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수학 교수 • 학습과 평가의 측면에서 개방형 문제의 재음미
조영미 공주교육대학교 초등교육연구소 2009 초등학교교육연구 = Elementary school education research Vol.9 No.2
이 논문에서는 개방형 문제가 교수•학습과 평가에 각각 긴밀히 연관되어 있다고 보고, 개방형 문제가 현재 초등수학교육에서 각각에 어떻게 활용될 수 있는가를 알아보고자 하였다. 이를 위해 먼저 개방형 문제의 등장 배경을 교수•학습과 평가의 두 측면에서 살 펴보고,이어서 최근 10 여년간 이루어진 교대 교육대학원 석사학위 논문을 중심으로 연구 경향을 살펴보았다. 마지막으로,교수•학습과 평가의 두 측면에서 개방형 문제가 활용되는 사례를 제시하였다. This paper investigated the role of open-ended problems in mathematics teaching-learning situations and assessment situations. For this purpose, we surveyed the thesis which dealt with the open-ended problems. Finally, we suggested the several cases in which the open-ended problems were well used for teaching-learning situations and assessment situations.
조영미 한국초등수학교육학회 2017 한국초등수학교육학회지 Vol.21 No.3
이 논문에서는 교수요목기에 발간된 셈본 교과서가 여러 종류임에 주목하고 셈본을 둘러싼 역사적 배경과 그 변화를 살펴보았다. 셈본교과서는 크게 미군정 시기 셈본 교과서와 대한민국 정부 수립 후의 셈본 교과서로 대별될 수 있었다. 두 종류의 셈본은 외형, 체제, 수학 내용 지도 방식 등에서 차이가 났다. 후자는 전자에 비해 한층 발전된 교과서 체계를 갖추었으며, 수학 내용에 대한 설명도 상당히 더 상세하고 친절하였다. 특히 후기 셈본 교과서는, 제1차 교육과정의 주요 특징이라고 일컬어지는‘생활단원학습’을 지향하였다. ‘Saembon’ was elementary mathematics textbook in the Period of Syllabus in Korea. First I classified Saembons in five groups. And then I regrouped them into two kinds. One kinds were published under U.S. Army Military Government, and other kinds were made under Republic of Koera. Two kinds of Saembon were very different in several aspects. I showed how they were different through real examples. Finally I tried to explain that Saembons under Republic of Koera were better than Saembons under U.S. Army Military Government.
통합 표현예술치료 방법연구-Bottom-up과 Top-down 기술을 중심으로
조영미,채연숙 사단법인 인문사회과학기술융합학회 2018 예술인문사회융합멀티미디어논문지 Vol.8 No.1
Since the 1960s and 1970s, Western countries have developed integrated art therapy that combines not only language but also art work into psychotherapy. This is the result of efforts to overcome the limitations of language-based psychotherapy and develop the psychotherapy method effective and diversified. The main purpose of this study is to present theories and techniques of integrated expression art therapy of body and language. Particularly, the study focused on Bottom-up and Top-down, which are key technologies of integrated expression art therapy of body and language. Consequently, participants of 'integrated expression art therapy' based on <Top-down, Bottom up> method will be encouraged to restore human health, develop creativity and contribute to their own independent lives. This study will utilize the movement-oriented expressive arts therapy used atthe Tamalpa Institute in the United States as the representative method of bodily therapy, and the literary therapy used atthe Fritz Perls Institutein Germany as the representative method of language therapy. Numerous theories and techniques exist regarding integrating thetwo methods into thebody-language integrated expressive arts therapythis study aims to conduct research with a focus on the "top-downand bottom-uporiented" approaches as its core technique. Carl Rogers saw a human being as a possessor of conscious experiences, a phenomenological being, a person with the potential for self-realization, and a free individual. The body-language integrated method of expressive arts therapy based on the top-down and bottom-up oriented approach could help restoring therapy participants to the complete human beings described by Rogers. 