This research took note of the essential characteristics of a poem, i.e. tune, image, and meaning, and proposed a microscopic & macroscopic teaching method with the aim of teaching these characteristics of a poem. The microscopic teaching method is designed to intensively teach the three characteris...
This research took note of the essential characteristics of a poem, i.e. tune, image, and meaning, and proposed a microscopic & macroscopic teaching method with the aim of teaching these characteristics of a poem. The microscopic teaching method is designed to intensively teach the three characteristics with a focus on their individual elements while the macroscopic teaching method is aimed for instructing a tune, image, and meaning comprehensively. There is the necessity of teaching intensively a tune, image and meaning which belong to the essential characteristics of a poem, but most of the actual poem classes instruct the characteristics of a poem synthetically; thus, this research proposed another teaching method followed by that. [Rhythm] This research discovered that the existing teaching plan related to tune-reading tends to take note of a formal aspect like a phoneme, syllable, repetition of a phrase and structural characteristics. Thus, it was found that some of the teaching contents & methods didn't meet the need of elaboration even if the teaching method was the one bearing a tune and emotional relations in mind. Accordingly, this research set up teaching elements for tune teaching at an emotional level on the premise that a tune has a close relation with psycho-emotional aspects, proposed the procedures and methods for teaching this and then tried it out. This research also set up 'shortness and length of a section', 'height of a section', 'dynamic of a section' and 'tonal texture of a section' as teaching elements of tune reading, clarified the characteristics and significance of such elements, and try applying these to an actual teaching site. As a result, students were found to experience a tune through psycho-emotional changes related to the meaning of a poem; in addition, this research could confirm that a tune is not limited to only a formal aspect, but it also has a close relation with an emotional aspect. The existing research on image reading failed to clearly perceive the relation between image and imagination, and even the image teaching related to imagination failed to make the setting of concrete methods the teaching steps for image into hierarchy. With the aim of tiding over such a limit, this research took cognizance of the fact that image teaching has a close relation with imagination and tried to seek for a true picture of image teaching through the activities of positively drawing & expressing a picture in mind. In addition, by dividing the teaching methods into convergent image reading and divergent image reading, this research made an attempt at shifting image teaching into hierarchy in consideration of phased nature by getting out of the level of fragmentary uniformity. This researcher happened to find out the value and meaning of forming what students felt in their work by guiding them to divergent image drawing from convergent image drawing according to individual imaginative power. This research was able to prove that image drawing can be an element of relishing and enjoying a poem in a really poetic mood irrelevant to interpretive knowledge of a poem through 'Object-centered image reading', 'circumstances-centered image reading', 'Work inference-centered image reading', and 'Reader experience-centered image reading' and image drawing followed by a certain procedure and step can be a motive of developing literary sensitivity and imagination. [Meaning] Even if there exists a discussion which acknowledges the openness and diversity of meaning-reading teaching, there rarely exist a case where a detailed method of trying to find a meaning has been suggested at an educational level or its possibility has been tested by applying a method to the chalk-face. This research allowed the diversity of meaning-reading, on the basis of which it attached importance to the process of delving into a meaning. This research set up 'Looking at constituents', 'Looking at the relations of poetic diction', 'Looking at the works relevant to the same writer', 'Looking at the poetic works relevant to other writers' as methods of grasping meanings, and tested their effects by applying them to actual teaching site. This research could ascertain that potentially resultant fallacies caused by acknowledging an interpretive diversity could be surmounted by putting an emphasis on the internal context and mutual textual quality of a poetic work. This research could also get a sense of possibility of adequately grasping the meaning of a work through students' probing process other than being given from the object which secured an interpretive authoritative quality.
This research took note of the essential characteristics of a poem, i.e. tune, image, and meaning, and proposed a microscopic & macroscopic teaching method with the aim of teaching these characteristics of a poem. The microscopic teaching method is designed to intensively teach the three characteristics with a focus on their individual elements while the macroscopic teaching method is aimed for instructing a tune, image, and meaning comprehensively. There is the necessity of teaching intensively a tune, image and meaning which belong to the essential characteristics of a poem, but most of the actual poem classes instruct the characteristics of a poem synthetically; thus, this research proposed another teaching method followed by that. [Rhythm] This research discovered that the existing teaching plan related to tune-reading tends to take note of a formal aspect like a phoneme, syllable, repetition of a phrase and structural characteristics. Thus, it was found that some of the teaching contents & methods didn't meet the need of elaboration even if the teaching method was the one bearing a tune and emotional relations in mind. Accordingly, this research set up teaching elements for tune teaching at an emotional level on the premise that a tune has a close relation with psycho-emotional aspects, proposed the procedures and methods for teaching this and then tried it out. This research also set up 'shortness and length of a section', 'height of a section', 'dynamic of a section' and 'tonal texture of a section' as teaching elements of tune reading, clarified the characteristics and significance of such elements, and try applying these to an actual teaching site. As a result, students were found to experience a tune through psycho-emotional changes related to the meaning of a poem; in addition, this research could confirm that a tune is not limited to only a formal aspect, but it also has a close relation with an emotional aspect. The existing research on image reading failed to clearly perceive the relation between image and imagination, and even the image teaching related to imagination failed to make the setting of concrete methods the teaching steps for image into hierarchy. With the aim of tiding over such a limit, this research took cognizance of the fact that image teaching has a close relation with imagination and tried to seek for a true picture of image teaching through the activities of positively drawing & expressing a picture in mind. In addition, by dividing the teaching methods into convergent image reading and divergent image reading, this research made an attempt at shifting image teaching into hierarchy in consideration of phased nature by getting out of the level of fragmentary uniformity. This researcher happened to find out the value and meaning of forming what students felt in their work by guiding them to divergent image drawing from convergent image drawing according to individual imaginative power. This research was able to prove that image drawing can be an element of relishing and enjoying a poem in a really poetic mood irrelevant to interpretive knowledge of a poem through 'Object-centered image reading', 'circumstances-centered image reading', 'Work inference-centered image reading', and 'Reader experience-centered image reading' and image drawing followed by a certain procedure and step can be a motive of developing literary sensitivity and imagination. [Meaning] Even if there exists a discussion which acknowledges the openness and diversity of meaning-reading teaching, there rarely exist a case where a detailed method of trying to find a meaning has been suggested at an educational level or its possibility has been tested by applying a method to the chalk-face. This research allowed the diversity of meaning-reading, on the basis of which it attached importance to the process of delving into a meaning. This research set up 'Looking at constituents', 'Looking at the relations of poetic diction', 'Looking at the works relevant to the same writer', 'Looking at the poetic works relevant to other writers' as methods of grasping meanings, and tested their effects by applying them to actual teaching site. This research could ascertain that potentially resultant fallacies caused by acknowledging an interpretive diversity could be surmounted by putting an emphasis on the internal context and mutual textual quality of a poetic work. This research could also get a sense of possibility of adequately grasping the meaning of a work through students' probing process other than being given from the object which secured an interpretive authoritative quality.
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