탐구 중심 유아사회교육 활동의 활성화에 관한 실행연구

성은지 대한어린이교육협회 2008 어린이교육 Vol.- No.10

사회교육의 내용이나 활동에 있어서 오늘날 유아 개인의 발달과 유아의 발달에 영향을 미치는 여러 환경적인 요인들을 고려할 때, 유아들은 어린 나이에 자신을 둘러싼 사회에서 일어나는 여 러 가지 현상이나 이슈, 문제들에 대해 더욱 관심을 가지게 되었다. 따라서 이러한 변화를 수용하 기 위해서는 현장에서 이루어지고 있는 교수-학습 방법은 변해야 하며, 유아들이 사는 세상에 대 한 다양한 탐구가 이루어질 수 있는 사회교육 활동 방법을 모색할 필요가 있다. 따라서 본 연구자는 탐구 중심 유아사회교육 활동의 활성화를 위한 방안을 모색하고, 이를 통 해 유아사회교육 활동을 계획하여 실행해 보는 과정이 필요하다고 판단하였다. 이를 위해 연구 자가 당면한 문제와 관련한 유아사회교육 활동을 계획하고, 실행하며, 평가하는 과정에서 유아들 의 활동을 관찰한 내용과 교사 자신의 반성적 사고를 통해 변화된 모습을 분석하고자 하였다. 따 라서 본 연구는 성공적인 유아사회교육의 실행을 위하여 연구자가 지각한 탐구 중심 유아사회교 육 활동을 활성화하기 위한 증진방안을 계획하고, 이를 실행하여 당면한 문제를 해결하는 것에 그 목적을 둔다.

무용과 심상에 관한 이론적 연구

성은지 韓國舞踊敎育學會 1995 韓國舞踊敎育學會誌 Vol.5 No.-

Imagery, called visualization, mental practice, mental rehearsal is a technique that has gained considerable attention in sports and dance in recent years because it is thought to enhance skill performance. In this study, theoretical interpretations of the imagery process and factors influencing imagery are reviewed for further study of imagery. The mechanisms that mediate cognition, imagery and motor movement remain mostly unknown. To gain more academic respect, the research on imagery must use better methodologies and attempt theorizing. In dance, imagery has been used for communication of movement's meaning, inspiration for creation, exprience of movements's effort. So it is necessary for more efficient dance class to study on cues and sources of imagery which must be sophyscated for levels of ability, kinds of movements and class.

심상(Imagery)에 의한 연습이 무용동작수행 수준 및 뇌파에 미치는 영향

성은지 韓國舞踊敎育學會 1996 韓國舞踊敎育學會誌 Vol.6 No.-

The purposes of this study were to investigate the effect of imagery practice by the direct or indirect verbal cues on coupe balance, devant developpe, fouette en tournant and EEG(Experiment Ⅰ), and the effect of imagery practice by the visual-verbal or verbal cues on Italian fouette(Experiment Ⅱ). In experimentⅠ, twenty-seven high school girls who major ;in dance devided into 3 groups. Direct imagery group, indirect imagery group, control group were adapted to perform for 20min/day, 5 times/week during 7 weeks. In experiment Ⅱ, twenty-one high school 해긴 who major in dance divided into 3 groups. Visual-verbal imagery group, verbal imagery group, control group were adapted to perform for 20min/day, during 9 days. In order to see whether there is significant difference among the groups this study used an one-way ANOVA and Tukey tcst. And in order to see whether there is significant difference between pre and post performance scores and EEG of the relax-rest state and the imagery rehearsal state, t-test was used. The results are as .follows: 1. Performance scores of devant developpe, fouette en tournant in direct imagery group and performance scores of coupe balance, devant developpe, fouette en tournant in indirect imagery group were significantly increased. 2. There were no significant differences of performance scores between two experimental groups. 3. In EEG α wave %power of the imagery rehearsal state in direct imagery group were significantly decreased(P<.01). 4. There were no significant differences of β wave %power in the experimental groups. 5. Technical scores of italien fouette in visual-verbal imagery group was increased more than verbal imagery group, but there was no significant difference between two groups. 6. Artistical scores of italien fouette in visual-verbal imagery group was significantly more than verbal imagery group.

무용수업을 위한 피드백에 관한 연구

성은지 韓國舞踊敎育學會 1996 韓國舞踊敎育學會誌 Vol.6 No.-

A learner can receive various kinds of sensory information, extrinsic feedback about errors from the instructor is one the most critical aspects of the learning environment. This kind of information can have several simultaneous roles ; It can serve as an energizer to increase motivation ; it can reinforce the probability of various future choices ; it can provide information, where it signals the nature and direction of errors and how to correct them ; and it can a learner dependency, where performance suffers when the information is withdraw. Feedback can take on many forms, such as videotape replays, films, and verbal descriptions. The largest errors can be corrected in early learning with frequent feedback. After a few trials, however, learning is best if feedback frequency is gradually reduced across practice.

