문화예술교육 전문 인력의 문화예술교육 협업 인식에 대한 탐색적 연구

이화정,임학순 한국예술경영학회 2018 예술경영연구 Vol.0 No.47

This article is aimed at exploring the teaching artists’perception of the collaboration among teaching artists in the arts education. for the purpose of facilitating the arts education collaboration activities. The teaching artist is considered as a key actor in the collaboration process of the arts education program. The survey research and indepth interview is conducted in order to examine the collaboration demand and attitude of the teaching artists. In addition, the effective collaboration factors are examined in terms of collaboration attitude, collaboration resources, collaboration platforms, collaboration management system, and collaboration outcomes. As a result, the teaching artists are considerably interested in the arts education collaboration programmes. The demand and expectation effect on the arts education collaboration is evaluated high. In addition, the teaching artists recognizes that the policy support programmes will be expanded in the future. However the current level of arts education collaboration system is not unsatisfactory. The policy concerns toward the arts education collaboration is not developed. the satisfaction level on the collaboration experience is an average. According to the factor analysis and regression analysis, the collaboration attitude and collaboration resources are associated with the expectation of the collaboration outcomes. Finally, the article recommends the arts education policy directions for establishing the arts education collaboration system in terms of collaboration culture, collaboration resources and platforms, collaboration management in the future. 이 연구는 문화예술교육 전문 인력의 문화예술교육 협업에 대한 인식을 협업태도, 협업 실태, 효과적인 협업 요인의 측면에서 살펴보고, 이러한 협업 인식이 향후 문 화예술교육 전문 인력의 창조적 협업 체계 맥락에서 갖는 정책적 시사점이 무엇인 가를 탐색하는데 초점을 두고 있다. 이를 위하여 문화예술교육 협업 프로그램에 참 여하고 있는 예술가교사들을 대상으로 설문조사를 실시하였으며, 협업 관련 관계자 들을 대상으로 심층 인터뷰를 실시하였다. 분석 요소는 협업 관심과 수요, 협업 실 태, 효과적인 협업요인으로 구성되었는데, 협업 요인으로는 협업태도, 협업자원, 협 업 플랫폼, 협업운영체계, 협업성과 기대 등이 포함되었다. 분석결과, 예술가교사의 협업에 대한 관심과 수요, 그리고 협업성과에 대한 기대는 높은 반면에 현재의 협 업 활동 및 정책체계는 상대적으로 취약한 것으로 나타났다. 그 동안 참여한 협업 활동에 대한 예술가교사의 만족도는 보통 수준으로 나타났다. 또한 예술가교사들은 문화예술교육 협업 맥락에서 현행 정책 지원체계는 취약한 측면이 있지만, 향후 문 화예술교육 협업 생태계 조성과 관련하여 문화예술교육정책이 확대될 것으로 기대 하고 있는 것으로 나타났다. 예술가교사들은 예술가교사의 협업 태도, 협업 플랫폼, 협업 자원, 협업체계 등 협업 성공요인에 대해 긍정적으로 평가하였다. 또한 요인 분석과 회귀분석 결과, 협업 태도와 협업 자원이 협업 성과에 영향을 미치는 중요 한 요인으로 나타났다. 이러한 분석결과를 바탕으로 이 연구에서는 협업문화, 협업 자원과 플랫폼, 협업 운영체계 구축을 중심으로 정책적 시사점을 도출하였다.

