Earticle

Editors of medieval texts that are translated from other languages face difficulties when the translation differs significantly from the original. Are the differences unintended, the result of misunderstanding and mistranslation\ulcorner Or do they proceed from a conscious decision on the translator's part to change the meaning of the original\ulcorner Is it possible to be sure one knows the difference\ulcorner This paper discusses three test cases encountered in preparing for the Early English Text Society a critical edition of Sidrak and Bokkus, the fifteenth-century English verse translation of the Old French prose book of knowledge, Le livre de Sidrac.

본 연구는 근거이론 접근을 활용하여 학업과 개인적 역할을 동시에 수행하는 간호학과 만학도의 대학생 활 적응 과정을 탐색하고 이론화하고자 하였다. Corbin과 Strauss의 근거이론 방법론에 기반하여, 2021년 12월부터 2022년 11월까지 두 개 간호대학의 30세 이상 만학도 간호학생 10명을 대상으로 심층 면담을 실시하였다. 총 12회의 면담(각 40~80분)은 개방코딩, 축코딩, 선택코딩을 통해 주요 범주를 도출하고 패러다임 모형을 구성하였다. 핵심 범주는 “두 마리 토끼를 잡는 방법을 찾아가는 과정”으로 도출되었으 며, 이는 학업적 의무와 기존의 삶의 책임을 조화롭게 수행하려는 노력을 상징한다. 적응 과정은 ‘현실충 격기’, ‘적극적 노력기’, ‘소극적 타협 및 조율기’의 세 단계로 나타났다. 참여자들은 배움에 대한 열정을 보이는 동시에 세대 차이, 신체적 한계, 사회적 고립 등의 어려움에 직면하였다. 가족, 교수진, 제도적 지원은 적응을 촉진하였으며, 특히, 또래 만학도들과의 갈등은 장애 요인으로 작용하였다. 간호학과 만학도가 경험하는 복잡한 사회심리적 과정 속에서, 이들의 성공적인 적응을 위해서는 정서적·학습적 지원체계가 필수적이다. 이에 대학은 포용적 환경을 조성하고, 맞춤형 지원 프로그램을 개발해야 한다.

Using a grounded theory approach, this study examined the adaptation process of nontraditional nursing students balancing academic responsibilities with personal roles. Guided by Corbin and Strauss’ methodology, in-depth interviews with 10 students aged 30 and older from two nursing colleges were conducted between December 2021 and November 2022. Twelve interviews were analyzed through open, axial, and selective coding to derive key categories and construct a paradigm model. The core category, “the process of finding a way to catch two rabbits,” reflected efforts to reconcile academic obligations with life responsibilities. Adaptation unfolded in three phases: reality shock, active coping, and passive compromise and adjustment. While participants showed enthusiasm for learning, they faced generational gaps, physical limitations, and social isolation. Support from family, faculty, and institutions facilitated adaptation, whereas peer conflict hindered it. Nontraditional students’ successful adjustment thus requires emotional and academic support within inclusive and tailored university programs.

본 연구는 신규간호사의 임상적응에 미치는 요인을 알아보고, 그에 따른 추후 신규간호사의 임상적응증진을 위한 기초자료를 제공하고자 하였다. 신규간호사의 적응능력향상은 이직률을 낮추고, 환자간호에 긍정적 영향을 미쳐 전문직 간호사로 나아가는데 밑바탕이 될 것이다. 신규간호사의 임상적응증진 전략은 다음과 같다. 첫째, 교육을 담당하는 프리셉터 제도를 활성화 시키고, 입사 초기부터 단계적으로 훈련시킴으로서 신규간호사의 적응을 돕고, 간호단위의 상황에 맞는 실제적인 교육을 제공하여 전문성을 향상시킬 수 있도록 한다. 둘째, 병원 업무를 익히기 위한 오리엔테이션 기간이 적당한지 검토하고 재조정 한다. 셋째, 효과적인 오리엔테이션 수행을 위한 맞춤형 교육과정을 실시하고, 예비교육기간에만 이루어지는 일회성이 교육이 아니라 지속적인 피드백을 받을 수 있도록 교육프로그램을 개선한다.

