• Journal of the Korean BIBLIA Society for library and Information Science
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• v.28 no.1
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• pp.5-23
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• 2017

The purpose of this study is to analyze media in the elementary moral textbooks with the information processing model and suggest some ways to boost media literacy within the school library. In this study, the three national moral curriculum for the 4th, 5th and 6th elementary students are assayed. As the results of analysis, the inputs of the elementary moral textbooks are bias toward pictures (visual media) and stories (printed media), its' processing focus on investigation and workbooks using the table and its' outputs are based on the writing, speaking and making (creating). But there are so lack of specific activities to achieve relevant information form the media and the reading strategies of visual media as the elements of inputs. The school library should serve various reading materials considering the develop of reading interest, make workbooks for learning strategies according to the text types and try to secure collaborative teaching time to resolve the bias toward media of inputs, increase information processing activities and improve students' media literacy.

• Journal of Korean Library and Information Science Society
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• v.45 no.1
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• pp.125-147
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• 2014

The aim of this study is to develop and suggest a reading strategy to learn for integrating reading and writing. The reading and writing strategy could be divided in directed strategies related to the cognitive process and indirected strategies to carry out the process successfully. Therefore, its strategies are constructed of the indirected strategy corresponding with the instructional design model and the direct strategy containing specific action plans of the model's progressive stages. When considering the reading to learn could be run as a program in the school, in this study, the basic model of the indirected strategy is devised with four steps of 'preparing-designing-implementing-evaluating'. And the implementing stage of the read to learn combining reading and writing is consisted of six steps as 'selecting subjects-considering contents-searching-writing-correcting-publishing'. Also, proper indirected strategies such as graphic organization and checklists are suggested in order to assist reading and writing activities in the implementing stage.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.26 no.2
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• pp.5-23
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• 2015

The aim of this study is to analyze the effects of the creative writing program that is one of the practical strategy of information literacy on self-directed learning abilities of elementary school students. According to the results, this program raise the average score of 33.69 points from 130.14 to 163.83 significantly in their self-directed learning abilities. Among the specific abilities of them, this program affects learning planning and evaluation capability meaningfully. But the long term continuous of learning executive is not changed significantly by this program. As the results of after interview with the students who take part in this program, the most of them respond that they could reduce their fear of writing and apply the reading and writing strategies to other subjects. So, if we teach this program with subjects consistently and use the learning strategies of information literacy, we could improve the long term continuous of learning executive.

• Journal of the Korean Society for Library and Information Science
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• v.50 no.2
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• pp.5-23
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• 2016

The purpose of this study is to analyze common inquiry tasks of middle school history textbooks and find out it's implications on teacher librarians' educational information services. There are 84 common inquiry tasks according to examinations of inquiry tasks related to world history in 18 kinds of middle school history textbooks. Results of the analysis show that almost all of common inquiry tasks of world history make middle school students who should resolve them research the pictures and reading materials included in the textbooks individually and verbalize under the information literacy process. Compared with information literacy process of the "Library and Information Skills" for middle schools, the First step of task definition and figuring out information needs and the Third step of representation of information are being implemented. For this reason, teacher librarian could reduce history studies teachers' burden of running the class and promote students' inquiry activities by teaching skills of information analysis and interpretation, synthesis and organization and evaluation of their information literacy process and results.

• 기호학연구
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• no.57
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• pp.211-255
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• 2018

