Earticle

This paper attempts to analyze mechanized characters in The Complete Wild Body and Snooty Baronet by Wyndham Lewis the writer and painter. The concept of the puppets opposed to natures derives from Johann Wolfgang von Goethe. The puppets represent human beings subordinated to the outer forces of socio-political systems in the machine age. The First World War was the turning point of the modernist’s career. In The Complete Wild Body, a variety of puppets appears: acrobats literally similar to the puppets, an American businessman obsessed with absolute nationalism combined with capitalism, Father Francis constituted by the mass culture, and Ludo representative of a soldier’s body. In Snooty Baronet, Humph, an Anglo-Saxon disciplined body, is a site on which the contemporary social discourses operate. A manikin in a show window illustrates that the puppet is represented as a commodity in a capitalistic system. Lewis’s satire of the automata are based on Henri Bergson’s Laughter. The philosopher emphasizes laughter’s capacity to reveal and correct the absurdity of men-machines deprived of vital energy.

This research aims to explain the differences in the performance style of the shadow puppet theatre performances of Nartasabda and Purbo Asmoro and to analyze the messages or values contained in their performances. A qualitative method is used with an approach based on the dramaturgy of Javanese shadow puppet theatre. The object of the research is the stories Karna Tandhing and Dewaruci performed by Nartasabda and Brubuh Ngalengka and Rama Gandrung performed by Purbo Asmoro. These two puppeteers, or dalang, were well-known in different eras. Nartasabda was popular between 1969 and 1986 and had a unique performance style. Purbo Asmoro is a young dalang in a new generation of performers who has been popular since 1994 and has a different style of performance from most other dalang. Nartasabda’s performance style is always relevant to his era and displays a highly creative dramatization of characters as well as creativity in the musical accompaniment and the use of humour in every scene. Purbo Asmoro’s performance style is based on traditional Surakarta style but with new developments such as the use of abridged storylines (garap pakeliran padat), janturan and pocapan narration, new shorter arrangements of musical compositions or gendhing and sulukan, the use of thematic movements or sabetan, the avoidance of language which contains clichés, and the use of flashbacks. Each dalang has his own special characteristics. Nartasabda presents a highly skilful dramatization of characters and a dynamic treatment of the music, while Purbo Asmoro combines the use of garap pakeliran padat with an all-night performance style to create a new style of performance. It is hoped that the results of the research will be useful for other researchers to carry out a more in-depth study and also for audiences to understand the creativity and treatment of the two dalang so as to enrich their spiritual experience. The benefits of this research include the discovery of the values or messages contained in the four stories, such as values of heroism, religious humanitarianism, and patriotism, all of which can be internalized and used as a means for educating the character of the audience.

The aim of this research is to describe the ethnography of gamelan music of shadow puppet theatre as cultural phenomena and as a social practice. I draw upon Piere Bourdieu’s notions of habitus, physical capital, and cultural capital. The main focus of this research is examining threefold distinction between individual habitus, institutional habitus, and ethnomusicological habitus. Memory is embodied through repeated gesture. The disciplined and rehearsed body of the gamelan musician is one of the most significant resources in the conduct of gamelan music. In this paper I explore some of these issues to make sense of embodied work of gamelan music performance, drawing on my ethnography of the shadow puppet theatre.

The endeavours used by Ki Anom Suroto to create a lively and humorous atmosphere in order to entertain the audience include: (1) maximizing the role of the classical verse (tembang) sung by the female vocalists (pesindhen) and male vocalists (penggerong), accompanied by music of the gamelan, played by the musicians (pengrawit); (2) every utterance contained in the various tembang and the dialogue of the panakawan (clown servants) deviates from the maxim of cooperation and the maxim of politeness; and (3) maximizing the role of the panakawan characters based on their individual shape or character (wanda), both in their speech (verbal language) and the way in which they dance (nonverbal language). The combination of verbal language (speech) and nonverbal language (visual elements), supported by the rhythms of the gamelan and the voices of the pesindhen and penggerong are able to create a pragmatic force which attracts the attention of and entertains the audience, in particular members of the audience with a similar cultural background. The verbal language which is written in the various lyrics of the tembang and the speech in the dialogue of the panakawan with the pesindhen, pengrawit, and guest artists, is manifested in various different kinds of speech acts, such as: assertives, verdictives, directives, and phatics. Of the four kinds of speech acts, the most dominant kind is assertives. In addition, an observation of the response or evaluation of observers and members of the audience to the presentation of the tembang in the gara-gara scene as performed by Ki Anom Suroto shows that: observers/audiences regard his humour as well-mannered and full of advice and social criticism which is presented in a polite way. His humour has a high quality and manages to retain the classical values that are found in the art of classical Surakarta style shadow puppet theatre (wayang kulit purwa).

