• Communications of Mathematical Education
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• v.23 no.3
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• pp.735-760
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• 2009

Most of every teachers' life is occupied with his or her instruction, and a classroom is a laboratory for mutual development between teacher and students also. Namely, a teacher's professionalism can be enhanced by circulations of continual reflection, experiment, verification in the laboratory. Professional development is pursued primarily through teachers' reflective practices, especially instruction practices which is grounded on $Sch\ddot{o}n's$ epistemology of practices. And a thorough penetration about situations or realities and an exact understanding about students that are now being faced are foundations of reflective practices. In this study, at first, we explored the implications of earlier studies for discussing a teacher's practice. We could found two essential consequences through reviewing existing studies about classroom and instructions. One is a calling upon transition of perspectives about instruction, and the other is a suggestion of necessity of a teachers' reflective practices. Subsequently, we will talking about an instance of a middle school mathematics teacher's practices. We observed her instructions for a year. She has created her own practical knowledges through circulation of reflection and practices over the years. In her classroom, there were three mutual interaction structures included in a rich expressive environments. The first one is students' thinking and justifying in their seats. The second is a student's explaining at his or her feet. The last is a student's coming out to solve and explain problem. The main substances of her practical know ledges are creating of interaction structures and facilitating students' spontaneous changes. And the endeavor and experiment for diagnosing trouble and finding alternative when she came across an obstacles are also main elements of her practical knowledges Now, we can interpret her process of creating practical knowledge as a process of self-directed professional development when the fact that reflection and practices are the kernel of a teacher's professional development is taken into account.

• Journal of Korean Home Economics Education Association
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• v.30 no.3
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• pp.43-66
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• 2018

The purpose of this study was to conduct the instruction for 'Family Life Planning' based on backward design and measured the learners' understanding and satisfaction for testing validity. In short, the result of this study are as follows: In this study, first of all, the students could explain significant concepts, knowledge, and principles for the planning of family life; they could interpret and apply them; they have perspectives on them; they could empathize them; and they could have self-knowledge. The students could also accomplish high achievements for important concepts related to the field of family life planning. In conclusion, this study showed that the developed instruction was very effective for the students to achieve fruitful results, accelerating the learners' persistent understanding. Second, the learners had high satisfaction on the instruction of Family Life Planning based on backward design with the average score of 3.68 out of the perfect score 4. The students could be satisfied with the developed instruction since they could have high interest in the class thanks to diverse learning materials, and they could take an active part in the learning tasks based on group activities and questions. Also they could apply the contents that they learned through task performances to new situation and context. Therefore, this study proved that the developed instruction enhanced the learners' satisfaction on class.

• Journal of Korean Classical Literature and Education
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• no.37
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• pp.5-45
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• 2018

Today, in the case of literary works such as modern poetry, novels, 'literature production : literature acceptance' are relatively simple as 'writing : reading'. However, in classical literature, there are ways of 'singing, chanting, narrating, performing, public reading, writing : listening, reading.' Modern literary works such as poetry and novels are sole arts made up only of literature, but classical literature have many complex arts accompanied by music, theater, etc. In order to understand the way classical literature, it is necessary to consider music, theater, etc. also. There are a number of subjects to research today in relation to the accepting method of classical literature. There are such things at Hyang-ga (향가), Goryeo Sog-yo (고려속요), Sijo (시조) and Gasa (가사) in of classical poetry. There is a public reading in classical novels. There is securing video materialㄴ for narrators in oral literature. And there are Si-chang (시창. 詩唱) and aloud reading in chinese proses. 'Listening literature', such as the oral literature needs to have the A. Lord's 'formular theory' - 'formular' (general words), 'themes' (general subject), and 'improvisation.' It is the opposite of contemporary poetry and novels that value ' special words', 'special contents', and 'original text.' Classical literature with a great deal of 'listening literature' besides ' reading literature' needs to have this 'formular theory' too basically. In the case of 'excessive pornographic' oriented events in Goryeo Gayo (고려가요) and Pansori (판소리), a vision is required to set up a space for the realization of literature. The haman basic elements like a man and woman's body subject can be evoked as a literature means at open place for anonymous people. Unlike modern poetry and novels, which are 'reading literature', and contain only literature, classical literature have 'listening literature' besides 'reading literature', and have complex arts - classical poetry (literature and music), and oral literature (literature, music, theater etc.) These aspects are available to research modern mass media literature, which are all 'listening literature,' and all complex arts - pop songs (literature and music), movies (literature, drama, image, music etc.) and TV dramas (literature, drama, image, music etc.). Thus, a proper understanding and consideration of the accepting method is very important in understanding, researching and educating classical literature.

