작업기억과 담화 이해 및 추리

趙明翰,高成龍,趙炳煥 대한민국 학술원 2007 학술원논문집 : 인문, 사회과학편 Vol.46 No.1

본 연구는 담화 이해와 추리에 관한 여러 실험들의 결과를 검토했고, 잘 알려진 실험 문장들을 변형하여 직관을 검토했고 또한 지식 구성을 간단히 하여 공명이론 기반의 시뮬레이션도 수행하였다. 실험 자료, 직관 자료 및 시뮬레이션 결과를 잘 설명하는 관점이 기억기반 접근임을 논의했으며, 더 나아가 이 접근에서 가정되는 작업기억과 장기기억간의 유연한 상호작용의 시각에서 개인차의 연구들을 고찰했다. 개인차 연구들의 핵심 결과는 비숙련 독자들도 숙련 독자들과 마찬가지로 관련 지식이 있으며, 더 나아가 관련 지식이 장기기억에서는 활성화되었음에도 불구하고 쓰이지 않을 수 있다는 것이었다. Zoh와 Ahn[2006]은 모순 정보를 담고 있는 문장들이 인과와 대초 추리 실험문장들 사이에 있을 때 비숙련 독자들도 숙련 독자처럼 인과와 대초추리를 하는 결과를 보고했다. 이 결과를 비숙련 독자들도 모순정보가 있을 때 더 세밀한 명제를 구성하여 전체적으로 정합성을 찾으려고 시도를 했으며 이 모순 문장들에 관한 누적된 처리 기술이 실험 문장으로 전이된 것으로 해석하였다. 결론적으로 Zoh와 Ahn의 연구가 담화 이해 및 추리와 같은 복잡한 인지 과제의 처리에서 핵심적인 역할을 하는 작업기억의 용량이 제한은 있으나 고정되어있는 것이 아니라 신축적이라는 것을 시사한다고 논의하였다. This study reviewed several experimental results on discourse comprehension and inference, examined our intuitions on the modified sentences constructed by changing one word in the well-known sentences, and carried out the computer simulation on the basis of the resonance model. We discussed that memory-based approach seemed to account for the results on the experiments and simulations pretty well. Furthermore, the studies on individual differences on inference were examined from memory-based approach’s viewpoint of the flexible relation between working memory and long-term memory. The crucial results were that less skilled readers was not ready to use the knowledge related to the inference, even though they had the knowledge, which was activated in long-term memory. Zoh and Ahn[2006] showed that less skilled readers made causal and contrastive inferences only when fillers with inconsistent information were used. This result was interpreted as showing that less skilled readers tried to construct more constrained propositions to seek the global coherence on the face of inconsistent information, and seemed to accumulate the knowledge and skills related to the inference, which were finally transferred to the comprehension of experimental sentences. We discussed that Zoh and Ahn’s study indicated that working memory for such complex cognitive tasks as discourse comprehension and inference waxes and wanes.

The Platonic Dialectic and the Aristotelian Critique

Zoh, Johann조요한 숭실대학교 철학과 1986 思索 Vol.8 No.-

A Psychological Study on the Early Developmental Stages of Korean Child Language language and Cognition

ZOH, MYEONG-HA KOREAN SOCIAL SCIENCE RESEARCH COUNCIL KOREAN NATI 1976 Korean Social Science Journal Vol.4 No.1

