• 한국노년학
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• v.28 no.4
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• pp.1023-1039
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• 2008

The purpose of this study was to develop a group validation therapy(V/T) which could be implemented for the elderly with dementia in nursing home, and to evaluate the effectiveness of the program on cognition, ADL(Activity of Daily Living), depression, problematic behavior and QOL(Quality of Life). Subjects were recruited from 4 nursing homes in D city. The sample comprised forty elderly with dementia, capable of verbal communication. Each twenty were in an experimental and control groups. However, four elders with dementia dropped out in experimental and control groups due to personal affairs. Experimental group completed twelve consecutive group validation therapy sessions that combined centering, asking factual questions, rephrasing, identifying and using the preferred sense, asking the extreme, imagining the opposite, reminiscing, touching, maintaining eye contact and a caring tone of voice, observing, matching and expressing the emotion with emotion, using ambiguity, linking behavior with a basic human need, using music and mirroring techniques. Following the intervention, experimental group experienced a significant improvement in cognition, ADL, depression, and QOL. But it is a nonsignificant in problematic behavior on statistically. As a result, a group validation therapy should be applied as an effective and practical psychosocial intervention for the elderly with dementia.

• Journal of English Language & Literature
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• v.55 no.2
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• pp.215-240
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• 2009

This paper focuses on how Younghill Kang internalizes whiteness ideology through interracial romance to build himself as an oriental Yankee and recover his masculinity in his autobiographical novel East Goes West. This paper also focuses on Kang's strategy of racial and cultural hybridity presented in this novel. The theoretical basis of my argument is a mixture of Fanon's psychoanalysis in his Black Skin, White Masks, Bhabha's notion of mimicry in The Location of Culture, and notions related to race and gender of some Asian critics such as Patricia Chu, Jinqi Ling, and Lisa Lowe. In East Goes West, white women appear as "ladder of success" of successful assimilation and serve as cultural mediators and instructors and sometimes adversaries who Korean male immigrants have to win to establish identities in which Americanness, ethnicity, and masculinity are integrated. However, three Korean men, Chungpa Han, To Wan Kim, George Jum, who fall in love with white women fail to win their beloveds in marriage. George Jum fails to sustain a white dancer, Jun' interest. Kim wins the affection of Helen Hancock, a New England lady, but Kim commits suicide when he knows Helen killed herself because her family doesn't approve their relationship. Han's love for Trip remains vague, but Kang implies Han will continue his quest for "the spiritual home" as the name of "Trip." In East Goes West, Kang also attempts to challenge the imagining of a pure, monolithic, and naturalized white dominant U.S. Culture by exploring the cultural and racial hybridity shown by June and the various scenes of Halem in the 1920s. June who works for a Harlem cabaret is a white woman but she wears dark makeup. Kang questions the white face of America's self-understanding and racial constitution of a unified white American culture through June's racial masquerade. Kang shows that like Asian and black Americans, the white American also has an ambivalent racial identity through June's black mimicry and there is no natural and unchanging essence behind one's gender and race identity constitution.

• Journal of English Language & Literature
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• v.58 no.1
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• pp.43-67
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• 2012

My essay aims at illustrating Whitman's homosexual vision of utopia with a close reading of his representative homosexual text, Calamus. His expansive self is based upon his intimate contact with the world and is almost always drawn to a wider vision of community in which different individuals share the locus of commonness and reach beyond their empirical boundaries. While foregrounding the contingent and the singular, Whitman forges bonds with other people through a series of ecstatic moments that carry us into the public sphere and common interests. Contrary to the current Whitman studies, his homosexual text doesn't repress contingency in order to celebrate the universal, but fully develops the commensurability among diverse historical agents. Whitman knows well the social taboos and inhibitions at the time of national crisis and expansion, but keeps imagining the world where homosexuality plays a central and significant role in founding a democratic solidarity and achieving a desirable social structure. His ideal of America is not a deferred wish for the future, but a concrete vision that can be achieved here and now, realized by the spontaneous bonding and instant attraction among free men. Instead of interpreting history or suggesting practical alternatives, he keeps questioning the dominant ideologies and the given orders of social control, and suggests a free and open relationship among men where no exterior power or mediating other intervenes. His utopian vision is radical as well as ideal, in that it rejects the interventions of the power structure and its institutions and courageously inscribes his homosexuality in the process of writing about and reading his contemporary America. As a predecessor of a homosexual utopian vision of America, Whitman has inspired many later poets, showing a possibility of infusing a homosexual identity into a radical imaging of the nation and its future.

