• 한국보육지원학회지
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• 제20권1호
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• pp.91-111
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• 2024

Objective: The purpose of this study is to explore trends in institutional evaluation research in early childhood education through keyword network analysis. This aims to understand trends in academic discourse on institutional evaluation and gain implications for follow-up research and related policy directions. Methods: A total of 6,629 keywords were extracted from 572 dissertations and journal articles published from January 2006 to October 2023 for the purpose of analyzing and visualizing the frequency and centrality of keywords, as well as the structural properties of keyword networks. The analysis and visualization were conducted using the TEXTOM, UCINET6, and NetDraw programs. Results: First, the number of institutional evaluation studies increased steadily from 2006 to 2010 and then decreased, with a higher frequency of studies on daycare centers compared to kindergartens. Second, the most frequently occurring keyword in the analysis was 'daycare center,' and the highest connection strength was found in the term 'daycare-center-evaluation.' Third, network analysis revealed that key terms for institutional evaluation research included 'evaluation certification,' 'recognition,' 'evaluation indicators,' 'teacher,' 'daycare center,' and 'kindergarten.' In the ego network analysis for each institution, 'parent' emerged as a highly ranked keyword. Conclusion/Implications: This study confirmed the perspectives of previous studies by revealing the structure of core concepts in early childhood education institution evaluation research, and provided implications for follow-up and direction of institution evaluation

• 비교문화연구
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• 제26권
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• pp.405-444
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• 2012

This paper is based on the view that film should be conceived as a form of cultural practice whose meaning is always in the process of being produced within diverse socio-cultural contexts and aims to examine the ways in which the meaning of Korean film is (re)mediated or received in diverse cultural contexts outside the country. In this paper, we employ two theoretical grounds. Firstly, it positions itself in line with the audience studies within the field of cultural studies where the audience is conceived as active agents who produce the meaning of a popular culture text. The recruitment of the theoretical propositions from the audience studies enables recognition of the significance of the reception in film practice which recently seems to be oriented on production and distribution. Secondly, we conceive transnationality of film as that which is being produced in the process of transaction between the film and the audience, that is to say, transnationality is a form of discourse that emerges upon cultural interaction. The empirical work involves examination of a set of reviews of four films--Chihwaseon, Oldboy, Thirt, Poety--that have been published in daily newspapers and some popular film magazines in the U. S., the U. K. and France. Through the analysis of the film reviews, we identify four interpretive schemes or rather discourses recruited via which the Korean films are approached and understood: auteurism, formalism, universal themes, emotional response. We propose that these four kinds of discourse provide a common ground for the audience from different cultural backgrounds to understand Korean film. Furthermore, we also suggest that transnationality of Korean cinema needs to be reconsidered in terms of the reception as the audience from different socio-cultural backgrounds should be understood as active agents who are capable of engaging in Korean cultural texts such as film in their own way producing various meanings and these are also constituent of the meaning of the cultural texts.

• International Journal of Computer Science & Network Security
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• 제21권11호
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• pp.199-206
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• 2021

Rhetorical relations between two text fragments are essential information and support natural language processing applications such as Question - Answering (QA) system and automatic text summarization to produce an effective outcome. Question - Answering (QA) system facilitates users to retrieve a meaningful response. There is a demand for rhetorical relation based datasets to develop such a system to interpret and respond to user requests. There are a limited number of datasets for developing an Arabic QA system. Thus, there is a lack of an effective QA system in the Arabic language. Recent research works reveal that unsupervised learning can support the QA system to reply to users queries. In this study, researchers intend to develop a rhetorical relation based dataset for implementing unsupervised learning applications. A web crawler is developed to crawl Arabic content from the web. A discourse-annotated corpus is generated using the rhetorical structural theory. A Naïve Bayes based QA system is developed to evaluate the performance of datasets. The outcome shows that the performance of the QA system is improved with proposed dataset and able to answer user queries with an appropriate response. In addition, the results on fine-grained and coarse-grained relations reveal that the dataset is highly reliable.

• 비교문화연구
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• 제43권
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• pp.405-428
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• 2016

