독자마당

성혜경,김정웅 새가정사 1996 새가정 Vol.- No.-

초등학생의 창의·인성 함양을 위한 융합인재교육(STEAM)프로그램 개발

성혜경,장신호 한국초등과학교육학회 2015 한국초등과학교육학회 학술대회 Vol.69 No.-

예이츠와 일본의 노(能)

성혜경 한국비교문학회 2003 比較文學 Vol.30 No.-

William Butler Yeats(1865-1939) held a life-long interest in Japanese culture, and employed the images, knowledge and inspirations he gained from Japan in many of his literary works. On the Whole, it was the Japanese literary form that that the most significance in his development as a writer. The period of his writing that shows the greatest Japanese influence, consciously absorbing Japanese material and techniques in his writing, spans roughly the year 1914 to 1921. However, Japanese motifs and images recurrently appear in his later works. It was through the translations of Ezra Pound that Yeats became acquainted with noh, the medieval Japanese drama. Yeats's encounter with noh marked a turning point in his career as a dramatist. The noh led him to create "a form of drama, distinguished, indirect and symbolic…an aristocratic form" in which the supernatural dominates the stage and where the action develops toward a moment of enlightenment or revelation. In "Note to At the Hawk's Well," Yeats writes: I have found my first model--and in literature of we would not be parvenus, we must have a model--in the 'Noh' stage of aristocratic Japan. From this statement we can perceive how significant the noh form was to Yeats in his development as a playwright. In this essay, I have discussed Yeats's relationship with noh through a detailed analysis of Dreaming of the Bones(1919) and Purgatory(1939). Both plays have much in common: they are both ghost plays and pursue the theme of purgation. The Dreaming of the Bones is Yeats's first and most consciously faithful rendition of the noh form called "mugen noh("vision play" or "ghost play"). However, it is in Purgatory that Yeats succeeded in achieving a dramatic effect closet to that of noh. When Yeats was first introduced to noh, he immediately saw in it affinities with Irish legends and beliefs. In his "Introduction" to Certain Noble Plays of Japan, he went so far as to declare that "the men who created this convention were more like ourselves than were the Greeks and Romans, more like us even than are Shakespeare and Corneille." The noh was not something completely new or alien to Yeats. Indeed it was an ideal discovery which provided him a new form to express his perennial themes of the tension between the physical and spiritual worlds and the inability of the human spirit to release itself from its ties with the physical world.

일본 대학의 교양교육 개혁 : 도쿄대학의 사례

성혜경 서울여자대학교 인문과학연구소 2001 인문논총 Vol.8 No.-

예이츠의 『매의 우물에서』와 일본의 노(能)