So far we have discussed the stages of language development of our three children particularly relying upon the results of semantic analysis. Consequently, the developmental stages we have classified came from the results of rather qualitative criteria. However, mean length of utterance (MLU) has been recommended to use a better index of the development, where MLU is defined as the average length of the child's utterance in morphemes. A group of developmental psycholinguists at Harvard has proposed the term stage I for the period beginning with the emergence of the first multiword utterances and continuing until MLU reaches 2.0. Further stages are defined by increments of 5. to the MLU (Brown, 1973). We presented here our children's MLU in accordance with the developmental stages as shown in Table3. But it should be kept in mind that our MLU would not be directly comparable to the Brown's or others because we have not collected all the speech uttered in a certain period but only the different kinds of speech. Moreover, only the above two-word speech were included in calculating the MLU whereas one-word speech were omitted. However, Table 3 shows that our calculation of MLU also has a discerning power at least between tow-and three-word stages. In summing up, we adopted the term 'monoreme' from Werner and Kaplan to the first pseudowords produced by the children in the sense that they are neither words nor sentences in view of their function. Only insofar as they fulfill a grammatical and syntactic function in an utterance, a name becomes a word and combination of words becomes sentence. For this very reason, we defined the earliest two-word combinations 'duoreme' ; the initial word in the word-order of two-words were contentives that make reference to the objects, some state of conditions, or movements. Only at a later period, they became sentence in which the two-words has been related in their semantic function. Before emerging the three-and the above three-word sentences, there also appeared pseudo three-word sentences which we called 'trioreme', even though the duration of their emergence was not discrete but persisted to occur over a long time. From the end of this stage on, i.e., at the stage we have not yet analyzed its characteristics, comples derivational rules such as past and future tenses, and subject and object case markers were observed. The developmental stages we have so far observed are roughly corresponding to the early stage Brown has defined. He analyzed the child speech of stage I in almost all the aspects in detail, but failed to pay attention the specific stages such as duoreme and trioreme, probably, we have been deeply impressed by the fact that how elaborate steps our children made forward in their developing processes of language, apart from the fact that how astonishing regularities in the child speech is. One might say that the child language develops as if it would keet step with the pyramid-like staircase of five stages at least, namely, monoreme, duoreme, two-word sentence, troireme, three-and above three-word sentence, and so on. As one steps up the ataircase, the first step becomes the base for the second step-stone, and the next is also the same as the former one. The step-by-step characteristic of language acquisition might suggest some negative answers against the innateness hypothesis. However different child speech is from adult speech, it is evident that it gradually approach to the resemblance of its mother tongue. I think the innate hypothesis has been induced not only from the theoretical necessity but also from practical, ordinary life-oriented, necessity that has fascinate parents as to how a child masters the acquisition would never take place abruptly. Rather it seems more reasonable to say that the mystery of how a child becomes capable to speak rapidly can be solved only by understanding that he accomplishes necessary and due course on a step-by-step basis. By this word, however, we do not mean the gradual learning model as will be discussed later. Those who are fascinated by the Chomsky's hypothesis of LAD have a tendency to believe that ecidence for universal proves the hypothesis of innateness. Certainly the data from our three children support the universals with regard to the constructional rules as well as the semantic relationships. As Brown(1973, p.198) appropriately pointed out, "The Stage I meanings have proved to have some generality in a sampling of child speech studies, and I do feel tempted to hypothesize universality. But not innateness. Not innateness because. . . it is my impression that the first meanings are an extentsion of the kind of intelligence that Jean Piaget calls sensorymotor". Slobin's (1973, p.184-185) descriptions are more pertinent to our argument : "Studies which have considered the supposed intended meanings of children's utterances support a far-reaching principle which could be phrased as follows : New forms first express old functions, and new functions are first expressed by old forms. It turns out that this is a familiar principle in the psychology of cognitive development, and it is not surpring to find it in linguistic development as well." In conclusion, the Slobin's principle of linguistic development must be taken granted. in which what we have observed for the developmental stages may be included. In other words, we suggest that this principle may reflect nothing other than the step-by-step characteristics of language acquisition we have so far discussed. For example, when Gyeong said Mommy bread give for the first time in a trioreme form, it just expressed what he had expressed through the two-word sentence like Mommy give or bread give. Therefore, this is the case which can be phrased as new forms first express old functions. On the other hand, the same expression Mommy bread give is going to be used after a while to indicate the nonlinguistic context in which mother was giving bread to his sister. This is the case which can be phrased as new functions are first expressed by old forms. Slobin believes that this principle supports the cognitive prerequisite hypothesis for the development of grammar that language is used to express only what the child already knows. I think that Slobin deliberately disregard how new forms urge to modulate new functions and the vice versa. Originally the principle was described by Werner and Kaplan(1963, p.60) as following : "We believe that the shifts which take place from concrete action models to syntactic relations of a more abstract sort reflect the operation of the basic deveropment principle pertaining to form-function relationships. As one will recall, according to this principle, wherever functional shifts occur during development, the novel function is first executed through old, available forms ; sooner or later, of course, there is a pressure towards the development of new forms which are of a more functionspecific character, i.e., that will serve the new function better than the old forms." More emphasis put on the interaction between forms and functions in the Werner and Kaplan's phrases. While there is no doubt that linguistic structures are determined by the cognitive capacity of the child, the possibility has notto be excluded that new linguistic structures will serve the new function better than the older ones. It must be kept in mind that the new form of duoreme or trioreme was expressed first before our subjects explicitly expressed the two- or three-term semantic relationships. There is a strong possibility that the new function of two and three-term relations has been fascilitated to emerge by the force of the available form of duoreme or trioreme. Recently Schleginger(1976) has argued for the interaction between cognition and language in such way that cognition is responsible for the interpretation problem without the aid of language whereas the categorization problem depends on the language. Cognitive skill which enable a child to understand what is going on in his or her environment is called the interpretation problem. However, for example, "what are the boundaries of the agent concept? Mummy handing the bottle to the child is no doubt an event where an agent is performing some action, but what about mummy just holding the bottle? To take one further step, can the bottle be said to be an agent 'containing' the milk in the same way that mother is an agent holding the bottle? Clearly there are gradations here of 'agentiveness'"(Schlesinger, 1976, p.6). What he suggests is that the linguistic input would hepf a child to categorize the various agents into one concept, and that cognitive development and linguistic input may be mutually supportive. Of course, Schlesinger rightly has pointed out, it is usually not wise to side with a extreme theorizing.(All of the transeriptions presented in this paper are theli teral translation into English)

