• Journal of Korean Home Economics Education Association
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• v.32 no.4
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• pp.19-30
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• 2020

Maker education started on the basis of the maker movement in which makers gathered in makerspace share their activities and experiences, and the educational value pursued in maker education is based on the constructivist paradigm. The purpose of this study is to present maker education components to be used in school education, focus on the characteristics and educational values of maker education, and explore ways to use them. To this end, this study explored the theoretical grounds to re-conceptualize maker education, drew statements based on in-depth interview data of teachers conducting maker education classes, and reviewed its validity through experts. Based on these statements, by deriving the components for the use of maker education, the direction of maker education in school education was set, and an example framework that could be used in subject class and creative experiential learning was proposed. Research shows that in maker education, makers cooperate to carry out activities, share ideas with others and try to improve them, and include self-direction such as learning, tinkering, design thinking, sharing and reflection. can see. In addition, maker education emphasizes experiential learning that can solve real problems that students face, rather than confining specific activities to student choices as needed. It emphasizes the learner's course of action rather than the outcome of the activity, tolerates the learner's failure, and emphasizes the role of the teacher as a facilitator to promote re-challenge. In the future, it can be used in various ways in each subject (curriculum expert, teaching/learning expert, elementary and middle school teachers, parents, local educators, etc.) and school activities, and it will contribute to setting future research directions as a basic research for school maker education.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.189-219
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• 2020

This study is an analysis of Handol Heung-Gun Lee's Tarae, which is a coinage combining the Korean words for "playing an instrument" and "song", in terms of narrative and aesthetics. The components for analysis are the phenomena and nature of binary oppositions between nature and human beings, between alienation and interest, between division and unification, and between diaspora and people of the national community. Tarae in the period from the late 1970s to the early 1990s described the experience of pain and loss from non-resistance and disobedience in protest against social problems that emerged during the era of miliary dictatorship, such as industrialization, urbanization, reckless development, Westernization, university-oriented education, the gap between rich and poor, human alienation, and the conflicts arising from the division of the nation. After Handol overcame the lack of creative motivation with self-reflection and effort, Tarae took the form of a diaspora epic meta-narratives integrating the "sound of nature and his true nature" and "the awareness of diaspora and the spirit of the Korean people". The epics of the homeland, the national soil and the people, which began with "Teo", became more intense in terms of a sense of diaspora as they shifted their focus from an origin to a path with "Hanmoejulghi" as the turning point. Handol seeks inspiration in the source of narrative rather than in music. His Tarae focuses on "adding rhythm for lyrics". For this reason, the semiotic features of Tarae have a limitation in that its extrinsic phonology is simple even if its intrinsic meaning (i.e., emotion of sadness) is profound and subtle. In order to elicit sympathy from the audience and impress them, it is necessary to strike a balance between the implicit (semantic) part and the explicit (phonological) part. To share the emotion of sadness with more people, it is necessary to strengthen phonological elements. Sympathy for sadness and deep impression on the audience are more often induced by the mood of similar sentiments than by the stories of the same experience. The aesthetics of sadness in Tarae began with the narratives of past experience which were expressed in the contexts of loss, loneliness, and poverty that Handol had experienced since childhood. However, the aesthetics of sadness, deepened over the period of a long hiatus in Handol's career as a composer, formed the narratives of ultimate salvation, embodying even the diaspora experience of others (e.g., displaced people, overseas adoptees, ethnic Koreans in Russia, victims of Japanese military sexual slavery, etc.). This gave Tarae the potential to go beyond the limits of the ethnic group of Korea. Tarae, as a "dispersed sound", can benefit from the appeal of deep sadness at the point of contact with other forms of world music. It may form a global diaspora discourse because Tarae is oriented towards interculturalism rather than anti-multiculturalism. The future challenge and goal of Handol's Tarae would be to continue to find areas of sympathy and broaden the horizon of awareness as diaspora music.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.39-85
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• 2020

