• Journal of the Daesoon Academy of Sciences
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• v.34
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• pp.49-74
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• 2020

Daesoon Thought (大巡思想) emerged from indigenous Korean religion during the Joseon Dynasty. Thinkers within this tradition took Kang Jeungsan (姜甑山 secular name Kang Il-Sun 姜一淳 1871~1909) as their Highest God (上帝) and The Canonical Scripture (典經) as their main scripture. The Tenets, Four Cardinal Mottoes, Three Essential Attitudes, and Aims of Daesoon Thought are related to the concepts, categorical thought, and structure found in Confucianism. In particular, terms such as The Virtuous Concordance of Yin and Yang (陰陽合德), gods and humans^* (神人 ^*also 'divine humans' in some contexts), Dao Governance (道統), Quieting the Mind and Quieting the Body (安心安身), and Sincerity, Respectfulness, and Faithfulness (誠敬信) are all widely used in Confucianism. This paper will examine Daesoon Thought from the perspective of the Confucian Thinker, Yulgok (栗谷), and more specifically, his Theory of Reason and Energy (理氣論) and its key concepts: The Wondrousness of Reason and Energy (理氣之妙), Triggered Energy Transports Reason (氣發理乘), and Reason Pervades and Energy Delimits (理通氣局). It will be shown that Daesoon Thought shares essentially the same thinking and reasoning, and as such, the two systems are organically connected. Furthermore, both schools of thought pursue harmonious adjustment and emphasize practice. Although this study may contain suggestions which seem far-fetched when compared to previous studies, it investigates Daesoon Thought from the perspective of Neo-Confucian discourse on Nature and Principle (性理), which had great value in the mainstream culture of Korea's Joseon Dynasty. Given that Daesoon Thought and Neo-Confucianism both are forms of traditional thought, there is bound to be some connection between them.

• The Mathematical Education
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• v.41 no.3
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• pp.329-339
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• 2002

This study analyzes the epistemological meaning of‘social construction’in mathematical instruction. The perspective that consider the cognition of mathematical concept as a social construction is explained by a cyclic scheme of an academic context and a school context. Both of the contexts require a public procedure, social conversation. However, there is a considerable difference that in the academic context it is Lakatos' ‘logic of mathematical discovery’In the school context, it is Vygotsky's‘instructional and learning interaction’. In the situation of mathematics education, the‘society’which has an influence on learner's cognition does not only mean‘collective members’, but‘form of life’which is constituted by the activity with purposes, language, discourse, etc. Teachers have to play a central role that guide and coordinate the educational process involving interactions with learners in this context. We can get useful suggestions to mathematics education through this consideration of the social contexts and levels to form didactical situations of mathematics.

• Research in Mathematical Education
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• v.21 no.1
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• pp.35-46
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• 2018

In this perspective paper, we present seven elements of the appropriate educator mindset for teaching in the constructivist elementary mathematics classroom. The elements include supporting students as they construct their own understanding, eliminating deficit view of slow learners, setting new understanding and growth as the learning objective, providing opportunities to co-construct meaning with peers, using student contributions as the source of curricular material, encouraging all students to participate in learning, and providing instruction not bounded by time. In our struggles to provide authentic, inclusive elementary classrooms, we hope that our discussion of the educator mindset can increase discourse on constructivism from philosophy to practice in the community of mathematics education and policy makers.

• American Studies
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• v.43 no.2
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• pp.1-25
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• 2020

This paper examines the benefits of teaching The Adventures of Wu Han of Korea in secondary education in Korea. The novel is a rare sample of twentieth-century American fiction that features a Korean protagonist. What is notable in this novel is that its major Korean characters seem to share the mindset of their American author and creator and represent the Western perspective in their discourse of Korean/Eastern idea and culture. The novel is packed with Orientalist attitudes and could be taught as a case study of Orientalism. Teachers can also use the novel to teach students the art of close reading by analyzing selected scenes from the text.

• Journal of Smart Tourism
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• v.3 no.4
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• pp.17-21
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• 2023

This research note aims to provide a critical understanding of "tourist stupidity" and "exclusiveness" within the smart tourism domain and to propose a corresponding qualitative research agenda. It argues that qualitative research methodologies are too infrequently applied, leading to a paradox evident in smart tourism studies. Accordingly, it suggests that embracing a qualitative perspective is essential to diversify the scholarly discourse and promote advanced inquiry in the field of smart tourism. It further seeks to contribute to ongoing debates by focusing on umbrella terms, such as "tourist stupidity" and "exclusiveness," for a more nuanced and holistic understanding of smart tourism and proposes a research agenda that advocates a re-evaluation of qualitative approaches.

