• Journal of the Korean Institute of Educational Facilities
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• v.3 no.3
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• pp.59-70
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• 1996

장안초등학교는 한국전쟁 이후인 1955년에 개교된 초등학교이다. 처음에는 8학급의 가교사시설에 18학급으로 편성되어 초기부터 시설이 양적으로 부족하였다. 또한 이 지역의 학생수 증가로 거의 매년에 걸쳐 학급수의 증가와 교실증축이 함께 이루어 졌다. 현재 건물의 건립년도를 살펴보면 1965년 6월에 처음 신관 1층 부분이 건설되어 70년대와 80년대에 걸쳐 꾸준히 증축되어 왔으며, 대지 동측의 별관은 1993년 12월에 건설된 새건물로, 학교교사 건물이 30년된 건물과 최근의 건물이 함께 공존하고 있다. 철근콘크리트 건물이 구조적으로는 100년도 견딘다 하지만 실제로는 약 30년이면 콘크리트의 산성화가 가속화되면서 구조적으로 안전하지 못하다는 학설이 인정되어, 최근 30년이 경과된 학교 건축의 재건축이 사회적 문제로 대두되고 있다. 실제로는 25년이상 경과된 건물에서도 구조적인 하자가 발생하는 예 가 많아 교육부에서는 대체로 25년이상 경과된 건물에 대하여 재건축을 실시하고 있다. 장안초등학교는 20년에서 30년 경과된 건물이 많은 부분을 차지하는 관계로 재건축이 실시되는 예이다. 아직까지 사용이 가능하다고 판단되는 건물은 본관의 남측부분의 교사(1983년 증축)과 신관의 우측부분(1985년 9월 23일 증축)과 별관(1993년 12월 14일 신축)교사동을 들수 있다. 때문에 이 부분에 대하여 철거할 것인가 혹은 그대로 사용할 것인가에 대한 의견이 있어, 최종적으로 별관은 그대로 사용하는 것을 원칙으로 하고 본관 남측부분은 가장 마지막 건설시기에 철거하고 신관 우측부분은 규모가 작아 철거하기로 하였다. 학교건축은 다른 일반건물과는 달리 교육이라는 기능을 충분히 발휘할수 있는 공간구성이 필수적이라 할수 있다. 여기서 말하는 교육이란 예전의 주입식 교육이 아니라 21세기를 바라보는 정보화 세계화를 지향하는 교육으로 학생 개개인의 창의성과 자주성을 발휘시킬수 있는 교육이라는 점에 대하여 의견은 없을 것이다. 이러한 교육이란 다양한 교육방법을 전제로 하며 하나의 학년을 하나의 학습그룹으로 생각하는 것은 중요한 출발점이 될 것이다. 한 학년의 그룹을 교대상의 기본으로하여 이러한 그룹에 대하여 일제학습, 그룹학습, 팀티칭, 개별학습이 이루어 질수 있는 공간을 제공하는 점을 본 장안초등학교 기본계획에서 출발점으로 하였다. 물론 학교전체 학생을 콘트롤할 수 있는 교육방법도 존재한다. 선진 외국의 예를 살펴보면 아동의 능력별 교육을 위하여 무학년제(Non-Grade)를 도입하는 경우도 있지만 아직 우리나라에서는 학급단위가 중요시되고 있다. 이 학급단위는 교육단위이면서 생활지도 단위이기도 하다. 이러한 점을 인식하여 학교건축의 간장 기본 단위가 되는 보통교실 계획을 보통교실과 오픈스페이스를 연속시킨 유니트로 계획하여 일제학습, 그룹학습, 팀티칭, 개별학습 등이 이루어 질수 있도록 하였다. 실제로는 36학급을 계획할 경우, 한학년의 6개 학급이 하나의 공통된 공간내에 그룹핑 되는 것이 바람직하지만(제3안의 배치에서 제안하여 보았지만 북측교실, 오픈스페이스의 통로화등의 문제점이 있었다), 그 규모가 너무 커서 3개학급을 하나의 유니트로 하였다. 물론 한학년이 동일한 층에 배치시켜 서로의 관련성을 높게 하였다. 특별교실 계획은 보통교실과의 관련성과 장래 지역개방의 역할을 고려하여 계획하여야 할 것이다. 장안 초등학교의 경우는 별관을 그대로 사용 한다는 조건이 있기 때문에 기존의 편복도 형식의 교실에서는 보통교실 계획의 어려움이 있어 특별 교실동으로 고려하였다. 때문에 지역개방에 대해서는 문제점을 안고 있다. 체육관은 기준령에는 권장시설로 되어 있지만 학교시설에 필수적인 시설이라 생각한다. 체육은 국민건강에 직결되기 때문이다. 또한 체육관 건설은 실외체육 실내체육에 대응할 뿐 아니라 학교 행사등에 유용히 사용되기 때문에 더욱 필요시설이라 할수 있겠다. 또한 지역개방을 위하여 정문 혹은 후문 가까이에 배치시키는 것은 필수적이다. 별관, 체육관, 운동장, 후문측에 12학급용의 단독건물 등의 기본적인 제약조건을 고려하여 배치하자면 자연히 교실동들이 분산되는 결과를 낳게된다. 이러한 각각의 교사동을 A동을 중심으로 구름다리로 연결하여 동선의 불편함을 해소시켰다. 주차장은 후문 가까이에 약 10정도의 주차공간이 확보가능하다. 이외에는 운동장을 사용하는 방법과 체육관의 1층부분을 필로티로 하여 그곳에 20대 정도 주차시키는 방안이 있다. 주차는 많을수록 편리는 하겠지만 제한된 대지에 모두 만족 시켜주기는 불가능하다. 공공용의 주차와 소방에 필요한 동선이 요구된다. 특히 도심주차난을 생각할 때는 차라리 적극적으로 지하주차장을 계획하는 방안이 있을 것이다. 마지막으로 현재 67학급은 초대형 규모로 초등학교 규모로는 적합하지 못하다. 장래를 고려하여 48학급에서 최종적으로 36학급으로 계획하였으나 한동안은 67학급이 그대로 유지될 것으로 보인다. 신설 초등학교가 가까운 시기에 개교될 것을 기대한다.

