• The Mathematical Education
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• v.41 no.3
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• pp.233-256
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• 2002

This study investigated school mathematics curriculum of England, newly revised in 1998, focused on the 'number and algebra' domain among three major domains of the English curriculum. On the basis of its understanding, this domain was compared and analyzed with school mathematics curriculum of Korea. In doing so, this study explored its plans and procedures and established a frame of comparison for the curriculums between the two countries. The structure of the National Curriculum in England is composed of programmes of study and attainment targets. The former sets out what should be taught in mathematics at key stages 1, 2, 3, and 4 and provides the basis for planning schemes of work, and the latter sets out the knowledge, skills, and understanding that pupils of different abilities and matures are expected to have by the end of each key stage. Attainment targets are composed of eight levels and an additional level of increasing difficulty. According to the results of the present study, Korea focuses on the formal and systematic mathematical knowledge on the basis of sound understanding of certain mathematical terms or concepts. On the other hand, England tends to deal with numbers more flexibly and naturally through the aquisition of mental methods, calculator use methods, etc, and emphasizes that mathematics be realistic and useful in solving a diverse number of problems confronted in everyday life.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.614-622
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• 2016

As media become diversified, animation fields are being expanded. Various types of animations which were not seen in the past have appeared and the fields which did not have a suffix of "animation" now use the words of animation like motion graphic-animation or interactive-animation. This thesis is a comparative analysis study of U.S. animation education. This study collected and reviewed respective curricula of total 5 universities such as Academy of Art University, California Art of Institute), Ringling College of Art and Design, Rhode Island School of Design, and School of Visual Arts which have led U.S. animation education since animation education was first introduced in 1961. Based on the result drawn from the analysis on the classification of animation curricula into a required subject, an elective subject, liberal arts, a theory subject and a practical subject, it intends to consider improvements of Korean animation curriculum.

• Journal of Korea Entertainment Industry Association
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• v.14 no.5
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• pp.171-179
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• 2020

The study is aimed at finding out the perception of national-level curriculum among elementary school teachers in G Metropolitan City. For the study, the survey results of 124 elementary school teachers in G-city were used. According to the study, the average score of elementary school teachers recognizing national-level curriculum was 3.48 points and the self-assessment of national-level curriculum perception was 3.75, indicating that the self-assessment score was higher than that of national-level curriculum perception. Also, as a result of comparing the perception differences according to the characteristics of elementary school teachers, teachers working in schools under 20 classes had higher national-level curriculum recognition than teachers working in schools over 31 classes. The group with research school experience was higher than the group without research school experience, and the group with both research and innovation school experience was significantly higher than the group without research or innovation school experience. As a result of conducting multiple regression analysis to find out the variables influencing the national-level curriculum, school size variables showed an explanatory power of 13.1%. These results suggest that awareness of the national-level curriculum can be improved when more opportunities for teachers to access curriculum development are provided.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.49-56
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• 2023

This study analyzes the entirety of Okhojeongdo's content found in the Punggojip, written by Kim Jo-Sun, who created Okhojeong. Through an examination of the literature confirming Okhojeong within the Punggojip, the study compares the existing research with the Okhojeongdo's content. Additionally, it clarifies the relationships between the disciple, the garden, and related historical facts. The results are as follows. First, Kim Jo-Sun, who created Okhojeong, had a strong literary inclination, which made it relatively easy to estimate the original form of the garden, as he expressed detailed content related to the design and management of the garden. Second, the historical dating of the creation of Okhojeong was previously estimated to be around 1815 based on the inscriptions on the Eulhaebyeok. However, it is more appropriate to revise this to 1804, as revealed by Lee Sung-min, who discovered records in Dongseonggyoyeojip, indicating that Kim Jo-Sun purchased the Jang's house. Third, Kim Jo-Sun's literary hobby, as depicted in Punggojip, closely followed Chinese classics. However, the part about creating the garden is supported by factual and garden archaeological records, giving it inherent value. Regarding the expansion of the garden site, it is estimated that the southern boundary of Okhojeong was extended by about half a unit(kan; 間) through a transfer from Kim saeng Saho. Various additions, stone statues, peculiar rocks, ornamental trees, and accompanying elements are found throughout the garden. Particularly noteworthy are the techniques and aesthetics of creating a stone pagoda, and there are mentions of transplanting young pine trees with professional insights. The love for harmony and elegance in the garden is woven throughout the poetry. Additionally, the process of selecting the location for Okhojeong, the understanding of the terrain and topography, the assessment of existing vegetation, the process of cutting down trees and selecting the soil, the construction of houses with tiles and thatched roofs all contribute to demonstrating the comprehensive stages of creating Okhojeong, providing insight into the location and construction process of the Sanbanru pavilion, showcasing the archaeological value of the garden. A follow-up study is needed to excavate more information about the original form of Okhojeong garden through the interpretation of the collections of the literary works of the influential figures introduced in Punggojip in the future.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.16-33
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• 2012

