• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2006.05a
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• pp.855-858
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• 2006

First of all, Developing information technology makes it possible to change a paradigm of all kinds of areas, including an education. Students can choose learning goals and objects themselves and acquire not the accumulation of knowledge but the method of their learning. Moreover, Teachers get to be adviser, and students play a key role in teaming. That is, the subject of leaning is students. Constructivism emphasizes the student-oriented environment of education, which corresponds to the characteristics of hypeimedia. In addition, Internet allows us to make a practical plan for constructivism. Web Based Internet provides us with a proper environment to make constructivism practice md causes an education system to change. Sure Web Based Instruction makes them motivated to learn more, they can gain plenty of information regardless of places or time. Besides, they are able to consult more up-to-date information regarding their learning use hypermedia such as an image, audio, video, and test, and effectively communicate with their instructor through a board, an e-mail, a chatting etc. A school and instructors have been making effort to develop a new model of a teaching method to cope with a new environment change. In this thesis, with 'Design and Implementation of Web Based Instruction Based on Constructivism', providing online learner-oriented and indexed video lesson, learners can get chance of self-oriented learning. In addition, learners doesn't have to cover all contents of a lesson but can choose contents they want to have from a indexed list of a lesson, and they ran search contents they want to have with a 'Keyword Search' on a main page, which can make learners improve learner's achievement.

• Journal of Korean Classical Literature and Education
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• no.35
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• pp.153-193
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• 2017

This study explores the creation and enjoyment of Kuwoonmong (九雲夢) using a reference system called the cultural imagination, which is related to the Yin-Yang (陰陽) and Wu Xing (五行). When Kim Manjung wrote Guwoonmong, he may have composed figures and events based on this imagination. In particular, when he designed the eight seonnyeo (팔선녀), he set the order such as Gap (甲), Eul (乙), Byeong (병), Jeong (丁), etc. and characterized them according to the celestial stem (天干). Thus it was easy to avoid overlapping of characters and to construct various stories and relationships between them. The table below shows the characters of Kuwoonmong corresponding to the celestial stem. In not only the individual person but also the narrative world, Kuwoonmon demonstrates Yin-Yang and Wu Xing's imagination. In this respect, Kuwoonmon can be considered a large symbol encompassing the abstract theory of Yin-Yang and Wu Xing. Of course, the writer, Kim, Manjung would not have tried to symbolize the principle intentionally. However, he was also present in the environment of the cultural imagination that has been formed over the years. The same is true for the contemporary recipients of Guwunmong. They would have had a pleasant experience applying the cultural imagination and strengthening their familiar world view and human view.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.79-97
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• 2008

Four Wangs' landscape style (四王山水畵風), which had appeared in Beijing in the early 18th century, widely spread to Korea and Japan in the 19th century and became a significant basis for developing new painting styles in both countries. It was first introduced to Korea by Shin Wi (申緯) and Kim Jeong-hee (金正喜) who associated with literary men of the Qing Dynasty. Being influenced by them directly or indirectly, Shin Myeong-yeon (申命淵), Yi Han-cheol (李漢喆), Yu Suk (劉淑), Changv Seung-eop (張承業), An Choog-sik (安中植), and Jo Seok-jin (趙錫晋) attempted to adapt Four Wangs' landscape style and it later became a main Stream painting style of the Korean painting circles. Based on Four Wangs' landscape style, their landscape paintings had something in common in that they captured natural features from a short distance using the Down-Up prospective and placed guardian mountains across mountain streams by making a tall tree in the right or left bottom of the canvas as the starting point. However, recently unveiled court painter An Geon-yeong (1841~1876)'s the Landscape Screen is remarkable in that it is based on Four Wangs' style, which was in fashion in the late 19th century, but shows different aspects from other Four Wangs' style paintings in terms of feature capturing, brush stroke and colors. While most of An Geon-yeong's existing paintings are small ones, this folding screen is a big piece consisting of six-fold landscape paintings. In particular, it shows new aspects by creating a serene and calm atmosphere through the description of various landscape scenes with thin brush strokes using glossy ink, by showing a macroscopic view in some paintings through feature capture using a birds-eye view method, and by giving life to the canvas through smoke and clouds. This painting style is considered to be linked with those of Wang Xue-hao (王學浩, 1754~1832), Tang Yifen (湯貽汾, 1778~1853) and Dai Xi (戴熙, 1801~1860), based on Four Wangs' style in the early 19th century's Jiangnan Circle (江南 畵壇), who tried to express the energy and vitality of real landscapes by going around China's well-known mountains and complementing painting styles with drawing from nature. Therefore, An Geon-yeong's six-fold Landscape Screen is very significant as a rare case proving the introduction and reception of Jiangnan Circle's Four Wangs' landscape style which was different in many aspects from Beijing Circle in the 19th century.

