• Journal of Digital Convergence
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• v.14 no.2
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• pp.1-18
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• 2016

This study analyzed the reports of Korean and Chinese newspapers on the foundation of AIIB from the viewpoint of public diplomacy. The results showed that Chinese newspapers reported the government's statements and opinions and played as a means of conforming to the purposes of public diplomacy. Chinese newspapers employed the media paradigm of Instrumentalism among three paradigms of public diplomacy, which was due to ownership structure of the press. In the case of Korean Newspapers, they adopted paradigms of culturalism and professionalism. However, they verged to culturalism in terms of lack of discourse struggle due to few in-depth reports of the effects of national economy of AIIB.

• The Journal of the Korea Contents Association
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• v.17 no.7
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• pp.22-30
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• 2017

CGI not only performed a crucial role to make cinema and animation evolved into digital cinema and digital animation but also CGI, an important visual format, settled realism-centric spectacle image culture in public commercial cinema and animation. The fact that CGI visual format could be structuralized in three different view points is discovered through Iconicity, photorealism, verisimilitude, uncanny valley, hyperrealism, and spectacular realism discourse research which explain image culture. First, a formative viewpoint that comes up in an iconic difference between drawing and photograph. Secondly, a cognitive viewpoint that sees visually perceived naturalness and abnormality as a realistic probability issue. Lastly, a customary viewpoint which is rooted in aesthetic tradition of cinema and animation. After that, the features of CGI which is used in the movie 'jungle book'(2016) were analyzed using the structured visual format. Consequently, this movie has hyper-realistic photographic iconicity on the base of realistic probability. Also, by following image-aesthetic convention which uses overstated and amplified narrative as a visual format, at the same time, the movie also has sufficient image-aesthetic convention in animation by personified animal character.

• Korean Journal of Cognitive Science
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• v.25 no.2
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• pp.159-187
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• 2014

Approximate number sense(hereafter, ANS) is the ability to compare and operate upon numerosity information. The numerosity comparison task is used to measure ANS. However, there is considerable variance among previous reports of ANS acuity which may be related to different task formats used. Here, we aim to investigate whether the format of the numerosity comparison task influences measurements of ANS acuity. We compared two task formats; 1) an intermixed format presenting two intermixed arrays of black and white dots, and 2) a side-by-side format showing two arrays of dots side by side. The intermixed format likely makes additional demands on general cognitive resources for inhibitory control, selective attention, or visuospatial working memory. The performance on the intermixed format was significantly lower than that of the side-by-side format resulting in an underestimation of ANS acuity compared to the expected trajectory of ANS development. In addition, the ANS acuity measured from only the side-by-side format was correlated with children's mathematical achievement and age. Our results demonstrate that measurement of ANS from the side-by-side format has higher construct and predictive validity compared to that of the intermixed format.

• The Journal of Korean Philosophical History
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• no.31
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• pp.263-287
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• 2011

Li-Gu was a Confucianist who criticized traditional 'attend to Righteousness and neglect Profit' idea and insisted that people affirmed 'Proprietiy' and 'Interest', which accorded with human nature and desire. He said that 'Proprieties' was made by adjusting one's material life and natural desire. Therefore, if we want 'Propriety' is manifested itself, we must affirm and satisfy the material life and natural desire first. He asserted that if we didn't follow this, the people's life would be devastated and the nation would face a big crisis. Li-Gu's thought not only gave Wang An Suk's Reformation a theoretical basics, but also attached the new and reformist meanings to 'Propriety', which had been changing meaningless and abstract, by criticizing Songming Confucian School and put great stress on uniting the inside and outside. In this article, through examining Li-Gu's the idea of Righteousness and Profit, King and Ruler, Inside and Outside, we can consider what the real 'Propriety' is and what kind of practical meaning 'Propriety' has.

• Korean Journal of Logic
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• v.21 no.1
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• pp.59-96
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• 2018

${\bot}$It is often said that in a purely formal perspective, intuitionistic logic has no obvious advantage to deal with the liar-type paradoxes. In this paper, we will argue that the standard intuitionistic natural deduction systems are vulnerable to the liar-type paradoxes in the sense that the acceptance of the liar-type sentences results in inference to absurdity (${\perp}$). The result shows that the restriction of the Double Negation Elimination (DNE) fails to block the inference to ${\perp}$. It is, however, not the problem of the intuitionistic approaches to the liar-type paradoxes but the lack of expressive power of the standard intuitionistic natural deduction system. We introduce a meta-level negation, ⊬$_s$, for a given system S and a meta-level absurdity, ⋏, to the intuitionistic system. We shall show that in the system, the inference to ${\perp}$ is not given without the assumption that the system is complete. Moreover, we consider the Double Meta-Level Negation Elimination rules (DMNE) which implicitly assume the completeness of the system. Then, the restriction of DMNE can rule out the inference to ${\perp}$.