소설에서 희곡으로의 각색 연구

조보라미(Zoh Borami) 한국어문학회 2007 語文學 Vol.0 No.98

A Small Ball Shot Up By a Dwarf is a short story cycle by Cho Sehui, which deals with the problem of urbanization and industrialization of Korean society in 1970’s. It was adapted into play and film right after the publication of the novel, and lately(2007) into play and TV drama. This thesis deals with the adaptation from novel to play in case of A Small Ball Shot Up By a Dwarf (A Small Ball- in abbreviation) in 2007. This novel is dramatic in the point that it has many dialogic scenes without intervention of narrator. Futhermore, there appears the form of a play such as ‘the name of a character:dialogue’. And the adaptation play takes these from the novel without change. The play also adapts as many parts of the novel as possible, and it also takes the cross structure of past and present, reality and fantasy, kernel(main event) and satellite(sub-event). And it also inherits many characters and theme of the novel. Therefore, it can be concluded that the play is the faithful adaptation of the novel. But the faithfulness of the novel results in excessive ideal feature and boredom instead of dramatic strain. Also it is found distortion of meaning when literally translated. These reveal that the faithfulness of the original can not be the criteria of analysing or valuing of adaptation. The analysis of adaptation is, then, the comparative narratology in the base of narrative analysis of original and adaptation genre. In the base of this freedom of the burden in the faithfulness of the original, the transformation of context can be dealt in adapting this novel. When the play is adapted literally in the 1970’s context of the original novel, it seemed to be behind times. So keeping pace with the time the adaptation is presented needs to be considered even in the case of the intention of faithfulness to the original. Lastly, in adapting into the play, the possibility of non-verbal expression needs to be considered. In this sense, the symbol of a dwarf and the space discourse in A Ball- should be applied in this adaptation.

변증법(辨證法)에 대한 Platon과 Aristoteles의 견해차이(見解差異)

