• Journal of Science Education
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• v.32 no.1
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• pp.33-46
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• 2008

The purpose of this study was to know whether or not any wrongful description or simple errors were in photosynthesis unit of Biology II textbook under 7th national curriculum and if so, to know whether or not high school teachers recognized and corrected properly the mistakes. The mistakes in photosynthesis unit of text books were determined by the comparison with several reference books and through examination by three plant physiologists in 8 different Biology II textbooks. After the mistakes were analysed, the survey using contents of textbook containing the mistakes was conducted on high school teachers teaching Biology II. As a result, 48 mistakes were determined in 13 subjects. As many as four mistakes were found even in one subject in a certain textbook and a same mistake was found repeatedly in several textbooks. The survey result showed that the teachers who pointed exactly the mistakes out corrected properly, however, the percentage of these ones out of 35 teachers replied to survey was less than 50%. The ratios of correction out of total number of responses were high in question #6 (43%), #4-3 (40%), and #1-2 (32%) which were containing a simple mistake in graph, a wrong word and a wrong picture, respectively. But, no one pointed out and made correction in question #5-1 and #5-2 which were containing Z scheme of light reaction without the legend of vertical axis that should be explained as electron energy or standard reduction potential. The result indicates the possibility that the mistakes in photosynthesis unit of Biology II textbook can be corrected and teached properly by teachers may be low. In order to reduce the possibility that students may have misconceptions about photosynthesis, the list of print's errors should be provided to the teachers and/or the training program and/or workshop for in-service high school biology teachers was recommended.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.136-161
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• 2014

This paper investigates the Buddhist sculpture and wall-painting enshrined in the halls of Bunhwangsa (Bunhwang temple) at Gyeongju in the mid-Silla period, which are thoroughly unknown to us except through textual records of Samgukyusa compiled by Priest Ilyeon in the late thirteenth century. According to Samgukyusa, a clay portrait-sculpture of Monk Wonhyo, made by his son Seolchong, was placed in Bunhwangsa. This image faced to the side, because he turned his body toward Seolchong when Seolchong bowed to this image. This story suggests that the portrait image of Wonhyo was most likely made after the Vimalakirti images, which were popular in China from the Six Dynasties period on, especially the Vimalakirti images of the early Tang period, turning his head and body toward Bodhisattva Manjusi seated opposite. The Vimalakirti image of Seokkuram might show the portrait image of Wonhyo. A wall-painting of a Thousand-Armed Avalokiresvara who has a thousand arms with a thousand eyes, called by the name 'Great Mercy with a Thousand Hands', was enshrined on the north wall of the left hall of Bunhwangsa. During King Gyeondeok's reign, Himyeong and her five-year-old blind child prayed before this image, and the blind child gained eyesight. While praying, they sang a song pleading for one of the thousand eyes which the Bodhisattva had in his hands. This song implies that Thousand-Armed Avalokiresvara had a thousand eyes, one painted on each hand. The fact that Thousand-Armed Avalokiresvara of Bunhwangsa was called 'Great Mercy with a Thousand Hands' indicates that this painting was based on the scripture Thousand-Armed Avalokiresvara Sutra translated by Bhagavaddharma in about 655, in the Tang period, which also has 'Great Mercy' in its title. In the year 755, a gilt bronze image of Medicine Buddha was made in Bunhwangsa, using nearly 61 tons of bronze to cast. The huge amount of bronze suggests it includes not only the Buddha statue but many other images such as two attendant Bodhisattvas of Suryaprabha and Candraprabha, Eight Great Bodhisattvas, or Twelve Guardians. Seven images of Medicine Buddha might have been made in accordance with the scriptural text of Seven Medicine Buddha Sutra translated by Monk Yijing. Textual evidence and recent excavation have revealed that seven images of Medicine Buddha and their whole attendant images based on Seven Medicine Buddha Sutra were made in the Nara period from 751 to 762 when Queen Gomyo contructed Sinyakusiji temple for the recovery of her husband Shomu. It is fair to assume that one or seven Medicine Buddhas and a whole group of his (their) attendant images were made for the main hall of Bunhwangsa temple in 755.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.52-62
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• 2011