• Journal of the Korean Home Economics Association
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• v.37 no.5
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• pp.61-84
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• 1999

The purpose of this study is to understand the context of cosumers' lives in Korea with a narrative analysis method. The epistemological orientation of eh narrative analysis is Interpretivism, which blends the two polar philosophical perspectives, Empiricism and Rationalism, and includes Narrotology, Hermeneneutics, Semiotics, and Structural Criticism. Narrative analysis takes as its object of investigation the story itself. This study collects eleven narrative plots from four housewives, into which Labov's structural approach is applied. This study shows clearly that the socio-cultural environment in which consumers live has strong influence on their consumption behavior and also reveals that narrativization tells not only about past actions but how individuals understand those actions, that is, meaning.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.242-253
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• 2020

Six ornamental metal quiver fittings were excavated from stone chamber No.1 of the ancient tombs of Jeongchon, Bokam-ri, Naju. The ornamental quiver fittings are metal, but the body of the quiver was made of organic material, so that it corroded and disappeared in the burial environment. The ornamental metal quiver fittings were made in pairs, and decorated one quiver according to the location they were found in and their forms. The ornamental metal quiver fitting can be divided into two types: A band style ornament (帶輪狀金具) which decorates the arrow pouch, and a board style ornament (板狀金具) which decorates the board connecting the waist belt. Two ornamental metal quiver fittings excavated from wooden coffin 2 of stone chamber No.1, were made in the band style, while the ornamental metal quiver fittings from southeast of stone chamber No.1 were identified as two boardstyle ornaments and two band-style ornaments for what was presumed to be belt loops. Material analysis of the ornamental metal quiver fittings shows that they are made of a gilt bronze plate attached to an iron plate, and the surface is marked with a speck of chisel to make lines and patterns. Chemical composition analysis (XRF) established that 24~40wt% Au and 50~93wt% Cu were detected on the gold surface, and it was confirmed that bronze corrosion had taken place on the gilt surface. SEM-EDS analysis of the gold plating layer identified a working line for glossing, and 7~9wt% Hg and an amalgam of gilt layers was detected, confirming the amalgam gilding. CT and FT-IR analysis established that the band style was double-layered with silk fabric under the iron plate, and there was also a lacquer piece underneath. The band-style ornaments have two layers of silk under the iron plate, along with lacquer pieces. Adding the fabric to the arrow pouch increases adhesion and decorative value. It is assumed that the lacquer pieces indicate that the surface of the lacquered arrow pouch had fallen together with the ornaments. On the other hand, the board-style ornaments have a thick layer of organic matter under the iron plate, but this is difficult to identify and appears to be a remnant of the quiver board. The characteristics of these ornamental metal quiver fittings were similar in Baekje, Silla, and Gaya cultures from the late 4th to the late 5th centuries, and enable us to identify the art of ancient gold craftwork at that time.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.119-158
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• 2016