• Korean Journal of Heritage: History & Science
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• v.43 no.4
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• pp.56-77
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• 2010

The tortoise pedestal for the memorial monument of Choe Jin-rip(an army officer in the mid-Joseon Period) in Ijo-ri, Naenam-myeon, Gyeongju is known to have been made in 1740. As such, it was originally understood to be a Joseon imitation of a tortoise pedestal made in the Unified Silla Period. The style of the Ijori Tortoise Pedestal differs from other tortoise pedestals dating back to the same period, and bears no resemblance to the Unified Silla pedestals of which it is a copy. Mullu ilgi, a record of the production of the pedestal, explains that the monument was made before the pedestal. Traces show that the two sides of the bottom of the monument were cut off so that it would fit into the smaller space made on the pedestal. It is scarcely conceivable that they made the pedestal and the platform without considering the bottom size of the monument. The record only states that the monument was made at a temple site named Baegundae, without explaining the details of the production process. This leaves some doubt as to whether its production was undertaken systematically. The cloud patterns engraved on this pedestal look similar to the temporal seriation found on the Tortoise Pedestal of the Royal Tomb of King Muyeol and the Seoangni Tortoise Pedestal of Gyeongju. The lotus pattern decorating the square pedestal on the back of the tortoise is one of a number of patterns that were widely used on roof-tiles in the 8th century, the heyday of the Unified Silla Kingdom. The Ijori Tortoise Pedestal, which represents a tortoise moving forward, displays a liveliness the like of which is rarely found in its cousins remaining in Gyeongju. The layout of the patterns in a queue on the tortoise-shell looks much better schematized than those made at an earlier date. It also looks like a more developed form, with the use of space taken into account. Such factors as the style of the patterns, the incongruity between the monument and its pedestal, and what is stated in the historical record indicate that the Ijori Tortoise Pedestal of Gyeongju was made in the mid-8th century(i.e. during the Unified Silla Period), rather than in the Joseon Period(i.e. the 18th century), as an imitation of earlier ones, including changes in the style unique to the Silla Period.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.150-167
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• 2021

Since the advent of tertiary curriculum, middle school history education has been focused on political history, but many students perceive history as a simple memorization subject and complain about difficulties in abstract learning. The researcher saw this problem as caused by the history curriculum, and carried out this study for the purpose of proposing a revitalization of cultural property education in the middle school history curriculum. First, through the analysis of prior research, the usefulness of cultural property education, such as nurturing creative talent and realizing interactive history classes, was revealed, and the problems of the current political history-centered middle school history curriculum were pointed out. Afterwards, as a result of conducting an opinion survey on middle school 3rd grade students and social studies teachers, it was found that first, both middle school students and their teachers thought that the current political history-centered history had much room for improvement. Second, all groups agreed on the necessity of cultural property education in history education. However, in reality, it was found that it was not easy to sufficiently educate students about cultural property in a political history-centered curriculum. Third, teachers thought that it was necessary to improve the current history curriculum in order to enhance cultural property education. Based on these findings, the researcher suggested an improvement plan for the 2015 revised history curriculum. First, in the 'nature of the subject' section, cultural properties and historical materials should be included, and in the 'objective' section, politics, economy, society, and culture should be included. Contents related to cultural properties should be added to the sub-themes in the 'content system and achievement standards', and cultural properties-related contents should be further reinforced in the achievement standards, 'teaching, learning and evaluation'. It was suggested that this section should include cultural property learning and historical material learning, and guidance on teaching and learning methods of cultural property education should be added. If these aspects are reflected in the 2022 revised curriculum that is currently being developed, cultural property education will be improved, and more lively history education will be provided to students.

• Journal of Intelligence and Information Systems
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• v.29 no.4
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• pp.271-286
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• 2023

The global COVID-19 pandemic has transformed face masks from situational accessories to indispensable items in daily life, prompting a shift in public perception and behavior. While the relaxation of mandatory mask-wearing regulations is underway, a significant number of individuals continue to embrace face masks, turning them into a form of personal expression and identity. This phenomenon has given rise to the Fashion Mask industry, characterized by unique designs and colors, experiencing rapid growth in the market. However, existing research on masks is predominantly focused on their efficacy in preventing infection or exploring attitudes during the pandemic, leaving a gap in understanding consumer preferences for mask design. We address this gap by investigating consumer perceptions and preferences for two prevalent mask designs-horizontal fold flat masks and vertical fold flat masks. Through a comprehensive approach involving surveys and eye-tracking experiments, we aim to unravel the subtle differences in how consumers perceive these designs. Our research questions focus on determining which design is more appealing and exploring the reasons behind any observed differences. The study's findings reveal a clear preference for vertical fold flat masks, which are not only preferred but also perceived as unique, sophisticated, three-dimensional, and lively. The eye-tracking analysis provides insights into the visual attention patterns associated with mask designs, highlighting the pivotal role of the fold line in influencing these patterns. This research contributes to the evolving understanding of masks as a fashion statement and provides valuable insights for manufacturers and marketers in the Fashion Mask industry. The results have implications beyond the pandemic, emphasizing the importance of design elements in sustaining consumer interest in face masks.