This paper attempts to "re-read" the webtoon Misaeng, which was once an important issue in the field of public discourse on "labor". Our hypothesis was that the dual actactial structure of Misaeng's hero Jang Geurae gave a dual structure to the entire text, which leads to the discovery of text meaning that was not mentioned in the existing discourse. This is based on the concept of 'meta-story character', which Hiroki Azuma talked in his postmodern literary theory. To verify this hypothesis we analyzed the text by applying the Parisian semiotics, more specifically J. Fontanille's theory. Jang Geurae is observed to be a actant of dual structure divided into 'character' of the enunciated level and 'player' of the enunciation level. Considering this characteristic of the hero, Misaeng can be interpreted as a metafiction that shows the 'shifting' between the subject of the enunciated level and the subject of the enunciation level. On the level of 'character' Jang's existence mode turns out to be "Deficiency (actualized)", but on the level of 'player' Jang 's existence mode turns out to be "Inanity(potentiallized)." His somatic responses also show a duality, which is represented by Fontanille's corps-actant model, where on the level of 'character' the somatic actant of Jang consists of 'Moi-chair(ego-flesh)' and 'Soi-idem(self-idem)', and on the level of 'player' it consists of 'Moi-chair(ego-flesh)' and 'Soi-ipse(self-ipse)'. The former mainly acts as a 'role' and takes charge of exteroceptive perception, while the latter mainly acts as 'attitude' and takes charge of interoceptive perception. Because of this dissociative nature of actant, Jang's two 'self' draw the re-adjustment of values without serious conflict between the collective norms and the individual identity. This is in sharp contrast with other characters who struggle with the conflict between the environment and "self". It becomes customary to adopt norms that are suspected to ineffective, but if you raise questions, the normative system can be updated. On one axis of Misaeng there are characters who have lost themselves in customs. On the other axis, there is Jang who can not help dismantling the existing ineffective norms and updating the normative system. Jang's existence mode seems to be one of many possible modes generated by this era where people share no longer solid community values, His actantial structure also communicates with readers of these days who put themselves more in subject of enunciation level than of enunciated level.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.31 no.3
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• pp.29-50
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• 2020

The purpose of this study is to analyze the characteristics of the media contained in textbooks for students with disabilities based on the information processing model, and to find ways to utilize library materials for class improvement for them. To this end, the media included in the in-depth learning activities of the Korean language textbooks of the 2015 revised special education basic curriculum were analyzed. As a result of the analysis, it was found that students with disabilities received information mainly through vision, process information through understanding, and use language intelligence to produce results. Specifically, they accepts learning contents through illustrations and texts, processes the contents based on understanding such as reasoning and explanation, and then uses linguistic intelligence such as writing and speaking to produce results. Based on the results of this analysis, a practical method to utilize library materials in the Korean language class of students with disabilities was proposed as follows. Developing a variety of input mediums based on reading stages and collection mapping for students with disabilities. Providing book materials through reading and listening. Teaching appropriate methodological knowledge to self-directly solve advanced learning activities. In addition, developing types of writing and writing strategies that can help various production activities.

• Journal of the Korean Society for Library and Information Science
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• v.53 no.2
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• pp.5-27
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• 2019

The purpose of this study is to analyze the media of middle school social studies 1 textbooks with the information processing model and to suggest educational information services of teacher librarians under a collaborative Instruction. For this purpose, 1,089 inquiry tasks embedded in 8 types of textbooks for middle school social studies developed under the 2015 revised curriculum were analyzed. The media as an input element was analyzed by the type and the characteristic as a processing element was analyzed by the cognitive behavior types. And the aspect of the output factor of the media utilized the multiple intelligences. As a result of the analysis, the media in the inquiry task solving process mainly consisted of visual media based on photographs and illustrations and general reading materials. The processing method of media is understanding through analysis and inference through structuring. And the output utilized speaking and writing of the language intelligence. Based on the results, it is shown that educational information services that teacher librarians could provide for inquiry activities are composed of developing curriculum map, teaching inquiry processing and skills, and designing work sheets with graphic organizer and multiple intelligences under the information processing steps.