동작 수행에 대한 불안의 영향

成殷志 韓國舞踊敎育學會 1992 韓國舞踊敎育學會誌 Vol.2 No.-

The definition of anxiety, the way of estimating anxiety, the relationship between anxiety and competition, and anxiety and action have been observed briefly before. Any one who dances has an experience of seeing the stage under lighting in a waiting room or behind a curtain in waiting for his or her turn impatiently. Or, a student or dancer who has been well during practice habitually makes his or her teacher or dance director by forgetting a sequence or staggering loosing his or her balance on stage. Therefore, it is practically very meaningful for dancers who wish the optimal results to grasp and control the source of such a failure successfully. It anxiety comes from his or her own nature, the only way was and is to adjust and control his or her psycological situation. Recently, however, a variety of psychological methods such as progressive relaxation techniques, transcendental meditations, hypnosis, yoga, or biofeedback ar developed, most of which are useful for the dance directors to help students who suffer much from excessive anxiety which is beyond their control. Alternatively, a situation or circumstance imitating that of real performance, contest, or examination can be established so that students practise sufficiently to be familiar with any anxiety to face and to control increasingly their psycological situation by themselves. For better results, seemingly, directors have to monitor the degree of anxiety dancers feel. As discussed briefly before, one of the best solutions for the dancer who is very uneasy when awaiting his or her turn behind stage is to lessen the period of time to await, and, especially, for a young student, the emphasis on the values of improving his or her talent and trying his or her utmost rather than on the importance of result can contribute to allay his or her apprehension. Considering that "anxiety" has a complex and thus important implication, it may not be did to be dealt with sufficiently here. The findings of this study, however, may be useful to suggest some beneficial theories for the dancing education in the future. Dancing teachers are required further to look into psychological aspects relating with actions to perform more scientific and efficient education.

유아의 과학적 탐구능력 증진을 위한 통합적 생물 기르기 활동

성은지,이문옥 성신여자대학교 교육문제연구소 2008 교육연구 Vol.44 No.-

본 연구는 유아의 과학적 탐구능력을 기르기 위하여 2005년부터 2006년까지 2년 동안 지속적으로 다양한 생물을 길러보고 그 성장과정을 관찰하면서 이를 토대로 통합적 교육활동을 실시하였다. 이를 위해 장수풍뎅이, 누에, 명주잠자리 등을 키우면서 언어, 과학, 조형, 신체 활동 등의 통합적 교육활동을 실시하였다. 연구결과 통합적 생물 기르기 활동이 생물에 대한 유아들의 호기심과 흥미를 더욱 증가시키며 더불어 유아들의 과학적 탐구능력과 표현능력, 언어능력, 창의적 사고능력도 향상시키는 것을 볼 수 있었다. 생물 기르기 활동은 가정과도 연계되어 가정에서도 생물 기르기 활동이 활발히 이루어지는 결과를 가지고 왔으며 일상생활 속에서도 생물에 대한 유아들의 변화된 모습을 볼 수 있었다. 연구결과와 관련하여 통합적 생물 기르기 활동에 대한 전반적 방향에 대해 제언하였다.

현대무용동작에서의 운동기억(Motor Memory)에 관한 연구

성은지 韓國舞踊敎育學會 1993 韓國舞踊敎育學會誌 Vol.3 No.-

The purpose of this study was to investigate the short-term motor memory in continuous and discrete modern dance movements. The subjects were 34 students who was majoring in modern dance in P Arts High School. The task of this experiment were 8 discrete modern dance movements and 8 continuous modern dance movements. Subjects twice viewed sequence 8 movements performed by an expert dance, sequence were viewed in one minute and then immediately recalled by actually performing the dance movements. A T-test was used in order to see whether there exists significant difference between the groups. The reuslts are as follows; (1) Both primacy nad recency effects were apparent. (2) The motor memory of dicrete movements were appeared significant differences(p<.01). Experts and over than 5 years dance experience group were greater than novices and less than 2 years dance experience group. (3) There was no significant difference among the groups in the continuous movements.

유치원교사의 놀이전문성 증진을 위한 프로그램 개발 및 효과

성은지,전홍주 한국육아지원학회 2024 한국육아지원학회 학술대회지 Vol.2024 No.5

Development of extraction method for single embryo proteomics analysis

성은지,민은기,김기태,이상규 환경독성보건학회 2022 한국독성학회 심포지움 및 학술발표회 Vol.2022 No.5

운동학습 이론의 무용수업 적용에 관한 연구

성은지 韓國舞踊敎育學會 1994 韓國舞踊敎育學會誌 Vol.4 No.-

Dance is the art form which is expressed One's thought and feelings through the body. for the artistic goa, dancers have to train their body scientifically and efficiently. If dancers practice economically, they can invest their energy and time in choreography or their new pieces along with aesthetic elements. Motor learning theory is regarded as an efficient method of body training. Yet many dance teachers have not believed that this method is appropriate to their dance class, so they depend on customary way of teaching. In this point of view, it is necessary for efficiency of dance lessons to review the researchs of dance used motor learning theory.