• Korean Journal of Child Studies
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• v.33 no.3
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• pp.149-175
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• 2012

This study is designed to positively transform a teacher's emotional state whilst teaching their classes and be able to create happier lessons for preschool children. To do this, a teacher needs to reflect upon current problems and take steps to deal with them. The data for this study was collected from participatory observation and in-depth interviews, making use of photos, a reflective teacher's journal and interview records from Mar. 28, 2011 through Oct. 7, 2011. The problems identified were, (1) teacher centered classes, (2) a daily routine filled with large group activities, (3) disruptive students, and (4) repetitiveness. The routes to greater classroom "happiness" are (1) rearranging seats, (2) "story sharing activities" in small groups, (3) making a separate "story sharing activity" area, (4) using small groups instead of large groups, (5) changing the daily routine. The role of the teacher in finding greater "happiness" are (1) meaningful, 'real observation', (2) discovering genuine change from small points, (3) power sharing, and (4) growing and developing with children.

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.423-430
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• 2023

This dissertation discusses the formulation of a nonlinear storytelling board that preserves the contextual perspective of characters. Storytelling encompasses the director's creative intention by leveraging the interaction of various elements to construct a logical narrative that explores cause and effect. Its primary objective is to enhance viewers' empathy. Consequently, there is a pressing need for comprehensive research on differentiating storytelling from storyboarding. Moreover, the integrated approach to storytelling and storyboarding holds scholarly value in understanding the process of narrative composition and visualization. Thus, a study proposes a method for constructing nonlinear storytelling boards considering the discrete camera perspective and contextual scene continuity, ultimately contributing to visual complexity and correlation comprehension. This approach enables a careful and simultaneous consideration of the correlations that deepen cognition, including the physical, emotional, and event rhythms mentioned in Karen Perlman's theory.

• Journal of English Language & Literature
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• v.58 no.6
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• pp.1119-1142
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• 2012

This article examines how Cuban-American writer Cristina García interweaves all possible experiences of Cubans through Dreaming in Cuban in terms of Bakhtin's concepts of heteroglosssia, hybridization, and the chronotope. In so doing, it reaffirms the applicability of these concepts as tools for interpreting speech genres while reevaluating and reexamining the novel in terms of Bakhtinian narratology. García identifies a sociopolitical cacophony in both America and Cuba from an open-minded perspective, striving to maintain a balance between them despite undesirable experiences with her patriotic mother and individuals in the Miami community where she worked as a journalist. In practice, she projects sociopolitical ideas onto her heroines' depictions, representing their consciousnesses in a process of interaction with others. In particular, García allows her three generations of heroines, Celia del Pino, her daughters Lourdes and Felicia, and her granddaughter Pilar Puente to live as staunchly political figures. In this way, García creates a unique novelistic situation by opposing or juxtaposing all aspects of her heroines and pitting them in a dynamic interaction with their environments. As they repeatedly tease, contradict, refute, and do battle with each other, her heroines expose various problems with the sociopolitical ideologies in both the Cuban and American contexts. García succeeds in her attempt by introducing Bakhtin's model of the "becoming" hero and depicting her heroines in dynamic interaction without her own interference. In particular, the devouring inner monologues of Pilar and her Cuban aunt Felicia are presented as the products of their extraordinarily developed self-consciousnesses, through which García attempts a multilateral approach of showing, rather than telling, her heroines' interactive inner worlds as well as introducing sociopolitical contexts. Generic factors such as epistles, diary entries, and ads copy are hybridized into Celia's and Lourdes' stories, serving the heroines' interactive contexts while filling in the many narrative gaps that result from the approach to Cuban and American history. The Bakhtinian perspective permits the interpretation that this generic hybridization enables García to cover narrative gaps resulting from the expansion of chronotopes.

• The Mathematical Education
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• v.52 no.2
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• pp.203-215
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• 2013

We explored implications of storytelling in learning and teaching mathematics and examined examples of storytelling for deep understanding of the educational meanings of storytelling and new direction of storytelling approach to mathematics teachers. Mathematics had been commonly considered as the subject irrelevant to the narrative mode of thinking and only relevant to the paradigmatic mode of thinking that has rigorous logical forms and independent from human mind. As a result, this common sense forced a transmission pedagogy of mathematics: only the teachers as owners of the objective and logical truth of mathematics could transmit mathematical truths to students. Storytelling is highlighted as an alternative to the common teaching practices of mathematics focused only on the paradigmatic mode of thinking. Although a lot of research about the educational uses of storytelling mainly focused on the development and modification of stories, we suggested that the educational interest about storytelling should move to the elements or techniques for the positive effect of storytelling.