By studying the classic poetry and prose with a theme of Plantain, I would like to study why Plantain has been planted in our traditional garden for a long time. Also, through this study, I want to find when Plantain was introduced to in our country. We use description study method for studying the classic poetry and prose with a theme of Plantain. As a result, we found a few things like below. First, the introduction of Plantain to our country traces back to unified Silla in the poetry of Choe Chi Won. Also, Plantain was planted and loved generally as a general garden plant in the middle of Goryeo through poetry and paintings. Second, the meaning of Plantain is like this. 1) It means development and enjoyment of arts of summer because the leaves of Plantain were used for drinking alcohol and writing and poetry instead of papers. 2) In Buddhism, Plantain was thought to awaken 'gong(空)', 'mua(無我)', and 'brevity' of lesson of Buddha by the special shape and the image of falling rain to the leaves. Also, it was used widely in Buddhist temples because of the story of 'Hye ga dan bi(慧可斷臂)'. 3) In Confucianism, it is the emblem of lesson 'a wise man tries to be strong and tries not to stop following to God'(自强不息). 4) The large leaf of Plantain is called 'bongmi(鳳尾)' thanks to the image of likeness with tails of Bongwhang(鳳凰). Third, design use of Plantain is like this. 1) The large leaf of Plantain was used for giving an image of freshness and brightness in the garden in summer. 2) Our ancestor thought 'the sound of falling rain to Plantain'(芭蕉雨聲) as a picturesque sound in summer. Also, Plantain was highly utilized because our ancestor thought Plantain is the best plant for implementing 'soundscape'. Thus, the most characteristic use of several design uses is 'acoustic use'. 3) Plantain was also planted in a indoor pot for viewing. 4) Plantain was used for making food and medicine in the palace and private house as a practical use. The limit of this study is that I mainly use the text translated into Korean of database of overall Korean classics. We hope the new things related to this study would be added up to this study by translating original texts into Korean more.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.303-345
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• 2019

This article analyzes the multi-layered communication in the Webtoon Princess Pari, released on the Daum portal site, created (written and illustrated) by Kim Naim, through analyzing the narrative structure and comments with the qualitative / quantitative methodology. The webtoon Princess Pari is structured in an omnibus style in which unit narratives are intermittently articulated, multi-lined, and interconnected. As integrated narratives which link with unitary narratives, Pari's growth story as a shaman and a romance narrative are structured. The classical original story of the shaman was used as a prehistory corresponding to the prequel of the webtoon through a preview, and the writer restructured the narrative to overcome the contradictions of the gender asymmetry and the patriarchal ideology of the original text. The viewer then creates a conversational space by giving critical and reflective comments. According to a statistical analysis conducted through sampling, the types of comments can be classified as follows: Appreciation and criticism of the contents ≫ Emotional response ≫ Intuitive overall review ≫ Knowledge and reflection ≫ Comments on comments. In the process of creation and acceptance of the Webtoon, a multi-layered dialogue between classical and modern, content and audience, acceptance and creation has been at play. In the creation dimension, the writer used a device to fill the gap of mythical symbols of the contents. At the level of the audience, they formed a culture of sharing information, knowledge, and reflection about tradition/folk/culture through comments. This corresponds to classical and modern dialogue through the webtoon. The viewers form a sympathetic bond, attempt hermeneutical coordination, supplement the information, and search for a balanced angle through controversial conversation. In addition, by commenting on attitudes, views, and perspective, the commentators showed a behavioral pattern corresponding to meta-criticism in literature. The viewers' comments acted as feedback on the creation of the webtoons, so that the creation and acceptance itself influenced the production of the content of the webtoon. The webtoon Princess Pari, which was based on Korean classical narrative, has been reorganized onto 'moving and dynamic' content, which leads to sense, thinking, criticism and reflection through the formation of various dialogues.