우리나라에는 춘천인형극제라는 역사와 전통이 깊은 인형극 축제가 있어서 공연 예술계와 시민들에게 큰 역할을 하고 있다. 이 연구에서는 리처드 셰크너의 연행 이론과 연구자의 참여관찰을 통해 2024년 제36회 춘천인형극제의 공연을 분석하고 평가하여 다음과 같은 인형극 감상 교육의 목표를 도출하였다. 첫째, 인형극 공연의 언어 텍스트 층위에서 나타나는 특징을 바탕으로, ‘시대정신에 천착한 현실 톺아보 기’와, ‘관점의 전환과 새로운 해석’을 도출하였다. 둘째, 인형극 공연의 연희 텍스트 층위에서 나타나는 특징을 분석하여, ‘인형과 오브제에 관한 다양한 탐색’과 ‘전통연희의 창조적 계승’을 발견하였다. 셋째, 인형극 공연의 공연 텍스트 층위에서 나타나는 특징을 바탕으로, ‘관객의 공연 주체화’와 ‘공연 감상의 공유’를 도출하였다. 넷째, 인형극 공연의 문화적 컨텍스트 층위에서 나타나는 특징을 분석하여, ‘공연 감상의 태도’와 ‘세계로 뻗어가는 K-인형극’을 발견하였다. 후속 연구에서 우리나라 여러 지역에서 이루어지는 인형극에 어떤 의미나 가치가 있는지를 다양한 방법 론으로 연구하여, 인형극 감상 교육의 내용이나 방법, 평가 등이 구명되고, 인형극 감상 교육의 체계화와 위계화가 조속히 이루어지길 기대한다.

In Korea, a puppet theater with a deep history and tradition called the Chuncheon puppet festival continues, playing a significant role in the performing arts world and citizens. In this study, the following educational goals of appreciation of a puppet theater were derived by analyzing and evaluating the performance of the 36th Chuncheon puppet festival in 2024 through Richard Schechner's performance theory and researcher's participatory observation. First, by analyzing the characteristics that appear at the level of the language text of the puppet festival performance, 'reviewing reality based on the spirit of the times' and 'transition of perspective and new interpretation' were derived. Second, by analyzing the characteristics that appear at the level of the performance text of the puppet festival, 'various exploration of puppets and objects' and 'creative inheritance of traditional performances' were found. Third, by analyzing the characteristics that appear at the level of the performance text of the puppet festival, 'the audience's performance subjectivity' and 'sharing of performance appreciation' were derived. Fourth, by analyzing the characteristics that appear at the cultural context level of the puppet festival performance, 'an attitude of appreciation of a puppet theater' and 'K- puppet theater that extends to the world' were derived. In the follow-up study, it is expected that the contents, methods, and evaluations of puppet theater appreciation education will be identified through follow-up studies by studying the meaning and value of puppet theater festivals in various regions of Korea, and that puppet theater appreciation education will be systematized and hierarchized.

This study examines the positioning of the label koyloy ‘puppet’ in inter-Korean relations from 1948 to early 2024. Drawing on Positioning Theory (Davies & Harré 1990/1999), it investigates how South Korea’s pwukkoy ‘North Korean puppet’ and North Korea’s namcosen koyloy (‘South Korean puppet’) functioned as reciprocal acts of interactive other-positioning rather than merely as derogatory labels. Based on a qualitative discourse analysis of representative institutional and media texts from both Koreas, the study explores how these naming practices assigned particular rights and duties to the opposing side and reproduced antagonistic storylines over time. The analysis shows that the label ‘puppet’ consistently positioned the other side as a politically dependent and non-autonomous actor while reinforcing each regime’s own legitimacy. The historical development of these reciprocal naming practices reveals that hostile discourse between the two Koreas was sustained not only through categorical differentiation but also through the interactional production and reproduction of positions. In this sense, the study argues that the repeated use of ‘puppet’ gradually became a conventionalized positioning trigger (e.g., Kim 2020) that activated historically sedimented positions and storylines. By tracing the historical development of hostile naming practices, this study contributes to a linguistic understanding of legitimacy competition and hostile discourse in inter-Korean relations.

