남희음악형식의 형성에 있어 창잠과 제궁조의 (諸宮調) 영향

오수경(Soo Kyung Oh) 영남중국어문학회 1988 중국어문학 Vol.14 No.1

南戱的産生約在北宋宣和年間, 南渡後開始盛行, 面唱잠和諸宮調在北宋已經是흔流行的伎藝了.人爲唱잠和諸宮調是兩種特別注重音樂的曲藝形式, 所以以北宋以來普遍流行的「詞」和宮中宴會等場合中所用大規模的「大曲」等爲其音樂基礎的宋雜劇, 自南渡後在瀧州等東南沿海地區發展成南戱時, 便從這些形式中吸取營養, 形成了南戱大規模而多變化的音樂形式. 唱잠在形成以引子, 過曲, 尾聲爲基本形成的南戱套數方面, 作出了一定的貢獻, 諸宮調則在組合許多大小套數形成大規模音樂形式方面, 提供了基礎. 本文主要用比較分析的方法, 考究了南戱如何接受這些形式, 形成其音樂形式的過程. 從此考察中還可以發現不論南北戱曲都受到唱잠和諸宮調的影響. 但南戱和這些形式的接觸較早, 且後來一直有交流, 因此旣接受了早期簡單的形式, 又接受後來發展的形式, 形成了參差不齊的南戱音樂形式. 而北曲雜劇則採用後期諸宮調中較發展的套式, 形成了由四個較整齊的套數組成的音樂形式. 因此南北戱曲不但所用樂曲不同, 而且其音樂形式也有所不同了.

방한일본관광객의 관광행동특성분석

오수경 ( Soo Kyung Oh ) 한국사진지리학회 2008 한국사진지리학회지 Vol.18 No.3

일반논문 : 한일 소놀이형 모의 농경 의례의 전승 사례 비교

오수경 ( Soo Kyung Oh ) 한국공연문화학회 (구,한국고전희곡학회) 2012 공연문화연구 Vol.0 No.24

인간은 신석기부터 농경을 해왔고, 특히 남방 벼농사 지역에서는 일찍부터 소를 사용해 왔으므로, 농경 지역에서는 소 숭배나 소 의례 또는 소놀이 등이 존재한다. 본문에서는 2008년 5월 인천 동구 화도진 공원의 정기 발표회에서 조사를 진행한 중요무형문화재 제90호 ``평산소놀음굿``과 2008년 3월에 조사를 진행한 일본 국가중요무형민속문화재(國重要無形民俗文化財)인 ``후지모리다아소비등수전유(藤守田游)``를 대상으로 소놀이 형식의 모의 농경 의례에 대한 비교를 진행하였다. 평산소놀음굿이 장보배, 이선비로 이어지는 무녀들을 중심으로 한 굿패에 의해 전승되는 경사굿이면서, 제석거리 뒤에 평산 지역 놀이꾼의 풍농 기원 소놀음을 포함하고 있다면, 후지모리다아소비는 오오이하찌만구 신사에서 신관과 그 신사의 신도 자제인 우지 꼬들에 의해 기년제로 행해지는 풍농 기원 제의와 연희이다. 강신무들에 의한 규모 있는에 본래 마을 놀이꾼과 마을 사람들에 의해 연희되던 소놀이가 합해진 평산소놀음굿은 매우 해학적이고 연극적인데 비해, 신사에서 우지꼬에 의해 연행되는 후지모리다아소비는 모내기 민속인 타우에후류에 기초한 모의 농경의 내용이 풍부하면서도 매우 정식적이며 화려하다. 전승에 있어서는 현재 모두 보존회에 의해 전승되지만, 후지모리다아소비가 지역 기반, 종교 기반, 전승자 집단 기반에 있어 안정적이다. 본래 황해도의 굿을 인천으로 이식한 것이어서 지역 기반이 취약한 평산소놀음굿의 경우 시간적으로도 의미 상실의 염려가 있다. 이산의 경험을 토대로 한 느슨한 공동체로부터 새로운 관중 기반 확장이 필요해 보인다. From the neolithic era, human beings began their agriculture and in Asia used cow for farming very early. Especially in rice-cultivating area, we have many kind of cow worships, cow cults, cow beliefs and cow plays, For this paper, I carried two field researches: one is Pyungsan Shaman Rites of Cow Play(평산소놀음굿), the 90th Important Intangible Cultural Heritage of Korea, carried in May, 2008 at the Huadojin Park, Incheon, Korea, the other is Hujimori Daasobi(藤守田游), the National Important Intangible Folk Cultural Heritage of Japan, carried in March 2008 at the Hujimori village, Shizuoka, Japan. I did the comparative study between these two agricultural rites with performance. Pyungsan Shaman Rites of Cow Play is a kind of celebrational rites by shamans transmitted by Jang Bobae from 1985, and now by Yi Sunbi. Just after the Jaesuk(帝釋, Sakra devanam Indra) chapter, a coachman leading a cow which have Chilsung(七星, The Big Dipper) on it`s back enter with several gods, nymphs and villagers and play the mock cow cultivating ritual. Hujimori Daasobi is also a praying ritual for good harvest, held annually in OOihachimangu, Japanese shrine by the priest and the ``ujiko``, young generation of the devotee of the shrine. Celebrating Shaman Rites performed by shamans combined with the Cow Play by villagers, Pyungsan Shaman Rites of Cow Play is very dramatic and comic. Compared with it, Hujimori Daasobi held in shrine, include almost the full version of Tauehuryu, is very stylized, flowery and magnificent, Both of them was succeeded by the society for preservation of the heritage, Hujimori Daasobi has better condition in its regional and religious base and even heir group. Because Pyungsan Shaman Rites of Cow Play was imigrated from Pyungsan, northern Korea to Incheon, southern Korea, both its regional identity and its time specific meaning is debilitated, so it is needed to grow the audience from its original group with diaspora experience to a new group in Incheon city.