Kop 연결주의 학습이론 기반 문화예술교육 프로그램 적용

이철우 한국국제문화교류학회 2024 문화교류와 다문화교육 Vol.13 No.2

This study intends to present a new direction for arts and culture education by interpreting the experiences of arts and culture education based on connectivism learning theory of art instructors and teachers practicing arts and culture education in school from the perspective of connectivism and future arts and culture education. To this end, the research question was set as the meaning of arts and culture education experiences based on connectivism learning theory of art instructors and teachers in charge who are practicing arts and cultural education. In this study, after defining the basic concept of arts and culture education to solve the research problem, we discussed theoretically about arts and culture education in schools, connectivism, the era of open learning, and the digital native generation. And as a future arts and culture education, the meaning and value of arts and culture education based on connectivism learning theory was analyzed. Next, a narrative inquiry method was used as a research method to interpret the future arts and culture education experiences of art instructors and elementary school teachers, the participants in this study, from the perspective of connectivism. The results of analyzing the participants' arts and culture education experience from the perspective of connectivism and future arts and culture education are as follows. First, art instructors have formed their pride and identity as art instructors, arts and culture education experts, and artists even before working at Arte School. This process of identity formation put them in the position of experts as arts and culture education experts and artists, and became the starting point of arts and culture education based on connectivism learning theory at Arte School. Second, at Arte School, art instructors had a new experience of encountering the expansion of online education system and connectivism learning theory, and this experience led to the development and practice of a new arts and culture education program. Third, art instructors experience meeting with teachers at Arte School, learning and practicing connectivism, developing and practicing arts and culture education programs based on new connectivism learning theory, and experiencing connectivism learning theory-based culture as the direction of future arts and cultural education. I came to understand the value and meaning of art education. Since then, the development and practice of a new arts and culture education program at Arte School has been linked to the development and practice of a arts and culture education program based on connectivism learning theory elsewhere. Fourth, the new narrative of teachers who practiced the arts and culture education program developed by art instructors reaffirmed the value and meaning of arts and cultural education based on connectivism learning theory, which became a driving force for continuous research and development and practice. The significance of this study is that the experience of development and practice of arts and culture education based on connectivism learning theory can suggest a direction as an alternative to new arts and culture education in the rapidly changing modern society and future society. In order to expand the value and meaning of arts and culture education based on connectivism learning theory in the future, more research and professional arts instructors and teachers should be developed.

남북한 문화예술교육방법의 비교: 정부간행 잡지 기사를 중심으로

유선아,박주연,신형덕 아시아.유럽미래학회 2019 유라시아연구 Vol.16 No.3

One of the important values in the inter-Korean exchange and cooperation process is mutual understanding. In the process, it can be seen in the process of German unification that culture and art can play a role in maintaining the unity of members. In addition, cultural arts, which are closely related to the daily lives of the inhabitants, can change public perception through education. The two Koreas, which have different systems, have different goals for cultural and arts education. The ultimate goal of North Korea’s cultural arts education, armed with the party’s subjective aesthetic ideology, contributes to the construction of socialism, which is very different from the goal of cultural arts education in South Korea. However, cultural arts education methods, which are considered desirable in terms of daily cultural arts education activities, may not necessarily be subject to the political orientation of the two Koreas. For example, detailed educational methods of cultural arts education, such as fostering creative artists or fostering professional skills, can be achieved without being tied to the political systems of the two Koreas. The purpose of this study is to examine and analyze the educational methods in the actual culture and arts education sites of the two Koreas, instead of the existing researches mainly made in terms of educational policy and curriculum. To this end, this study compared the daily culture and arts education methods of the two Koreas by extracting the articles introduced by covering the desirable culture and arts education sites in the North and South Korea magazines. The data used in the analysis were ‘Happy Education’ issued by the South Korean Ministry of Education and ‘Art Education’ published by the 2.16 Art Education Publishers in North Korea. A total of 99 articles were extracted and compared according to the classification criteria. As a result, South Korea found an interesting finding that North Korea placed more emphasis on professional skills than North Korea, and North Korea emphasized autonomous learning compared to South Korea. It was also found that everyday cultural and arts education in North Korea is carried out in much more ways than the items suggested by the socialist arts education method. Through this comparison, this study suggested practical education methods in the field of cultural arts education of the two Koreas, and suggests implications for the integration process.

