『지성과 감성』과『오만과 편견』에서 일탈적 감수성과 정상

손영희 ( Young Hee Son ) 한국영어영문학회 2011 영어 영문학 Vol.57 No.5

This study compares and contrasts Jane Austen`s novels of sensibility with those of Rousseau and Goethe. In Julie, or The New Heloise and The Sorrows of Young Werther, the passionate but doomed love of the heroine and her lover is juxtaposed with her passionless marriage to the virtuous husband. In Sense and Sensibility and Pride and Prejudice, Austen revises Rousseau and Goethe`s novels of sensibility to accommodate them to the puritanical English literary conventions. She parodies the basic plot of Menage a trois found in their novels of sensibility and transforms her novels into British Bildungsroman, focusing on the heroines` maturation. In Sense and Sensibility, Marianne stands up against the mercenary and snobbish high society. However, Austen represses Marianne`s sensibility since the indulgence in sensibility can bring about sexual fall, as is evidenced by the cases of the two Elizas. Marianne`s dangerous fever following Willoughby`s betrayal emphasizes that female sexual desire should be punished for her continued existence in the high society. The taming of her sensibility and body through the fever is posited as a prerequisite for the happy marriage. In Pride and Prejudice, Elizabeth favors the deprived Wickham over the wealthy Darcy. As Wickham turns out to be a debauched lover, Darcy snatches sexual charms from him and is transfigured into one of the most virtuous and attractive husbands in Menage a trois of the novels of sensibility. Acknowledging sexuality as a vital element of a courtship, Austen embeds sexual desire in dances and glances. However, Elizabeth has to repress sensibility and desire and the complete gratification of desire is continuously deferred to some indefinite period in the future. Marriage is a synecdoche for the union of the bourgeois and the aristocracy in Austen`s Bildungsroman and Marianne and Elizabeth are bestowed with happy marriage in return for repressing their sensibility and desire. Since their ``normality`` and ``maturation`` have been achieved at the expense of subversive sexual power of deviant sensibility, they look too impotent to gratify their desire when they finally secure comfortable but mediocre upper class life.

여성시인의 감수성의 시학

강옥선(Kang Ok-Sun) 새한영어영문학회 2003 새한영어영문학 Vol. No.

The poetics of sensibility has been long ignored out of a blind defense of the classical tradition. However, a careful reconsideration is in order. The poetics of sensibility developed new modes of expression through opposing the traditional view of reason, by suggesting that it could no longer serve a truly rational mind. Philosophers, such as David Hume and Adam Smith defined reason as inactive, because it can never be a source of the conscience or moral. However, "sensibility," as a very powerful emotional principle in human nature, has a great influence on our judgment of beauty and morals. Thus, morality and emotion are directly connected with the poetics of sensibility. In the poetics of sensibility, a person's value is defined by neither social position nor even accomplishment, but by their capacity for feeling. The poetry of sensibility is basically a literature of an expression of "spontaneous feeling" of the heart. In the last part of the 18th century, it poured from women's emotional experiences on the margins of culture, especially in the outlying provinces. Ann Yearsley incorporated the language of sensibility into her work though she was doubly disadvantaged in the literary world; she was a woman without formal education. In Yearsley's poems, sensibility takes the form of an endless emotional struggle between herself and her privileged supporters, especially the overzealous support of Hannah More. Anna Barbauld challenges male dominated values with shadowy meaning at its core by showing a portrayal of alienated sensibility through the description of daily details. Barbauld's poetic sensibility is developed into moral sensibility by conscience and sympathy. In the poetics of sensibility, the aim of art is to affect through sympathy and not by imitation. Women poets are sympathetic to distress and victimization, with a profound emotion of being themselves dispossessed. Women poets' poetics of sensibility is radical in that it favors reform through its emphasis on victims, and questions the established hierarchies of birth and gender. Women poets created poetry in a time limited by the dominion of male values, and in doing so sought an appropriate medium to allow readers to step out of the logical confines of the mind into the feeling sensibilities of the heart.