성혜경 한국예이츠학회 2005 한국예이츠 저널 Vol.23 No.-

Yeats held a life-long interest in Japanese culture, and employed the images, knowledge and inspiration he gained from Japan in many of his literary works. On the whole, it was the Japanese literary form that was most significant in his development as a writer. It was through the translations of Ezra Pound and Ernest Fenollosa that Yeats became acquainted with Noh, the medieval Japanese drama. It is generally agreed that Yeats’s encounter with Noh marked a turning point in his career as a dramatist. The Noh led him to create “a form of drama, distinguished, indirect and symbolic...an aristocratic form.” In “Note to At the Hawk’s Well,” Yeats writes: I have found my first model—and in literature, if we would not be parvenus, we must have a model—in the ‘Noh’ stage of aristocratic Japan. From this statement, we can see how significant the Noh-form was to Yeats in his development as a playwright. When Yeats was first introduced to Noh, he immediately perceived affinities with Irish legends and beliefs. The Noh was not something completely new or alien to Yeats. It was the discovery of an ideal, an ideal form for him to express his perennial themes of the tension between the physical and spiritual worlds. Yeats’s Noh-inspired plays are often categorized as “dance plays” and we can see that “dance” was an important symbol which Yeats developed through his experience with Noh. Yeats wrote in his “Introduction” to Certain Noble Plays of Japan that it was a Japanese dancer, Ito Michio, who inspired him to write his new play, At the Hawk’s Well (1916). In Noh, the dance which is usually danced by a supernatural figure, is placed at the centre. Here, the supernatural dominates the stage and the action develops toward a moment of enlightenment. Yeats precisely points out this fact and writes that in his new play, instead of “the players working themselves into a violence of passion...the music, beauty of form and voice all come to climax in pantomimic dance.” However, since Yeats intended Cuchulain as the central figure of At the Hawk’s Well, the theatrical effect of the dance had to differ from that of Noh. Another characteristic of this play is that it dramatizes the ‘transformation’ of the Guardian of the Well, the role which Ito Michio played, through spirit possession. This change in personality is conveyed by means of a change in costume(she throws off her cloak to reveal a dress suggesting a hawk). This is a method resembling ‘monogi(物着),’ one of the most important dramatic conventions of Noh. Yeats explores this device again, in The Only Jealousy of Emer(1919), another dance play modeled on Noh, but this time using different masks to show the change in personality. Yeats’s interest in this motif of spirit possession eventually led him to write The Words Upon the Window-Pane(1930), a play where he dramatizes a seancē. Here, the dramatic tension is concentrated mainly on a supernatural manifestation through the ‘protagonist’ who is a professional spiritual medium. In this paper, I have discussed Yeats’s relationship with Noh through a detailed analysis of At the Hawk’s Well. In this play, we can see many aspects of Noh. The simplified stage, the musicians, the mask, the dance, the use of a square blue cloth to represent a well; these are characteristics reminiscent of Noh. However, we must note that this play was not merely an imitation of Noh but a completely new form of creative writing. Richard Taylor indicates the influence of Yoro, a felicitous Waki-noh, or God Play on this play. A comparison of these two plays reveal that Yeats had no intention of following the Noh paradigms faithfully. However, the inspiration he gained from Noh opened a wide range of dramatic experiments enabling him to write a sequence of dance plays. In later plays such as The Words Upon the Window-Pane and Purgatory, Yeats succeeded in achieving a dramatic effect closer to that of Noh.

イェイツと異文化受容- 『鷹の井?』を中心に

성혜경 한국비교문학회 2007 比較文學 Vol.0 No.41

TMSI 모형 기반의 에너지 절약 메이커교육 프로그램이초등학생의 창의적 문제해결력에 미치는 영향

성혜경,문성환 에너지기후변화교육학회 2022 에너지기후변화교육 Vol.12 No.1

A Tinkering, Making, Sharing, Improving (TMSI) model-based maker education program on the topic of energy saving was developed for elementary school sixth graders. This study investigates the effects of the program on the creative problem-solving skills of the students. The program comprised eight sessions (16 classes in total), covering topics that were chosen to connect with the school curriculum and to align with the Korea Energy Agency’s future energy education standards. In the Tinkering stage of the program, students explored energy resources, energy problems, and energy-saving lifestyles. In the Making stage, an energy-saving device was designed and constructed . In the Sharing stage, students shared and received feedback on their products, both in the classroom and online. In the Improving stage, ideas for enhancements and adjustments were applied to the design of their products. To examine the effects of this program on students' creative problem-solving skills, tests were conducted across four domains (understanding and mastering knowledge and thinking/functions·techniques, divergent thinking, critical·logical thinking, and motivational factors). Comparing pre- and post-test scores for the experimental group demonstrated statistically significant improvements in three of the four domains. Therefore, this study confirms that the TMSI-based maker education program for energy saving had a positive effect on the creative problem-solving skills of late-stage elementary school students. Furthermore, this study should prove valuable as a reference for developing future teaching and learning materials on energy saving and related topics.

岡倉天心의 詩劇 『白狐』 一考

成惠卿 한국일본학회 2003 日本學報 Vol.57 No.-

The life of Okakura Tenshin(1862-1913) overlaps approximately with the Meiji Era. In many ways Tenshin was an embodiment of the period itself, with its magnitude and all its contradictions. As an art critic, philosopher, and interpreter of the East to the Western world, he traveled widely, and was actively involved in research, education, art administration, lectures, and writing. We can see in him, a vast knowledge of the West, a vigorous curiosity for and absorption of Western things and values, along with a strong sense of confrontation with the West which resulted in his defence of Japanese ideals and beauty. In his representative works, The Ideals of the East(1903), The Awakening of Japan(1904) and The Book of Tea(1906) we can see how he attempted to defence Japan and introduce Japanese culture. As his writings indicate all too well, it was Western readers he was effectively addressing. This in a sense determined the nature of his writings for it is not difficult to imagine that the more he was conscious of the "outside", the greater the necessity to assert his own identity and culture. In this paper I would like to focus on The White Fox(1913), a fairy drama in three acts written for music. Here, Tenshin adapts the Japanese legend in which a fox queen takes the form of a maiden and marries the man who had once saved her life. This paper is an attempt to examine how Tenshin tried to introduce this unique Japanese legend to the Western readers and where his special concern was, through an analysis of The White Fox, his last major literary work.