인간을 축소하고 환상화한 것으로부터 출발한 인형은 많은 예술가들에 의해 작품화되기 시작하면서 완구에서 예술작품으로 인식이 바뀌었다. 그 중에서 조형적 물체(人形)로 조작되는 드라마의 형식을 가진 인형극은 움직임만으로도 극적 소통을 이루며 인간을 초월 하는듯한 환상적 분위기를 가진다. 하지만 이런 장점에도 불구하고 인형극에 대한 낮은 인식과 인간배우의 한계를 훌쩍 넘어서 있는 인형배우가 그 이상으로 확장되지 못하고 아동인형극으로의 한계에서 벗어나지 못하고 있다. 또한 관련 자료의 부족으로 인해 새로운 실험과 전문적인 연구도 미흡한 실정이다(이재령, 2019). 이러한 열악한 환경을 벗어나기 위하여 인형극의 특성은 부각시키되 아동 위주의 관객을 좀 더 확장하여 성인에 이르기까지 참여할 수 있는 콘텐츠로 발전시킬 필요성이 있다. 따라서 인형극을 바라보는 시각을 바꾸고 열악한 인형극의 현실을 극복하기 위해 지금까지와는 다른 차원의 접근 방식이 필요하다. 본 논문에서는 새로운 차원의 접근 방식으로 기존의 인형극 공연을 놀이를 동반한 체험 콘텐츠 모델을 제안하고자 한다. 인형 조작을 위해 손이나 도구를 직접 이용하는 방식이 아닌 원격제어장치를 통해 제어하는 이 방식은 디지털 기술이 발달한 현 시대의 흐름과도 일치하며 천이나 헝겊 등을 이용하여 만든 전통적인 인형과는 달리 로봇, 완구, 드론 등을 활용 할 수도 있다. 또한 인형을 비롯한 이런 공연 재료들을 관객들과 직접 제작하여 극에 참여할 수도 있다. 더불어 인형극의 개념과 유래에 대한 선행 연구를 통하여 인형극에 대해 이해하고 인형극의 종류를 나누는 기준에 대한 근거를 바탕으로 디지털인형극의 장르를 정의하며 인형극의 구성요소에 대한 관련 연구를 바탕으로 디지털 인형극의 구성요소를 정의하고자 한다. 따라서 본 연구에서는 새롭게 제시하는 디지털인형극이 기존 인형극과 마찬가지로 공연의 절차와 방법이 올바른 가에 대한 증명을 선행연구와 실험결과를 통해 증명하고자 한다.

The doll, which started from the miniaturization and fantasy of humans, began to be made by many artists, and the perception changed from toys to art. Among them, the puppet show, which has a form of drama manipulated with a figurative object, achieves dramatic communication with movement alone, and has a fantastic atmosphere that transcends humans. However, despite these merits, the puppet actors, who have a low awareness of puppet theater and the limits of human actors, cannot be expanded beyond that and cannot escape from the limits of children's puppet theater. In addition, due to the lack of related data, new experiments and professional studies are also insufficient. In addition, due to the lack of related data, new experiments and professional studies are also insufficient. In order to escape this harsh environment, the characteristics of the puppet show should be emphasized, but there is a need to further expand the audience focused on children and develop them into contents that can participate from adults to adults. Therefore, a different dimension of approach is needed to change the way we view puppetry and overcome the reality of poor puppet theater. In this paper, we propose an existing puppet show as an experiential content model accompanied by play with a new dimension of approach. This method of controlling a doll through a remote control device, rather than using a hand or a tool directly for the manipulation of the doll, is consistent with the current trend of digital technology development. Alternatively, robots, toys, and drones can be used. This model is defined as a digital puppet show in this paper, and it is intended to lay the foundation for the development of puppet show performance and a new genre of cultural art by presenting a method of performing the digital puppet show.