여성시인의 감수성의 시학 : 앤 이어슬리와 애너 바볼드의 시를 중심으로 Focusing on the Poems of Ann Yearsley and Anna Barbauld

강옥선 새한영어영문학회 2003 새한영어영문학 Vol.45 No.2

The poetics of sensibility has been long ignored out of a blind defense of the classical tradition. However, a careful reconsideration is in order. The poetics of sensibility developed new modes of expression through opposing the traditional view of reason, by suggesting that it could no longer serve a truly rational mind. Philosophers, such as David Hume and Adam Smith defined reason as inactive, because it can never be a source of the conscience or moral. However, "sensibility," as a very powerful emotional principle in human nature, has a great influence on our judgment of beauty and morals. Thus, morality and emotion are directly connected with the poetics of sensibility. In the poetics of sensibility, a person's value is defined by neither social position nor even accomplishment, but by their capacity for feeling. The poetry of sensibility is basically a literature of an expression of "spontaneous feeling" of the heart. In the last part of the 18th century, it poured from women's emotional experiences on the margins of culture, especially in the outlying provinces. Ann Yearsley incorporated the language of sensibility into her work though she was doubly disadvantaged in the literary world; she was a woman without formal education. In Yearsley's poems, sensibility takes the form of an endless emotional struggle between herself and her privileged supporters, especially the overzealous support of Hannah More. Anna Barbauld challenges male dominated values with shadowy meaning at its core by showing a portrayal of alienated sensibility through the description of daily details. Barbauld's poetic sensibility is developed intomoral sensibility by conscience and sympathy. In the poetics of sensibility, the aim of art is to affect through sympathy and not by imitation. Women poets are sympathetic to distress and victimization, with a profound emotion of being themselves dispossessed. Women poets' poetics of sensibility is radical in that it favors reform through its emphasis on victims, and questions the established hierarchies of birth and gender. Women poets created poetry in a time limited by the dominion of male values, and in doing so sought an appropriate medium to allow readers to step out of the logical confines of the mind into the feeling sensibilities of the heart.

감성 신장을 위한 동화 지도 방법 연구

최경희 ( Choi Kyong-hee ) 한국초등국어교육학회 2003 한국초등국어교육 Vol.23 No.-

본 논문에서는 감성의 개념과 특성에 대해 살펴보고, 문학작품을 통해 기르는 감성이란 무엇이며, 감성에 대해 가르치는 것이 아니라, 감성적인 능력을 계발하는 교육이 필요하다고 생각하고, 문학 감성 신장을 위한 지도 방법에 대하여 논의하였다. 문학 작품을 통해 기르는 감성은 문학 정서 체험과 관련되며, 사고와도 밀접한 관련이 있다. 따라서 아동들의 감성 체험을 보다 구체적이고 섬세하게 표현할 수 있도록 문학 언어 활동을 풍부하게 경험하도록 해주고, 문학언어의 활용 능력에도 관심을 기울여야 할 것이다. 그리고 이러한 감수성은 갑자기 획득되는 것이 아니기 때문에 적절한 지도에 의해 육성되어야 한다. 구체적인 지도 방법으로는 예민한 감수성으로 민감한 반응을 할 수 있도록 돕고, 보이지 않는 것을 볼 줄 아는 상상력 계발에 효과적인 동화 작품을 대상으로 지도 방안의 예를 간략하게 제시하였다. 감성을 기르는 순서를 생각해 보면, 먼저 작품을 읽고 ‘느끼고, 생각하도록’ 한다. 즉 아동들의 마음 속에 있는 감성을 불러 일깨우고, 아동의 감성을 넓혀 나가야 한다. 그리고 아동 각자가 서로 다른 시점으로 다른 감각으로 문학작품을 들여다 보게 함으로써 감성을 연마해 나가도록 해야 한다. 동화교육은 본질적으로 감성교육이라 할 수 있기 때문에, 아동들의 잠재된 감성을 계발하는 방법으로 교육을 해야 한다. 감성을 계발하기 위해서는 동화가 지니고 있는 내용미와 형식미를 총합적으로 이해하도록 해야 하며, 작품의 지적 이해보다는 정적 이해를 하도록 지도해야 한다. 그 지도 방법으로 동화 작품의 서술이나 표현을 독해하는 가운데, 감성을 보다 풍부하게 이끌어 낼 수 있는 구체적인 예를, ‘직감적 감성교육, 행동적 감성교육, 감정이입 감성교육, 생활적 감성교육’으로 나누어 제시해 보았다. 본고에서 제시한 지도 방안은 감성능력을 편의상 구분한 것이기 때문에, 실제 지도시 중첩되어 지도되는 경우도 있을 수 있다. 따라서 감성 교육의 지도의 강조점이 다를 뿐이기 때문에 각각의 작품이 지니고 있는 특유한 아름다움(가치)을 아동들의 감성 발달 단계에 맞게 총합적으로 지도하는 데 주안점을 두어야 할 것이다. This study surveyed the sensibility as a human ability, the definition of the sensibility which is developed by literary works, and discussed the way to teach the improvement of literary sensibility cause we thought that we do not teach about the sensibility but to educate the development of sensitive ability. The specific guidances are like these : Help the children react susceptibly with a keen sensibility and present briefly the examples of teaching methods using fairy tales works which is effective to develop the imaginative power that can make people see invisible things. According to the developing sensibility orders, we have to read the works at first and 'feel and think'. That means teaching should evoke the sensibility within the children's minds and enrich the children's sensibility. We have to teach each of the children how to cultivate the sensibility by looking into the literary works with different points of views and senses. We must educate children to improve their potential sensibility because we can essentially say the fairy tale education is the sensibility education. We have to guide them to understand the contents beauty and formal beauty synthetically to cultivate the sensibility and teach them to comprehend the works emotionally rather than intellectually. The guidances are like these : Take specific examples to evoke the abundant sensibilities while children read and understand descriptions and expressions of fairy tale works. Examples are divided into intuitive sensibility education, behavioral sensibility education, ability of sympathize with another person sensibility, life sensibility education. Because these teaching methods are divided for convenience, they could be taught not separately but together in the real classes. So we have to focus on teaching totally unique beauty(value) that each of works connotes according to the levels of children's developments since the emphases of teaching sensibility education are just different. The ways to teach the fairy tales for extending the sensibility are more various and diverse except theses methods. This study just presents one of the examples to improve the literary works sensibility. The studies will be needed more than ever to teach to widen children's literary sensibilities and to bring them up more exquisitely.

