발전설비운용계획

최재오 대한전기협회 1986 대한전기협회지 Vol.- No.116

한-영 이중 언어 구사자들의 Code Switching 연구

최재오 이중언어학회 2006 이중언어학 Vol.31 No.-

Choi Jaeo. 2006. 06. 30. Korean-English Bilingual Code Switching: General Rule and Linguistic Constraints Revisited. Bilingual Research 31, 253-276. This paper deals with a large volume of Korean-English CS utterances collected for about 17 years from the subjects’ early childhood through their early twenties. There are three CS corpora which are divided in accordance with their developmental language activities. The data show that the patterns and occurrences of CS utterances differ from the childhood and adolescent bilinguality to that of adulthood. In order to meet the difference in the bilinguals’ developmental stages, we propose the constraint on bilinguality. This constraint and the specific- language-pair constraints are premises to revise the general rule, Switch- alpha(Choi, 1991). Switch-alpha is the general rule that governs CS forms as a whole. It is supposed to be defined not by the language particular rules, but the association of such factors as the integrity of the individual languages involved and linguistic constraints mentioned earlier. (Hanseo University)[Key words] Code Switching(언어전환), Bilingualism(이중언어 사용), Sociolinguistics (사회 언어학), Language Acquisition(언어 습득)

From West to Japan: Intercultural Endeavors in the Japanese Shingeki Movement

최재오 한국동서비교문학학회 2008 동서 비교문학저널 Vol.0 No.18

This paper explores an early modern Japanese theatre from an intercultural perspective. The modern Japanese theatre offered a cultural battlefield in which divergent ideas regarding modernization (or westernization), in tandem with tradition, contested one another. Focusing on the synthesis of the “foreign” and the “familiar” in works of Tsubouchi Shōyō and Osanai Kaoru, I argue how their works can be read as intercultural endeavors. As theoretical tools, I borrow Patrice Pavis’ theory of an “hourglass” showing the way that one culture can appropriate or creatively adopt elements from other culture in order to create viable theatrical works. And I use Kobayashi Hideo’s notion of “Japanese spirit” which does not mean anti-western bias, unlike the total dismissal of the western values of traditionalism. Based on the ideas of “hourglass” and “Japanese spirit,” I discuss the philosophy and activities of two major theatre groups, Tsubouchi’s the Literary Society (Bungei Kyōkai) and Osanai’s Free Theatre (Jiyūgekijō) and Tsukiji Little Theatre, which are responsible for the development of modern Japanese theatre (shingeki), In investigating works of Tsubouchi and Osanai, I scrutinize their efforts towards a modern Japanese theatre movement (shingeki movement). The two modern innovators of Japanese theatre struggle with the “familiar” Japanese theatrical traditions and the “foreign” western theatrical elements and ideas in the course of modernization (or westernization), which is intercultural endeavors for making a modern Japanese dramaturgy and theatre in the early 20th century.

Aesthetics of Masked Acting in Japanese Noh and Greek Tragedy

최재오 한국동서비교문학학회 2006 동서 비교문학저널 Vol.0 No.14

영어의 뉴스기사 독해

최재오 The English Linguistic Science Association of Kore 2001 English Linguistic Science Vol.6 No.-

This paper deals with reading news headlines and articles in English Two time tests on these held three months apart show that unfamiliar items or items that are not available in Kerean and complex structures cause difficulty in correct recognition. In the case of headlines, the structures of definite or indefinite articles as well as be verbs in active and passive voices are troublesome points to tackle. In news ·article sentence structures, pre/post-modifiers, omitted subordinate conjunctions, and complex mixed sentences render problems. Words that have a multiple meaning and that have a sociocultural background in the language community concerned also contribute to misunderstanding. The paper explores the problems and makes some suggestions after analyzing them in the hope that the current study lays a little cornerstone improving readings on news articles for those who are novices at news article reading.

