• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.133-144
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• 2020

This study is a new proposal for the methods of actor training and role creation in the contemporary theater and an approach to the practical utilization of the performer, regarding the actor's 'presence' as the essence of living arts, a peculiarity of theater. As the method for this, this study sorts out Vakhangov and Mikhail Chekhov's elements of acting techniques and at the same time, allows an easier approach to the theoretical concept based on the performance records found in the developmental process. The magic realism and the technique of acting discussed in priority in this study emphasize the importance of the exploration and realization of artistic inspiration in everyday life, the actor's imagination and image, and unconsciousness as a method for creating new actors and diversifying their roles. When their common views are summed up, the goals to achieve include a study of a creative method in which outer form and inner truth are combined and the implementation of a new system for creating the individual actor's originality. This study would classify the similarities and differences found through this, reveal the limit of practical efficacy and propose it as a universal method for creating the roles, asking for the actor's voluntary training and active attitudes.

• Communications of Mathematical Education
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• v.36 no.3
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• pp.335-353
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• 2022

The purpose of this study is to identify the characteristics and types of errors in the conceptual image of Korean language learners according to the types of terms in mathematics that are the basis for solving mathematical word problems, and to prepare basic data for effective teaching and learning methods in solving the word problems of Korean language learners. To do this, a case study was conducted targeting four Korean language learners to analyze the specific conceptual images of terms registered in curriculum and terms that were not registered in curriculum but used in textbooks. As a result of this study, first, it is necessary to guide Korean language learners by using sufficient visualization material so that they can form appropriate conceptual definitions for terms in school mathematics. Second, it is necessary to understand the specific relationship between the language used in the home of Korean language learners and the conceptual image of terms in school mathematics. Third, it is necessary to pay attention to the passive term, which has difficulty in understanding the meaning rather than the active term. Fourth, even for Korean language learners who do not have difficulties in daily communication, it is necessary to instruct them on everyday language that are not registered in the curriculum but used in math textbooks. Fifth, terms in school mathematics should be taught in consideration of the types of errors that reflect the linguistic characteristics of Korean language learners shown in the explanation of terms. This recognition is expected to be helpful in teaching word problem solving for Korean language learners with different linguistic backgrounds.

• Korean Journal of Communication Studies
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• v.18 no.4
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• pp.31-50
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• 2010

This study is designed to decode the persuasion strategies in the advertising targeted for children from a semiotic perspective. Semiotic approach to "decoding advertising text" allows us to classify advertising signs and sign systems in relation to the way they are transmitted and communicated. In this strategic process of advertising production, the producers use various "expressive techniques" and "persuasive appeals, premises, and ideology" shared by the members of the society. This study investigates Korean print media advertising for children with the following research questions: ① What types of expression techniques are employed in the print media advertising for children? ② What types of persuasive appeals(consumption values) are used in the print media advertising for children? ③ What are the persuasive premises(cultural premises) underlying those persuasive appeals? ④ What is the structure of ideology that governs those persuasive appeals and premises in the advertising for children? The study result reveals seven most frequently employed expressive techniques, ten major types of persuasive appeals and premises, and the structure of ideology governing the signs and signification systems in the advertising targeted for children.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.413-420
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• 2024

After Friedrich Nietzsche's advocacy of nihilism, many literary works, dramas, and films have depicted aspects of human psychology associated with nihilism. Animation, too, has been used to convey nihilism, with narratives infused with nihilistic themes produced as both TV series and theatrical animations. Particularly, animation, as a visual medium capable of realizing any imaginative image unlike other media, possesses distinctive characteristics from live-action cinematography and differs from comics in its temporal properties. Hence, this study aims to analyze how Nietzsche's defined three stages of nihilism are represented within animation characters and how they construct various scenarios, using the anime "Attack on Titan" as a case study. The research unfolds by first examining Nietzsche's types of nihilism and the three stages through a review of literature, while also investigating the portrayal of nihilism in mass media and considering the unique attributes of animation. Secondly, building upon the literature review, the analysis interprets the narrative and constructed world of the chosen case study from a nihilistic perspective, examining four major characters through the stages of passive nihilism, active nihilism, and eternal recurrence. The findings demonstrate that the anime conveys two messages regarding negation and affirmation of one's life and existence, thereby offering viewers an opportunity to deeply contemplate human existence. This study is considered significant as it examines how Nietzschean nihilism is portrayed within the popular entertainment medium of animation.

