李重煥의 生涯와 『擇里志』의 成立

이문종(Moon-Jong Lee) 한국문화역사지리학회 2004 문화 역사 지리 Vol.16 No.1

The purpose of this study is to elucidate Jung-Hwan Lee's life and the process of completing book, Taekriji(擇里志, A classical cultural geography of the Korean settlement). The conclusion of the study is summarized as follows. 1. Jung-Hwan Lee's career can be divided into two periods, before and after the time when he was involved in Sinimoksa)(辛壬獄事, party strife in Sinchuk year( 1721) and Imin year(1722)) and banished to a distant island. Coming of the Lees of Yeoju, one of noble families, he had talent for poetry and prose in his childhood. At the early age of 24, he passed Kwago(科擧, the highest-level state examination to recruit ranking officials during Josun Dynasty) and began government service. During the service, he formed and led a circle of literary men. With In-Bok Lee and Kwang-un O, he played an important role in a progressive group in Namin, one of political parties in the Josun Dynasty. Meanwhile, Jung-Hwan Lee had an interest in geomancy from his twenties and explored the mountains in Gyeonggi-do, Hwanghae-do, and Chungcheong-do to find a good graveyard for several months with a geomancer, Ho-Ryong Mok. His friendship with Ho-Ryong Mok, which was considered as conspiracy against the king, caused him to be arrested and tried as suspect. His survey expenence of various places with Ho-Ryong Mok as well as excellent talent for poetry and prose can be said to be an important basis of his writing Taekriji later. The latter half of Jung-Hwan Lee's life was the time of frustration and adversity, for about 30 years when he lost his government position, retired from the world, and led a wandering life. Although struggling with adversity, he left a masterpiece of Taekriji through exploring the whole country. He explored 6 Provinces in Josun personally except Jeonra-do. His personal exploration made him "have a sharp eye for geographical phenomena". Through his exploring the whole country, Jung-Hwan Lee found a new Taekriji. 2. Ik Lee, Seong-Kwan Mok, Hoe-Kyeong Mok, Bong-Hwan Lee, and Eon-Yu Jeong who wrote prefaces and epilogues to Taekrij were Jung-Hwan Lee's contemporaries. Closely related by mamage, they had a similar appreciative eye for things, and in addition, all of them suffered from a party strife directly or indirectly except Eon-Yu Jeong. That's why they understood each other and had the consciousness of kind. Ik Lee, a cousin of jung-Hwan Lee's grandfather, was his senior in the family and academic stay. Jung-Hwan Lee frequently corresponded with him. Seong-Kwan Mok was a nephew of jung-Hwan Lee's wife, and Hoe- Kyeong Mok was the person who wrote down the achievements of Cheon-Im Mok, jung-Hwan's brother-in-law and Seong-Kwan Mok's life history. Bong-Hwan Lee could have been jung-I-Iwan Lee's cousin, but became his distant relative since his father, Yeon-Hyu had been adopted. jung-I-Iwan Lee's grandmother was a daughter of Man-I-Iwa jeong, one of the jeongs of Dongrae, who came from the same family as Eon-Yu Jeong. Those who wrote prefaces and epilogues to Taekriji were jung-Hwan Lee's relatives as above. 3. Five persons who wrote prefaces and epilogues helped Taeknji be known to the world, but Ik Lee played a distinguished part. It is considered that writing Taekriji began at least after April of the 25th year of king Y oungjo (1749). Taekriji is believed to have been completed in a relatively short time and at the last phase of jung-Hwan Lee's life. Prefaces and epilogues to Taekriji were written sometime between the 28th year of king Youngjo (1752) and the 29th year of king Youngjo (1753). Accordingly, we may say Taekriji is had been completed by that time. However, there are two views of what year "the beginning of early summer in Baekyang year" in the epilogue written by jung-Hwan Lee himself means: some believe it is Sinmi year and others Gapsul year. Sinmi year is the 27th year of king Youngjo (1751) and Gapsul year is the 30th year of king Youngjo (1754). If jung-Hwan Lee l

한국 서해안 안면도 주변 천수만에서의 해수유동 특성

이문옥 ( Moon Ock Lee ),박일흠 ( Il Heum Park ),김병국 ( Byeong Kuk Kim ) 한국도서(섬)학회 2008 韓國島嶼硏究 Vol.20 No.2

The School Culture and Personal Teaching Efficacy

Lee, Moon-Ok(이문옥) 성신여자대학교 교육문제연구소 1995 교육연구 Vol.29 No.-

이 연구에서는 교사의 교수효능감(personal teaching efficacy)이란 학생의 동기와 학습에 영향을 미칠 수 있는 교사 자신의 능력에 대한 확신이라고 정의한다. 많은 연구들은 이러한 확신의 중요성을 교사의 확신이 교육과정 개혁의 성공적인 수행과 학생들의 동기와 학업성취와 갖는 높은 관련성에서 보여준다. 이 연구의 목적은 교사의 교수효능감이 초등학교 교사와 중학교 교사간에 차이가 있다는 선행연구들의 제안에 따라 학교문화의 어떠한 특성이 교사의 교수효능감을 조사하기 위한 연구 대상으로 미국의 초등학교 교사와 중학교 교사 117명이 참여하였따. 교사들은 자신의 개인적인 교수효능감과 학교문화에 대한 인식을 측정하는 설문지에 응답하였다. 교사들의 설문지 결과에 의하면 초등학교 교사들이 중학교 교사에 비하여 학습지도에 대해 훨씬 더 자신감을 갖고 있는 것으로 나타났다. 학교문화에 대한 인식에도 차이가 있었는데, 두 집단의 교사의 응답 결과를 비교했을 때 초등학교는 중학교 보다 성취와 탁월성을 더 강조하고 교사간의 경쟁은 덜 강조한다고 답했다. 전체 교사들을 대상으로 했을 때, 교사들은 학교조직의 성취를 강조하고, 동료간의 경쟁심보다는 대화와 협동심을 격려하며, 적정하고 공정한 피드백을 제공할 때 높은 수준의 교수효능감을 갖게된다고 답했다. 학교문화 변인들, 교사의 성, 그리고 학교유형은 교사효능감 중 22%의 변량을 설명할 수 있었다.

