구술성 변화에 따른 의사소통의 관점 탐색

박창균,조재윤 서울대학교 국어교육연구소 2023 국어교육연구 Vol.52 No.-

This study aimed to how orality has changed over time and how the main perspectives on communication have changed concomitantly and discuss new orality and communication tasks in the artificial intelligence(AI) era. In this paper, taking the emergence of new media as the inflection point in tracing the change of times the era centered on speech before the invention of letters is called ‘primary orality’, oral character in the era of writing and printing culture is called ‘written orality’, the era in which speech has been technologicalized by electronic media is called ‘technological orality’, and today’s digitally networked era is referred to as ‘interconnected orality’. The main perspectives on communication due to changes in orality over time are divided into ‘human-’, ‘skills-’, ‘information-’, and ‘interaction-centered communication views’. The development of media-such as speech, text, electronic devices, and digital- has played a very important role in changes in orality. Hence, this paper discusses the AI era as requiring a conceptualization of orality in terms of communication with machines, and highlights that morality will constitute a new task in communication with AI.

구술성의 문화사적 기여와 인문학적 가치

최원오 ( Won Oh Choi ) 한국한문학회 2015 한국한문학연구 Vol.0 No.57

This study discussed the cultural historical contributions and humanistic values of oral statements (or oral traditions) from the viewpoint of media. As foreseen by Plato long time ago, the transition of media from oral traditions to records exerted huge impacts on young people’s education. Though living in a different age and with different media, we are also faced with a similar problem in the process of transition from analogue media to digital media. In this sense, exploration of the first media transition experienced by humankind is expected to give many implications to us struggling with generation conflicts and educational problems arising from media transition. Furthermore, oral statement as the first medium of humankind is still being used in various forms. Accordingly, in order to identify correctly the cultural historical and humanistic values of orality, we need to focus more on the layers of orality than on ‘contrast between orality and descriptiveness.’ With regard to this, the author divided orality into the layers of daily orality, didactic orality, and linguistic artistic (aesthetic) orality, and examined how oral cultural thoughts and expressions are transmitted to descriptive media (text media), analogue media, and digital media, dividing them into four elements : the relationship between the real world and imaginary world; the methods of representation and delivery; combination of sensory organs such as hearing and vision; and interest in time and space. From the results was found that oral cultural thoughts and expressions continue despite the transition of media and the four elements are the core of oral media. In this sense, analyzing oral literature, the essence of oral culture, from the viewpoint of orality is a way to survey the humanistic values of orality diachronically. Because the four elements constituting oral media are the primary ingredients defining man as a being of media, analyzing oral literature from the viewpoint of orality is nothing but exploring humanistic values inherent in it. Contrasting wisdom inherent in oral literature with knowledge, analyzing the level of orality according to the layer of oral literature, etc. may be suggested as methods for understanding the humanistic values of orality.