趙要翰 ( Zoh Jo-hann ) 숭실대학교 인문과학연구소 1974 인문학연구 Vol.5 No.-

Die Dialektik stammt von Platon, der seine Philosophie in der Form von Dialogen beschreibt. Die Dialektik selbst definiert Platon, nach der gewohnlichen Bedeutung des Wortes, als die Kunst, gesprachsweise in Fragen und Antworten Erkenntnisse zu entwickeln. Fiir die For- tsetzung des Gesprachs aber gibt es jetzt zwei Grundmoglichkeiten. Die eine Moglichkeit ist dadurch bestimmt, daB sich nun jeder von beiden bemiiht, seine Auffassung von der strittigen Sache gegen den anderen durchzusetzen. Solche Art des Streitgesprachs nennt Platon Eristik. Die andere Moglichkeit besteht darin, daB beide Teilnehmer gemeinsam sich bemiiht, das Wahre zu finden. Solche Art der richtigen Mitteilung im Gesprach beschreibt Plato die Dialektik als die Wissenschft, die Rede richtig durchzufiihren und die Gattung der Dinge, d. h. die Begriffe, richtig zu unterscheiden und miteinander zu verbinden. Platon sprciht von “meiner Philosophie”,darunter er versteht nicht Eristik. Er redet an dieser Stelle nicht Ethik, Politik, Kosmologie, Physik, die Lehre von den Gottern, die die Philosophen vor ihm bemuhten. Die neue Untersuchung Platons nimmt die Mitteilbarkeit der philosophischen Einsichten vor. Unter diesem Aspekt ist das Problem der Mitteilbarkeit gegeniiber den Anderen ein untergeordnetes und kann vorgezogen werden; es fiihrt hin zu dem eigentlichen Problem, das in etster Linie Platon selbst betrifft. Die Notwendigkeit seiner Mitteilbarkeit macht danri auch die Frage nach der Methode des Philosophierens notwendig und geben gleichzeitig einen Vorblick auf die Aufgabe der Philosophe. Die Topik des Aristoteles fiihrt uns auf anschauliche Weise mitten in den Streit in der Akademie um die Frage nach dem Begriff der Dialektik. Aristoteles nimmt auch die Aufgabe vor, eine Methode zu finden, die uns in den Stand setzen wiirden, liber einen aufgestellten Satz mit Ausgangspunkt von allgemein anerkannten Ansichten Schliisse zu ziehen. Denn dies ist die Aufgabe der Dialektik, aber auch der wissenschaftlichen Priifung. Die Dialektik ist zwar mit der sophistischen Argumentationstechnik nahe verwandt, aber es kommt hinzu, daB der Unterredner den Satz nicht nur formal und dialektisch priifen soli, sondern auch in bezug auf den Inhalt. Aristotelische Philosophic ist Fortfuhrung der von Platon aufgeworfenen Probleme, ihr Erweiterung. Im Gegensatz von Platon betrachtet Aristoteles, jedes Urteil sei entweder ein bejahende oder eine verneinende Aussage. Eine Gegensatzaussage bringt den Mwidersprechenden: Gegensatz, bei dem “das Dritte ausgeschlossenen ist”; kontrare Gegensatze bezeichnen da: in einer Reihe zusammengehoriger Begriffe am weitesten voneinander Entfernte. Aus de Verkniiptung zweier Urteile mit gemeinsamem Begriff ergibt sich der SchluB, den Aristotele; “Syllogismus” nennt. Die Entdeckung des Syllogismus bei Aristoteles entstand aus dem Zusammenwirken de; Diairesis und des Erfordernisses der Disputationsdialektik, Aristoteles bildet den Syllogismui aber auf dem Basis der Ausarbeitung seiner eigenen Organon auf. Wenn der Syllogismuj ganz neue methodische und philosophische Dimension abgewinnt, bleibt er doch vergleichs weise partikular. Im Zerfall der Dialektik wird man recht eigentlich die Grenzscheide seher miissen, die Aristoteles von Platon trennt.