This study is intended to investigate the factors affecting the clinical adaptation of new nurses in Korea and thereby provide the basic data to be used for promoting clinical adaptation of new nurses accordingly. Improving adaptability of new nurses should produce a positive impact on their patient care, reduce their turnover rate and eventually build up the foundation for their promotion to nurse professionals. Strategies for promoting clinical adaptation of new nurses are as follows. First, activate the preceptor system that strengthens education and training programs for new nurses using a precise and standardized protocol for each nursing unit. Second, review the suitability of their orientation curriculum for learning service tasks in hospital and readjust it adequately if needed. Third, review the checklist to ensure they can digest the contents during the training period.

Over the past few years Chinese investments in African countries has attracted media attention from around the world. China has emerged as one of the formidable developing partner of Africa. At the backdrop of this Sino-Africa political and economic relations, Africa has witnessed an increase in arrival of Chinese nationals on the continent, majority of whom are private entrepreneurs involved in the informal economy. This study explored the activities of small scale Chinese migrant gold miners in Ghana by assessing how they create social capital and various adaptation strategies to develop their business through review of journal articles, online newspapers and documentaries. Results of the study indicates lax government enforcement of laws to protect resource exploitation at the community level. There are widespread conflicts between Chinese and local communities over the ownership and the extent to which resources are to be exploited. Ghana has ratified good laws on mining for multi-national and small scale illegal mining, the onus therefore lies in the enforcement of this rules and regulations to salvage the precarious situation.

This study examines the adaptation technique, the breaking linear timeline, and its effects in the movie Little Women(2019) by Greta Gerwig. She adapted the original novel of Louisa May Alcott, connecting the messages of love, art, and money with the modern viewpoint of them. For this, Gerwig dissects the time of the original novel, jumping back and forth in the story. Shifting timeline back and forth is a key factor of feminist theatrical apparatuses, which is used for unveiling how to make the now from the past. Ambitious and talented women from the past have made their ways regardless of the patriarchal social oppression on their economical independence and marriage. Gerwig begins the movie with four sisters’ adulthood, making it flash back to their childhood unlike the novel. Her creative and smart adaptation gives Little Women a modern feminist interpretation; the modern appreciation of female characters, social criticism on the inequality of women’ potentials, the ending that Alcott wanted―Jo who remains as a spinster. The happy ending without marriage and the women’ pursuit of their own dreams reflect the fourth wave of the feminist movement, which pursues egalitarian relationship and co-existence with men by denying the conventional ideas of sexuality, marriage, and family.

In the late 19th century, Japanese government towed the modernization of Japan by translating enormous amount of European books to accept the advanced products of Western civilization. As a result, in the 1880's, the trend of pragmatism spread out over almost parts of literature. European detective novels regarding science and realism were highly translated and introduced into Japanese society. The person who became the spearhead of this trend was Kuroiwa Ruiko. He was a journalist, so his translation aimed the readability of Japanese, rather than the accurate translation of text. So, he adapted the original text. His attitude of adaption brought the creation of the first creative detective novel of Japan in the train, Miserable. Of course, there were translators in contrast with Kuroiwa Ruiko. For example, Aeba Koson pursued concise interest by shortening the original text, and Morita Shiken aimed the pursuit of accurate translation of original text. Likewise, there were different styles of translation. However, these seemed the variations of acceptance and transformation of advanced Western civilization. The narrative of Kuroiwa Ruiko's novel Miserable shows one aspect of characteristics of modern Japanese literature which imitated and accepted Western civilization.

본 연구는 김승옥의 소설 <무진기행>이 영화화되는 과정에서 나타난 검열의 실태와 그에 따른 서사적 변화를 실증적으로 고찰한다. <무진기행>은 1967년 <안개>, 1974년 <황홀>, 1986 년 <무진 흐린 뒤 안개>라는 세 차례의 영화 각색을 통해 변화하였으며, 각 단계마다 오리지널 대본과 검열 신청용 심의 대본 사이의 차이를 비교함으로써 검열의 작동 양상을 분석하였다. 특히, 본 논문은 검열을 단순한 억압 구조가 아니라 감독, 제작자, 검열관이 얽힌 복합적이고 역동적인 협상과 타협의 과정으로 조망한다. 이를 위해 한국영상자료원에 소장된 각종 검열 서류와 시나리오 판본, 그리고 실제 필름의 내용을 교차 분석하였으며, 특히 1970년대 <황홀> 시기의 검열은 문서상의 엄격한 통제와 실질적 수용 사이의 괴리를 드러낸다. 아울러 김승옥의 각색 방향은 점차 통속성과 외설성을 강화하며 당대 상업영화의 흐름에 편승하는 양상을 보이 며, 이는 검열의 수용이라기보다는 시대적 요구에 의한 자율적 각색으로 해석할 수 있다. 본 연구는 문학 작품의 영상화 과정에서 나타나는 사회적·제도적 맥락을 입체적으로 조망하며, 검열과 창작의 관계를 새롭게 이해할 수 있는 시사점을 제공한다.

