• Communications of Mathematical Education
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• v.30 no.3
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• pp.295-308
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• 2016

In order to determine the message that is communicated to students about people who use math, this study analyzes contexts, human presence in particular, used in problems presented in a U. S. high school mathematics textbook. A framework was developed to analyze the human presence and was used to determine both the degree to which humans are present in the curriculum as well as characteristics of the present humans. One outcome of this study is the framework itself which can be used to analyze the human presence in any mathematics curriculum. Other outcomes include the determination that the particular mathematics textbook under study contains an overwhelming lack of humans, a surprising lack of named humans, and a disappointing presence of humans in math-related careers. These findings raise concerning questions about the message that is communicated to students about the usefulness of school mathematics and missing a valuable opportunity to inspire students to pursue degrees in mathematics. Additionally, it is hoped that these findings would inform the work of the Korean mathematics education communities on the textbook development.

• (The)Study of the Eastern Classic
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• no.59
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• pp.57-92
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• 2015

This study looked into the process by which Haseo(河西) Kim In-hoo(金麟厚:1510~1560), a neo-confucian scholar of mid Joseon Dynasty, was recognized and adored as an inheritor of traditional academic genealogy of neo-confucianism of Joseon Dynasty. I intended to examine the process of personal embodiment affected or excluded in certain manners by various materials covering the lifetime of bygone persons based on the process of such embodiment. The part related to childhood of Haseo was arranged newly to highlight solid relationship between Kim In-hoo and King Injong(仁宗). That was because Kim In-hoo raised the issue of loyalty and fidelity, one of the most important and most contentious issues at that time, in connection with reinstatement of GimyoSarim(己卯士林, progressive political faction with young officials), and King Injong was the king who reinstated Gimyo Sarim. That played a decisive role in establishing the image of Haseo, a classical scholar with unwavering integrity and loyalty. During the Late Joseon Dynasty, canonization of Haseo was made under the leadership of King Jeongjo(正祖) and Seoin(西人) in royal court. In the 17th century, Seoin scholars revised the materials related to lifetime of Kim In-hoo in various way and proofread and published the collection of literary works by Kim In-hoo. That aimed to establish scholastic system associated with Seoin and legitimacy of study as pursued by Seoin. This made progress with adoration towards scholars affiliated with Seoin, including Yulgok(栗谷) Lee Yi(李珥). Finally, King Jeongjo showed strong intention to take the lead as sovereign in the process while Haseo was canonized into national academy in the 18th century. That came from the desire to solidify his status as a teacher who took pride in taking responsibility for the dynasty's authentic study, as well as the king heading the dynasty politically.

• The Journal of Korean Philosophical History
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• no.30
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• pp.7-36
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• 2010

Cho Gwang-jo(趙光祖, 1482-1519) was the moralist who had the purest conscience and aimed the devoted politics among many fellow Confucianists of Chosun Dynasty. He even criticized his teacher who was in his late forty years for not being able to control his emotions when he was just a teenager. That is to say, he was the one who have kept his cold reasons for entire life. Nevertheless, as mentioned before, Cho Gwang-jo was very faithful to his emotions and also very honest. We find that he was definitely emotional. He demanded to change the relationship between the king and the courtier to the one between the father and the son with humane communication. He expressed his mind and emotion he had used to have at the moment of his death: he loved his king just as he loved his father. However, the king, Joongjong, was indifferent at the human's emotion as if he was a senseless figure. That was the saddest frustration and grief he had. However, his grief did not remained just as the mere grief but again survived as the hope for the survivors and descendants with the big echo. In this respect, his gried did not just end as the grief but it can be said that it even revived itself as the strength and courage. Then, Cho Gwang-jo's life as a human being was never a failure. Moreover, his grief and agony did not just remained as the vain emotion and sadness.