• Journal of Korean Classical Literature and Education
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• no.38
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• pp.201-238
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• 2018

As a way of enhancing the intercultural ability needed for diverse cultural eras, this study focuses on the "narration" of the Italian education scholar Maddalena De Carlo in order to determine the "diverse values" created by the "symbolic representation" based on the folktales narrated by immigrants living in Korea. Through this, it specifically presents educational elements and contents that can raise relative sensitivity. The authors of this paper have connected, empathized, and communicated with people of various cultures in order to go beyond Carlo's discussion. The paper discusses the expansion of cultural sensitivity as an element of education through narrative topics using the folktales of immigrant narrators in Korea. It also recognizes the limitations of a desire for a homogeneous union within an intercultural society and thus formulates educational contents for creating a relationship with heterogeneous ideas through the elimination of communication barriers through heterogeneity and a consideration of the surface and the back. This is systemized in six steps. Step 1: Listening to oral folktales of immigrants, Step 2: Finding heterogeneous motifs imprinted in the immigrants' memories, Step 3: Understanding the meaning of the opposing qualities symbolized by heterogeneous motifs, Step 4: Creating narrative topics containing the key motifs, Step 5: Generating the value of symbolic representation as a narrative topic, and Step 6: Expanding the value of life into a cultural symbol. In Chapter 3, this study focuses on educational contents using immigrants' folktales by applying these six steps. The class contents include the recognition of the limitations of desire for a homogeneous union within an intercultural society and the consideration of how to create a relationship with heterogeneous ideas through the elimination of communication barriers through heterogeneity and consideration of the surface and the back. This paper then compares the Indonesian folktale, The Inverted Ship Mountain and the Mom's Mountain, with the world-famous Oedipus myth, to determine what the symbolic representation of these heterogeneous motifs is. In Step 6, when the symbolic system is culturally extended, the incestuous desire that appears in the "inverted ship" is interpreted as a fixation that was created when the character sought to unite with homogenous idea. The Cambodian folktale, The Girl and the Tiger, is a story that is reminiscent of the Korean folktale, The Old Man with a Lump. Through the motif in "Tiger," this paper generates a narrative topic that will enhance the students' intercultural abilities by culturally expanding their skills in how to relate with a heterogeneous being that is usually represented as an animal. The Vietnamese folktale, The Coconut Bowl, similar to the Korean folktale, GureongDeongDeong SinSeonBi, is a story that draws a variety of considerations about the surface and theback, and it shows readers how to build a relationship with a heterogeneous idea and how to develop and grow with such a relationship. Thus, if a narrative topic is generated and readers are able to empathize using an opposing feature formed by the core motif of the folktale, it becomes possible, through immigrant folklore, to construct a possibility of a new life through the formation of a relationship with an unfamiliar and heterogeneous culture.