퇴계 이황의 도산서당 시에 나타난 공간감성과 그 의미

김소연 동양한문학회 2022 동양한문학연구 Vol.63 No.-

This paper examines how to express the space sensibility on Toegye Yi Hwang(1501~1570)’s Dosanseodang poems. Yi Hwang’s Dosanseodang poem is 68 Je(題) 202 Su(首), and Romance sensibility tops them all in four space sensibility types as 52 Je(題) 174 Su(首). It appears with another space sensibility, such as moral sensibility and life sensibility, and mostly with the moral sensibility. The landscape of Dosanseodang is described descriptively or lyrically, and connotes his feelings on his Dosanseodang poems which involve romance sensibility. Clear and serene landscape make him learn the meaning of Neo-Confucianism’s xūlíngbúmèi[虛靈不昧] on his Dosanseodang poems, which involve romance sensibility and moral sensibility. He depictes the retreat life such as the reading and pursuit of study in Dosanseodang, and expresses the feeling about his social activity with his students through the landscape of the moment at his Dosanseodang poems, which involve romance sensibility and life sensibility. The fact that the romance sensibility is usually found on his Dosanseodang poems shows him as a lyric poet, and makes Dosanseodang become personal and ordinary life space to him. The ordinary life and idyllic landscape on Dosanseodang involved Neo-Confucianism’s teaching is connected with xiàxué ér shàngdá[下學而上達]. Finally, the space sensibility of his Dosanseodang poems influence in the Dosanseodang trip after Yi Hwang’s death. 본고는 이황의 도산서당 시에 나타난 공간감성의 양상을 분석했다. 이황의 도산서당 시는 68제 202수로, 네 가지의 공간감성 유형 중 낭만감성이 52제 174수로 가장 많은 비중을 차지했다. 낭만감성은 도학감성ㆍ생활감성 등 다른 감성들과 동시에 함께 발현되기도 했는데, 그중에서 도학감성과 낭만감성이 동시에 함께 발현된 경우가 많았다. 이황은 도산서당에서 바라봤던 풍경을 시를 통해 낭만감성을 발현했다. 도산서당의 풍경을 객관적ㆍ서정적으로 표현하여, 풍경이 주는 아름다움이나 정감을 드러냈다. 혹은 자연 풍경에 자신의 정서를 의탁했다. 낭만감성과 도학감성이 동시에 함께 나타난 시에서는 말갛고 깨끗한 도산서당의 풍경을 그리면서, 이를 통해 성리학에서 말하는 人心과 허령불매의 경지를 이해한다. 낭만감성과 생활감성이 동시에 함께 나타난 시에서는, 독서ㆍ강학 등 도산서당에서의 은거 생활을 풍경과 함께 담아내었고, 제자들과의 친목 활동에서 느낀 바를 당시의 풍경에 의탁하여 표현했다. 이황의 도산서당 시에 낭만감성이 빈번하게 나타난다는 점은 서정시인으로서의 그의 면모를 부각시켜 주면서, 도산서당이 이황 개인의 일상생활이 펼쳐진 공간이자 그의 정서를 담고 있는 공간이 될 수 있었음을 보여준다. 그리고 그가 도산서당에서 일상적으로 접한 풍경을 통해 성리학적 이치를 이야기한 것은 下學而上達의 구현으로 볼 수 있다. 마지막으로 그의 도산서당 시에서 발현된 공간감성은 그의 사후 후대 문인들의 도산서원 탐방에 영향을 끼친다는 점에서 의미가 있다.