Teaching English Pronunciation and Listening Skills

최재오 한국영어어문교육학회 2007 영어어문교육 Vol.13 No.2

The purpose of this research is to explore the effects of systematic teaching English pronunciation and listening in English. Focusing on phonemes and words in pairs and sentences, the sound systems of the English and Korean languages are dealt with in conjunction with the test data. This paper first discusses the systemic, or primary interference and the habitual, or secondary interference that hinder comprehension of certain English sounds. Second, the analysis of input and output test data on the contrasting vowels and consonants shows statistic significance in terms of the probability (p value) of t-test. Third, the comparative data by means of percentile of right answers on contrasting vowel and consonant sounds expound the different sound systems of the English and Korean languages. With this data, problems in pronunciation of and listening to English, and the factors that may cause these problems are analyzed so that they can be used as a guideline for a systematic approach in teaching English learners, thus leading to more satisfactory performance.

Ambiguous Stage: Beckett’s Scenography

최재오 한국현대영미드라마학회 2006 현대영미드라마 Vol.19 No.1

Choi, Jae-OhIn spite of surrealist influence on Samuel Beckett's works, little has been done to explore his plays from a fully surrealist perspective. This paper examines, following the sense of ambiguous space in surrealist paintings, how Beckett's plays operate along surrealist lines. To investigate Beckett's use of theatrical space, I compare Yves Tanguy's and Salvador Dali's paintings with Beckett's several plays, focusing on the subjects such as Beckett's use of indeterminate space, contradictory time frames, and the conflation of animate and inanimate states. In my surrealist reading of Beckett's plays, therefore, I concentrate on the areas where his theatrical space produces the same ambiguities and tensions that are at the foundation of surrealist art as articulated by Tanguy and Dali.These ambiguities and tensions recoup the viewing eye/I as a physical organism in a perceptual relationship with the work of art. Yet, this condensing of the viewer's self awareness of self presence is not the final stage of the relationship. Just as one achieves this state of perception, the representational violence of both Beckett's plays and surrealist painting disperses it. Beckett's plays, therefore, are a screen that provokes the welling up of associations in the mind of the viewer, creating a progression of events over time through kinetic images. This is obvious in his characterization and scenography.

A Comparative Study on Diderot's and Zeami's Acting Theory from a Deconstructionist Perspective

최재오 한국비교문학회 2006 比較文學 Vol.0 No.40

A Comparative Study on Diderot's and Zeami's Acting Theory from a Deconstructionist Perspective This paper examines the paradoxes and contradictions underlying Denis Diderot's following discourse on acting: no inherent sensibility is sufficient to result in a great actor who can create emotionally sublime moments. As a defender of sensibility in creating art, Diderot's discourse on acting is seemingly paradoxical, reflecting his mechanist thought in the Enlightenment. His fundamental aesthetics aim to capture an ideal in its purest form that eliminates all that is inconclusive or ambiguous. In Diderot's discourse on acting, actor's reason and emotion are binary oppositions in which one has to be devalued in order to justify the dominance of the other. Following Jacques Derrida's deconstructionist perspective, I reread Diderot's paradoxes and contradictions not through "either A or B" but through "neither A nor B" or "A and B" of the binary oppositions. Zeami Motokiyo's nô acting theory influenced by the basic premise of Zen Buddhism accordingly reflects, in my opinion, the way of the deconstructionist reading that understand the binary oppositions not as incompatible contradictions but as complementary elements. Investigating the discourses of the two great acting theorists from the perspectives of Derrida's deconstruction and Zen Buddihism, I assert that Diderot's emphasis on mechanical value on his acting theory suggests an expressive harmony of reason and emotion or thought and language, even though his text fails to grasp a vital mode of perception. Zeami's theory, on the other hand, can illuminate the gap and disruption between words and meanings as how Zen Buddihism perceives the relationship between language and thought.

특집원고 : 제작실습 지도방법론 연구-젊은연극제 참가작을 중심으로 ; 고전의 무대화에 있어서 제작실습 지도 방법론 연구 -길잡이로서의 지도교수의 역할-