한국 남해 연안해역의 수질환경과 적조발생의 특징

이문옥(Lee, Moon Ock) 한국해양환경·에너지학회 2010 한국해양환경공학회 학술대회논문집 Vol.2010 No.11

나의 學問, 나의 地理哲學

이문종(Moon-Jong Lee) 한국문화역사지리학회 2005 문화 역사 지리 Vol.17 No.1

국내외 연출 교재들의 상호 참조를 위한 영역별 분류와 비교 연구 -입문서, 연출론, 그리고 실습서-

이문원 ( Moon Won Lee ) 한국연극교육학회 2006 연극교육연구 Vol.12 No.-

자기 공명 영상을 이용한 악관절 기능 장애에 관한 연구

이문배(Moon Bae Lee),김재덕(Jae Duk Kim) 조선대학교 구강생물학연구소 1992 Oral Biology Research (Oral Biol Res) Vol.16 No.1

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감압증류탑에서의 생산물 종비점 추정을 위한 인공신경망의 응용

이문용(Moon Yong Lee),이종민(Jong Min Lee),박준구(Jung Gu Park) 한국화학공학회 1995 화학공학의이론과응용 Vol.1 No.2

국내 지상파 방송 드라마의 창구화 차이에 대한 연구

이문행(Moon-Haeng Lee),이현숙(Heon-Sook Lee) 한국언론정보학회 2006 한국언론정보학보 Vol.34 No.-

이 연구에서는 개별 드라마의 시청률과 주제 유형, 드라마 형식, 제작 주체 등의 특성에 따라 해외 판매 및 국내 케이블TV, 인터넷 VOD서비스, DVD 판매 여부에 어떠한 차이가 발생하는지 분석해 보고자 한다. 분석대상은 2000년에서 2004년 상반기까지 국내에서 제작되어 방송된 드라마이며, 연구방법으로는 각각의 프로그램 특성 요인과 개별 창구 유통간의 교차분석 방법을 채택하였으며, 시청률에 따른 창구별 유통에 대해서는 일원변량 분석을 추가적으로 실시하였다. The objective of this study is to review diverse determinants of windowing in Korean drama such as rating, theme, type of drama, quantity of newsbreak and independent production. The after-market will be overseas market, domestic cable TV and emerging two revenue sources such as VOD and DVD. Korean dramas aired on free TV between 2000 and 2004 will be analysed by chi-square.

뷰포인트를 활용한 앙상블 연출의 재발견 -《아미시 프로젝트》를 중심으로

이문원 ( Moon Won Lee ) 한국연극교육학회 2011 연극교육연구 Vol.18 No.-

Emerging as an important training methodology for actors, directors, and even for designers since ``90s, Anne Bogart`s Viewpoints and Composition may shed new light on how to produce a new integrative model of ensemble directing for the 21st century. The Viewpoints is a training method adapted from postmodern dance, in which space and time is broken into smaller basic principles that performers could then study, practice, and control. Composition is more akin to a directing technique, an alternative method of performance-text writing with actors on their feet. Both methods root in the spirit of the alternative theatre in the sixties which attempted to revolt against aesthetic hierarchy and rigid authoritative dichotomy. While Bogart shares major concepts and training areas with traditional directing method, her approach from postmodern point of view highlights actor-centered creation and more plastic and open-ended ways of producing theatre work. Some contributions of Bogart`s techniques as a directing method are as follows. First, The Viewpoints and Composition invite actors back from the creative margin to the co-creation, thereby opening a channel for creative collaboration with the director. Secondly, regiebuchnow incorporates open search and experiments with actors into blocking design. Thirdly, the scope of the traditional directing exercises can greatly expand and get supplemented by new methodology. Finally, more actor-sensitive vocabularies on directing can be adopted from the Viewpoints and Composition, resulting in the mutual communication of actor and director further enhanced and elevated. The Amish Projectwas written and acted by Jessica Dickey in 2009. It is a monodrama based on the actual tragedy of shocking shootout at an Amish school in Nickel Mine, which killed five Amish girls and the killer. Originally, the actress alternated seven characters in the play, but the director decided to expand it to seven-actor ensemble using Viewpoints to make clear the theme of forgiveness and reconciliation. While the director`s intention was faithful render of the script, the staging was experimental and depending on Viewpoints in every step of preparation. The rehearsal process was divided into three phases: Viewpoints training, Source Work and Composition, and setting the material for each scene. During training session, developing team-spirit and physical awareness of others were emphasized. Intense exercises on floor pattern later helped to create movement pattern for each character. Source work and composition explored such central sources as TV, rectangle shape, gestures, sounds and music, chairs, doors, and flowers. Then, each moment in the play was set or created by compositions utilizing those sources found. Rather than passively accepting directions from director`s promptbook, actors functioned as co-creators creating each scene together, and co-writing a physical script through creative input from one another. Although Viewpoints tend to be embraced by those experimental directors who are interested in radical interpretation of given texts and making one`s own theatrical narratives, they present a healthy antidote to out-dated directing method solely based on naturalistic theatre. This case study of The Amish Project demonstrates the potential of Viewpoints directing, which is apt for non-linear and multi-focused works in postmodern era, which makes the most of creative input of actors based upon common vocabularies and enhanced sense of ownership in the creative process.