• 대한공업교육학회지
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• v.39 no.1
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• pp.189-208
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• 2014

The purpose of this research was to investigate the critical issues and practical strategies that Korean technology teachers perceived. To accomplish the purpose of this study, a qualitative study was conducted to identify critical issues and practical strategies of Korean technology education targeted on Korean technology teachers. A purposeful sampling for choosing technology teachers was used for this study with three selection conditions: 1) 'Excellent Korean technology teacher' award winning teachers, or 2) technology teachers actively involved in both on-line and off-line teachers' association, and 3) leaders in local technology teachers' association. This study conducted exploratory in-depth interviews with selective 15 technology teachers regarding critical issues and practical strategies of Korean technology teachers. The interpretation of the interview content was conducted by two researchers using the thematic analysis which analyzed the frequency of concepts, words, and meanings held from collected data. In the conclusion, critical issues researchers identified were 1) curriculum problems, 2) education environment and facilities problems, 3) teachers' problems, 4) students' problems, 5) related research institution and college problems, 6) social problems. Secondly, Korean technology teachers agreed with following practical strategies 1) separating technology education from home economic education, 2) sharing practices on managing and improving educational environment and laboratory for technology education, 3) actively involving in technology teachers' group, 4) motivating students using hands-on activity 5) improving the quality and the quantity on technology teachers preparatory institution, 6) advertising the values of technology education to the public. Lastly, the positive factors to succeed technology education were 1) technology education satisfying social needs and 2) technology teachers' will or passion toward improving their technology classrooms. The negative factors to hinder technology education were 1) low self-respect of Korean technology teachers and 2) rejection or retarded acceptance toward social transition. Several recommendations based the conclusion were suggested as 1) implementing supplementary study toward selected critical issues and 2) conducting exemplary case studies regarding concrete practical strategies for improving challenges of Korean technology education.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.37-50
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• 2016

Recognizing the problem of fallacy in geographical name of Changokbyeong(蒼玉屛), assumption has been made on the location of Changokbyeong through literature research on antique maps, ancient paintings, and old prose, through field survey on rock inscriptions and landscape characteristics, and through interviews with local people. Furthermore, Baegyeonwa, the Cuckoo Hut, and Iyangjung(二養亭), an annex to the cottage, both of which were managed by Saahm Park Soon(思菴 朴淳), the Subject of Jouissance, were studied in depth with emphasis on the spatial structure as well as special features of the area as a garden. The major findings are as follows: Changokbyeong is a spatial threshold that imparts a sense of unity with Okbyeng seowon(玉屛書院) and indeed Changokbyeong is presumed to have been the frontal river terrace of Okbyeng seowon according to the analysis of antique maps and rock inscriptions. This ancient location and the Ogari Stone Wall, the present day Changokbyeong, are only 460m away so that both areas are considered as falling under the influence of Changokbyeong landscape. The expression "Changokbyeong Geupsangeum(蒼玉屛及散襟)" written in an old prose tells us that the high rock wall with Sangeumdae inscribed on the rock might be the rock wall of Changokbyeong. In addition, while not a single rock inscription has been found on the Ogari Stone Wall, 11 rock inscriptions designed and ordered by Saahm Park Soon, the Subject of Jouissance, are found on every corner of the high rock wall standing in front of Okbyeng seowon, 8 of those 11 being place names and recitative poems(known as Jeyeongsi: 題詠詩) in close formation resembling the handwritings in a little notebook. This provides a strong evidence for assuming the location of Changokbyeong to be the frontal river terrace of Okbyeng seowon. The "Songgyun Jeoljo Suwol Jeongshin(松筠節調 水月精神)" rock inscription on Changokbyeong should be considered as the stamping ground and as the symbolic language of Changokbyeong that bears the high character and nobility of the Subject of Jouissance, Saahm Park Soon. The inscription should also be recognized as the handwritings of Wooahm Song Si-Yeol(尤庵 宋時烈) correcting the misconceptions that persisted until today. Meanwhile, the garden remains of Saahm's Changokbyeong are composed of four sites: Sangeumdae-Sugyeongdae-Cheonghakdae-Baekhakdae from the left. At the back of Sangeumdae, there is the original house, the Baegyeonwa(拜鵑窩), and on the fantastically shaped stone wall at the left of Baekhakdae, there is the annex, the Iyangjung, together creating a landscape composition that overlooks the splendor of the Ogari Stone Wall. The Iyangjung is located on the highest spot to the left of the four sites, and it is believed to have been a little outhouse and library for Saahm which remains to the present day as a place where Saahm's character can be felt. The drinking plates[窪樽] made of rock that are affectionately arranged on the broad flat rock in front of Iyangjung is part of the garden remains that reflects the artistic taste of Saahm regarding the drinking culture at the time.

