유아안전태도 검사도구 타당화

한명옥 한국열린유아교육학회 2019 열린유아교육연구 Vol.24 No.4

This study was conducted to develop criteria and assessment instruments for the safety attitude testing of children in child education sites. For this, it conducted a construct validity process using the 5 domains and 33 items of a child safety attitude testing model based on ‘the Standard of the 7 Main Domains of School Safety Education’ and developed a final scale. For this purpose, this study not only conducted final verifications of confirmed factor and item validity through confirmatory factor analysis and verified the construct validity levels through analysis and interpretation through correlations between general scores and factor scores. Validity verification of the child safety attitude scale developed in this study was conducted on 399 five year old children located in the Seoul, Gyeonggi, Gangwon, and Choongcheong areas. Research results show that construct validity verification processes, including factor analysis of test instruments and correlations with sub-factors along with item response distribution and item discrimination power, confirmed that the scale is a valid scale. Therefore, the child safety attitude scale of this study was found to be a scale that can properly assess the safety attitudes of children through validation verification. 본 연구는 유아교육현장에서 유아들의 안전태도 검사를 위한 준거와 평가도구를 개발하는 것이다. 이를 위하여, ‘학교 안전교육 7대영역 표준안’을 바탕으로 개발된 유아안전태도 검사모형의 총 5개 영역, 33문항으로 구인타당화 과정을 실시하여 최종 검사도구를 개발하였다. 이러한 목적으로 본 연구는 확인적 요인분석을 통한 확정된 요인과 문항의 타당성을 최종 확인할 뿐 아니라, 전체점수와 요인점수간의 상관에 의한 구인타당도 등의 분석과 해석을 통하여 구인의 타당성 정도를 검증하기 위해 수행하였다. 본 연구에서 개발된 유아안전태도 검사도구는 서울, 경기, 강원, 충청 지역에 소재한 만 5세 유아 399명을 대상으로 타당화 검증을 실시하였다. 연구결과, 검사도구의 요인분석 및 하위요인과의 상관관계, 문항반응분포 및 문항변별도 분석을 실시하여 구인타당도 검증 과정을 통해 타당화된 평가도구임이 확인되었다. 따라서 본 연구에서 타당화 검증을 거친 유아안전태도 검사도구는 유아들의 안전태도에 대한 평가를 실시할 수 있는 검사도구라고 판단되었다.

연기자의 신체훈련교육에 관한 연구

한명옥 韓國舞踊敎育學會 1998 韓國舞踊敎育學會誌 Vol.9 No.1

Actors, who are required to have a fundamental knowledge and study about their own body as a mean of expression, should display organized and unified body images through intense physical training. A variety of physical training methods as a training method in theater have been developed in the western and oriental. Especially, professional physical training methods among the act training methods which were well organized in 20th have focused on the development to improve the respiration, concentration, physical flexibility and rhythm. The most common part between dancer and actor is to express by using a body and their movements. Many training methods for improving the physical quality of the dancers had been developed because dance was based on the physical movements. These training methods could applied to training the actor for improving their physical expression and recognition. In this study, the necessity and purpose for dance education were studied for the development of physical training methods for actor. The definition and method of physical training for actor were collected and reviewed from the western and oriental theater. In addition, dance training process and dance theory for actors were provided to understand fthe necessity of dance training for actors. Finally, the result of investigations about present status of dance training in university theater programs was presented. In conclusion, further studies must be necessary in near future for developing systemized dance training methods for university theater programs.

