• Journal of the Korean association of regional geographers
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• v.17 no.2
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• pp.231-244
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• 2011

This study is to examine how activities using local multi -cultural resources and world geography lessons using the CCAP(Cross-Cultural Awareness Programme) affect students' multi-cultural understanding. Activities using local multi-cultural resources were carried by visiting in an alien worker community, volunteering in multicultural center, attending on UNESCO ASP(Associated School Program), and making radio broadcasting program associated with 'SCN FM' which is a local broadcasting station on the weekend. And world geography lessons using the CCAP were conducted with 5 classes including orientation by inviting foreign instructors from that place after reconstructing the Southeast and South Asia unit of the countries such as Pakistan, the Philippines, Myanmar and Cambodia. According to twice questionnaire survey conducted before and after activities using local multi-cultural resources and world geography lessons using the CCAP, it appeared that students had familiarity more than before through direct meeting with foreigners inside and outside classroom, and understood and respected other cultures by acquiring contextual regional knowledge. In the end, multi-cultural activities and world geography lessons using the CCAP contributed to students' global citizenship, which overcame prejudice toward third world cultures. Like that, if world geography classes provide continually students with opportunities to experience directly diverse cultures inside and outside classroom, world geography overcome negative image that it transmit decontextual regional knowledge and is regarded as the subject that is very fit for nurturing global citizenship based on contextual knowledge, consideration and tolerance needed in global and multi-cultural society.

• Journal of The Korean Association For Science Education
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• v.32 no.2
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• pp.388-401
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• 2012

This study attempted to propose a theoretical model for STEAM education, entitled to the Ewha-STEAM education model, which could provide more concrete guidelines for science educators and curriculum developers to execute STEAM ideas. We identified key knowledge and key competencies to nurture future creative/convergent human resources. Key knowledge included an understanding of core ideas cutting across traditional disciplinary boundaries as well as the nature of different disciplines. And additionally, key competencies implied such abilities as to explore the scientific world, to resolve problems, and to communicate and collaborate with others. We also added creativity and character as an essential part of key competencies. In order to provide more specific guidelines when developing, implementing, and evaluating STEAM curriculum, we suggested three elements of convergence to consider: 1) unit of convergence (i.e. concept/skills, problem/phenomenon, activity), 2) degree of convergence (i.e. multi-disciplinary, inter-disciplinary, extra-disciplinary), and 3) context of convergence (i.e. personal, societal, global). It is expected that the Ewha-STEAM education model would contribute towards diverse education communities understanding the direction of STEAM education and its educational potentials.

• Proceedings of the Korean Journal of Food and Nutrition Conference
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• 1999.06a
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• pp.39-57
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• 1999