This study empirically examines the censorship practices and resulting narrative transformations that emerged during the cinematic adaptations of Kim Seung-ok’s short story “A Journey to Mujin”(“Mujin Gihaeng”). The original work underwent three film adaptations—“Mist”(1967), “Ecstasy”(1974), and “Mujin: Cloudy Then Mist”(1986)— each reflecting significant changes. By comparing the differences between the original screenplays and the versions submitted for censorship review, the study analyzes how censorship operated across each stage of adaptation. In particular, this paper approaches censorship not merely as a repressive mechanism but as a complex and dynamic process involving negotiation and compromise among directors, producers, and censors. Drawing on materials held by the Korean Film Archive—including censorship documents, various screenplay drafts, and the content of the completed films—the study offers a cross-referential analysis. Notably, the censorship process surrounding the 1974 adaptation “Ecstasy” reveals a marked discrepancy between the strict regulatory framework documented on paper and the more lenient reality of its implementation. Furthermore, the direction of Kim Seung-ok’s adaptations increasingly embraced popular and sensational elements, aligning with the commercial film trends of the time. This tendency is interpreted not simply as a concession to censorship, but rather as a form of voluntary adaptation driven by contemporary cultural and market demands. By situating the filmic adaptations within their broader socio-institutional contexts, this study offers a multidimensional perspective on the interplay between censorship and creative practice, providing fresh insight into the cultural mediation of literary works through cinema.

Novels and films meet their recipients namely audiences and readers respectively through its differential expression methods. These two are very different in terms of making-process as each uses either text or image but they also share common denominators as the art based on the narratives. On the basis of the narrative, there are active cross exchanges between novels and films in these days and while novels are transformed into films the narrative structure inevitably brings changes. This paper looked into how the changes are brought into when a novel makes into a film centering on the case of A man called Ove a Swedish novel, written by Fredrik Backman. During the course of transforming a novel into a film deletion or change of story is unavoidable leading to different recipients' experiences. Nevertheless, the reason why the film could receive positive reactions from the audiences was the use of the flashback technique. In the narrative structure of the novel, Ove the main character looks back his past to show and explains himself of the past and in the course of transformation the film make the most of the flashback technique efficiently. The technique could easily disturb the experience of the audience however this paper explored how the film overcome the shortcomings enabling the positive audience experience.

기후변화에 대한 기존 댐의 수문학적 안전성을 평가하고 적응방안을 마련하는 것은 장기적인 물공급과 관리 측면에서 중요 하다. 국내 주요 댐은 ‘시설물의 안전 및 유지관리에 관한 특별법’에 따른 주기적인 점검과 유지보수를 통해 안전을 확보하도 록 하고 있다. 특히 정밀안전진단을 수행할 경우에는 가능최대강수량(PMP)을 이용한 수문학적 안전성을 평가하고 위험에 대비하도록 하고 있다. 본 연구에서는 기후변화가 댐의 수문학적 안전성에 미치는 영향을 평가하기 위해 RCP4.5와 RCP8.5 온실가스 배출시나리오에 기반해 산정한 미래 가능최대강수량(PMP)을 이용하였다. 분석기간은 2011년∼2040년, 2041년∼ 2070년, 2071년∼2100년으로 선정하였다. 국내 4개 댐(A, B, C, I)을 대상으로 가능최대홍수량(PMF)에 대해 평가한 결과 RCP 시나리오와 분석기간에 따라 다소 차이는 있으나 기후변화가 3개 댐(A, B, I)의 월류 위험성을 증가시킬 것으로 나타났 다. 이 결과는 기존 댐의 기후변화 적응을 위해서는 비구조적 대책과 더불어 장기적인 구조적 대책 마련도 필요함을 시사하였다.

