Earticle

This paper deals with the character education through narratives from the perspective of narratology. Although cognitive science is associated with mechanical technologies that seem unliterary, the central issues for cognitive science are in fact the issues of the narrative mind because most of our experience, our knowledge, and our thinking is organized as stories. In this sense, narratives play an essential role in one’s personality formation and mental development. There are three methods in the narrative moral education: traditional narrative moral education, formal narrative moral education, and ordinary narrative moral education. On the other hand, there are also three other narrative moral education methods: contents centered moral education, process centered moral education, and reflection centered moral education method. From the perspective of narratology, there is a concrete narrative level of text and three abstract narrative levels of story, narration, and textuality. While the traditional narrative moral education and the content-centered moral education are related to the narrative level of story, the formal narrative moral education and the process-centered moral education are associated with the narration level of the narrative. The ordinary narrative moral education and the reflection centered moral education can correlate with the level of textuality. This paper, therefore, shows how narratives play a role in character education, and how the main components of the narrative levels can used effectively for that.

｢The Beginning of Deer Dance｣has two narrative levels: extradiegetic level and intradiegetic level . Starting with the question of why this narrative levels are adopted, this paper clarifies the narrative levels and the narrative invasions, and the common characteristics of narrative structure and content. This work unfolds in the order of extradiegetic level, intradiegetic level, extradiegetic level. However, the beginning “At that time” and the ending “after that” respond, and the common indicator “that” indicates when Kaju started walking westward. The ending event of extradiegetic level forms a circular structure that leads to opening event of extradiegetic level. Therefore, the time of this work goes from intradiegetic level to extradiegetic level(the ending), to extradiegetic level(the beginning) and the opening narrative of “I” is narrative of “I” when all the deer dancing experiences are over. In the intradiegetic level, Kaju’s assimilation into the spirit of deer dancing was brought about by verbal crossing of the border, but it ended without resonance. However, as the character in intradiegetic level crosses the border to the character in the extradiegetic level, the main character, Kaju, or “I” realizes that the spirit of deer dancing has been answered and resonated with Mother Nature. In this work, the theme of cross-border is used in both content and narrative structure and the last cross-border by the wind symbolize the resonance between nature and humans.

본 연구에서는 유아들이 산출한 내러티브에 나타난 정신상태 용어 사용, 내러티브 발달수준, 마음이론, 어휘수준 간의 관계를 살펴보고, 내러티브 발달, 마음이론, 어휘 수준에 따른 내러티브에서의 정신상태 용어 사용의 차이를 알아보았다. 유아교육기관과 초등학교에 다니는 만 3세에서 6세에 이르는 유아 263명이 이 연구에 참여하였다. 유아의 개인적, 가상적 내러티브에서의 정신상태 용어 사용과 개인적, 가상적 내러티브 발달 수준, 어휘수준 간에 상관이 높았으며, 내러티브 발달수준과 마음이론과의 상관은 가상적 내러티브에 한하여 높은 상관을 보였고 마음이론과 어휘수준 간에도 높은 상관이 나타났다. 내러티브 발달 수준, 마음이론, 어휘수준 등이 높은 집단은 낮은 집단보다 정신상태 용어를 유의하게 많이 사용하였다.

The interrelationships among children's mental-state-term use in personal and fictional narratives, narrative developmental level, theory of mind, and vocabulary level and the differences in the use of mental state terms according to the high and low levels in narrative development, theory of mind, and vocabulary were examined. Two-hundred and sixty three children aged 3 to 6 participated in this study. Children created both personal and fictional narratives and participated in theory of mind and PPVT tasks. There were significant relationships between mental-state-term use and the developmental level of personal and fictional narratives and between mental-state- term use and vocabulary level. The relationship between narrative developmental level and theory of mind showed significant correlation only in fictional narrative. Theory of mind and vocabulary level also showed relatively high correlations. Children with high level of narrative development, theory of mind, and PPVT used significantly more mental state terms than children with low level in those when each of these elements were compared separately. Comparative intercultural study on the use of mental state terms in personal and fictional narratives were suggested since the frequency of children's mental state term use was so limited in Korean subjects.

