이 연구는 국내에서 발표된 외국인을 대상으로 한 한국어 읽기교육의 연구물을 조사․정리하여 지금까지의 연구의 경향을 밝히고 앞으로의 한국어 읽기교육에 관한 연구의 대안을 제시하는 데 목적이 있다. 한국어 읽기교육의 연구는 김경숙(1983)을 시발점으로 하여 2009년 8월까지 발표된 총 편수는 학술지 논문이 49편이고, 학위 논문이 58편이다. 총 107편의 논문 중에서 주제별로 읽기교육 방법에 관한 연구물이 64편, 교육과정에 관한 연구물이 16편, 텍스트에 관한 연구물이 27편이었다. 이 중 읽기 교육 방법의 연구물을 중심으로 살펴보면 다음의 세 가지 경향을 띠고 있음을 알 수 있다. 우선 읽기 수업을 읽기 전, 읽기, 읽기 후 등으로 세분하여 각 단계별로 어떻게 읽기수업을 진행할 것인가에 대한 교수 방안이다. 다음으로 읽기 수업에서 교사나 학생이 사용할 수 있는 다양한 전략을 소개하거나 각 전략이 가지는 장점과 수업에서의 효과 등을 증명한 연구이다. 마지막으로 읽기의 특성에 따른 다양한 읽기 방법을 활용한 수업 방안 제시 등이다. 앞으로 다양한 학습자의 요구와 필요에 맞는 다양한 읽기 수업의 방법과 전략이 개발되어야 할 것이다.

본 연구는 읽기기술 향상 프로그램이 초등학생의 자기 주도적 학습능력과 학업성취도에 미치는 효과를 검증하는데 목적이 있다. 이를 위하여 읽기기술에 대한 선행 연구결과와 학습기술 검사에 포함된 읽기기술 구성요소를 검토하여 공통요소를 토대로 5개의 읽기기술 구성요소를 선정하였다. 이러한 구성요소를 바탕으로 효과적인 읽기기술을 습득하기 위해 읽기의 6단계를 설정하여 초등학교 고학년의 자기 주도적 학습능력과 학업성취도 향상을 위한 11회기의 읽기기술 향상 프로그램을 구안하였다. 본 연구의 가설검증을 위해 초등학교 5학년 2개 학급을 임의로 선정하여 한 학급을 실험집단에, 다른 학급을 통제집단에 28명씩 배치하고 실험집단의 학생에게 프로그램을 실시하였다. 검사 도구는 김명철, 정태근(2001)이 초등학교 고학년 학생들에게 맞게 제작한 자기 주도적 학습능력 검사를 사용하였다. 자료처리는 다변량 공분산분석(MANCOVA)을 통해 통계적 분석을 했으며 양적 결과에 대한 해석을 보완하기 위하여 회기별 경험 보고서와 상담일지를 통한 상담자 관찰내용을 분석하였다. 그 결과 읽기기술 향상 프로그램은 초등학생의 자기 주도적 학습능력과 학업성취도 향상에 효과가 있었다.

이 글에서는 학습독자의 서사 읽기에 관여하는 담론적 장치로서 알레고리에 주목하여, 알레고리의 구현 원리와 효과를 밝혔다. 또한 이러한 알레고리 읽기가 서사교육에 갖는 의의를 논의하였다. 알레고리가 학습독자에게 작용하는 원리는 첫째, 말해진 것을 통해 말해진 것이 전부 혹은 진실이 아니라는 것을 인식하게 하여, 말해지지 않은 부분을 추론할 수 있게 한다. 둘째, 말해지지 않은 것의 의미를 해석하고 자기화는 과정을 통해 학습독자가 자신을 성찰하는 메타적 인식을 할 수 있게 한다. 학습독자의 알레고리 읽기 과정은 알레고리의 구현 양상을 탐색하고, 그 의미를 이해하는 발견적 읽기에서 시작된다. 그리고 학습독자의 알레고리 읽기는 자신의 가치와 세계관을 성찰하고 재구성하며, 텍스트에 대한 새로운 이해를 생산하는 비평적 읽기를 지향한다. 또한 학습독자는 알레고리에 대한 이해와 해석을 통해 말해진 것이 아닌 말해지지 않은 삶의 비밀과 다성성을 탐색하여, 자신의 삶을 성찰하고 새로운 삶을 설계하는 구성적 읽기를 수행한다. 학습독자의 알레고리 읽기 체험이 서사교육에 갖는 의의는 다음과 같다. 첫째, 담론적 장치로서 알레고리는 서사 텍스트를 보다 다층적으로 이해할 수 있게 한다. 둘째, 알레고리는 숨겨진, 말해지지 않은 삶의 보편적 진실에 대한 심화된 이해를 가능하게 한다. 셋째, 알레고리에 의해 구현된 말해지지 않은 진실을 이해하기 위해 학습독자는 알레고리의 환유적 구현 원리를 인식하게 된다. 넷째, 알레고리는 학습독자가 말해진 것을 통해 말해지지 않은 것을 비판할 수 있게 한다. 다섯째, 담론적 장치로서 알레고리에 대한 이해는 학습독자의 문학 읽기 경험을 확장해준다.

