo Myung-am omitted analyzing 6 poems as "Namsadangpae" poem written by Jo Myung-am. Based on this study, it was an opportunity to be investigated refreshingly the relationship between custom and modern poem discussed fragmentarily.

주요한의 시와 서도(西道) 로컬리티

전영주 ( Young Joo Jeon ) 우리어문학회 2015 우리어문연구 Vol.52 No.-

Joo Yo-Han is an important poet in the history of Korean poetry. He accepted symbolism from Japan and published a free verse for the first time in Korea. And yet, he should be analyzed more in detail under the experiences of various localities such as Pyeongyang, Japan and Shanghai and the influences of the localities. It is very important that Joo Yo-Han is a poet who directly accepted both traditional styles and modern cultures coming and going to Pyeongyang(Joseon), Tokyo(Japan) and Shanghai(China). Joo Yo-Han’s hometown, Pyeongyang was a place with traditional cultures such as Seo-do folk songs and Seo-do vulgar songs and distinctive atmospheres. Especially, the festival of Daedonggang river like ‘Bul-no-ri’ on which Joo Yo-Han focused is related to boating held in Pyeongyang and Joo Yo-Han’s “Bul-no-ri” shows the poet’s spirit of experiment on the form of new poetry along with an interest in his hometown, remembering Pyeongyang Gisaeng’s dance and popular songs. Moreover, Joo Yo-Han’s prose poems, free verses, folk poems and Sijo (traditional three-stanza Korean poems show cultural, literary influences of the Seo-do region around his hometown Pyeongyang. It is judged that these influences of Seo-do locality have greatly influenced his creative activities. Free verses and Sijo are considered different genres in which Seo-do locality is reflected. His poems were born through interests in folk poems and children``s songs. This results from his characteristics as a Seo-do person have impacts on his poems. Joo Yo-Han``s poetic world can be newly identified in the characteristics of Pyeongyang locality. That becomes a little clearer under a correlation with the Seo-do locality centering around Pyeongyang. In sum, a study of the correlation between his childhood experiences in his hometown, where he was born and grew up and his poems are an important methodology of research that can evaluate uncomfortable debates around traditionality(anti-modernity) and modernity of his poems correctly. This study found that regarding Joo Yo-Han``s free verses, which were evaluated to have formed an axis of modern poetry, there is a very heavy impact of Seo-do locality on his other poems as well as “Bul-no-ri.” Seo-do characteristics that appear in Joo Yo-Han’s poems specifically appear through various genres such as poems and Sijo in addition to his representative modern poetry, “Bul-no-ri.”

