• The Mathematical Education
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• v.55 no.2
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• pp.233-249
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• 2016

In this study, we extracted the background meaning of the condition that four points lie on a circle, analyzed textbooks critically and proposed the orientation to improve the content in the textbook. As results, the condition has a realistic background meaning which is 'mathematical modeling of finding a fair location'. The condition has a mathematical background meanings which are 'a first complex situation distinguished from two points and three points', 'the condition described in the perspective of side and angle in order to overcome the disadvantages of the perpendicular bisectors context' and 'being possible to transfer more than five points'. However it is difficult to understand the reason why the condition is on four points in the current textbook. In addition, it is difficult to recognize the connectivity of a circumcenter of triangle. To overcome these problems, we proposed five orientations to improve the content in the textbook.

• (The) Research of the performance art and culture
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• no.36
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• pp.169-184
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• 2018

This paper reveals the double meaning of the temporal background and spatial background on Shimchungga. Its temporal background is the fictional and romantic time of the story, while the time of the weary lives of ordinary people is realistic and historical in the late Joseon Dynasty. The spatial background has a dual meaning that reminds us of the ancient capital of China and Seoul of the Joseon Dynasty. Namgyeong, a spatial background is fictional and romantic where the daughter of the public, Simcheong, becomes "The mother of all the people." In addition, Namgyeong reminds us of Seoul, the capital of Joseon Dynasty. Shimchungga is based on the customs and manners of the late Joseon Dynasty, and it is embodied by borrowing time and space from China. It is recalled Joseon's as backgrounds of China First of all, Namgyeong on Shimchungga is the ultimate attraction of the free imagination of the ordinary people as well as Shin, Jae-hyo in the late Joseon Dynasty.

• Korean Security Journal
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• no.7
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• pp.125-154
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• 2004

Capitalism is based on a material desire of the human being. the social control of capital value and the management of capital ability reflects the actual condition of the capitalism well. The unconstrained growing and the expansion of capitalism, it finally lost social meaning and an importance of human being element and the safety of the civilian life, began to threat the security of citizen by forming over the material center structure of society. Improving human life quality and material richness on their life leads positive factor of capitalism whereas is causing several crimes through the society which is being threatened around a human being life for a negative factor of the capitalism. Therefore capitalistic social system has offered both a positive factor 'growing' and 'richness' and that of a negative 'structural poverty' and 'lack of security' and they have been remaining the assignment of capitalism 'poverty' and 'security' by settlement in the society for a extremely phenomenon of both sides. The objective of this research is to build its study theory and establish its causal relation by illuminating for the social environment of capitalism for a private guard or a development background of the civil security contributing for citizen security, as well as gets the clue of the development possibility of the civil guard and escort field and the development of capitalism. In Korea because their recognition of the study approach and the social safety for social security control function is still staying first step and our daily life is annoying from various threat of the society, many studies and the realistic necessity of experience related with social security is being studied. In addition, The development possibility of the civil guard and defense at the civil field which will be keep the social security has a wide position but its study approach and realistic comprehension is still in insufficient condition. Consequently, this research is started to grasp the security of civil fiend and to grope a development possibility through the research of capitalism.

• Cartoon and Animation Studies
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• s.42
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• pp.177-194
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• 2016

This study investigated an evolutionary process of In-game Animation and researched on the action of realization establishing virtual reality. In-game Animation, functioning as contents to visualize games, is responsible for conveying information to achieve goals of games. In-game Animation which is affected by graphic technology was initiated with setting up indicators by dot and line. Followed by the development of technology, In-game Animation has pursued realization, after passing through processes of iconography, materialization, and dimensionalization. The realization of In-game Animation does not simply imitate the real world but creates meaning of reality by establishing space with various factors such as characters and background along with the story, under the premise of virtuality. The realization of In-game Animation is very important to provide the experience of immersion, as it forms a sense of presence through such visual tactility. The process to create meaning of reality provides gamers with experiences, and leads them to expand senses through visual perception and finally absorb the virtuality as reality. Therefore, the image of In-game Animation does not simply imitate the real world but creates meaning of reality by establishing space with various factors such as characters and background along with the story, under the premise of virtuality. The realization of In-game Animation is not limited to blindly portray a realistic image. In addition, the process of realization pursued by In-game Animation is an action to immerse in the game rather than a mere product of technological development.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.165-172
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• 2019

Signs of the street and scenes of the nature(tree) popping up like a still screen in a monotonously repeated routine, as if waiting for something by chance, characters appearing and disappearing without special meaning, advise you to get away from cliché meetings and breakups while repeating it. The images of people returning to their places without presenting any conclusions highlights the coincidences and unexpectedness of everyday life, but are so familiar that it is easy to be overlooked, it brings us to experience the potential of everyday unfamiliarity in such moments. The actor's performance, which deviates from the practice of well-organized characters, is improvised (unplanned and uncoordinated) emphasized on the scene and expresses the everyday nature of his differentiated character freely like the reality as if he were locked up in a film structure but not confined to it, and as if he got used to the everyday life. Also the repeated words and actions of characters, and unpredictable changes of emotions, centered by the encounters and conversations of this film of Hong Sang-soo, everything that is presented in the background of everyday life in its form, let's us pay attention to the meaning and what to be found in the film. In addition, director Hong Sang-soo, who creates a story after selecting actors to reproduce this daily process in a realistic manner, sets new relationships between the characters and the actors, presenting a new method of realistic expression, through the actor who repeatedly appears in the film. This study analyzes the everyday characters and acting of the film based on director Hong Sang-soo's directing style.