This paper examines the aspects of disaster narrative, which makes the most of the concept of 'masterplot' as a narrative simulation to solve problems. By analyzing and comparing the remnants of 'masterplots' operating in the disaster narratives of Korea, the United States, and Japan, the differences between each country and social community problem recognition and resolution will be discussed. Disaster narrative is the most suitable genre for applying the 'masterplot' toward community problem solving in today's global risk society, and the problem-solving method has cognitive differences for each community. First, in the case of American disaster narratives, civilian experts' response to natural disasters tracks the changes of heroes in today's 'Marvel Comic Universe' (MCU). Compared to the past, the close relationship between heroism and nationalism has been reduced, but the state remains functional even if it is bolstered by the heroes' voluntary cooperation and reflection ability. On the other hand, in Korea's disaster narratives, the disappearance of the country and paralysis of the function are foregrounded. In order to fill the void, a new family narrative occurs, consisting of a righteous army or people abandoned by the state. Korea's disaster narratives are sensitive to changes after the disaster, and the nation's recovery never returns to normal after the disaster. Finally, Japan's disaster narratives are defensive and neurotic. A fully state-led bureaucratic system depicts an obsessive nationalism that seeks to control all disasters, or even counteracts anti-heroic individuals who reject voluntary sacrifices and even abandon disaster conditions This paper was able to diagnose the impact and value of a 'masterplot' today by comparing a series of 'masterplots' and their variations and uses. In a time when the understanding and utilization of 'masterplots' are becoming more and more important in today's world where Over-the top(OTT) services are being provided worldwide, this paper attempt could be a fragmentary model for the distribution and sharing of global stories.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• Journal of the Korean Society of Radiology
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• v.17 no.1
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• pp.157-165
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• 2023

Ultrasound imaging uses sound waves of frequencies to cause physical actions such as reflection, absorption, refraction, and transmission at the edge between different tissues. Improvement is needed because there is a lot of noise due to the characteristics of the data generated from the ultrasound equipment, and it is difficult to grasp the shape of the tissue to be actually observed because the edge is vague. The edge enhancement method is used as a method to solve the case where the edge surface looks clumped due to a decrease in image quality. In this paper, as a method to strengthen the interface, the quality improvement was confirmed by strengthening the interface, which is the high-frequency part, in each image using an unsharpening mask and high boost. The mask filtering used for each image was evaluated by measuring PSNR and SNR. Abdominal, head, heart, liver, kidney, breast, and fetal images were obtained from Philips epiq5g and affiniti70g and Alpinion E-cube 15 ultrasound equipment. The program used to implement the algorithm was implemented with MATLAB R2022a of MathWorks. The unsharpening and high-boost mask array size was set to 3*3, and the laplacian filter, a spatial filter used to create outline-enhanced images, was applied equally to both masks. ImageJ program was used for quantitative evaluation of image quality. As a result of applying the mask filter to various ultrasound images, the subjective image quality showed that the overall contour lines of the image were clearly visible when unsharpening and high-boost mask were applied to the original image. When comparing the quantitative image quality, the image quality of the image to which the unsharpening mask and the high boost mask were applied was evaluated higher than that of the original image. In the portal vein, head, gallbladder, and kidney images, the SNR, PSNR, RMSE and MAE of the image to which the high-boost mask was applied were measured to be high. Conversely, for images of the heart, breast, and fetus, SNR, PSNR, RMSE and MAE values were measured as images with the unsharpening mask applied. It is thought that using the optimal mask according to the image will help to improve the image quality, and the contour information was provided to improve the image quality.