• 한국프랑스학논집
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• v.108
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• pp.1-45
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• 2019

The objective of this work is to study the rebirth of the French baroque opera and to analyze Atys of Quinault and Lully. Accordingly, it can appear interesting to take into account not only the reception of Atys in the 17th century in France, but also its representations in 1987. Then, it seems important to us to examine the studies on the modification of the myth in Atys, while questioning the legitimacy of the Fasti of Ovid as a primary source. Lastly, we will endeavor to emphasize the influence of Natale Conti's Mythologies on Atys, and that of Michel de Marolles's the Tableaux du Temple des Muses on the scene of the sleep of the hero. In a general way, in regard to the influence of the sources in Atys, these two works drew until now only very little the attention of criticism. The difficulties which Louis XIV crosses at the time of the genesis of Atys, such as the death of the marshal of Turenne or the departure of Louise de La Vallière to the convent, seem to have nourished the choices of Quinault and Lully. Atys is an admirable spectacle with the changes at sight of the decorations, the varied machines and the splendid costumes, but in spite of the immense success of this opera, he is forgotten after the representation given at Fontainebleau in 1753. Two centuries later, les Arts Florissants' production of Atys in 1987 - with its triumph which one knows - seems to announce a rebirth of the French baroque opera. William Christie and Jean-Marie Villégier still succeed in presenting their production in 2011 thanks to Ronald Stanton, American fortunate who was impressed by the representation of Atys in 1987. Villégier and his artistic team choose a single decoration and remove the machines in order to place work at the court plunged into mourning of Louis XIV twenty years after the premiere of Atys. The "classicism" of their dramatic presentation emphasizes the classical dramaturgy and the tragic side of this opera. Criticisms often stress the importance of Ovid's Fasti as a primary source, while adding his Metamorphoses as a secondary source (the metamorphosis of Atys in pine and the scene of his sleep). Quinault borrows indeed from the Fasti some elements : in love with Atys, Cybele entrusts the responsibility to him of keep her temple ; the reciprocal love between Atys and Sangaride causes the revenge on the goddess. However he borrows more from the French translation of Natale Conti's Mythologies which present the Phrygian version of the myth of Atys. In the first three accounts of this version, one finds common points with the opera : 1) Atys refuses the physical desire of Cybele ; the goddess makes Atys insane instead of making die Sangaride ; 2) the lover of the hero is daughter of the river of Sangar ; Cybele makes change into pine Atys who committed suicide (or ready to commit suicide) ; 3) the goddess discovers the physical relation of the young couple. Natale Conti's Mythologies also present the Lydian version of the myth : a furious wild boar sent by irritated Zeus kill Atys and several people. One can suppose that this part undoubtedly influences the "monster" and its "dreadful howls" evoked by Atys in a fit of insanity. Moreover, the dreams make discover in Atys the intentions of Cybele, which is not without relationship with the translated text of Natale Conti : the Mythologies indicate that sweet Sleep reveals "the intentions & the plans of the Gods." To manufacture the famous scene of the sleep of the hero, Quinault and Lully make use of the annotations of the "Palace of the Sleep" located at the end of the Tableaux du Temple des Muses : Michel de Marolles translates and explains the texts of Catullus (the sleep of Atys), of Ovid (the Sleep and his three sons), and of Ausonius (good dreams / bad dreams). In spite of the important influence of these sources, Quinault and Lully modify some elements of the myth : the theme of castration is removed because of the proprieties ; the suicide of Atys is at the same time an act of love and an act of revolt against Cybele ; the cruel goddess is also a desperate and weak lover; the invention of the character of Celenus returns the love of the young prohibited and tragic. Quinault fascinate the contemporary public with the interior movements of complex characters and the music of Lully emphasizes this quality of the libretto.