• School Mathematics
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• v.5 no.2
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• pp.167-189
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• 2003

Mental arithmetic has recently gained a higher profile in primary school mathematics. The study aims to reflect didactical background of mental arithmetic in number and operations curriculum for primary school mathematics. In order to attain these purposes, the present paper describes the meaning of mathematical literacy and didactical background of mental arithmetic on which have been laid emphasis in relation to mathematical literacy in many countries. Also it shows current suggestions for mental arithmetic instruction in Everyday Mathematics Project in USA, Numeracy Number Project in Great Britain, TAL project based on Realistic Mathematics Education in the Netherlands, and mathe 2000 project in German in order to gain practical ideas for teaching mental arithmetic. Furthermore, it discusses mental strategies of students and didactical models for improving mental arithmetic instruction based on the results of many researches. Under these theoretical foundations, it is analyzed how mental arithmetic is developed in our number and operations curriculum, focused on mental strategies and didactical models. Finally, implications for improving our mental arithmetic instruction are discussed.

• Journal of Educational Research in Mathematics
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• v.15 no.4
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• pp.419-444
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• 2005

As a theoretical background for this research, the literatures which focus on teaching and loaming of connecting with mathematics and science were investigated. And the rationale of integrated curriculum on the basis of the 7th mathematics curriculum and the goal of mathematics education and the forms of integrated curriculum and the integrated curriculum in foreign school were investigated. Depending on this review, the implement method of the integrated curriculum of mathematics and science in Korea school is suggested as the following: It requires designing inter-disciplinary into-grated problem or various teaching and learning materials which are based upon concept, skill, and principle by commonality found across the subject matter. Based on the analyses upon described above, three inter-disciplinary integrated teaching and learning materials were developed. And then, based on the case stud)', the research questions were analyzed in depth. Students could understand the developing process of linear function, develop the formula and grape representing the relationship between time and velocity, time and distance, and interpret realistic meaning of the slope.

• Fashion & Textile Research Journal
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• v.15 no.5
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• pp.682-693
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• 2013

Camouflage is evaluated by scientific principle in the fields of biology, military science, and art. It has a strong influence on contemporary fashion and means exposure with concealment. This study analyzed the visual characteristics of camouflage patterns in fashion design through documentaries and fashion photos. The fashion design results areas follow. The simple blending of a disruptive motif indicated an inaccurate repetition of a disruptive motif, the discontinuous or continuous connection of disruptive motif, the irregular repetition of a disruptive animal silhouette, the collage of a different disruptive motif, the craft of a disruptive motif and the intensive color match of a disruptive motif. It represented the maximization of complication, fantastic and fanciness. The overlap of a disruptive motif showed the overlap of disruptive print patterns with transparency and an overlap of different fabrics with a disruptive pattern. It represented spatial relationships of three dimensions as well as the maximization of visual illusion and the reinforcement of attractiveness. The blurring of a disruptive motif showed the pointage of disruptive motif, the pointage of image, value gradation, the whole blurring of a disruptive pattern cluster and stained appearance. It represented the obscurity of motif form, the uncertainty of object and double meaning. The trompe l'oeil of a partial background object showed the realistic and the painterly imitation of color and texture for partial objects through a close-up. It represented amazement and pleasure by illusion, scarcity and the decoration of surface and synecdochical remind. In conclusion, camouflage in fashion was weakened and modified from a classical military context by a unique expression of various motifs.

• Korean Journal of Heritage: History & Science
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• v.50 no.2
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• pp.62-79
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• 2017

The principle of repairing the architectural heritage in China was first presented by Liangsicheng of Society for Research in Chinese Architecture in the 1930s, and it was stated as "Restoration of Historic Condition or Preservation of Existing Condition" in 1961 in the "Provisional Regulations on the Protection and Management of Cultural Relics" after various repair experiences under the social and political background of the 1950s. Restoration of historic condition generally means restoration to original shape, and because architectural heritage was often repaired based on similar principle in Korea and Japan in the early and mid 20th century, it can be said that the restoration of historic condition was a universal and leading principle in this period in Northeast Asia. In China, however, the preservation of existing condition is equally specified along with the restoration of historic condition. When considering the leading trend of the time, it seems to be rather unexpected, which leads to questions about the formation process and meaning. The research on Liangsicheng, which first suggested the principle of repair, is very important, but there is a lack of three-dimensional analysis of his principles compared with active research on international principles in China. In order to understand the process of formation and its meaning of the principle of repair in China, we first need to analyze the principle proposed by Liangsicheng, and it is necessary to comprehensively examine how the principle have changed under the social background surrounding architectural heritage conservation after the founding of the People's Republic of China(PRC). In this paper, we first show that Liangsicheng has proposed a principle of restoration of historic condition with important values in the originality, and at the same time he opened the possibility of preservation of existing condition for the result of value judgment or realistic reason. In addition, we examine the process of equalizing preservation of existing condition with a restoration of historic condition as a realistic principle due to the influence of Soviet architectural heritage conservation system and Chinese economic development oriented policy after the founding of PRC.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.