한국 민사소송의 구술변론권 입법변천

전성희 대한변호사협회 2026 인권과 정의 Vol.- No.536

민사소송의 구술주의는 당사자들이 법관 주재의 공개법정에서 말로써 직접 소송상 청구에 대하여 주장증명하는 것을 원칙으로 한다. 대륙법계인 우리 민사소송은 영미법계의 배심재판과 매우 대조적인 재판진행의 모습을 보인다. 영미법계의 민사배심재판은 당사자가 주도하는 일회의 연속적이고 집중적인 구술변론이 실시된다. 이와 달리 우리 민사법정에서는 증인신문 이외에는 당사자들이 미리 제출한 준비서면과 그 첨부 서증의 제출을 확인하고 이를 원용하는 진술을 하고 재판장의 석명이나 지적에 대하여만 간단하게 구술로 진술한다. 우리 민사소송은 2008년 이전에는 이러한 간단한 구술진술도 허용되기 어려웠고 이를 구술주의의 형해화라고 하였다. 이 논문에서는 우선, 소송원칙으로서의 구술주의는 무엇이고, 구술주의에 의하면 누가 무엇을 말하여야 하는 것인지, 구술주의는 무엇을 목적으로 하며 왜 민사소송의 소송원칙이 되어야 하는지 검토한다. 다음으로, 구술주의는 실제 민사법정에서 어떤 모습으로 나타나고 있는지, 외국의 입법례는 어떠한지, 우리 민사소송은 구술주의에 입각하고 있는 것인지에 관하여 알아본다. 특히 민사법정변론을 중심으로 소송원칙으로서의 구술주의의 의의, 목적, 범위를 명확히 한 후 소송실무에서 나타난 구술주의 모습을 실질적 구술주의와 형식적 구술주의로 유형화하여 이를 토대로 영미법계와 대륙법계의 구술주의를 비교분석하고, 우리 민사소송의 구술주의의 입법변천과 그 소송실무, 최근 소송지연을 포함한 소송실무상 문제점과 그 해결방안에 관하여 당사자의 구술변론할 권리의 측면에서 검토한다. The principle of orality in civil litigation is based on the principle that parties directly and orally present their arguments in open court before a judge. Civil litigation in Korea, a continental law system, presents a striking contrast to the jury trial of the Anglo-American legal system. In Anglo-American civil jury trials, a single, continuous, and concentrated trial is conducted, led by the parties. In contrast, in Korean civil courts, aside from witness examination, parties confirm the submission of pre-submitted briefs and accompanying documentary evidence, make statements citing these documents, and only briefly respond to the presiding judge’s clarifications or comments. Prior to 2008, even such simple oral arguments were difficult to permit in Korean civil litigation, which is the ‘perfunctory orality.’ This paper first examines what the principle of orality as a litigation principle is, who is required to speak what under the principle of orality, what its purpose is, and why it should become a principle of civil litigation. Next, this paper examines how orality actually manifests itself in civil courts, how foreign legislative precedents have handled orality, and whether Korean civil litigation is based on orality. Specifically, this paper clarifies the significance, purpose, and scope of orality as a civil litigation principle. It then categorizes orality as it manifests in litigation practice into substantive orality and perfunctory orality. Based on this, this article compares and analyzes orality in the Anglo-American and Continental legal systems. Finally, this paper examines the legislative evolution of orality in Korean civil litigation, its litigation practice, and the problems in litigation practice, including recent delays in litigation, and their solutions, from the perspective of the parties’ right to be heard.

아프리카의 구연 문학과 신 구술성 (新 口述性) : 방법론에 대한 모색

장태상(Jang Tae-Sang) 한국아프리카학회 2006 한국아프리카학회지 Vol.24 No.-

As far as oral literature in Africa is concerned, few people have shown interest to the notion of new orality, though the topic orality and literacy has been widely discussed since prof. Walter J. Ong coined the terms. The history of man started in the period of orality, then passed to the stages where literacy predominated, and has recently entered the era of new orality. Electronic inventions such as Radio, TV, CD, and MP3 are mostly responsible for this coming of new era. The period in which Africa stayed in literacy was relatively short as compared to other continents, and she seems to have already transferred from the stage of orality directly to that of new orality since the beginning of 1990s when electronic goods started to be used in many families of large cities. The purpose of this article is to present the methodological means for the study of new orality observed in African oral literatures. Structure and style of oral texts and the context in which they are performed will be analyzed to reveal the characteristics of new orality.