• Journal of Korean Philosophical Society
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• v.105
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• pp.149-192
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• 2008

추파(秋坡) 송기수(宋麒壽)(1507-1582)는 500년 전에 출생하여 조선시대 중종, 인조, 명종, 선조의 4대에 걸친 75세를 일기로 생존했던 재조(在朝)의 선비로서 행정가요, 또한 학인이었다. 추파는 기묘사화의 참상을 직접 목도하고 본의 아니게 위훈이 하사되어 평생 마음의 질곡이 되었고, 또한 소위 양재역 벽서사건에 연루된 종형 규암(圭菴) 송인수(宋麟壽)를 구명(救命)하지 못한 그의 처신이 또한 역사 속에서 오해의 사단(事端)으로서 추파에게 큰 굴레로 작용되었다. 추파의 현실인식은, 사화로 사림이 사기저상되었고, 그로 인해서 치도와 강상이 붕괴되었으며, 재해가 출현하고, 민심의 흐트러짐이 모두 천명의 노여움으로 본 동시에, 그 처방을 요순지치인 치도(治道)를 확립할 것, 선진 성학으로서 학문을 진흥할 것과 그 실천 주체인 선비의 기상을 진작시킬 것에서 찾았던 것이다. 추파의 성리설은 이기관계론을 부상리(不相離)라는 주제만을 채택하여 존재론적으로 접근하였고, 그 결과 율곡보다 훨씬 앞서 '리기지묘(理氣之妙)'라는 표현을 쓰면서 리발(理發)보다는 발어리(發於理)라는 말에 무게중심을 둠으로서 기발을 중심으로 말한 "기발어리설(氣發於理說)"을 제시하였다. 이것은 바로 그 뜻으로서의 천리(天理)를 밝혀 기(氣)로 발하는 구체적인 삶 속에 구현 하는 실천하는 길이 되는 것이다. 궁극적으로 추파의 학문은 바로 천리(天理)를 깨달아 실천궁행하여 가는 길로서 삶의 목표로 삼은 점이 특징적인 것이다. 즉 추파에 있어서 학문의 길은 리(理)의 본래적 뜻을 깨닫고 리(理)의 뜻을 심성의지(心性意志)를 통해서 구현하는 길인, 리(理)로 부터 발한 기발(氣發)을 몸소 역행실천(力行實踐)하는 길인 것이다. 이 길을 실제로 자신의 사명과 직결된 삶의 바른 길로 삼았던 것이다. 요컨대 추파의 학문사상의 궁극적 특징은 역행궁리(力行窮理)의 실천학에 있는 것이며, 따라서 결론적으로 사사(事事)(실사(實事))구시정신(求是精神)에 입각한 실천철학만이 그의 학문의 궁극적인 목적지가 되었던 것이다. 현실정치의 민생문제도, 역사적 이념으로서 선비정신 부양과 벽이단도 모두 이 사사구시(事事求是)의 시(是)를 통해야 되고, 이 시(是)를 통해서 구현하는 길이 추파학문사상의 궁극처인 것이다. 그리고 그의 언설과 삶 자체가 실사구시의 실천 그 자체 이었던 것이다. 학문사상사적으로 본다면 추파의 위상은 근본유학의 정신을 살려 그를 근간으로 하여, 한국 성리학의 개화기(開花期)에 새로운 개념으로서 이 기관계를 '리기지묘(理氣之妙)'라든가 발(發)의 근거를 리(理)에 두되 리(理)가 직접 발하는 것이 아니라, 발(發)하는 것은 기(氣)라는 '기발어리(氣發於理)'의 한길만을 중시한 점으로서 이기설의 새로운 문제를 제기한 점이라 할 수 있으며, 궁극적으로 기발론적(氣發論的)인 바탕에서 실천역행의 근거를 확립하게 됐다는 특징을 볼 수 있는 점이다. 또한 이것은 한국성리학의 기발일도라는 기발설의 선구적 주장이며, 또한 이(理)를 근거로 결국 사사구시(事事求是)의 경세실학(經世實學)을 제시함으로서 실학의 선구가 될 만한 문제제기(問題提起)를 했다고 평가할 만한 특징이라 하겠다. 이 연구가 그의 마음속에 얹혀져있던 멍에도, 그간 오해받은 역사적인 멍에도 벗겨질 수 있고, 한국철학사상장성기(韓國哲學思想長成期)(국유사상주류기(國儒思想主流期))의 학술사적인 위상도 바르게 드러나는 계기가 될 수 있기를 기대한다.