• Clinics in Shoulder and Elbow
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• v.11 no.2
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• pp.112-117
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• 2008

Purpose: This study prospectively evaluated the outcome of arthroscopic transtendinous repair as a treatment for partial articular side tears of the rotator cuff. Materials and Methods: Fifteen patients with symptomatic, partial articular side tears of the rotator cuff underwent modified transtendinous repair. The patient's mean age was 52.5 years and the mean duration of symptoms was 33.7 weeks. The visual analogue scale (VAS), the ASES score, the active ROM of the shoulder and the patient's satisfaction were evaluated both preoperatively and postoperatively. The clinical results were analyzed using the Wilcoxon's signed rank test. Results: The mean VAS was $6.6\pm1.1$ before treatment and $0.4\pm0.6$ at 6 month, and the ASES scores for all the patients were significantly better over the six-month period of follow-up (p<0.05). The mean active ROM in abduction was $94.3\pm22.3$ before treatment, $108.7\pm16.3$ at 1 month (p=0.0041) and $164.3\pm5.3$ at six months (p=0.0006). In flexion, it was $105.0\pm23.8$ before treatment, $119.0\pm17.4$ at 1 month(p=0.0075) and $174.3\pm5.3$ at six months (p=0.0006). At the final follow-up, 94% of patients were satisfied or very satisfied after operation. Conclusion: We experienced satisfactory clinical results after a short-term follow-up of arthroscopic transtendinous repair, and we believed this to be an effective procedure for patients with partial articular side tears of the rotator cuff.

• 기호학연구
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• no.56
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• pp.45-70
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• 2018

Criticism of the postmodern philosophy of the system of representation, which has continued since the Renaissance, is based on a critique of the dichotomy that separates the subjects and objects and the environment from the human being. Interactivity, highlighted in a series of works emerging as postmodern trends in the 1960s, was transmitted to an interactive aspect of digital art in the late 1990s. The key feature of digital art is the possibility of infinite variations reflecting unpredictable changes based on public participation on the spot. In this process, the importance of computer programs is highlighted. Instead of using the existing program as it is, more and more artists are creating and programming their own algorithms or creating unique algorithms through collaborations with programmers. We live in an era of paradigm shift in which programming itself must be considered as a creative act. Simulation technology and VR technology draw attention as a technique to represent the meaning of reality. Simulation technology helps artists create experimental works. In fact, Baudrillard's concept of Simulation defines the other reality that has nothing to do with our reality, rather than a reality that is extremely representative of our reality. His book Simulacra and Simulation refers to the existence of a reality entirely different from the traditional concept of reality. His argument does not concern the problems of right and wrong. There is no metaphysical meaning. Applying the concept of simulation to algorithmic art, the artist models the complex attributes of reality in the digital system. And it aims to build and integrate internal laws that structure and activate the world (specific or individual), that is to say, simulate the world. If the images of the traditional order correspond to the reproduction of the real world, the synthesized images of algorithmic art and simulated space-time are the forms of art that facilitate the experience. The moment of seeing and listening to the work of Ian Cheng presented in this article is a moment of personal experience and the perception is made at that time. It is not a complete and closed process, but a continuous and changing process. It is this active and situational awareness that is required to the audience for the comprehension of post-representation's forms.

• Journal of The Korean Association For Science Education
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• v.41 no.3
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• pp.237-250
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• 2021

Teachers play a key role in designing a students' learning experience. Teachers are asked to interpret the context in which they are located and to adjust their practice to fit circumstantial needs based on their teacher agency. In this study, we explore the emergence of teacher agency in distance learning caused by COVID-19 and we analyze factors shaping the teacher agency. For this purpose, we interviewed six secondary science teachers who practiced distance learning in 2020. Semi-constructed interviews and their artifacts were collected and analyzed. This study shows that teacher agency is captured when they respond to circumstantial change and modify their practice to achieve their professional purpose or adjust their practice in space for maneuvering or keep their practice consistent. This study also analyzes the factors that affect the emergence of teacher agency in two dimensions. One is individual and the other is contextual. In the individual dimension, educational values shaped by his/her experiences and short/long-term goals for the future support the emergence of teacher agency. In the contextual dimension, there are collaborative and flexible culture shared by the community, co-operation within the teacher community, and material support. On the other hand, in the individual dimension, the teachers' sense of their role, and no reflection for own practice constrain the emergence of teacher agency, and in the contextual dimension, performativity discourse and strong requirement without guidance constrain the emergence of teacher agency. We suggest an effective lens for establishing a strategy that support teachers' professional practice and the emergence of teacher agency.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.29 no.4
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• pp.527-536
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• 1996