This article examines the development of Akutagawa’s literature from the middle to the end of his life, based on “Shinkiro(蜃気楼)” (first published in Fujin Koron(婦人 公論), 1927).As is well known, Akutagawa’s later years of his literary career were marked by an inclination toward the realm of the unconscious and, at the same time, by a sense of “unknowable anxiety” that welled up from within the unconscious. Yoshio Shiozaki calls such a phenomenon “forced thinking,” and the protagonist (myself) of Akutagawa’s later years of literature also feels as if I am a puppet being moved by “someone else’s existence” beyond my own will. It can also be said that Akutagawa’s style in his later years depicts the world of “vague anxiety” of the puppet “I”. “Shinkiro(蜃気楼)”, the subject of this article, is also characterized in this way.Nothing dramatic happens to the main character, “I,” but the mirage he goes to see is overlaid with an eerie image of a new era of melancholy and gloom. The protagonist’s “me” is not a dramatic event, but an image of “something” coming from the other side of the sea toward this side.In the end, however, nothing happens in this work, and only an eerie mental image is left as an aftertaste. This paper examines the method of constructing the world of “Shinkiro(蜃気楼)” with its “vague uneasiness” through the rhetoric of this work, and analyzes it by delving into one aspect of the methodology of Akutagawa’s “novel without a story” of his later years.

19세기 중엽부터 조선인은 정치 경제 사회 등 여러가지 원인으로 중국동북지역 일본 러시아연해주 등 나라에 이주하여 민족이산의 비참한 생활을 하게 되었다. 지리적인 편리 와 역사 문화상의 밀접한 관계로 중국동북지역이 조선이주민들의 우선지역으로 되었으며 이지역의 조선인 이주민 수가 가장 많고 동북아사회와 국제관계에 준 영향도 가장 컸다. 조선인이 중국동북지역에로의 이주는 20세기 10년대와 30년대에 상대적으로 집중되었 다. 10년대에는 주로 도문강 압록강유역을 중심으로 하는 농촌지역에 집중되었는데 그 이 주범위가 점차 확대되어 30년대에 들어서면서 요녕 길림 흑룡강 및 내몽고동부 지역에까 지 널리 분포되었다. 특히 위만주국이 건립된 후 도시의 조선이주민의 수가 신속히 증가되 면서 도시의 조선인사회를 형성하게 되었다. 이왕 국내외 학계에서 본과제와 관련된 연구를 살펴보면 내용은 주요하게 한국민족독 립운동 및 관련자료에 관한 것이었고 지역은 주요하게 농촌지역 특히 조선농업이주민이 가장 집중된 연변지역이었다. 특히 중국학계에서는 본과제와 관련된 연구가 거이 이루어 지지 않은 상황이다. 이러한 미흡한 연구현황을 감안하여 위만주국시기 관련통계자료와 한국과 일본학계의 선행연구성과를 활용하여 위만주국시기 주요도시 조선인사회에 대한 연구를 시도해 보았다.

Since the middle of the 19th century, due to various reasons such as politics, economy, society, Koreans immigrated actively and passively into the northeast China, Japan, Russian coastal state and the United States, endured national discrete miserable life. Because of the geographical convenience and cultural affinity, northeast China served as the preferred destination of Korean immigrants, which had the largest number and a giant effect on the international relations in northeast Asia. The Koreans immigrated into northeast China is relatively concentrated in the 1910s and 1930s. In the 1910s, mainly in rural areas as the center of the Tumen river, the Yalu river basin; In the 1930s, scope of immigration expanded to large areas of Liaoning, Jilin, Heilongjiang and eastern Inner Mongolia, especially after the Manchukuo was established, the city of Korean immigrant population increased rapidly, which contributed to the city of Korean society. Previous studies related to this topic in the academic circles at home and abroad, from the content point of view, studies mainly limited to national independence movement research with South Korea and its related material’s excavation; From geographical point of view, researches mainly confined to rural areas, especially in the center of Yanbian areas where there are greatest population of Korean agricultural immigrant. Review related research results at home and abroad, only South Korean scholar Yin Huiduo published two monographs, which named as ‘the east Asian nation moved away and urban - Koreans in the first half of the 20 century in Manchuria’ and ‘Manchukuo: compound nation-state as a result of colonial imagination.’ Chinese academic circles hardly see related research results.For above reasons, on the basis of the relevant statistical date in Puppet Manchuria State and fully absorbed in the South Korean educational leading research results, this topic research will focus on main urban Koreans’ population distribution, population structure and professional activities during Manchuria period, so as to clarify the life real conditions and status of the urban Koreans.