한국 근대시와 시적 표상공간으로서의 ‘서도’ 로컬리티

전영주(Jeon, Young Joo) 동악어문학회 2014 동악어문학 Vol.62 No.-

본 연구는 근대시와 로컬리티의 관계에 주목하고자 했다. 특히 1920년대 시의 근대성이 서구의 영향 이전에 ‘서도(西道)’라는 로컬리티와 상관하고 있다는 점을 피력하고자 했다. 다만 이번 연구에서는 그 범위를 제한하여 서도출신 시인들의 시적 의도와 시 의식에 관한 깊이 있는 천착은 뒤로 미루고 시적 표상공간으로서의 ‘서도 로컬리티’의 재현 양상을 살펴보는 것으로 한정했다. 근대초기 서도시인들의 로컬리티가 우선적으로 규명된다면 이번 연구를 통해 근대시인의 시의식과 관련한 내재적 요인들도 차후 새롭게 규명할 수 있을 것으로 여겨진다. 요컨대 본고는 아직은 낯선 개념인 ‘서도’의 의미를 구체화하여 밝히고, 서도출신 시인들을 대상으로 하여, 근대시의 특징이 상당부분 서도 로컬리티와 관련이 있음을 논구하고자 했다. 논거가 된 시인으로는 근대초기 새로운 시적 감각을 표출한 김소월, 주요한, 김동환이다. 이들은 1920년대 한국근대시의 서정과 시형식의 변화를 주도한 시인으로 평가된다. 이들이 보여준 근대초기 시적 특장들은 ‘서도 로컬리티’와 무관하지 않은 것으로 판단된다. 본 연구에서 다루고자 하는 ‘서도 로컬리티’는 서도지역을 관장하고 있는 언어, 문화, 풍습과 민속, 그리고 특유의 서정적 정서이다. 서도 로컬리티를 검토할 수 있는 제(諸) 요소들이 그 대상이 되었다. 요컨대 본 연구는 ‘서도’라는 특유의 장소성이 근대시의 표상공간으로서의 결정적인 외부적, 내부적 요인으로 작용하고 있었던 점을 규명하고자 했다. 연구내용을 요약해 보면 다음과 같다. 첫째, 본 연구는 ‘서도’의 발견으로부터 출발하고자 했다. 서도는 평안도와 황해도, 함경도를 포괄할 수 있는데 지금의 북한지역의 관서와 해서 지역을 포함하는 곳이다. 이 지역은 서북으로 불리기도 했으나, 전통음악 분과에서는 이를 통합하여 ‘서도음악’ 혹은 ‘서도소리’로 그 특성을 함께 다루고 있다. 물론, 문학과 음악은 다른 영역이지만, 이 지역을 ‘서도’라고 통합, 명명하여도 큰 무리는 없을 것으로 판단된다. 둘째, 본 연구는 김소월, 주요한, 김동환 등 근대기 신지식인의 한 그룹을 형성한 서도출신 시인들을 중심으로 이들의 ‘서도 로컬리티’의 재현 방식을 구체적으로 제시하면서 논거를 명확히 하고자 했다. 예컨대, 김소월 시의 근대적 요소에 기여한 감정의 적극적 발화와 시어, 운율 등은 서도의 풍습, 음악, 언어와의 관련이 깊다. 주요한의 경우는 최초의 자유시 ?불놀이?로 표출된 근대시형식이 ‘(엮음)수심가 토리’의 형식과 유사한 바가 규명되었고, 김동환의 ?국경의 밤?은 대륙과 접한 서도지역의 활달한 기개와 특유의 함경도 언어를 활용하여 ‘서사시’라는 새로운 시형식을 탄생시킨 것으로 보인다. 셋째, 본 연구는 이 같은 내용을 토대로 1920년대 한국 근대시의 서도 로컬리티가 지니는 시적 표상공간으로서의 의의와 가치를 재고해 보고자 했다. 요컨대, ‘서도 로컬리티’는 근대시의 표상공간으로 새롭게 인식할 필요가 있다. 나아가 본고를 통해 1920년대 시인들의 근대적 시도들이 서도 로컬리티와 무관하지 않음이 밝혀져, 한국근대시의 형성과정이 다양한 시각으로 다시 재고될 것으로 기대해 볼 수 있을 것이다. As is generally known, at the period of transition into modern times, one of the new intellectuals groups was from ‘Seo-do’ (northwestern provinces of Korea). Kim So-Wol, Joo Yo-Han, Kim Dong - Hwan are the protagonists in developing ‘Korean modernity by way of facing locality of Seo-do with modern mentality. In short, literary attempts and achievements towards modernity shown by these poets from Seo-do at the beginning of new literature establish literary interest and research on the locality on ‘Seo-do’ or ‘Seo-do"ness’ The object of this study is to look into the modernity of korean poetry during the time of transition after 1910 focusing on the relations with Seo-do"ness. Through Kim So-Wol, Joo Yo-Han, Kim Dong-Hwan who acquired the characteristic of Seo-do deeply, this study will try to explain that their poetic modernity is the expression of Seo-do identity. This study considers the characteristics of Seo-do, specifically formed as a literary genre, focusing on Seo-do music and language that had influence on poetry, custom and folklore of Seo-do which was used for poetic topic and material. Sum up as follows. First, this study starts from the discovery of geological character and characteristics of Seo-do.. That is to say, to make investigation on the cultural, literary and modern characteristics of Seo-Do after investigating not only the folk songs of Seo-do but also Seo-do people"s feelings, custom and ritual ceremony. Second, this study intends to select representative poets from this region like Kim So-Wol, Joo Yo-Han and Kim Dong-Hwan who had formed a group of intellectuals at the period of transition into modern times and to suggest their Seo-do"ness. For example, the poetic consciousness, rhythms and poetic expressions which are contributed to the modernity of So-Wol"s poetry are influenced strongly by Seo-do"s custom and music. In case of Joo Yo-Han"s first free verso, ?Fireworks?, its poetic form has similarity with the melody of ‘Susim-Ga’. And the generative principle of contents in the ?The night of Border? by Kim Dong-Hwan, can be explained easily if we can understand the liberal spirit of Seo-do people. Third, based on the poetic characteristics of Kim So-Wol, Joo Yo-Han and Kim Dong-Hwan revealed through the specified features and elements, this study is going to investigate the correlation in case of the formation of korean modern poetry during Japanese Ruling Era and consider its meaning carefully. In brief, through this study the identity of Seo-do which may be supposed to be korean general sentiment will be reinvented concretely and by revealing the relationship between poetic modernity of modern poets and Seo-do"ness, the formative process of korean modern poetry will be explained much more with stereoscopic vision.