• Journal of Korean Classical Literature and Education
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• no.35
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• pp.87-122
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• 2017

1) The passage "Sila seongdae so-seongdae cheonha daepyeong nahu-deog (新羅盛(聖)代 昭盛代 天下大平 羅侯德)" of the Korean Dynasty , corresponds to the primary passage of Cheonyong Rang Manghaesa(처용랑 망해사)>. These passages are ironic expressions of King Heongang's reign. This passage can therefore be interpreted as having the meaning of "People talk about King Heongang who ruined the kingdom. The bright politics of Silla's loyalty is the virtue of King Heongang." 2) "Cheoyong aba isi insaeng-ae sangbuleo hasilandae isi insaeng-ae samjaepalnan-i ilsi somyeol hasyatda (處容 아바 以是人生애 相(常)不語시란 以是人生애 相(常)不語시란 三災八難이 一時消滅샷다)." This was said by Cheoyong(처용), who was unable to reveal his anger while witnessing his wife being raped by Yuk-sin(疫神). This passage means, "Father Cheoyong(처용), in this world if a man does not express anger about the absurdity of the world, he can escape from catastrophe," or, "Father Cheoyong (처용), because in this world you had not expressed anger about the absurdity of world, you could escape from catastrophe." 3) In "maa-man maa-man haniyeo sibi jegug-i moda jiseo syeon aeu cheoyongbi-hal maa-man haniyeo (마아만 마아만 니여 十二諸國이 모다 지 셰온 아으 處容아비 마아만 니여)," the most likely interpretation of Maa is "마아(麻兒)," which means "scarecrow." In this way, this passage emphasizes that Cheyong(처용) is not a scarecrow, but a representative of the eyes of all people in all kingdoms. 4) In "meoja oeyaja logliya ppallina nae singohal maeyara (머자외야자 綠李야 리나 내 신고 야라", meoja (머자) is the double arranging shape of meotda(멎다), and oeyaja(외야자) is the double arranging shape of oeda(외다); those characters mean "ugly" and "wrong for each other." Additionally, Rokri(綠李) can be regarded as an administrator in blue or black clothes who is performing an errand of the yuksin(疫神).

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.14 no.5
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• pp.79-92
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• 2019

When asked about the success factors of successful entrepreneurs and celebrities, he says he was lucky. The remarkable fact is that the attitude about luck is different. However, despite the fact that the belief that we believe is lucky is actually a dominant concept, there has not been much scientific verification of luck. In this study, we saw good luck not being determined randomly by the external environment, but by being able to control luck through the internal attributes of individuals. This study is significant that we have empirically elucidated what kind of efforts have gained good luck, whereas previous research has largely ended in vague logic where luck ends up with an internal locus of control among internal entrepreneurial qualities and efforts can make a successful entrepreneur. We introduced the concept of good luck belief to avoid confirmation bias, which is, to interpret my experience in a direction that matches what I want to believe, and used a good luck belief questionnaire in previous studies and tried to verify that those who have a good belief can increase entrepreneurial opportunity capability through planned happenstance skills. The reason for choosing the entrepreneurial opportunity capacity as a dependent variable was based on the conventional research, that is, the process of recognizing and exploiting the entrepreneurial opportunity is an important part of the entrepreneurship research For empirical research, we conducted a questionnaire survey of a total of 332 people, and the results of the analysis turned out that the belief of good luck has all the positive impacts of planned happenstance skills' sub-factors: curiosity, patience, flexibility, optimism and risk tolerance. Second, we have shown that only the perseverance, optimism, and risk tolerance of planned happenstance skills' sub-factors have a positive impact on this opportunity capability. Thirdly, it was possible to judge that the sub-factors of planned happenstance skills, patience, optimism, and risk tolerance, had a meditating effect between belief in luck and entrepreneurial opportunity capability. This study is highly significant in logically elucidating that people in charge of business incubation and education can get the specific direction when planning a training program for successful entrepreneur to further enhance the entrepreneurial opportunity ability, which is an important ability for the entrepreneur's success.

