2015 개정 교육과정에 따른 중･고 한문 교과서가 개발되어 교실 수업에 적용되고 있다. 성어는 한문 교육의 주요 학습 영역이다. 한문 독해의 기초 학습이 가능하며, 언어생활 활용도가 높기 때문이다. 다양한 교수･학습 방법의 적용도 가능하다. 이 글은 새로운 교육과정에 따른 교과서에 수록된 성어 관련 교수･학습 방법을 검토하고, 앞으로 나아갈 방향에 대해 논의하였다. 교과서 성어 수록 양상을 검토한 결과 다양한 교수･학습 방법이 제공되고 있었다. 이전에 비해 새롭고 창의적인 방법도 다수 소개되었다. 학생이 참여하고 활동할 수 있는 방법도 포함되어 있다. 하지만 대부분의 교과서에서 성어의 겉 뜻과 속뜻을 자세하게 제공하고 있었다. 학습자가 속뜻을 찾아가는 과정이 구체적으로 제시된 경우는 드물었다. 앞으로의 교과서는 학습 과정이 구체적으로 제시되고, 학습을 통해 도달해야 할 지점이 명확하게 제시되어야 한다. 이를 위해 성어의 특성과 학습자의 수준에 맞는 방법과 자료가 제공되어야 할 것이다.

Kim, Younhee. 2018. “Private Speech and Mutual Engagement in Preschoolers' Playtime Interaction: Talk and Embodiment”. The Sociolinguistic Journal of Korea 26(2), 119~165. Preschoolers' playtime interaction presents a unique context where private speech/self-talk and mutual conversation are co-present as well as within and out-of-(pretend play) frame talk. Preliminary observation of the data from the larger project revealed an overall pattern where the two children would play together and soon one child or both of them wander off to his/her own private speech/play mode, and then mutual engagement is achieved again. The current study examines this phenomenon from a conversation analytic perspective by showing what types of sequential resources are employed by the children to manage the transition. The resources include making an announcement, a noticing comment about the shared environment, repetition, code-switching, and embodied resources such as gaze, postural orientation, and spatial positioning in the play space (Kendon 1990). The transition from mutual conversation to private speech often accompanies transition from reality to pretend play talk, though not exclusively so. Making a meta-pretend play comment and making a reference to the theme of the joint play also served as an effective way to achieve re-engagement. Based on detailed interactional analysis, the study suggests that the playtime interaction of preschoolers affords more self-oriented speech (self-repair, private speech) and is characterized by rather loosened expectation for responsivity while “playing together” takes close orientation to the other child's behavior as they co-ordinate moments of mutual engagement and separate play throughout their co-presence.

헬렌 켈러의 몸은, 한편으로는 장애를 극복한 기적을 구현하는 천상의 몸으로, 또 한편으로는 아이와 같은 순수성의 매력을 지닌 몸으로 문화적으로 구성되어왔다. 이와 같은 대중 문화의 담론은 헬렌 켈러의 독특한 언어적 감각, 영적인 세계를 향한 끊임없는 추구, 또한 고유의 관능적인 감각을 읽어내지 못한다. 이러한 맥락에서, 헬렌 켈러가 어떻게 그녀 자신의 몸을 언어적이고 영적인 동시에 관능적인 실험을 구현하는 공간으로 바꾸어 내는지에 주목하며 헬렌 켈러의 몸을 재발견하는 일은 긴요하다. 헬렌 켈러는 『내가 사는 세계』(1908)라는 두 번째 작품에서 독특한 언어적인 실험으로 육체성과 자유로운 영적 공간을 동시에 구성한다.

The purpose of this study is to grasp the change of modern space concept and analyze how to adopt and embody the change in modern fashion. The study researched wearer's costume space and analyzed space shown in supermodern fashion design by classifying it into response to non-space, allowance of wearer-based space, scientific space of architectural skill and embodiment of space image. As a study method, literature and study material of sociology, anthropology, fashion sociology and design field were referred. For picture data of supermodern fashion work, specialized book, designer, brand collection material and internet site pictures were collected and analyzed. The study result shows the following features of fashion design space embodiment corresponding to the change of supermodern environment. First, supermodern design secures closet space like pocket for portable objects and uses design space in order to provide the space for convenience of movement. Second, supermodern design creates wearer-based independent space in order to secure person's physical and mental stability in city environment. Third, supermodern design uses space scientifically from the aspect of detail and shape by applying space of architectural skill to space. Fourth, supermodern design shows aesthetic feature that embodies interpretation of space by conceptualizing space image and using fashion.