• Journal of Yeungnam Medical Science
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• v.40 no.4
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• pp.321-327
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• 2023

Recently, the International Working Group on the Diabetic Foot and the Infectious Diseases Society of America divided diabetic foot disease into diabetic foot infection (DFI) and diabetic foot osteomyelitis (DFO). DFI is usually diagnosed clinically, while numerous methods exist to diagnose DFO. In this narrative review, the authors aim to summarize the updated data on the diagnosis of DFO. An extensive literature search using "diabetic foot [MeSH]" and "osteomyelitis [MeSH]" or "diagnosis" was performed using PubMed and Google Scholar in July 2023. The possibility of DFO is based on inflammatory clinical signs, including the probe-to-bone (PTB) test. Elevated inflammatory biochemical markers, especially erythrocyte sedimentation rate, are beneficial. Distinguishing abnormal findings of plain radiographs is also a first-line approach. Moreover, sophisticated modalities, including magnetic resonance imaging and nuclear medicine imaging, are helpful if doubt remains after a first-line diagnosis. Transcutaneous bone biopsy, which does not pass through the wound, is necessary to avoid contaminating the sample. This review focuses on the current diagnostic techniques for DFOs with an emphasis on the updates. To obtain the correct therapeutic results, selecting a proper option is necessary. Based on these numerous diagnosis modalities and indications, the proper choice of diagnostic tool can have favorable treatment outcomes.

• 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.

• The Journal of Korean Association of Computer Education
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• v.18 no.3
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• pp.79-91
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• 2015

Future society demands a personal who is equipped with personality as well as creativity. In this study is developed an creativity personality-integrated programing education model combining CPS(Creative Problem Solving) method for creativity and narrative approach for personality. The developed model was applied to the 5th, 6th grade students in elementary school. As a result, there were effects of improvement in cultivating both personality as well as creativity. The result may offer implications in developing a creativity personality-integrated education model and curriculums in computer science education.

• The Journal of the Korean dental association
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• v.54 no.2
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• pp.108-122
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• 2016

Prosthetic-driven implant placement is a concept considering the dental implant restoration first based on the final form of that prosthesis to be restored. The latest development of the imaging technology and digital dentistry was able to be obtained the high quality images of CBCT with low radiation exposure and it has also enabled the process to reconstruct the intraoral state in three dimensions due to the development of the intraoral, model and impression scanner. Computer-guided implant placement simulations and template production was able to be more widely used in this context. In this narrative review, the features and the types of implant surgical guides will be introduced. It will also be described the diagnosis and treatment plan using computerguided implant software to reduce the number of visit and to increase the accuracy of the implant surgery through the top-down approach based on the shape and location of the final prosthesis.

• Cartoon and Animation Studies
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• s.51
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• pp.83-105
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• 2018

In the actantial model of Algirdas Julius Greimas, a story makes 3 kinds of relationships with 6 actants, and, in these relationships, the desires of subjects and objects are operated. And, when the subject performs its desire, there are both assistance of helper and disturbance of opponent. And, the object of desire wanted by the subject is provided by sender and receiver. Using this actantial model, this study analyzed the narrative structure of the animation 'Dalbitgungjeon', and, by rearranging the subject of capacity, examined general stream of communication. Korean animations have tried to approach using archetypes of Korean culture as motifs with various perspectives. But, it is true that, compared with foreign animations dramatized using cultural archetypes, Korean animations still have something to be desired. Thus, this study analyzed the narrative structure of 'Dalbitgungjeon' which was recently producted using archetypes of Korean culture as its motif, and, rearranging the subject of capacity, examined general stream of communication. By doing this, this study tried to search for the method of producing an animation equipped with more advanced narrative structure. Of course, narrative structure of Greimas has been studied in various aspects. However, there are still not enough animation researches using cultural archetypes of Greimas. Considering such aspects, this study focused on searching for a method of using the formation of cultural archetypes based on the analysis of fables of Greimas.

• Journal of Hospice and Palliative Care
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• v.20 no.1
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• pp.1-7
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• 2017

The paper describes The Narrative Communication Model of Hope Seeking Intervention developed by the authors as an approach to help clients to have individually specific hope experiences. The Model is founded upon the existential conceptualization of hope that views hope as subjective, unique experiences of meaning and processes. The Model has been developed based on the findings both in the literature and the authors' work on the nature of hope and hope experiences and integrating the concept of hope as subjective meanings and experiences, the processes of story-telling and the concept of narrative configuration as a way to engage in person-specific experiences, and person-centered communication. The results of the experiences with the application of the model in a study are used to clarify the model further. The Model incorporating story-telling and narrative construction through person-centered communication is identified in three components-the story-telling, the narrative intervention, and the communication components. These components are processed as an intervention to culminate into person-specific hope experiences in which active participation of clients as the story-teller and of interventionist as the communicative facilitator is required to produce narratives of hope with individual specific thematic plots that become the basis for hope experiences. The application of the Model has shown positive outcomes in clients with successful seeking of own hope experiences. The success of the Model application seems to depend upon interventionists' understanding of the model and the competency with the application of person-centered communication strategies.