• The Journal of Korean Society for School & Community Health Education
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• v.24 no.4
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• pp.39-50
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• 2023

Objectives: This study aimed to provide a scoping review of the impact of COVID-19 on people with disabilities. Methods: PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) Group's key questions (PICO) for systematic reviews, a literature search was conducted from January 1, 2020 to June 30, 2023 using the "AND" search formula. The databases used were Korea DB: RISS, SCIENCEON, and KoreaMed, and International DB: PubMed, CINAHL, and Embase. Results: Among a total of 22 selected articles, 4 studies were published in korea journals: 3 were survey studies (75.0%), 1 was an analysis study (25.0%), and 18 studies were published in international journals. Through a literature review, we confirmed the differences in difficulties between PwD (People with Disability) and PwoD (People without Disability) in the COVID-19 situation, differences by disability type, and post-COVID-19 impact. In order to examine this systematically and objectively, the results were examined by dividing them, which are components based on the International Classification of Functioning, Disability and Health (ICF). Conclusion: In order to respond well to crises and establish effective health policies in similar pandemic situations in the future, understanding and exploration of more diverse types and areas of disability are necessary. In addition, the development and application of appropriate health education and health promotion programs for disability type and ICF component area are required. In addition, it is necessary to develop and apply appropriate health education and health promotion programs tailored to the type of disability and ICF component area.

• Journal of Korean Philosophical Society
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• v.105
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• pp.351-372
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• 2008

This Thesis is the study on the corresponding relations between Kierkegaard's existential stages and the forms of despair. the subjects of Kierkegaard's philosophical psychology are despair and anxiety. He studies the forms of despair in Sickness Unto Death, and anxiety in The Concept of Anxiety. He seeks to elucidate the human existence by way of the psychological inquiry on despair and anxiety. I will primarily study Kierkegaard's concept of despair in order to make out his understanding of human existence and, then, inquire into his concept of anxiety supplementarily. Until now, many studies on Kierkegaard's concept of despair have been carried out mainly focusing on his Sickness Unto Death. Of course, those studies focusing on his Sickness Unto Death are meaningful in a sense, but have a limit of abstract understanding, since Kierkegaard argues many forms of despair abstractly through the ontological form of the self which is constituted by the opposing constituents such as necessity and possibility. In order to understand his abstract explanation about despair, I think, we have to compare various modes of existence and the forms of despair which are portrayed in Either/Or and Fear and Trembling. Therefore, I will enquire into his seemingly unrelated works synthetically and elucidate his understanding on the relation of the forms of despair and the stages of existence.

• Journal of Wetlands Research
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• v.26 no.1
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• pp.82-91
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• 2024

In this study, research cases related to blue carbon storage were collected and analyzed, and various definitions of blue carbon were considered in terms of spatiotemporal scope and scientific aspect. 444 papers were selected as research cases related to blue carbon storage, and analysis of the number of papers published by year/country and keywords was performed. Publication of papers related to blue carbon storage has continued to increase since 2011, and more than 50 papers have been published annually since 2018. The most publications by country were in Australia with more than 100 papers, and the United States and China also published more than 60 papers. Key terms related to "natural environment" and "storage characteristics" were analyzed in the sentences defined in the 23 papers that presented the definition of blue carbon. The natural environments where blue carbon was stored were mostly mangroves, salt marshes, and seagrass beds, and blue carbon repository included sediments and even plants themselves. The existing definition of blue carbon focused on the vegetation environment as the storage environment for blue carbon. However, since blue carbon is stored in the sediments of coastal wetlands, it would be appropriate to define the coastal ecosystem, including non-vegetated mudflats, as the storage environment for blue carbon.