• Journal of Christian Education in Korea
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• v.66
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• pp.413-437
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• 2021

Humans are created as spiritual beings that can relate to God. However, when a human spirit refuses to transform through confronting God, it experiences a crisis. A spiritual crisis results from disconnecting with God, who is the ultimate foundation, but we humans try to overcome such absence through accomplishments and efforts. In this technological age, the ethics issues of AI (Artificial Intelligence), robots, and cloning are related to anthropology. The development of the mind, heart, and logic cannot suggest a basis for destruction and confusion as much as the development of the world. In fact, education focused on the human mind cannot be considered holistic. Mind, together with thought, will, and belief, plays a crucial role in making choices and leading a human life. So it is actively studied in other domains other than Christian education. However, although the human spirit takes care of some territory of humanity, unlike the mind, it can neither be partial nor fragmentary. Instead, it manages the transformation that influences the core of human life. Therefore, Christian education must clearly concentrate on the spirit rather than on other human elements, intentionally concerning spiritual transformation through encounters with God. In other words, Christian education is the passage connecting a human spirit to God's presence at work, which enables us to understand the human being as a whole. For this, we must put our efforts to increase the chances of encountering God through Christian education. While "Encounter" requires both parties' interaction, "Transformation" stresses God as the main agent and His proactive nature. I also want to emphasize "worship" as the opportunity to communicate and experience God in our daily lives. By examining the preparation and the process of the spiritual transformation of humans, this paper would offer a theological foundation for continued transformation of the human spirit in the faith community, rather than personal experience or conviction.

• (The) Research of the performance art and culture
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• no.37
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• pp.391-435
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• 2018

This is the first study in Musicology that discusses the features of Kangwon Sangkangrye(the pre-lecture ritual in Buddhism). In this thesis, I reviewed and compared the similarity and uniqueness between Kangwon Sangkangrye in "Seokmunuibom" and the one being performed these days. The musical relation between the performance shown in the historical record and the one in contemporary ritual was illustrated here based on the findings derived from the anlaysis on its bell(小鐘) performance. The analysis made upon musical sources recorded on-site shows the characteristics of contemporary Kangwon Sangkangrye. Following is a brief summary of this study. The review and comparison between Kangwon Sangkangrae in "Seokmunuibom" and the one being performed these days showed that the second type, which was significantly different from the first type, was closer to that of the historical record. The performers at Unmunsa Temple and Chungamsa Temple seemed to be following the tradition bell(小鐘) performance style which was found in the text of the historical record. Through the analysis on Kangwon Sangkangrae, I found that it has musical characteristics as follows. The vocal range of type 1 and type 2 was mostly performed within Minor 7th and didn't exceed the perfect 8th. The melodic structure of type 1 starts with do'-la of naedeureum and ended with the melody which downscaled from do' and finalized from mi to la. Usually the mode was in menari-tori but at some lecture halls a few cases found to be upscaled from sol to la which differentiates it from the typical menari-tori of folk songs. Like the typical way of traditional rites, the singing was divided into two parts: the leading call and the following choral response. Most were sung to be one syllable on one or two tones or one syllable lasting for several tones and the musical forms were varied by musical pieces. Meantime, Sangkangrae at Haeinsa Temple was differed from that of the other temples in terms of ritual procedure and vocal style. It added Korean version of and the lead vocal skipped the first phrase of the Sasul. The melodic structure of Type 2 started with do'-la of naedeureum and was finalized as the same way of Type 1. The mode of was not the same as typical menari-tori but the Jeongrye(prostration) and Balweon(a great vow) were identical to the menari-tori of folk songs. The singing was done in two forms, solo and unison, and the lyric-attachment of Gesong was one syllable for one or two tones and that of Jeongrye and Balweon were one syllable for one or two tones + one syllable for several tones. The musical form of Jeongrye is A-B-C and A-C. Balweon didn't display a certain periodicity but still maintained sense of unity and formality through repetition of the finalizing melody.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.32-45
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• 2014