朝鲜人自19世纪中叶开始, 由于政治, 经济, 社会等多种原因, 主动, 被动地向中国东北地 区, 日本, 俄罗斯沿海州, 美国等地移民, 饱尝民族与国家离散的悲惨生活. 由于地理上的便 利和文化上的密切关系, 中国东北地区充当了朝鲜人移民的首选地, 其移民人数最多, 对东北 亚历史与国际关系的影响最大. 朝鲜人向中国东北地区的移民相对集中在20世纪10年代和30年代, 10年代, 主要以图们 江, 鸭绿江流域的农村地区为中心；30年代, 其移民范围扩大到延边地区之外的辽, 吉, 黑东 北三省及内蒙古东部的广大地区, 特别是伪满洲国成立后, 城市朝鲜移民人口迅速增加, 促成 了城市朝鲜人社会. 以往国内外学界关于伪满洲国时期朝鲜人社会的研究, 从内容上看, 主要局限于与韩国独 立运动研究及其相关资料的发掘；从地域上看, 主要局限于农村地域, 特别是以农业移民人 口最集中的延边地区为中心. 本课题的研究, 在充分吸收先行研究成果基础上, 重点考察伪满 洲国长春, 沈阳, 哈尔滨等主要城市朝鲜人的人口分布与人口构成, 职业活动, 从而阐明城市 朝鲜人的生活实况及地位问题.

이 연구의 목적은 2025 꿈의 극단 ‘춘천’이 경계선 지능 학습자를 대상으로 시행한 인형극 교육 프로그 램의 효과에 관해 탐구하는 데 있다. 이를 위해 참여 관찰의 질적 연구 방법론을 통해서 경계선 지능 학 생에게 어떤 변화가 일어났는지를 살펴보았다. 경계선 지능 학습자는 일반적으로 지능지수(IQ)가 70~84의 범주에 속하는 학생으로 지적장애에 해당 하지 않지만, 평균 지능에 도달하지 못하는 인지능력으로 인해 소속되어 있는 사회에 적응하지 못하여 지원과 보호가 필요한 사람을 지칭한다. 2025 꿈의 극단 ‘춘천’에서는 2025년 5월말부터 11월말까지 6개월 동안 경계성 지능 학습자에게 인형극 을 교육하였고, 그 결과 프로그램에 참여한 학생의 변화를 관찰할 수 있었다. 경계성 지능 학습자의 변화 양상을 요약하면, 첫째, 사회성과 공감 능력, 배려 능력 증진, 둘째, 정서 안정과 자신감 신장, 셋째, 연극 놀이에서 인형극 체험 활동으로 이어진 다양한 예술 경험의 확대, 넷째, 행복감 증진이 있다. 2025 꿈의 극단 ‘춘천’이 인형극 교육을 통해서 경계선 지능 학생에게 선물한 것은 평생 경험하기 어려 운 ‘행운’ 그 자체였다. 앞으로 사회적인 공론화 과정을 통해서 많은 학생들이 이런 효과를 계속 경험하 면서 살아갈 수 있도록 후속 연구를 확대하길 기대한다.

The purpose of this study is to explore the effects of a puppetry education program implemented by the 2025 Dream Theater “Chuncheon” for students with borderline intellectual functioning (BIF). To this end, this study examined the changes experienced by the participants through a qualitative research methodology using participant observation. Students with borderline intellectual functioning generally have an intelligence quotient (IQ) ranging from 70 to 84. Although they do not meet the criteria for intellectual disability, their cognitive abilities fall below the average level, which often makes it difficult for them to adapt to society and increases their need for educational support and protection. From late May to late November 2025, the Dream Theater “Chuncheon” provided a six-month puppetry education program for students with borderline intelligence. As a result, meaningful changes were observed among the participating students. These changes can be summarized as follows: first, improvement in social skills, empathy, and consideration for others; second, increased emotional stability and self-confidence; third, expansion of diverse artistic experiences, evolving from theatrical play to hands-on puppetry activities; and fourth, enhancement of overall happiness and well-being. Through puppetry education, the 2025 Dream Theater “Chuncheon” offered students with borderline intelligence a rare and valuable opportunity that would be difficult to experience in their lifetime. Future studies are expected to expand follow-up research so that more students may continue to benefit from these positive effects through broader social awareness and public discourse.

