• Research in Mathematical Education
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• v.15 no.3
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• pp.209-228
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• 2011

Many studies such as Pepin (1999a; 1999b), Kaiser (2002), and Park & Leung (2006) revealed that there is a strong dependence of mathematics teaching on cultural traditions in different countries. This study was set up as a detailed comparison between the intended curricula in Berlin and Hong Kong to explore how cultural tradition influenced the intended curriculum. In this study, the intended curriculum is what the (local, state or national) curriculum developers stipulate in the official documents. The German educational system is influenced by the curriculum tradition called Didaktik. Didaktik is a tradition about teaching and learning. Since 16th century, Didaktik has been the most important tool for planning, enacting, and thinking about teaching in most of northern and central Europe (Westbury, 1998). On the other hand, the education system in Hong Kong is influenced by both the Anglo-Saxon curriculum tradition and the Confucian heritage culture (CHC). It was found in this study that, although many studies revealed that there is a strong dependence on cultural traditions of mathematics teaching in different countries, other factors such as social factors or the education system also played an important part in shaping the intended mathematics curriculum. So a simplistic view of dependence of the curriculum on cultural traditions is not warranted. The formation of the curriculum is a much more complicated process encompassing various factors including needs of society, advancement of technology, and government policies at different levels.

• Journal of Christian Education in Korea
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• v.68
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• pp.307-344
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• 2021

After Protestant missionaries delivered the gospel to Korea in the 1880s, Korean Protestantism has pursued qualitative growth following quantitative growth. Pastors and scholars are continuing their efforts for qualitative growth in various fields such as theology, ministry, social participation, ethics, education, counseling, history, and spirituality. Prayer has been a significant spiritual resource and method in the history and for the faith of Korean Protestant churches. Historical and theoretical research on Korean Protestant prayer traditions has been continuously performed, and it is time to re-establish and renew the prayer traditions for the new generation and context of the Protestant churches. In this historical time, it is necessary to summarize the Korean Protestant prayer traditions and describe their significance for the change of Korean Protestantism and its prayer education. This study analyzes the characteristic elements of the Korean Protestant prayer tradition and discusses its significance in the church and Christian education. In addition, it analyzes the cause and background of the establishment of a specific prayer element in Korean Protestantism and describes the relationship with the topics currently being emerged. Through the research on the prayer traditions, this study reflects on the meaning of the Korean Protestant prayer tradition to Christian education and discusses the content, method, and purpose of future education in relation to Korean Protestant prayer. This study argues that prayer education should be conducted from the perspective of Christian history and tradition as a whole with understanding the characteristics of Korean Protestant prayer traditions and the educational and non-educational elements of prayer.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.56-65
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• 2010

It is time to create an image of Korea that uniquely defines and represents the nation to the world, by incorporating Korean traditions with the cultural industry. To this end, it is important to see the beauty of Korean tradition from an academic perspective and further explore its utility from an industrial viewpoint. This study is intended to design uniforms for employees in Korean restaurants at hotels or docents in Korean-styled museums. In doing so, we eyed on Baeja, a Korean traditional vest as the cultural archetype, and created cultural products. As our archetype, we chose two pieces of Baeja : one excavated from the tomb of Suryun Sim (1534-1589) which is displayed in the Gyeonggi Provincial Museum, and the other from Byeon of the Jeonju Lee family (1636-1731) in Suk Joo-Sun Memorial Museum at Dankook University. We also adopted Dapho with a Korean traditional vest with long length. Based on these cultural archetypes, seven products were developed. With the traditional food and way of living in Korea being more and more recognized in the global stage, it would be continuous creation and development of cultural contents with history and story rooted in the cultural heritage of the nation that could enrich our culture by bringing traditions back to the modern days to incorporate the past into the present. It is important to restore traditions when developing cultural products. However, it is also critical to commercialize ideas with stoη and creativity in the market for cultural products.

• Korean Institute of Interior Design Journal
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• v.20 no.5
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• pp.188-196
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• 2011

The objective of this study was to identify the design characteristics of space components observed in Malaysian hotel lobbies. For this study, we conducted a case study on the facades and indoor space components of 15 hotel lobbies in Langkawi and Penang, and drew conclusions as follows. First, designs found in the facades and indoor space components of Malaysian hotel lobbies reflected all of traditional and colonial styles, religious styles including Islamic, and contemporary styles. Second, traditional designs showed rather the modernization of traditions than the preservation of traditions. Particularly in ceilings, walls and windows/doors, conservative or progressive modemization was observed frequently. Third, contemporary designs were mostly formative modernization, and materials and colors still adhered to traditions and nature. Fourth, in applied furniture, traditional wood sculptures were mixed or traditional material rattarn(stems of climbing palms) was utilized actively. Fourth, a large number of designs symbolized the Malaysian first religion Islam. Summing up these results, the common point of designs observed in the facades and indoor space components of Malaysian hotel lobbies was that they were transformed into Malaysian style regardless of whether they were traditional or colonial.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.1 no.2
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• pp.133-157
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• 2022