• Journal of English Language & Literature
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• v.57 no.6
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• pp.1067-1088
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• 2011

While there is a high degree of convergence in linguistics in the treatment of the progressive as an aspect, the English progressive is unusually wide in its range of uses. This paper highlights the distinction between aspectual and non-aspectual progressives. The primary function of the progressive is to present a situation as ongoing, and this strictly aspectual use of the progressive is referred to as 'aspectual progressive'. On the other hand, the uses of the English progressive that are not, in a strict sense, aspectual is called 'non-aspectual progressive'. There are at least three basic uses of non-aspectual progressives. The first is the so-called progressive futurate (e.g., John is leaving tomorrow). In English, the present progressive can be used to express future time reference. This use of the progressive is regarded as a non-aspectual one, on the grounds that its meaning cannot be accounted for in terms of ongoingness. The second use is the habitual progressive (e.g., She's smoking a lot these days). Given that the habitual is an aspect, it is natural that the habitual progressive is not an aspectual progressive because one cannot view a situation in two different ways. In addition, ongoingness is not a defining property of the habitual progressive but is only a contingent or subsidiary property. The real essence of the habitual progressive is habituality. The third use of non-aspectual progressives is the experiential or interpretative progressive (e.g., You're imagining things), whose main characteristic is the subjectivity of the speaker's interpretation. The experiential or interpretative progressive does not serve a primarily aspectual function because the meaning of ongoingness has nothing to do with the content of the utterance.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.

• Journal of The Korean Association For Science Education
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• v.34 no.2
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• pp.175-186
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• 2014

This study investigated the influences of pair activity on characteristics of science imaginary pictures drawn by elementary school students and their perceptions of science imaginary drawing. To do this, fourth graders (N=123) from one of the elementary schools were selected and assigned to individual science imaginary drawing (n=61) and paired science imaginary drawing (n=62) groups. The students of each group were administered the questionnaires. The analyses of the results indicated that pair science imaginary drawing was useful in some cognitive aspects (e.g., the understanding of science imaginary drawing, the diversification of topics and times, the generation of scientific ideas, and the elaboration of the pictures) and motivational aspects (e.g., the inducement of interest and intimacy about science, interest about science imaginary drawing, and sociability with friends). However, there were some limitations in positively changing the perceptions of some cognitive aspects (e.g., the acquirement of new scientific knowledge, the remembrance of scientific knowledge, the improvement of the ability to construct scientific logics, and the improvement of scientific imagination) and aesthetic aspects (e.g., the improvement of the abilities to express themes in drawing, paint the picture, and complete the works of art). In addition, the difficulties in imagining, selecting the subject, and expressing could not be overcome; a few disadvantages in the lack of discussion skills were also pointed out.

• Science of Emotion and Sensibility
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• v.20 no.3
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• pp.49-60
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• 2017

Previous research found that merely touching an object can create psychological ownership and the endowment effect. It was also found that just imagining touching an object without actually touching the object can make the same effect on psychological ownership. Prior research on haptic imagery examined the effect of haptic imagery induced by direct instruction of imaging on psychological ownership. We investigate a new method which can induce the haptic imagery in a more natural way than direct instruction of imaging. We manipulated imagery conditions such as visual-haptic congruence multimodal cue, visual-haptic incongruent multimodal cue, direct instruction condition and control condition, and examined the effects on imagery vividness, feeling of physical control, perceived ownership, and purchase intention. We conducted the experiment on 140 undergraduate students and our results showed that visual-haptic congruence multimodal cue condition is more effective than direct instruction of haptic imagery while visual-haptic incongruence multimodal cue condition is not effective. Our study extends prior haptic imagery research by making important marketing implications for online retailing.