이 글은 특정 시기 타이완의 현대사를 다룬 영화 <군중낙원>의 영화적 서사 구축방식과 탈역사적 서술 양상에 대해 고찰한 것이다. <군중낙원>은 어떠한 시대를 배경으로 하고 있지만 역사적 사건의 의미를 보여준다거나 공식 역사적 담론 속에서 과거를 해석하려 하기 보다는, 그 시대를 살아간 인간들의 고뇌와 아픔에 주목하는 서술적 특징을 갖고 있다. 즉 거대 역사 서술적 맥락에서 서사를 구성하거나 리얼리즘적 관점에서 진지함을 견지한 성찰적 태도로 현실을 바라보려는 영화적 태도에서 벗어났다. 때문에 이전 시기 타이완 뉴웨이브 영화들과는 다른 면모를 갖게 되었고 역사 서술 텍스트로서 탈역사적 논의에 의해 새로운 담론장을 구축할 수 있는 가능성을 갖게 되었다. 그러나 이 영화는 탈역사적 서술을 위한 하나의 방식으로 공창이라는 특수한 공간을 통한 판타지를 창조하려 했다. 뉴청저는 영화 속에서 공창을 국가 권력과 시대 배경하에 억압당한 남성을 위로하는 곳으로 묘사했지만 남성들을 위해 희생되는 여성의 공간으로 그리진 않았다. 따라서 이 영화가 시대와 역사적 비극에 의해 곤경에 처한 보편적인 인간들의 미시적 역사를 복원시키려 했다면, 그 대상은 남성에만 해당되는 것이지 또 다른 약자인 여성은 배제하고 있음을 볼 수 있다. 이에 <군중낙원>은 영화의 재현에 의해 역사와 시대에 관한 서술이 어떻게 공식 역사적 담론과 집단의 기억을 균열내고 개개인의 서사에 주목하여 어떻게 새로운 역사를 쓸 수 있는지 그 일례를 보여준다는 점에서 의의를 갖고 있지만 동시에 남성중심주의적 서술에서는 벗어나지 못했다는 한계를 낳고 있다.

• 미술이론과 현장
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• 제1호
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• 한국과학교육학회지
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• 제23권4호
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• pp.331-340
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• 2003

This paper presents a case study of the student's culture as a component of conceptual ecology that affects discussions and discourses in the science classroom. The present study was conducted using a naturalistic approach, mainly through observing a science class of a middle school in Seoul, Korea, and through semistructured interviews. The case showed that the science classroom culture can be identified in four aspects: (1) knowledge; (2) the teacher; (3) classmates; and (4) self. These cultural aspects were strongly related to each other and functioned as constraints in discussions and discourses of the science classroom. For successful discussions and discourses, it is necessary to consider students' cultural aspects: epistemological views on knowledge, the teacher-student and student-student relationships, and the role of self in the discussions and discourses.

• 한국어교육
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• 제23권1호
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• pp.183-217
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• 2012

This study explores the identity-formation of adult Korean-American intentional adoptees who studied Korean in a Korean language center in New York from 2005 to 2007. Based on participant observation in the classroom, observations of student conversations in their gatherings, and discourse analysis of conversations related to why they were studying Korean, I found that adoptees felt that their lack of knowledge of Korean had caused them to fall short of expectations of ethnic Koreans. Stereotyped as Korean (or Asian) based on their looks, they were often assumed to possess knowledge of and skills associated with Korean culture, which they of course lacked. They were motivated to study Korean (and acquaint themselves with Korean culture) in order to meet these expectations.

• 비교문화연구
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• 제33권
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• pp.461-494
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• 2013

The purpose of this work is to analyze categorial character of Russian verbal aspect from the typological perspective. To do this, first of all we will examine the overall historical process of grammaticalization of Russian verbal aspect. As a result of analysis, we have suggested that against wide-spread general assumptions in this area Russian verbal aspect correspond rather to lexico-grammatical category, than to purely typical grammatical category. Actually, I think this kind of approach as a pivotal point for the study of Russian verbal aspect. For example, this kind of typological approach has great advantages in a sense that firstly it gives us possibility of breaking from notorious routine Slavic-Centrism, secondly it can explain sufficiently and adequately various lexico-semantic usages of Russian verbs. Thirdly, our approach consistently accounts for various interactions of lexico-semantic, grammatical, discourse-pragmatic levels, in which Russian verbal aspect is involved. And finally, it sheds light on functional interactions between verbal categories, such as aspect, tense, and mood.

• 농촌지도와개발
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• 제26권1호
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• pp.47-55
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• 2019

The aim of this article is to critically explore the history, methods, characteristics and cause mechanism of Korean farmers' movement who resisted to market globalization from the perspective of social movement theory. I believe that the most influential elements of Korean farmers' movement are three structural elements; namely resentment, political opportunity structure, and media and discourse. Therefore, focusing on the three elements, I analyze the emergence and expansion of the Korean farmers' movement against market globalization from 1993 to 2008. And I analyze the roles of these three structural elements which played in farmers' social movement in South Korea. Particularly, this article analyses in perspective of market globalization and government trust crisis about the basic reason why Korean farmers' movement was so fierce in process of agricultural market globalization.

• Journal of Smart Tourism
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• 제3권4호
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• pp.17-21
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• 2023

This research note aims to provide a critical understanding of "tourist stupidity" and "exclusiveness" within the smart tourism domain and to propose a corresponding qualitative research agenda. It argues that qualitative research methodologies are too infrequently applied, leading to a paradox evident in smart tourism studies. Accordingly, it suggests that embracing a qualitative perspective is essential to diversify the scholarly discourse and promote advanced inquiry in the field of smart tourism. It further seeks to contribute to ongoing debates by focusing on umbrella terms, such as "tourist stupidity" and "exclusiveness," for a more nuanced and holistic understanding of smart tourism and proposes a research agenda that advocates a re-evaluation of qualitative approaches.