이 논문은 만주국 문학장에 이입된 ‘외래’문학 특히 중국인문학에 긍정적 영향을 끼친 ‘외래’문학을 살펴봄과 아울러 양적으로 많지 않지만 독특한 양상을 보여준 한국문학의 이입에 대해 집중적으로 조명해보았다. 1939년에 장혁주 일본어 희곡 『춘향전』, 1940년 11월에 이광 수의 ｢가실｣, 이효석의 ｢돈｣, 김동인의 ｢붉은 산｣ 등 3 편 소설이 『작풍역문특집』에 게재된다. 1941년 7월, 신경 신시대사에서 『조선단편소설선』을 번역 출판한다. 이 소설선은 두 가지 양 상을 보여주고 있는데 여느 도서들과 달리 단순히 출판사의 영리를 위한 도서가 아니라 ‘독서회’ 성원들의 애국 저항 투쟁과 광범위한 독자들의 진보 저항 의식의 계몽을 위한 목적으로 출판된 도서라고 할 수 있다. 이런 작품들은 1930년대 『산영』의 연장선에서 1940년대 만주국 문학장에, 나아가 제반 중국 문단에 결코 간과할 수 없는 긍정적 영향을 미쳤다고 하겠다.

This paper focuses on the introduction of “exotic” literature into Manchukuo Literature World, especially “exotic” literature, which has a positive impact on Chinese humanities, and the naturalization of Korean literature that exhibits a unique form, though in a small number. In 1939, Zhang Hezhou’s Japanese drama Chunxiang Zhuan was translated into Chinese and published in Yiwenzhi. In November 1940, three novels by Lee Kwang-soo, Lee Hyo-Suk and Kim Dong-in were published in the Special Edition of Style Translation. In July 1941, the New Beijing New Times Press translated and published the Selection of Choson Short Stories. Unlike other books, this book is not only published for the benefit of the publishing house, but also for the patriotic struggle of the members of the “Reading Club” and the enlightenment of the reader’s sense of progressive resistance. Influenced by Shanling in the 1930s, these novels exerted a positive influence on the Manchukuo Literary World in the 1940s and even the whole Chinese literary arena.

本稿では植民地末期に多くの親日的作品を書いたことから、祖国が解放されても帰ることもできず、戦争で廃虚になった日本で作家としての新しい方向を模索していた張赫宙が1949年に発表した「朝鮮傀儡部隊の最後」に対する考察を試みた。「朝鮮傀儡部隊の最後」は植民地末期の関東軍と満州国軍により、朝鮮人抗日独立部隊を掃蕩するために、朝鮮人兵隊を中心として創設された国境監視隊と間島特設隊を素材とした作品で、独立部隊の掃蕩に臨んだ朝鮮人将校の主張する当為性と弁明の根拠を盛り込んでいる注目すべき作品である。ところで、「朝鮮傀儡部隊の最後」は間島特設隊部隊長李小源とその部下の隊員全員が自決することで結んでおり、彼らの闘争はこれといった正当性も得られないまま忘れられてしまうことを示唆している。しかしながら、自決に臨んだ朝鮮人将校と隊員達が、自分達のやってきた闘争についていささかの後悔もしていなかったことを浮彫りにすることで、けっして個人的なエゴのための親日ではなかったことを強調している。ところが、このような間島特設隊の朝鮮人将校達の行跡は、その情緒的背景において張赫宙自身の親日的執筆と一脈相通ずるものがあり、植民地末期の作家自身の親日行為に対する合理化と無縁とは言えない。

The current study examines the effects of puppet plays based on the Bible stories that are applied to actual situation for forming concept of God in children. Forty-two 4-year old children at a kindergarten in Seoul were divided into experimental and control groups, and a total of 8 classes utilizing puppet plays based on the Bible stories were conducted over 4 weeks. The CGCQ questionnaire, used also by Dickie, translated and edited by Young Joo Lee (2007), was divided into Loving God, Almighty God, God of Authority, and God Afar, and was used to do both pretests and posttests, which were analyzed with t-tests. The results show that first, children’s scores on general concept of God were significantly higher for the experimental group than the control group, under which children only listened to Bible stories. Second, children in the experimental group with the puppet plays based on the Bible stories applied to actual situation showed statistically significant improvement in their concept of Loving God and Almighty God, and significant decrease in their concept of God of Authority and God afar. This shows that utilization of puppet plays applying the Bible stories to actual situation is effective in improving the concept of God in children.