오태석 역사극에 나타난 사실과 허구의 긴장관계

조보라미(Zoh Borami) 한국현대문학회 2009 한국현대문학연구 Vol.0 No.28

오태석은 1994년 〈도라지〉로부터 시작하여 현재까지 한국 근현대사에 대한 역사극을 지속적으로 발표하고 있다. 본고는 이 중에서 〈도라지〉, 〈천년의 수인〉, 〈잃어버린 강〉, 〈앞산아 당겨라 오금아 밀어라〉 등 4작품을 중심으로 사실과 허구의 긴장관계에 대해 분석하고, 이것을 바탕으로 작가의 역사관을 고찰한다. 본고에서 우선적으로 주목한 것은, 오태석 역사극이 정도의 차이는 있지만 역사적 사실에 대한 상세한 탐구를 기반으로 하고 있다는 사실이다. 그리고 이러한 역사적 사실 중에는 일반인의 통념과 다른 것도 있어 오태석 역사극에 대한 섣부른 오해를 낳을 수 있는 소지 역시 있음이 발견된다. 그러나 오태석 역사극이 물론 역사적 사실만으로 이루어진 것은 아니다. 사실과 허구를 양 축으로 오태석 역사극을 놓고 볼 때, 〈도라지〉는 사실의 축에 가장 가까운 작품으로, ‘역사극’과 ‘역사 서사’의 경계에 위치한다. 또한, 〈천년의 수인〉과 〈잃어버린 강〉은 역사적 인물을 주인공으로 하되 허구적 요소가 적지 않게 나타남으로써 역사적 기대지평과 허구의 관습적 기대지평이 공존한다. 그런데 이 두작품은 역사적 사실과 다른 부분으로 말미암아 역사왜곡 논란에서 자유롭지 못하다. 반면, 〈앞산아 당겨라 오금아 밀어라〉는 허구적 인물과 허구적 사건을 중심적으로 다룬다. 따라서 역사 왜곡의 문제를 피해가는 것은 물론, 허구적 이야기를 과감하게 창조함으로써 작가의 역사관을 드러내는 데도 효과적으로 기여하는 바 오태석 역사극의 성격상 가장 적합한 형태라 하겠다. 이들 역사극을 통해 작가는 가해자와 피해자 간의 용서와 화해, 곧 한국 역사상 친일과 반일, 좌익과 우익의 대립을 지양하는 시각을 드러낸다. 이것은 미래지향적 역사관으로 표현될 수 있는데, 이 때 작가가 상정하는 미래란 민족주의적 시각으로 파악될 수 있다. Oh Taeseok has presented many historical dramas since 1994 which deal with modern history of Korea seriously. Among them, this thesis treats these four plays: Doraji(도라지), A Thousand Year Prisoner(천년의 수인), A Lost River(잃어버린 강), and Pull, Ap-san; Push, Oh-geum(앞산아 당겨라 오금아 밀어라〉. Especially this thesis focuses on the tension between historical fact and imagination at first, and then examines the author's historical view. Oh Taeseok's historical plays are based on historical facts, even though the degrees of dependence are different. Doraji, which deals with the lives of Kim Ok-gyun and Hong Jong-woo, the enlightenment intellectuals, is most dependent on historical facts among these works. A Thousand year Prisoner, of which the character is Ahn Du-hee, an assassin of Kim Gu, and A Lost River, which deals with the life of Ahn Jung-geun, the famous activist for independence in the period of Japanese Imperialism, base on historical facts also. But these works are full of historical imagination and both the historical and the conventional expectation reside there. That is, protagonists of these works are historical characters, so reader/spectator of these works requires the historical expectation from these works. But some events conflict with historical facts, so charge of historical distortion arises. On the other side, Pull, Ahp-san; Push, Oh-geum, which treats the Jeju revolution in 1948, treats fictional characters and events. So reality effect depends on the custom of realism, not on the outside of the text, whereby it avoids the problem of historical distortion. And that, this work creates fictional events which serves the representation of the historical view of the playwright. So it can be said that this form (invented historical drama) is suitable for Oh Taeseok's historical drama. After all, through these works Oh Taeseok reveals the historical view of rejecting the confrontation of pro- and anti-Japanese group, or that of the right wing and the left wing. This view can be interpreted as a historical view toward the future, and the future the playwright hopes can be seen as nationalism.