유아 감성교육의 의미와 중요성 탐색

김영옥 한국생태유아교육학회 2010 생태유아교육연구 Vol.9 No.4

21세기는 감성이 뛰어난 창의적 인재를 기대하며 그 어느 때보다도 감성교육의 중요성이 강조되고 있다. 이에 유아기 감성교육의 의미나 중요성에 대한 보다 깊이 있는 통찰과 탐색이 이루어질 때 감성교육의 내용이나 방법도 구체화될 수 있을 것이다. 본 연구는 우리전통문화 속에 은유되어 온 감성교육의 흐름을 짚어보고 감성교육의 의미와 중요성을 탐색하고자 하였다. 따라서 감성교육을 포스트모더니즘 시대의 요구, 미래사회의 성장동력, 아동중심교육의 본질, 성격도야와 인성교육, 조상의 지혜와 역사적 교훈, 생명존중 및 생태주의 연구의 영향, 신경과학 및 뇌 기반 교육연구, 다중지능과 관계능력, 마음이론과 보살핌의 미학, 성취심리와 열정이라는 10가지 관점에서 그 논의를 확장하였다. 감성교육은 성장과 성숙에 필수적일 뿐만 아니라 다양한 경험을 바탕으로 연습과 도야가 이루어져야 할 것이다. 이와 같은 10가지 관점에 대한 탐색을 기초로, 유아감성교육에 대한 내용과 방법을 포함하여 앞으로 유아교육과정을 구성하기 위한 시사점을 도출하고 과제와 방향을 제안하였다. The 21st century demands creative people with high sensibility. In response to the need, sensibility education is becoming more important than ever. When the meaning and importance of early childhood sensibility education are explored and understood more profoundly, sensibility education including its contents and methods can be designed more concretely. Based on the concept and elements of sensibility discussed in previous studies, this study reviewed the flow of sensibility education implicated in Korean traditional culture and examined the meaning and importance of sensibility education. This study analyzed and discussed sensibility education from 10 viewpoints: requirements in the age of postmodernism, the growth engine of future society, the nature of child‐centered education, character building and moral education, ancestors’ wisdom and historical lessons, respect for life and the influence of ecological research, neuroscience and brain‐based education research, multiple intelligence and interpersonal skills, mind theory and the aesthetics of caring, and desire for achievement and passion. It was emphasized that sensibility education is essential for growth and maturity, and sensibility should be practiced and developed through various experiences. Based on the discussion, the study derived implications for planning early childhood education curriculums including the contents and methods of sensibility education, and suggested tasks and directions for future research.