In this study, the characteristics of Mongsimjae in Namwon-si, Jeollabuk-do have been researched focusing on the writings engraved in huge stones and rocks of pavilion standing beside a lotus pond and its formative languages in the garden has been interpreted as follows. Name of pavilion(堂號) Mongsimjae(夢心齋) includes a classical scholar's spirit, refusing to serve two kings and homecoming after resignation from a government office(歸去來) of Songam(松菴) Park Moonsu(朴門壽), an ancestor who has brought to the Juksan(竹山) Park's family again. A pavilion standing beside a lotus pond(蓮塘) built in the reception garden is a gardening facility symbolizing 'Yeondang(蓮堂)' Park Dongsik(朴東式) who built Mongsimjae. The bamboo hill connected to the backyard seems to be relevant to 'Juksan', the family clan of Mongsimjae's owner and this kinds of intention can be found in the bamboos in the outer garden naturally led to inside the garden through the flower beds. The purpose for the western arrangement of the main building and gate contrary to the 'chukjwamihyaug'(丑坐未向; a direction toward to the south-southwest) of the prospect of Sarangchae(guesthouse) is interpreted to naturally attract people's eyes to the pavilion standing beside a lotus pond and to mitigate the sense of closure resulting from the huge stones located in the reception garden. Also the writing engraved in the three huge stones, 'Jonsimdae(存心臺)', implies that it is a place where was selected with heart by Juksan Park family who settled down in Homsil, Namwon after 'Haengchon(杏村) Park Jaryang(朴子良)' in Yiphyangjo(入鄕祖), Namwon and 'Jeongwa(靖窩)' is interpreted as a signature representing that it is the most comfortable house where Jeongwa Park Haechang(朴海昌: 1876~1933), the third owner of Mongsimjae, has lived. The pavilion standing beside a lotus pond of the 'Bangjibangdo(方池方島; square pond and square island)' type has no lotus for now and waterside cornerstones roughly piled with broken stones naturally mitigate the slope. There are two water inflows gathering rainwater in the reception garden other than the water inflow of valley and the upper-side water inflow was built using a high waterfall method. The middle island cut into a square was designed to use in two ways, as 'island' or 'steppingstone', according to the water level and the old name of the pavilion standing beside a lotus pond was revealed as 'Cheonundam(天雲潭)' from the engraved writing located in the side of the middle island. In addition, 'Imni(臨履)', engraved writing in the finishing stone of waterside by citing a line of 'Sigyeong(詩經)', implies 'Be a upright classical scholar who pays close attention to one's own behaviors' and 'Jeongchuk(渟?)' is interpreted as a message that desires the eternal staying of the Juksan Park family's wealth. Ultimately, the writings engraved in the huge stones and rocks of the pavilion standing beside a lotus pond are interpreted as a symbol language that wishes the heaven protects and maintains the wealth of the Juksan Park family who is the owner of Mongsimjae.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.134-151
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• 2014