近代以來中國戱曲在韓國的演出及影響

오수경 ( Oh Soo Kyung ),신재광 ( Shin Jaegwang ) 한국중국학회 2017 중국학보 Vol.81 No.-

本文在20世紀以來將近一個多世紀西化爲大方向的韓國歷史中,從文化藝術,尤其戱曲藝術部分入手探討韓中戱曲藝術的接觸、影響和交融問題。在此分四個時期進行討論;第一,20世紀初淸人演出,第二,韓國戰爭時期中國志愿軍慰問團演出,第三,南北分斷后韓中建交以前在南韓的中國戱曲演出,第四,韓中建交以后至今的中國戱曲演出。在這四個時期有過較集中的接觸,一定産生有意義的交流。第一時期,對韓國傳統演唱藝術從板蘇利轉變到唱劇有所刺激。第二時期,中國著名演員組織慰問團訪問戰爭中的北韓進行演出,除了中國支援軍以外,北韓的老百姓也有机會接觸大藝術家,一定有所感受。第三時期,韓國正尋?民族文化認同的時期,中華民國國劇團來南韓進行友好演出,韓國觀衆有机會接觸到作爲“國劇”的京劇。第四時期,由中國大陸演出團來韓演出,劇種更豊富,還接觸的更深入。第三、四時期,韓國戱劇界才開始關注中國戱曲的美學和表演體系。 約一個多世紀,中國戱曲在韓國舞台上亮相,主要兩方面引起了韓國戱劇界的關心。一方面注意到中國戱劇劇目的豊富,一方面注意到中國戱曲的舞台美學。當然在韓國舞台上,沒有唱功武功的基礎,无法照樣演出中國戱曲,只能採用話劇方式演出中國劇目。以長期接觸爲基礎,2015年終于出現一台再創作中國古典戱劇的戱:≪趙氏孤兒―復仇的種子≫,得到空前的成功。雖不是戱曲或者唱劇,但是?好地繼承了元雜劇≪趙氏孤兒≫而更加深內涵的現代東方戱劇。從這一部戱卓越的成就,中國古典戱劇在韓國重新得到關注。 Korea and China has a long history of exchanging culture. From ancient times, There were intimate communications of music, dance and plays till now. But after the Chinese drama become mature, because the differences of language and music between two countries become too big to interchange and be enjoyed, so the real meaningful exchange of drama between two countries rebegan after 20^th century. At the beginning of 20^th century, the Pan-sori(Korean storytelling performance genre of monodrama) singers tried to create a new theatrical performing form from Pansori. But scholars only estimated the influence of Japanese modern theatre which learn much from western civiization and neglected the influences of Chinese drama. Because the singers;Kim Changhuan, Kang Yonghuan, Yi Dongbaik, often visit Chinese theatre and watch the Peiking opera: the three kingdoms which is also one of the five representative repertoires of PanSori. They must be deeply impressed by the way how the Chinese actors in roles perform and began performing in roles. During the Korean war, Chinese actors organized the performing troup to entertain the soldiers three times. At the third time, many famous actors such as Mei Lanfang, Zhou Xinfang came and they not only perform for Chinese soldiers but also for North Korean soldiers and peoples. It was a rare chance for North Korean to meet the great actors and to learn what the actor means in Chinese theatre. After the war, Korea and the Republic of China has good relationship and often exchange the cultural performances. Though R.O.C. had retreated to Taiwan, they tried to succeed the Chinese culture for their identity. They called Peiking Opera as “National Opera”. It became a good model for Korean to establish the Korean national culture. After Korea and P.R.C. established the relationship in 1992, we had chances to watch more diverse performances of Chinese Theatre including many kinds of local theatres. We got some knowledge of diverse culture of China and also got to know more about the aesthetics of Chinese theatre. After more than 20 years experience, in 2015 The National Theatre of Korea staged the Chinese classic The orphan of Zhao Family, and got a great success. It means we can interpret and perform Chinese classic very meaningfully and creatively on our stage not only for contemporary Korean audience but world audience including Chinese people.

福建壽寧縣下房村元宵會及傀儡戱《내娘傳》演出考

오수경 ( Soo Kyung Oh ) 한국중국학회 2013 國際中國學硏究 Vol.16 No.-

From the middle of ;0th century, chinese traditional culture faced a big disaster along with the ideology of socialism. They not only destroyed the material entity of the traditional folk culture, but also totally prohibited the local knowledge of all other different value with socialism, such as folk belief, custom and ritual, art and performances. Recently in ;`` century, China became very interested in the project of World Oral and Intangible Cultural Heritage of UNESCO and already established a list of Chinese Cultural Heritage. It almost seems for the local people to get a good chance to succeed the tradition and establish the local culture. The Yuanxiao Festival of Xiafang Village is a seasonal festival under the circumstance of agricultural village and lineage tradition of the last name Chen in clan society. This festival is a part of their everyday life culture, a folk culture based on their folk belief of Chen Jinggu. The festival is composed of the ritual carried by a monk of Lushan-jiao (閭山敎),a branch of Taoism and the puppet performance Nai``niang-zhuan performed by puppeteers. Nai``niang means ‘milk mom’ literally, but it indicates Chen Jinggu, a goddess of protecting everyday life, especially guarding children from their birth to their growing and everything. So the belief of Chen Jinggu is very popular in Fujian, because bearing and bringing up the children is the most important thing in the clan society. They succeeded the knowledge and the way of thinking folded in the folk belief through the very mistic but very practical ritual and the very interesting art form of puppet show. This paper is a result of the field research carried from January to ,;0`` by moon calendar in the Xiafang village, Shouning Prefecture, Fujian Province. I intended to investigate how they are unfolding their local knowledge in a peculiar religious and artistic way through the festival and the performance and to discuss the function and the value of this local intangible cultural heritage.