Architectural embodiment of a national identity has long been a significant topic in Korean architectural circles. For this reason, it must be helpful to examine the so-called, 'National Romanticism' of Finnish architecture around 1900 in that Finnish architects of the time struggled to embody their national identity through their projects. Considering the historical and linguistic affinities between Finland and Korea, the Finnish architectural situation draws . our additional attention. This paper aims at showing its historical background, the meaning of each type of buildings in the stream, and limitations it implies. The atmosphere of Finnish nationalist movement, which was provoked by [Kalevala] publications (1835; 1845) and shown in Karelianism, was heightened by Tsarist Empire's Russification programme of Finland in the late 19th century Architecture was one of the most important genres expressing her national identity. Finnish national romantic architecture could be divided into three. The first is a log house style for artists' studio house, motivated by the Finnish vernacular farmstead - especially by Karelian farmhouse. This type of building signifies the Finns' will to return to their motherly soil. The second is a stone architecture style for public buildings, inspired by Finnish church or castle of an early medieval time. By using roughly-cut granite as the main exterior material, buildings of this type symbolise the toughness of legendary heroes and Finns' desire for national Independence. The third type of building was based on both of the former or more dependent on architects' Imagination and creativity. However, Finnish national romantic architecture has been criticised by some critics owing to its decorative, eclectic and self-indulgent characteristics. Probably, it was not really national but rather inter-national because of the Influences of English Arts and Crafts Movement, the American Richardsonian architecture and the continental Art Nouveau. And the negative images of 'national' and 'romantic' made some historians coin other terms like 'national realism' or 'material realism'. As another limitation, one raises the low degree of its contribution to the entire architectural history. Despite these criticisms, however, this paper argues that Finnish national romantic architecture is meaningful in itself, particularly because it illustrates vividly Finns' struggle to search for their national identity and, after all, their craving for national independence.

이 논문은 17세기 말, 안용복이 일본으로 납치된 사건과 그가 재도일하는 사건에서 나타난 성과가 오늘날 우리 영토로서의 울릉도와 독도를 각인시키는 데 기여한 사실을 역사적 관점과 문학적 관점으로 나눠 분석하였다. 안용복이라는 평민이 벌인 대담한 행적 이 지배층의 무관심 속 방치된 울릉도, 독도를 우리의 국토로 각성하게 하는 매개가 되었다는 점을 역사적 사실과 문학적 상상력을 통해 살펴보았다. 아울러 어촌의 능로군, 어부로 각인된 그가 남긴 자취에서 영웅적인 면모를 발견한 몇몇 조선 사대부들의 인식이 그러한 안용복의 행적과 의의를 뒷받침해 주고 있음을 밝혀보았다. 하지만 이들이 부여한 영웅호걸이란 명칭과 달리 안용복의 활약상이 민간전승으로 전해지지 않는 이유를 조선의 수토정책과 연관해 찾아보았다. 그리고 근대 이후 안용복의 본격적인 재발견과 그가 이룬 쾌거를 유포하는 일이 확산되었다는 사실과 그를 영웅으로 소환하려는 바탕에 구전적 상상력이 작동하였다는 사실을 문학적 관점에서 그 의의를 밝혀보았다.

We can find that the whole of his works is one poem and it has a consistent developing theme. The theme is no other than a union with an Absolute, that is, a pursuit of salvation. Eliot finds aesthetic means to express the moment of the union with God; the means is 'objective correlative'. One of the 'objective correlatives' is the 'still point', which is the most important and significant of all the imagery for the moment of salvation, and for the union with an Absolute. The purpose of this thesis is to study the meaning of the 'still point', its character and the process of reaching it, and to clarify the relation with the concept of criticism and philosophy which Eliot had studied. We can find the concept of 'still point' in the 'logos' of Heraclitus, a Greek philosopher, and in the 'Sunyata' of Madhyamika made by Nagarjuna, an Indic Buddhist priest. 'Logos' represents the character of the central-point and Sunyata represents the unification and removal of boundary for two different concepts. The way in which 'still point' is extracted can be discovered in Eliot's criticism and philosophy. 'Immediate experience' which is the essential concept of Eliot's philosophy and 'objective correlative' are very similar to the 'still point' in that they are the harmony, balance and unification of two opposites. 'Tradition' which he makes much of in his criticism is related to the 'still point' is also related to 'objective correlative', for 'objective correlative' is the product of the unification and reconciliation of two aspects. The significant symbols for 'still point' are 'Mandala' and 'wheel'. The circle in the middle of it and a square outside it signify the power of God. The wheel schematizes the tension and unification of spirit We can discover many other models of unification of 'still point' through the union of love and fire, word and Word, beginning and ending, exploration and revelation, etc. They are the examples of showing similarity that things of different nature can be unified. The 'still point' is achieved by intellectual perception of the 'Incarnated Word' in "Burnt Norton", by passional participation in 'Atonement' in "East Coker", by volitional response to the 'Annunciation' in the "Dry Salvages", and by 'Pentecostal Purifying' in "Little Gidding".