Applying the long and distinguished heritage of rhetorical theory to any sacred text, such The Canonical Scripture of Daesoon Jinrihoe, could fill many volumes of many books. This study, then, will provide some suggestive prolegomena for directions rhetorical criticism of the Scripture can take, now and in future research. This study will, further, make necessarily broad strokes in order to familiarize audiences and scholars of new Korean religions, and Eastern thought generally, with Western, both ancient and more modern, modes of rhetorical thought. As rhetorical criticism is increasingly embraced by Western religious scholarship, and as comparative religious studies remain an important dimension of textual scholarship, this article will contribute to both areas by presenting perhaps the first rhetorical-critical approach to the sacred scriptures of Daesoon Jinrihoe. When the new English translation of the Scriptures becomes available in the West, general and scholarly readers will be interested to find parallels and departures with religious and critical traditions with which they are already familiar (in this case, early American Protestant Calvinism). This study will make contributions, then, to the areas of rhetorical-religious criticism, comparative East-West presentations of nature within scriptural contexts, and establishment of grounds for further comparative investigations of Western traditions and Daesoon Jinrihoe.

• Acta Via Serica
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• v.7 no.2
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• pp.65-88
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• 2022

With the expansion of the Russian Empire southward in the nineteenth century, connoisseurs, art historians, and scholars in Russia began to pay attention to carpet traditions in the new territories of the Russian Empire in Turkestan. In journals and other specialty publications, they underscored a need to establish claims to authority over the knowledge of the traditional craft. They were highly attuned to parallel accounts of carpet weaving from regions that had a longer history of research and collecting of carpets. In contrast to the situation in Western Europe or the United States, commentators bemoaned the fact that the public and even professed experts in Russia did not properly appreciate carpets from the Caucasus and Central Asia. These scholars articulated a need to establish authority over the carpet weaving traditions of Russia's colonial possessions, resulting in a push toward a serious study of carpet weaving as a legitimate field of inquiry. This paper uses published sources on early carpet scholarship from the late nineteenth and early twentieth centuries to examine how carpet weaving traditions in Central Asia entered an imperial discourse of knowledge. It argues that attempts to understand and categorize carpet weaving as an art form occurred along two fronts. Intellectuals and scholars attempted to wrest control over the locus of knowledge from experts in the West as well as from local weavers. In the process, they established a distinctly imperial vision of carpet weaving in contrast to competing imperial discourses and over traditional forms of knowledge.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.128-141
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• 2020

This study examines the process of Korea's acceptance of the concept of Art Craft through research on ancient remains and relices (朝鮮古蹟調査) and a series of projects undertaken by the Japanese Government-General of Korea, and the traditions and canons of craft established in the process. Crafts defined in law referred to fine and exquisite techniques for creating antiques, or genres of art such as painting or sculpture. The Yi Royal Family Museum and the Museum of the Japanese Government-General of Korea spearheaded the popularization of the term "Mi-sul-gong-ye (Art Craft, 美術工藝)." The artworks displayed in these two museums visually embodied past traditions. In general, the term "craft" was frequently used to refer to ancient art, and crafts specifically became traditions to be protected and conserved by designation as legal treasures for display in museums. The establishment of traditions and canons of craft exerted a great influence on crafts produced during this era. The cultural policies and imperial tastes of Japan played a crucial role in this process. In previous research, scholars divided the concept of craft in the modern era into two categories: industrial craft and art craft. However the so-called "art craft" is not a homogeneous category. It includes both ancient art (antiques) and the pieces made in modern age. Ancient art became canonized and the basis of contemporary production. Moreover, features of contemporary craft were diverse. By subdividing concepts of art and crafts, which have hitherto been discussed collectively, this study will serve as groundwork for accurately understanding "invented traditions" and features of modern craft.

• Proceedings of the Costume Culture Conference
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• 2006.09a
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• pp.34-35
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• 2006

• Journal of the Korea Furniture Society
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• v.17 no.4
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• pp.115-129
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• 2006

This study explored the literature review for intending to make contemporary furniture expressed as postmodern aesthetics accessible to the broadest possible public, particularly through an examination and realization of art and everyday life, using qualitative analysis about the related literature as the principal methodology. The postmodern furniture aesthetics of communication expressed through double-coding, which was seen by Charles Jencks as the defining element of Post-Modernism, is characterized by the use of ideas from the traditions of craft. Hence, I dealt with pre-Modern furniture and Modern-furniture aesthetics as the background of postmodern furniture called New design furniture. As a result, contemporary furniture called New design furniture represented the use of ornament, craftsmanship, or beauty from the traditions of craft, which was a main source for communication value in postmodern furniture aesthetics.

• International Journal of Advanced Culture Technology
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• v.7 no.2
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• pp.113-124
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• 2019

Stanley Kubrick's 1968 film titled 2001: A Space Odyssey has generally been considered as a monumental piece of mainstream epic science-fiction. However, this film can be evaluated as having properties of experimental cinema by boldly trying technical innovation and aesthetic experiment in various aspects. From the filmmaker's process to filmic structure, technical innovations, screening method, $mise-en-sc\grave{e}ne$, cinematic style and its (auto-)reflexivity, 2001: A Space Odyssey is highly experimental. We will attempt to separate out aspects of 2001: A Space Odyssey that derive explicitly from traditions in experimental cinema, whether adopting those traditions or innovating within them, by identifying the film's experimental strategies and relating them to other experimental films that came before and after. This will show that the purely formal characteristics of the film's conception carry meanings on their own relating to Kubrick's personal expression, ideas about cinema and philosophy that go beyond the scope of the film's narrative.