삶과 함께하는 문화예술교육: 포용성과 일상성 확보를 위한 사회문화예술교육의 전환

김자현 경희대학교 후마니타스 교양교육연구소 2021 후마니타스 포럼 Vol.7 No.2

Arts and culture education initiatives first gained momentum in 2005. In the earlier years, support for arts and culture education centered around vulnerable (marginalized) communities. Later, this expanded to include the general populace. Partnerships with local governments created an environment in which more members of regional communities are able to benefit from arts and culture education. Despite such achievements, arts and culture education policies still take a welfare approach in targeting vulnerable communities, and they do not reflect the diverse characteristics of each particular region. As such, a transition to "arts and culture education for all Koreans" and "arts and culture education in accordance with sociocultural shifts" will be necessary. This study examines the outcomes and limitations of arts and culture education initiatives, recent issues, and the future direction of arts and culture education. In order for all Koreans to benefit from arts and culture education, an apparatus must be designed so that arts and culture education is accessible in everyday life. Moreover, a novel approach to arts and culture education is required, one that transcends the arts and culture experiences of the individual and examines and interacts with a diverse range of sociocultural agendas including generational conflict, climate change, and gender issues. 2005년 이후 본격 추진된 사회문화예술교육 정책사업은 사회취약계층 및 군부대, 교정시설, 아동․노인․장애인 복지기관 중심의 지원에서 점차 청소년․청장년 등 일반국민으로 확대되었고, 지역의 추진체계(지역문화예술교육지원센터) 구축을 통해 지역주민이 참여할 수 있는 구조로 확장되면서 그 성과를 축적해왔다. 그러나 특정대상 중심의 복지적 관점의 정책 추진, 지역 특성이나 현장의 수요를 반영하지 못하는 한계를 넘어,‘모든 국민을 위한 문화예술교육’,‘사회문화적 변화에 조응하는 문화예술교육’으로의 전환이 요구된다. 본 논문에서는 공공영역에서 추진해 온 사회문화예술교육의 정책사업을 중심으로 사회문화예술교육의 정체성, 성과와 한계, 최근의 이슈, 미래 사회문화예술교육의 방향 등을 모색해 보고자 한다. 누구나 배제 없이 모든 국민이 문화예술교육을 누릴 수 있는 권리를 보장하기 위해서는 중앙주도의 취약계층 중심의 지원구조에서 지역 중심의 생활권 단위 지원구조로의 전환이 필요하다. 또한 개개인의 예술적 체험에 머무는 것이 아닌, 세대갈등, 기후변화, 젠더이슈 등 다양한 사회문화적 의제를 일상 생활 속 실천으로 연결해보는 사회문화예술교육의 새로운 접근 노력이 모색되어야 할 것이다.

국어교육과 매체언어문화 : 국어교육과 매체언어문화

박인기 ( In Gee Park ) 국어교육학회 2010 國語敎育學硏究 Vol.37 No.-

매체와 언어와 문화는 국어교육의 생태와 환경이다. 매체와 언어와 문화는 서로 상호작용한다. 매체와 언어와 문화는 서로 연속적이고 중층적인 관계로 구조화 되어 있다. 따라서 우리는 매체와 언어와 문화를 복합적으로 경험한다. 우리는 이 `매체·언어·문화·교육`의 중층적 현상을 연구하여 국어교육의 내용으로 반영해야 한다. 이런 현상으로 인하여 국어교육은 교육과정 혁신(curriculum innovation)을 해야 하는 단계에 이르렀다. 지금까지의 국어교육 내용은 지나친 언어중심주의(logocentrism)에 의존하여 왔다. 그 결과 학생들은 `소통능력`과 `언어능력`이 괴리되고, 언어학이나 문학이론 등 학문적 내용이 국어교육의 내용으로서 독점적 지위를 누려왔다. 따라서 국어교육의 생태 환경(문화, 미디어, 테크놀로지)에 대해 적응하지 못하고, 국어 교과는 진화에 유연하지 못했다. 현재 국어과의 매체언어교육(media education in education of Korean arts) 실태는 다음과 같다. 첫째, 국어과 미디어 교육 내용이 주로 기능적 사용 차원의 내용이 주류를 이루고 있다. 둘째, 매체 언어에 관한 교육 현장의 실천 담론과 이 분야 연구 이론 담론 사이에 원활한 연결이 이루어지지 못했다. 셋째, 국어교육이 미디어 현상을 교육내용으로 수용하는 데에 소극적이다. 국어교육에서 매체현상을 미래지향적으로 수용함으로써, 국어교육을 진화시킬 수 있다. 첫째, 미래사회는 매체가 주도하는 매개된 `경험(지식)`이 증가한다. 매개된 `경험(지식)`의 문제점을 직시하고, 매체에 대한 비판적 문식성(critical literacy)이 더욱 강조되어야 한다. 둘째, 언어 자체를 익히도록 하는 것에서 포괄적이고도 다층적인 소통능력을 중시하는 방향으로 국어교육이 전환되어야 한다. 셋째, 미디어교육의 내용과 수요는 기존 국어교육에 대해서 대체재(代替財)의 역할보다는 보완재輔完財)의 역할을 하는 것이 바람직하다. 넷째, 국어교육 내부에서 미디어교육이 호응, 융합됨으로써, 현재로서는 예견할 수 없는, 국어교육의 부가가치를 생산할 수 있을 것이다. 이러한 부가가치는 국어교육을 풍요롭게 한다. 나아가서는 국어교육으로부터 교육의 보편적 원리를 창출할 수 있는 수준에 이를 것이다. Media, language and culture are ecology and environment for Korean language arts education. Media, language and culture are operated interactively. Media, language and culture are structured in a way that they are continuous and multi-layered. Therefore, we are experiencing media, language and culture with complexity. We need to research multi-layered phenomena of this `media, language and culture` thus apply them for content of Korean language arts education. For this reason, Korean language arts education has reached a phase for curriculum innovation. Contents of Korean language arts education has relied on logocentrism too much so far, and as the result, students have been alienated from `communication skill` and `language ability`, so academic contents such as linguistic and literary theory have enjoyed its exclusive position. Therefore, it was impossible to be accustomed to new ecological environment for Korean language arts education (Culture, Media and Technologies) and its curriculum was not flexible for evolutions. Currently, state of media education in Korean language arts education is as following: First, contents of media education for Korean language arts has its mainstream in term of functional usage aspects. Second, practicing discussion for education site of media language has not been easily met the discussion of media education research theory. Third, Korean language arts education is reluctant to introduce media phenomena into curriculum contents. Korean language arts education can be evolved by adopting media phenomena in term of future-centric aspect. First, in future society, intermediated `experiences (knowledge)` led by media will increase. By focusing on the problems in intermediated `experiences (knowledge)`, critical literacy regarding media needs to be more focused. Second, Korean language arts education needs to be converted from learning language itself to comprehensive and multi-layered communication skill. Third, contents and demand for media education is more required to play a role for complementary goods rather than alternatives for conventional Korean language arts education. Fourth, it is expected that additional value which can`t be expected now can be produced by preferring and fusing media education within Korean language arts education. This additional value makes korean language arts education more affluent. Furthermore, its value will reach a phase of creating general principles for education from Korean language arts education.