Chitin은 새우나 게 등을 비롯한 해산 갑각류의 가공 폐기물로 버려지는 부패, 악취발생 등의 환경공해를 일으키며 처리비용 등 여러 가지 문제를 야기하던 물질이지만 최근에는 부가가치가 높은 chitosan 및 chitooligosaccarides로 가공되기 때문에 폐기물의 자원화와 미이용 자원의 개발 등 여러 가지 측면에서 기대가 모아지고 있는 다당류이다. 더욱이 chitin의 탈아세틸화로 얻어지는 chitosan은 polycation의 성질을 가지고 있어서 현재 응집제로서 각종 공업 분야에 널리 이용되고 있으며 최근에는 그 외에도 다양한 생리적 기능성을 가지고 있다는 사실이 밝혀지면서 의료, 생호학, 화장품, 식품, 화학 공업 및 농업용 등 다양한 분야에 응용 가능한 신소재로서 기대가 높아지고 있다. 그런, chitosan은 생리적 기능은 우수하지만 물에 용해되지 않고 점도가 높으며 떫은맛이 나기 때문에 식품을 비롯한 기타 응용분야에 이용이 제한되고 있다. 따라서 많은 연구자들은 이와 같은 물리적인 장애를 개선함으로써 chitosan 자체가 갖는 우수한 생리적 기능을 이용할 뿐만 아니라 항종양성을 비롯한 새로운 생리적 기능을 갖는 chitosan 유도체의 개발을 시도하고 있다. Chitosan 유도체 중에서도 chitooligosaccharides는 chitosan의 가수분해로 얻어지는 저분자 화합물이므로 물에 잘 용해도며 점도가 낮고 용액이 단맛을 낼뿐만 아니라 chitosan이 갖지 않는 새로운 생리적 기능성을 갖는 것으로 알려지면서 관심이 집중되기 시작하였다. 본고에서는 chitosan과 chitooligosaccarides의 생리 활성 기능에 대한 지금까지의 연구결과를 소개하고자 한다.에 대한 면밀한 사안이 밝혀지는 경우가 많지 않다. 또한 그 발생 경위나 원인요소에 대해서는 일반에게 공개되지 않고 있어, 우리가 실천하여 식중독을 예방할 수 있는 정보가 함께 제시되지 못하는 형편이다. 따라서 본 고에서는 최근 수년간 외국에서 학교급식을 비롯한 집단급식 등에서 발생한 식중독 사례를 중심으로 고찰, 분석하였다. 이로부터 식중독 발생에 기여한 주요 원인을 찾아내고 여기서 얻어지는 교훈을 토대로 식중독 발생을 예방 및 최소화할 수 있는 실천적 대처 방안을 모색해 보고자 한다.중의 E. coli O157:H7이 연관되어있다는 보고도 있다. 목장 방문시 원유를 마신 어린이에서 HUS가 유발하였고, 균분리 결과, 농장의 소와 어린이에서 유사한 E. coli O157:H7이 분리된 바 있다. 본 연자들은 베로톡신 유형, plasmid profiles, RFLP 분석, phage type을 기초로하여 소에서 분리된 E. coli O157:H7이 사람유래주와 매우 유사함을 확인하였다.mm 및 2-6mm 난포에서의 101개(67.8%) 및 47개(50.0%) 보다 매우 낮게 나타났다. 전체 회수 난포란수도 4등급이 59.1%(149/252)로써 1, 2, 3등급의 0.4% (1/252), 7.6%(19/252) 및 32.9%(83/252)보다 높게 나타났다. 1회 평균 회수 난포란은 $\leq$2mm 난포에서 4.8$\pm$3.7개로써 2-6mm(3.0$\pm$3.4개) 및 $\geq$6mm (0.3$\pm$0.6개)보다 높았으며, 1회당 평균 8.1$\pm$5.1개의 난포란을 회수하였다. in

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.5-27
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• 2010

The Korean Mask-Dance Theatre has been developed closely related to Korean Shaman rituals. As many scholars noticed, the performers of the Mask-Dance Theatre were closely related to the Shaman family. In addition, there are mask-dance performances in actual shaman rituals. and are the representative performances among them. This essay intends to compare these two mask-dance performances in the shaman rituals to the similar performance of Old Grandpa and Grandma episode in the regional Mask-Dance Theatre. This study would bring us further in proving the close relation between the shaman ritual and the Mask-Dance Theatre. is one episode, Keori, in the shaman ritual of 'Baeyeonsin-kut' and 'Taedong-kut' in the mid-west seashore area. 'Taedong-kut' is the village shaman ritual for fertility and prosperity, while 'Baeyeonsin-kut' is a private shaman ritual for a large catch of the ship. is held in the later part of the whole shaman ritual since the later part tend to be more for entertainment than actual ritual. The story of is very similar that of in Pongsan Mask-Dance Theatre of the mid-west region. In addition, some of their dialogues are very similar. Only the later part is different. These similarities indicate that the Mask-Dance Theatre, which came into being in later period than the shaman ritual, has likely taken the story motif of the shaman ritual. is also a performance in the shaman ritual of east coasts. is more elaborate and recreational than of the west coasts. is also performed near the end of the ritual, and sometimes it is not performed at all. This indicates that has little ritual meaning left. When we compare it with the regional Mask-Dance Theatres such as Keosung Okwangdae, Tongyong Okwangdae, and Suyong Yaryu, the structure and the story lines are also very similar. It is a question why only the motif of the Grandpa and Grandma isfound both in the shaman ritual and the Mask-Dance Theatre. Many other motifs of other episodes in the Mask-Dance Theatre are not found in the shaman rituals. It seems that the Grandpa and Grandma motif is related to the ur-belief in fertility. In other words, this motif seems to be originated from the old belief in the fertility couple of Chonha Taechanggun and Jiha Yeochanggun. The shaman ritual for fertility first picked up this motif, and then the mask-dance theatre also adapted this motif for its recreational purpose. When we compare with , still has more aspects of fertility ritual, while lost its ritualistic meaning and its main purpose is to develop dramatic needs. and are invaluable existent performances to prove theatre's origin in ritual. The existence of mask-dance performances in the shaman rituals shows us the transit performance between theatre and ritual.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.229-242
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• 2021