In this thesis we set forth the reasons for teaching classical river novels in secondary education, and investigated the guiding principles for content design of high school literature textbooks. Although classical river novels have great significance in cultural and narrative histories, they were previously consistently disregarded in secondary education. First, we looked at the need for including classical river novels in the secondary school curriculum to create a well-balanced education of classical novels, to link this with modern river novels, to teach the narrative styles and esthetics of river novels, and to let students understand the various cultures of the late Joseon Dynasty. Second, we examined two ways of educating students about classical river novels. For exclusively teaching classical river novels, we recommended the means of teaching and provided detailed guidelines by which they can be taught, as well as provided complete information about the family tree, the story unit, and the scene deployment. To establish the link between classic river novels and their modern counterparts, we recommended the process of teaching accession and transition of tradition by introducing the commonalities and the differences across three generations stories, besides discussing the viewpoints of female writers. When classical river novels are introduced in literary textbooks, students will realize the existence of such novels though they may not understand all aspects of the novels. We suggest that teaching and introduction of classical river novels in secondary education as soon as possible.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.104-121
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• 2018

The purpose of this paper is to contribute to a more comprehensive understanding of the Buddhist art in Jeju which has rarely been in the mainstream discussions about the Korean art by focusing on the statues of Jabok Mireuk, or Maitreya of Wealth and Fortune. The Buddhist art in Jeju reached its heyday during the late phase of the Goryeo period (918-1392). The imperial court of Yuan (1271-1368) established Beophwasa, one of its guardian temples which was also a "complementary temple" of Goryeo (918-1392). In 1296, the community of monks based in Myoryeonsa Temple published the Jeju edition of the Buddhist canon granted by the royal court of Goryeo, contributing to the foundation of the island's academic culture. Other items representing the heyday of the Buddhist art of Jeju include the Vajra Guardian carved on the greenschist pagoda of Sujeongsa Temple built during the late Goryeo period and the Five-story Stone Pagoda of Bultapsa Temple made from the locally obtained basalt rock during the early $14^{th}$ century. The Buddhist art of Jeju during the Joseon period (1392-1910) is represented by Jabok Mireuk, or Maitreya of Wealth and Fortune, a pair of stone statues of Maitreya Buddha carved to feature three aspects of the Maitreya worship spread among the local folks in the period. Each of the statues is in a peaked cap and official's robe and characterized by bulging eyes comparable to those of the Buddhist guardian deities such as the Vajra guardian who were designed to protect a sacred area against evil forces. The Maitreya statues provide valuable sources of knowledge about the types of Maitreya adopted by the worshippers of local folk religion in the Joseon period. The Jabok Mireuk statues in Jeju can be easily compared with the Two Rock-carved Standing Buddhas in Yongmi-ri, Paju (1471), and the two standing stone Buddhas in Daeseongsa Temple in Okcheon (ca 1491) and on the Sipsinsa Temple site in Gwangju in that they all wear peaked caps in the "treasure canopy" style which gained popularity during the early Joseon period. One may conclude then that these statues are related with the Neo-Confucian elites who wanted the Joseon dynasty they established to prosper under the auspices of the Buddha of the Future. Interestingly, the enshrinement of the stone Buddha of Daeseongsa Temple is presumed to have been participated by Yuk Han who had served as the Governor (Moksa) of Jeju, suggesting its connection with the Jabok Mireuk despite the regional difference in their style.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.118-129
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• 2011