Chinese shadow puppetry is an ancient form of drama with a long history. Known as the "mother of Chinese folk opera", it has rich cultural connotations and artistic value. At the same time, as a classic video game genre, side-scrolling games have many loyal fans around the world. However, in recent years, some previous entertainment cultures such as shadow puppetry are slowly disappearing. In contrast, video games play an increasingly important role in people's entertainment. Combining Chinese traditional culture with video games can be a great way to promote the preservation of these cultures. By making traditional culture more accessible and engaging, developers can help to ensure that these cultures continue to be enjoyed by future generations.The side-scrolling game is a classic game type, and it has many similarities with shadow puppetry. This paper will analyze the similarities and differences between Chinese shadow puppetry and horizontal version games, and try to explore how to organically integrate the two, so as to promote the inheritance and development of traditional culture, and promote cultural innovation and the development of creative industries.

본 연구는 영화의 미장센에 소품으로 등장하는 인형을 기호학적으로 분석하였는데, 특히 인형이 완구 및 장식으로서의 1차적인 기능을 넘어서서 등장인물의 심리와 내면세계를 시각화하는 이미지기호로서 기능하 는 사례를 살펴보았다. 영화 속의 인형은 현실과 비현실의 관계를 상기시키는 형상을 통해서 미장센의 그 어느 소품이나 장식품보다 더 효과적으로 이미지의 가독성을 제시하기 때문이다. 인형의 이미지는 특히 서사적 맥락 속에서 캐릭터의 내면, 즉 욕망과 소유욕 그리고 정복과 지배욕을 형상화하고, 때에 따라서는 파편화된 인간관계에 결여된 개개인의 존재론적 지위와 정체성의 상실을 시각화함으로써 기호작용을 일으 키게 된다. 시각화된 내면의 자아로서의 인형은 이렇게 캐릭터의 심리적 심층구조에 자리 잡은 정서를 드 러냄으로서 정념의 이미지기호로 기능하게 된다. 인형기호는 바로 이러한 의미에서 등장인물과 그들의 내 면사이에 그리고 감독과 관객 사이에 위치하며 기호작용을 일으키고, 이를 통해 상징적인 중계자의 역할 을 하게 되는 것이다.

The purpose of this study is a semiotical analysis of puppet as props of mise-en-scène in film. Above all, this study analyzed the examples of the function of puppet, which as image-symbol besides the first function as toy or decoration visualize the psychology and the inner world of characters. Because the puppet in film offers by the shape for the reminding of the relation between reality and unreality the readability of image more effective than any props of mise-en-scène. The image of puppet embodies the inner world of characters, especially the desire and possessiveness, the eager for the conquest and domination in the narrative context, and wakes a semiotic process sometimes by visualizing the absent individual ontological status in the fragmented human relations and the lose of identity. The puppet as a visualized inner-ego reveals the emotions set in the deep structure of characters and thus functions as image symbol of passions.

본고에서는 우리가 시도했던 인형극과 멀티미디어의 접목을 꾀한 융합형 공연을 이야기 해보고자 한다. 실험적으로 제작한 인형극 “ReBorn”은 『장화홍련』 이야기와 윌리엄 셰익스피어의 『타이터스 앤드로니커스』를 병합 응용하여 한국의 전통성을 재현하고 현대적인 디지털 기법과 뉴미디어 기술들이 결합된 융복합 공연 콘텐츠로 기획되고 만들어졌다. 여러 고민 끝에 공연의 형식은 프로시니엄 무대에서 벗어나 다변형 무대로 시도하였으며 관객을 중심으로 하는 관객 공간 중심형 공연으로 공연 공간을 구성하였으며, 이러한 구성을 바탕으로 관객과 작가 간의 소통을 도모하였다. 또한 텔레프레즌스 기술을 통해 실시간으로 미국의 사라 로렌스 대학과 연동하여 공연을 선보여 무대 공간을 전 세계로 확대시키는 시도를 하였다.

We propose in this thesis a new approach to a staged performance that combines aspects of puppetry and multimedia. Our highly experimental production of “Reborn” was created by combining two classic pieces, William Shakespeare’s “Titus Andronicus” and the Korean folklore “The Tale of Two Sisters” in an attempt to embody a Western classic in a traditional Korean story and to create a new story with digital technology, live performances, and the convergence of multimedia. We broke out of a traditional proscenium stage to put more emphasis on the audience’s experience as participants other than spectators. Our American collaborators, MFA and BFA theatre students along with faculty members from Sarah Lawrence College, rehearsed and performed live with us via a telepresence system. Our experimentation stresses the difference between Telematic Multimedia Puppetry and pre-existing multimedia performances, as the telematic collaborative performance by the two educational institutions is open to both remote and live audiences and offers a new type of theatergoing experience.