Assessing the hydrological safety of existing dams against climate change and providing appropriate adaptation measures are important in terms of sustainable water supply and management. Korean major dams ensure their safety through periodic inspections and maintenance according to ‘Special Act on the safety control and maintenance of establishments’. Especially when performing a full safety examination, principal engineer must assess the hydrological safety and prepare for potential risks. This study employed future probable maximum precipitation (PMP) estimated using outputs of regional climate models based on RCP4.5 and RCP8.5 greenhouse-gas emission scenarios to assess climate change impact on existing dam’s future hydrological safety. The analysis period was selected from 2011 to 2040, from 2041 to 2070, and from 2071 to 2100. Evaluating the potential risk based on the future probable maximum flood (PMF) for four major dams (A, B, C, I) showed that climate change could induce increasing the overflow risk on three dams (A, B, I), although there are small differences depending on the RCP scenarios and the analysis periods. Our results suggested that dam managers should consider both non-structural measures and structural measures to adapt to the expected climate change.

A cinematic adaptation can be considered an interpretive reading of the original literary text, so filmmakers adapt the literary material to fit their own approach and thereby cast new light on the original. So codes of meaning in cinema are inextricably linked to the societies and culture that produce the film. This paper aims to analyze the structures of Charles Dickens’ Great Expectations (1861) and its film adaptation produced by David Lean in 1946 focusing on its aesthetics of mythic adaptation. Great Expectations was adapted into film many times. Among them David Lean’s is popularized as an excellent and well made film. First structure and plot of the original text is investigated and then film is examined on the basis of the transformations of characters and plot. Next the differences between them are examined. Many cardinal events and functions lost in process of transformation from novel to film are discussed for the mythic frames showing that cruel characters and behaviors are excluded for mythic adaptations. For the analysis of the film structures, mythic framework theories constructed by Campbell, Voytylla and Vogler are applied. Hero’s phases of growth (psychological journey) and hero’s physical journey are divided in three worlds: ordinary world (increased awareness, call to adventure, departure), special world (experiences in London: road of trials and ordeal), and ordinary world (reconciliation and return). For the mythic structures, Lean transformed the threatening beast-man Magwitch and cold hearted Miss Havisham and Estella into a sympathetic human beings in the final stage of Pip’s hero journey. They represent psychological, not physical, triumphs. Pip, the poor shivering waif, defies Miss Havisham, destroys the power of Satis House, and leads Estella into the sunlight. Pip is a model that combines both moral and practical wisdom as a hero. For these mythic frames Lean uses screen space to show Dickensian larger-than-lifeness hero. In short, Analysis of film adaptations is one means of bringing the “culture text” into collision with its source material to stimulate and renew our understanding of the initial written work. We might say that Lean’s mythic film text is born from this collision and gives him a great success, and it has been loved all over the world up to this day.

This study aims to suggest future directions by exploring the research trends on adaptation of immigrant adolescents. For this, 39 papers were selected from KCI-indexed journal papers, and the research status, research subjects, research methods, and research contents were analyzed. As a result of the analysis, first, related research started in 2011 and peaked in 2018, but has recently been on a downward trend and has been published in 27 various journals. Second, the subjects of the study included a large number of children from international marriage families and from foreign families who were born abroad. Third, as for research methods, qualitative and quantitative research were 56.1% and 39.0% respectively. Fourth, the contents of the study were in the order of society/culture, school, individual, and family. Based on the results of the analysis, future research tasks and suggestions on adaptation of immigrant adolescents were provided.