The patterns of diel horizontal migration (DHM) of 7 copepod species are compared as part of a general investigation of the zooplankton adaptations to the surf zone habitats. In a sandy shore surf zone of Yongil Bay, 3 sites such as the bottom and surface of 1 m water depth and water's edge are sampled with a sledge net(n=108). The surf zone copepod assemblage is dominated by 7 species; Acartia hudsonica, Fseudodiaptomus marinus, Paracalanus indicus, Calanus sinicus, Oithona similis, Sinocalanus tenellus and Labidocera bipinnata. Threefold variations in copepod abundance are observed within a diel cycle. Abundances of 7 dominant species and total copepods captured in the surface exhibit significant diel differences, but those taken in the bottom are not significantly affected by diel period. It is shown that about $90\%$ of the surf zone copepods performed DHM. The nocturnal high densities of copepods occurred for a neap tide when the offshore winds prevailed, suggesting the animals' ability for horizontal orientation and an active locomotion without invoking passive transportation by currents. Photoreactive behavior of copepods triggered by relative changes in light intensity may be a primary factor inducing DHM by aggregating in the surf zone during the night and spreading out at day; then copepods may reduce encounters with visual predators. In A. hudsonica, ontogenetic variations in timings of DHM are evident. Such variations are likely to minimize intraspecific competition for diets. Data on shoreward migration of copepods indicate that A. hudsonica, P. indicus, O. similis and S. tenellus can maintain swimming velocities of about $20m\;h^{-1}$ for durations of more than an hour. Our observations of strong diel difference in abundances point out the need for both day and night samplings in surf zone habitats, if the importance of these habitats to planktonic copepods are to be fully understood.

• Cartoon and Animation Studies
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• s.39
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• pp.413-450
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• 2015

Although cartoons have been recognized for their great potential and value, they have failed to bloom in Korea. This is because wrong perception and irregular distribution of cartoons have been repeated for the last several years. Presently, however, cartoons are escaping from chronic problems they have had for long and welcoming splendid chances now. From the mid- and late-1990's, there have been large-scale events having cartoons as their theme, and social recognition on cartoons is becoming more and more positive. Their contents are diversified, readers are increased, and they are escaping from stereotypes through harmony with other media. Lately, either large or small exhibitions for cartoons are being planned, and Korean cartoons are going overseas and producing exhibitions there. Particularly, visitors' appreciative eye is getting keener, and they begin to see them not as a genre underestimated as low culture like in the past but as a kind of art on which independent research is being actively conducted. One of the biggest factors that have allowed cartoons to be positioned as visual art is the form of exhibitions that combine them with other genres artistically. Especially the cartoon exhibitions being held these days are aggressively introducing various elements of the cartoon genre through the medium of exhibitions not just as a mere tool of seeing to help understand cartoon writers or works. The genre of cartoons is now regarded as an active subject that can reflect its own unique essence in this rapidly changing cultural environment and extend the range of it itself. The latest cartoon exhibitions are characterized by trans-genre and complex aspects in terms of their direction or organization according to the contents, space, or theme. This trend of cartoon exhibitions implies that they are subdividing, analyzing, and planning various factors not in a horizontal way that was centered around image as in the past. It means that cartoon exhibitions are evolving as a form of mobilizing, combining, and reproducing various methods. Although a number of cartoon exhibitions are being held with a variety of themes, there is still lack of research on cartoon exhibitions concerning their forms and contents. Therefore, this researcher sees cartoon exhibitions as a factor that allows cartoons to escape from negative recognition and examines various cartoon exhibitions, from Seoul International Cartoon Animation Festival to the ones that are recently held, to figure out the meaning of Korean cartoon exhibitions. Furthermore, this researcher will find out the factors of planning and popularity in international exhibitions or personal cartoon exhibitions being presently held and figure out new directions and potentials for Korean cartoon exhibitions based on that. To meet the needs of visitors whose expectations have become even higher, it is needed to try not just previous methods but experimental and original planning as well constantly. To realize that, it is necessary to keep providing a field of opportunity where cartoon works, cartoon writers, and visitors can communicate as in an exhibition. It is expected that this study will trigger research on cartoon exhibitions to be performed multilaterally and produce new discourse on cartoon exhibitions afterwards.

• Journal of the Korean Society of Earth Science Education
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• v.16 no.2
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• pp.302-318
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• 2023

The purpose of this study was to study to the effect of presenting SBF questions on the level of conceptual achievement and eye movement of elementary students in seasonal constellation learning that requires systems thinking. In this study, the effectiveness of SBF questions was divided into experimental groups and comparison groups, and scientific texts with different question types were presented to analyze the level of conceptual achievement and differences in eye movement of sixth-grade elementary students. Data analysis quantitatively analyzed the pre- and post-test results of the developed concept test paper and the eye movement data when learning scientific texts related to seasonal constellations. As a result of the study, first, the SBF question was a valid learning strategy for learning seasonal constellations. The SBF question showed a statistically significant difference (p<0.05) in the pre- and post-test between groups, and a statistically significant difference (p<0.001) in the pre- and post-test within the group. Second, SBF questions had a positive effect on students' learning by inducing learners with low preconceptions to area of interest that help them achieve concepts. In other words, when presenting SBF questions with visual data from a space-based perspective, it was confirmed based on the results of eye movement analysis that there was a significant difference in total fixation count (p<0.01) of learners. On the other hand, for learners with high scientific preconceptions, the effect of exploration was not significant because the preconceptions of the learners themselves acted as a hard core rather than the effect of SBF questions. This study is different from existing seasonal constellation learning studies in that it provides quantitative data through pre- and post-test and eye movement analysis in the seasonal constellation learning process, and can help elementary students learn seasonal constellations.