This study was to explore how effective wordless picture book reading activities were in developing young children's fictional narratives. Subjects for this study were 40 five-year-old children attending two classes of S kindergarten located in Seoul. They comprised the experimental group of 20 children and the control group of 20 children. As the treatment for the experimental group, the researcher applied the wordless picture book reading activities to small groups of five children using active interactions. Twelve sessions had been carried out once or twice a week for nine weeks. Results of this study, it was found that the wordless picture book reading activities positively affected young children's structural development levels of fictional narratives, the emergence of structural components, the use of logically cohesive devices, the number of clauses. This suggests that the wordless picture book reading activities using teacher-child interactions would be one of effective ways of developing young children's fictional narratives.

This paper is to show how properly the contagious concepts stemmed from Deleuze can be applied to literary text, even if Deleuzean reading that has flooded as yet home or abroad is hard to practice. However, we always feel it troublesome that the challenge is so hard and even fatuous in the sense that Deleuze’s texts are inclined to decline to be grasped by readers. Moreover, even the poem of T. S. Eliot’s also would get out of reader’ obsessional desire to ‘territorialize’ the poem. In the dilemma, we find a aphorism of Lacan’s as a western high monk: we can’t read all texts of an author and can’t grasp all of his/her identity even if he/she has scoured all of his/her texts thoroughly. Thus what we know is no less than broken knowledge, so someone who argues that he/she is a know-all must be totalitarian or paranoiac. Deleuzean reading can be practiced in view of not ‘systematic reading’ but ‘affective reading.’ The former chases after comprehensive ideas as if readers would be gods in the Olympus mount, but the latter enjoys ‘intensity’ or velocity of each part composing of text as asserted by Spinoza. After passing through this poem, the trend of ‘deterritorialization’ is perceived just like a form of melody, ‘rondo,’ in which main melody is recurring with marginal variations intervened every movement and at last reduced to ultimate themes which can be summarized such as state of thought without image, enlightenment and revision. To reach the poetic truth, Eliot mobilizes a collage of intertextual images such as a gruesome world of Dante’s hell to which ‘line of flight’ or ‘singularity’ as death takes human in which confession makes possible atonement or salvation. “a patient etherized” means lethargic being castrated by the norm or value of community and paralyzed by the conventional images in ‘socius’ such as primitive, despotic and capitalistic state. “yellow fog” seems to veil falsehood of reality, but indicates difficulty of rational judgement and “time” as ‘abstract machine’ of self-contradiction frees oneself from oneself with the same identity made up of present(‘chronos’), past and future(‘aion’) articulated only by human as subject of thought. Ego riding on timetable is determined to be confined in routine of life, which means that we must take off each conventional mask. Thus “ragged claws” cut causation as ‘rigid line’ of world and Apostle John and “Lazarus” as saints undergo metamorphosis of death or rebirth in that the one was martyred and the other returned from across Lethe of oblivion as Zarathustra would face against his fate. “the eternal Footman” functions as self-disciplined subject succeeding to regime or prisoner contained in ‘panopticon.’ “Hamlet” and “the Fool” mean that the former as ‘war machine’ tries to subvert ‘the State apparatus’ or ‘molar aggregates,’ and the latter denies despotic ‘normalization’ or generalization. Contrary to the mundane situation, “mermaids” and “sea-girls” stand for becoming-imperceptible through ‘decoded flow’ happening when the poetic narrator fed up with stuffed images drowns himself as moving ‘phenotext’(the signifying system) to ‘genotext’(not reducible to the language system), and awakes himself in the revision of Things. At last Eliot completes “the love song” with the esoteric tree diagram erasing image by image, and shows us the terrible road to enlightenment.

