• Journal of The Korean Association For Science Education
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• v.23 no.5
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• pp.458-469
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• 2003

Hypothesis is defined as a proposition intended as a possible explanation for an observed phenomenon. The purpose of this study was to generate a grounded theory on the process of undergraduate students' generating hypothesis-knowledge about scientific episodes. Three hypothesis-generating tasks were administered to four college students majored in science education. The present study showed that college students represented five types of intermediate knowledge in the process of hypothesis generation, such as question situation, hypothetical explicans, experienced situation, causal explicans, and final hypothetical knowledge. Furthermore, students used six types of thinking methods, such as searching knowledges, comparing a question situation and an experienced situation, borrowing explicans, combining explicans, selecting an explican, and confirming explicans. In addition, hypothesis-generating process involves inductive and deductive reasoning as well as abductive reasoning. This study also discusses the implications of these findings for teaching and evaluating in science education.

• The Journal of the Korea Contents Association
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• v.3 no.2
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• pp.1-10
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• 2003

A semiotic approach to modem visual arts has emerged since French post-structuralism was introduced to Anglo -American academics by "deconstruction" or "postmodemi sm." It views a work of art as a sign, which is its math odical assumption and, at the same time, makes its appli cation more accessible. In the milieu of modem visual arts' effort to be intimate with general audience, modem art photography is now fared with the request to be a familar and universal domain, instead of being left only in photo books as artistic and academic achievements. More specifically, various photo images puter graphics to such megaexhibitions as "Gwangju Biennale,. "Media City Seo ul," and "Pusan International Art Festival," are main objects of study. A coherent and scientific analysis of visual semitotics is still on the way, however, it is an urgent task how to read and interpret a photo image with multiple meanings. This study argues that visual seniotics can be a powerful tool to enhance the understanding of art photography. After all, seniotics is a product of age； we live in the age of legibility, that is, of reading the work of art well as the social events and phenomena. art well as the social events and phenomena.

• Education of Primary School Mathematics
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• v.24 no.4
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• pp.203-216
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• 2021

Seeing the elapsed time as a quantity that can be measured is quite challenging for students while making students see it is also challenging for teachers. Tuning on these challenges, this article reports on what learning opportunities elementary teachers provide when they teach elapsed time focusing on quantitative objectification. I observed three mathematics classrooms where the elapsed time was taught by three elementary teachers and did a narrative analysis on the instructions. All three teachers utilized certain tools to support students access to the elapsed time as a quantity. They appropriated various quantitative attributes of the tool. In the case of the analog clock, one teacher tried to quantification the elapsed time with the number of minute hand's turning, while the other teacher indicated the distance of minute hand's moving. One teacher represented the elapsed time with the longitudinal attribute of the time band. Standing on the findings, the didactical implications of various attempts for quantitative objectification of the elapsed time implemented were discussed.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.496-501
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• 2021

The representation of shamanism or shaman in Korean cinema has changed according to eras. Since the 2000s, shamanism and shaman appear more frequently than before as the main subjects and characters in movies. The full-scale exploration of shamans usually takes places in documentary works, such as <'Mudang'>(2002), (2006) and (2011). Shamans are summoned in more various appearences in feature films. In this article, we will compare and analyze the representations of shamanism and shaman in recent Korean occult genre films. (2015), (2016), and (2017) are works that utilize new subjects and visual effect styles that were difficult to see in Korean horror films before. In these three films, the meaning of shaman and gut shows distinct differences from each others. Through the analysis of these films, we would like to explore the characteristics and possibilities of Korean occult films.

• Journal of The Korean Association For Science Education
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• v.28 no.5
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• pp.471-481
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• 2008

This study investigated connecting errors by students' field independence-dependence in learning chemistry concepts with multiple external representations in current science textbooks. Seventh graders (N=196) at a middle school were assigned to the BL and CL groups, which were respectively taught "Boyle's Law" and "Charles's Law." A field independence-dependence test was administered. After learning the target concept with text and picture emphasizing the particulate nature of matter, a connecting test was also administered. Five types of connecting errors were identified: Insufficient connection, misconnection, rash connection, impossible connection, and failing to connect. 'Failing to connect,' 'Misconnection,' and 'Rash connection' were found to be the frequent types of connecting errors regardless of the target concepts. The frequencies and percentages of the types of connecting errors were not significantly different between the field independent and field dependent students. Educational implications of these findings are discussed.