• 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 Science of Art and Design
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• v.5
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• pp.175-216
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• 2003

시각이 아닌 오감체계에 관계하는 때문에 현대미술은 외관만으로 이루어지지 않는다. 곧 예술 작품들은 하나의 장소를 관객에게 제공하여, 심리적, 물리적, 또는 예술이 존재여부에 관한 갖가지 질문들을 제기한다. 모든 예술 작품은 메시지를 담고 있다. 이러한 관점에서 개념 또는 아이디어에 우선하는 현대미술은 그들의 메시지를 전달하기 위해 우리의 사회적 배경과 보편성을 간과할 수 없다. 우리의 물체 인식은 결국 우리의 경험체계를 통해서 이루어진다고 간주하면, 현대미술의 새로운 형태는 보편적 특질들이 그 특질들 이상의 상태로 보여지도록 유도한다. 이러한 창조 행위의 시작은 현대인간의 문화 읽기이며 문화는 인간과 자연의 긴밀한 관계 속에서 이루어진다. 역사는 지나간 시간을 기록한 것이며, 이 또한 우리의 지식과 정보 체계에 속한다. 회화가 평면에 입체감을 표현하는 것과는 달리 조각은 자연 속, 즉 실재공간 속에 있는 모든 것을 표현하기 때문에 시각(visible) 이외에도 촉각(tangible)이 관여하게 된다. 조각의 특수성은 촉각(tangible)이 우선하는 것이다. 그러나 시각과 촉각은 매우 적극적으로 미학적 경험에 참여하는 감각으로 이들을 서로 분리하여 생각하기가 무척 힘들다. 왜냐하면 어떤 경험에 있어서 기억연합 또는 감각 연합에 의해 하나의 감각이 다른 여러 감각을 촉발하여 연쇄반응 혹은 '형태 Gestalt'를 이루기 때문이다. 대부분의 근대 조각 작품들은 조각대 위에 고정되어 있는 구상 형태를 지녔기 때문에 조각작품 자체가 지닌 외적 형태와 그 자체내의 공간이 더욱 중요한 역할을 하게 된다. 말하자면 미로의 비너스 조각은 대리석과 비너스 형태의 결합이다. 때문에 관객은 그 주변을 돌면서 우리 신체의 내적 공간과 시각에 의존하면서 그 작품의 중량감, 양감, 형태 등의 특질과 만나게 된다. 그러나 현대 추상조각과 개념조각은 이보다 좀 더 확장된 공간을 제시한다. 이것은 현대조각이 건축개념을 수용한 때문이며, 그것이 때로는 안 쪽에서 때로는 바깥 쪽에서 그 형태를 결정하며, 보고 듣고 느끼고 만져지고 왕래하는 등의 인식 영역인 관객의 오감체계에 직접적으로 관계하기 때문이다. 우리는 건축 공간에서, 시각 외에도 청각이나 촉각을 통해 지각한다. 대강 요약하자면 공간은 객관적 상태이기보다는 인식영역의 주관성을 통해 받아들여진 우리가 지나쳐온 것들이나 체험된 공간이다. 여기서 '받아들여지는' 일은 과거 경험들의 주체들, 언어와 문화에 의해서 이루어져야 한다. 건물, 즉 둘러싸고 있는 공간은 중앙이 아니다. 중앙은 바로 나, 둘러싸여진 나이다 나는 나의 동작에 따라 그 공간의 시스템을 변화시킬 수 있는 유동적인 중심이다 (이때의 나는 위치의 축을 변화시키는 것이 아니라, 그들을 탐색하는 것이다). 작품이 대형화되면서 이러한 건축공간개념이 현대 조각가들의 작품개념에 이용되었다고 본다. 현대미술에서 In situ작업과 특정한 장소를 위한 기획되어진 최근의 프로젝트 작업들은 대형화되어있으며, 건축에서처럼 특정한 장소를 만들어낸다. 로잘린드 크라우스(Rosalind Krauss)는 또한 '조각영역의 확장 (La sculpture dans le champ elargi)'에서 현대조각이 건축과 환경의 영역을 침범하고 있음을 지적한다. 그녀에 의하면, 1960년대 이후의 현대조각은 이러한 탈 귀속성과 조각의 자율성을 획득함으로써 조각은 건축물이 아니면서 건축물 주변에 위치하거나 풍경이 아니면서 풍경 안에 자리잡게 되었다. 이와 같이 현대의 대형조각 작품들 - 예를 들어 대형화된 미니별 조각이나 개념미술, 또는 대지예술 등 -은 풍경의 실재가 아니기 때문에 환경으로부터 구분된다고 언급하고 있다. 이들 조각은 더 이상 만져지는 실체이거나 점유하는 공간의 상징언어를 지닌 조각의 범주에 한정되지 않게 된다. 조각과 건축의 공간인식을 인체의 크기와 관련하여 보면, 메를로 퐁티(Merleau-Ponty)의 '지각의 현상학' 은 우리가 논하는 작품의 공간체계를 분석하는데 지침표가 되어준다. 메를로 퐁티가 말하는 지각은 정신에 의해서만 이루어지는 것이 아니며, 몸과 함께 이루어지는 현상이다. 지각은 우리가 부단히 눈을 움직이고 만지고 냄새를 맡고 주변을 돌아 다니면서 세계와의 직접적인 접촉을 통해 이루어 진다. 몸의 움직임을 통하여 나타나는 신체적 표현은 몸 자체가 원천적으로 지향적 활동의 주체로서 파악되는 한 이미 항상(恒常, constant) 의미 현상을 지니다. 우리의 지각이 움직이는 몸의 지향 활동을 통해 이루어진다는 것은 우리의 몸의 지향활동이 의식에 선행함을 의미한다. 몸의 움직임은 의식의 의도를 표현할 때에만 의미를 나타내는 기호가 되는 것이 아니라, 이미 그 자체가 살아있는 표현이다. 우리의 몸짓, 표정은 우리 의식이 의도하기 전에 이미 의미가 담겨있다. 몸은 그 자체가 기호(Signe)적이다. 결국. 메를로 퐁티에게서 세상(le monde entier)은 그 자신이 주체가 되어 인식한다, 그리고 이 인식 구조에는 우리의 몸이 구심점(le point centripete)이 된다. 만약 우리가 이러한 메를로 퐁티의 개념을 염두에 둔다면, 예술작품의 특성에 매우 중요한 역할을 하고 있는 재료와 크기를 이해할 수 있을 것이다.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.4
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• pp.56-75
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• 2023