Maehwa blossom(梅花) has been favoured in literary and artistic works in the East Asia as one of representing symbols of virtuous men's character. Maehwaseookdo(梅花書屋圖) is one of major forms of painting. This paper starts from the birth of Maehwaseookdo since it aims to examine the following points: its structural origin of the Gurimaehwachonsado(九里梅花村舍圖) style; how this style was distributed in Korea; process and features of Maegamdo(梅龕圖). The current academic world admits Maehwaseookdo is originated from an ancient story of Lim Po(林逋). Even though Maehwaseookdo and Lim Po story can be linked to a meaning of schoarly hermitage, ways to structure works are hard to compare paintings based on Lim Po story. While paintings related to Limpo story such as Banghakdo(放鶴圖) and Gwanmaedo(觀梅圖) depict a scholar(s) and a few Maehwa trees with cranes, Maehwaseookdo presents scholarly hermitage with a lot of Maehwa trees which encircle a house building. As other paintings related to Maehwa blossom were widely painted since the nationwide popularity of the theme of Maehwa, Maehwaseookdo was not drown throughout the whole period of time. Since Goryeo, Maehwa paintings including Sehansamu(歲寒三友), ordinary Maehwado as one of the Four Gentlemen's plants, and Tammaedo(探梅圖) which was based on ancient anecdote of Maeng Hoyeon. Maehwaseookdo, however, was created exclusively in the 19th century. In China a similar feature took place much earlier period which was in the 17th century. Accordingly we can assume that these patterns which paintings in particular styles were generated by particular cultural phenomena. The reason why Joseon's Maehwaseookdo works were painted exclusively in the 19th century was that Kim Jeonghee's party and Sin wi had acquaintanceship with Jang Sim(張深) who got work orders for Oh Sungyang(吳嵩梁). In these corresponding activities, two types of Maehwa paintings were exchanged. In China, scholars usually drew paintings in the type of Gurimaehwachonsado(九里梅花村舍圖) depicting scenic views of Guriju(九里洲) which was riverside area under the Mt. Buchun(富春山). This place surrounded by thousands and hundreds of Maehwa trees was where Oh Sungyang(吳嵩梁) was about to retire to hermitage in. In this repect, Joseon scholars painted Maegamdo(梅龕圖) depicting a scene of a shrine with Oh Sungyang(吳嵩梁)'s poetry books surrounded by Maehwa trees for paying tribute to the wall of Maehwa trees(Maebyeok(梅癖)). This seems to adapt the format of 'Manmae(萬梅)' which appeared in the type of Gurimaehwachonsado. One of the representing works of this, is painted or supervised by Sinwi. Paintings in two types with respective meanings were combined by which was estimated to be painted by Sin Wi, then it became a structural base of by Jang Sim(張深) This type of Maegamdo brought the popularity of Maewhoseookdo which once had another name of 'Manmaeseookdo(萬梅書屋圖)' by a group of scholars such as Jo Heeyong, in the 19th century. All things considered, this paper can be a sort of precedent phrase to find out the birth of Manmaeseookdo which was very popular in the late 19th century.