This paper is an attempt to interpret "Ash Wednesday" based on the assumption that religion as the background of life indeed can contribute to the salvation of mortals, and to examine how Eliot can reach the 'still point' in the Christian view. Religion(Religare in Latin) means the reunion between The Absolute and humans on the basis of the cleansing of The Original Sin caused in Eden. On the other hand, it may be the great spirit of 'engagement' as nothingness standing against existence. Further, religion becomes not only a way of an imaginary level defending grim reality, but also a 'presence' determined over innumerable ages to save humans from the horror of death. Eliot, believing poetry can function as a substitute for religion, pursued several aspects of religion to grasp the very essence of life and an unknown stage after life. But he might have gone through severe conflicts between religion without consciousness and religion with consciousness as Paul de Man put it. Through reading "Ash Wednesday," this can be associated with whether religion serves as a role of a mid-wife or a soporific. As a whole, this poem surely touches upon 'washing worldly cares' such as honors and achievements on Earth, or 'baptism' in the Christian way. In this sense, the poetic narrator thinks that "the aged eagle" tries to fully stretch his/ her wings, which only become mechanical gestures and squirmings harboring under Heaven, revealed in "infirm glory" and "transitory power." After the narrator died, his/ her flesh was gulped down by carnivorous "leopards" and then the dry bones were exposed to the earth. This stands for the process of naturalization that must be destined for all living things. Under "a juniper tree," Elijah cried and faced his cruel fate, but "The Lady" was only indulged in "contemplation" regardless of his pressing situation. This can be thought of as 'A View of White Bones' issued from Hinayana as found in the lines: "Where all loves end/ Terminate torment/ Of love unsatisfied/ The greater torment/ Of love satisfied." Consciousness, escaping from its body, moved to a transcendental level through "the toothed gullet of an aged shark." This step can be equivalent to Jonah's regeneration, needing negation of worldly concerns. The process of negation, as shown in Upinishad, must be necessary for the dead to renew their souls, so they can expect the amazing grace of the Creator. After having forgotten his earthly affairs through limbo, the narrator came to "the third stair," in which some blessed and comfortable environments were given to him/ her: "spring," "fiddles," and "flutes." Here there are no values of things that humans valued extremely on Earth. The values are merely for either 'exchange value' or 'sign value' just a kind of made-up value. Self-restoration happens after "Mary" leads "the others" across the other shore of Lethe and "fiddles" and "flutes" wash their ears, equivalent to a regenerative scene of "unicorn" leading "hearse." The reality of "signed" cross exists in the apocalyptical background of "the silent sister" and functions as a way of redemption. The Creator sends his holy message to creations by "wind" as "the token of the word unheard, unspoken" corresponding to some sensible revelation. Eliot doubts authenticity of language since he thinks that "the unheard, unspoken word" can be the true word "for the world," and values "enough silence." In this way, "those who walk in darkness" are those who pursue 'self' and "those who avoid the face" are those who disregard 'self.' The poet does not want "to turn again," which means that he may recognize the principle of entropy heading from valuable Eros to valueless Thanatos. The prayer like "Bless me father" can correspond to the ego-centric desire of the narrator, for he/ she tries to transfer his / her own faults to the God. The Human's spirit, "weak spirit," is merely a "lost heart" which can cause "lost lilac" and "lost sea," and arbitrarily drives "salt savour of the sandy earth." In conclusion, Eliot, reminding me of a missing and crying baby yearning for its lost mother, reflects on his bitter past on the assumption of his imaginary death. His 'alter-ego,' the narrator, through the process of sweeping off worldly cares, eventually gets to "place of solitude" dusting off "time of tension" and comes to learn how "to sit still" under "the juniper tree." Thus he becomes to be reborn in one with "spirit of the river" and "spirit of the sea," which means an esoteric level of enlightenment through which Buddha must have overcome the glossy temptations of Maya. But wandering long since being banished from Eden, Cain's offsprings heartily wish for the ecstatic recurrence of it. Eliot says that we can come to terms with the Maker only through burning each secular soul and body as becoming "ash," meaning the extinction of fiery desire.

"Gerontion" discloses an event of an old man´s existence. Following Heidegger´s phenomenology I examine how Eliot describes this event. This article consists of three parts. The first part is a brief introduction to Heidegger´s notion of how poets disclose Being. In the second part I attempt to find in "Gerontion" phenomenological parallels with Heidegger. In the Origin of the Work of Art Heidegger says works of art include events of Being and that poets attempt to bring these events into "the greatest possible proximity to us." What Heidegger means by the greatest possible proximity is equivalent to what we call the visual immediacy which is one of the key terms in the twentieth-century aesthetics and means that entities are made present in just the way they look. Eliot´s rhetoric insists that the only means to visual immediacy is through a rethinking of the poetic tradition. For Eliot there is no other approach to poetic truth except through constant reflection on tradition, that is, destructive (Heidegger´s term) orientation toward the past. The third part is the conclusion. Eliot´s own term for visual immediacy is immediate experience. In the Concept of Being in Hegel and Heidegger Gerhard Schmitt says what Heidegger means by Being is "the indeterminate immediate" which cannot be discovered through determinate concepts. Schmitt implies that we can discuss Heidegger´s concept of Being and Eliot´s immediate experience on the same level.