최재오 한국연극교육학회 2005 연극교육연구 Vol.11 No.-

동화기반 뮤지컬 ≪마틸다(Matilda)≫와 ≪난쟁이들≫의 젠더 정체성 연구

최재오,송아람 한국연극교육학회 2022 연극교육연구 Vol.41 No.-

최근 ‘성별 갈라치기’라는 용어가 많이 회자되고 있다. 성 혹은 젠더 역할을 구별하고 극단적 프레임을 만들어내는 ‘이대녀’와 ‘이대남’이라는 단어를 통해 알 수 있듯이, 남녀 갈등은 우리 사회에서 그 어느 때보다 많은 논란을 야기 시키며 사회적 문제가 되고 있다. 과학, 기술, 그리고 사상이 역동적으로 진화하고 있는 시대에서 젠더에 대한 인식은 달라지지 못하고, 오히려 여성혐오와 남성혐오라는 또 다른 문제를 발생시키고 있는 것이다. 왜 젠더에 대한 인식은 시대의 흐름을 따르지 못하고 굳건하게 그 자리를 지키고 있는 것인지에 대한 의문을 가지고 공연예술분야에서의 젠더 정체성 표현 양상을 탐구해보고자 하는 것이 본 연구의 출발점이다. 페미니즘(feminism)이 대두되고 이에 따른 여성 해방운동이 진행되는 현상이 전 지구적으로 나타나지만, 우리 사회는 남녀갈등이 심화되어 여성혐오와 남성혐오라는 문제를 발생시키며 기존 사회 구조의 틀에서 벗어나지 못하고 있다. 여성스러움과 남성스러움이라는 용어로 규정짓는 성과 성 역할에 대한 고정관념은 고용과 임금 격차와 같은 경제적인 문제에서 뿐만 아니라 정치와 사회 분야에서도 여전히 존재한다. 이러한 상황 속에서 성과 성 역할의 개선과 진보의 움직임이 문화예술계에서 시도되고 있다. 영화, 드라마, 예능 등 대중매체 분야와 연극, 무용, 뮤지컬을 포괄하는 공연예술분야에서 그 움직임들을 찾아볼 수 있다. 뮤지컬계에서는 이미 여성과 남성의 역할을 구분하지 않는 젠더프리 캐스팅(Gender-free casting) 젠더프리(gender-free)는 특정 배역에 성별을 정해두지 않아 배역을 맡는 배우의 성별이 젠더로부터 자유롭다는 용어이고, 젠더크로스(gender-cross)는 남성 배역을 여성 배우가 하거나 그 반대의 경우처럼 배우의 성별이 교차된다는 용어이다. 젠더프리(gender-free)와 젠더크로스(gender-cross)에 대한 정의는 정의하는 사람에 따라서 같은 개념으로 설명하기도 하고, 다른 개념으로 주장하기도 한다. 따라서 본 연구에서 연구자는 젠더프리와 젠더크로스를 구별하지 않고 총칭하여 젠더프리라고 부른다. 을 시도하면서 성 역할의 다양화가 이루어지고 있다. 2015년 뮤지컬 <지저스 크라이스트 수퍼스타>에서 최초의 여성 헤롯왕을 탄생시킨 젠더프리 캐스팅으로 성에 대한 인식과 개념이 변화하고 있다는 것을 확인할 수 있듯이, 연구자는 뮤지컬 공연을 통해 사회에서 여전히 해결되지 않은 가부장이라는 개념과 젠더의 규범을 냉철하게 바라보고 분석하려고 한다. 여러 형태의 뮤지컬 중 특별히 동화를 토대로 재해석 된 뮤지컬 작품에 초점을 맞추어 다루어 보고자 한다. 동화는 어떠한 장르보다 성에 대한 전형적인 이분법적 시각을 지니고 있고, 사람들의 무의식적 소망이 내포된 환상성을 통해 한 사회의 사상을 성찰하는 ‘특유의 문법’을 지니고 있기 때문에 많은 수의 동화들이 뮤지컬이라는 장르를 통하여 공연이 되었다. 본 연구는 뮤지컬은 “특유의 문법으로 현실에 대한 비판적 사유를 담아 온” 현수정, <미국 현대 뮤지컬의 ‘전복적 환상성’과 비판적 현실인식 연구– 존 칸더·프레드 엡과 스티븐 손드하임을 중심으로>, 중앙대학교 박사학위논문. 2016, 4쪽. 공연예술이라는 현수정의 설명처럼, 주디스 버틀러(Judith Butler)의 젠더 정체성 이론을 통해 동화의 변화를 논하고, 로알드 달(Roald Dahl)의 원작 창작동화 『마 ...