This paper deals with a review of the structure and production techniques of the Dried-lacquer Amitabha Buddha statue enshrined in Geungnakjeon Hall of Simhyangsa Temple, located in Daeho-dong, Naju-si, Jeollanam-do, Korea. To achieve this goal, X-ray date and two rounds of field research were performed. The data collected were reviewed, and a sample peeled off from the damaged part was analyzed to investigate the structure and material of the background layer. The results revealed that the Simhyangsa Temple Buddha statue was an almost empty Dried-lacquer(Hyeopjeo) Buddha statue where wood core had not been framed and inserted in the statue. It was thus observed that considering that the clothes wrinkles clearly remained, the same one as the irregularity of the outer clothes wrinkles, the Dried-lacquer layer was lifted made in an almost complete shape in the process of forming the clay figure as the origin form. The statue was found to be diagonally incised from the top of the head to the back of the neck to remove the clay and wood core. But in other sites, no incision was confirmed. It was observed that on the site of the head where the incision was made, an adhesives(lacquer or paste) was used. In addition, the black eyes were impacted with beads and the ears, hands, bands, and knots were made of wood. These features are identically shown in the Dried-lacquer Amitabha Buddha statue from Seonguksa Temple, known as a work of the late Goryeo dynasty; the Seated Dried-lacquer Buddha statue in Okura Museum of Art in Tokyo, Japan; the Seated Dried-lacquer Amitabha Buddha statue from Jungnimsa Temple, know as a work of the early Joseon dynasty; and the Seated Vairocana Buddha statue in Bulhoesa Temple, the Seated Dried-lacquer Amitabha Buddha and the Seated Dried-lacquer Buddha statue from Silsangsa Temple. The analysis of the back layer demonstrated that the ground layer and the red lacquer were the production of the time. In particular, the bone ash used for the ground layer was also coated for the ground layer of Buddha statues as well as for the production of the lacquerware during the Goryeo dynasty. It was also found that gold mending was conducted more than twice even in modern times and that the layer of the production time was well preserved despite gold mending several times.

• Journal of the Korean Society of International Agriculture
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• v.30 no.4
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• pp.292-299
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• 2018

In a survey in which farmers were asked about their levels of satisfaction with agricultural machines, Japanese products scored higher than local products by 1.2, 1.3, and 1.4 times for tractors, combine harvesters, and rice transplanter, respectively. Japanese products corresponded to generally high satisfaction levels in terms of operating performance, operability, frequency of breakdowns, and durability, excluding sales price and after-sales services. Effective countermeasures through quality improvement are therefore necessary for Korean products. Furthermore, a survey of dealers showed that the components and consumables for core agricultural machines had high frequencies of breakdowns and repairs. Four major components of tractors represented 85.3% of all breakdowns and repairs, five components of combine harvesters represented 89.6%, and three components of rice transplanters represented 80.5%. Moreover, a comparison of the technological levels between local and imported machines showed that the local machines' levels were at 60-100% for tractors, 70-100% for combine harvesters, and 70-95% for rice transplanters. Small and mid-sized tractors, 4 interrow combine harvesters, and 6 interrow rice transplanters showed similar levels of technology. The results of the analysis suggest that action is urgently needed at a policy level to establish an agricultural machinery component research center for the development, production, and supply of commonly-used components, with the participation of manufacturers of agricultural machines and components, in order to enhance the competitiveness of local manufacturers and to revitalize the agricultural machine market.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.101-110
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• 2020

This study was conducted through the analysis of literature and on-site research as a case study of 14 artists' gardens with traditional themes presented at the garden fair. With Focusing on the design process for determining traditional reproduction, the following characteristics and implications were derived by analyzing the design goals, selection of subjects for traditional reenactment, determination of methods for reproduction, and design stages of landscape components. First, the pattern of selecting traditional structures as subjects for reproduction in many artist gardens can be understood as an advantage of being suitable for narrow sites and having remarkable topic communicability. They directly delivered the design intent by adding the names of traditional structures such as Madang, Wool, Buttumak, Jangdokdae, Chuibyeong and Seokgasan. Works expressed indirectly, such as Wall, Korean Garden, Suwon, and Seoul craftsmen, have relatively weak topic communicability. There were also symbolic representations of objects to be reproduced, such as Seonbi, marginal spaces, and Pung-lyu. Second, while reproducing Hanok Madang, separate the gardens paved with grass and stone, the fortress wall of Suwon Hwaseong and the northwest Gongsimdon of the watchtower. Also the garden with a miniature version of the extraneous Yong-yeon and the garden, which was reproduced as a low decorative wall in the rest area based on Nakan-Eupseong Fortress, shows the need for a deep understanding of tradition. On the other hand, the reproducting works of choosing the location of the traditional garden, the Korean Garden showed the importance of systematic arrangement with the surrounding environment, the beauty of the space in the courtyard of Hanok, the beauty of the slowness enjoyed by the scholars and the reenactments of the Pung-lyu culture of Moonlight boating are not only imitating traditional structures but also spreading understanding of tradition to garden culture and sentiment. Third, there were many works that reconstructed the real-size traditional structure in a straightforward way in relation to design. The garden was divided into Chuibyeong and the living space was decorated with Buttumak, chimneys, and gardens, and facilities representing Gyeongbokgung Palace, Soswaewon, and Seoseokji were systemically arranged. However it recognized the importance of selecting the key design elements, constructing the elevation of the structure, and the sense of scale of the space from works that reproduced the large Suwon Hwaseong and Nakan-Eupseong in an abstract way. While there are examples gardens of Hanok yards and Bazawul, which are far from the original image among the gardens that chose the dismantling method, the Blank-space garden expressed only by a frame composed of cubes, and Seonbi's Sarangbang garden, that permeated the moonlight with many traditional structures are the positive examples. The Seoul Artisan Garden, Jikji Simche Garden and Pung-lyu Garden, which display modernly designed landscape components, need an explanation to understand the author's intention.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.3
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• pp.1-10
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• 2021