1960년~1970년대 이후 서구에서는 언어뿐만 아니라 예술작업을 심리치료에 통합하는 통합예술치료가 개발되어 왔다. 이는 언어 중심 심리치료의 한계를 극복하고 심리치료의 방법을 효율적이고도 다각화 하기 위한 노력의 결과인 것이다. 최근에는 몸 감각이나 동작을 심리치료에 활용하는 심신통합치료 분야가 개발되었다. 그러나 몸 감각을 심리, 즉 정서나 인지의 심리적 현상과 통합하여 유의미한 치료의 결과를 얻으려면, 몸을 이해하는 약간의 지식이 필요하며 다양한 접근법이 시도되어야 한다. 이에 필자는 몸 감각을 자각하여 언어로 표현하고, 또 언어를 몸 감각으로 환원시켜 심신의 상호교류, 혹은 심신 통합적 방법을 탐색해보고자 한다. 본 연구에서는 미국 타말파 연구소(Tamalpa Institute)의 동작중심 표현예술치료와, 독일 프리츠 펄스 연구소(Fritz Perls Institute: FPI)의 통합 문학치료 방법을 통합하여 적용하였다. 본 연구의 핵심 목적은 몸과 언어의 통합적 표현예술치료 이론과 기술을 제시하는 것이다. 특히 몸과 언어의 통합적 표현예술치료의 핵심기술인 Bottom-up과 탑 다운 Top-down을 중심으로 연구하였다. 이러한 심.신 통합적 치유방식은 로저스의 말대로 의식적 경험 소유자로서 몸과 정서가 통합된 인간, 그리고 현상학적 존재로서 몸, 정서, 인지가 통합된 인간으로 전체성을 이룰 수 있도록 도울 수 있다. 그리하여 <Top-down, Bottom-up>방식에 기반한 ‘통합 표현예술치료’ 참여자들에게 인간의 건강성을 회복하고 창의성을 개발하여 주체적인 삶을 사는 데 기여하게 될 것이다.
협력학습을 활용한 한국문학 교육 사례-해외 대학(대만, 홍콩) 수업을 중심으로
조영미,한혜민 한중인문학회 2021 한중인문학연구 Vol.70 No.-
본고는 해외 한국(어)학 부전공자들의 한국어 수업과 한국문화 수업에서 협력학습(collaborative learning)을 활용한 한국문학의 교수-학습 방안을 제시한다. 대상은 대만 내한국학 부전공 과정의 <한국유행문화개론>과 홍콩 내 한국어 부전공 과정의 <미디어로 배우는 한국어>의 수강생들이다. 한국문학은 한국 사회와 문화, 한국인의 사고방식과 행동 양식을 이해할 수 있는 훌륭한 교육 자료임에도 해외 한국학 및 한국어 교육 현장에서의 한국문학교육을 시행하기에는 몇 가지 어려움에 봉착하게 된다. 가장 큰 난제는 바로 부족한 강의 시간과 학습자들의 한국어 능력과 학습 배경의 상이, 전문 인력 부족 등이다. 이에 본 연구에서는 위와 같은 문제점을 해결하는 방안으로 한국문학 수업에서 협력학습을 교수-학습에 적용한 사례를 제시하였다. 본 연구에서 제시한 수업 사례가 유사한 상황에처한 해외 한국(어)학 과정 및 국내 외국인 유학생 대상 한국(어)학 수업을 담당하는 교수자들에게 효율적인 교수-학습 방안으로써 활용되기를 기대한다. This paper attempts to suggest a teaching-and-learning method utilizing collaborative learning in Korean language and culture classes designed for Korean minors in foreign colleges. The subjects are students of the class <Korean Popular Culture> as a part of the minor course in Taiwan, and <Korean Through Media> as part of the minor course in Hong Kong. Although Korean literature provides exceptional educational materials assisting learners to understand Korean culture, society, mindset, and behavior, it faces numerous problems when being put into place in educational settings. Some of the major difficulties include a lack of lecture time, disparity between the learners’ Korean abilities and learning background, and shortage of professional workforce. As such, this research provides cases where collaborative learning was applied to the teaching-and-learning process in Korean literature courses to address those challenges. The authors expect the class cases provided in this research to serve as efficient teaching-and-learning methods for instructors struggling with said difficulties teaching Korean-related classes internationally or to foreigners in Korea.