• The Journal of Korean Philosophical History
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• no.25
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• pp.223-249
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• 2009

This papers focuses on the Confucian classics for the correct orientation of education as a basic task of the Confucian classics will as a necessary whether the need for education, to identify the natural history study will attempt to have. In East Asia means that classics, the classicalization process of looking at Chinese culture, classicalization of review of the cultural meaning. And this papers focuses on the historical evolution of education, and education in China and Korea in the modern world the meaning of the Confucian classics education about and looked at two dilemmas. And outside the scope of Confucian five ethical thoughts as main moral to find new values and new interpretations about the legitimacy and philosophical thinking of the meaning of the Confucian classics Education. In addition, the development of educational content to the new Confucian classics on the subject of three applies to the existing approach and to propose a new type of comparison?Review. As primitive Confucian classics is not determined by a priori, the modern understanding of the Confucian classics also thorough review process of reflection and understanding the new system will have to be reconfigured. Furthermore, in the richness of modern society as the training methods as well as the development of relevant content for the modern society that values education's development is a very important issue. In this respect, should not be overlooked here is not about education, the effect of Confucian classics is concerned about the review. To this, first of all the Confucian classics need education about the content and strict screening operation. In addition, the ability to function in modern society, modern reinterpreted and the need to find a new educational element is. Because we did not give a realistic benefits and future view and any history or civilization, is always disappear in history. This series of problems will be a reason of require that philosophical thinking of Confucian classics education.

• Journal of Korean Home Economics Education Association
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• v.31 no.3
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• pp.91-116
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• 2019

The purpose of this study is to examine the meaning of Changemaker education and to investigate the significance of Changemaker education in home economics education through a study of growth of learners applying the TEMPS program. To this end, first, the concept of Changemaker education was defined. Changemaker education is an education that changes society in a positive direction through a process of thinking about, learning about, making, and participating(playing) in various problems that we face in real life and drawing out solutions and share he solutions with others. Second, in this reasearch, the direction of Changemaker education is to make them interested in social problems and solve it and to make both the family and the career life happy and healthy by collaborating with other people. The scope of the contents is defined as "the selection of the content elements of the five domains of the child family, diet nutrition, clothing, housing and consumer life". As a way of teaching, we suggested that the TEMPS phase is followed so that the session purpose is achieved. Third, the Changemaker program consists of five steps of TEMPS among the five key ideas of Changemaker education. T(Thinking) is the step of understanding the problem and thinking about how to solve it, and E(Education) is getting the background for the next step. M(Making) is a step to create a target for problem solving, and P(Participation) and P(Play) are steps to Participation and enjoy. S(Share) is a step of changing the society through the result display, SNS sharing, and class presentation. In this study, 12 programs for middle school and 15 programs for high school were developed on the basis of TEMPS level. Each of the programs consists of 2 to 12 unit hours, which add up to 68 hours in the middle school program and 68 in high school. The learners who participated in the Changemaker program for one year (March 2, 2018~December 31, 2018) will experience improvement in many aspects including the linkage of life and education, practical ability, self-directed learning, self-esteem, sense of achievement and self-reflection, sensory observation, and so on.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.2
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• pp.42-53
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• 2023

This paper explores the recent development of environmental aesthetics and critically examines the main agendas, claims, issues, and implications of everyday aesthetics, which is emerging as an important branch of environmental aesthetics. Environmental aesthetics began in the context of cultural change and environmentalism in the 1960s and expanded in the second half of the 20th century with a solid theoretical foundation. At the beginning of the 21st century, it entered a process of diversification of objects and subjects. Having reached academic maturity, environmental aesthetics has expanded into theoretical territory considering the urban environment and the human environment, providing practical coordinates as a discourse for planning and designing urban environments and landscapes. The most notable achievement of environmental aesthetics since the mid-2000s is the establishment of 'everyday aesthetics'. Yuriko Saito, who is leading the research on everyday aesthetics, expanded the objects and scope of aesthetic theory to everyday objects, events, activities, and environments. She excavates the microscopic and sensory aspects of everyday life, which have been overlooked by conventional art-centered aesthetics, through the lens of aesthetics. She reinterprets various layers of phenomena in contemporary urban landscapes and analyzes how the 'power of the aesthetic' hidden in everyday life profoundly affects the quality of life and the state of the world. Saito examines the appreciation of the distinctive characteristics and ambiance inherent in everyday objects and environments and proposes a 'moral-aesthetic judgment' to alert citizens to the environmental, social, and political consequences of everyday aesthetic appreciation and response. This paper identifies the issues and implications of everyday aesthetics as first, the expansion of aesthetics and the ambiguous everyday, second, the moral-aesthetic judgment and the aesthetics of care, and third, urban regeneration landscapes and aesthetic literacy. In particular, the moral virtues of everyday aesthetics that Saito proposes, such as care, thoughtfulness, sensitivity, and respect, provide a critical reference for the practice of contemporary urban regeneration landscapes. The 'aesthetic literacy' is a key concept demonstrating why an environmental aesthetics perspective is necessary to interpret everyday urban environments and landscapes.