‘2015 역량중심 교육과정’ 실행에 대한 학교장의 인식 연구 - 중 · 고등학교를 중심으로 -

전영주(Young-Joo Jeon),조보경(Bokyung Cho) 한국콘텐츠학회 2021 한국콘텐츠학회 종합학술대회 논문집 Vol.2021 No.8

논문 : 음악 및 문학 부문 ; 주요한 「불놀이」와 <엮음수심가>의 상관성

전영주 ( Young Joo Jeon ) 한국고음반연구회 2010 한국음반학 Vol.20 No.-

예비 영어교사를 위한 영어 쓰기능력 향상 방안

전영주(Jeon, Young-Joo) 한국영어교과교육학회 2010 영어교과교육 Vol.9 No.3

The purpose of this paper is to consider what the requirements are in preparing for the newly reformed English writing test on the English teachers’ employment exam and to present effective ways for the test using the combined style of peer-feedback and integrated written feedback in a process-oriented writing procedure. This survey was conducted on 33 pre-service teachers whose major is English education. The questionnaire consists of 23 questions covering areas such as awareness toward the new format of the test and the effects of integrated process-oriented feedback which involves meaning-focused and form-focused feedback by a peer group. The data, which was measured with frequency analysis, shows that the pre-service teachers are in agreement about the necessity of an English writing test and the effects of integrated feedback by a peer group. In addition, they suggest that a more systematic method to improve their writing skills be required, especially in the stages of planning and writing a first draft. Therefore, pre-service teachers should be provided with a more systematic and detailed writing program to improve their English writing proficiency as well as content knowledge about English education theories.