• Journal of Korean Elementary Science Education
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• v.41 no.4
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• pp.740-753
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• 2022

This study was conducted to develop and apply an out-of-school STEAM program model based on Social-Emotional Learning (SEL) for underprivileged students in the lower grades. To this end, a STEAM program based on SEL was developed, with the following characteristics. First, by integrating traditional STEAM learning elements and SEL elements, a structured program was designed with consistent stages, including mindfulness meditation→present an authentic situation→creative design→emotional experiences→reflection. Second, the program was structured so that elementary school students could develop mathematical thinking and scientific inquiry skills in problem-solving situations in daily life. Third, the detailed themes for each STEAM program involved storytelling-based problem situations, as well as activities centered on play and sympathy to reflect the educational needs of underprivileged students. From these characteristics, a total of five programs were developed and applied to 16 teachers and 354 lower-grade elementary school students in 16 community children centers nationwide. The results were as follows. First, while students' satisfaction with the STEAM program was 4.16, there were no significant differences in STEAM satisfaction according to gender. Second, while all students' interest and self-efficacy, which was one of sub factors of STEAM attitude, were significantly improved, no significant difference was seen in STEAM attitudes according to gender. Third, although students' SEL competencies were not significantly improved, relationship skills, which were among the sub factors of SEL competencies, were significantly improved, and there were no significant differences in SEL competencies according to gender. From these results, a discussion on the effect of the out-of-school STEAM program for underprivileged students and directions for follow-up studies was suggested.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.42 no.6
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• pp.853-860
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• 2022

The purpose of this study is to suggest an improvement plan for the calculation method of the engineer standard wage rate (ESWR) and to compute a reasonable ESWR. To this end, an adequacy review of theESWR calculation criteria was conducted along with an extensive engineering industry survey. The survey results were analyzed using an effective response sample of 748 companies out of 1,000 survey samples extracted by stratifying the 5,879 survey population. The main results were as follows. ①When calculating the engineering service fee, the prime contractor's engineer wage is suitable for the ESWR. The ESWR can be estimated by the formula 'average wage÷[1-proportion of subcontract orders×(1-subcontract rate)].' ② The field survey showed that the number of monthly working days was 20.35-20.54 days at 99 % confidence interval, which was significantly different from the current standard (22 days). In addition, as a result of a legal review of the ESWR criteria, it was found that the number of working days should be calculated in accordance with the Labor Standards Act after 2022. ③ Applying government guidelines, the time difference between the wage survey and the ESWR application can be corrected by the past ESWR increase rate for a specific period. ④ Using modeling based on the analysis above, the current ESWR was 13.5-14.5 % lower than the appropriate level. A lower ESWR was driven by the non-reflection of subcontract structure (4.1 %), overestimation of monthly work days (6.8-7.8 %), and application of past wage (2.6 %). The proposed model is expected to be widely used in policy making, as it can provide a useful framework for calculating the standard wage rate in similar industries as well as calculating appropriate engineering fees.

• Journal of Christian Education in Korea
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• v.68
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• pp.375-415
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• 2021

Although the interest in Christian education of spirituality has increased recently, the practice of the education of spirituality in the Korean Church has been fragmented in the contents and methods without any clear educational purpose of the Protestant tradition. This requires a creative study to seek out the contents and method best suited to realizing the educational purpose of the Protestant tradition, through a rigorous academic methodology. This study proposes just such a creative model for the education of spirituality with an educational purpose based on the core ethos of the Protestant spirituality, integrating the long tradition of spiritual practices of Christianity. First, I survey the teachings on 'the life of faith' of the main leaders of the Protestant church, including Martin Luther, John Calvin, and John Wesley. Through this process, I reveal 'liberated-ness' to be the common purpose of the Protestant leaders, and the core of the practices for that purpose are 'the means of grace,' which has a different meaning from that of the Roman Catholic tradition. I construct the meaning of 'liberated-ness' in a dynamic manner, which begins with the 'liberating will' of God, and is followed by the 'self-giving will' of the believer as the response to the 'grace' of the 'liberating will.' The contact point of these two 'wills' is what I call 'the living membrane of faith.' As a creative synthesis of the above discussions, I propose a model of 'the practice of liberated-ness' for an education in spiritual practice. The purpose of this education is for the learner to become a person who continuously experiences ever-increasing 'liberated-ness' through continuous personal 'encounters' with God, and to become ever more faithful in carrying out practices for the 'liberated-ness' of her or his neighbors. The relationship between the teacher and the learner is that of personal 'encounter' as put forth by Sherrill, and also incorporates elements of 'co-authorship' as conceptualized by Kim. I transform and rename major practices of spiritual discipline according to a principle of 'liberated-ness' based on the Protestant tradition, and these comprise the main content of my spirituality education model. They include: 'lectio divina of encounter,' 'prayer facing the Lord,' 'service in liberation,' 'reflection of liberated-ness,' and 'mutual spiritual direction.' The teaching and learning process draws on Dykstra's methods of coaching and mentoring. The key environment is that of a 'sacramental community' as defined by Moore. Evaluation can be performed only by the learner her/himself. The significance of this model is that it creatively inherits and succeeds the tradition of Christian spiritual discipline from the early church onwards by transforming it through a Protestant spirituality of 'liberated-ness.'