• Journal of Christian Education in Korea
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• v.67
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• pp.301-337
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• 2021

The researcher looked at the differences in views and various controversies surrounding Korean youth sexuality education in the wake of the Nth Room incident, which had a great impact on modern Korean society. Sex education for adolescents in Korea can be divided into public sex education through school sex education and the Youth Sexuality Center, and conservative/traditional Protestant sex education. Public sex education is partly influenced by feminist sexual ethics and comprehensive sex education abroad. Based on gender sensitivity and the right to sexual self-determination, four major projects are prevention of sexual harassment, prostitution, sexual violence, and domestic violence. However, the school sex education standard was criticized for stereotypes of gender roles and gender-discriminatory content, reinforced distorted myths about sexual violence, and exclusion of sexual diversity and various family types. Conservative/traditional Protestantism is based on the normal family ideology such as bisexual marriage, premarital chastity, and sexual ethics recognized only within marital relationships. It is a form of confrontation with public sex education while strongly opposing it. The researcher first analyzed the characteristics of public sex education, conservative/traditional Protestant sexual ethics and sex education, feminist sex ethics and sex education, and overseas youth sex education, respectively, while composing the curriculum for Korean youth sexuality education. And as a more fundamental solution to youth sexuality education, I pointed out that there are limits to asceticism, premarital chastity, gender sensitivity and sexual self-determination education, and found an alternative to the concept of body and sex in feminist theology. The researcher pointed out that it is necessary to reconceptualize the body and sex under the recognition that the most fundamental cause of distorted sexual culture is dualistic sex and understanding the body, centering on the research of various feminist theologians. And this was conceptualized into three concepts: holistic sexuality, mutual solidarity understood in relationships with others, and sexuality as a spirituality that extends to the global community. And with each curriculum, 1) Holistic Sexuality: Breathing, Narrative, Making the Shape of One's Body and Mind 2) mutual solidarity : Feeling the Breath of Others, Media Literacy through Conscientization, Sending a Good Wind 3) Sexuality as a spirituality that extends to global concern: It was proposed to pay attention to nature and to co-cultivate it, to listen to the earth's moans and create a new way of life, and to write a prayer with the earth and fellow living beings.

• MISULJARYO - National Museum of Korea Art Journal
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• v.99
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• pp.10-29
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• 2021

This paper is an introductory study of the wooden Buddha images excavated in the Mekong Delta in present-day southern Vietnam. Approximately thirty examples of wooden Buddha images have been recovered in the Mekong Delta. As they were found among the major historic sites of Funan (the first kingdom in Southeast Asia), including Oc Eo, and likely date to the sixth century, they can be regarded as the works of Funan. Similarly to stone Buddha images, these wooden examples are considered important for their demonstration of aspects of early Buddhist sculpture in Southeast Asia. Most of these Funan wooden Buddha images are presumed to have been produced around the sixth century based on radiocarbon dating and their stylistic characteristics. This paper analyzed the iconography and style of eight examples whose forms are relatively recognizable. The eight images can be divided into four types according to their postures, dress styles, and hand gestures. They all share features of the Sarnath style of the Gupta period in India as seen in their slender bodies and the outer robe that clings to the body. However, some display a South Indian style of Buddha images in their upright posture, style of wearing a monastic robe with the right shoulder exposed, and making the vitarka mudra (preaching gesture) that is often seen in Sri Lankan Buddha images. This suggests that Buddhist sculptors in Funan devised a new style by incorporating the principal styles of Indian Buddhist sculpture. Another notable feature of these Funan images is their material, namely, wood. While none of the contemporaneous Hindu sculptures discovered from the same historic sites are made of wood, numerous Buddhist sculptures are. This paper postulates that the use of wood in Buddhist sculptures was promoted for reasons beyond ease of carving. According to the Buddhist literature, the first-ever Buddha image was the so-called 'Udayana image' made out of sandalwood. This image and its story was well-known in the Southern Dynasty of China around the sixth century. Interestingly, some auspicious sandalwood images of the Buddha was believed to have been brought into the Southern Dynasty from Funan. This suggests the possibility that the legend of the Udayana image might have been known in Funan as well and resulted in the production of wooden sculptures there.