문화예술교육의 학교교육으로서의 확장가능성 탐색을 위한 관련법 비교 분석 연구

박남정 한국문화교육학회 2023 문화예술교육연구 Vol.18 No.5

The purpose of this study is to examine the possibility of qualitative growth of cultural arts education within elementary and secondary schools from a legal perspective. unlike the confusion during the early stages of policy introduction in 2005. However, due to discrepancies and conceptual ambiguity among similar terms regulated by the law, elementary and secondary schools operating educational processes according to the law face difficulties in incorporating cultural arts education. This study analyzes the Education Act , Elementary and Secondary Education Act , and 「 」 「 」 「 General Principles of Elementary and Secondary Education Curricula , and which 」 regulate the field of arts education in the subject education-centered school system, and analyzes the Promotion of Cultural Arts Act and Support for Cultural Arts 「 」 「 Education Act to explore legal differences between similar terms. By scrutinizing the 」 status and categorization of cultural arts education from a legal standpoint, this research presents a novel approach to understanding the future-oriented role of cultural arts education within school systems. At a juncture when the interest and adoption of cultural arts education is on the rise, the study offers insights into potential legal and administrative modifications. These insights are particularly relevant as they are drawn from an examination of the recently debated amendments to the 「 Support for Cultural Arts Education Act