소득보장제도의 장애인 직업재활프로그램 운영 방안

오수경(Oh Soo Kyung) 한국직업재활학회 2004 職業再活硏究 Vol.14 No.2

본 연구는 장애인 복지 수급자들의 근로활동 참여를 효과적으로 지원하는 장애인 직업재활 프로그램 운영방안을 모색하고자, 미국 사회보장 장애연금제도(SSDI) 및 보충적 소득보장제도(SSI)의 장애인 직업재활 프로그램과 한국 국민기초생활 보장제도의 자활사업을 비교 분석하였다. 그 결과 한국의 소득보장제도에 효과적인 장애인 직업재활 프로그램을 도입, 운영할 수 있도록 다음과 같은 시사점을 도출하였다. 첫째, 근로능력이 있는 장애인들을 정확하게 분류하여 적절한 서비스로 연계시킬 수 있는 근로능력 평가시스템이 운영되어야 한다. 둘째, 직업재활 대상자로 분류된 장애인 수급자들에게는 초기부터 자활사업 및 장애인 직업재활사업으로 신속하게 연결시켜 근로능력이나 근로의욕이 상실되지 않도록 해야 한다. 셋째, 장애인의 근로 특성에 맞는 서비스를 제공할 수 있도록 근로능력 심사기관을 중심으로 효과적인 서비스 전달체계가 구축되어야 한다. 넷째, 자활사업의 질적 향상을 위해 자활사업의 업종의 표준화와 재활상담, 재활공학 서비스, 사후서비스를 포함시키는 한편, 담당 인력의 양적 확대와 전문성의 확보가 이루어져야 한다. 다섯 째, 장애인 직업재활 전문기관들과 장애인을 훈련시키거나 고용하키 원하는 사업체들을 대상으로 장애인 고용 네트워크를 구축하여 병행시켜야 한다. 여섯째, 장애인 수급자들의 근로 참여를 지원하기 위해 도입된 지원 방안을 장애인들이 정확히 이해하고 적극 활용할 수 있도록 지역사회를 기반으로 한 종합적인 장애인지원센터가 운영되어야 한다. The purpose of this study is to compare and analyze vocational rehabilitation programs of the Social Security Disability Insurance and the Supplemental Security Income in USA and self-support programs of the National Basic Livelihood Protection System in Korea, and to introduce vocational rehabilitation program management plans which support the work participation of beneficiaries with disabilities effectively. The result of this study can be summarized as follow: First, the workability evaluation system should be operated so that persons with disabilities who have working abilities can be classified precisely and be linked to appropriate services. Second, beneficiaries with disabilities who are classified into the vocational rehabilitation target should be quickly connected to self-support and vocational rehabilitation programs so that they may not lose working abilities and motivation. Third, the effective delivery service system should be constructed through workability evaluation agencies as a central function in order to provide persons with disabilities with services tailored to their working abilities. Fourth. while in self-support programs types of work should be standardized and rehabilitation counseling, rehabilitation technology services should be included for improving qualities of the programs, personnels in charge of them and their professionalism should be secured and increased. Fifth. the employment network should be built for vocational rehabilitation agencies and companies which want to train and hire beneficiaries with disabilities. Sixth. comprehensive support centers for beneficiaries with disabilities based on community should be operated in order to help them accurately understand and actively use various strategies introduced for their work participation.