• Journal of the Daesoon Academy of Sciences
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• v.45
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• pp.69-102
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• 2023

There has been a growing demand for spiritual education in public education in recent years. In fact, the concept of spirituality was included in the national religious curriculum in 2022. However, compulsory spiritual education based on the national curriculum is different from individual or private organization-based spiritual education which can be characterized as voluntary. This article aims to discuss the potential problems that may arise when making spiritual education compulsory in public education. This discussion includes the expansion of spiritual discourse and the scope of spirituality, the contents and examples of spiritual education, and the implications of compulsory spiritual education. My perspective on this topic is that the religious curriculum, being a national curriculum, should be applicable to all schools and learners. The channels for expanding spiritual discourse include studies for measuring each individual's spirituality or religiosity and spiritual tourism. Both exclusive and inclusive spirituality coexist within spiritual discourse. Furthermore, spiritual educators criticize knowledge-based education for its tendency towards romanticization, while overlooking reflective education in national religious curriculum. Additionally, the normative nature inherent in the concept of spirituality is often overlooked, despite the potential recurrence of problems seen in faith-based education. This article suggested that the minimum principle for the nation's religious curriculum should be that "religious or normative knowledge is not to be injected or delivered but rather reflected upon." This principle aims to provide an opportunity for learners to reflect on their religious experiences or lives subjectively. When this principle is applied, spirituality becomes the object of reflection and selection for learners. Above all, learners with reflective thinking skills will be able to live independently, even if their experiences and lives change. We hope that this article will serve as an opportunity to continually reflect on the form of religious education found in public education.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.1-15
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• 2019

Psy's Gangnam style in 2012 showed K-pop's potential for global growth and BTS proved it by reaching three consecutive Billboard No.1. The success in the global music market brings tremendous economical and cultural power. This study is conducted for the continuous growth of K-pop music in the global music market by analyzing the musical factor of K-pop's global success. The top 20 most-viewed K-pop MV on Youtube is chosen as a research subject because Youtube is a worldwide platform that reflects global popularity. For the process of K-pop music creation, the role of the composer is expanded and many overseas producers participate in music creation. All 20 songs are created by the collective creation system and there is a consecutive collaboration between the main producers and certain artists. The top 20 most viewed K-pop songs have the musical characteristics of transnational genre convergence, hook songs, sophisticated sounds, frequent use of English lyrics, a reflection of the latest global trends, rhythm optimized for dance and clear concept. It makes the K-pop song easily remembered and familiar to overseas listeners. K-pop's healthy and fresh theme brings emotional empathy and reflects Korean sentiments. K-pop's global success is not a coincidence, but a result of continuous efforts to advance overseas. Some critics criticize K-pop's musical style is similar and it shows K-pop's limitation but K-pop progressed its musical evolution. By keeping the merits of K-pop's success factors and complementing its weak points, K-pop will continue its popularity and increase influence in the global music market.