국내 패션디자인 감성평가 연구방법의 현황과 해외 적용 방안에 대한 연구

안효성 ( Hyosun An ),이인성 ( Inseong Lee ) 한국의류학회 2016 한국의류학회지 Vol.40 No.4

In the 21st century of digital information society, design is changing from an analog era that focuses on logical and rational knowledge to a new paradigm of an era focused on sensible communications that can react fast. Design becomes to fulfill sensible needs; moreover, full efforts are being made in the academic research of sensibility evaluation for the conceptualization, quantization, and visualization of design sensibilities based on the measurement and evaluation of sensibility. This study provides insight into a sensibility evaluation method to understand the global user``s sensibility in the fashion design field. As for research methods, first, measurement methods of physical, psychological, and physiological reactions to design sensibility were examined through written research on sensibility evaluation in both domestic and overseas research. Next, studies on sensibility during the past 15 years from 2000 to 2014 in the field of domestic fashion design were analyzed to grasp research trends in sensibility evaluation methods; subsequently, suitable sensibility evaluation methods for current fashion design were discussed. As a result of the study, it was shown that most sensibility evaluation studies in the field of domestic fashion design are based on surveys using sensibility terms. However, it requires the process of translating among different terms in different lingual cultures and within the limits of a uniformed evaluation. In this regard, recent cases of overseas design studies have been applying new methods to measure physiological reactions such as eye tracking methods combined with IT. The analysis of multilateral sensibility evaluation methods in this study have significant meaning for use as basic data to establish a planning for an evaluation scale to measure the sensibility of global consumers towards modern fashion design more quantitatively.

포스트휴먼 시대 디지털 감성으로 접근하는 미술교육

박수정,이미희,전수현,이하림,송명길,이주연 한국초등미술교육학회 2019 미술교육연구논총 Vol.59 No.-

제4차 산업혁명으로 대변되는 포스트휴먼 시대에 변화를 이끄는 주된 동력으로 언급되는 디지털은 다양한 플랫폼을 통해 매체로서 뿐만 아니라 현대인의 삶에 있어 필수적인 구성 요소로 자리매김하고 있다. 그러나 이러한 디지털로 인하여 인간이 인간으로서 가져야 하는 정체성이 무엇인가에 대한 고민이 시작되었으며, 이에 인간이 지닌 고유의 정체성으로서 ‘감성’이 주목받기 시작하였다. ‘디지털 감성’은 감성이 강조되면서 함께 논의되는 바, 그 사용 의도와 목적에 따라 정의 및 해석이 다양하고 협소하여 정확한 개념 정립이 요구된다. 이에 본 연구는 포스트휴먼 시대 디지털 기술과 융합된 인간성의 확장이라는 점에서 또한 인간을 인간답게 만드는 정체성으로서 디지털 감성이 무엇인지 그 개념을 명확히 하고자 하였으며, 미술 및 미술교육에서 필요로 하는 디지털 감성 핵심 키워드의 추출을 통해 앞으로 이의 교육을 위하여 미술교육이 나아가야 할 방향을 제안하는 데 목적을 두었다. 연구 결과, 디지털 감성은 ‘포스트휴먼 시대 새로운 디지털 매체 및 기술의 발달을 주체적으로 받아들이고 적응하며 이에 대한 인문학적 이해를 바탕으로 인간 감각의 확장을 지각하고 사고하는 개념’으로 정의하였다. 또한 감각의 확장으로서 디지털 감성의 핵심 키워드로 ‘새로운 기술’, ‘디지털 매체’, ‘소통방식’, ‘다중감각’, ‘융합’, ‘디지털 인문학’의 6가지를 제시하였으며, 새로운 심미적 경험으로서 미술에서의 디지털 감성 핵심 키워드로 ‘감각지각’, ‘자아성찰’, ‘비판적 사고’, ‘자발적 탐색’, ‘연결’, ‘이미지 생성’의 6가지를 제안하였다. 이를 바탕으로 포스트휴먼 시대 미술교육에서의 디지털 감성 요소는 ‘나와 세계의 연결’, ‘디지털 매체를 통한 창조적 표현’, ‘비판적 자아성찰’의 3가지를 제안하였다. 이러한 요소들은 서로 연결되고 관계 맺으면서 전체 속에서 의미를 형성하고 작용하는 것이므로, 학교미술교육에서는 기존의 감성에 국한하지 않고 감각을 확장하고 새로운 심미적 경험으로 이끄는 디지털 감성에 주목하여 이의 구체적 교수·학습에 대안 아이디어를 제시해야 할 것이다. As the main driver of change in a post-human era represented by the 4th Industrial Revolution, digital has been an essential component and media itself through various platforms. However, these digital issues brew concern about what human identity as a human was, and ‘sensibility’ began to attract attention as a result. While ‘digital sensibility’ was discussed with emphasis on sensibility, the definition and interpretation of digital sensibility varied depending on the intention and purpose of its use. Thus, a clear definition of its concept was required. The purpose of this study was to clarify the concept of digital sensibility, to extract the elements of digital sensibility needed in art and art education, and to suggest the direction that art education should go for the future education. As a result, ‘digital sensibility’ was defined as ‘the concept of perceiving and adapting the development of new digital media and technology in a post-human era, and perceiving and thinking about the expansion of human senses based on the humanistic understanding. In addition, as a expansion of sensation, 6 elements of ‘new technology’, ‘digital media’, ‘communication methods’, ‘multi-sensory’, ‘convergence’ and ‘digital humanities’ were presented as key elements of digital sensibility. And as neo-aesthetic experience, 6 elements of digital sensibility in art, ‘sensory perception’, ‘self-reflection’, ‘critical thinking’, ‘voluntary search’, ‘connection’ and ‘image generation’ were proposed. Based on these, 3 elements of digital sensibility in art education in a post-human era were proposed: ‘connection between me and the world’, ‘creative expression with digital media’ and ‘critical self-reflection’. Since these elements are connected to each other to form the meaning and function within the whole, ideas for instructional methods and teaching plans to implement digital sensibility in school art education should be actively discussed.

