• 한국수학교육학회지시리즈D:수학교육연구
• /
• 제15권3호
• /
• pp.209-228
• /
• 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.

• 기독교교육논총
• /
• 제68권
• /
• pp.307-344
• /
• 2021

1880년대 초기 개신교 선교사들이 한국에 복음을 전한 이후 한국 개신교는 양적 성장에 이은 질적 성장을 추구하고 있다. 신학, 목회, 사회 참여, 윤리, 교육, 상담, 역사, 영성 등 다양한 분야에서 질적 성장을 위한 목회자들과 학자들의 노력이 이어지고 있다. 기도는 한국 개신교의 역사와 신앙에 있어 중요한 영적 자원이자 방법이었다. 한국 개신교 기도전통에 대한 역사적이고 이론적인 연구가 지속하고 있고 시대와 상황에 맞게 재정립할 필요가 대두되고 있다. 이러한 역사적 흐름 속에서 개신교의 변화와 기도 교육을 위해 한국 개신교 기도전통을 정리해 그 의의를 서술할 필요가 있다. 본 연구는 한국 개신교 기도전통의 특징적 요소에 대해 분석하고 교회와 기독교교육에 있어 어떤 의의가 있는지 논한다. 또한, 한국 개신교에 특정한 기도의 요소가 자리 잡게 된 원인이나 배경을 분석하고 최근 다루어지는 주제와의 관계를 서술한다. 이러한 시도를 통해 한국 개신교 기도전통이 기독교교육에 어떤 의미가 있으며, 향후 교육의 내용, 방법, 목적 등을 연구하고 고찰할 때 새롭게 논의되고 고려되어야 할 점이 무엇인지 제안한다. 본 연구는 개신교 초기 기도의 교육적 요소와 비교육적 요소를 구분할 수 있다는 점과 개신교 기도전통의 특징을 이해하면서 동시에 기독교 전체 역사와 전통의 관점에서 기도 교육이 이루어져야 함을 주장한다.

• 복식
• /
• 제60권3호
• /
• pp.56-65
• /
• 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.

• 한국실내디자인학회논문집
• /
• 제20권5호
• /
• pp.188-196
• /
• 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.

• 대순사상과 동아시아종교
• /
• 제1권2호
• /
• pp.133-157
• /
• 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
• /
• 제7권2호
• /
• pp.65-88
• /
• 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.

• 헤리티지:역사와 과학
• /
• 제53권3호
• /
• pp.128-141
• /
• 2020

이 논문은 조선총독부의 고적조사와 일련의 사업을 통해 한국에 미술공예 개념이 수용된 과정과 그 과정에서 성립된 공예의 전통과 캐논에 대해 고찰한 글이다. 「고적 및 유물 보존규칙」과 「조선보물·고적·명승·천연기념물 보존령」의 제정을 통해 법률상으로 제시된 공예는, 조형물을 만들어낸 정교하고 뛰어난 기술, 더 나아가 회화, 조각과 같은 미술의 한 장르를 의미했다. 이왕가박물관과 총독부박물관은 미술공예라는 용어를 대중에 확산시키는 역할을 했고, 여기에 전시된 공예는 과거의 전통을 시각적으로 구체화하였다. 이와 같이 공예라는 용어는 고미술을 가리킬 때 빈번히 사용되었고, 구체적으로는 법률상의 보물로 지정되거나 박물관에 전시되어 지키고 보존해야 할 전통이 되었다. 공예의 전통과 캐논이 성립되자 당대에 제작되는 공예에 큰 영향력을 행사했다. 이 일련의 과정에는 일본의 문화 정책과 제국적 취향이 절대적으로 작용했다. 일반적으로 근대기에 성립된 공예 개념은 산업으로서의 공예와 미술로서의 공예, 두 가지로 구분되어 왔으나, 미술로서의 공예라는 개념 안에도 여러 층위가 존재했다. 캐논이 된 고미술은 동시대 제작의 준거가 되었으며, 실제로는 동시대에 제작되던 공예의 양상도 모두 같지 않았다. 이제까지 일괄적으로 논의되던 미술공예 개념을 세분화하는 작업이 공예에 있어서 '만들어진 전통'과 근대기 공예계의 양상을 정확히 파악하기 위한 기초가 될 것으로 기대한다.

• 복식문화학회:학술대회논문집
• /
• 복식문화학회 2006년도 Seoul The Costume Culture Association & Ars Textrina Joint International Conference
• /
• pp.34-35
• /
• 2006

• 한국가구학회지
• /
• 제17권4호
• /
• pp.115-129
• /
• 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
• /
• 제7권2호
• /
• pp.113-124
• /
• 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.