• Journal of Educational Research in Mathematics
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• v.24 no.4
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• pp.595-605
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• 2014

Infinite decimals have an infinite number of digits, chosen arbitrary and independently, to the right side of the decimal point. Since infinite decimals are ambiguous numbers impossible to write them down completely, the infinite decimal representation accompanies unavoidable opaqueness. This article focused the transparent aspect of infinite decimal representation with respect to the completeness axiom of real numbers. Long before the formalization of real number concept in $19^{th}$ century, many mathematicians were able to deal with real numbers relying on this transparency of infinite decimal representations. This analysis will contribute to overcome the double discontinuity caused by the different conceptualizations of real numbers in school and academic mathematics.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.81-97
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• 2019

The purpose of this study is to examine what people in Korea recognize the cultural symbolism and the planting patterns of 'Guǐmok', pagoda tree(Sophora japonica). The species planted in the 'Guǐjeong' was empirically investigated and analyzed to determine which species of pagoda tree or Zelkova tree(Zelkova serrata) was taken through literature surveys, field surveys, and interviews with persons. This 'Guǐjeong' was combined to track how the culture of the 'Guǐmok' planting introduced in China was ultimately accepted and transformed in Korea. In this study, we tried to analyze the meaning implicit in the mystery while checking the distribution of the mystery and the form of the mystery, the name of the pavilion and its relevance to the contrast medium. Essentially, the trees that govern the characterization of the nectar plant, regardless of the region, are considered to be a pagoda tree, which is considered an internal factor in which the pagoda tree culture was not completely transformed into a zelkova tree. It was recognized throughout the Joseon Dynasty that the species representing 'Prime ministers(三公)' was judged from all the Joseon Dynasty periods, based on the builder of Guǐjeong's Aho(雅號) and Dangho(堂號). It was confirmed that the tree was very likely to be planted in place of the painting tree. But now is selectively zelkova tree is in accordance with the preparation of planting site conditions and areas on behalf of the Change is very high probability that is planted. Cultural variables that led to the cultural transformation of the 'Guǐmok' seem to have been deeply involved in the geographical space of China and Korea, Confucian practices of the Choson society, comings and goings and letter bridge, and network strength with China through the book spread. In addition, the culture of 'Guǐmok' is presumed to have led to cultural custom of the upper class, not the whole class, in the Yeongnam region, it can be said that the independent adaptation to act to recognize 'Guǐmok' as a pagoda tree, that is a Sophora japonica, has occurred very strongly. The difference between the cultural areas of Yeongnam and non-Yeongnam is also considered to be an internal factor that has played a major role in the cultural transformation of planting of 'Guǐmok'.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.82-93
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• 2008

This research focused on the process in which 'the same scenery' is recognized and represented as 'a different landscape' to determine the symbols and meaning of the scenery and landscape included in real-scenery landscape paintings of the 18th-19th centuries. As a result of analyzing the visual points, the content and expressions of 25 real-scenery landscape paintings of Chong Seok Jeong(叢石亭), it can be seen that the transmission of a kind of semiotic landscape on the basis of a specific symbol was accomplished naturally through imitation and representation for the purpose of the expression of Chong Seok Jeong-like idealized scenery. This shows that the unique images of Chong Seok Jeong have long been passed down after taking root as a unique benchmark The meaningful symbol of 'a strange Saseonbong(四仙峰)', which is broken by the spray after rising high, and 'a pine forest' have both been transmitted as being in the manner of Chong Seok Jeong. This has been equipped with the stereo-type scene by being a collective symbolization as the psycho-scenes in memory element of Chong Seok Jeong. Through the pictures of both Gyeomjae(謙齋) and Danweon(檀園), the process by which a specific painter's pictures become acculturated is highly interesting. The scenery expressed in these pictures was clearly that of a landscape of which its particularly emotions and remembrances were repainted through the experience of several places and original sketches. This can be explained as the concept in which the image from 'a specific scenery' gained through actual experience, that is, a personal feeling, has been expressed. The picture that was expressed as a different figure even at the same visual point for the same scenery is the result that was redefined through the scenery subject's recognition. Also, the modification of the scenery object can be colorful through meditation and Sachu(邪推: guessing with wicked doubt). The scenery recognized newly through adoption, omission and emphasis, it is 'the specific scenery' in the heart and is a figure having been more similar to 'a landscape' if the objective life reproduction before being acculturated is a figure similar to the scenery. So, the concept looks like being very persuasive that 'the nature with objectivity captured sensuously' simply is the scenery, and that 'the subjective phenomenon having acquired the cultural nature by being introspected in the method of aesthetic nostalgia is a landscape'.