This study aimed to evaluate preferences of Bukhansan dulegil using sentiment analysis, a natural language processing technique, to derive preferred and non-preferred factors. Therefore, we collected blog articles written in 2019 and produced sentimental scores by the derivation of positive and negative words in the texts for 21 dulegil courses. Then, content analysis was conducted to determine which factors led visitors to prefer or dislike each course. In blogs written about Bukhansan dulegil, positive words appeared in approximately 73% of the content, and the percentage of positive documents was significantly higher than that of negative documents for each course. Through this, it can be seen that visitors generally had positive sentiments toward Bukhansan dulegil. Nevertheless, according to the sentiment score analysis, all 21 dulegil courses belonged to both the preferred and non-preferred courses. Among courses, visitors preferred less difficult courses, in which they could walk without a burden, and in which various landscape elements (visual, auditory, olfactory, etc.) were harmonious yet distinct. Furthermore, they preferred courses with various landscapes and landscape sequences. Additionally, visitors appreciated the presence of viewpoints, such as observation decks, as a significant factor and preferred courses with excellent accessibility and information provisions, such as information boards. Conversely, the dissatisfaction with the dulegil courses was due to noise caused by adjacent roads, excessive urban areas, and the inequality or difficulty of the course which was primarily attributed to insufficient information on the landscape or section of the course. The results of this study can serve not only serve as a guide in national parks but also in the management of nearby forest green areas to formulate a plan to repair and improve dulegil. Further, the sentiment analysis used in this study is meaningful in that it can continuously monitor actual users' responses towards natural areas. However, since it was evaluated based on a predefined sentiment dictionary, continuous updates are needed. Additionally, since there is a tendency to share positive content rather than negative views due to the nature of social media, it is necessary to compare and review the results of analysis, such as with on-site surveys.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.82-100
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• 2022

With the crisis of the COVID-19 pandemic and the era of the 4th industrial revolution, archaeological heritage education has entered a new phase. This article responds to the trends in the post-COVID-19 era, seeking ways to develop archaeological heritage education and sustainable strategies necessary in the era of the 4th industrial revolution. The program of archaeological heritage education required in the era of the 4th industrial revolution must cultivate creative talent, solve problems, and improve self-efficacy. It should also draw attention to archaeological heritage maker education. Such maker education should be delivered based on constructivism and be designed by setting specific learning goals in consideration of various age-specific characteristics. Moreover, various ICT-based contents applying VR, AR, cloud, and drone imaging technologies should be developed and expanded, and, above all, ontact digital education(real-time virtual learning) should seek ways to revitalize communities capable of interactive communication in non-face-to-face situations. The development of such ancient heritage content needs to add AI functions that consider learners' interests, learning abilities, and learning purposes while producing various convergent contents from the standpoint of "cultural collage." Online archaeological heritage content education should be delivered following prior learning or with supplementary learning in consideration of motivation or field learning to access the real thing in the future. Ultimately, archaeological ontact education will be delivered using cutting-edge technologies that reflect the current trends. In conjunction with this, continuous efforts are needed for constructive learning that enables discovery and question-exploration.