본 연구는 국내에 거주하는 고려인 321명의 심리·사회적응에 영향을 미치는 요인을 탐색하였다. 이를 위해 성별, 나이, 한국어 말하기, 체류기간, 임금수준, 스트레스 등을 통제변인으로 하고 심리적 특성(자기효능감, 개인비전, 성취욕구)과 사회적 특성(인지된지지, 지지욕구, 사회적 차별)을 독립변인으로 설정하여 연구모형을 구성하였다. 분석결과는 다음과 같다. 첫째, 교육수준에 따라 심리적응에 차이가 있었으나 교육수준에 따른 집단 간의 유의한 차이는 발견되지 않았다. 둘째, 한국어 말하기 수준에 따라 심리적응 수준에 차이가 있었다. 한국어를 아주 잘하는 집단의 심리적응 수준이 다른 집단에 비해 뚜렷하게 높았다. 셋째, 임금수준에 따라 사회적응의 수준에 차이가 있었다. 월 200만원 이상 수입자가 다른 집단에 비해 사회적응의 수준이 높았다. 넷째, 심리적응에 영향을 미치는 주요 요인은 통제변인 중에 성별과 스트레스, 심리적 특성 변인 중에 자기효능감과 성취욕구, 그리고 사회적 특성 변인 중에 지지욕구와 사회적 차별 변인이었다. 다섯째, 사회적응에 영향을 미치는 주요 요인은 통제변인 중에 스트레스, 심리적 특성 변인 중에 자기효능감과 성취욕구, 그리고 사회적 특성 변인 중에 지지욕구 변인이었다. 이러한 결과를 바탕으로 논의와 제언이 이루어졌다.

This study explored the factors influencing psycho-social adaptation of Koryuin who resided in Korea. For this purpose, research model which was composed of psychologicalfeatures and social features as independent variables was developed. Results were as follows. First, there was difference in psychological adaptation according to the level of education. However, no significant difference was found between the groups of ifferent education levels. Second, the level of psychological adaptation of group with the highest level of Korean-speaking skill was higher than other groups. Third, the level of social adaptation of group of those who made more than 2 million Won per month was higher than other groups of those who made less. Fourth, the major factors nfluencing psychological adaptation were gender, stress as control variables, self-efficacy, need for achievement as psychological feature and need for support, social discrimination as social feature. Fifth, the major factors influencing social daptation were stress as control variable, self-efficacy and need for achievement as sychological feature, and need for support as social feature.

In this paper, we examine the use of cultural media in the process of implementing hygiene policies in modern Japan through a review of Kume Masao’s “The Return of Spring” and Iwao Nobuaki’s “Naked World.”First, Masao Kume’s “The Return of Spring” was hosted by the Japan Tuberculosis Prevention Association and the Japan Private Sanitation Association with all of Japan’s leading medical scholars mobilized. It was also a great success, utilizing media such as plays, movies, music, and cutting-edge technology such as airplanes, and it was evident that the Japanese government was paying a lot of attention to the spread of hygiene ideas and the prevention of tuberculosis. Second, through “Naked World,” hygiene ideas included the concept of public hygiene necessary for reproducing and maintaining the people needed to maintain a modern nation-state, and visual media were actively utilized to disseminate hygiene ideas and medical knowledge. It was found that the reality of pathogens and methods of practice in daily life were adapted into visual images and disseminated to the public. In this way, Japan implemented the establishment of a modern medical system and hygiene policy with the recognition that it was a means of reproducing or maintaining the people of a modern nation-state, and the hygiene policy of Germany, which was used as a model, visually reproduced hygiene ideas through hygiene films. Likewise, Japan can be said to have adopted a strategy of disseminating hygiene ideas and medical knowledge to the public by adapting them into visual images. In addition, the concept of hygiene can be said to have expanded its scope to include not only a healthy body but also the people’s ethos of being loyal to the country.

