• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.2
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• pp.10-18
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• 2014

This paper interprets the hidden structure, layers and figures into cultural landscape, invisible landscape, by using landscape adjectives based on Place Memory of locals. Methods for obtaining local landscape information are through semi-standardized interview and autobiographical questionnaires. As a research site, Janghang in Korea which have experienced not only colonized and autonomous industrialization but also de-industrialization is a typical modern industrial landscape even in Asia. Thus, the landscape is interpreted as layered images like a stratum and as a dynamic landscape that changes over time. People only remember selected memories such as regional and national images affected from industrial developing paradigm in Korea. Some images of the landscape are distorted by powers and influenced by places of memory. This study brings us some discussions that 'What do we look at and remember about the landscape?'

• Journal of Korean Home Economics Education Association
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• v.20 no.3
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• pp.31-47
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• 2008

In this study the interpretive perspective means a point of view on educational curriculum in which in order to reach the understanding of the meaning of the behaviors and beliefs of human beings, and the historical and cultural products, the process of discussing on the basis of historical and cultural knowledge is very important. The developed curriculum means the one that consists of the goal of the curriculum, the contents of the curriculum, lesson plans, and the instruction-learning materials. This study has been carried out in four steps: conceptualization, development, application and evaluation. This study has tried to propose some changes in the contents of clothing life education on the basis of the interpretive perspective by firstly, assuming some core concepts that were related to clothing life education in Home Economics and secondly, organizing the contents of the clothing life culture area based upon historical and cultural materials. The results of the application of the developed curriculum came out positive. The strong points of the developed curriculum showed that for the students the curriculum was helpful in seeking answers to such questions as 'who I am' and 'what kind of being I am' through the perception of traditional culture and clothing life. In addition, the developed learning contents were recognized as new knowledge. It also showed that teaching contents with a focus on the interpretive perspective could play a role as reflection for the practice and for the arrival at the final perception. A weak point of the developed curriculum is that the Home Economics teachers themselves might find difficulty preparation for teaching this material because of their limited understanding and knowledge of the historical and cultural materials about clothing life.

• Korean journal of communication and information
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• v.26
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• pp.7-44
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• 2004

This paper proposed semiotic model to explain representation process of time in cinema. Limitations of cinematic narratology which explain representation process of time in cinema were indicated, then alternative explanations of Deleuzian philosophy of cinema were proposed. After discussion about articulations of cinematic code, Deleuzian concept of movement-image was suggested as semiotic minimal unit of cinema. In cinema, Movement-image is divided two different aspects ; "normal movement-image" and "abnormal movement-image". Therefore, two different semiotic representation process of time was reconstructed in accordance with Peircean semiosis theory. In this two different semiotic process, modern cinema emphasize the direct representation process of time with "abnormal movement-image". As Deleuze indicated, The "time-image" is presented in this semiotic process. The "time-image" makes it possible to consider "time itself" as philosophical fact which is laid between reality and cinema, This semiotic process more emphasizes pure expressionality than representationality. Deleuzian philosophical journey through cinema was started in this point.

• Journal of The Korean Association For Science Education
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• v.32 no.10
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• pp.1489-1501
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• 2012

The purpose of this study was to search for effective strategies on teaching open-inquiry by comparing students' and teachers' recognition of its difficulties and helpful strategies. This study focused on the cases of science high school students and their teachers, who carried out open-inquiry to participate in KYPT. This research was conducted through participant observation, questionnaires, and interviews. The research findings were as follows: students stated that planning and doing experiments were the most difficult parts, whereas teachers viewed that their students had difficulties in analyzing data and making a conclusion. With respect to the effective strategy, students stated that they gained many ideas from peer discussions although they have had to carry out their individual tasks. On the contrary, teachers thought that reference materials and the discussions with teachers were most helpful. There were clear differences between students' and their teachers' recognition toward open-inquiry and the gap needs to be closed. Consequently, it would be useful to guide students to form teams and to spend more time in peer discussions especially when doing experiments and to encourage teachers to understand students' actual difficulties and needs.

• Journal of The Korean Association For Science Education
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• v.43 no.4
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• pp.369-387
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• 2023

This study aims to interpret the experience of science research in a graduate school laboratory from the perspective of Gilles Deleuze's concepts of "agencement" and "becoming". The research was conducted as an autobiographical narrative inquiry. The research text is written in a way that tells the story of my science research experience and retells it from the perspective of Gilles Deleuze. In Deleuze's view, science research is a constantly flowing agencement. The science research agencement is composed of a mechanical agencement of various experimental tools-machines and researcher-machines as well as a collective agencement of speech acts such as biological knowledge, experiment protocols, and laboratory rules. Furthermore, science research agencement is fluid as events occur all over the agencement. Data, as a change occurring in the material dimension, is an event and sign that raises problems. It has the agency to influence agencement through an intersubjective relationship with researchers, and the meaning of data is generated in this process. The change of agencement compelled me to perform science practice. I have performed repeated science practice, meaning that my body has constantly been connected to other machines. As a result of this connection, my body has been affected, and the capacity of my body that constitutes the agencement has been augmented. In addition, I was able to be deterritorialized from the existing science research agencement and reterritorialized in a new science research agencement with data. This process of differentiation allowed me to becoming-scientist. In sum, this study provides implications for science practice-oriented education by exploring the process of becoming-scientist based on my science research experience.