본 논의는 서사로서 <바리공주>를 이해하기 위해 대상에 대한 층위를 나누고 이에대한 접근 방법을 재검토하고자 한다. 서사의 층위 구분과 각 층위별 분석, 그리고 그것들에 대한 통합적 접근이 이루어진다면, 이는 <바리공주>를 이해하고 연구하는 새로운 방향과 방안을 제시하는 데 기여할 수 있을 것이다. <바리공주>의 이야기 차원, 즉 표층 구조는 주인공 인물의 탄생에서부터 시작된 삶의 과제를 공간 이동과 연대기적 순차 구조로 형상화하고 있다. 이 이야기는 태어나면서 정체성을 부정당한 한 여성이 어떤 과정을 통해 존재론적 변신을 이루고 정체성을찾아가는지를 보여준다. 특히 정체성 찾기의 여정이 주로 가족 구성원과의 관계를 통해 발생하는 사건들을 통해 형성되어 있다. 이야기 차원에서 찾을 수 있는 이 같은 구조는 가족 구성원의 갈등과 화해, 삶과 죽음이라는 대립적 패러다임으로 심층 구조를형성하고 있다. 이 이야기를 통해 드러나는 사유 구조는 삶의 문제가 가족 구성하기의문제이며, 동시에 죽음의 문제 역시 마찬가지라는 점이다. 삶과 죽음이라는 대립되는것들이 공존하는 이 세계를 어떻게 통합시켜 바라 볼 것인가에 대한 답으로 이 신화의전승집단은 인간과 신을 관계 맺게 하고 있다. 이 이야기는 망자를 천도하는 굿에서주요하게 소통된다. 무당이 발신자이고 제의 참여자가 수신자이지만, 실제 이 이야기는 특정한 상황에서 반복되는 전혀 새로운 정보가 없는 메시지이다. 굿에서 단골과 참여자들은 <바리공주> 서사를 단순히 메시지로 수용하는 것이 아니라 자가 커뮤니케이션을 통해 자신을 삶과 행위를 재구성하는 코드로 수용한다. <바리공주>의 인물과 사건을 자신의 삶과 상동적 관계로 받아들임으로써 주어진 일상의 삶을 삶과 죽음, 단절과 소통, 갈등과 화해의 통합적 시각으로 그리고 현재적 관점으로 수용하게 된다. 이는세상과 현실을 바꿀 수 없지만 그것에 대한 ‘나’의 삶의 태도를 바꾸는 것으로, 결국이것이 신화에서 바리공주가 신으로 변신하는 것처럼, 개인이 제의 커뮤니케이션을통해 이룰 수 있는 변화⋅변신인 것이다. 이처럼 <바리공주>는 이야기의 층위, 이야기 생성의 층위, 이야기 소통의 층위에서각각의 의미나 기능이 상호 관련을 맺고 있음을 알 수 있다. 또한 세 층위에서 신화서사가 드러내는 구조는 신화 전승집단의 의식 세계와 문화체계를 드러내는 데에도효과적이다.

This paper attempts to divide the narrative into three levels and review the approach methodology to understand Princess Bari as a narrative. If the stratification of the narrative, the analysis of each levels, and the integrated approach to them are made, this can contribute to suggesting new directions and ways to understand and study Princess Bari. The story level of Princess Bari, the surface structure, is shaped by the space movement and the chronological sequential structure of the life task that started from the birth of the main character. This story shows how a woman who was denied her existence by her father as soon as she was born finds an ontological transformation and identities through a process. Especially, the journey of finding identity is mainly formed through the events that occur through the relationship with family members. This structure, which can be found in the narrative level, forms a deep structure with the oppositional paradigm of family members’ conflict and reconciliation, life and death. The thought structure revealed in this story is the problem of life is the problem of family composition, and the problem of death is also the same. In response to how to look at the unified world of coexistence of life and death, this tradition group of myths makes a relationship with man and God. This story is mainly communicated in the Korean shamanistic ritual(Gut) that sent the dead to the afterlife. Although the shaman is the sender and the participants in the ritual are the receivers, the story is well known a message that does not have new information repeated in certain situations. In gut, the patrons and participants do not simply accept the <Bari Princess> narrative as a message, but accept themselves as codes for reconstructing their lives and behavior through autocommunication. By accepting the characters and events of <Princess Bari> as a homeomorphism relationship with their lives, people accept the everyday life as an integrated view of life and death, disjunction and communication, conflict and reconciliation, and the present viewpoint. It can not change the real world, but it changes the attitude of ‘I’ about life. And it is a change and transformation that can be achieved through personal communication like the transformation of Princess Bari into god in myth. Thus, Princess Bari shows that each meaning and function in the story level, composition level, and communication level is related to each other. In addition, the structure revealed by this narrative on three levels is also effective in revealing the collective consciousness and cultural system of the transmission group.