本論文では、近代日本で衛生政策を実施する過程で、衛生劇や衛生映画、衛生歌、衛生ポスターなど多様な文化媒体を活用した様相を、久米正雄の󰡔回る春󰡕と岩尾信明の󰡔世の赤裸󰡕を中心に検討してみた。その様相をまとめると、次のようになる。まず、久米正雄の｢回る春｣については、結核の知識を普及･啓発するため、北里柴三郎をはじめとする医学専門家が総動員され、大日本結核予防協会と大日本私立衛生会が主催し、当代の大人気作家による脚本と最高演出家と人気俳優による演出であったということ、興行面でも大成功を収めたということ、衛生政策は演劇、映画、音楽などの媒体だけでなく飛行機という最先端技術を活用したということ、当時、日本政府が衛生思想の普及と結核の予防に大きな注意を払ったということなどが分かった。第二に、衛生劇｢世の赤裸｣については、衛生思想と医学知識の普及は、近代国民国家の維持に必要な国民を再生産･維持するという公共衛生の概念に基づいているということ、近代医学が視覚資料の導入に基づいて発達したように、衛生思想や医学知識の普及に視覚媒体が積極的に活用され、その過程で病原菌や日常生活での実践方法は擬人化を通じて視覚化する方法で脚色し大衆に普及する戦略を取っていたということが分かった。このように日本は近代医療制度の確立と衛生政策を国民国家の国民の再生産と維持の手段であるという認識下に実行し、そのモデルとなったドイツの衛生政策が医学技術に視覚資料を導入し衛生映画を通じて衛生思想を視覚的に再現したのと同じように、日本の衛生劇も衛生思想や医学知識を視覚的イメージで脚色して大衆に普及する戦略をとったといえる。また、衛生政策の目的は、近代国家を維持するための労働と戦争に必要な忠実な国民を生産して育成することにあり、結核をはじめとする感染病は、国家と専門家である医師の方針に従えば治療の可能な病気であるというイデオロギーにより国民の気風にまでその範囲を拡大して行ったといえる。

이 글에서는 양석일의 소설 『택시 광조곡』이 최양일 감독의 <달은 어디에 떠 있나>로 영화화되는 과정에서 나타난 원작에 대한 각색 혹은 매체 번역의 문제들 을 살펴보았다. 모름지기 번역은 두 텍스트 사이의 의미 등가라는 강력한 이데올 로기가 작동하는 게 틀림없지만, 기본적으로 원작과 번역 사이의 차이의 글쓰기라 고 할 수 있다. 매체 전환을 전제로 하는 번역, 즉 각색은 그 차이를 더 용인하는 측면이 있다. 그럼에도 원작이 존재하는 영화는 원작의 권위와 효과에 의존하기 마련이다. <달은 어디에 떠 있나>도 예외는 아니다. 이 영화의 감독과 각색자의 말처럼, 원작의 ‘나’=‘양씨’가 통일적인 지위를 갖 지 못해 영화 속 주인공에 위치시키기에 어려움이 존재했다. 그러하기에 영화는 원작의 ‘나’=‘양씨’를 버리고 ‘강충남’이라는 새로운 캐릭터를 만들어냈다. 하지만 원작의 핵심 중 하나인 ‘나’=‘양씨’가 왜 택시 운전사여야만 하는가 하는 근본적인 질문을 ‘강충남’을 통해서는 묻지 못했다. 더불어 원작에서 ‘택시’라는 공간이 왜 중요하며, 또 그 의미가 무엇인지에 대해서 묻지 않았다. 원작의 ‘나’=‘양씨’에게 ‘일종의 밀실’이라는 택시라는 공간은 매우 중요하다. 원작에서 택시라는 공간은 다섯 가지로 의미화되고 있다. 1)혼자만의 시간, 2)부지 (不知)의 타자와 함께 하는 공간, 3)위험이 항존하는 시간, 4)가혹한 노동현장, 5) 자본주의가 축약된 세속의 풍속도가 바로 그것이다. 영화에서 그 점을 어떻게 구 현되었는지는 각색 혹은 매체 번역의 성공 여부를 살피는 중요한 관점일 수밖에 없다. 하지만 영화는 ‘강충남’에게 일본을 ‘이동 중정지(pause in movement)하는 곳’ 혹은 이동의 기점으로 여기게 만듦으로써 원작의 택시라는 공간이 갖는 의미 를 소실시키고 말았음을 확인했다. 또한 이 글에서는 영화 속 재일조선인 표상이 그들의 정체성을 피해서사의 상 상력에 근거한 문제로 환원시킬 위험을 내포하고 있음을 지적했다. 다시 말해 일 본인의 편견 속에 담긴 피해서사의 ‘구조’가 하나의 질서로서 존재하고 항상 재생 산되며 그리고 ‘행위 주체’로서 재일조선인이 이 구조에 의해 결정된다는 식의 논리가 영화의 에피소드 속에서 자주 보였다. 오히려 원작의 재일조선인들의 행위 처럼 예측 불가능하고 행위 주체의 반복적 행위를 통해 영화는 그들의 정체성을 설명되어야 할 필요가 있었다. 이 작업을 통해 남은 과제는 ‘시대 번역’의 문제일 수 있다. 주로 1970년대를 배경으로 한 소설 『택시 광조곡』의 서사가 1990년대의 영화 <달은 어디에 떠 있나>로 옮겨지는 과정에서 ‘시대 번역’은 어떻게 영화적으로 이뤄졌는지 하는 제작 자들의 의도를 좀더 살필 필요가 있겠다.