동시대 한국 무대의 중국연극

오수경 ( Oh Soo-kyung ) 한양대학교 동아시아문화연구소(구 한양대학교 한국학연구소) 2016 동아시아 문화연구 Vol.67 No.-

해방 이후 <뇌우>를 통한 리얼리즘 연극의 수용은 우리 연극사에서 공인되는 부분이다. 그러한 중국 리얼리즘 연극의 저력은 베세토연극제 참가작인 <천하제일루> 등을 통해 다시 확인되었다. 약 반세기에 걸친 단절의 기간 동안 중국은 리얼리즘 연극을 탄탄하게 다져 왔음을 말해준다. 그러나 실험극은 만날 기회가 많지 않았고 그 영향도 그리 크지 않았다. 우리가 만난 대표적인 중국 연극으로 가오싱젠과 티엔친신의 작품을 들 수 있다. 일찍이 80년대 초에 서구 현대극의 자유정신을 수용하고 실험극을 시도했던 가오싱젠은 예술의 자유를 위해 고독한 망명을 선택했다. 이는 반세기의 단절 이후 다시 만난 중국이 여전히 닫힌 사회로 예술을 통제하고 있기 때문이다. 그러나 그의 초기 작품들은 여전히 중국의 맥락에서 읽어야 하는 작품들이며 후기작들에서도 중국에 대한 문화적 기억들이 직조되어 있다. 그 후 뉴밀레니움을 전후하여 등장한 티엔친신은 중국 현대극에 새로운 표현 형식을 부여하며 주목받았다. 티엔친신은 자신의 예술적 열정을 표현 형식의 실험을 통해 발산하며 국립극단 상임연출가로서 중국연극계에 새로운 활기를 불어 넣었다. 중국의 상황이 아직도 많은 금기에 둘러 싸여 있기 때문에 진정한 실험을 기대하기는 쉽지 않지만, 새로 부상하는 젊은 세대들의 창작열과 실험정신에 주목해야 할 때다. 수교 후 20년을 넘기는 중국 연극 교류를 진행하면서 실망감으로 다소 지쳐 있던 2015년 우리 눈을 번쩍 뜨이게 한 것이 고선웅의 <조씨고아-복수의 씨앗>(국립극단)이다. 중국 연극도 우리와 마찬가지로 서구 연극을 학습해 왔고, 우리보다도 진도가 늦다. 따라서 중국 현대극에서 서구적 연극에서와 같은 새로운 이즘이나 창의 등 강렬한 무엇인가를 기대하는 것은 무리다. 그러나 중국은 오랜 전통극의 역사와 너무나 다양한 희곡 텍스트를 가지고 있고, 그것을 무대화하는 다양하고도 정교한 표현 양식을 수립하였다. 그런데 그 미적 감수성은 우리와 매우 큰 차이를 가지므로, 오히려 우리의 해석과 미감으로 재창작할 여지가 크다. 따라서 이번 <조씨고아-복수의 씨앗>는 중국의 고전 희곡 텍스트를 기초로 한 재창작의 가능성을 발견하게 해 주었다는 점에서 의미가 있다. Just after the liberation from Japan Colony in the year 1945, early plays of Cao Yu such as “Thunderstorm”, “Champaign”, “Sunrise”, were performed in Seoul. Especially “Thunderstorm” performed by the National Theatre of Korea in 1950 had made a great sensation and we all know Korean theatre had received a big influence of the realism at that moment. The power of realism theatre of modern China was confirmed again by the“The First House under Heaven” performed by the Beijing People`s Art Theatre at the First BeSeTo Theatre Festival on 1994. It means that through the half century Chinese theatre made a good succession and progress in realism theatre. But we had little chance to meet experimental theatre of China. There were only Gao Xingjian and Tian Qinxin whom we could have met in Korean stage. In early 80`s, Gao Xingjian received the influence of many streams of western modern theatre and cultivated his free spirit of art. He had written and directed several experimental playes such as “Bus Stop”, “The Other Shore”, but at last he had to chose exile to France not to loose his freedom to write. There were several performances of his plays “Emergency Signal” and “Bus Stop” on Seoul stage, but especially “Hades” and “Between Life and Death” of “The Gao Xingjian Festival in Seoul, 2011” had shown us the theatre