The Influence of Japanese Noh on the Plays of Ezra Pound and William Butler Yeats

성혜경 한국예이츠학회 2003 한국예이츠 저널 Vol.20 No.-

일본을 대표하는 고전연극 노(能)가 서양에 소개되기 시작한 것은 일본이 서양문물을 적극적으로 받아들이기 시작한 19세기말부터였다. 일본과 서양과의 교류가 활발해지면서 노는 번역을 통해 서양에 알려지게 되었는데, 이 때 소개된 많은 번역 가운데 특히 유명한 것이 페놀로사․파운드의 번역이다. 여기에 수록된 작품들은 학문적 성과를 토대로 한 정확한 번역과는 거리가 멀지만, 시극(詩劇)으로서의 노의 문학성을 알리는데 그 어느 번역집 보다 기여한 바가 크다. 노는 지금으로부터 약 600년 전, 간아미(觀阿彌 1333-1384), 제아미(世阿彌 1363-1443) 부자(父子)에 의해 대성되었다. 이들에 의해 노는 종래의 민간예능의 제요소들을 흡수하면서 당시 지배계급의 미의식을 만족시킬 수 있는 상징적이며 귀족적인 극예술로 비약적으로 성장했다. 그러한 과정에서 제아미는 무겐노(夢幻能)라고 하는 노 특유의 극형식을 창출하였는데, 그 후 많은 작품들이 이 형식을 빌어 쓰여지게 되었다. 무겐노의 극구성을 보면, 정처 없이 떠도는 승려가 긴 여행 끝에 어느 마을에 도착하는 것으로 극은 시작된다. 이 승려 앞에 정체를 알 수 없는 여자 또는 남자가 나타나 마을에 전해 내려오는 이야기를 들려준다. 이야기가 진행됨에 따라 화자(話者)가 바로 이야기 속의 주인공임이 밝혀지고, 자신의 정체를 밝히고 일단 모습을 감춘 주인공은 극의 후반에서는 생전의 모습으로 나타나 과거를 재현하고 춤을 춘다. 현세에 대한 미련, 추억들이 이들의 이른바 성불(成佛)을 막고 이승에서 떠돌게 하는 것이다. 승려는 이 영혼이 이승과의 인연을 끊을 수 있도록 염불을 드리고 이에 유령은 성불하게 된다. 작품에 따라서는 유령이 끝내 성불하지 못하고 영원히 이승을 방황하는 채로 끝나는 경우도 있다. 파운드의 소개에 의해 서양에 널리 알려지게 된 노는 많은 예술가들의 주목을 받게 되는데, 그 중에서도 예이츠는 노에 남다른 관심을 가지고 그의 작품 속에 노의 주제나 기법 등을 수용한 것으로 유명하다. 예이츠가 말년에 이르기까지 깊은 관심을 보인 것은 다름아닌 무겐노였다. 과거와 현재를 자유로이 넘나들며 자연계와 초자연계의 교류를 그리는 무겐노는 예이츠의 예술적 상상력을 자극하여 그가 오랜 기간 모색해왔던 아일랜드의 전승․신화의 세계를 극화하는 방법에 새로운 단서를 제공해 주었던 것이다. 본고는 파운드와 예이츠가 무겐노 형식으로 쓴 작품 「트리스탄」(1916)과 「연옥」(1939)을 중심으로 노가 이들의 작품에 끼친 영향에 대해 살펴보았다.

[특별논문] 이바라기 노리코 시집 <기대지 않고> -작품 소개와 번역

성혜경 한림대학교 일본학연구소 2011 翰林日本學 Vol.0 No.19