• Journal of Digital Convergence
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• v.19 no.9
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• pp.307-316
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• 2021

This study aims to explore the effects of deductive FFI and inductive FFI in L2 learners' grammatical achievement and their reaction to the grammar instruction. 84 students were placed into three groups: 29 given deductive FFI(DG), 28 receiving inductive FFI(IG), and 27 with traditional instruction(CG). All students completed pre/post tests and questionnaires, and took a delayed post test 9 weeks after the treatment. For statistical anlayses of all the quantitative data, a one-way ANOVA, paired samples T-test, and repeated measures ANOVA were performed. The results indicated that both deductive and inductive FFI affected learners' grammatical achievement and their achievement was sustained over time. Deductive FFI was more effective than inductive FFI, whereas the IG students more positively changed their attitudes and perceptions to the grammar instruction. These findings of the study imply that FFI should be valued in an Korean EFL classroom, which would contribute to further longitudinal research for its sustainability.

• Journal of The Korean Association of Information Education
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• v.15 no.2
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• pp.295-305
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• 2011

By using robot programming curriculums, we are able to help the learners to improve academic achievement. But these curriculums reduce the level of participation, because most of the robot programming curriculums consists mainly of understanding simple grammatical sentences. Storytelling provides a variety of educational methods to improve logical thinking of children on their experiences and offers positive learning motivations to the learners. In this paper, we proposed the robot programming curriculum using storytelling and implemented the system to support it. By using this curriculum and visualization tools in this system, children can make a robot story and model easily with others. In addition, this robot programming curriculum and system can provide learning motivation and academic achievement to the children continuously.

• Journal of English Language & Literature
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• v.55 no.1
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• pp.83-105
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• 2009

Modern poetry begins as criticism of modernity and, by so doing, rejects its idea of time. Modernity emphasizes sequential, linear, and irreversible time and progress. Williams rejects the modern view of time, and attempts to substitute literature for history assuming that literature can take us into the immediacy of time. His poetry asserts the true moment of experience as an immediacy, of words co-existent with things. He suggests that modernity and its idea of time already led to World War I and could clearly lead to an actual, manmade apocalypse with continued technological progress. Already in the 1920s, Williams sensed that he was living in a world where such an end could come all true, which is why Spring and All, his greatest early achievement, begins with a parody of the modern apocalypse. Throughout the work, Williams criticizes "crude symbolism" and expresses his longing to annihilate "strained associations," for he believes that the metaphoric or symbolic association is related to order, the center, and the traditional concept of time itself. The metonymic model of Spring and All substitutes a self-reflexive, open-ended, and indeterminate structure of time for the linear and closed one. Instead of supplying an end, Williams only asserts the rebirth of time and attempts to arrive at immediacy while attacking the mediacy of traditional art. His characteristic use of fragmentation and abrupt juxtapositions disrupts the reader's generic, conceptual, syntactic, and grammatical expectations. His radical poetic experiments, such as the isolation of words and the disruption of syntax, produce a sense of immediacy and force the reader to confront the presence of the poem. His destruction of traditional forms, of the tyrannous designs of history and time, opens up rather than closes the possibility of signification, and takes us into a moment of beginning while disallowing temporal distancing. Spring and All, as a criticism of the modern idea of time, asks us to view Williams's work not as an ahistorical text but as a cultural subversion of modernity.