• Archives of design research
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• no.16
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• pp.213-223
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• 1996

Illustration has been used as a means of human communication since the primitive age. And now it has become a way to express impliedly either the fragmentary or the psychological side of our life. Like it has been said in peter knock's Illustration magazine, an artist said "it was the best article ever read." Illustrator's task is to abstract and practically describe not our daily life, but every moment of the perception an object, whether it is define or indefine. It can inspire stronger perception than any other elegant language. Addition to that the practical use of illustration is increasing ever day. The target has now become various such as man, nature, art, science and so on. Therefore, at this point what illustration requires is creation, new and striking idea. It is because in order to get in to the general's living in the complicate and various society, it must show unique images and appearance. Therefore, now the illustration should induce the work which is based on synetics thoughts, not simple improving skill. Now we must restrain futional and diagrammatic illustration education and be able to thik of free and abundant characteristics. It will eventually help students to feel the value of human life and free themselves from the reality of present education which is getting machinized and instrumentalized.entalized.

• Journal of Korean Elementary Science Education
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• v.40 no.2
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• pp.227-238
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• 2021

Ecocentric worldview is considered as worldview that overcomes present environment problems and increases animal right. This study explores the formation of an ecocentric worldview for 4th-6th graders based on Peter Singer's research that divides the development of morality into family-centered, species-centered, and ecocentric worldview. The subjects of this study were 77 4th graders, 84 5th graders, and 91 6th graders in Daegu Metro- politan City. The results of surveying students' worldview based on the questionnaire developed by dividing into 6 questions are as follows. In most of the items in grades 4-6, the rate of formation of a species-centered worldview or a family-centered worldview was higher than that of an ecocentric worldview. However, in the case of 6th grade students was significantly higher than in other grades because they learned lesson on wolf restoration in the 5th grade science class. This may be seen as an effect of education, but since the ecocentric worldview did not appear high in other questions, it is reasonable to assume that 6th graders simply recited what they learned rather than forming a true ecocentric worldview. Therefore, there is a need for education that can help students to think, judge, and act on the basis of the ecocentric worldview consistently in any situation, rather than just memorizing the knowledge of the ecocentric worldview learned.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.229-262
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• 2021

The debate on the treatment of animals has accelerated as a social issue in the West since the 1970s. In 1975, Peter Singers argued in his book, Animal Liberation, that speciesism should be banned. This led to an explosion in research on animal welfare in the philosophical and social sciences. Following Singer, Tom Regan suggested considering the animal rights as being on the same level as human rights. Their arguments were that animals should be imbued with some intrinsic weight sufficient enough to remind humans of their social responsibility to animals at least to a certain degree. In this regard, social responsibility for animal welfare as well as animal rights has formed an axis that organizes human morality in modern society. Such arguments regarding animal welfare can be perceived as an active and creative effort which accords with the free will of human beings who in Daesoon Thought are understood as facing the era of human nobility. This argumentation also aligns with the doctrine of grievance-resolution for mutual beneficence as a practical creed due to the way in which modern bioethics implies that animal welfare could become a practical communal morality integrated into legal systems prior to adoption as a system of individual morality. From within this context, this study discusses the nature and limits of modern animal welfare and animal rights from the perspective of the grievance-resolution which Kang Jeungsan promised to animals.

• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.117-129
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• 2021

Nowadays, the trend of early childhood education has focused on finding educational activities to enhance quality of learning with integrative, learner-centered experience by combining each subject and domain. Pre-service early childhood teacher's music drama activity is a sort of integrated education including literature, instrumental music, play, art and movement that are included in the culture and art for preschoolers to help them understand role and value of the art and directly influence personality and creativity and motive to arouse interest in various learning directly. It's expected to see that development of creative teaching plan for the music drama using piano ensemble could support basic research in integrated educational activity in the teacher training course and also, activate the music drama activity. Research findings and suggestion are as follows. First, the music drama activities are systematically and step-by-step implemented according to the audience according to the cooperative learning and creative plans of pre-service early childhood teachers. Second, if understanding characteristics of casts in the music drama and assigning their roles efficiently, it enhances approach of pre-service early childhood teacher music drama activity and activate it. Third, making music in music drama activities can be composed and arranged to suit the musical literacy and level of pre-service early childhood teacher. Fourth, pre-service early childhood teachers could have integrated experience and evaluation efficiently in the short term to use as reference for the teaching plan and data for the music drama.