aesthetics of Gao Xingjian who understand both culture of East and West well through our own interpretation and sensitivity. He is really an artist of free spirit, through him Chinese Modern theatre stepped up to experimental theatre with wide spectrum from modern to postmodern. Tian Qinxin is a young playwright and director of National Theatre of China, who are good at physical theatre and made her first workshop performance on Seoul stage of “The Ground of Life and Death” korean version at the Asian Director`s workshop in 2005. She kept a good relationship with Theatre troup Michoo along with “The Orphan of Zhao” as the performance of 20th anniversary of Michoo troup in 2006. she also presented her “Peach Blossom Fan”(traditional Kunqu opera) by Jiangsu-Kunjuyuan,“Red Rose, White Rose” by NTC, “Romio and Juliet” by NTCK to Korean audience. She tried to motivate her passion through different experimental way of expression. There were several young directors who participated BeSeTo Theatre Festivals or Asian Directors Festivals, though we may not be able to expect much something experimental because China still has many prohibition in thought and expression. But they try to express their own passion of creation and spirit of experiment as a young generation of China. More than 20years after the establishment of relationship between Korea and China have passed, but we couldn`t remember any really great production in regard to Chinese theatre, which touched our heart and left us deep impression. Finally in 2015, we met “The Orphan of Zhao” directed by Ko Sunwoong, produced by NTCK. The original text was written in 14th century of Yuan dynasty. But text is so full of theatricality for Ko Sunwoong, the adapter and director to feel great interest on it. Chinese traditional theatre not only established a very refined stylized acting system, but also promoted very skillful dramaturgy. Especially because director Ko has a belief that theatre is `play`, so it should be interesting, -actually this is a very distinctive characteristics motivated from Korean traditional theatre, he turned this heavy tragedy on Chinese stage into a very comic but very moving tragedy on Korean stage. This is a good trial case to show us the possibility of our own recreation based on the Chinese plays which have rich theatricality, also are so abundant in quantity. Now we can expect more from Chinese theatre not only from their excellent acting skill, but also from their old plays and the dramaturgy.