연구목적: 본 연구는 동화책을 활용한 문해력 교수가 지적장애 초등학생의 이야기 작문 능력에 미치는 효과를 분석하고, 성취 수준에 따른 중재 효과의 차이를 살펴보는 데 목적이 있다. 연구방법: 지적장애 학생 11명을 대상으로 단일 집단 사전-사후 검사 설계를 적용하였다. 중재는 동화책을 읽고, 읽은 내용을 말로 표현한 뒤 글로 작성하는 일련의 과정으로 구성되었다. 종속변인은 이야기 작문 능력으로, 양적 지표와 질적 지표를 통해 측정하였다. 또한, 군집분석을 통해 학생들을 시작 집단과 성장 집단으로 구분하고, 각 집단의 중재 전후 작문 변화 양상을 비교 및 분석하였다. 연구결과: 중재는 지적장애 학생들의 작문 양과 질을 향상시키는 데 효과적이었다. 시작 집단은 작문의 양과 질이 모두 향상되었으며, 특히 글의 양, 어휘 다양도, 글의 내용 측면에서 높은 향상을 보였다. 성장 집단은 작문의 질적 측면에서 향상을 보였으며, 특히 글의 표현력과 응집성에서 높은 향상을 보였다. 결론: 동화책 읽기를 활용한 문해력 교수는 지적장애 학생들의 이야기 작문 능력을 향상시키는 데 효과적이며, 학생 개별의 작문 수준과 요구에 따라 차별화된 작문 전략의 적용이 필요함을 시사한다.

Purpose: This study aimed to examine the effects of literacy instruction through storybook reading on the narrative writing skills of elementary school students with intellectual disabilities and to investigate differences in intervention effects based on students’ writing proficiency levels. Method: A one-group pretest-posttest design was employed with 11 students with intellectual disabilities. The intervention consisted of a series of activities―reading a storybook, verbally expressing the story, and writing it down. The dependent variable was each student’s narrative writing skills, which was measured using both quantitative and qualitative indicators. In addition, students were categorized into emerging and developing proficiency groups through cluster analysis, and the changes in writing performance before and after the intervention were compared and analyzed for each group. Results: The intervention was effective in improving both the quantity and quality of writing among students with intellectual disabilities. The emerging group showed improvement in both aspects, with particularly notable gains in writing length, vocabulary diversity, and relevance to the topic. The developing group showed improvement primarily in the qualitative aspects of writing, especially in expression (vocabulary and sentence fluency) and cohesion. Conclusion: Literacy instruction through storybook reading was effective in enhancing narrative writing skills among students with intellectual disabilities, suggesting the need for differentiated writing strategies tailored to their writing proficiency levels and individual needs.

The phrase “Let us do it like that” (어서 걸랑 기영 헙서) is a common and important saying of shamans (shimbang in Jeju). It refers to an “agreement” between figures in the shaman myths (bonpuri) of Jeju. However, it is not a mere “yes” as in common parlance. Such sayings have a more functional role in traditional oral discourses. In this study, I determine the meanings and functions of the above statement of agreement at the narrative and pragmatics levels. At the narrative level, “Let us do it like that” is spoken by the figures as a mutual mode, namely, <order-adapt>, <instruct-recognize>, and <suggest-agree> (ask-permit, recommend-accept, convince-be convinced). These dialogs represent a process of agreement by the shaman or shimbang speaking and performing. As soon as the phrase is uttered, a situation that the figures have been expecting is actualized in the narrative. This is because such an utterance always leads to an action, that is, it is an agent of action or follows a sequence leading to realization. In this way, the agreement between figures generates a sequence and guides the narrative, connecting the myth’s plot to the choices and decisions of the figures. In short, the bonpuri in Jeju realizes the plot through an agreement between figures and the causality between these events. At the pragmatic level, the phrase “Let us do it like that” functions in the same way as “magic,” by allowing it to work as an incantation. That is, when a figure suggests doing something (“describing”), another agent agrees, and this agent performs the thing upon which they agreed (“second description”). In this way, similar or almost identical scenes are described twice by a shaman. This repetition allows the shaman to “memorize” the narrative but also serves to allow the audiences to comprehend the stories, thus creating smooth communication in the community. The community then forms a model of the narrative world that it pursues. One can also compare the phrase “Let us do it like that” with “Amen” in the Catholic divine services. This “agreement” also implies “I hope so” or “That is right,” uttered among mutuals such as God and humans or priests and believers. Just as Christians reaffirm their belief in the Catholic doctrine by uttering Amen, “Let us do it like that” serves a similar function in Jeju myths within the shaman community. It alludes to expectations, or their agreement and beliefs about their ideal world, which are then realized by an agent uttering this phrase. This phrase can be seen as a collaborative agreement—as a premise for establishing an ideal world in myths; One that is spoken between figures who create the world as a sacred incantation that generates the correct results. Such a phrase is remarkable in that it is only seen in myths in Jeju inside Korea and is a sort of tuning language among those residing in Jeju. In conclusion, the myths of Jeju are stories that people have agreed upon and accepted for a long time. If so, the phrase “Let us do it like that” is habituated speech for allowing good fortune as well as for agreement among community members.