구술성과 기록성의 관계에 대한 영어권 학자들의 초기 탐구에 대한 소고

La Shure Charles 한국구비문학회 2014 口碑文學硏究 Vol.0 No.38

The relationship between orality and literacy has long been a topic ofdiscussion in the West, but the modern examination of this relationship couldbe said to have begun in the 1960s. This paper examined some of therepresentative theories from British, Canadian, and American pioneers in thefield, in the hope of leading to a better understanding of these theories. 1960 was a watershed year in the study of orality and literacy, as this wasthe year when Albert Lord published his The Singer of Tales. Carrying onthe academic tradition of Milman Parry, this study of Slavic oral epics and theirsingers gave the academic world the oral-formulaic theory. The paper nextexamined the research of the Canadian communication theorist MarshalMcLuhan, the American communication theorist and Jesuit priest Walter Ong,the British classicist Eric Havelock, the British social anthropologist JackGoody, and the British social anthropologist Ruth Finnegan. McLuhan argued that the transition from orality to literacy led to a changein the "ratio of the senses," from the auditory to the visual, and that this changealso led to drastic changes in humanity's way of thinking. He also claimedthat the evolution of media was not a smooth one but one in which newmedia obliterate old media; this idea of a "break" was one that characterized McLuhan's theories. Ong also believed that the evolution of media led tochanges in the way of thinking, but this evolution was not one of a "break"between the old and new so much as it was one in which the new reinforcesthe old. However, a look at his actual arguments shows that he felt it wasonly natural the old media should disappear to make way for the new media. His theories on "primary orality" (orality as it exists in cultures that have neverbeen exposed to written language) and "secondary orality" (orality as it existsin cultures that have been exposed to written language) were particularinfluential to future generations of scholars. Havelock, on the other hand, argued that at the time of Plato's writing ofThe Republic―centuries after the introduction of the alphabet―orality wasstill the dominant mode, and he opened up the possibility of coexistencebetween orality and literacy. Like McLuhan and Ong, he also believed thatchanges in media were related to changes in ways of thinking, but he insistedthat this process took quite some time. For his part, Goody showed howorality is characterized by the preservation of social traditions through memoryand forgetfulness, while literacy is characterized by an historical consciousnessbased on an objective outlook on life, but he also argued that orality continuedto exist in literate societies. If there was a change to be seen in media, hebelieved (unlike McLuhan) that this change was a natural and organic one. Finnegan also denied what she termed "The Great Divide," and argued thatorality and literacy existed on a continuum. She also rejected the strong versionof technological determinism, which held that media alone were the catalystsof changes in human ways of thinking. 서양 학계에서는 구술성과 기록성의 관계에 대해서 오랜 세월동안 논의되어 왔으나 현대 논의는 1960년대에 시작됐다고 볼 수 있다. 본 연구는 초기 미국․캐나다․영국 학자들의대표적인 이론을 정리하여 이 분야에 기본이 되는 서양 이론을 이해하는 데에 도움이 되고자 한다. 구술성과 기록성의 관계에 대한 현대 연구의 출발점을 설정하자면 로드의 The Singerof Tales가 출판된 1960년이라고 할 수 있는데 그는 밀만 패리의 연구에 이어 슬라브 구비서사시를 연구하였으며 후대 학자들에게 영감을 주는 구전 정형어구 이론을 펼쳤다. 이어서 많은 학자들이 구술성과 기록성에 대해 논했는데 본고에서는 캐나다 정보이론학자였던맥루한, 미국 정보이론학자이자 예수회 신부였던 옹, 영국 구전학자였던 하베록, 영국 사회인류학자인 구디, 영국 사회인류학자인 피네간의 이론을 검토하였다. 맥루한은 구술성에서 기록성으로 넘어가는 과정에서 인간의 감각을 사용하는 비율이 청각 위주에서 시각 위주로 변하였고 이 변화는 또한 인간의 사고방식에도 극단적인 변화를가져왔다고 했다. 그리고 맥루한의 이론의 특징 중에 하나는 ‘끊김’이라고 할 수 있는데, 매체의 진화가 부드럽게 이루어진 것이 아니라 새로운 매체가 이전의 매체를 몰살한다는 주장이다. 옹도 매체의 진화가 사고방식에 변화를 가져온다고 믿었지만 그 진화는 ‘끊김’의 관계라기 보다 새로운 매체가 이전의 매체를 ‘보강’하는 것이라 주장했는데, 실제 논의에서는이전의 매체가 살아남지 않고 사라지는 것이 당연하다고 했다. 그가 특히 후대 학자들에게영향을 미친 개념은 문자가 없는 사회의 ‘일차적 구술성’과 문자가 있는 사회의 '이차적 구술성'이다. 반면 하베록은 알파벳이 도입된 지 수 백 년 후인 플라톤의 <공화국>이 저술된 시기에아직 구술성이 지배적이었다고 주장함으로써 구술성과 기록성의 공존의 가능성을 열어주었다. 맥루한이나 옹처럼 매체의 변화가 사고방식의 변화와 연결된다고 생각했지만 그 과정이 오래 걸린다고 주장했다. 한편, 구디는 구술성이 기억과 망각으로 사회 전통을 지켰다면서 기록성은 객관성으로 인한 역사의식으로 특징지어지지만 기록적 사회에서 구술성이 지속될 수 있다고 주장했다. 매체로 인한 변화가 있다면 맥루한의 주장과 달리 그것이 자연스럽고 유기적인 것이라고 했다. 피네간도 이른바 ‘대경계론’을 부정하여 구술성과 기록성이연속체와 같다고 주장했으며 특히 인간의 사고방식 변화의 촉매가 매체라고 하는 강한 결정주의를 거부했다.