김정은 시대 문예정책의 감성체계 연구 : 감성어휘의 구축과 감성어휘에 따른 분석

김정수,최대석 국가안보전략연구원 2014 신안보연구 Vol.- No.181

This study analyzed the sensibility system of the literary policy in the Kim Jeong-eun era by exploring and applying the methodology for sensibility research focusing on the importance of "sensibility" and "sensibility research methodology." As a result of examining the period from 2012 to 2013 by applying the sensibility vocabulary method, it was found that the sensibility of love as in "Dear" and the sensibility of honor as in "Great" were predominant in North Korea. This will not change greatly for years to come. But we need to pay attention to subtle changes. The word "Dear" is a kind of a modifier and the frequency in use of the word is relatively uniform but the frequency in use of the word "Great" is not. As is well known, the word "Great" is an adjective that describes North Korea’s supreme leader. The fact that this word was never used at the end of the first year of the Kim Jeong-eun era despite a reasonable argument can be viewed as the beginning of a crack in the honor sensibility paradigm. And from the end of 2012, the phenomenon of strong words becoming further softened is shown. Furthermore, considering that the sensibility vocabulary such as "long for," "bless" which presupposes relationship with the outside appears, the sensibility vocabulary related to "contact" is expected to rise in North Korea. Meanwhile, in the sensibility system, the words "joy" and "strong" need to be noted, and the word "strong"carried weight to a certain extent in early 2012, but gradually weakened and slightly restored in 2013. On the other hand, the word "joy" continued to carry less weight in 2012 and has risen and fallen. It can be said that the sensibility system of "joy" hardly exists in North Korea, and this shows the very future of the sensibility system of North Korea. North Korea will become tired of "strong" and will seek "joy"that has been impoverished. It is because filling the impoverishment is the properties of sensibility. 본 연구는 북한연구에서 ‘감성’과 ‘감성연구 방법론’의 중요성을 주목하면서 감성연구를 위한 방법론을 모색하고 적용하여 김정은 시대 문예정책의 감성체계를 분석하였다. 감성어휘방법을 적용하여 2012~2013년까지를 살펴본 결과 북한은 ‘경애하다’의 사랑의 감성, ‘위대하다’의 귀천적 감성이 지배적임이 발견되었다. 이것은 앞으로도 크게 변하지 않을 것이다. 그러나 미세한 변화를 주목할 필요가 있다. ‘경애하다’는 일종의 수식어로써 그 사용횟수가 비교적 균일하지만, ‘위대하다’라는 어휘는 사용횟수가 균일하지 않다는 것이다. 주지하다시피 ‘위대하다’는 북한의 최고 지도자를 서술하는 형용사이다. 김정은 시대 1년차 말에 오면서 정론임에도 불구하고 전혀 사용되지 않는 달이있는 것을 보면, 최고지도자에 대한 귀천적(貴賤的) 감성패러다임에 균열이 가해지기 시작한 것으로 볼 수 있을 것이다. 또한 2012년 말부터 강력한 어휘들이 한층 연성화(軟性化)되는 현상을 보인다. 뿐만 아니라 외부와의 관계를 전제로 하는 ‘그립다’, ‘축복하다’의 감성어휘가 등장하는 것으로 보아 점차 북한은 ‘접촉’과 관련된 감성어휘가 부상할 것으로 예상된다. 한편 감성체계에서는 ‘기쁨’과 ‘강력’을 주목해야 하는데, ‘강력’은 2012년 초에 다소라도 비중이 있었지만 점차 약해지며, 2013년에 조금 회복하는 추세이다. 반면 ‘기쁨’은 2012년에 계속 비중이 낮아지다가 다소 오르는가 하면, 곧 다시 떨어지고 있다. 북한에서 ‘기쁨’의 감성체계는 거의 존재하지 않는다고 할 수 있는데, 이것은 곧 북한 감성체계의 미래를 말해준다. 북한은 ‘강력’에 지쳐갈 것이며, 결핍된 ‘기쁨’을 찾아가려 할 것이다. 결핍을 메우려하는 것이 감성의 속성이기 때문이다.