This study is about the governor general's official residence and its garden in Yongsan that were constructed during the Japanese occupational time. The garden design drawing was also made while planning such Neo-Baroque style building, and it contains particular information of the garden unlike the other existing landscape drawings. The content of garden translated and landscape historical value drawn out by analysis of garden drawings, press articles and literatures are as follows; First, such governor general's official residence garden in Yongsan is likely to be the Korean first western style landscape form. For, from the point that it was completely constructed together with such official residential building in 1909, its construction time should be before that of the garden of Seokjojeon, Deoksu Palace, which was constructed in 1911. Second, it shows the garden style and garden planting factors introduced together with the modern architecture then. Such garden planting factors are placed from the center axis of the garden that is connected to the center of the building and monument as well. Such style and factors cover and show the flower bed appearing in Baroque style gardens, the monument that forms Vista playing the center of audience's vision, water space that is placed symmetrically against the axis, planting pattern that emphasizes the plants' space, flower bed shape and axis, and what kinds of plants were introduced then. Third, it shows the using pattern of western style gardens. Western style garden parties used to take in place in this garden while official dinner and reception were held in the evening in the official residence. Fourth, it shows the historical value as a modern landscape drawing, which is the Korean first landscape drawing that shows the plants' names and planting techniques marking the current height and planned height for change of topography and water system as a water landscape factor. That is, this drawing has the value that it was upgraded from the other existing ones that expressed only simple plants' symbols or flower bed shapes. I, therefore, hope that the studies on the modern landscape would be getting wider by excavation of new historical records in the future.

• Journal of Christian Education in Korea
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• v.68
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• pp.345-374
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• 2021

This study is a paper which studies the fact that autobiographical writing in Christian educational books is an important channel for studying the identity of Christian educators. The identity of Christian educators is the background and foundation of the study of Christian education theory. It was found through research that the scholar's identity is more evident in autobiographical writing from a first-person perspective experienced by the author than in argumentative writing with objective and cognitive limitations. This study examined the concept and characteristics of autobiographical writing research, the relationship of autobiographical writing research and self-identity, the relationship between autobiographical writing and Christian education, and discovered autobiographical writing in Christian educational scholars' books. Through the autobiographical writing of Maria Harris' Teaching and Religious Imagination, Parker Palmer's The Courage to Teach, and Elizabeth Moore's Teaching as a Sacrament Act, we studied that the identity of Christian educators can meet, transform, and expand learners' identity as well. Through research, it has been confirmed that autobiographical writing takes the form of a story, but as a story distinct from the story, it becomes a place where the authors' identity and readers' identity can meet, wrestle and expand. Autobiographical writing has a relationship with story and self-identity. These characteristics are also linked to Christian educational goals that focus on the formation and transformation of self-identity. The autobiographical writing in Harris, Palmer, and Moore's writings shows the identity of a teacher, including scholars' theological perspectives and views on education. As the writing of Christian education books so far has become argumentative and objective writing, readers has felt a sense of disparity and disconnection. If autobiographical writing becomes educational books' style, it can invite readers to empathize with who the author is. Christian education will experience more fundamental changes with autobiographical writing.

• (The) Research of the performance art and culture
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• no.39
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• pp.325-355
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• 2019

On June 12, 1791, the old bachelor Kim Hee-jip and the old lady Shin Deok-bin's Daughter get married. The wedding ceremony is a state-led so-called 'virgin virgin bachelor's marriage project'. At that time, the king ordered the recorder to record the case, which is called . The private sector also made it into a work, which is the Chinese drama written by LeeOk(李鈺). was created with the purpose of praising the king, and it inserted entertainment elements into it, so it had a frame of plays, but it did not have a performance in mind from the beginning. LeeOk uses different styles in each of the four acts. He tried to soothe his boredom by setting tales and proverbs in Acts 1 and 2, Pansori in Act 3, and drama in Act 4. In 1918, BaekDooYong(白斗鏞) published DongSangGiChan[東床記纂], which is combines drama and Yadam . In previous studies, these two were perceived as different works, but the two rooms were closely linked: the link was 'someone recognize me[知 己]'. He understood the table of contents made by Lee as 'JaeHyun(才賢)', 'deokhye(德慧)', 'Kwontaek(眷澤)', 'Bokyeon(福 緣)' respectively, and recorded the version of the yadam that fits it in . From acts 1 to 4, Baek contained his desire in it by constructing 'someone recognizes me → I recognize someone → do good things[積善] → blessings[餘慶]'. This is why we can't comprehend and as completely different works.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.