이 글은 화자의 서술과 초점화에 대한 서사학의 논의를 토대로 요한계시록을 세 개의 서사층위로 구분하고 각 층위를 계시록의 저술 목적인 예언적 권면과 종말 심판 예고와 관련지어 분석한다. 즈네뜨 이후 발, 리몬-케넌, 랜서등의 서사학자들은 종래의 시점 구분에 의문을 제기하고, 누가 말하는가(서술)의 문제를 누가 보는가(초점화)의 문제와 분리하여 다루는데, 이를 서사 층위 분석과 결합하면, 난해한 계시록 본문 해석에 유용한 도구가 될 수 있다. 계시록의 서사는 요한의 소명과 예언적 권면을 담은 제2층위와 종말 환상 보도를 담은 제3층위의 두 겹으로 구성된다 제2층위 서사에서 요한은 등장인물중 하나이며, 제3층위 서사에 대해서는 이야기 밖에서 서술하는 관찰자의 입장이 된다. 두 층위의 구분은 계시록이 예고하는 종말 심판 과정을 정확히 그려내기 위해서도 반드시 필요하다. 그런데 이야기가 두 겹임에도 불구하고,계시록의 서술자는 ‘나’ 요한 하나로만 나타나기 때문에, 층위 구분에 혼선이일어난다. 이 글은 그 이유를 서술과 초점화의 분리에서 찾는다. 특히 환상보도(제3층위)의 화자가 누구인지 규명하는 것이 문제인데, 제3층위 서사의서술자는－제2층위 서사의 서술자와 같은－제1층위의 공적화자 ‘나’이며, 그서술자가 제2층위의 ‘나’를 ‘초점화자’로 사용하여 새로운 서사층위를 만들어낸다는 것이다. 이 글은 이러한 이론적 논의에 터하여 계시록의 본문을 서사층위에 따라 나누고, 여러 겹으로 이루어진 계시록의 서사세계를 하나의 도표로 정리한다. 계시록의 내용을 두 부류로 성격화 하는 ‘큰 책’/‘작은 책’과 두서사층위를 연결해 보면, 계시록의 공시적인 종적 구조가 시간 흐름에 따른횡적 구조와 어떻게 연관되는지 드러난다. 마지막으로 이 글은 서사층위 분석이 계시록 4:1에 나오는 ‘메타 타우타’의 본문비평 논의에도 빛을 던져줄 수있음을 보인다.

The book of Revelation is composed of three narrative levels,which Genette calls extradiegetic, intradiegetic, and metadiegetic respectively. Because there is no story in the first level, which is extradiegetic, the whole text of Revelation belongs to the two other levels. The intradiegetic narrative is narrated by ‘I’ John, a character in the story, while the vision report in the metadiegetic level is told from outside. Having discussed the theories of Jae-seon Lee, Genette, Bal, Rimmon-Kenan, and Lanser, I argue that the metadiegetic level of Revelation is created by a focalizer,who does not narrate but just lends his/her focus to the public narrator, and show how each level serves the purpose of the book, that is, prophetic exhortation with end-time visions. This paper also demonstrates that the vertical structure of the book is integrated with the horizontal or temporal one so that the narrative level analysis helps understanding the sequence of events in each level.