유아교사 심미감 척도 개발 연구

김현령(Kim, Hyun Ryoung) 학습자중심교과교육학회 2020 학습자중심교과교육연구 Vol.20 No.8

The aims of this study are to develop a scale to measure the aesthetic sensibility of early childhood teachers and to examine the validity & reliability of the scale. To develop the scale, the final pilot items were constructed through the literature review, the primary draft, experts’ review, the secondary draft from Jan. 2018 to the 1st week of Jul. 2018 and then 440 early childhood teachers were asked to respond the survey from the 1st of Sept. to the 3rd of Oct. 2018. So as to verify validity and reliability about final questionnaire, descriptive statistics analysis, t-test, exploratory factors analysis, Pearson product-moments correlation analysis and reliability analysis were performed in main study. The results were as follows: The aesthetic sensibility scale for early childhood teachers was developed with 31 items of 7 factors; 8 items of emotional - aesthetic sensibility, 7 items of pragmatic - aesthetic sensibility, 5 items of relational - aesthetic sensibility, 3 items of sensuous - aesthetic sensibility, 3 items of artistic - aesthetic sensibility, 3 items of practical - aesthetic sensibility, 2 subjective - aesthetic sensibility. The reliability of the scale Cronbach’s α was ranged from .63 to .96(total= .93). The results support that the aesthetic sensibility Scale for Early Childhood Teachers developed is valid and reliable. 본 연구는 유아교사의 심미감을 측정하는 척도를 개발하고 타당도 및 신뢰도를 검증하는데 목적을 두었다. 유아교사 심미감 척도를 개발하기 위해 2018년 1월부터 7월 1주까지 문헌연구, 1차 시안 제작, 전문가 적절성 검토, 2차 시안 제작, 예비 검사를 거쳐 최종 시안을 마련하였고, 2018년 9월 1주부터 10월 3주까지 유아교사 440명을 대상으로 본 검사를 실시하였다. 본 검사를 통해 얻어진 자료는 타당도 검증을 위해 기술통계 분석, t-test, 탐색적 요인분석, Pearson 적률상관분석 등을 실시하였고, 신뢰도 검증은 Cronbach’s α계수를 산출하여 살펴보았다. 연구결과 유아교사 심미감 척도는 감성적 심미감 8문항, 실용적 심미감 7문항, 관계적 심미감 5문항, 감각적 심미감 3문항, 예술적 심미감 3문항, 실천적 심미감 3문항, 주관적 심미감 2문항으로 구성되어 총 7개요인, 31개의 문항으로 개발되었다. 본 척도의 전체 신뢰도는 .93으로 나타났고, 하위요인의 신뢰도는 .63에서 .88까지의 범위를 지니는 것으로 나타났다. 이러한 결과는 유아교사를 대상으로 심미감을 측정하는데 타당하고 신뢰할 만한 척도임을 시사한다.