This writing was examined the problems with the adaptation or media translation of the original work that were shown in the process in which Yang Seok-il’s novel Taxi Rhapsody is filmed into <Where Is The Moon?> by director Choi Yang-il. Translation by all means is definitely worked a powerful ideology dubbed semantic equivalence between two texts, but can be mentioned to be the writing of a difference basically between the original work and translation. The translation that is subject to media conversion, namely, the adaptation has an aspect of having more acceptance of its difference. Nevertheless, a movie with an existence of the original is certain to rely on the authority and effectiveness of the original work. <Where Is The Moon?> is not exception as well. As the director and adaptor of this movie said, ‘I’=‘Mr. Yang’ in the original work did not have a unified position, thereby having been difficult to place it in the main character of the movie. Thus, the movie created a new character called ‘Gang Chung-nam’ with abandoning ‘I’=‘Mr. Yang’ in the original. However, the fundamental question with saying why does ‘I’=‘Mr. Yang’ as one of the keys in the original story have to be a taxi driver? failed to be asked through ‘Gang Chung-nam.’ Moreover, it was not questioned about why is the space dubbed ‘taxi’ in the original work important? and what is its meaning?. The space called ‘taxi’ as ‘a kind of secret room’ to ‘I’=‘Mr. Yang’ in the original is very crucial. The space called taxi in the original work is being signified in five ways. Those just include 1) alone time, 2) space of being together with an unknowable (不知) other, 3) a time of constant danger, 4) a harsh labor scene, 5) a worldly custom in which capitalism is abbreviated. How the points were realized in the movie cannot help being a critical perspective that looks into the appearance of success in adaptation or media translation. Still, the movie made ‘Gang Chung-nam’ regard Japan as ‘a place with a pause in movement’ or as the starting point of movement, thereby having confirmed that the meaning of the taxi space in the original work resulted in having been lost. In addition, this writing was indicated that a representation of Korean residents in Japan in the movie contains the risk that will revert their identity into a matter based on the imagination of a damage narrative. In other words, an episode of the movie was often seen the logical argument in a way that ‘structure’ in a damage narration of being involved in the prejudice of Japanese people exists as an order and is always reproduced and that Koreans in Japan as ‘main body of an act’ are determined by this structure. Rather, the movie needed to be explained their identity through unpredictable and repetitive behavior of an actor like the actions of Koreans in Japan in the original work. A task that is left through this work may be a problem of ‘times translation.’ There is a need to take a closer look at the producers' intentions of how ‘times translation‘ came to be cinematic mainly in the process that the narration of Taxi Rhapsody (狂躁曲) as a novel with the backdrop of the 1970s is transferred to <Where Is The Moon?> as a movie in the 1990s.

본 연구의 목적은 놀이를 적용한 미술치료가 유아의 유아교육기관 적응과 주도성에 어떤 영향을 미치는지 알아보는 데 있다. 연구대상은 어린이집 초기적응에 어려움이 있는 3세 여 자 유아로 2013년 3월～6월까지 주 1회씩 총 16회기에 걸쳐 실시하였으며, 단일사례로 연구 하였다. 측정도구로는 어린이집 적응 검사와 유아 주도성 검사를 사전․사후 실시하여 그 원점수의 변화를 살펴보았으며, 회기별 기술과 어머니 상담내용을 바탕으로 회기별 행동태 도와 가정에서 행동태도 변화를 살펴보았다. 본 연구의 결과는 다음과 같다. 첫째, 놀이를 적용한 미술치료를 실시함으로써 유아의 유아교육기관 적응력 향상에 영향을 미친 것으로 나타났다. 둘째, 놀이를 적용한 미술치료를 실시함으로서 유아의 주도성이 향상되는 결과를 나타내었다. 이상의 결과를 종합하여 보면 놀이를 적용한 미술치료가 유아의 유아교육기관 적응과 주도성 향상에 효과적일 수 있음을 시사할 수 있다.