The purpose of this study is an empirical case study that focuses on bring about changes in clients through narrative therapy using scaffolding. Through this, the purpose was to find the preferred values and hopes of the future among the stories that the client's has lived in. As the research method, we proceed through unstructured interview and loose structures in qualitative research. On this premise, the counselor did not diagnose or explain the 'decentralized but influential' attitudes and problem. And there was no order in the conversation, and I didn't decide in advance how to react to it before the client made any expressions. This study has the following significance on a practical and academic level: First of all, counseling through scaffolding further enrich the curiosity, temperament, and wishes of the client. Second, the scaffolding provides a concrete picture of the relationship between a counselor and a client in narrative therapy. Third, the scaffolding made in therapeutic dialogue presents a 'learning tasks'. Fourth, counseling through scaffolding has an active meaning that it can develop the higher mental function of clients in charge. Finally, we presented an application of narrative therapy in Vygotsky's theory through analysis of empirical cases. Based on this information, this study did not simply intend to position the client as a research object in narrative therapy. It is meaningful that they have identified the factors necessary to become the subject of narrative therapy and the role of the counselor in the process. In addition, this study has implications in that it contributed to the expansion and substantialization of the research scope of narrative therapy in that it utilized the concept of scaffolding, which has not received much attention in the domestic research.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.19 no.2
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• pp.13-25
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• 2024

Local decline can be caused by business closures or the departure of the youth. Most countries have been striving to overcome regional inequality through local or community entrepreneurship using assets or contents obtained from differentiated and original embedded resources. The purpose of this study is to conceptualize local contents and local entrepreneurship. To reach the research goals, this paper utilizes the grounded theory as qualitative methodology. From the main findings, this paper suggests that entrepreneurship in the local is influenced by informal alley or specific location (regions) institution outputs so called as local contents which are local norm, culture, local identities. This paper conceptualizes local contents as 'product of creative scenario'. And this work also suggests the liner model for local content innovation. The contribution of this work are two: 1) showing how the local content creation process; 2) analyzing the how local entrepreneurship configures. It can be inclusive potential startups items rooted at the unique resources and assets of the locals and reflecting the originality of locality. In terms of local institutional perspectives, local development takes pace when advancing application of local entrepreneurship. In order for that, practical challenging is more needed by using informal local institutions. Also 'three step linear model' will be applied to educate the new creators. Local contents and local entrepreneurship can definitely rehabilitate locality.

• (The) Research of the performance art and culture
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• no.41
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• pp.285-320
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• 2020

This study aims to examine the processes of changes of the two main roles, Sangjwa(the young Buddist monk) chum and Omjung(the monk with a boil on his face) chum, performed in Yangju Byeolsandae Nori, on the basis of Chumsawi (dance-movement). Above all, having studied many artistic remains performed by Jo jong sun, Jung han gyu, Park jun seup, Kim sung tae from 1929 to 1942, two main roles, in which Geodeureum chum is now an essential part in almost all performances, were then played only in Kkaekki chum to Taryong Jangdan without performances of Geodeureum chum. In case of Sangjwa chum, players had performed ad libitum and without restraint only on the basis of five sorts of Kkaekki chum's movements. In Omjung chum, witty remarks along with the drama had become more important factors than dances. Let alone two main roles, other parts then also showed no big changes in dance performance. Performers just tried to maintain its slender existence within stifling atmosphere because of oppressions and restraints during the Japanese imperialism. After the restoration of independence in 1945, Kim sung tae and his disciples made a great effort on the restoration of Talnori. During the Korean war, many players also endeavored to keep a good track of Talnori, teaching and training their young followers. Especially performers such as Park jun seup, Park sang hwan, Kim sung tae, and Lee jang sun put much more efforts on restoring Talnori. From that time, Geodeureum chum began to appear in two main roles' performances. In Sangjwa's performances, Byeogsa ritual dance, which was performed to Taryong Jangdan, changed into performances to Yeombul Jangdan, and Kkaekki chum -originally slow and ritual dance, became very fast and active one. Geodeureum chum, called Yongteulim, was added in Omjung chum, so that dance had more important role in performance. Even at this time, dance movements were not clearly and completely organized and arranged, because Geodeureum chum's performance was not clearly defined as orderly dance movements but was regarded as just a movement. After Geodeureum chum being designated as a cultural treasure, Lee byeong kwon took over the task from Park sang hwan, Sangjwa chum's performer, so Geodeureum chum became much more well organzied, arranged and orderly. Geodeureum chum played by Sangjwa had almost the same order of scenes and movements as Geodeureum chum played by Yeonnip. Based on this performance, the order of dances and movements was consistently arranged and settled. Following Park jun seup's performances, Jangsam was more widely applied and used in Omjung chum than ever before, so Omjung chum became much more organized and arranged. Well-arranged Omjung chum had also almost the same dances and movements as Nojang chum's. Yeonnip and Nojang's performances were not directly and intentionally studied and applied to two main roles in Yangju Byeolsandae Nori. Players seemed to borrow those parts naturally through many times of performances. Through their persistent efforts, Jangdan and dance movements have more clearly and completely been organized, establied, and improved through many years' performances. And dance movement can be performed exactly to Jangdan, so we have more complete and orderly types of dance movements. Thanks to many performers' efforts, Sangjwa chum has been established as one that only top performer can play, and Omjung chum has become an integral part in Yangju Byeolsandae Nori.