• Proceedings of the Korea Contents Association Conference
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• 2011.05a
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• pp.107-108
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• 2011

일반적으로 문자가 있는 스토리만화는 이미지와 대사, 의성어, 의태어 등으로 상황과 이야기를 전달한다. 문자가 없이 그림과 효과선 감정기호와 같은 이미지 만으로 구성 되어지는 형식은 무언만화로 분류 되어진다. 스토리만화와 무언만화는 위의 형식적인 특징 이외에 장면 연출에 있어서도 차이가 매우 크다. 문자가 있는 스토리만화에서는 등장하는 캐릭터의 액션이나 대사와 함께 내레이션이 추가적으로 서술되어 지면서 장면전환이 이루어지고 있지만, 무언 만화에서는 오직 이미지 만으로 장면전환이 이루어지고 있다. 이에 본 연구는 '무언만화'로써 대표되는 마사시 타나카의 작품 <곤>과 J.C.므늬의 작품 <산란주의>를 중심으로 장면전환 시에 반복적으로 나타나는 무언만화 만의 연출적인 특징과 이미지가 가지는 '언어적 성격'에 대해 분석하였다.

• Communications of Mathematical Education
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• v.12
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• pp.67-82
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• 2001

발생적 원리는 수학을 공리적으로 전개된 완성된 것으로 가르치는 형식주의의 결함을 극복하기 위하여 제기되어온 교수학적 원리로, 수학을 발생된 것으로 파악하고 그 발생을 학습과정에서 재성취하게 하려는 것이다. 특히, 수학을 지도함에 있어서 역사적으로 발생, 발달한 순서를 지켜 지도해야 한다는 것이 역사-발생적 원리로, 수학이 역사적으로 발생, 발달 되어온 역동적인 과정을 학생들이 재경험해 보게 하기 위해서는 이러한 일련의 과정을 효과적으로 설명할 수 있는 교수-학습 방법이 필요하다. 변증법적인 방법론은 헤겔에 의해서 꽃을 피운 철학으로, 정일반일합(正一反一合)의 원리에 따라 사물의 발생과 진화 과정을 역동적으로 설명할 수 있는 방법론이다. 따라서, 본 연구는 초등학교에서 역사-발생적 원리에 따라 수학을 지도할 수 있는 방법으로 변증법적인 방법을 고찰하여, 역사-발생적 원리의 수학 교수-학습 방법에 대한 시사점을 얻고자 한다.

• Journal of the Korean Society for information Management
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• v.35 no.3
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• pp.147-164
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• 2018

This study defined the name of records producing institution as the unique preferred form of access point which has same identification and same entity by using Standard Administration Code, and also described the name of records producing institution which has various name form as formal-name form of access point, which has same identification and same entity. This study make us be able to identify and access to all of the records that institution, has same identification and same entity, has produced. And the mechanic, I designed by ontology would make reinforce 'the principle of provenance' and 'respect for orignal order' and make user satisfy in useability of archives and expanded retrieval results.

• Journal of the Korean Geographical Society
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• v.40 no.4 s.109
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• pp.454-472
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• 2005

This study is to discuss on intrinsic justification of 'citizenship' and 'spaces of citizenship' to inquiry possibility of citizenship education through geography subject. According to Peters' educational view as forms of knowledge and initiation, citizenship was intrinsically justified through examination of forms of geographical knowledge. The analysis of paradigms in geography shows that 'the human' and 'the social' are generally combined in 'space'-centered language and ideologies through post-positivism. That is, it refuses the concept of physical space which is value neutral, and seeks turn to spaces of citizenship which is value-intrinsic through social space theory. Given that changes in the forms of geographical knowledge lead changes in content knowledge of geography subject, citizenship is to be justified intrinsically. Thus, citizenship as content knowledge of geography subject is to be justified not extrinsically through acceptance of social studies' educational aim in itself but intrinsically through forms of geographical knowledge. And geographical education as initiation into value and belief of citizenship based on these spaces of citizenship is not about making students have arrived at a destination, but about them travel with a different view.

• Journal of The Korean Digital Architecture Interior Association
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• v.9 no.3
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• pp.77-83
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• 2009

Van Doesburg founded the magazine De Stijl with Mondrian in 1917. De Stijl movement was influenced by Cubist painting as well as by the mysticism and the ideas about ideal geometric forms in the neoplatonic philosophy. De Stijl proposed ultimate simplicity and abstraction by using only straight horizontal and vertical lines and rectangular forms. Furthermore, their formal vocabulary was limited to the primary colours, red, yellow, and blue, and the three primary values, black, white, and grey. The works avoided symmetry and attained aesthetic balance by the use of opposition. Vertical and horizontal lines are positioned in layers or planes that do not intersect, thereby allowing each element to exist independently and unobstructed by other elements In 1924 their different concepts about space and time were split between Van Doesburg and Mondrian. Van Doesburg launched a new concept for his art, Elementarism, which was characterized by the diagonal lines and rivaled with Mondrian's Neo-Plasticism. The works of De Stijl would influence the Bauhaus style and the international style of architecture.