어느 재중 탈북여성의 기구한 운명 - 중국의 탈북자 난민 지위 인정 없이는 재중 탈북 여성의 구원 요원해

한명옥 북한연구소 2007 北韓 Vol.- No.426

산재지역 고중조선어문수업에서 마인드맵 응용에 관한 탐구

한명옥(?明玉) 길림성민족사무위원회 2021 중국조선어문 Vol.236 No.-

조선어문수업은 학생들의 조선어문소양을 높여주는 중요한 방식이다. 조선어문수업을 통해 어떻게 학생들의 조선어문소양을 높여주고 독립적으로 사고하는 습관을 길러주며 학생들을 도와 고효률적인 학습방법을 장악하게 할 것인가 하는 것은 줄곧 조선어문교원들의 탐구과제였다. 현재 지식의 끊임없는 세분화와 심화에 따라 지식의 구축과 재구성에 더욱 많은 방향과 가능성이 생기게 되면서 시대의 흐름에 따라 출현한 마인드맵은 하나의 교육전략이자 학생들의 인식을 돕는 수업도구로 교육과정에 응용되여 수업분위기를 활기차게 하고 학생들의 학습열정을 불러일으키며 학습효과를 높이고 창조적 사유능력을 양성하는 데 큰 효과를 보고 있다. 본 론문에서는 고중조선어문학과에서 중점적으로 다루는 수필, 소설, 설명문 등 문체의 수업에서 마인드맵을 응용하여 지식구조의 전반을 파악하고 지식의 틀을 정리하여 수업효률을 높인 경험을 공유하고저 한다.

楊州別山臺놀이 춤사위 硏究 : 맞춤과 옴중춤을 中心으로

韓明玉 한국무용연구회 1982 한국무용연구 Vol.1 No.-

In this thesis, I tried to make approaches to the aesthetic aspects in dances headed for Kaekichum and Omjung Dance which have been believed to be the most fundamental form action in the performance of Yangju Byulsan Dae Dancing. Until now the study on Mask Dance has primarily been done on the basis of folklore or dramaturgy. On the other side, the motion study on form action was not enough to be ap-proached in spite of it’s major function in Mask Dance. In this connection, I’d like to exaggerate that an analysis of form action in Mask Dance would be helpful for the whole study of Mask Dance as well as Korean traditional dance. A practical analysis on the form action of Kaeki and Omjujg dance in Yangju Byulsan Dae dancing consist of subsidiary two jobs. Firstly, I tried to compile labanotation for Kaeki Dance and Omjung Dance seperately due to insufficient data to be a reference to the form action of Korean Mask Dance. Secondly, I investigated the origin, sources, social background of Mask Dance and the characteristics as a traditional drama, that is to say, a kind of basic and dramatic promise in the process of drama. Through jobs above mentioned, I made it clear what is the dramatic function and meaning of Mask dance, what the form action is originated from and what is the meaning of stage space constituted by the sequence of motion line. Furthermore I looked into the artistic value and the characteristics which as a Korean traditional dance “form action” originaley has. Synthesized oudine can be summarized as follows. 1. Yangju Byulsandae Dancing retains general features which Korean Mask Dance originally keeps. In other words, it has a characteristic style such as a omnibus one. It makes it possible for us to have a correct understanding on the reality because the scenic place of drama is not only in accordance with one to be performed but also spontaneous developments of series are well organized. It keeps the nice progress of dramatic promises due to the external limitation that the dance is mainly performed at the round stage (“Madang”) in the suburb. In these dramatic promises, I could find the function of dance as a Mask Dance. Through these promises, the function of dance, the character of the cast can be revealed and it is possible to play a role as a bridge between witty dialogue sequency and to soften the con-nection between one scene and another. Futhermore it is sometimes used as a way of entrance on the stage and exit while completing the end of drama as a directive production. In consequence, above function aggravate person’s unified excitement from the playing and acknowlegement on the presence as well as it forward us with critical views on the presence. 2. I looked into the special features of form action which can be found in the performance of Madchum and Omjung Dance. When Kaeki Dance is performed, they, in advance, say “Bullim” and go around, making a circle. This looks like that “Action” is cast to cross direction. They firstly harden the ground on the same spots. Whenever they go around, they change their mo¬tional styles. They make the shape of a circle toward body side of themselves with their form action and next rewind that shape by going forward, They repeat this form action. In other words, I found the shape of a fan with a mark of Taigeuk when two men perform Kaeki Dancc as well as I found the distinguished lots of curved lines rather than straight lines from Omjung Dance because the dance is performed with a revolving motion on the round stage. From the shape of a fan with a mark of Taigeuk extruded by Kaeki Dance on the space of stage, I could perceive the principal of natural phenomena that life and death comes to cross each other. It can be also regarded as a principal of life in the dance because the principal belongs to orientalism on the life. 3. Yangju Byulsandae Dancing provide us with a comic sense as other dancings do but this aesthetic value of a comedy is more intensified than any other dancing. In addition to above aethetic value, “Sa Bang chiki” among lots of form action includes a social function that the players and audience and participate and a festive function that all can be delightful all together. Especially in the “foot action of Yangju Byulsandae Dancing” I could find another aesthetic value of a strong and animated sense. This is different from the value of a weak and passive sence of traditional Dancing. I can say it comes from the reason that Yangju Byulsandae daning reflects stubborn, strongly adhesive and healthy life sense artistically. I can say that this dancing is not so refined and polished as other traditional dance, but other dance can’t catch up with this naturally customed and reinforced form action originated from public life. In consequence, the purpose of a analysis on the form action in Yangju Byulsandae Dancing is to clarify the artistic value which is showing rather outward atmosphere and which is vigorous but plain.