문화예술교육으로서 영화교육의 현황과 전망

민경원(Min Kyung Won) 한국영화학회 2011 영화연구 Vol.0 No.49

The arts & culture education that began in 2005 has brought about diversity of school arts & culture education in many respects for 7 years. The core of all education consists in the students who enjoy education and accept and develop arts & culture education. The purpose of arts & culture education is set in proper direction when they recognize and utilize the objectives and needs of arts & culture education properly. Arts & culture education has been expanded to a total of 8 areas by adding 3 areas of photograph, design, and crafts from 2010 to the existing 5 areas of theater, film, animation, dancing, and Korean traditional performing arts. However, it cannot be said that arts & culture education develops just because the genres of arts & culture education are expanded. How adequately the educational contents are organized, how properly the instructors are conveying the educational contents, and how actively students are participating in the education need to be examined. Particularly, the following two factors are urgent problems that should be solved anytime soon in order to attain film education. First, ‘teaching materials’ should be developed. It is reality that elementary and intermediary film education has been conducted with teaching plans prepared at the instructor’s discretion without film textbooks. The development of moving image data teaching aids and some teaching materials has been under way but the reality is that there are no official film education textbooks. Film textbooks should be developed and established anytime soon so that film education by differentiated level can be implemented and actively utilized in the film education fields. Second, ‘creative teaching method’ should be developed. Film art instructors’ training programs should be organized so that creative education by creative power teaching method can be attained, instead of just focusing on simple routine training. Arts & culture education that is based on creative writing should be approached differently from other general subject of studies education. ‘It is nothing particular. Isn’t it a creative teaching method since it is based on creative writing? Such preconceived notion should be discarded. In arts & culture education, it is the film education that should be conducted by systematizing creative teaching method so that the students’ imagination can be developed infinitely and applied to all the areas of daily life. And it should help the student grow as well-rounded persons contributing to society, if not necessarily grow as artists. Creative teaching methods should be applied to all aspects of arts & culture education in the school educational fields so that the students can enjoy arts & culture education pleasantly. Particularly in film education, educational activities encompassing entire moving image media should be developed and the concept of one-source-multi-education, the characteristics of film, should be expanded and developed to classes connected to diverse school educational courses of studies, and this is the purpose that film education as arts & culture education should pursue.

예술교육에서 예술인성교육의 개념

정현주,김정희,김수지 이화여자대학교 교육과학연구소 2014 교육과학연구 Vol.45 No.1

Arts education has been emphasized as a medium of character education in rapidly-changing societies. This study aimed to identify the concept of arts character education focusing on music and art activities. The concept of character was divided into three subcategories: Intra-personal, inter-personal, and sociocultural aspects. Characteristics and applications of music and art activities were suggested for each subcategory. Overall, understanding arts character education, which is different from regular arts education, is important because arts character education can be effective only when teachers and school staff are able to differentiate between the two educational approaches. Future studies in arts character education should be conducted based on a clear understanding of the significance of character in the arts, and curriculum and assessment for arts character education need to be developed as well. Future research should address how to facilitate desirable character development in school, including preventive aspects of arts character education. 현대사회의 변화와 그에 부응하는 인성교육의 방안으로 예술교육에 대한 중요성이 강조되고 있다. 이에 본 연구는 정부지원을 통한 다양한 예술인성교육이 시도되고 있는 현재 예술교육에서 예술인성교육의 개념과 핵심요소를 개인적, 관계적, 사회문화적 측면에서 논의하였다. 일반적인 인성교육은 학교 교육의 모든 교과를 포괄하는 관점에서 관련 덕목을 제시한 반면 본 연구에서는 예술교육에서 제공되는 활동의 심리.정서적 표현과 사회적 특성을 중심으로 예술인성교육의 개념과 핵심요소를 규명하였다. 예술의 개인적, 관계적, 사회적 특성을 중심으로 예술교육 내에서 어떻게 인성교육이 이루어질 수 있는지를 인성개념과 예술 내에서의 핵심 요소를 중심으로 살펴보고 이를 예술인성교육으로 명명하였다. 예술인성교육은 학교 내는 물론 학교 밖에서도 개인적, 관계적, 사회적 차원에서 계획되고 운영되어야 하며 바람직한 인성발달을 도모하기 위한 예방적 차원에서도 확대되어야 한다.

대학 발전의 미래 가치로서의 교양교육의 방향 모색

송유진(Song, Eu-Gene) 한국교육철학회 2009 교육철학 Vol.39 No.-

This study is based on the view that the reestablishment and reinforcement of liberal arts education at university is what the society and the university should aim at for their advancement in terms of the future value. The results are following. First, the liberal arts education has been sustained in two main streams of the liberal education and the general education since it originated in the Ancient Greek Age and experienced some changes in the genuine meaning of the education. The spirit of liberal education is involved with the conception of leisure and freedom and occupied only by the privileged class, which therefore is considered opposite to that of vocational education. But liberal education was served as an opportunity for everyone to receive liberal arts education. The purpose of liberal arts education, which was concentrated on the liberal education and the theoretical aspect of education, sought for the intellectual excellence of human beings through training and development of their reason. Second, there were two attitudes which theoretically confirmed the definition of liberal arts education: one is a reason focused attitude which was concentrated on cultivation of human reason and mind on the basis of liberal education view; the other is a utilitarianism attitude purposed on practical side of education in terms of general education view. Regardless of the differences between the two angles, it is needless to say that the ultimate purpose of liberal arts education should involve both the liberal education for training of human mind and the general education for realizing what they learned in practice because the essential purpose of today's education must be to nurture a whole person. Third, one of the educationalists who dedicated themselves to improvement of liberal arts education's contents and method is a rationalistic educationalist, M. J. Adler, who thoroughly recognized the necessity and importance of liberal arts education in the early 20th century and put forth his whole energy on cultivation of genuinely liberal arts educated persons. His education programs contain a kind of modernity, what we are faced with in the present, and suggest some practical implications that we should attempt in order to achieve more desirable effects from the present education system. So it seems needed to review the past to find a guide into tomorrow. Finally, whether the liberal arts education may succeed or not may depend on so called "the inter-liberal arts subjects project" through an independent institute which covers all the works with liberal arts education within university. In short, it means that liberal arts education desperately needs specialization. When this is achieved, the liberal arts education surely serves as the major driving force to lead the growth of education quality and the improvement of university competitiveness to be speeded up effectively as well as individuals and society to be more matured and qualified.