• (The)Study of the Eastern Classic
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• no.41
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• pp.37-59
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• 2010

This thesis is for clarifying a few aspects of 'Kyung(敬)' ideology and figures appearing in Yeheon(旅軒)'s poem. This ideology and figures is a kind of a imaginative thing that a poet designed. This feature is a very important subject of Yeheon(旅軒)'s poem world, so that we are going to make it clear. First, we focused his aspirations of virtual uncontaminated areas and found out his big store of life wisdom and knowledge. The second is we thought about a displaying a emphasis of proud spirit[氣像] in his own poem world, and we found that he saw things from an unworldly point of view. Finally we talked about several features of Yeheon(旅軒)'s poem world. Now we have to compare Yeheon(旅軒)'s poem and any other Dohakpa(道學派) poets for example Toegye(退溪), Hwejae(晦齋) etc. And we must clarify the whole poem world of Dohakpa(道學派). In the end, I'm so sure that we will get a prospect of their literature.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.154-167
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• 2014

The results of this study conducted to identify the substance, regional characteristics or landscaping of Namwon Yonghogugok, which is the only valley of Jiri Mountain, based on Kim Samun's 'Yonghokugok-Gyeongseungannae(龍湖九曲景勝案內)', 'Yongseongji(龍城誌)' and position, meaning of letters carved and projection technique by ArcGIS10.0 on the rocks are as below. The feature landscapes of the canyon of Yonghogugok, which is an incised meander and one of the Eight beautiful scenery of Namwon, ponds, cliffs and rocks generated with metamorphic rocks and granites weathered by rapids torrents. As a result of measuring the GPS coordinates of the letters carved on the rocks, excluding the 3 Gok Hakseoam and the distances based on the origin and destination of the letters carved on the rocks using the API(Application Programming Interface) function of Daum map, the total distance of Yonghogugok was 3.5km and the average distance between the each Gok was 436.5m. It is assumed that Yonghogugok was designated by Sarim(士林) of the Kiho School(畿湖學派) related to Wondong Hyangyak(元洞鄕約) which is the main agent of Yonghojeongsa(龍湖精舍), the forerunner of Yonghoseowon(龍湖書院), between the late Joseon Dynasty and the early Japanese colonial era, in 1927. Its grounds are the existence of Yonghoyeongdang mentioned on 'Yonghojeongsilgi'(龍湖亭實記), records of 'Haeunyugo(荷隱遺稿)', 'Yonghopumje(龍湖品題)' of Bulshindang(佛神堂), 'Yonghojeongsadonggu Gapjachun(龍湖精舍洞口 甲子春)' letters carved on the rocks and 'Yonghogugok-Shipyeong(龍湖九曲十詠)' posted on Mokgandang of Yonghoseowon. Comprehensively considering the numerous poetry society lists carved on the stone wall of Punghodae(風乎臺), the Sixth Gok Yuseondae, its stone mortar, 'Bangjangjeildongcheon(方丈第一洞天)' of Bulshindang and Gyoryongdam(交龍潭), the Yonghoseokmun(龍湖石門) letters carved on the rocks, Yeogungseok adjacent to the First Gok and Fengshui facilities, centered on Yonghoseowon and Yonghojeong, Yonghogugok can be understood as a unique valley culture formed with the thoughts of Confucianism, Buddhism, Taoism and Fengshui. 'Yonghogugok-Gyeongseungannae' provides very useful information to understand the place name, called by locals and landscaping aspects of Yonghogugok in the late Joseon Dynasty. In addition, the meaning of "Nine dragons" and even though 12 chu(湫: pond) of Yonghogugok Yongchudong including Bulyeongchu, Guryongchu, Isuchu, Goieumchu and Daeyachu are mentioned on Yongseongji, a part of them cannot be confirmed now. Various place names and facilities relevant to Guryong adjacent to Yonghogugok are the core of the place identity. In addition, the accurate location identification and the delivery of the landscaping significance of the 12 ponds is expected to provide landscaping attractiveness of Yonghogugok and become very useful contents for landscaping storytelling and a keyword of storyboard.