한국문학에서의 구술성 - 미국의 한국문학 구에 대한 한 고찰

( Yoo¸ Jung-min ) 고려대학교 국제한국언어문화연구소 2009 Journal of Korean Culture Vol.12 No.-

1. Perspective: Nature of Literary Canon Formation My paper explores the question of how well can we understand the reality of the literary situation of the past by reading traditional literary histories that have been widely used for college curricula and popular readings. Although several famous writers and model texts are being chronologically listed, the scope of many literary history narratives has been limited to the existing sources of some written and printed materials, which were mostly typeset on paper and transmitted to us successfully. Regardless of how coherent and convincing the historical narratives may be, however, there is always the danger of misleading readers into blindly believing that the compilers selection of the authors and model works are able to deliver the whole picture of the literary past. What if there had been influential writers of the day, however, who, because of the modern compilers' oversight or subjective judgment, were never registered as canonical figures? It is also possible that handwritten manuscripts by original authors underwent a certain degree of revision, or even distortion, while being printed into book format. Consequently, there could be a great disparity between what we believe are the most significant works of past eras and what the literati of the day produced. Writing a literary history means, in a way, 'canonizing' a couple of selected literary works. A 'literary canon' signifies a body of 'superior texts' and those canons are placed in the hierarchy of literary works and assigned authority by institutional fiat. In this regards, I must point out that, first, this canonizing process can vary and be altered, depending on who it is that conducts the selection and compilation. Consequently, the chosen canons are not always stable or perfect, although they are 'fluid' and 'potential' and are always open to being substituted later. 2. Studies on the Notion of 'Orality' The topic of this paper, the notion of 'orality,' can be understood in the context of writing literary history. I argue that the conventional literary histories are frequently based on very limited extant sources, and that the more the canonizing process itself is heavily filtered by a particular medium, such as 'writing' or 'printing.' The genre of Sijo, for example, is often introduced as a written text in many high school and college textbooks. As Kevin O'Rourke persuasively indicates, however, it was originally a 'performative' genre presented in song form, and as late as 1920s it became ossified as a literary text by some nationalist intellectuals, such as Yi Kwang-su and Ch'oe Nam-son, who saw the inherent possibilities of the uniquely Korean Sijo as a vehicle of raising national consciousness. To understand the significance of the notion of 'orality' in literary history-writing, a few important authors can be referenced. More than any earlier scholar, Milman Parry succeeded in understanding Homeric poetry, a primitive genre, on poetry's own terms. According to Parry, Homeric Greeks valued cliche, because not only the poets but the entire oral inspirational world of the day relied upon the formulaic constitutions of thought. By constantly repeating the same formulaic phrases, that is cliches, knowledge could be transmitted, and remembered, in an oral culture. The 'conventionality' or 'banality,' which implies somewhat negative connotation in literature, would be the key essential concept in understanding the oral tradition. At Harvard, the Widener library has invaluable resources for the study of oral culture the Milman Parry Collection. It includes the audio recordings and notes of South Slavic songs, made by Milman Parry in 1933-35, as well as recordings collected by Albert Lord, the author of the Singer of Tales. Gregory Nagy, a current Harvard professor, acceded to the tradition of the research on the oral literature and offers diverse classes on the performative quality of literature. Walter Ong is another remarkable figure in the study of 'orality.' In his Orality and Literacy, Ong distinguished the 'pristine oral culture' from the 'subsequent writing culture,' and then argued that writing practice made words appear similar to 'things,' a sort of visible mark, which signals words to decoders. Although I agree with Ong's idea about the impact of writing on orality as well as on human consciousness, I claim that his understanding of the orality and literacy is too dichotomized: It may give the false impression that the two concepts are mutually exclusive, that they never coexist. Furthermore, Ong's perspective is based heavily on the idea of 'progress' of the production of knowledge, emphasizing the unilateral shift from oral culture to the literal/written world and then to the electronic age of second orality. I prefer to examine the 'vitality' of tradition, springing from the mutual interaction between the two.