• Journal of the Korean Institute of Landscape Architecture
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• v.14 no.2
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• pp.17-26
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• 1986

Landscape around a settlement is not only a natural object, but also a matters of the man in the co-relation with his environment. Man perceives the landscape rational or sensible. Then it changes into the substance for him and influences him: as we see often in the folklore, that is of importance in the mind. Man reacts against his surroundings deceidedly, selfassurd or commonly, and uses sometimes the landscape to the elements for realization, physical or symbolical. Out of one character of korean villages, adaption to the circumstances, we can notice also its inner image, the reflection of the mind. Seeing and perceiving the environment emotional or reasonable and, reflecting and descreibing the inner self on the space. Here, the landscape and the nature are matter of the man, a scale for his ethical estimation or a mailer of the realization his mind. It is difficult, but important, such a immanent picture in(or of) the landscape to find. This is a preliminary study in such a way.

• Archives of design research
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• v.17 no.3
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• pp.221-230
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• 2004

Design textbooks for general education bring our attention to the education of design as a part of whole education. In this vein, this thesis tried to analyze and discuss on the current status of design education contents included in the 7th educational curriculum of the Art & Life. This study had a historical review of the contents of arts education as well as a review of theoretical contents in art education. Also this thesis analyzed five types of Art & Life text books currently used at high schools with weight given to the design and to the status of pictorial coverage in the text books. Finally, the thesis presented problems of design education through a comparative analysis of high school arts education and design education. Through the analysis, inequality of design contents in education was reported. It was clearly attributable to the backgrounds of text book writers. For example, authors with graphic design backgrounds tended to lack product and environment design concepts, while hand craft section of text books all showed a biased contents towards traditional Korean arts. In the analysis of pictorial coverage, similar to the composition of academic contents, coverage was concentrated in the graphic design areas; inequality in quantity of pictures found with a ratio of 1 to 4. In terms of areas of arts, design contents in text books were concentrated only in arts creation chapters among the 3 major areas of arts appreciation, understanding, and creation. Design education is attained in an atmosphere of creativity and the provision of ample teaching material. It is because diverse contents will generate the development of arts. When compared to design education curriculum of U.S. and Japan, these creativity put their focus of design education in the understanding and emotional contacts, so that every application is easily attained. In terms of expression learning, creativity and diversity of material are emphasized. From Kindergarten to middle, and high school periods, apparently the care contents of deign is emphasized. A textbook in the 7th education curriculum is one of the sources for education. In designing text books, learning process should be emphasized following subjects and natures of arts so that creativity can be achieved. Therefore, a systematic approach for design research and educational development for material would be needed in textbook design.

• (The) Research of the performance art and culture
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• no.18
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• pp.413-444
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• 2009

