• The Journal of the Korea Contents Association
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• v.21 no.3
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• pp.88-102
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• 2021

This study focused on the museums mainly holding permanent exhibitions except for the function of special exhibition in museum architectural works. This study aimed to draw the possibility to establish the relation between architectural form and central space of museums, by applying the forms like formal form, informal form, segment form, and diagonal form shown through a case study to total 164 work cases, reclassifying the architectural form into informal form, formal form, semi-formal form, segment form, diagonal form, and linear form, and then analogizing the matter of correlation between architectural form and central space of museums. The relevant contents could be summarized as follows. overall, most of the central spaces according with the informal architectural form of museums were the informal form, which showed 92.7% distribution rate. overall, there were many cases of informal architectural form of museums. Compared to the formal form, the informal architectural form showed the higher correlation with central space. The informal architectural form of museums is estimated to be continuously developing in the future. This study aims to present the basic data aiming for interior architecture design by considering the correlation between central space and architectural form.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2008.05a
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• pp.74-77
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• 2008

In the relationship between exhibition space and art work in art museum, the Pluralism on the late of the 20th century made the new form of exhibition space to be appeared on the stage. Even if formal exhibition space that emphasized itself as a non-spatial background is currently being continued, the informal form of exhibition space is coming to the new art museums, especially after 1990's. This study is to understand how the advent of new designed the informal form of exhibition space in the Glytothek museum(the formal form of exhibition space) design a new paradigm In the relation between the exhibition space and art work in conjunction with public's perception. To do this, it is made clear that the Glytothek museum(the formal form of exhibition space) simply has played a role of non-spatial background. In other hands, the new designed informal form of exhibition space that is mainly presented after 1990's begins to Interrupt the public's perception of art work, changing it's meaning through a spatiality.

• Journal of Elementary Mathematics Education in Korea
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• v.12 no.1
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• pp.59-78
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• 2008

The purpose of this study was to research and analyze students' informal knowledge before they learned formal knowledge about fraction concepts and to see how to apply this informal knowledge to teach fraction concepts. According to this purpose, research questions were follows. 1) What is the students' informal knowledge about dividing into equal parts, the equivalent fraction, and comparing size of fractions among important and primary concepts of fraction? 2) What are the contents to can lead bad concepts among students' informal knowledge? 3) How will students' informal knowledge be used when teachers give lessons in fraction concepts? To perform this study, I asked interview questions that constructed a form of drawing expression, a form of story telling, and a form of activity with figure. The interview questions included questions related to dividing into equal parts, the equivalent fraction, and comparing size of fractions. The conclusions are as follows: First, when students before they learned formal knowledge about fraction concepts solve the problem, they use the informal knowledge. And a form of informal knowledge is vary various. Second, among students' informal knowledge related to important and primary concepts of fraction, there are contents to lead bad concepts. Third, it is necessary to use students' various informal knowledge to instruct fraction concepts so that students can understand clearly about fraction concepts.

• Korean Institute of Interior Design Journal
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• no.41
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• pp.88-95
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• 2003

The paradigm of contemporary times became different from paradigm of modem times. The change of paradigm is caused by the side effect of paradigm of pre-times. It could be said that contemporary paradigm is pluralism. In the forms of contemporary building and interior design, the informal form is the result of pluralism. This study is researching and analyzing the informal design tendency in the interior space composition of contemporary architecture. the 1950's free form movement, 1960's Informal movement and pluralism after 1970's affected the latest informal forms. The tendencies of contemporary informal design are organic-degital tendency and deconstructive tendency. Along this two kinds of tendencies, I studied the specific characters in expression and analyzed some natural-degital, deconstructive building.

• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.84-92
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• 2008

In the Relationship between exhibition space and art work in museum, new paradigm has being presented from 1990' s as a turning point. Even if the formal exhibition space that emphasizes itself as a background has currently being continued, the informal exhibition space is coming to the new art museums, especially after 1990's. This study is to understand how the advent of informal form of space in an exhibition of art museum makes a new paradigm in the relation between the exhibition space and art work in conjunction with public's perception after 1990' s that is identified to the time of Pluralism. To do this, the study raised a question on how the public perceive the relation between space and art work through photographs that contain the information on relation between space and art work. And the questionnaire performed through the curators who are working for art museum, students who studies fine art, students who studies design and public who comes to art museum. After survey through this questionnaire, it is made clear that the informal form of space simply has played a role of background since the beginning of art museum. In other hands, the informal form of space that is mainly presented after 1990' s begins to interrupt the public's perception of art work, changing it's meaning through a spatiality.

