• Journal of Korea Entertainment Industry Association
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• v.15 no.5
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• pp.163-173
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• 2021

This study tried to develop and implement a class model that can apply the teaching method that can operate learner-centered classes in university education to the class operation of the entire university, not individuals. For the development of the instructional model, the final model was derived through analysis of prior research, expert review, derivation of instructional model and design principles, pilot operation, primary questionnaire analysis, model and design strategy revision, and secondary questionnaire analysis. Shift_N⁺¹ class consists of 6 models, and each model was divided into 3 parts. It was a preliminary learning using video, a face-to-face class for question-and-answer and in-depth learning on the core content, and feedback and process evaluation for individual student. We have built our own computer system so that we can implement this every week. The teaching method model that can apply the learner-centered curriculum to all classes at the university was standardized. The Shift_N⁺¹ teaching method seeks to maximize the learner-centered learning effect by reflecting the characteristics of the subject, and to improve the quality of education by identifying students' achievements by week.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.35 no.1
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• pp.301-324
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• 2024

In this study, we attempted to propose operational directions for each space in order to transform the newly built library in Yangpyeong-gun into a space for cultural enjoyment and creativity development for local residents. To this end, the purpose is to understand the space composition status of Yangpyeong-gun public libraries and establish an operation plan (draft) for the space to be constructed. To this end, we analyzed the names, operation status, and cases of similar spaces in other libraries, and analyzed the spatial characteristics of library cases to establish a space operation plan for the Yangpyeong-gun public library. As a result of the study, it is important to utilize spaces such as children's resource rooms to improve early reading habits for infants and children, contribute to development, and develop various senses, and small theaters should be planned with a focus on large-scale performances. Furniture and space for reading and relaxation should be provided next to Byeokmyeonga & Bookstair, and it should be operated as a communication space where small talk is possible within a certain limit. It is necessary to operate the multipurpose room by activating experiential creative activities and creative performances. It is necessary for the club room to establish an operation plan through regular communication and opinion sharing. The maker space space is a space that supports various creative activities, and the general data room is a place that provides materials on all topics and must be operated by regularly communicating with users and reflecting their opinions. Lastly, I would like to suggest that the family room should be used like a book cafe where children and parents can freely drink tea together in the same space.

• Cartoon and Animation Studies
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• s.49
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• pp.325-357
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• 2017

It can be assumed that the reasons why the animation characters, 'Olaf (in Frozen Kingdom)' and 'Minions (in Super Bad)', etc., which were very successful in the merchandising market while having won the popularity better than the main characters are very popular even though such characters appeared only by playing a funny role while assisting the adventures of the main characters are not only because of their cute appearances but also because such characters have their own core features in their inner world as the transitional object-characters. Simply expressing, a 'Transitional Object' as a concept suggested by a child psychologist, 'Donald Winnicott', means a lovey doll or an imaginary friend which temporarily replaces an infant's mother during the procedure when the infant is mentally separated from its mother. However, in case that the theory of transitional objects was applied directly to many narrative content characters for doing a study, there must have been done some studies in advance for establishing some new criteria and indexes related to the transitional object-characters of such narrative contents. Accordingly, while thinking that the 'emotional relationship' between a growth-subject and a growth mediator must be dealt with as the most important content in order to define a transitional object-character in a narration clearly, this researcher established some emotional index for judging the propensities of a transitional object-character on the basis of such way of thinking. The index is composed of 4 kinds of emotional roles (quasi-family member, growth mediator, lovey doll, an imaginary friend), 6 kinds of emotional supports (hugging, protecting, accepting, giving the initiative, improving the relationship and mutual supervising) and 4 kinds of emotional impressions (impression by contacting, impression to protect and impression accepting an attack). In case that some main characters of a family feature animation, 'Inside Out', are analyzed while the index mentioned above is applied, it was found that 'Bing Bong' and 'Sadness' have a high propensity as a transitional object-character. Especially, it could be inversely inferred in which ways some good transitional object-characters can help the narrations on growth of a family feature animation by taking a look at the character, 'Sadness' that has the highest propensity as a transitional object-character. The transitional object-character, 'Sadness' assists the narration on growth internally and externally by helping the internal maturity of a growth-subject in a way of projecting the tasks for the internal maturity of a growth-subject while helping the growth-subject to be successfully externally in a way of providing the growth-subject with some kinds of facilitating emotion. As the results from this Study, since such kinds of emotional experiences provided by such transitional object-characters are displaced to not only the relevant growth-subjects but also the audience who are emphasized with such growth-subjects as they are, such transitional object-characters play a role of hidden benefactors who induce some immersion into the narrations and provide child and adult audience with various layers of emotional satisfaction.