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고등학교 국어교과서 읽기 영역 단원의 편성 방향과 구성 체제
최경환 부산외국어대학교 교육대학원 1999 敎育論叢 Vol.- No.-
本文以現行高中國語敎科書的閱讀領域單元爲對象, 觀察每單元按照敎育課程上所提示的閱 讀領域指導內容是否合理地設定而編排, 而且學習活動體制的構成能否讓學生們經過自習達成所定的學習目標. 爲此, 本文首先要分析敎育課程上所提示的閱讀領域指導內容, 再究明各單元學習目標與閱讀領域的指導內容之間有什樣的關係, 考察閱讀領域單元編排的方向. 而後, 又考察單元的體制是否適合於學生們的自習構成, 對於培養問題解決能力, 學習課題的接配妥不妥當. 調査閱讀領域各單元的學習目標與敎育課程的指導內容項目之間的相關關係之後, 得知與各單元的學習目標有直接關係的指導內容項目全體13個項目中只有9個項目而已. 這主要有3個原因. 第一是單元學習目標上的問題. 第二是指導內容體系設定與指導內容項目選定上的問題. 第三是單元數目上的限制. 由單元中各欄的性格來看, 根據單元的'導入學習 - 原理學習 - 適用學習 - 整理, 以及深化學習'的階殺, 每個階段的構成可以說是比較合理, 而有系統的. 從這一點上看, 閱讀領域單元可以說說學生們自力學習有關關讀領域技能遂行的基本原理和方法爲構成. 且理論上, 通過閱讀領域單元的編纂方向和構成體制, 考察了學習課題該寶踐什樣的技能, 又要樣組織和編排. 根據此理論, 分析有關閱讀資’學習活動’欄上的課題所得的結果, 就可以提出課題位置上的問題和課題之間的有機性或位次上的問題.
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李齊賢의 <和季明叔雲錦樓四詠> 시와 4수 연작 樓亭集景詩의 작시 원리
최경환 부산 외국어 대학교 2003 外大論叢 Vol.26 No.-
本論文旨在分析考究李齊賢<和季明叔雲錦樓四詠>的作詩原理與方法. 首先爲了糾明各個作品的作詩原理和方法, 探討了<荷洲香月>, <松壑翠雲>, <漁磯晩釣>, <山舍朝炊> 這四首連作樓亭集景詩的風景要素是如何體現在詩中, 繼而爲了考究連作詩的作詩原理與方法, 探討了四個風景是如何被選擇而排列在詩中. 據分析<荷洲香月>, <松壑翠雲>, <어기만조>삼수시시파풍경요소흔유질서적교호재공간여시간상적시, 而<山舍朝炊>一詩則是把風景要素定型在空間上的詩. 李齊賢<和季明叔雲錦樓四詠>四首詩雖各星現出各不同景致, 但因四首詩共把在雲錦樓所看的風景做爲詩的對象, 故形成了一篇連作詩的形態. 李齊賢<和季明叔雲錦樓四詠>詩的四個風景對象發生的時刻各爲夜裏,下午,晩上,上午,早晨,故此謂的四時便成爲這些風景的選擇基準了. 在李齊賢<和季明叔雲錦樓四詠>詩裏的風景是以'荷洲香月→松壑翠雲→漁磯晩釣→山舍朝炊'的順序排列的, 故標題上的第一個風景與第二個風景, 第三個風景與第四個風景各配成對偶. 根據前後兩個風景相互配成對偶的排列方式, 四個風景也便依序排列了.
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읽기 지도의 관점에서 본 초등학교 읽기 교과서 학습 과제의 문제점 : 6학년 읽기 교과서의 <나뭇잎배>를 대상으로 以六年級閱讀課本中的<樹葉船>爲對象
최경환 釜山 外國語 大學校 1999 外大論叢 Vol.19 No.4
本文指出閱讀課本中<樹葉船>學習課題的謬誤, 병提示出具解決方案. 烏此首先要觀察具編纂方向及構成原則來探討學習課題是在何等的意圖下構造化. 閱讀課本的學習課題在機能的觀點上至少要滿足下列兩個條件; 第一, 向學生基於學習目標展現出閱讀資料的讀書方法與方向. 第二, 盡輔導作用向學生解釋文章的意義使具理解. 所以學習課題不僅達到各單元學習目標병且爲理解閱讀資料的內容要組合一連所需的問答, 這一連的問答相互有機而有層次的連繫着, 而對這??講成學習課題的問答, 又要如何分層次也做了一瞥. 如此根據以上內容, 指出關於<樹葉船>學習課題的謬誤, 병編出新的學習課題來作爲現行學習課題的對策.