• Journal of the Korean Geographical Society
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• v.41 no.2 s.113
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• pp.150-167
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• 2006

This study was conducted to determine the pedogenesis of dense subsurface horizons (denoted either Bx or Bd) observed within closed depressions and in toeslope positions at loess-covered glacial tillplains in southern Wisconsin. Some of these dense subsurface horizons, especially those occurring within depressions, show a close morphological resemblance to fragipans elsewhere, even though the existence of fragipans has not been previously reported in southern Wisconsin. The spatial occurrence of fragipans was first examined over the landscape to characterize general soil-landscape relationships. Detailed physico-chemical and micromorphological analyses were followed to investigate the development of fragipans within a closed depression along a catenary sequence. The formation of fragipans at the study site is a result of sequential processes of physical ripening and accumulation of colloidal materials. A very coarse prismatic structure with a closely packed soil matrix was formed via physical ripening processes of loess deposited in small glacial lakes and floodplains that existed soon after the retreat of the last glacier. The physically formed dense horizons became hardened by the accumulation of colloidal materials, notably amorphous Si. The accumulation intensity of amorphous Si varies with mass balance relationships, which are governed by topography and local drainage conditions. Well-developed Bx horizons evolve at closed depressions where net accumulation of amorphous Si occurs, but the collapsed layers remain as Bd horizons at other locations where soluble Si has continuously been removed downslope or downvalley. Hydromorphic processes caused by the presence of fragipans are degrading upper parts of the prisms, resulting in the formation of an eluvial fragic horizon (Ex).

• Journal of the Mineralogical Society of Korea
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• v.32 no.3
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• pp.173-184
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• 2019

Variations in grain size distribution and clay mineral assemblage are closely related to the sedimentary facies that reflect depositional conditions during the glacial and interglacial periods. Gravity cores BS17-GC15 and BS17-GC04 were collected from the continental shelf and rise in the eastern Bellingshausen Sea during a cruise of the ANA07D Cruise Expedition by the Korea Polar Research Institute in 2017. Core sediments in BS17-GC15 consisted of subglacial diamicton, gravelly muddy sand, and bioturbated diatom-bearing mud from the bottom to the top sediments. Core sediments in BS17-GC04 comprised silty mud with turbidites, brownish structureless mud, laminated mud, and brownish silty bioturbated diatom-bearing mud from the bottom to the top sediments. The clay mineral assemblages in the two core sediments mainly consisted of smectite, chlorite, illite, and kaolinite. The clay mineral contents in core GC15 showed a variation in illite from 28.4 % to 44.5 % in down-core changes. Smectite contents varied from 31.1 % in the glacial period to 20 % in the deglacial period and 25.1 % in the interglacial period. Chlorite and kaolinite contents decreased from 40.5 % in the glacial period to 30.3 % in the interglacial period. The high contents of illite and chlorite indicated a terrigenous detritus supply from the bedrocks of the Antarctic Peninsula. Core GC04 from the continental rise showed a decrease in the average smectite content from 47.2 % in the glacial period to 20.6 % in the interglacial period, while the illite contents increased from the 21.3 % to 43.2 % from the glacial to the interglacial period. The high smectite contents in core GC04 during the glacial period may be supplied from Peter I Island, which has a known smectite-rich sediment contributed by Antarctic Circumpolar Currents. Conversely, the decrease in smectite and increase in chlorite and illite contents during the interglacial period was likely caused by a higher supply of chlorite- and illite-enriched sediment from the eastern Bellingshausen Sea shelf by the southwestward flowing contour current.

• The Korean Journal of Archival Studies
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• no.74
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• pp.45-78
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• 2022