디지털시대 매거진디자인의 구술성에 관한 연구 -시사주간지 “주간동아” 사례를 중심으로-

강부경 ( Bu Kyung Kang ),박진희 ( Jin Hee Park ) 커뮤니케이션디자인학회 2013 커뮤니케이션 디자인학연구 Vol.42 No.-

This paper attempts to investigate the changing editorial design of Magazine. This study has the objective of finding the Orality on the newsweekly based understanding Orality theory. This research is conducted through literature review and case study. Firstly, this paper deals with characteristics of the 2nd Orality and it draws the 2nd Orality focus on Newsweekly ``Weekly Donga``. This research analyzes headlines and news photos on ``Weekly Donga`` reflecting on the recent changes in the world of digital media. For secure objectivity, newsweekly headlinds published between 1995 and 2012 were selected and analyzed. Secondly, This paper analyzed the 2nd Orality through different Korean newsweekly detailed cases (``The Hankyoreh21``, ``Weekly Donga`` and ``Weekly Chosun``). Through such process, this study set two main elements, headline and news photos for specific analysis of expression of the 2nd Orality. Thirdly, the 3rd Orality is mentioned as a new style of the Orality which has reflected the spirit of the age. In conclusion, the results indicate that the newsweekly can reflect the 2nd Orality through its layout by headline and news photos. Firstly, the structure of a headline has changed with using more declarative sentences and dialogic sentences for interactive communication. Secondly, news photos often go beyond a typical box type frame for enhancing expression on person`s face and gesture.

말성(Orality)과 글성(Literacy)의 교수-학습적 함의: 성적 우수자의 노트필기 전략의 해석 사례

이혜정 ( Hye Jung Lee ),홍영일 ( Young Il Hong ) 한국교육공학회 2011 교육공학연구 Vol.27 No.4

This study reviewed orality(nature of oral language) and literacy(nature of written language) first. In a face-to-face education environment, both text and oral language are used, which the former is mainly for organizing, summarizing, or structuring the contents and the latter is rather for explaining the written contents for better understanding. Based on this orality-literacy framework, ‘teaching’ into a textbook as literacy and a lecture as orality were analyzed. High-achieving students` note-taking strategies to analyze ‘learning’ in the framework of orality and literacy were also investigated. To uncover the critical factors of note-taking strategy, in-depth interview data were collected from forty five high achievers who had over a 4.0/4.3 GPA during more than two consecutive semesters at S University, which admits only the top 0.5% of students within the country. The findings revealed that an instructor delivers a lecture with ‘orality’ about knowledge contents written in a textbook with ‘literacy’. High achieving students used a strategy of writing all of an instructor`s words in the class first and reorganizing it afterwards, which implies writing ‘orality’ first and then externalizing it with ‘literacy’. The results were also verified by the quantitative data through an online survey from 1,097 students at S University. Implications of the results and suggestions for further study were discussed.