교정시설 내 인문학 교육의 현재와 발전 방안에 관한 연구

정봉길 한국교정학회 2015 矯正硏究 Vol.- No.66

Today, the liberal arts education in Correctional facilities have been most one-offthing and have not been done systematic training. Above all, the reason is due toignorance and apathy on the liberal arts of the staffs. In view of this points, This treatise is drawen up with the two directions inmind for a substantial education in the liberal arts. One is What is the liberal arts and Why do need a liberal arts education inCorrectional facilities the other is Who is the object of a liberal arts education andWhich way do educate?The former study the concept of liberal arts of the East and the West andClement Course has an effect on the liberal arts education in Correctional facilities. and I study the reason why the liberal arts education will give a helping hand toprisoners. The latter I study that the liberal arts education also need staffs as well asprisoners. In particular, prison officer in Education charge should be the role of professor. But in existing researchs, There is no discussion Education staff How to train withany program. For this reason, I emphasizes that “the liberal arts education” mustbe organized into formal courses and It must be done periodic training. Educationfor prison inmates also study Subject selection, training objectives, training andinfrastructure. The important thing for a successful liberal arts education is that prison officers know the meaning of liberal arts education. And prison officers should conduct asystematic training to prison inmates. For this purpose, Education for staffs must be done preceding. In that Thistreatise is significant to take pains of necessity of liberal arts education. 오늘날 교정 현장의 인문학 교육은 대부분 일회성으로 행해지고 있으며 체계적인 교육은 실시되지 못하고 있다. 그 이유는 무엇보다 교정 직원들의 인문학에 대한 무지와 무관심에 기인한다. 이런 점들을 고려하여 본 논문은 내실 있는 인문학교육을 위해 두 가지 방향을 염두에 두고 작성하였다. 그 하나는 인문학이란 무엇이며 왜 교정 시설에서 인문학 교육이 필요한지 그이유를 밝히고자 한 것이고, 다른 하나는 인문학 교육은 누구를 대상으로 어떤 방법으로 실시하느냐? 하는 것이었다. 전자를 위해 동·서양의 인문학 개념과 클레멘트 코스가 우리 교정 시설 내 인문학 교육에 끼친 영향 등을 알아보았다. 그리고 인문학이 어떻게 수용자들의 삶에도움을 줄 수 있는 이유를 연구하였다. 후자에 있어선 수용자 위주의 인문학 교육이 수용자뿐 아니라 직원들에게도 필요하다는 것과 그 구체적인 교육 방법을 논하였다. 특히 교육 담당 직원은 대학의 지도교수의 역할을 해야 함에도 기존의 연구들엔이들 교육 담당 직원을 어떤 프로그램으로 어떻게 교육 시킬 것인가에 대한 논의가 없었다. 이에 필자는 법무 연수원에 “인문학 교육”을 정식 과목으로 편성하여 주기적인교육이 필요함을 강조하였다. 수용자 교육에 있어서도 대상자 선정, 교육 목표 설정, 교육 인프라등에 대해 연구하였다. 교정 시설 내에서 성공적인 인문학 교육을 하는데 중요한 것은 교정 직원들이인문학 교육의 의미와 필요성을 깨달아 수용자에게 체계적인 교육을 실시 하는 것이다. 이를 위해 먼저 직원들에 대한 선행 교육이 이루어져야 한다. 그런 점에서 이 논문은 교정 시설 내에서 인문학 교육의 필요성에 대해 고민을 한 데 의의가 있다.