• Journal of Educational Research in Mathematics
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• v.14 no.3
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• pp.221-237
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• 2004

This research analyzed mathematical discourse of the students in an RME-based differential equations course at a university in order to investigate the social transformation of the students' conceptual model of differential equations. The analysis focused on the change in the students' use of conceptual metaphor for differential equations and pedagogical factors promoting the change. The analysis shows that discrete and quantitative conceptual model was prevalent in the beginning of the semester However, continuous and qualitative conceptual model emerged through the negotiation of mathematical meaning based on the inquiry of context problems. The participation in the project class has a positive impact on the extension of the students' conceptual model of differential equations and increases the fluency of the students' problem solving in differential equations. Moreover, this paper provides a discussion to identify the pedagogical factors Involved with the transformation of the students' conceptual model. The discussion highlights the sociocultural aspect of teaching and learning of mathematics and provides implications to improve teaching of mathematics in school.

• Korean Security Journal
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• no.13
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• pp.279-303
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• 2007

The Study on the Film, as the one of the main fields in the cultural studies, has the significant meaning in analyzing our society in that culture represents the realities of the present society. Film is the metaphorically expressed text and the specific space where a variety of discourses cross. The director's social consciousness projected in the film must have the ultimate significance through the dialectic relation between the intention of the director and the interpretation of the audience, not through the his one-sided message to the audience. This paper focuses on the analysis of the movie 'The Host', which is evaluated to show the meaningful social phenomena related to 'disaster' among the recent movies in Korea. The Host which is characteristic of 'the open structure' can be referred to as the film reflecting the imperial order prevalent in the colonial society.

• Journal of the Korean association of regional geographers
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• v.16 no.1
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• pp.76-84
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• 2010

This study is to critically examine a variety of perspectives of seeing the interactions among space, people, and society. According to Tuan, place is a center of meaning constructed by people's experience, and its attributes consist of natural and built-up environments. Entrikin suggests a way of seeing place from a contrary perspective, that is, the subjective and existential sense of place and the objective and naturalistic conception of place. Lefebvre examines the historical transformation of social space through the dialectics among the perceived space, the conceived space, and the lived space. Social space is (re)produced and changed through the conflictual unit of the spatial triad. The project of Foucault's spatial metaphor is to tightly combine three critical concepts, power, knowledge, and space. Those concepts are not objectively existed regardless of specific times and spaces, but they are socially and culturally constructed through the networks of people under particular environments. In the following papers, it is needed to comparatively examine the various perspectives mentioned above to make a new conceptual framework of understanding the interactions among space, people, and society.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.67-75
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• 2020

Metonymy can be said to be the only language's meaning shifting technique that exists in the domain of a single human thought in order to obtain a transparent cognitive effect. The purpose of this study was to analyze the 'descriptive metonymy' of the advertising content language constructed by the cognitive principle and to find a way to use it in media language education for social and cultural interests and reflection of college students. The metonymy used in advertising media contrasts with the difficulty of the metaphorical interpretation of "opaque and distant" reasoning. Storyboards, mostly focused on human emotions and behaviors, used metonymy's 'transparent and easy meaning shifting technique'. I have found that I can expect the efficiency of media language education that contains the interest and sociocultural interest, self-reflection, and future imagination of college students. Now, there is less need to perform cognitive reasoning for advertisements with ambiguous metaphor techniques. Lastly, in order to produce successful advertising content, we expect to use the language technique of 'narrative metonymy' with warm feelings of humans, and acknowledge the lack of quantitative research and leave it as a task for the next research.

• The Journal of the Korea Contents Association
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• v.14 no.12
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• pp.629-638
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• 2014

Objective of this study is to be utilized as foundational data of expression methods and to increase children's dream and imagination by researching and analyzing differences of imaginative reaction from patterns of imaginative activities and verbal response for the expressive methods of illustrations. Study subjects are 253 children aged from six to seven years old, and four different types of research tool of which are screens with simple pattern, realistic pattern, omitted pattern and indirect pattern has been used in the empirical survey conducted over two times. Result from provided research tools has shown that difference of diversity can be observed from patterns of imaginative activities and verbal reaction patterns. Especially, in terms of imaginative activities, structural and creative imagination responses can be observed from screens with simple, omitted patterns and indirect and metaphorical patterns compares to screens with simple patterns and direct, realistic patterns, and positive affection to children's dream and creativity and imagination can be found from the result of high imaginative response observed from patterns of verbal reaction.

• Archives of design research
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• v.16 no.4
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• pp.207-214
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• 2003

The reason why rhetoric is important to a moving image is that a moving image communicates through non-verbal communication language. At first, rhetoric in a moving image functions to be persuasive in the story of a moving image. Second, rhetoric works to enhance an aesthetic value for a moving image. Thus we feel good when we are watching a moving image with well embeded rhetoric. On the other hand, we see extened rhetoric to enhance an imaginary because of a hollywood movie with visual effect and a digital movie. Visual images now formed using more signigier compared to signified for signification. Also we see that every signifier structured metaphorically to function as a sign. In this paper, 1 am going to explain the principles of rhetoric applied to a moving image so that we can better understand a signification on visual image.