남정호 작품의 특징 연구 -<유희Ⅰ>(1984), <풍선심장>(1986), <자화상>(1988)을 중심으로 -
조영미 영남춤학회 2020 영남춤학회誌 Vol.8 No.3
이 연구는 남정호의 현대무용 작품을 관통하며 발견되는 특징을 고찰하고자 한다. 이 연구를 위하여 1980년대 안무작 <유희Ⅰ>(1984)와 <풍선심장>(1986) 그리고 <자화상>(1988)을 분석대상으로 삼았다. 그 결과 다음과 같은 세 가지 특징을 발견할 수 있었다. 첫 번째, 모든 이야기는 그의 어릴 적 기억 속에 있는 동심의 세계에서 출발한다. 두 번째, 작품 속에 자유자재로 변형되는 오브제는 동심이자 가족이자 동료이자 주변인이기도 하며, 때로는 놀이 그 자체이기도 했다. 세 번째, 안무 구조에 나타나는 규칙성과 반복적인 동작의 발전 과정은 ‘무아지경’의 세계로 이끄는 기폭제 역할을 하였다. 남정호는 놀이하는 인간과 놀이를 통해 인간의 삶을 즐거운 것으로 표현하는 것이 동질의 것이라 보고 ‘유희하는 인간’이라는 작가정신을 춤을 통해 드러내었다. 이번 연구는 1980년대 작품 세 편을 통해 남정호 작품의 특징을 연구한 것으로 1980년대 한국 현대무용의 경향과 당시 주 활동 지역이었던 부산의 현대무용 변화 양상을 연구하는데 중요한 자원이 될 것이며, 나아가 현대무용 안무의 다양성과 가치 확산을 모색하는데 소중한 자료로 활용될 수 있을 것이라 기대한다. This study seeks to find out the features found through Nam Jung-ho's dance works. For this study, three works were selected as the targets of analysis: <JEUX I> (1984), <Balloon Heart> (1986) and <Self Portrait> (1988). As a result, three characteristics were discovered. First, all stories start from his childhood memory, a world of concentricity. Second, the objects that appear in the work are children's hearts, family members, colleagues, people around them, and objects of play. Third, the regularity and repetition of the features described above become a process that leads to the world of ‘self-consciousness’, and acts as a catalyst for the playful expression. As such, it was found that Nam Jung-ho sees the same thing as expressing human life as joyful through play with the playing human. This study will be an important resource in studying the characteristics of Nam Jung-ho's choreography work and the trend of contemporary Korean dance in the 1980s and the changing patterns of contemporary dance in Busan, which was the main active area at the time. Furthermore, it is hoped that it will be used as a valuable resource in seeking the future direction of modern dance development.
조영미 한국중세근세영문학회 2009 고전·르네상스 영문학 Vol.18 No.1
As Shakespeare’s late plays end with the restoration and regeneration rendered possible through the renewed bond between father and daughter, they are often interpreted as celebrating women as protectors and givers of life. However, this paper assumes that they are more patriarchal than they appear. Shakespeare's late plays are his literary response to the social, economic and political change in the early Jacobean period. The most pertinent two changes were the succession to the throne of James I who propagated patriarchy as his ruling ideology and the flourishing of Puritan homilies which also helped strengthen hierarchical relationships in the family by emphasizing a wife's subjugation to her husband. Shakespeare’s late plays served the contemporary patriarchal ideology by naturalizing political power in terms of family relationship and chastening female sexuality that can threaten that power. In his late plays, women of the older generation can be divided into two groups; ones who are exercising their female sexuality in vicious ways to lead a ruler astray from his kingship and the others who perform their duty by issuing legitimate children to them. The former invariably die in the middle or at the end of the plays. The representation of chaste married women is more problematic in that they are also considered potentially threatening and, thus marginalized by mock deaths. Not until they are wholly desexualized and chastened do they come back to stage. The representation of daughters is not very different from that of their mothers. Even though they are spirited and assertive like their counterparts in romantic comedies, they are subdued and chastened with the progress of the plays. In the end, they are transferred to their prospective husbands, who in turn require them to be chast, which guarantees legitimate posterity. Even though Shakespeare's late plays endorse a patriarchal ideology, they also subvert it by letting the audience get a glimpse of the other side. Marina’s survival in a brothel through the use of eloquence, which was particularly attributed as a male quality in the Shakespearean period, does offer a chance to think of what patriarchal control gives to women in and out of the system. Prospero’s ‘perfect’ patriarchal governance is also made problematic as the perspectives of his servants, Ariel and Caliban, are provided complementarily. As Shakespeare’s late plays end with the restoration and regeneration rendered possible through the renewed bond between father and daughter, they are often interpreted as celebrating women as protectors and givers of life. However, this paper assumes that they are more patriarchal than they appear. Shakespeare's late plays are his literary response to the social, economic and political change in the early Jacobean period. The most pertinent two changes were the succession to the throne of James I who propagated patriarchy as his ruling ideology and the flourishing of Puritan homilies which also helped strengthen hierarchical relationships in the family by emphasizing a wife's subjugation to her husband. Shakespeare’s late plays served the contemporary patriarchal ideology by naturalizing political power in terms of family relationship and chastening female sexuality that can threaten that power. In his late plays, women of the older generation can be divided into two groups; ones who are exercising their female sexuality in vicious ways to lead a ruler astray from his kingship and the others who perform their duty by issuing legitimate children to them. The former invariably die in the middle or at the end of the plays. The representation of chaste married women is more problematic in that they are also considered potentially threatening and, thus marginalized by mock deaths. Not until they are wholly desexualized and chastened do they come back to stage. The representation of daughters is not very different from that of their mothers. Even though they are spirited and assertive like their counterparts in romantic comedies, they are subdued and chastened with the progress of the plays. In the end, they are transferred to their prospective husbands, who in turn require them to be chast, which guarantees legitimate posterity. Even though Shakespeare's late plays endorse a patriarchal ideology, they also subvert it by letting the audience get a glimpse of the other side. Marina’s survival in a brothel through the use of eloquence, which was particularly attributed as a male quality in the Shakespearean period, does offer a chance to think of what patriarchal control gives to women in and out of the system. Prospero’s ‘perfect’ patriarchal governance is also made problematic as the perspectives of his servants, Ariel and Caliban, are provided complementarily.