This study aims to examine how art and play therapy impacts on child’s nursery adaptation and his initiative. The study was conducted over a total of 16 sessions once a week from March 2013 to June 2013 to three-year-old female infants who had difficulties to adapt early childcare centers. Pre and post tests about adaptation and initiative were used as measuring tools to see the behavioral change, and the behavior change of attitude at home was also examined through parents’ notes. The results were as follows. First, it was found to affect the improved adaptability of the child’s nursery through art and play therapy. Second, it was also found to improve child’s initiative through art and play therapy. As a result, art and play therapy on child suggests that it has the effect on adaptation and improvement on initiative at early childcare centers.

This paper compares and analyzes George Bernard Shaw’s Pygmalion (1916) and the film My Fair Lady (1964), focusing on character representation and the relationship between Higgins and Eliza. It examines the politics of inclusion and exclusion involved in film adaptation processes and how Shaw’s insights and perspectives are realized in literature and cinema. This paper also explores how the gender dichotomy of male/culture versus female/nature operates in conjunction with classism by considering different transformations and reconstructions of the Pygmalion myth. Shaw emphasizes the inner growth of Eliza who achieves independent subjectivity by breaking away from the Pygmalion romance. To disclose the duplicity and contradiction of a male intellectual, a political idealist pursuing social equality, he sheds light on Higgins’ lack of self-restraint and empathic ability, not to mention his misogyny and class hatred. My Fair Lady explicitly gives shape to Shavian ideas and Higgins’ male chauvinism using cinematographic codes and interestingly portrays Eliza’s resistant agency. My Fair Lady, however, has its limitation in marginalizing feminist and socio-critical elements while compromising between the central theme of the original and the romantic ending of a mainstream musical film.

The purpose of this study was to obtain baseline data and characteristics of motor control in different age groups undertaking various exercises. Healthy individuals(n=120) were divided into young, middle aged, and elderly groups, and again divided into intervention and control groups. They were then assessed by computerized dynamic posturography on producing the following results; Small backward was significantly different between groups, the results of post hoc showed significant difference between young, middle aged, and elderly, and middle aged among and elderly, and intervention effect in elderly. Medium backward was significantly different, between groups, the results of post hoc showed significant difference between young and elderly, and among middle aged and elderly, and intervention effect in elderly. Large backward was significantly different between groups, the results of post hoc showed significant difference between young and middle aged, and elderly, and between middle aged and elderly. Small forward was significantly different between groups, the results of post hoc showed significant difference between young and elderly, and middle aged and elderly, and intervention effect in young. Medium forward was significantly different between groups, the results of post hoc showed significant difference between young and elderly, and middle aged and elderly. Large forward was significantly different between groups, the results of post hoc showed significant difference between young and elderly. Adaptation 1 showed significant difference between groups and exercise effect, the results of post hoc were ; young and elderly, middle age and elderly, and intervention effect in young and elderly. Adaptation 2 showed significant difference between groups , and the results of post hoc were ; young and elderly, middle age and elderly. Adaptation 3 showed significant difference between groups. Aging has negative effects on reaction time, and adaptation. We indicated that regular exercise has positive effects in motor control, especially in the older groups.

This article explores the process of deconstructing heteronormative narratives in Juliet and Juliet, an adaptation of Shakespeare’s Romeo and Juliet. Juliet and Juliet follows the plot of Romeo and Juliet but reconfigures the content to foreground female homosexuality. Playwright Han Songhee situates the story of Juliet and Juliet as a prequel to Shakespeare’s Romeo and Juliet, expanding the homosexual motif in the play into a project of concealing and recovering homosexual narratives. A new character, Juliet from the Montague family, who does not exist in the original, is created and falls in love with Juliet from the Capulet family. Their love, opposed by their families, ultimately leads to a tragic death. The mature love of the two Juliets, who transform each other, transcends the tragic and forms new meanings outside of the compulsive heterosexual society. The female queer narrative in this play expands into a narrative of growth of finding one’s identity, confronting a closed reality. In a time when women’s narratives and solidarity are expanding in literature, popular culture, and the performing arts, Juliet and Juliet holds significant meaning as yet another creative work that embodies contemporary awareness.