• Journal of Christian Education in Korea
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• v.62
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• pp.101-133
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• 2020

This study is an attempt to grasp the fundamental characteristics and core structures of Bibliodrama, which has recently received a lot of attention in various fields including Christian education. Bibliodrama is a guided form of process-oriented staging of biblical texts in groups with the aim of mutually opening up the text and the biography of the participants in the implementation of holistic encounters (H. Aldebert). In the background of the birth of Bibliodrama can be found the hermeneutical efforts of the biblical scholar Walter Wink who sentenced the bankruptcy of historical criticism. He laid the biblical interpretative foundation for Bibliodrama which combines Bible and body. German theologian Gerhard Marcel Martin had a new experience of seeing the Bible through body activity during his life in New York, and based on that experience he began to work on the Bibliodrama. And the New Testament scholar Tim Schramm, who focused on the TCI (themecentered interaction) movement, found the optimal methodology to embody the interaction of biblical studies in Bibliodrama. On the other hand, Peter Pitzele, who wanted to realize the Bibliodrama in the tradition of Midrash, has developed a new type of Bibliodrama (Bibliolog) that is different from the European Bibliodrama. When we put together the positions of the pioneers of Bibliodrama, it turns out that it has three fundamental characteristics: body, interaction, and the empty space of the Bible. The body refers to the personality of learners participating in the Bibliodrama. They are not passive participants, but voluntary and active participants. Interaction is realized through the dramatic way of Bibliodrama. Bibliodrama aims for a dynamic process in which hermeneutical interaction occurs. The empty space of the Bible, which Bibliodrama pays attention to, allows us to understand why the Bible is not a fixed word but a living word that is still heard today. In order to understand the Bible as the content of education, Bibliodrama liberates the text that is fixed in a literal way and gives life by paying attention to the empty space of the Bible and reading it slowly.

• 한국노년학
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• v.36 no.3
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• pp.827-846
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• 2016

The presented study was based on the notions that 1)the age-separated perspective would not be functional for post modern society which characterized by a diversity of life styles and 2)effects of wage peak system have been investigated mainly through managemental efficiency with quantitative analysis. In those notions, this study aimed to investigate effects of wage peak system based on age integration perspective with a qualitative method. Deep case study were executed with four workers who fully understand regarding wage peak system. Results showed that three sub categories were drawn in the meaning focused on issues of wage peak system; uneasy attention on workers who applied for wage peak system; pro and con of wage peak system for aged workers; achieving age integrated environment through mutual understanding.

• Journal of the Korean Society for information Management
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• v.36 no.1
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• pp.215-246
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• 2019

The purpose of this study is to comprehend the retired elderly person's experience of library using the narrative inquiry method proposed by Clandinin and Cornelly. I intended to grasp the details of the several changes that library use brings to the lives. It was also to examine the meanings of the experiences for their lives. For this purpose, three elderly retirees using public libraries in Seoul were selected as research participants. I interviewed their experiences and constructed field text from interview. Based on the field text, the story of the participants was reconstructed into research text which is form of novels, essays, and letters. Their experience in using libraries was interpreted as a source of regular life, fun and vitality, a treasure house for dreaming new life, a source of consolation to endure old age. And I found some common points within their narrative that they seek for a healthy life through reading books. The results of this study are expected to be useful for expanding the understanding of the public library's elderly users and to be used as basic data for service improvement.

• Journal of Communication Design
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• v.65
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• pp.70-81
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• 2018

From 1949 to 1966, after the new China was established, in order to consolidate newborn regime and erect national image, "proletariat revolutionary education" had become the main way of literary and artistic creation in the new era. In this era, Chinese animation began to produce to form the characteristics of emphasizing the ideological expression and political education from 1949 to1966, but it also made people misunderstand that it was the results of comprehensive containment of Soviet literary thoughts and creative models. In fact, Regardless of the subject matter, narrative, and role, Chinese animations have inherited and developed the ideological characteristics of the "Mun-yi-jae-do" literary view, forming a creative style that is different from the Soviet "dogmatism." The characteristics of "revolutionary hero role", "mythological expression of revolutionary thought" and "unique storytelling narrative mode" in Chinese animation from 1949 to 1966 were the inheritance and development of the "hero role", "mythological story", and "art of storytelling" of the important expression means of traditional art creation after the establishment of the "Mun-yi-jae-do".

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.