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崔敬桓 부산 외국어 대학교 2000 外大論叢 Vol.20 No.1
本論文旨在通過分析金尙容的 「四時詞」 八首連作詩來考究四時歌作品的構成原理與方法. 先糾明四季的特色是如何展現在個別作品中, 繼而考究四季的景色在連作詩裏又是如何相互關聯着. 金尙容之 「四時詞」八首, 根據個別作品把存在於詩境的人物(今是翁), 各設定爲定內在觀찰者的話者以及內面表出者的話者來體現了他的四季農村生活的寫照. 金尙容之 「四時詞」八首詩雖各呈現出了各自不同季節, 不同時間之不同景致, 但因八首詩共以今是翁的四季農村生活的寫照爲詩對象, 故形成了一篇連作詩的形態. 金尙容之 「四時詞」 裏今是翁的四季農村生活寫照, 各以'春(傍晩→上午)→夏(下午→下午)→秋(夜→夜)→冬(下午→夜)'爲序. 各季所呈現出的景致雖爲二, 但兩個景致在時間排列方式上, 每個季節却各自不同. 由於在時間排列的順序上조不出任何其所以然的特徵, 所以在金尙容 「四時詞」 詩裏提示出的各季景致, 可以說是只滿足了反映季節的基準而已.
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洪命元의 「鳳翼亭四詠」시와 4수 연작 樓亭集景詩의 작시 원리
최경환 부산 외국어 대학교 2002 外大論叢 Vol.25-2 No.-
This paper is intended to look at the poetic principle of Hong Myung Won'(洪命元)s Bong Ik Pavilion four poems(鳳翼亭四詠)" to inquire into the poetic principle of the four series poems about beautiful scenery viewed from a pavilion(西首 蓮作 樓亭集景詩) according to its generic characteristic. First, in order to look at the poetic principle and method of each poem, in this paper, it is studied how the elements of poetic scene in four poems are suggested by the poetic speaker. And then, it is studied why four poems are together made into a series poems, and studied how four scenes are selected as poetic object, of four poems, and studied how four scenes are arranged. In "The moon which rises over the east mountain after the rain is over(東嶺霽月)" and "Fishing in the south stream(南溪釣魚)", two poems of "Bong Ik Pavilion four poems(鳳翼亭四詠)", their poetic scenes are suggested by the method of the temporal and spatial organization. In "The setting sun beyond the west mountain(西岺落照)" its poetic scene is suggested by the method of the spatial organization, and in "Picking the royal fern in the north mountain(北山採薇)" its poetic scene is suggested by the method of the temporal organization. Four poetic objects of Bong Ik Pavilion four poems are the scenes which are seen by the poet in the same pavilion which is called Bong Ik Pavilion. This is the principle by which four poems are together made into the series poems called Bong Ik Pavilion four poems". Four scenes as poetic objects of Bong Ik Pavilion four poems are located in the east, the west, the south, and the north of Bong Ik Pavilion, respectively. Therefore 'four sides' is the standard which four scenes are selected as poetic objects by the poet. That is, four scenes are selected as the representative scene of each side. In "Bong Ik Pavilion four poems" four scenes are arranged in the following order: "The moon which rises over the east mountain after the rain is over(東嶺霽月)" → "The setting sun beyond the west mountain(西岺落照)" → "Fishing in the south stream(南溪釣魚)" → "Picking the royal fern in the north mountain(北山採薇)". They are arranged in the order of 'east,→west→south→north'. And the titles of the first and the second poem make one couplet, and the titles of the third and the fourth poem make another couplet.
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최경환,문성암 대한산업공학회 2021 대한산업공학회 춘계학술대회논문집 Vol.2021 No.6
Low Frequency High Impact (LFHI) events, such as COVID-19, make every situation in the supply chain uncertain. In such circumstances, a quantity flexibility contract is a method of ensuring that an order meets the volume of supply and demand by allowing it to observe and further determine the demand arising within the contract period. In this paper, we add various price structures and timing of second delivery, which are difficult to find in previous studies, as parameters of quantity flexibility contracts, confirming the effect on expected profits from the perspective of supply chain, manufacturers, and retailers. The results of this study are as follows. First, flexibility and upper limit do not always have a positive effect on the expected profits of all members or the entire supply chain. Second, in case the price of a second delivery product is low, the retailer’s expected profit is lower with greater flexibility. The upper limit had no significant effect on the retailer’s expected profit and the timing of the second delivery had no significant effect on the manufacturer’s expected profit. Third, if the price of the first delivery product is higher than that of the second delivery product, it guarantees high expected profits for supply chain, manufacturers and retailers.
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