• Archives of design research
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• no.18
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• pp.153-162
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• 1996

underground space have many negative environmental clements which should be confirmed on location and line of action by the artificial signs. iccordingly, environmental graphics as visual language for popular signification-function have to be studied on sign theory of symbolic meanings. Ho\/ever, its usage has not only decorated by microscopiC appreciative eye but also lost its meanlllg as a visual language which was caused by the negligence of systematic management of the facility in charge Result of study, Visual environmental factors as a cause of behavioral attitude based on the study, which has been carefully considered as a communication of the visual language. Therefore, considering the underground environmental graphics as the: sign or the signification-function, It has to be studied on syntactic, semantic and pragmatic viewpoint. SpeCifically, to maKe the color and formation language a signification-function as a generalized connotation to the public, a distinctive classified Visual language must be applied.

• Journal of the Korea Society of Computer and Information
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• v.25 no.3
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• pp.251-260
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• 2020

In this paper, we propose to understand the conceptual structure of programming elements that learners form during the prototyping theory. To do this, we reviewed previous studies on the meaning of conception and prototype theory and conducted a course of problem-solving programming for 33 university students who had no prior experience in programming, and collected transcription materials through conceptual metaphorical writing. The conclusions of this study are as follows: 1) Identifying the conceptual structure of learners as a conceptual metaphor can enhance the effectiveness of programming education. 2) Learners need to reinforce the experience of forming abstract attributes to form mature programming concepts. 3) The concept of programming differs in the structure of multi-level concepts that students, teachers, and professional programmers have in each group. 4) Programming elements should intentionally block misconception risks in the meaning of symbols. 5) Concept evaluation tools should be developed to check whether various attributes can be applied.

• Journal of the Korean Institute of Landscape Architecture
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• v.32 no.2
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• pp.68-77
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• 2004

안계복과 한성미(2003)는 한국 전통공간 가운데 비교적 잘 보존되어 있는 곳을 중심으로, 해 학적 요소와 의미에 대해 사례 중심적으로 분석하였다. 본 논문에서는 한국 해학에 관한 기존 연구들을 검토하는 문헌고찰과 한국전통 유머의 특성에 대하여 고찰하였으며, 또한 전편의 사례연구에서 조사된 사례들을 유형화하여 그 특성을 파악하고자 하였다. 해학은 우리 민족이 지닌, 여유를 바탕으로 한 독특한 정서이며 이러한 해학성은 전통 예술이나 문학에서 쉽게 찾아볼 수 있다. 그러나 조경분야에서 이 한국의 해학성에 대한 연구는 아직까지 없었으며, 해학이 반영된 현대전통조경 설계사례도 찾아보기 어렵다. 한국 전통 공간에 나타난 해학은 서양의 그것과는 달리 간접적, 은유적이다. 이러한 해학은 삶의 지혜요 웃음이요 화해이다. 한편, 디자인으로서의 해학은 공간에 친근감을 부여함으로써 특정 공간의 경직성을 완화하고, 독특한 공간감을 조성하며, 보는 이들을 끌어들이는 매력을 지닌다. 이러한 공간적 특성을 현대에도 계승해 나아가는 것이 중요할 것이다. 이번 논문에서 분석하지 못한 공간 구조적 특징, 설계원칙 등은 추후 과제로 돌린다.

• Sijohaknonchong
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• v.44
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• pp.29-56
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• 2016

The purpose of this article is to shed light on the position and the importance of sijo (Korean traditional poetic form of Three-Line Stanzas) of the Korean poet Park Jae-sam among Korean sijo writers. Even though Park Jae-sam started his career as a poet writing two sijos and a poem, he began to write more poems than sijos later on. Anyway his interest in sijo writing has continued and he has served as a judge of sijo writing contests ever since. Especially in 1985, he published a collection of sijo. And each sijo writing in this collection are composed of three-line stanzas and each stanza of three lines. And each line has a rhythmic sound with a formal word formation. This article reveals that Park Jae-sam has pursued a happy unity of form and content in his sijo writings from the collection and that he has tried his hardest to realize this goal. This article notes that for this goal he puts stress on some methods of creating poetic images and the process of creating new ideas, the unity of Koreans's unique emotion of han(恨) and a sense of eternity, transcendence through ambivalent emotions, and the structure of statement mainly made of juxtaposed metaphors. And this articles also notes that as a most sincere lyric poet in the history of sijo he is much distinguished from other Korean poets in that he depicts mainly Koreans's unique emotions and their characteristics.