• Journal of Information Science Theory and Practice
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• v.12 no.3
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• pp.1-13
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• 2024

The purpose of this study is to investigate the possibility of using chatbots as a school library educational tool. In order to achieve the purpose of the study, 116 librarian teachers first investigated the types and contents of education conducted in the school library setting and the perception of chatbots there. In addition, 15 librarians (five elementary, five middle, and five high school) were asked to complete a structured questionnaire after using Google's Bard, Microsoft's Bing, and OpenAI's Nova to find out if it is possible to use chatbots in school library education. As a result, user and reading education chatbots were found to be common in school libraries, and 99% of librarians knew about them in some detail. However, the average chatbot performance by area was 2.9 out of 5 (2.6 points being the lowest). Nevertheless, chatbots are being developed utilizing deep learning methodologies and have excellent performance, and are very effective for content-based library education through problem-solving activities.

• The Journal of the Korea Contents Association
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• v.17 no.4
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• pp.25-35
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• 2017

This study was carried out qualitative study to figure out the process of the perception of creativity conception by kindergarten teachers in Korea. The interviewees are 4 current teachers in kindergarten in Seoul. Data was collected from semi-structured in-depth interview. Collected data were analyzed using Modified Grounded Theory Approach by Kinoshita, a kind of qualitative research method. As a result of data analysis, kindergarten teachers who experts in child education understood key concepts of creativity as unique thinking and rich expression ability. Such concept is mainly acquired at the class in which direct encounter with children is made. Besides, they formed the concept of creativity through reading books and articles, graduate studies and teaching Nuri Curriculum. In the preceding studies on the concept of creativity targeted to elementary and secondary school teachers, they had shared wide concept, but kindergarten teachers shared only some key concepts on creativity. This result would mean that the concept of creativity in the early children education is relatively coherent and such concept and teaching method are relatively well delivered to children at the education field.

• Journal of English Language & Literature
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• v.57 no.1
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• pp.107-127
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• 2011

Don DeLillo has shown considerable interest in terror, frequently depicting extreme dread of something terrible to happen, in his literary texts. Since more than three thousand innocent people in New York were killed by the 9-11 terrorist attack in 2001, the anticipation about what kind of fiction he would write as a New Yorker was high. DeLillo's novel Falling Man (2007) in fragmentary detail represents the scene of the terrorism from the perspective of Keith Neudecker, a lawyer who escapes the collapsing world trader center. Neudecker's post-traumatic stress disorder in the first chapter is followed by the free-associative portrayal of various impacts of the 9-11 terror on Neudecker's wife Lienne in the second chapter. The random mixture of the first person narratives from such diverse view-point characters as Neudecker's son Justin, relatives and friends, with dialogues and recollections yields a very close picture of the consequences of terrorism. Reading DeLillo's Falling Man in juxtaposition with a Japanese Canadian novel Obasan by Joy Kogawa, reminiscences of the maltreatment of Japanese Canadians during and after the second world war, surfaces the authorial intention of the two novels. They as trauma literature emerge to aim at curing the readers and proposing post-traumatic ethics. Laurie Vickroy's theory of trauma narrative and cure, E. Ann Kaplan's theory of trauma witness narrative and responsibility, and Emmanuel Levinas's theory of trauma memory and ethics offer theoretical grounds for the convincing analysis of the two texts.

• The Journal of Art Theory & Practice
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• no.1
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• pp.23-48
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• 2003

Art theorists support art productions by, introducing them to the public, explaining their meanings, and playing a crucial part in the development of art. These tasks seem like their opus. Because the principles of art production and the artistic languages are quite different from the ordinaries, we need 'interpreters' who can mediate us and the artists. Art works need interpretation. And the interpretation includes not only the characteristics of the given art work, but the customs, history, and the unique qualities of the race that produced the art work. The former director of the Korean National Museum, Choi Soon-woo wrote on the characteristics of Korean art as those that stem from the poised, arbitrary, and non-elaborate state of mind. The statement of the former Director of the National Museum has its weight far greater than just a personal opinion. In fact, we encounter the same resonance of this statement over and over reproduced in the mass media. The problem lies on that it deals with not only a single art work, but the entire Korean art. And going further, this kind of remarks are already infused into every sector of our thought on art appreciation. In this paper, I argue for a re-reading of the characteristics of Korean beauty based on two reasons. First, the characteristic of art work is contemporary, thus we cannot define the characteristics of entire Korean art in a few words without the context of the period of its making. Second, Director Choi defined the characteristics that I pointed out above as 'natural' and 'nature-friendly.' Nature or being natural is not an usual word that defines the characteristics of art work, which stands for the opposite side of the nature in the binary opposition of nature/culture. To delve into these misunderstandings of Korean beauty in the popular notions of Korean art, I suggest the re-reading of three major articles on Korean art: Ryoo Jong-yeol's "Korean race and its art," Ko You-seup's reiteration of Ryoo's thesis called "Discourses in Korean Art History and Aesthetics," and Yoon Hee-soon's antithesis of Ryoo Jong-yeol titiled "Studies on Korean Art History."