이야기하기의 구술성에 대하여

심우장 한국구비문학회 2007 口碑文學硏究 Vol.0 No.24

On Orality of Telling a StorySim, Woo Jang(Konkuk University)This study aims at orality of telling a story. To deepen our understanding on folktale with oral culture as its setting, we must understand orality. We believe that orality of telling a story is a good jumping-off point and a kernel of orality. We adopt two approaches, one is to utilize the storytelling sites and the other is to utilize meta-folktale, 'story bag'.Storytelling sites have many devices to encourage telling a story, for instance, 'teling three stories', 'telling a story by turns' and 'exchanging stories with each other'. We understand that storytelling sites make these devices be custom to encourage telling a story. Storytelling sites prefer to tell more stories if possible than select a fine story. To tell a story in storytelling sites has recondite meanings. It acts on making an exchange of and integrating stories. As these story's reciprocal action manifests mass mind, we must tell a story that we heard before in storytelling sites. Therefore we think that the meaning of telling a story is risen to core of oral culture. 'Story bag' is a story to let us know these importance of telling a story. Besides, 'Story bag' is a very meaningful story to tell the loss of oral culture's hegemony and the new phase of oral culture in literate culture's hegemony. 이 글에서는 ‘이야기하기’의 구술성에 대해 이해하려 하였다. 구술문화 속에서 자라난 구비설화를 보다 잘 이해하기 위해서는 ‘구술성’에 대한 이해가 전제되어야 하는데, 그 출발점이자 핵심으로 이야기하기의 구술성에 대해 알아보려는 것이다. 그러기 위해 두 가지의 접근법을 사용하였는데, 그 하나는 이야기가 구연되는 구체적인 이야기판을 중심으로 하는 것이고 다른 하나는 소위 메타설화라 할 수 있는 <이야기 주머니> 설화를 중심으로 하는 것이다. 우선 이야기판에서 이야기하기가 어떠한 의미를 갖고 있는지를 이해하기 위해서 이야기하기를 권장하는 이야기판의 여러 움직임에 관심을 두었다. 이야기판은 ‘이야기는 세 자리’, ‘돌려가며 이야기하기’, ‘주고받으며 이야기하기’ 등의 전략을 관습화하여 이야기하기를 적극 권장하고 있음을 확인하였다. 이야기판은 보다 정확하고 훌륭한 이야기를 선별하는 메커니즘보다는 보다 다양한 이야기들이 보다 많이 구연되게 하는 이와 같은 관습화된 메커니즘을 통해서 부정확하거나 빗나가는 이야기들을 상쇄시키는 전략을 사용하는 것으로 이해되었다. 사실 <이야기 주머니> 설화에서 줄기차게 주장하고 있는 ‘이야기는 들으면 반드시 구연해야 한다’는 표면적인 주제의식과 이야기판의 이러한 이야기하기의 전략은 일맥상통하는 것으로 이해할 수 있다. 이 때문에도 ‘이야기하기’로 대표되는 이야기판의 이와 같은 활성화 전략들은 단순한 의미로 받아들이기 어렵다. 이야기하기를 통해서 탄탄하게 형성된 이야기판은 이야기의 통합과 교류에 중요한 역할을 하기 때문이다. 이야기판을 통해서 이야기들이 상호작용하며 교류하여 집단정신을 발현할 수 있는 계기를 마련해 준다는 것이다. 하지만 여기까지는 이야기하기의 구술성이 갖는 본래적인 의미이다. 이야기하기의 구술성은 시대의 변화에 새로운 모습으로 적응해야만 했다. 다시 말하면 구술문화의 시대가 지나고 문자문화의 시대가 오면서 이야기하기가 갖는 문화적 위상도 변화할 수밖에 없었을 것이다. 이런 측면에서 보면 <이야기 주머니>는 이야기 문화의 주도권 상실을 이야기하면서도 이야기 혹은 구술문화가 새로운 시대에 새로운 위상으로 다시금 자리 잡아야 한다는 것을 진지하게 일러주는 문제적인 작품이라 할 수 있다.

기호, 담론 그리고 구비문학 -구술성 개념을 중심으로

김정경 ( Jong Kyoung Kim ) 한국기호학회 2014 기호학연구 Vol.38 No.-

This paper has been focused on identifying the systematic feature of episteme with the idea that the concept of orality and the order of discourses are closely tied together. In order to identify the systematic features of the concept of orality, the paper has been proceeded with discursive formation within a body of modern knowledge. Here the main intention of the study was to find out the forming process of orality. In order to achieve this goal, the concept of discourse, concept, and the discontinuity were utilized throughout the paper.On chapter 2, the paper analyses nationalism, and as a result the paper found out that chasing the depths of things and locating the things on the basis of values were the important thing.On chapter 3, the paper analyses performance theoretical theory, and as a result the paper found out that the orality of performance was Literary Features.On chapter 4, the paper analyses the secondary orality, and as a result the paper found out that the secondary orality of hypertext and digital text were interpassivity. Here the paper suggest that the secondary oralitywas differentiating itself from oralityand binary opposition of orality and literacy.