• Journal of Elementary Mathematics Education in Korea
• /
• v.22 no.2
• /
• pp.183-198
• /
• 2018

In this paper, I theoretically considered joining and separating activities and revisited the textbooks from 7 countries and Korean mathematics textbooks from 5th revised curriculum to 2015 revised curriculum to find implication for the treatment of 0 in the joining and separating activities. The 'joining' has definition and properties similar to addition, but the 'separating'is difficult to define and is not considered to have properties similar to subtraction. In the sense of computation, joining and separating can be seen as' part-part-to-whole' situations, but are just part of the addition and subtraction situations. The analysis of textbooks from 7 counties showed that Singapore and Malaysia textbooks already studied zero and then included it in joining and separating activities, but other countries did not include it as joining and separating activities. The textbooks of South Korea have consistently suggested not to include zero, but teacher's guide has shown that there is a little consistency in the treatment of zero. As a conclusion, I suggested that it was necessary to propose a proper context of the situation in order to introduce joining and separating without including 0 in terms of student level and to propose that a more consistent presentation of zero handling in the teaching in the teacher's guide.

• Communications of Mathematical Education
• /
• v.36 no.2
• /
• pp.229-252
• /
• 2022

This study analyzed the introduction of addition and subtraction, including the composition and decomposition of numbers in the Korean, Singaporean, American, and Japanese elementary mathematics textbooks. The analytic foci of this study included visual models and their connections with the given problem contexts, the introduction of addition/subtraction or addition/subtraction sentences and their connections with the visual models, and additional activities for students to develop a relational understanding of the equal sign. The results of the analysis demonstrated diverse connections, mainly because the problem contexts, visual models, and the introduction of addition/subtraction or addition/subtraction sentences were implemented differently for each textbook. There were differences among the textbooks in what order of problem contexts were presented. Regarding the use of visual models, two textbooks tended to use one model consistently, whereas the other textbooks used various models depending on the problem contexts. There were subtle but significant differences in introducing addition/subtraction or addition/subtraction sentences. For a relational understanding of the equal sign, all textbooks included activities emphasizing that both sides of the equal sign are equal. Based on the results of this study, this paper closes with several implications related to the problem contexts to introduce addition/subtraction and addition/subtraction sentences as well as the use of visual models, which can serve as a basis for a new unit for the subsequent textbook.

• Journal of Korean Classical Literature and Education
• /
• no.15
• /
• pp.191-243
• /
• 2008

The purpose of this paper is to develope the husband and wife epic test. The results of this paper are as follows. First, in the epic of dividing mate, , , , , etc, the essential item of diagnosis is qualification criteria of a mate. Second, in the epic of pushing mate, , , , , , etc, the essential item of diagnosis is mistrust about mate, Third, in the epic of recovering mate, , , , , , etc, the essential item of diagnosis is ability of recovering couple relationship, Fourth, in the epic of protecting mate, , , , , , etc, the essential item of diagnosis is sympathy for mate.

• (The) Research of the performance art and culture
• /
• no.43
• /
• pp.381-403
• /
• 2021

Cheonsubara Dance is one of the most important ceremonies in Buddhist rituals. This paper is a study on principles of Cheonsubara Dance in Yeongnam. This also distinguishes the Cheonsubara Dance performed for about 7 minutes with no patterns according to 'The Great Dharani of Spiritually Sublime Phrases' by dance words, and analizes its combinations and principles. Cheonsubara Dance in Yeongnam consists of 7 dance words(Greeting, Carrying, Carrying with 180° rotation, Bara-Garugi, Bara-Garugi with both hands, rotate once, Bara-chigi), and put together according to the number of letters from 'The Great Dharani of Spiritually Sublime Phrases'. Usually, the principles can be seen through 4 types of changes from the dance: 1) When letters of 'The Great Dharani of Spiritually Sublime Phrases' appear consecutively with the same number of characters, 2) When a two-letter word turns into a three-letter word, 3) When the opposite of 2) occurs, 4) When 2~3 letter words change in a row.

• (The) Research of the performance art and culture
• /
• no.22
• /
• pp.93-121
• /
• 2011

This article is concerned with the withdrawal of the compositional principle of Jinogigut which has been performed in Seoul and the identification of its meaning based on the withdrawal. Jinogigut is a world where a god is connected to humans in complicated manners, this world and the world of the dead coexist, and it is a process of demonstrating that the dead, who have stayed in the world of humans, enter the world of a god. Jinogigut shows the process of leading the dead to the world of the dead one after another. First, the god-centered street is continued, and the gut displays through which process a god will guide the dead to the world of the dead. Next, is a human-centered street, which exhibits the appearance of the dead heading to the world of the dead following the death angel, more in detail. Finally, a human-centered structure shows how humans enter the world of the dead. Through this repetition, it reveals that the dead take a seat in the world of the dead, at last. The organization of the later part of the world of the dead-oriented gut in Jinogigut, which is god-centered, continues to a human-centered gut through the meeting between a god and humans. and , which are continued, followed by , are ceremonial rituals that confirm the dead entering the world of the dead without any problem. Begareugi shows that the entering of the dead into the world of the dead was completed with perfection by cutting hemp cloth, and informs the living that the dead expressed gratitude for holding the ritual for him/her by appearing at the venue of the gut once again and that the dead settled into the world of death. , which finally holds ancestral rites to the god of ancestors who is seated in the world of the dead, reveals that the dead, who had been a human, has been transformed into the god of ancestors through Jinogigut. Jinogigut also performs the function of comforting a client (who is the family of the dead) of the gut, who has faced a sudden death in his/her family. What is the most important for consoling the client is to display that the dead has entered the world of the dead without any problem. Jinogigut shows this process through a three-layered structure. It exhibits how the dead would be moved to the world of gods, as well as the safe entering of the dead who followed Jeoseung-saja(envoy from the world of the dead) and who had appeared to this world from the world of the dead. Then, it demonstrates again the appearance of the dead entering the world of the dead following Barigongu; thus, it placates the heart of the client's family.