• Journal of Korean Philosophical Society
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• v.123
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• pp.441-465
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• 2012

In der Kritik der reinen Vernunft entfaltet sich die Lehre des $Selbstbewu{\ss}tseins$, die in sich die verschiedene Auffassungen ${\ddot{u}}ber$ das transzendentale Ich $enth{\ddot{a}}lt$. $Demgem{\ddot{a}}{\ss}$ ist das transzendentale Ich einerseits das Ich als reine $Selbstt{\ddot{a}}tigkeit$. Die Vorstellung des Ich $dr{\ddot{u}}ckt$ insofern als die intellektuelle Vorstellung ${\ddot{u}}ber$ die spontane Handlung des denkenden Ich die numerische Einheit oder die Einfachheit der verschiedenen Handlungen desselben aus. Aber andererseits ist das transzendentale Ich im $Selbstbewu{\ss}tsein$ das Ich als den Gegenstand ${\ddot{u}}berhaupt$. Das Ich als Gegenstand ${\ddot{u}}berhaupt$ ist gerade das Ich als Gegenstand des inneren Sinnes oder das empirische Ich ${\ddot{u}}berhaupt$. In diesem Sinne $dr{\ddot{u}}ckt$ das $Selbstbewu{\ss}tsein$ die unbestimmte Wahrnehmung ${\ddot{u}}berhaupt$, oder apprehensio simplex aus. Auf diese Weise $enth{\ddot{a}}lt$ das transzendentale Ich im Selbstbewusstsein in sich die doppelseitigen Momente. Das Ich im $Selbstbewu{\ss}tsein$ ist einerseits das Ich als das denkende Subjekt, $n{\ddot{a}}mlich$ das logische Ich, aber andererseits zugleich das Ich als das wharnehmende Subjekt, das psychologische Ich ${\ddot{u}}berhaupt$. Und diese doppelseitigen Momente des Ichs unterscheiden sich voneinander, aber zugleich auch $dr{\ddot{u}}cken$ in sich ein und dasselbe Ich aus. Dennoch ist das Problem der Einheit und Entzweiung des Ich im Selbstbewusstsein bleibt in der Kritik der reinen Vernunft als ein $unerkl{\ddot{a}}rbares$, $unaufl{\ddot{o}}sbares$ $R{\ddot{a}}tzel$. Eben mit diesem Problem setzt Kant sich im Opus potumum ernsthaft auseinander und $l{\ddot{o}}st$ dieses Problem durch eine neue Lehre des $Selbstbewu{\ss}tseins$ oder die Lehre der Selbstsezung auf.

• Journal of Korean Philosophical Society
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• v.105
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• pp.193-214
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• 2008

This paper is about to analyse Merleau-Ponty's notion of flesh on textual evidences through the structure of perception and to apply this result to his theory of the others. In the first place, we study what he thinks of philosophical investigation and thus of the essence of philosophy. With this process, we find out that perception is more important than reflection in philosophical investigation. Differently from the objective or objectivistic viewpoint, the truth of perception is revealed to go beyond distinction between consciousness and object. This truth refers to reversibility which Merleau-Ponty thinks to be the ultimate truth. The reversibility of perception leads to chiasms which reveal and unreveal the beings. In the final analysis, the flesh as reversibility is the Being in the beings. When it comes to the problem of other minds, we are confirmed through the movement of flesh that self-presence is the presence to the differentiated world, namely the others.