• (The) Research of the performance art and culture
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• no.37
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• pp.5-31
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• 2018

The mask dance drama Goseong Ogwangdae's first act, Mundung Bukchum. The story is about a man who was born to the upper class but contracted leprosy, an incurable disease, due to his ancestors' accumulated sin. Although he is suffering, he is able to triumph over the disease through sinmyeong (catharsis) that is expressed through the wordless act of Mundung Bukchum. This thesis focuses on Goseong Ogwangdae's Mundung Bukchum, particularly the meaning, costume, accompanying music, and process of pedagogical transmission. The chronological characteristics of Goseong Ogwangdae's Mundung Bukchum are as follows. First, as time goes on, the number of dance motions in Mundung Bukchum has increased and the motions used have become reified. Second, I address the small barrel drum used in Mundung Bukchum and check how, through the drum, the changed expression of Mundung is shown.In a 1965 video introduced Mundung is grasping the drum and stick and the dance appears to be made up only of humorous motions. Also in a 1969 video, "Mundung Gwangdae," from the start Mundung is grasping the drum and stick. In 1988 in a video we can see the same scene as today, with the drum and stick sitting in the center of the stage at the start of the dance. We can also confirm that the same fourteen dance motions used today are present. Third, we can also confirm the changes in Goseong Ogwangdae's signature motion, baegimsae as time goes on. Observing the video from 1965, baegimsae does not appear in Mundung Bukchum. In 2000 we can clearly see the baegimsae performed once to the left and to the right while Mundung is squatting. Comparing 1969 to 1988, there is no symmetry in the motions, baegimsae is not done to both left and right, but only in one direction. Watching the record from 2000, the baegimsae motion is performed just as it is now, with the body thrown forward with a sharp push off the ground. Fourth I confirmed how the music used to accompany Goseong Ogwangdae's Mundung Bukchum has changed over time. In 1965 according to records of Mundung Bukchum's appearance, the dance was accompanied by the taryeong rhythmic pattern played on the usual four percussion instruments (barrel drum, hourglass drum, large gong, small gong). In the 1969 records of Mundung Bukchum the accompanying music is gutgeori rhythmic pattern performed on the usual four percussion instruments-an obvious difference. In 1988 the music with Mundung Bukchum is gutgeori rhythmic pattern transitioning into jajinmori rhythmic pattern. In 2000 the music with Mundung Bukchum includes the percussion instruments as well as taepyeongso (double reed oboe) playing gutgeori and jajinmori rhythmic patterns.

• 기호학연구
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• no.56
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• pp.45-70
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• 2018

Criticism of the postmodern philosophy of the system of representation, which has continued since the Renaissance, is based on a critique of the dichotomy that separates the subjects and objects and the environment from the human being. Interactivity, highlighted in a series of works emerging as postmodern trends in the 1960s, was transmitted to an interactive aspect of digital art in the late 1990s. The key feature of digital art is the possibility of infinite variations reflecting unpredictable changes based on public participation on the spot. In this process, the importance of computer programs is highlighted. Instead of using the existing program as it is, more and more artists are creating and programming their own algorithms or creating unique algorithms through collaborations with programmers. We live in an era of paradigm shift in which programming itself must be considered as a creative act. Simulation technology and VR technology draw attention as a technique to represent the meaning of reality. Simulation technology helps artists create experimental works. In fact, Baudrillard's concept of Simulation defines the other reality that has nothing to do with our reality, rather than a reality that is extremely representative of our reality. His book Simulacra and Simulation refers to the existence of a reality entirely different from the traditional concept of reality. His argument does not concern the problems of right and wrong. There is no metaphysical meaning. Applying the concept of simulation to algorithmic art, the artist models the complex attributes of reality in the digital system. And it aims to build and integrate internal laws that structure and activate the world (specific or individual), that is to say, simulate the world. If the images of the traditional order correspond to the reproduction of the real world, the synthesized images of algorithmic art and simulated space-time are the forms of art that facilitate the experience. The moment of seeing and listening to the work of Ian Cheng presented in this article is a moment of personal experience and the perception is made at that time. It is not a complete and closed process, but a continuous and changing process. It is this active and situational awareness that is required to the audience for the comprehension of post-representation's forms.