천진(天津) 황회(皇會)의 특성과 도시 축제로의 재발견

오수경 ( Soo Kyung Oh ) 한양대학교 동아시아문화연구소 (구 한양대학교 한국학연구소) 2010 동아시아 문화연구 Vol.48 No.-

축제란 공동체적 제의를 기본 출발점으로 하여, 공동체 전체의 정서적, 사회적 통합을 이끌어내는 활동이다. 중국의 경우, 다양한 민간 신앙에 기초한 제의적 축제로의 묘회들이 전국적으로 행해지고 있다. 그 중 천진에서 행해지는 천후성회 즉 마조묘회는 천진이라는 지역의 조운과 해운의 발달 및 황제의 지지 등에 힘입어 ‘황회’라는 이름을 얻게 되고, 갈수록 성대한 새회의 면모를 갖추게 된다. 황회는 천후궁에서의 제사와 천후의 친정 나들이, 그리고 산복순유하는 과정으로 구성되는데, 제의는 이미 제관에 의해 유가적인 형식으로 진행되나 기타 봉헌은 전적으로 경건한 민간 신앙에 기초하고 있다. 황회는 그 전체 기획과 의례 진행은 물론 많은 단체들의 참여가 원활하게 이루어지도록 자발적으로 기여하는 많은 조직들에 의해 움직인다. 황회에서 상인 계층과 도시민들의 마조신앙에 기초한 자발적 참여는 황회가 튼실하게 자리 잡는 기초가 되고 있다. 또한 이들 상인 계층과 도시민, 그리고 특히 기층 노동자들의 참여가 단순히 개인의 발원이나 감사에 그치지 않고, 조직적으로 서비스 정신을 발휘하고 그에 대한 자긍심을 고취하는 데까지 발전하고 있다는 점에서, 이상적인 도시 축제의 한 모델로 여겨진다. 1936년 이후 중단되었다가 1988년 중국 연해 지역의 경제적 발달과 함께 마조 신앙을 매개로 한 대만과의 연계 등을 통해 다시 복원되었다. 20세기 초에 보여주었던 휘황한 축제의 모습은 실로 그 내부 기제의 원활한 작동에 의해 가능했던 만큼, 21세기 황회에서도 본래의 자발적 참여가 다시 살아날 수 있을 지, 단절된 전통 예능들을 얼마나 더 계승할 수 있을 지가 황회 복원의 관건이 될 것이다. Festival is a community activity which can drive an integration of the whole community in its emotional and social meaning. In China, there are so many festivals based on the folk beliefs and their cults, called ``Miaohui``. There are two kinds of Miaohui`` festivals related with the folk beliefs. One is the form of ``Xinghui`` in which the believers and followers go and worship to the temple, the other is the form of ``Saihui`` in which the god or goddess come out to bring luck to his(her) believers. Both of them have various performances and exhibitions accompanied. The Mazu cult of Tianjin begins in Yuan dynasty, and the festival was held both i Ming and Qing dynasty. It grows bigger and bigger along with the development of the marine transportation and the commercial business of Tianjin port. Even the Emperor Qianrong watched and appreciated the festival, so it got the name of Huanghui. The festival was made up of the rituals in the temple Tianhougong, the trip to MinGuang-huiguan as a subsitution of Mazu`s hometown(actually now it is substituted by qianfu temple) and the street parade to bring luck to the people. The beginning ritual is now performed in Confucian style, but all the other steps are totally based on the sincere folk beliefs. The Huanghui works very well by many voluntary organizations and groups. All the big and small merchants donate money or exibitions. And even the sailors and the porters of the very lowest class participated very voluntarily. They do what they can do to keep good order of the parade and to make the performers to be able to present the best of their ability and skill. All the dedications such as handmade crafts and performances are devoted to Tianhou, the goddess, but also to the people, the spectators and themselves. They are not only express their thanks to god, but also show their prides as good believers and citizens. So that`s why I do the research on the Huanghui as a good model of city festival. It was stopped after 1936, and recovered along with the economic growth and the relationship with the believers of Taiwan Mazu Cult in 1988. From now on, we may observe how it succeed the tradition and recover the good system as a city festival in the very different environment of 21 st century.