영어 매개 강의와 공용어로서의 영어에 대한 한·중 인식 비교

전영주(Young-Joo Jeon) 한국중원언어학회 2022 언어학연구 Vol.- No.64

‘보편적 학습 설계(UDL)’에 기반한 SMART 수업관찰 연구

전영주(Jeon Young-Joo) 한국콘텐츠학회 2014 한국콘텐츠학회 종합학술대회 논문집 Vol.2014 No.11

김소월 시의 서도성과 근대성 : 「진달래꽃」「초혼」과 서도민요 《영변가》《제전》의 비교 분석

전영주(Jeon Young-Joo) 우리문학회 2011 우리文學硏究 Vol.0 No.33

김소월에 대한 그간의 평가는 몇 가지 공통점이 있다. 첫째, 한국의 1920년대 전통시를 대표하는 시인, 둘째, 한국인의 보편적 감정과 운명을 토대로 자연(自然)과 정한(情恨)을 노래한 시인, 셋째, 향토적 감각으로 민요조의 율격을 사용한 시인이란 것이다. 그러나 소월의 시에 나타난 서도성과 근대성에 대한 그간의 논급은 미약하여 이에 대한 구체적이고 실증적인 연구는 이루어지지 못했다. 소월의 시는 7.5조의 민요조를 사용하면서 전통적 가락의 명맥을 잇고 있다는 교과서적인 일반론이 고수되어 온 바가 적지 않았다. 본고는 김소월 시에 나타난 서도성을 검토해 보고 이를 통해 김소월 시의 전통적 면모와 근대적 성향을 동시에 살펴보고자 한다. 예컨대 소월의 시 「진달래꽃」은 서도민요 《영변가》와, 「초혼」은 《제전》과 관련성이 있다. 「진달래꽃」은 서도지역의 “영변의 약산” 동대를 중심으로 피어있는 진달래꽃을 소재로 하고 있으며 《영변가》 역시 이곳을 배경으로 노래한 서도 민요이다. 《영변가》와 《제전》은 서도 음악의 특성을 잘 보여주는 곡들이다. 김소월은 그의 고향 ‘서도 지역’의 서도성을 당연히 체득하였을 것이기에 이를 「진달래꽃」과 「초혼」에 반영하고 있는 것이다. 특히 서도민의 활달한 정서는 소월의 시에 내포된 근대적 성향의 밑그림을 제공해준다. 주지하듯이 《제전》은 죽은 자의 영혼을 달래는 “초혼제”를 노래한 것으로 김소월의 「초혼」은 이와 매우 유사한 정조를 지니고 있다. 소월이 어린 시절 목도한 초혼제의 제례 행위가 시 「초혼」에 반영되었으리란 추측은 충분히 가능하다. 부언하면 《제전》은 죽은 임이 그리워 무덤가를 찾아가 망자(亡者)를 애절하게 부르며 탄식하는 초혼(招魂)의 제례의식이 바탕을 이룬다. 요컨대 「초혼」은 이와 같은 서도지역의 무속(巫俗)이 반영된 것으로, 소월은 이를 직접적인 시의 제목으로 삼음으로써 적극적으로 《제전》의 성격을 반영하고자 했던 것이다. 김소월의 시가 이처럼 서도민요와의 관련이 깊고, 서도지역의 지명과 어조, 정서, 율격, 관습적인 제례의식을 사용한 면이 짙다 할지라도 이 모든 관계가 전통성과 연관된 것만은 아니다. 1920년대의 근대성이 김소월의 시에 분명히 드러나고 있는데 「초혼」에서 엿보이는 화자의 폭발적인 감정분출은 전통적인 면모보다는 근대적 성향과 관련이 더 깊다. 게다가 전통적 이별의 방식이 아픔을 참고 인내하며 억누르는 형태를 주로 보이는데 반해 「초혼」에 드러나는 낯선 감정분출의 직접적 표현은 이와는 확연히 다른 성격을 지닌 것이라 할 수 있다. 「진달래꽃」역시 이별을 부정하는 화자의 감정표현이 전통적 정서와는 얼마간의 거리가 있다. 요컨대 김소월 시의 서도민요와의 영향 관계를 규명하는 과정을 통해 김소월 시의 근대성과 전통성을 재구(再構)해 보는 자리가 마련될 것이다. There were some common points in estimation of Kim So-wol. First, Kim So-wol was a poet who appeased wandering spirit of 1920’s of Korea. Second, Kim So-wol was a poet who sang about nature, sentiment and sorrow based on his own fortune and Korean unique emotion in his poems, Third, Kim So-wol was a poet who made good use meters of traditional folk song with folksy atmosphere. Though traditionality expressed in his poems were greatly influenced by Seodo-folk song(서도 민요), detailed positive research on it has not been done yet and the discussion about it was limited to the degree that his poems kept the tradition of folk songs that preferred to use 7.5 meter. This study aims to examine the influence that Seodo folk song had on his poems in more detail. 「Chindalrae (Azalea진달래꽃)」, a poem of So-wol has close relations with 《Yeongbyeonga 영변가》, one of the Seodo folk songs. In addition, 「Chohon(Invocation초혼)」, a poem of So-wol has close relations with 《Jejeon 제전》. In 「Chindalrae (Azalea)」, Yeongbyeon’s Yaksandongdae located at Seodo region was mentioned and 《Yeongbyeonga》 was Seodo folk song that focused on Yeongbyeon’s Yaksandongdae which suggested close relations between 「Chindalrae (Azalea)」 and 《Yeongbyeonga》. 「Chohon(Invocation)」, has close relations with 《Jejeon》, one of the Seodo folk songs. 《Jejeon》 sang about sacrificial rite that aimed to appease a deceased and the atmosphere of 「Chohon(Invocation)」 written by So-wol is similar to that of 《Jejeon》 in that 「 Chohon(Invocation)」 was based on sacrificial rituals of invocation of the spirit of a deceased in which the poetic narrator yearned for a deceased at a grave. 「Chohon(Invocation)」 was influenced by shamanism of Seodo region. The fact that So-wol made one of his poems entitled 「invocation」 suggested significant influence of Seodo folk song on his poems. Though poems of So-wol had close relations with Seodo folk song and used name of a place, tone, emotion, metre and sacrificial rituals of Seodo region, it is wrong to think that poems of So-wol have relations with only traditionality. In poems of So-wol, modernity of 1920’s was found. Expression mechanism of emotion in 「Chohon(Invocation)」 had closer relations with modernity than traditionality. Traditional emotion about separation of Koreans was patience. Expression of emotion in 「Chohon(Invocation)」 and expression of poetic narrator who denied separation in 「Chindalrae (Azalea)」 were far from traditional emotion. Therefore it is necessary to examine both modernity and traditionality of his poems when finding out the influence that Seodo folk song had on poems of So-wol.

영어활용 영어수업의 이론과 실제

전영주(Young-Joo Jeon) 신영어영문학회 2009 신영어영문학 Vol.43 No.-

Teaching English through English (TETE) means speaking and using English in the classroom as often as teachers possibly can, for example when organizing teaching activities or chatting to students socially. The English Immersion Program seemed to have a hard time to be utilized across the nation for various reasons. As its alternative, TETE has a great impact on English education in Korea. This paper tried to offer the basis of the theory and practice of TETE, exploring the Direct Method and CLT(Communicative Language Teaching). In addition. the best method of TETE was considered. This article also studied the ways TETE can be presented or performed in middle and high schools efficiently. This paper will be beneficial to English teachers and their students in presenting a foundation for the theory and practice of TETE.