South Africa implemented apartheid from 1948 to 1994. The main content of this policy was to classify races such as whites, Indians, mixed-race people, and blacks, and to limit all social activities, including residence, personal property ownership, and economic activities, depending on the class. All races except white people were discriminated against and suppressed for having different skin colors. South African citizens resisted the government's indiscriminate violence, and public opinion criticizing them expanded beyond the local community to various parts of the world. One of the things that made this possible was photographs detailing the scene of the violence. Foreign journalists who captured popular oppression as well as photographers from South Africa were immersed in recording the lives of those who were marginalized and suffered on an individual level. If they had not been willing to inform the reality and did not actually record it as a photo, many people would not have known the horrors of the situation caused by racial discrimination. Therefore, this paper focuses on Rise and Fall of Apartheid: Photography and the Bureau of Everyday Life, which captures various aspects of apartheid and displays related records, and examines the aspects of racism committed in South Africa described in the photo. The exhibition covers the period from 1948 when apartheid began until 1995, when Nelson Mandela was elected president and the Truth and Reconciliation Commission was launched to correct the wrong view of history. Many of the photos on display were taken by Peter Magubane, Ian Berry, David Goldblatt, and Santu Mofoken, a collection of museums, art galleries and media, including various archives. The photographs on display are primarily the work of photographers. It is both a photographic work and a media that proves South Africa's past since the 1960s, but it has been mainly dealt with in the field of photography and art history rather than from a historical or archival point of view. However, the photos have characteristics as records, and the contextual information contained in them is characterized by being able to look back on history from various perspectives. Therefore, it is very important to expand in the previously studied area to examine the time from various perspectives and interpret it anew. The photographs presented in the exhibition prove and describe events and people that are not included in South Africa's official records. This is significant in that it incorporates socially marginalized people and events into historical gaps through ordinary people's memories and personal records, and is reproduced in various media to strengthen and spread the context of record production.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.77-90
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• 2020

Today, the transition to the era of "post-drama" brought a change in the position of text, which was considered the center of the play, and the expansion of the role of actors. After entering the post-drama era, the actor no longer transforms himself into "delivering" the fixed meaning of text, but "producing" the valid meaning of "now, here" meeting the audience. In other words, actors in the post-drama era have expanded their roles as "performers" who can become the subject of narratives themselves and create various theatrical languages. Despite the expansion of the actor's role, verbal-centered actor training through text, which still forms the basis of acting education, does not satisfy the newly changing contemporary theatricality and creates a gap between education and the field. Therefore, the researcher argued that non-verbal-centered acting education needs to be discussed, and highlighted the actors' physical training on the "empty" side. The researchers first compare and analyze the characteristics of modern theater people's training methods from an "empty" perspective. Based on this, researchers about the meaning and direction of the training "empty". Furthermore, the study concludes with an emphasis on the direction of acting education in the post-drama era, which is free from language that can respond to stimuli and interact freely.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.429-462
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• 2019

This paper argues how the concept of melodrama can be articulated with the Affect Theory and Posthumanism in relation to animal or environment representation which have emerged as the new topics of the recent era. The argument will be made through the discussion of Agustin Zarzosa's book, Refiguring Melodrama in Film and Television: Captitve Affects, Elastic Sufferings, Vicarious Objects. Using a genealogical approach, the book revisits the notion of mode, affect, suffering (hysteria), and excess which have been dealt with in the existing studies of melodrama. In chapter one, he broadens the concept of melodrama as a mode into the means of redistribution of suffering across the whole society in the mechanism of the duo of evil and virtue. It is the opposition of Brooks's argument in which melodrama functions as the means of proving the distinction between evil and virtue. Chapter two focuses on the fact that melodrama is an elastic system of specification rather than a system of signification, with the perspective of Deleuzian metaphysics. Through the analysis of Home from the Hill (Vincente Minnelli, 1959), this chapter pays attention to an 'affect' generated by the encounters between the bodies and the Mise-en-Scène as a flow not of a meaning but of an affect. Chapter three argues that melodrama should reveal an unloved (woman's) suffering, opposing the discussion on the role of melodrama as the recovery of moral order. Safe (Todd Haynes, 1995), dealing with female suffering caused by the industrial and social environment, elaborates on the arguments on melodrama in relation to female hysteria with ecocritical standpoints. The rest of the two chapters discusses the role of melodrama for the limitation and extension of the notion of the human through 'animal' and 'posthuman' melodrama. It argues that the concept of melodrama as 'excess' and 'sacrifice' blurs the boundary between human and inhuman. In summary, although the author Zarzosa partly agrees with Peter Brook's notion of mode, affect and sufferings,he elaborates the concept of melodrama, by articulating philosophical arguments such as Deleuzianism, feminism, and posthumanism (Akira Lippit and Carry Wolf) with the melodrama. Thefore, Zarzosa challenges the concepts of melodrama led by Brooks, which had been canonical in the field.