오태석의 6ㆍ25 3부작 연구 2

조보라미(Zoh Borami) 한국현대문학회 2008 한국현대문학연구 Vol.0 No.26

본고는〈산수유〉,〈자전거〉,〈운상각〉의 상동성을 보임으로써 이들 작품이 ‘6ㆍ25 3부작’으로 묶일 수 있는 근거를 제시하고, 오태석 역사극에서 갖는 의미를 밝히고자 한다. 우선, 위 세 작품은 인물, 플롯, 긴장 구성 방식에서 상동적이다. 여기에 나오는 인물들은 작가의 고향인 선암리를 직간접적인 배경으로 하며, 혈연 또는 지연에 의해 한 가족처럼 살아가는 사람들이다. 이들은 전쟁세대와 전후세대로 구분되는데, 이것은 이들 작품이 ‘전쟁세대의 상처와 치유’, 그리고 ‘6ㆍ25의 비극이 전후세대에 미치는 영향’이라는 두 가지 ‘이야기-구조’를 갖는 기반이 된다. 이들 작품은 또한, 전환점 혹은 절정에서 긴장 구성 방식이 상동적이다. 즉, 여기서 극적인 장면은 순차적으로 제시되지 않고 시간이 지연되면서 유사한 상황 혹은 대사의 유사한 구조가 반복되는 것이다. 이것은 세 작품이 피상적인 유사성을 넘어 긴밀한 유대관계를 가지고 있음을 보여주며, 이 점에서 6ㆍ25를 소재로 한 오태석의 다른 희곡들과 구별된다. 또한 6ㆍ25 3부작은 한국전쟁과 관련된 작가의 트라우마를 드러낸다는 점에서 문제적이다. 극중에 오태석의 가족사가 투영되어 있음은 이러한 사실과 관련되어 있다. 이로써 작가는 트라우마를 극복하고 한국 근현대사의 문제에 천착할 수 있었다. 이런 점에서 6ㆍ25 3부작은 오태석의 본격적인 역사극이 전개되는 데 발판이 된다고 하겠다. This thesis studies on the homology of Sansuyoo, the Bicycle and Unsanggak, thereby revealing that these works can be regarded as 'the Korean War Trilogy'. And also this thesis studies on the meaning of these works in regard of Oh Taeseok's historical plays. Firstly, These works are homologous in respect of character. The characters live like a family near Seonam-li, Oh's hometown. They can be divided into the two generations, which are the war-experiencing generation and the post-war generation. Secondly, they are homologous in respect of plot. Plots in these works can be analysed as the two 'story-structure', one of which is the hurt and healing of the Korean war in respect of war-experiencing generation, and the other is the negative effect of war in respect of post-war generation. Thirdly, they are homologous in respect of the way of making tension. The dramatic scenes are delayed and during that time, similar circumstances and/or similar structure of dialogue are repeated. So, these three works are very closely related, and also that is the difference of the other Oh's works dealing with the Korean War. And that, in these works there appear Oh's family, such as Oh himself(the Bicycle), his father(Sansuyoo, and his mother(Unsanggak). Thereby Oh reveals his trauma about the Korean War. After all, the Korean War Trilogy enables Oh to write historical plays dealing with modern and contemporary history of Korea afterwards.