• English & American cultural studies
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• v.9 no.1
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• pp.113-139
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• 2009

Such is an elective affinity between literary studies and psychoanalysis that the latter sometime serves as a form of literary pedagogy. The affinity mainly consists in their shared concern for language. The signification of language in psychoanalysis is much similar to that of literature. Many of psychoanalytic terms and theoretical tenets bear witness to its dependence clinically on speech phenomena and theoretically on language in general. It is most true of Sigmund Freud, for whom the unconscious is in effect the linguistic unconscious. The Freudian unconscious, compressing and displacing through images and ideas, works as a text for psychoanalysis, which approach has not only paved one of the ways to poststructuralist anti-essentialism but with which literary studies also feel uncanny familiarity. Freudian psychoanalysis, starting empirically from clinical observations, discovers that words exist independent of meanings in the form of things in the unconscious system. Out of the various sensory elements of a word-thing, in psychoanalytic terms, the auditory is central. Now with the auditory imagination cultivated in the clinic, Freud figures out compression and displacement as the chief unconscious works, of which my main argument is that they are based phonetically on heteronym and homonym associations respectively. Compression and displacement work to be masks, which excites Freud's sense of challenge: his is a kind of poststructuralist approach, in the sense that the closed interrelatedness of words without external referents determines the signification in a given situation. But the works of compression and displacement, viewed in auditory terms rather than mapped on to metaphor and metonymy, can provide a new insight for a literary reading of Freud. Pursuing Freud's auditory imagination is not only an attempt to read his writing as literary text rather than for theoretical discussion, but also an experiment with the possibility of literary reading of a theoretical text in the age of after-theory.

• 중국학논총
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• no.62
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• pp.85-100
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• 2019

The article purpose is 'Reading Chinese translation text as a Korean integrated education for Chinese students'. Although number of foreign students has increased rapidly to the economic growth of Korea, the influence of Korean Wave, and the popularity of Korean popular culture like K-pop at domestic universities but the problems of their curriculum have been found in many places. Korean literary education through novel text has an important place in Korean studies, but literary education is often excluded in Korean language education as a foreign language education. Chinese students already have background knowledge of Korean translation novels through Chinese novels. They can get the learning effect as the Korean language study. Second, they can compared with Korean national violence and Chinese national violence through 'Red Revolution' and understand about Korean-Chinese understanding of the times, social and cultural phenomena, Third, they are able to study the theory of literature itself. also It was the educational purpose pursued by the humanities. Chinese students develop their Korean language skills by studying the Brothers which are translated into Korean, and we can see the similarities and differences of national violence by comparing Korea's '4.19' with China's 'Cultural Revolution' After comparing people, background, dynamics of the space where they are located, we can raise awareness of the historical and social problems of both countries. It is possible to study subjects' memories of space, change of local meaning, the formation of urban space or individual space in the text in the specific space where national violence occurs. In this way, the method of learning Korean integrated education through Brothers of the Chinese translation novels makes an opportunity to look at national violence in the Korean-Chinese space of the 1960s and 1970s. It has a subjective perspective from subordination to the nationality of the modern nation-state. This is an educational effect that can be obtained through reading a Chinese translation novel as a Korean language integrated education.

• Journal of Korean society of Dental Hygiene
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• v.6 no.3
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• pp.187-201
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• 2006