Hijikata의 부토댄스

韓明玉 韓國舞踊敎育學會 1992 韓國舞踊敎育學會誌 Vol.2 No.-

The purpose of study on the Butoh Dance, which was created by Hijikata through the period of culture revolution in Japan, lies in the feasible access to the comparison and investigation on the history of Korean Dance in the same era and it's process of transmission thereafter. In addition, pursuing the question of what aspects of Butoh made it win the public recognition in the world, and on the other hand, thinking what type of Korean Dance could be acknowledged as Butoh deserved. I am going to conduct my research on the Butoh. Butoh, which belong to Japan-originated dance as Noh and kabuki, emerged during the late 1950s and early 1960s in order to rebel against this cultural and social ethics. Though it has not been easily accepted in Japan, just as other avant-garde arts have not, it has played an important role in the reformation of dance by expanding and deeping the concept of dance. The aim of Butoh is to disclose the hidden aspects of japanese society and mentality through an attempt to resurrect the deserted and forgotten japanese forms and concepts of dance and beauty. After Hijikata came to Tokyo from Akita in 1948, he learned and studied as many dance as possible including ballet, modem dance, pantomime, flamenco and Japanese traditional dance. But he could not find the dance form and movement which was suitable to his body and mind. After a long trial and experimentation, he could finally reach and create those forms which were peculiar and suitable to the japanese body. In addition, through representing the desire of the ignored people such as the weakened and the dead, Hijikata tried to disclose and attack the deficiency and deception of the "prosperous" and "advanced" Japanese society. Summarizing the achievement made by Hijikata are as followings. 1. He set up the characteristic principles on the choreography and established the individual style of dance for the japanese. 2. He ultimately made Japanese dancers free of their physical disadvantage unsuitable for the western dance. 3. As a typical Japanese modern dance, he gave the Sankai Zuku birth in the world, which is composed of 2nd generation of Butoh. Through this study I confirmed again the remarkable achievements and the endeavors which Hijikata exerted to invent the dance maintaining the contemporary sense based on Japanese's traditional racional traits and characters. In order words, Butoh is an ethnology of japanese indigenous movement and emotion, and an archaeology of their buried one.

양주별산대놀이 노장춤 연구

한명옥 한국무용연구학회 1984 한국무용연구 Vol.3 No.-

유아교사의 안전태도 검사도구 개발 및 타당화

한명옥 한국홀리스틱융합교육학회 2022 홀리스틱융합교육연구 Vol.26 No.3

The purpose of this study is to examine the validity of confirmed factors and questions through exploratory and confirmatory factor analysis on the test tool for early childhood teachers’ safety attitudes and develop a standardized test tool to evaluate their overall capacity of safety attitudes and measure whether their safety habits and attitudes have been formed desirably based on that. To develop the tool, a preliminary plan was devised through literature review and expert surveys. The subjects of the study were 30 and 90 early childhood teachers for primary and secondary tests and secondary and tertiary expert surveys, and 322 early childhood teachers were for exploratory factor analysis. For the final confirmatory analysis, the goodness-of-fit and validity of the final questions were verified with 426 early childhood teachers located in Seoul, Gyeonggi, Incheon, Gangwon, and Chungcheong. According to the findings, it was confirmed to be a validated evaluation tool that had passed the test tool’s item response distribution and item discrimination analysis, factor analysis, and construct validity verification including correlation with subfactors. For the test tool developed for early childhood teachers’ safety attitudes, total 5 areas, disaster safety, life safety, traffic safety, child abuse, and first aid, and 22 questions were selected.

[중학생의 벗] 얼음과자로 폭죽 터치다

한명옥 길림성민족사무위원회 1987 중국조선어문 Vol.33 No.-

석기시대외1편

한명옥 중앙대학교 예술대학 문예창작학과 1985 창작문화 Vol.2 No.-