• Journal of Korean Society of Archives and Records Management
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• v.16 no.1
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• pp.41-59
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• 2016

In archival discourse, social memory has been discussed for some time. Despite this, however, theoretical studies have not been prolific at all in the Korean archival community. Many Western scholars have argued that archivists should consider memory rather than records for archival preservation because the inclusiveness of the former will fill the gaps in the latter. Social memory that is shared and transmitted across generations in society would include the stories of marginalized groups of people who are often neglected in official documents. Archivists can reconstruct the diverse narratives of a variety of social groups based on social memory, and this would be their social responsibility. In this sense, it is archivists who exercise power regarding how history will be written in the future because they determine what would be preserved in archives: mainstream culture with official records or a broader spectrum of diverse stories of people in society. From this perspective, this paper intends to understand how memory is discussed in archival discourse and to review how archives and history are associated with memory in theories and practices.

• Journal of The Korean Association For Science Education
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• v.27 no.4
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• pp.297-308
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• 2007

Inspired by the idea that classroom instruction proceeds through knowledge-sharing, this study examined different modes of knowledge-sharing that were realized in discursive practices in Korean secondary science classrooms. Data came from 9 science teachers. An interpretative strategy was employed to analyze the video-recording of the teachers' own science classrooms and transcriptions. The results showed four different modes of knowledge-sharing, including 'retrieving subject matter knowledge', 'reformulating subject matter knowledge', 'expansion and elaboration of understanding', and 'negotiation of meaning'. It was also revealed that there was a tie between an active mode of knowledge-sharing and scaffolding: the former allowed students to take active roles in discourses and the latter was one of the desired patterns of classroom interaction. It was suggested that further studies should be conducted to understand science instruction from more varied perspectives and to examine and utilize the detailed features of desired classroom practices like scaffolding.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.5
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• pp.19-27
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• 2013

This paper claims that the One Million-peyong Park(hereafter abbreviated as OMP) project is different from a typical citizen participatory park project by recognizing the exceptional leadership of the Civic Committee for the One Million-pyeong Park Construction(CCOMPC) in promoting and developing the OMP project. Since 2001 the CCOMPC has published a variety of written promotional materials to inform and educate the public about the project. In terms of approaching the promotional materials, this research focuses on the use of language on how the CCOMPC justifies the OMP project, namely the OMP justification discourse, and considers the discourse as a unique form of social document that represents the perspective of the CCOMPC in explaining the local environmental issues and values of urban parks to the public. Using a discourse analysis method, this research analyzes the justification discourses and investigates how they changed over the three main development phases of the OMP: the initiation and preliminary development phase(1999-2001.2), the development phase (2001.2-2008), and the time period after the greenbelt policy release on Dunchi Island(2008-present). In each discourse, the OMP project is rationalized as a citizen participation park project that (1) aims to enhance the quality of public green space in Busan, (2) is accompanied by various community engagement programs that emphasize the value of urban nature and environmental education to expand citizen participation, and (3) has contributed to the National Urban Park Bill. This research emphasizes the role of the discourses in helping the public gain a critical understanding about the local environment and values of urban parks. By analyzing the contents of the discourses, it explains the social learning values of the OMP expressed in the discourses.

• The Journal of Art Theory & Practice
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• no.14
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• Journal of the Korean Institute of Landscape Architecture
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• v.48 no.1
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• pp.15-24
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• 2020

This work examines discourse on uses of computer technology and its transformation during the last thirty years effecting Korea landscape architecture. First, in the 1990s landscape architects begun to use computers as a new technology for landscape architecture, programming computer software utilities suitable for landscape research, planning, and design. The landscape architects, acting as computer programmers, tried to explore various techniques for landscape analysis and design with a piece of software, and various experts within the field of landscape architecture collaborated with each other. However, landscape architects mainly used computer technology as a tool as a substitute for hands-on cases. Since around the 2000s, the discourse on mapping and diagrammatic techniques as a visualization technique for landscaping processes have begun. Also, realistic representations for perspective drawings using graphic software have been increasingly important. The landscape architects, acting as graphic designers, focused on the specific visualization techniques for landscape planning and design. However, computer technology has been mainly used to produce realistic visuals aids for final presentations instead of creative exploration to generate landforms. Additionally, recent landscape architects have been using landscape performance modeling and parametric modeling for landform and landscape furniture design. The landscape architects as spatial designers are actively using computer modeling as creative form-generating tools during the design process.