• (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.

• 한국노년학
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• v.37 no.1
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• pp.55-82
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• 2017

The purpose of this research is to provide implications for the development of age-friendly industry of Korea by analyzing the age-friendly industry activation policy suggested by the Presidential Committee on Ageing Society and Population Policy in response to the population ageing problems. Policy and theoretical implications are derived from an analysis of age-friendly industry activation policy as directly related to the improvement of the three major problems (i.e. health, economy, and loneliness) of Korean older people. This analysis focuses on its specific content, common and core logic, and the validity of the logic. The results show that: 1)the first Plan for Ageing Society and Population suggests a policy for improving poverty, 2)the second Plan for Ageing Society and Population suggests a policy for improving health, and 3)the third Plan for Ageing Society and Population suggests a policy for improving health and loneliness. All policies not only are commonly based on the logically limited concepts of successful ageing and active ageing, but also are characterized by narrow realm, insufficient content, and fragmented policy. The results result in the following policy implications: 1)the age-friendly industry activation policy should be developed with continuity, sufficiency, and diversity, 2)lessons from the limitation related with the de-contextualisation of successful ageing and its elective affinity with consumer capitalism, 3)lessons from the prevention-oriented perspective of active ageing, and 4)lessons from the social characteristics of (non-)psychological resources, limitation of the reablement related with social investment state. The analyses also provide a theoretical implication that a different perspective on the social construct of ageing is needed beyond the dichotomy of ageing based on modelling ageing. Lastly, the paper suggests not only the limitation of the research but also the preferred follow-up studies regarding age-friendly industry activation policy.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.3 no.1
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• pp.28-30
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• 1978

Communication actions as a social band or Human community stick (fast) to human being ceaselessly w without stopping everywhere. All of comm. actions can be kept up and developed by the education of its own. Comm. actions have to include a character of social process, and so for it the social science should t to be some essential part of it. Therefore, Comm. education have to be schemed for achieving with a point of view of synthetical s science including technical and social factor. However, recentry Comm. education be suffered to lose of itowns essential attribute and individual i independence becausing to reduce social weight recklessly in their education It is a prindiple that Comm. science is an integrate science being composed of human, social and t technical subdepartments and so comm. education have to obey for Comm. constuctional theory, i international and social claim. Originally in Korea a educational idea and genealogy forming by the comm. scientific theory has I inherited on orthodoxy. But in 1961, communication college that is only the orthodox model of Comm. education, was f forced to close by some reckless policy and then the national administration for the Comm. education h have been weakened, and so recently it’s education became to degenerate as out of genealogy or n nonsystem alike some scattering Family. On the other side, today comm. science make to it’s modern scientific factor and to keep its l integrate level, therefore, all of educational provisions and administration for the telecomm. should t to be supplement to be fit for their plural chatacters. Comm. education have to occupy an individual educational system through the comm. theory, and t then it can be coexisted with neighbour scientific field equally and can include, connect coordinate o or effect its inference in each subfactor organically. Finally, educational system for telecommunication should to be requested as preeedence that i independent field including pluralism must be formed and sufficient autonomy be guarenteed, and s so Comm. education must be to restored its orthodox genealogy and be recovered individual system a and seIfrestraint field, and then it can be accomplished its own duty for nation and society.