This paper is an analysis of stage and performance elements for the ceremonial procedures and dance featured in bongsudang-jinchan, a feast celebrating the 60th birthday of Hyegyeong-gung Hongssi (Crown Princess Hong of Hyegyeonggung), the mother of King Jeongjo, which took place in Hwaseong haegung palace in 1795. The primary sources used are data on bongsudangjinchan recorded in Wonhaeng-eulmyojeongriuigwe, Jeongjo-sillok, Hongjae-jeonseo, pictorial sources such as Folding Screens of Hwaseong-neunghaeng and Hwaseong Ilgi, which is a journal in Korean by Yi Hui-pyeong. A court ceremony to offer music, dance, flowers, and food, as well as wine and poetry which express the sentiments of chung (fidelity) and hyo (filial piety) was considered a national ceremony and has constituted a unique musical culture during the 500 years of Joseon dynasty. However, after the fall of Joseon dynasty, ceremonial music and dance, which have been organically linked within the overall symbolic system of ye (courtesy), became scattered to become independent 'pieces.' As a result, all of their philosophy, principles, and the time-space interpretation of court music and dance became greatly reduced, leaving only the artistic expression and formal structure of the music and dance to become emphasized. Since the 1990s, there has been many research and events aiming to re-create the court ceremonial tradition, resulting in the increase of the related performance activities. This is especially true with bongsudang-jinchan, which is now being performed on modern stage in various forms. However there are still many problems to be solved, such as the issue of re-creating and restoring the original, and the question of artistic value found in the traditional pieces. Until now, much focus has been paid to the outer re-construction of uiju document as recorded in Wonhaeng-eulmyo-jeongriuigwe. On the other hand, there lacked an in-depth study which analyzes the stage situation and performance elements. Therefore in this paper, after focusing on the stage structure and performance elements, it is concluded that bongsudang-jinchan, the only court feast to be held in Haeng gung, not only consists of the fundamental aspects of court performance principle as 'governing through ye and ak (music),' but also served as an important occasion to bring together the sovereign and the subject. Bongsudang-jinchan had features of both naeyeon (feast for ladies) and oeyeon (feast for gentlemen). It minimized the use of screens and allowed every guest to enjoy food, music, and dance together, but provided a separate tent for foreign guests, maintaining the ideal balance between equality and distinction among different gender and social status. A screen symbolizing the venue for the feast is placed for all of the government officials. The king then pronounces the beginning of the banquet in which the ideal of gunsin-dongyeon (king and officials dining together) is realized. This indicates that bongsudang-jinchan, compared to other court ceremonies that emphasize the principle of yeak (courtesy and music), focuses more on the spirit of harmony and rapprochement. The king played a more active role in bongsudang-jinchan than in any other royal feasts. Examples as recorded in uiju documents are; Jeongjo's conversation with his retainers after the 7th wine, king's bestowing of food and flowers to the officials, writing his own majesty's poems with regard to the festival, and asking the retainers to write replying poems. All these played an important part in making the occasion more rich, extensive, and meaningful. Moreover, as analysis of the structure of orchestral music and court dance featured in bongsudang-jinchan shows, it was like any other court banquet in that it employed minimal use of extravagance in movements and conversation. However, the colors and tonal texture used in the music and dance were more brilliant in this case. Compared to other banquets that took place before king Jeongjo, the dance style was more diverse, which included some of the latest additions. There were past performances arranged anew. Noteworthy are; the incorporation of "Seonyurak (Boat Dance)" and "Geommu (Sword Dance)," traditionally used for local officials and civilians feast, to suit the court taste; and the use of saenghwang (mouth organ), which was a rising instrument in pungnyubang (literati's private salon), for "Hakmu (Cranes Dance)." This especially indicates the nature of the 'open structure' pursued by the court banquets at the time, which strove to break away from the traditional rules and customs and accept something new.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.89-122
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• 2019