The purpose of this study is to examine the satisfaction for college life and oral prophylaxis subject and improve the satisfaction for this subject by satisfying students' desire through the results of correlation, and to inspire a professional sense by helping students enjoy healthy college life. In order to achieve these purposes, 127 senior students of the Dental Hygiene Department, Kwangju Health College took part in this study to examine the satisfaction for a study course, a lab, professors, a college, and subjects. The following results were obtained. 1. The overall satisfaction for the Dental Hygiene Department was 2.83 and the highest dissatisfaction factors included difficult subjects and non-aptitude. The overall satisfaction for professors was 3.33 and students wanted professors' human contact with students and a well-prepared lecture. The overall satisfaction for college life was 2.65, suggesting not very high satisfaction, and the highest dissatisfaction factors included similar life to high school and surrounding environment. 2. The overall satisfaction for theory was 3.83 and for practice was 3.91 in oral prophylaxis. While the highest satisfaction was found in 'the objective and direction of class' and 'class and a supplementary lesson in not giving a lecture', the lowest satisfaction was found in 'experience in reading textbook-related materials or books'. 3. The correlation of the satisfaction of theory and practice of oral prophylaxis was examined. The satisfaction of oral prophylaxis theory was positively correlated with a school course, professors, and college, while the satisfaction of oral prophylaxis practice was positively correlated with a school course, professors, college, satisfaction of oral prophylaxis theory, and present health condition(p<0.05). 4. Factors influencing the satisfaction for the theory of oral prophylaxis included professors, while factors influencing the satisfaction for the practice were statistically significant in professors and health condition(p<0.05). Based on these results, in order for professional dental hygienists to be developed as professionals serving society, it is recommended to enhance the satisfaction for an oral prophylaxis subject and that professors should provide warm-hearted support and become a role model as an educator.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.307-344
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• 2010

Cultural Studies built on the critical mind of New Left exposes the relationship between culture and power, and investigates how this relationship develops the cultural convention. It has achieved the new perspective that could make us to think culture and art in terms of political correctness. However, the critical voices against the theoretical premises of Cultural Studies have been increased as its heyday in 1980s was nearly over. For instance, Terry Eagleton, a former Marxist literary critic, declared in 2003 that the golden age of cultural theory is long past. This essay, therefore, intends to show the weak foundations on which the approaches of cultural studies to theatre rest and to clarify the general problem of their introduction to theatre studies. The approach of cultural studies to theatre takes the form of 'top-down inquiry' as it applies a theory to a particular play or historical period. In other word, from the theory the writer moves to the particular case. The result is not an inquiry but rather a demonstration. This circularity can destroy the point of serious intellectual investigation as the theory dictates answers. The goal-oriented narrow viewpoint as a logical consequence of 'top-down inquiry' makes the researcher to favor the plays or the parts of a play that are proper to test a theory. As a result it loses the fair judgment on the artistic value of a play, and brings about the misinterpretation. The interpreter-oriented reading is the other defect of cultural studies as it disregards the inherent meaning of the text, distorting a play. The approach of cultural studies also consists of a conventionality as it arrives at a stereotyped interpretation by using certain conventions of reasoning and rhetoric. The cultural theories are fundamentally the 'outside theories' that seek to explain not theatre but the very broad features of society and politics. Consequently their application to theatre risks the destructive criticism, disregarding the inherent experience of theatre. Most of, if not all, cultural theories, furthermore, are proven to be lack of empirical basis. The alternative method to them is a 'cognitive science' that proves scientifically our mind being influenced by bodily experience. The application of cultural materialism to Shakespeare's is one of the cases that reveal the limits of cultural studies. Jonathan Dollimore and Water Cohen provide a kind of 'canonical study' in this application that is imitated by the succeeding researchers. As a result the interpretation of has been flooded with repetitive critical remarks, revealing the problem of 'top-down inquiry' and conventional reasoning. Cultural Studies is antipodal to theatre in some respect. It is interested chiefly in the social and political reality while theatre aims to create the fiction world. The theatre studies, therefore, may have to risk the danger of destroying its own base when it adopts cultural studies uncritically. The different stance between theatre and cultural theories also occurs from the opposition of humanism vs. antihumanism. We have to introduce cultural theories selectively and properly not to destroy the inherent experience and domain of theatre.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.

• Journal of Music and Human Behavior
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• v.3 no.1
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• pp.63-76
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• 2006

Melody is defined as adding spatial dimension to the rhythm which is temporal concept. Being able to understand melodic pattern and to reproduce the pattern also requires cognitive skills. Since 1980, there has been much research on the relationship between academic skills and music cognitive skills, and how to transfer the skills learned in music work to the academic learning. The study purported to examine various research outcomes dealing with the correlational and causal relationships between musical and academic skills. The two dominating theories explaining the connection between two skills ares are "neural theory" and "near transfer theory." The theories focus mainly on the transference of spatial and temporal reasoning which are reinforced in the musical learning. The study reviewed the existing meta-analysis studies, which provided evidence for positive correlation between academic and musical skills, and significance of musical learning in academic skills. The study further examined specific skills area that musical learning is correlated, such as mathematics and reading. The research stated that among many mathematical concepts, proportional topics have the strongest correlation with musical skills. Also with reading, temporal processing also has strong relationship with auditory skills and motor skills, and further affect language and literacy ability. The study suggest that skills learned in the musical work can be transferred to other areas of learning and structured music activities may be every efficient for children for facilitating academic concepts.