This article focuses on Bel-Imperia’s power of playing which matches or even replaces Hieronimo’s authorial privilege in The Spanish Tragedy (c.1587). I first provide an overview of the early modern ideas about the mouth, suggesting that Kyd and his contemporaries turned to the mouth/tongue conceit for a model of the actor’s trade. Ranging from antitheatrical tracts to a dramatist’ letter to the Master of the Revels, the period’s writings examined here figured the actor as the mouth passively repeating the author’s writing. Puppet theater was an especially charged space, linking ventriloquized wooden objects not only to the passivity of actors, but also to their surprising counter-attack. I briefly explore Ben Jonson’s Bartholmew Fair and its depiction of a farcical puppet show. In doing so, I suggest that the identification between the puppet and the living actor crucially shaped the puppet’s attraction for playwrights exploring the actor’s potential autonomy. In the second section, I trace The Spanish Tragedy’s implicit allusions to puppetry elements. Recognizing its borrowings of the ‘low’ theatrical mode shows Kyd turning Bel-Imperia from a receptive puppet of Hieronimo’s blood-seeking spectacle into a glamorous, and violently murderous, actor. She throws off the showman’s intervention and becomes the possessor of the actor’s tongue. Finally, the paper provides a re-reading of Hieronimo’s climactic tongue-cutting in relation to Bel-Imperia’s improvisation. Highlighting the importance of intra-company collaboration and the actor’s representational power, I suggest that The Spanish Tragedy breaks with the author’s exceptionalism and gestures towards an alternative way of conceiving dramatic authorship.

목 적：본 연구에서는 미국에서 개발된 반 구조화된 진단적 인터뷰인 Berkeley Puppet Interview(BPI)의 유용성을 검증해 보고자 하였다. BPI는 만 4세에서 7세 사이의 아동들에 대한 진단적 도구로써 신뢰도와 타당도가 높다고 보고되고 있다. 따라서 이 연구에서는 BPI의 척도(symptomatology, marital relationship, parent-child relationship, academy & social scale) 중 임상 장면과 놀이 치료 장면에서 가장 유용하게 사용될 수 있을 것으로 생각되는 증상 척도(BPI-S)와 부모자녀 관계 척도(BPI-PC)가 아동의 문제를 진단하는 평가 도구로써 신뢰롭고 타당한지를 알아보고자 하였다. 방 법：수용 언어(Receptive language)가 부진한 아동을 제외한 만 4세에서 만 7세 아동을 대상으로 하였다. 수용 언어 능력을 평가하기 위하여 PTI의 어휘와 상식 및 이해 소검사를 실시하였으며, 토끼 손 인형을 사용하여 BPI 증상 척도와 부모 자녀 척도를 아동들에게 실시하였다. BPI-S에 대한 타당도를 평가하기 위하여, K-CBCL을 환아모에게 실시하였다. 결 과：BPI-S와 BPI-PC 모두에서 chronbach's alpha=0.74와 0.86 정도의 수준을 보여 통계적으로 신뢰로운 결과를 보였다. BPI-S의 타당도는 우울, 또래에 대한 공격성 및 ADHD 부주의형을 제외한 6개의 하위 유형에서 유의미한 결과를 보였다.

Objectives：BPI was developed for assessing young children's perceptions. Using an interactive techniques for interviewing children, the BPI blends structured and clinical interviewing technique. Present study was to evaluate the reliability, validity and the clinical utility of Berkeley Puppet Interview(BPI) for young children aged 4 to 7. Methods：Subjects consisted of 37 children(boy20, girl 17) between the age of 4 and 7 who visited the child-psychiatry outpatient division of children's hospital in Seoul and Chungju. The measures used in this study BPI-S(symptomatology) and BPI-PC(parent-child relationship). BPI was translated into Korean by three clinical psychologists. To examine the reliability, Chonbach's alpha were calculated and to examine the validity, correlation coefficients were calculated on BPI-S & K-CBCL. Results：BPI-PC's Cronbach's alpha was 0.86 and BPI-S's Cronbach's alpha was 0.74. Correlation between the internalizing scale of BPI-S and that of K-CBCL was 0.477 and correlation between the internalizing scale of BPI-S and the externalizing scale of K-CBCL was -0.431, suggesting the validity of BPI-S. Conclusion：These results show that BPI-S & BPI-PC may be useful tool for young children's diagnostic interview.