• Journal of Global Scholars of Marketing Science
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• v.18 no.4
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• pp.157-194
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• 2008

The popularity of communities on the internet has captured the attention of marketing scholars and practitioners. By adapting to the culture of the internet, however, and providing consumer with the ability to interact with one another in addition to the company, businesses can build new and deeper relationships with customers. The economic potential of online communities has been discussed with much hope in the many popular papers. In contrast to this enthusiastic prognostications, empirical and practical evidence regarding the economic potential of the online community has shown a little different conclusion. To date, even communities with high levels of membership and vibrant social arenas have failed to build financial viability. In this perspective, this study investigates the role of various kinds of influencing factors to online community loyalty and basically suggests the framework that explains the process of building purchase loyalty. Even though the importance of building loyalty in an online environment has been emphasized from the marketing theorists and practitioners, there is no sufficient research conclusion about what is the process of building purchase loyalty and the most powerful factors that influence to it. In this study, the process of building purchase loyalty is divided into three levels; characteristics of community site such as content superiority, site vividness, navigation easiness, and customerization, the mediating variables such as self congruency, consumer experience, and consumer to consumer interactivity, and finally various factors about online community loyalty such as visit loyalty, affect, trust, and purchase loyalty are those things. And the findings of this research are as follows. First, consumer-to-consumer interactivity is an important factor to online community purchase loyalty and other loyalty factors. This means, in order to interact with other people more actively, many participants in online community have the willingness to buy some kinds of products such as music, content, avatar, and etc. From this perspective, marketers of online community have to create some online environments in order that consumers can easily interact with other consumers and make some site environments in order that consumer can feel experience in this site is interesting and self congruency is higher than at other community sites. It has been argued that giving consumers a good experience is vital in cyber space, and websites create an active (rather than passive) customer by their nature. Some researchers have tried to pin down the positive experience, with limited success and less empirical support. Web sites can provide a cognitively stimulating experience for the user. We define the online community experience as playfulness based on the past studies. Playfulness is created by the excitement generated through a website's content and measured using three descriptors Marketers can promote using and visiting online communities, which deliver a superior web experience, to influence their customers' attitudes and actions, encouraging high involvement with those communities. Specially, we suggest that transcendent customer experiences(TCEs) which have aspects of flow and/or peak experience, can generate lasting shifts in beliefs and attitudes including subjective self-transformation and facilitate strong consumer's ties to a online community. And we find that website success is closely related to positive website experiences: consumers will spend more time on the site, interacting with other users. As we can see figure 2, visit loyalty and consumer affect toward the online community site didn't directly influence to purchase loyalty. This implies that there may be a little different situations here in online community site compared to online shopping mall studies that shows close relations between revisit intention and purchase intention. There are so many alternative sites on web, consumers do not want to spend money to buy content and etc. In this sense, marketers of community websites must know consumers' affect toward online community site is not a last goal and important factor to influnece consumers' purchase. Third, building good content environment can be a really important marketing tool to create a competitive advantage in cyberspace. For example, Cyworld, Korea's number one community site shows distinctive superiority in the consumer evaluations of content characteristics such as content superiority, site vividness, and customerization. Particularly, comsumer evaluation about customerization was remarkably higher than the other sites. In this point, we can conclude that providing comsumers with good, unique and highly customized content will be urgent and important task directly and indirectly impacting to self congruency, consumer experience, c-to-c interactivity, and various loyalty factors of online community. By creating enjoyable, useful, and unique online community environments, online community portals such as Daum, Naver, and Cyworld are able to build customer loyalty to a degree that many of today's online marketer can only dream of these loyalty, in turn, generates strong economic returns. Another way to build good online community site is to provide consumers with an interactive, fun, experience-oriented or experiential Web site. Elements that can make a dot.com's Web site experiential include graphics, 3-D images, animation, video and audio capabilities. In addition, chat rooms and real-time customer service applications (which link site visitors directly to other visitors, or with company support personnel, respectively) are also being used to make web sites more interactive. Researchers note that online communities are increasingly incorporating such applications in their Web sites, in order to make consumers' online shopping experience more similar to that of an offline store. That is, if consumers are able to experience sensory stimulation (e.g. via 3-D images and audio sound), interact with other consumers (e.g., via chat rooms), and interact with sales or support people (e.g. via a real-time chat interface or e-mail), then they are likely to have a more positive dot.com experience, and develop a more positive image toward the online company itself). Analysts caution, however, that, while high quality graphics, animation and the like may create a fun experience for consumers, when heavily used, they can slow site navigation, resulting in frustrated consumers, who may never return to a site. Consequently, some analysts suggest that, at least with current technology, the rule-of-thumb is that less is more. That is, while graphics etc. can draw consumers to a site, they should be kept to a minimum, so as not to impact negatively on consumers' overall site experience.