각기둥의 정의 만들기에 관한 지도 사례 연구 -초등학교 5학년을 대상으로-
조영미,박하나 한국초등수학교육학회 2011 한국초등수학교육학회지 Vol.15 No.2
이 연구에서는 각기둥의 정의 만들기 활동을 위한 학생용 활동지를 개발하여 초등학교 5학년 학생들에게 실행하고 그 결과를 분석하였다. 정의 만들기 수업에서 핵심은, 학습지에 차례로 제시되는 비(非) 예들이 포함되지 않도록 기존의 정의를 수정하여 새로운 정의를 만드는 것이었다. 연구 결과로, 학생들이 각기둥의 성질을 어떻게 인식하며, 비(非) 예를 제거하는 과정에서 각기둥의 정의에 사용되는 성질들로 무엇이 부각되는지를 알 수 있었다. 더불어 정의 만들기 활동을 통한 학생들의 수학적 정의에 대한 인식의 변화를 확인할 수 있었다. The purpose of this study is to suggest an effective plan for teaching the definition of prism by integrating and analyzing the theories related to the instruction of definitions. The subjects in this study to realize these objectives were as follows. First, it looks to theoretical backgrounds regarding the instruction of the definition of solid by functions of definition in mathematics education. Second, it explores the instructional way to form the definition of solid through function of definition, by analyzing the unit of solid in the 6th grade. Third, after conducting the real practice with the 5th graders who before learn solid in 6th curriculum, according to plan of instruction, it examined student's response and testify its effectiveness, and then propose a teaching scheme which is designed to be useful based on the outcomes. In terms of theoretical background, it investigated the precedent research in relation to the instruction of the definition that mathematical definition is not given perfectly but the process of making knowledge that mathematization activity is necessary. It investigated the effects of the instruction of definitions, based on the effects of teaching and interviews with the 5th graders, and analysis of student's handout. The followings were the results of this study. First, 'Making Definitions' activities through remove counterexample process was possible to analytic thinking not intuitively thinking, and it effects the extend of awareness in definition that definition is not fixed but various. Second, it need the step of organize terms that is useful on solid's definition through activate of background knowledge. Third, it is effective that explore characters of the solids after construct the solids. Fourth, interactive discussion that students correct their mistakes each other through mathematical communication and they can think developmental is useful on making definition more than individual study.
무용과 과학 융합 STEAM 프로그램 개발과 적용사례 -초등 고학년을 중심으로-
조영미,이정임 한국무용예술학회 2020 무용예술학연구 Vol.79 No.3
In this study, the dance and science convergence STEAM program aims to create a shadow play through scientific knowledge and artistic experience. <Show Me the Shadow>, developed as an 8-hour project for elementary school students, drew three research results as follows. First, it re-established the role of art in the convergence talent education (STEAM). Second, we found a positive aspect of the possibility of developing a dance and science convergence program, which had few opportunities for convergence. Third, the composition and principle of the dance and science convergence program were created. In this way, the program should be structured so that art and science function as tools for each other, and it can be expected that creative talent can be nurtured through virtuous cycle learning in this process.We look forward to continuing interest and research for the development and spread of STEAM program development.