In this paper, I argue that the Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers by Jeong Su-yeong (1743~1831, pseudonym: Jiwujae) is a record of his private journeys to several places on the outskirts of Hanyang (present-day Seoul) and that it successfully embodies the painter's subjective perspective while boating on these rivers and going on outings to nearby mountains. Around 1796, Jeong Su-yeong traveled to different places and documented his travels in this 16-meter-long handscroll. Several leaves of paper, each of which depicts a separate landscape, are pieced together to create this long handscroll. This indicates that the Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers reflected the painter's personal subjective experiences as he went along his journey rather than simply depicts travel destinations. The Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers features two types of travel: boating and mountain outings on foot. Traveling by boat takes up a large portion of the handscroll, which illustrates the channels of the Hangang and Imjingang Rivers. Mountain outings correspond to the sections describing the regions around Bukhansan, Gwanaksan, and Dobongsan Mountains. Jeong Su-yeong traveled to this wide span of places not just once, but several times. The fact that the Hangang River system are not presented in accordance with their actual locations shows that they were illustrated at different points. After visiting the riversides of the Hangang and Namhangang Rivers twice, Jeong Su-yeong delineated them in fourteen scenes. Among them, the first eight illustrate Jeong's initial trip by boat, while the other six scenes are vistas from his second trip. These fourteen scenes occupy half of this handscroll, indicating that the regions near the Hangang River are painted most frequently. The scenes of Jeong Su-yeong's first boating trip to the system of the Hangang River portray the landscapes that he personally witnessed rather than famous scenes. Some of the eight scenic views of Yeoju, including Yongmunsan Mountain, Cheongsimru Pavilion, and Silleuksa Temple, are included in this handscroll. However, Jeong noted spots that were not often painted and depicted them using an eye-level perspective uncommon for illustrating famous scenic locations. The scenes of Jeong's second boating trip include his friend's villa and a meeting with companions. Moreover, Cheongsimru Pavilion and Silleuksa Temple, which are depicted in the first boating trip, are illustrated again from different perspectives and in unique compositions. Jeong Su-yeong examined the same locations several times from different angles. A sense of realism is demonstrated in the scenes of Jeong's first and second boating trips to the channels of the Hangang River, which depict actual roads. Furthermore, viewers can easily follow the level gaze of Jeong from the boat. The scenes depicting the Imjingang River begin from spots near the Yeongpyeongcheon and Hantangang Rivers and end with places along the waterways of the Imjingang River. Here, diverse perspectives were applied, which is characteristic of Imjingang River scenes. Jeong Su-yeong employed a bird's-eye perspective to illustrate the flow of a waterway starting from the Yeongpyeongcheon River. He also used an eye-level perspective to highlight the rocks of Baegundam Pool. Thus, depending on what he wished to emphasize, Jeong applied different perspectives. Hwajeogyeon Pond located by the Hantangang River is illustrated from a bird's-eye perspective to present a panoramic view of the surroundings and rocks. Similarly, the scenery around Uhwajeong Pavilion by the Imjingang River are depicted from the same perspective. A worm's-eye view was selected for Samseongdae Cliff in Tosangun in the upper regions of the Imjingang River and for Nakhwaam Rock. The scenes of Jeong Su-yeong's mountain outings include pavilions and small temple mainly. In the case of Jaeganjeong Pavilion on Bukhansan Mountain, its actual location remains unidentified since the pavilion did not lead to the route of the boating trip to the system of the Hangang River and was separately depicted from other trips to the mountains. I speculate that Jaeganjeong Pavilion refers to a pavilion either in one of the nine valleys in Wooyi-dong at the foot of Bukhansan Mountain or in Songajang Villa. Since these two pavilions are situated in the valleys of Bukhansan Mountain, their descriptions in written texts are similar. As for Gwanaksan Mountain, Chwihyangjeong and Ilganjeong Pavilions as well as Geomjisan Mountain in the Bukhansan Mountain range are depicted. Ilganjeong Pavilion was a well-known site on Gwanaksan that belonged to Shin Wi. In this handscroll, however, Jeong Su-yeong recorded objective geographic information on the pavilion rather than relating it to Shin Wi. "Chwihyangjeong Pavilion" is presented within the walls, while "Geomjisan Mountain" is illustrated outside the walls. Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers also includes two small temples, Mangwolam and Okcheonam, on Dobongsan Mountain. The actual locations of these are unknown today. Nevertheless, Gungojip (Anthology of Gungo) by Yim Cheonsang relates that they were sited on Dobongsan Mountain. Compared to other painters who stressed Dobong Seowon (a private Confucian academy) and Manjangbong Peak when depicting Dobongsan Mountain, Jeong Su-yeong highlighted these two small temples. Jeong placed Yeongsanjeon Hall and Cheonbong Stele in "Mangwolam small temple" and Daeungjeon Hall in front of "Okcheonam small temple." In addition to the buildings of the small temple, Jeong drew the peaks of Dobongsan Mountain without inscribing their names, which indicates that he intended the Dobongsan peaks as a background for the scenery. The Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers is of great significance in that it embodies Jeong Su-yeong's personal perceptions of scenic spots on the outskirts of Hanyang and records his trips to these places.