• (The)Study of the Eastern Classic
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• no.57
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• pp.467-505
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• 2014

I am working on a series of Korean linguistic studies targeting Ganchal(old typed letters in Korea) for many years and this study is for the typology of the [Safety Expression] as the part. For this purpose, [Safety Expression] were divided into a formal types and semantic types, targeting the Chinese Ganchal and Hangul Ganchal of modern Korean Language time(16th century-19th century). Formal types can be divided based on whether Normal position or not, whether Omission or not, whether the Sending letter or not, whether the relationship of the high and the low or not. Normal position form and completion were made the first type which reveal well the typicality of the [Safety Expression]. Original position while [Own Safety] omitted as the second type, while Original position while [Opposite Safety] omitted as the third type, Original position while [Safety Expression] omitted as the fourth type. Inversion type were made as the fifth type which is the most severe solecism in [Safety Expression]. The first type is refers to Original position type that [Opposite Safety] precede the [Own Safety] and the completion type that is full of semantic element. This type can be referred to most typical and normative in that it equipped all components of [Safety Expression]. A second type is that [Safety Expression] is composed of only the [Opposite Safety]. This type is inferior to the first type in terms of set pattern, it is never outdone when it comes to the appearance frequency. Because asking [Opposite Safety] faithfully, omitting [Own Safety] dose not greatly deviate politeness and easy to write Ganchal, it is utilized. The third type is the Original position type showing the configuration of the [Opposite Safety]+Own Safety], but [Opposite Safety] is omitted. The fourth type is a Original position type showing configuration of the [Opposite Safety+Own Safety], but [Safety Expression] is omitted. This type is divided into A ; [Safety Expression] is entirely omitted and B ; such as 'saving trouble', the conventional expression, replace [Safety Expression]. The fifth type is inversion type that shown to structure of the [Own Safety+Opposite Safety], unlike the Original position type. This type is the most severe solecism type and real example is very rare. It is because let leading [Own Safety] and ask later [Opposite Safety] for face save is offend against common decency. In addition, it can be divided into the direct type that [Opposite Safety] and [Own Safety] is directly connected and indirect type that separate into the [story]. The semantic types of [Safety Expression] can be classified based on whether Sending letter or not, fast or slow, whether intimate or not, and isolation or not. For Sending letter, [Safety Expression] consists [Opposite Safety(Climate+Inquiry after health+Mental state)+Own safety(status+Inquiry after health+Mental state)]. At [Opposite safety], [Climate] could be subdivided as [Season] information and [Climate(weather)] information. Also, [Mental state] is divided as receiver's [Family Safety Mental state] and [Individual Safety Mental state]. In [Own Safety], [Status] is divided as receiver's traditional situation; [Recent condition] and receiver's ongoing situation; [Present condition]. [Inquiry after health] is also subdivided as receiver's [Family Safety] and [Individual Safety], [Safety] is as [Family Safety] and [Individual Safety]. Likewise, [Inquiry after health] or [Safety] is usually used as pairs, in dimension of [Family] and [Individual]. This phenomenon seems to have occurred from a big family system, which is defined as taking care of one's parents or grand parents. As for the Written Reply, [Safety Expression] consists [Opposite Safety (Reception+Inquiry after health+Mental state)+Own safety(status+Inquiry after health+Mental state)], and only in [Opposite safety], a difference in semantic structure happens with Sending letter. In [Opposite Safety], [Reception] is divided as [Letter] which is Ganchal that is directly received and [Message], which is news that is received indirectly from people. [Safety] is as [Family Safety] and [Individual Safety], [Mental state] also as [Family Safety Mental state] and [Individual Safety Mental state].