• Cross-Cultural Studies
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• v.33
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• pp.407-459
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• 2013

The paper pragmatically analyzes ellipsis in Russian and Polish colloquial and informal texts. The famous Polish writer Sławomir $Mro{\dot{z}}ek^{\prime}s$ "Exit to the South", written in Polish and Russian is used as a material for the analysis. Russian and Polish ellipsis in colloquial and informal texts have in common that the givenness and subjecthood of the elliptical co-referent play a crucial role. However, the ellipsis in two languages also has differences in many ways. Above all, in the Polish texts of colloquial and informal style, a theme is likely to be elliptical and the coreferential relation reaches to an extra-sentential antecedent, while the ellipsis in analysed Russian texts in most cases requires coordinate, subordinate or relative clauses, and the elliptical co-referent tends to have an intra-sentential antecedent. The ellipsis of the theme-subject is unmarked in Polish, where every verbal form has an ending denoting person. Unlike formal style which often allows explicit noun subject, Polish text of colloquial and informal style prefer null form of the subject in most cases. If Polish sentences have explicit theme-subjects, they disambiguate intervening and main themes, and indicate the contrast, the focus, the introduction of new narratives or the change of speaker's point of view. Sometimes direct speeches and deictic pronouns also need explicit theme-subjects in Polish sentences. On the other hand, the ellipsis of the theme-subject is marked in Russian even in colloquial and informal texts. The theme-subject can be deleted in Russian colloquial and informal texts, if the subject is a form of the first or the second person, or if the aspect and the tense of the antecedent sentence's verb are the same as those of the given sentence's verb and both the antecedent and the coreferential word have the nominative case.

• The Journal of the Korea Contents Association
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• v.10 no.12
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• pp.445-456
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• 2010

Human capital variables have been considered as very important determinants of career success. In this study have two purposes. The first is to examine the relationship between informal networking and career success. And gender moderated the relationship between informal networking and employability. The major findings of the study are summarized as follows: First, informal networking had positive effect on the career success. The relationship between members of the organization in the formation of informal relationships between the trust and if the organization's members to form a supportive organizational culture and organizational citizenship behaviors through which organizations such as the positive outcomes will be achieved. So informal networking have been considered as very important determinants of career success. Second, regarding the moderating effect of gender on the informal networking and employability, and informal networking played more important roles for men than woman in employability.

• Journal of the Korean housing association
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• v.15 no.6
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• pp.15-25
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• 2004

This study examined how the characteristics of abstractive form among various contenporary housing architecture have been expressed. The conclusions were: First, abstractive characteristics and types related to from expression of contemporary housing architectures were minimal form and absolute form of geometrical abstraction, plastic form and atypical form of expressive abstraction and mechanical aesthetics of industrial abstraction. Second, the typological form expression characteristics in minimal expression related to geometrical abstraction were simplicity, purity, and the properties of matter, and the characteristics in absolute expression were overlapping, obliqueness and dispensability. On the other hand, plasticity and mobility of materials were distinctive in plastic form expression, and inclination, curve and asymmetry were distinctive in atypical expression. The distinctive nature of mechanical aesthetics related to industrial abstraction included transparency, simplicity and. the properties of matter Funhermore, the study aimed at the understanding of various from expressions showed up in contemporary housing architecture, revealing the aspects of abstractive form expression characteristics.

• Journal of Fisheries and Marine Sciences Education
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• v.16 no.2
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• pp.199-209
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• 2004

The main purpose of this study is to explore a social capital paradigm which can be applied to many forms of social capital and intangible goods. The social capital paradigm introduces a new form of capital. This new form of capital produces a flow of socio-emotional goods that have value. Moreover, these socio-emotional goods can attach themselves to the objects used to convey them and change their value and meaning. This change in value and meaning is defined as attachment values. Exchanges of socio-emotional goods occur in networks where social capital resides. Formal and informal institutions provide order and meaning to exchanges of tangible and intangible goods. Social capital is a powerful resource that makes our choices interdependent. The social capital paradigm does not alter or contradict the basic economic theories of exchange. While the social capital paradigm accepts that selfish preferences motive many actions, it adds that sympathy and the desire to consume socio-emotional goods are powerful motivators. In case of marine affairs, ocean and fishing villages and their culture have been not only a fundamental basis of fisheries development but they also have made a great deal of contribution to forming social capital. In spite of this fact, the main reason that the problems of fisheries fishing villages fishermen in our society are kept at a distance is because they have been loosing their capability of forming social capital and producing socio-emotional goods, in addition to lowered relative economic share.

• Journal of The Korean Association For Science Education
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• v.27 no.2
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• pp.134-143
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• 2007

This study explores visitor learning in a natural history museum from the perspectives of situated learning. The purpose of this study is to understand how the visitors construct knowledge from museum experiences through dyadic discourses. The participants were two university students. They moved naturally through the exhibition with no predetermined path in a natural history museum in Korea. Data were collected in the form of audio-recorded dyadic discourses at and between exhibits and were transcribed. The transcription was coded using the conversation coding scheme, and categorized into specific learning types. The findings included (1) the characteristics of learning talks and (2) learning types created by dyadic discourses at and between exhibitions within learning contexts as museum learning experiences. Implications and future research related to visitor learning in informal learning settings were discussed based on the findings.