함세덕 희곡에 나타난 정치적 무의식

조보라미(Zoh, Bo-Ra-Mi) 우리문학회 2018 우리文學硏究 Vol.0 No.58

본고는 함세덕 희곡 <동승>과 <무의도기행>에 나타난 정치적 무의식을 고찰하고 있다. F.제임슨에 따르면 텍스트 해석은 숨겨진 지배 서사를 찾아내는 알레고리적 행위로, 이를 위해서는 텍스트의 표면보다 심층, 내용보다 형식에 주목할 필요가 있다. 이러한 관점에서 볼 때 상기 희곡은 ‘결핍을 지닌 소년-억압적 아버지-또 다른 곳에 대한 동경’으로 구조화됨이 주목된다. 그리고 이것은 텍스트와 현실 사이에 구조적 동일성이 있다는 관점에 의거하여, 현실에 대한 환유로 해석될 수 있다. 즉 함세덕 희곡의 소년 주인공은 잘생기고 자질이 좋음에도 결손가정 태생이거나 ‘선병질’로 설정되는 등 결핍을 지니고 있는바 식민지 조선인의 환유로 볼 수 있다. 또한 소년의 ‘아버지’는 친부모와 후견인의 이중 구조를 취함으로써 ‘부모국 조선’과 ‘후견인(국) 일본’의 관계를 유비한다. 그런데 이때 소년의 욕망을 억압하는 실질적인 ‘억압적 아버지’는 후자이며 일제 말기 담론(<무의도기행>)이나 규율적 근대성(<동승>) 등 식민지적 근대성을 본질적 속성으로 함으로써, 일제에 의한 식민지배의 본질이 드러나고 그 모순이 폭로된다. 한편 이런 상황 속에 소년은 ‘또 다른 곳에 대한 동경’을 드러내는데, 이는 현실에 대한 부정의식에서 기인하며 ‘사랑․이해․자유․생존’의 가치를 지향한다. 이것은 현실의 억압에서 벗어난 인간 해방적 가치로서, 식민지 현실을 넘어서고자 하는 유토피아적 충동이 드러난 것으로 볼 수 있다. 이러한 본고의 논의는 일차적으로 <동승>을 그것이 발표된 당대 현실에 적극적으로 위치시켜 해석했다는 의의가 있다. 이 과정에서 삽입노래 ‘새야새야 파랑새야’는 물론 조선의 왕실과 궁궐에 대한 회고적 시선이 주목되었으며, ‘고구려 시대 도념’ 이야기에 대한 정합성 있는 해석이 가능했다. 그리고 그 결과 <동승>이 현실도피적 작품이 아니며, 식민지적 모순을 정확히 인식하고 그것을 극복하고자 하는 소망이 투영된 바 <산허구리>의 연속선상에 놓여 있음을 밝혔다. 또한 <동승>과 <무의도기행>을 현실에 대한 알레고리로 봄으로써 함세덕 희곡의 리얼리즘성을 새로운 각도에서 조명하고, 알레고리성이 <오월의 아침>, <심원의 삽화>에도 이어진다는 관점을 제시했다. 이러한 일련의 연구는 함세덕 초기 희곡의 리얼리즘적 면모를 구체화하고, 나아가 초-중-후기 희곡의 연속성을 밝히는 데에도 기여하게 될 것이다. This paper deals with two of the early plays of Ham Seduk, The Young Monk (1939) and A Journey to Muido (1941), and how they represent political unconsciousness. The primary themes of these plays can be summed up as “a deficient boy, an oppressive father and a longing for another place,” and they can be interpreted as allegories of reality. In these two works, the “deficient boy” represents the people who are left behind in modern times and the colonized during the colonial period of Korea. The boy’s father oppresses the boy’s natural desires, exploits his labor, and is violent to him, which represent the features of the colonial modernity in Korea; we can therefore interpret him as representing the colonizer. The “deficient boy” longs for another place, somewhere where he will be free from his current situation. This longing comes from a negative awareness of reality, and the value of the other place he pursues is “love/understanding/freedom/life,” so we can identify the utopian impulse here. These two plays can thus be interpreted as allegories and criticisms of the reality of colonization in Korea. Lastly, the view of allegorical interpretation can be applied to another plays of Ham Seduk such as One Morning in May, A Sketch of Mind. Ultimately these studies are expected to reveal the realistic features of the early plays of Ham Seduk and make clear the continuity of his plays.