As of 2019, for the 'Island I Want to Visit' project, Banwol and Bakji Islands, located in Shinan-gun, started color marketing to create a tourist attraction by painting roofs, buildings, and facilities purple. As this landscape change was evaluated as a 'dangerous but beautiful attempt,' it was recognized as the 'World's Best Tourism Village' in 2021, drawing attention from domestic and foreign tourists. However, the residents of the islands, who created and enjoy the benefits of the landscape, were alienated from the planning stage. This study investigated the meanings and symbols of residents' perceptions of the purple landscape. The cultural landscape frame of new cultural geography, which interprets the landscape's symbolic meaning and ideological signs, was utilized. In addition, a holistic approach was applied to understand the residents' perceptions of the multi-layered environment. Therefore, the perception of purple, the main color of the islands, the overall landscape and individual places, and the general perception of the Purple Island project were investigated. After the Purple Islands Project, the main senses for recognizing the villages focused on sight, and the residents were satisfied with the purple landscape as it improved the underdeveloped village environment. This satisfaction was based on lessening the negative memories experienced as an island rather than a value judgment on the purple color. In addition, the perception of the symbolic landscape, which has a social and universal system, has been subdivided and reorganized, including for tourism functions. It can be understood as an aspect of the spectacle landscape that appears in cosmopolitanism. However, in the process of transforming into a tourist attraction, it was discovered that the residents recognize the value of local resources and create a new cultural landscape. In addition, the perception of the relationship between Banwol and Bakji has also changed around tourism.