Eliot's quoting of the teaching of Hinduism in The Waste Land could be interpreted as a case of "romantic orientalism" leading to a sort of colonial exploitation or vampirism taking life force from the non-Western. Aware of the easy pitfalls of post-colonialism as a "prejudice" against a prejudice of the West or "resentment" at and vengeance on the West, a post-colonial reading of the Western cannons dealing with non-Western sources should be done not in a tribunal of the non-Western accusers but in a fair and third tribunal. In Eliot's case, a thorough reading of the commands from Hinduism (give, be compassionate and control) in 'What the Thunder Said' will reveal that he is free from any charges of orientalism. "Shantih"(peace) coming at the end of 'What the Thunder Said' will determine the character of the commands from Hinduism. If it is interpreted as a reward, the commands are hypothetical ones―'if you do these, 'peace' will be given as a reward for your act'. But if it is interpreted as a gift, the commands are absolute and categorical ones in the Kantian sense―'just act, 'peace' may come as a gift, but not necessarily.' As ethical commands, they are absolute and categorical ones. And different interpretations of 'the Thunder' by its addressees demonstrate that the ethical command addresses each individual singularly. Absoluteness and singularity characterize the the ethical commands of 'the Thunder.' The ethical commands of Hinduism are applied to everybody in contrast to the command of the vegetation ceremonies applying to kings alone. In a time of vegetation ceremonies and the Grail quest, kings and knights are supposed to take all the responsibility on situations on behalf of people, who can sit back to watch the development and demand the sacrifice of kings if things go wrong. It is a time of heroes. But in the present when all heroes disappear, everybody can be a hero taking in charge of whatever happens. Nobody is exempted from the ethical command addressing not only inert and inactive people in 'the Waste Land' but Eliot and Tiresias, the seer of 'the Waste Land' and the readers. Whatever rebirth in the West or elsewhere will depend on faithful embodiments of the ethical command.

본 연구는 교사와 유아의 그림책 함께 읽기 활동을 통해 나타난 유아들의 언어적 반응 및 이야기 이해 전략의 변화·전개 과정을 심층적으로 분석하였다. 이를 위해 관찰일지와 비디오 녹화 및 녹음의 3가지 방법을 통해 자료를 수집한 후 질적으로 분석하였다. 연구 결과 첫째, 유아들의 언어적 반응이 초기에는 구성요소에 초점을 두고 반응하였으나 후기에는 그림책을 하나의 문학작품으로 보고 접근하는 반응들이 나타났다. 둘째, 유아들은 이야기를 이해하기 위해 다양한 이해전략을 사용하는 것으로 나타났다. 셋째, 그림책 함께 읽기 활동이 문학적 경험의 기회를 제공하고 언어적 반응 및 이야기 이해 전략의 변화에 영향을 주는 것으로 나타났다. 넷째, 그림책을 읽는 과정에서 그림의 의미나 분위기가 유아에게 본문과 더불어 중요한 정보를 제공하는 것으로 나타났다.

본 연구는 그림책 읽기 활동에서 나타나는 또래 유아간 언어적 상호작용의 범주를 분석하는 것이다. 연구 결과 그림책 읽기 활동에서의 또래 유아간 언어적 상호작용은 이야기 구조에 대한 상호작용, 의미에 대한 상호작용, 활자에 대한 상호작용, 그림에 대한 상호작용, 북 디자인에 대한 상호작용으로 범주화할 수 있었다.이야기 구조에 대한 상호작용은 배경(시간, 장소), 인물, 주제(문제 혹은 목표), 플롯 에피소드, 해결 등의 내용이 나타났으며, 의미에 대한 상호작용은 명명하기, 묘사하기, 해석하기(연상하기, 정교화하기), 예측하기, 자신의 경험과 연결짓기, 단어의 뜻 질문하기, 해설자식 행동하기 등의 내용이 나타났다. 활자에 대한 상호작용은 글자에 대해 질문하거나 말하기, 발음에 대해 질문하거나 말하기, 단어에 대해 질문하거나 말하기, 단어 읽기, 문장 읽기 등의 내용이 나타났고, 그림에 대한 상호작용은 예술적 요소, 예술적 양식, 예술적 매개체 등의 내용이 나타났으며, 북 디자인에 대한 상호작용은 표지, 면지, 인쇄 정보, 책의 모양 등의 내용이 나타났다.