이재현의 포로 3부작 연구 : 반공극의 일의성을 넘어선 가능성과 한계

조보라미(Zoh,Borami) 한국현대문학회 2011 한국현대문학연구 Vol.0 No.35

본고는 포로 3부작의 기록극으로서의 면모를 괄호치고 극을 극으로 다루는 관점을 취한다. 이로써 포로 3부작 각각의 독특성을 부각하고 반공극이라는 일의적(一義的) 해석을 넘어 이들 극이 분단에 대해 의미 있는 문제를 제기하고 있음을 보인다. 우선<포로들>은 송환심사에 처한 포로의 고뇌를 통해 자유란 개인의 안위가 보장되지 않고 윤리적 요구와 배치되더라도 선택해야만 하는 절대적 위상을 지닌 것임이 강조된다. 자유가 이처럼 절대적 위상으로 격상되는 것은 <멀고 긴 터널>이나 <적과 백>도 마찬가지다. 그러나 <멀고 긴 터널>에서는 윤리적 의무감을 뒤로하고 단독자적 결단으로 자유를 선택한 포로가 결국 남한의 품에 안기지 못하는 것을 통해 남한 내에 강고하게 존재하는 극우세력이 암암리에 비판된다. 그런가 하면 <적과 백>에서는 한국전쟁 당시 귀순한 인민군 장교 이학구가 다루어지는데, 그가 다시 남에서 북으로 전향하게 된 과정을 드러냄으로써 이학구를 보호하기보다는 전략적으로 이용할 뿐이었던 UN군 및 남한 측에 대해 문제를 제기한다. 요컨대 포로 3부작은 기본적으로 반공극의 논리를 취하고 있으면서도 <멀고 긴 터널>과 <적과 백>의 경우 반공포로나 귀순자를 포용하지 못하는 남한의 이데올로기를 비판적으로 바라보고 있다고 할 것이다. 그러나 이러한 특징이 작품에서 정당하게 형상화되지 못한 점은 극작술의 한계임과 아울러 분단 극복에 대한 작가의식에도 한계가 있음을 보여준다. This paper analyzes a Trilogy of the Prisoners of Jae-Hyun Lee, which deals with the problem of Girjea POW camp during the Korean War. As is well known, this trilogy is considered as a documentary theatre, but this paper puts this fact in parenthesis and focuses on the drama itself. With this, this paper tries to reveal the peculiarity of each play and to show these plays raise a significant problem of the division of Korea. The Prisoners(<포로들>) promotes freedom to the ultimate value of life in the lives of prisoners of war and this promoted status of freedom continues in the other plays. But in a A Long, Long Tunnel(<멀고 긴 터널>), a prisoner who chooses freedom in spite of moral relations can't come to the South, through which this work criticizes the ultraright group of the South. Red and White(<적과 백>) deals with Hak-gu Lee, the North Korean officer, who converted to the South and then to the North again during the Korean War. Hereby this play criticizes the narrow-mindedness of the South covertly. To sum up, the Trilogy of the Prisoners features a anticommunist theatre, but especially A Long, Long Tunnel and Red and White criticize the intolerance of ideology of the South. But we have to admit that these works have some problems of dramaturgy and the consciousness of the playwright for the unification of Korea is not so strong.

도시개발 및 재생의 수단으로 통합적 공공미술 추진 전략 연구

조경진(Zoh, Kyung-Jin) 한국도시설계학회 2014 도시설계 : 한국도시설계학회지 Vol.15 No.1

본 연구는 도시개발과 재생에 기여한 공공미술 프로젝트의 해외 사례분석을 통하여 통합적 공공미술 추진 방향과 전략을 제시하고자 하는 데 목적이 있다. 최근 도시개발과 재생에 있어 공공미술은 효과적인 촉매제로서 활용되고 있다. 공공미술은 도시의 소프트한 자산으로서 장소에 활력을 부여하고 정체성을 제공하기 때문이다. 그러나 도시적 차원의 성공적인 공공미술 프로젝트가 어떻게 추진되었고, 그 효과는 어떠했는지, 그 조건은 무엇이었는지에 대한 논의는 많지 않다. 본 연구에서는 도시개발, 도시재생, 공공공간의 세 가지 차원에서 네델란드 유트레이트와 인접한 레이처 레인의 비욘드 공공미술프로젝트, 독일 뮌스터 조각프로젝트, 미국 시카고 밀레니엄파크의 사례를 다룬다. 사례 분석을 통하여 각기 프로젝트의 차이는 있지만 도시 비전의 공유, 안정적인 큐레이팅 시스템, 주민과의 소통 등이 공통적인 특징이라는 점이 발견되었다. 무엇보다도 공공미술 프로젝트가 도시개발이나 디자인의 일환으로 통합 추진되고 있음이 중요한 점이다. 이는 향후 우리나라 공공미술 프로젝트가 도시발전 전략이나 그리고 공공공간 활성화와 연계되어야 하는 시사점을 제공한다. This study aims to suggest coordinated public art strategies by examining successful public art projects related to urban development and regeneration. As a soft asset, public art has increasingly advocated for improving the quality of life, as well as for giving the identity and enhancing the vitality of place throughout the city-making process. However, there have scarcely been discussions of the planning process, effects of the projects, and premises of implementation. This study deals with three urban-scale public art projects. There have been various diverse-scale innovative coordinated public art projects, such as new town, downtown regeneration, and urban public space. The specific cases considered in this study are Beyond Leidsche Rijn, Munster Sculpture Project, and Chicago Millennium Park. Through the analysis, several key characteristics of these projects have been elicited, including the urban vision shared by people, the consistent and secure curating system, and the communication between artists and residents. This study shows how public art projects are related to urban strategies and design processes, as well as suggests several implications for future practices.