부하의 감정지능에 관한 연구

오수경(Oh, Soo-Kyung),하동현(Ha, Dong-Hyun) 한국관광레저학회 2014 관광레저연구 Vol.26 No.6

시각장애인의 일상생활 속 차별경험이 사회활동 참여에 미치는 영향

오수경 ( Oh Soo-kyung ) 극동대학교 사회복지연구소 2021 글로벌사회복지연구 Vol.11 No.1

본 연구는 시각장애인의 일상생활 속 차별경험이 사회활동 참여에 어떠한 영향을 미치는지를 분석하여 시각장애인의 적극적인 사회활동 참여를 돕기 위한 대안을 마련하는데 목적을 두고, 2019년 장애인고용패널(2차웨이브 4차조사자료) 원자료를 활용하여 시각장애인 509명을 분석하였다. 연구 결과, 첫째 통제변인인 연령, 교육정도, 취업여부, 장애중증정도가 시각장애인의 사회활동 참여에 유의한 영향을 미치는 것으로 나타났다. 둘째, 시각장애인이 일상생활 속에서 차별을 많이 경험할수록 사회활동 참여에 부정적인 영향을 미치는 것으로 검증되었다. 본 결과에 기초하여, 시각장애인의 사회 참여를 방해하는 일상생활에서의 차별적 환경 개선방안과 시각장애인의 사회참여를 지원하는 서비스 개선, 사회참여에 취약한 저학력, 미취업, 남성 중증시각장애인에 초점을 둔 지원방안 등이 제안되었다. The purpose of this study is to analyze the effects of discrimination experience in daily living on participation in social activities of people with visual impairment. For this purpose, the original data of the 2019 Panel Survey of Employment (2nd wave 4nd survey data) were used for the analysis. The results of the study are as follows. First, gender, educational status, employment status and severeness of disability had a significant influence on participation in social activities. Second, it was verified that the more the visually impaired experience discrimination in their daily life, the more negatively they affect their participation in social activities. Based on the results, it has been proposed to improve the discriminatory environment that hinder the participation of the visually impaired, provide services to support the social participation of the visually impaired, and to identify and prioritize low-educated, unemployed men with severly visual impairment. who are vulnerable to social participation.