• School Mathematics
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• v.9 no.2
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• pp.277-289
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• 2007

This research aims to look into the mathematically gifted 6th and 7th graders spatial visualization ability of solid figures. The subjects of the research was six male elementary school students in the 6th grade and one male middle school student in the 1th grade receiving special education for the mathematically gifted students supported by the government. The task used in this research was the problems that compares the side lengths and the angle sizes in 4 pictures of its two dimensional representation of a regular icosahedron. The data collected included the activity sheets of the students and in-depth interviews on the problem solving. Data analysis was made based on McGee's theory about spatial visualization ability with referring to Duval's and Del Grande's. According to the results of analysis of subjects' spatial visualization ability, the spatial visualization abilities mainly found in the students' problem-solving process were the ability to visualize a partial configuration of the whole object, the ability to manipulate an object in imagination, the ability to imagine the rotation of a depicted object and the ability to transform a depicted object into a different form. Though most subjects displayed excellent spatial visualization abilities carrying out the tasks in this research, but some of them had a little difficulty in mentally imagining three dimensional objects from its two dimensional representation of a solid figure.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.2
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• pp.287-295
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• 2020

The purpose of this study is to find out the tendency and meaning of metaphors for block play. For this purpose, responses from 165 teachers in J area day care centers were collected using sentence completion metaphors. Collected data were analyzed through a categorization process using a qualitative research method based on previous research into metaphor analysis. From the results, first, block play trends from the metaphors were classified into two categories: content of block play, and characteristics of block play. The frequency in the order for Building Value of Play was higher. For the content of block play, composition had the highest frequency for trait of block play, and the basis of growth and development had the highest frequency in the Value of Block Play category. Second, the meanings of block play metaphors are composing, expressing, imagining, pleasure, freedom, and value of block play under Category Play, which was recognized as the basis of development, emotional development, social development, and creativity. Based on the results of the study, the value and role of block play in early childhood teacher education and in-service education should be further emphasized.

• Cartoon and Animation Studies
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• s.45
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• pp.451-477
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• 2016

The changes in media environments have impacted on the ways in which knowledges are formed and transmitted and therefore the relevance of the traditional school subjects have been increasingly questioned. In this context, the discourses of the reformation of the 21st century schooling have focused on convergence education and media literacy education. Therefore, it is worth paying attention to the fact that the practices of transdisciplinary integrated curriculum focusing on digital media content are grown voluntarily in schools. This research is a case study of a convergence educational project that was initiated by a middle school teacher who designed and implemented a unique program of the transdisciplinary class of Korean focusing on reading webtoons with the linked program of a 'Book Club Activity' that was a part of 'Creative Experiential Activitites'. Based on the analysis of the documents, participatory observation of a main event and the interview with the teacher, this article discusses how the webtoon-focused convergence education project might have achieved meaningful connections between a subject-focused learning and a creative experiences-focused learning; between in and out of school learning spaces; between the real and imaginative worlds; and between the boundaries of the popular culture and the arts. The main finding of the research can be summarized as follows: Firstly, webtoon as the subject of the study can be an effective medium of transdisciplinary integrated curriculum. Secondly, the convergence project based on webtoons can create meaningful learning spaces in and out of school environments in terms of creating more learner-participatory learning culture as well as connecting students' everyday lives, popular arts and their learning about culture. Another important finding of this research is the rediscovery of the teacher's role in terms of mediating the voices of students as readers in the process of constructing and implementing the integrated curriculum.