• SUVANNABHUMI
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• v.10 no.1
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• pp.63-91
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• 2018

One of the goals of this article is to continue the momentum begun by emerging scholarship on theory and practice of writing about visual culture of and in Southeast Asia. I hope to offer culturally sensitive and embodied ways of looking at images and objects as sites/sights of cultural knowledge as further theoretical intervention. The argument put forward in my essay is three-fold: first, I critique the prevailing logocentric approach in the field of Southeast Asian Studies and I argue that in a postcolonial, global, and transnational period, it is important to be inclusive of other objects as sites/sights of social, political and cultural analysis beyond written and oral texts. Second, I argue that although it has its own political and theoretical problems, the evolving field of Visual Studies as it is practiced in the United States is one of many ways to decolonize the prevailing logocentric approach to Southeast Asian Studies. Third, I argue that if one reads these Euro-American derived theories of vision and visuality through the lens of what Walter Mignolo calls "colonial difference(s)," then Visual Studies as an evolving field has the potential to offer more nuanced local ways of looking at and understanding objects, vision, and visuality. Last, I point out that unlike in the West where there is an understanding of pure, objective and empirical vision, local Southeast Asian perspectives on objects and visions are more embodied and multi-sensorial. I argue that if one is ethically mindful of the local cultural ways of seeing and knowing objects, then the evolving field of Visual Studies offers a much-needed intervention to the privileged, lingering logocentric approach to Southeast Asian Studies. Moreover, these alternative methods might help to decolonize method and theory in academic disciplines that were invented during the colonial period.

• Journal of The Korean Association For Science Education
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• v.27 no.2
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• pp.126-133
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• 2007

The 'Science and Technology Mania' award program is an annual nationwide award activity organized to provide teenagers with opportunities for engaging in a high-technology-based long-term project work. The task involves designing a model ship propelled by the Lorentz force (a Lorentz ship) that allows diverse approaches irreducible to one right answer, and thus adopts features of science and technology in-the-making, In this study, we attend to opportunities for learning science that the uncertain aspects of artifact-designing project provide with participants, particularly when students communicate with scientists about their design practices. We analyze oral presentation sessions of the program and articulate two findings. First, students articulate embodied knowing in the presence of scientists. Second, students enact discursive resources deployed in concrete action. We conclude that students' design practices constitute referent that communication is directed toward and therefore become resources for developing scientific discourse.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2007.06a
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• pp.109-112
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• 2007

Currently was Convergence time of broadcasting and communication with development of information communication technology and internet infra environment. The superhigh speed internet about under using there is IPTV where it provides the broadcasting contents with broadcasting and communication Convergence service. Digital broadcasting it makes various broadcasting in one stream and it transmits, and about under analyzing it uses Channel information which is included in broadcasting and broadcasting information from the terminal. But, IPTV transmits each broadcasting in multicast methods, therefore the possibility of knowing all Channel information and broadcasting information from the terminal it is not there is a problem point. This paper hereupon it searched IPTV broadcasting information from the terminal and in order to support a channel selection from IPTV broadcasting streams SI about under extracting SD&S XML documents it created and it transmits with the distant multicast the system which plan and it embodied.

• The Research Journal of the Costume Culture
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• v.15 no.1 s.66
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• pp.152-168
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• 2007

The aim of this study is to shed light on essentials of Suprematist artists focusing on Malevich and their works in relation to modem design, and to examine their roles in the modem design industry compared to those of modem designers. The study obtains the following result on Suprematist artists and their works in Russian avant-garde in terms of modem design. Firstly, Suprematist artists had a great deal of interest in practical design although it seemed Suprematist were replaced by utilitarianism in avant-garde during the Russian revolution. Secondly, Suprematist artists were the first artists to bring the birth of modem design trends by applying their art in geometric forms to clothing and fabric design as well as ornaments and handicraft. Thirdly, the artists' attempt to work with needle workers made it possible to set achievements in design and modem decorative art exhibitions in various fields of art-life. As for the role of modem designers, Suprematist artists including Malevich have significant meanings as follows: Firstly, Malevich was a creative, future-oriented artistic designer who realized zaum of painting on the stage and created suprematistic mode in a cosmic point of view in order to agree with the environment. Secondly, Suprematist artists knew the importance of works that were produced by craftsmen and worked together with them. Therefore, the designers could maintain fabric decoration in difficult conditions knowing the importance of the high value-added industry. Thirdly, they were artists in real life who embodied the ideas and theories of Suprematist in sample works by recognizing the need of changes in life environment: they planned to set a new visual world in art but did not confine the idea only to painting.

• Journal of Christian Education in Korea
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• v.70
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• pp.207-238
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• 2022

Faith education focuses on 'changing the direction of life' that pursues the life of Christ. This is possible only when the message of the Bible is embodied in life, not by accumulating biblical knowledge. Today, however, faith education does not allow biblical messages to be embodied in life. This is the result of focusing on knowing the Bible itself, instead of guiding the faith education to meet the Bible and the experience of human life. Church education emphasized the inner faith of individuals rather than changes in life and practice, preparing for the afterlife, and mostly for the training and quantitative growth of the church. As a result, in the COVID-19 era, Protestants showed an immature appearance that only cared about the safety of the church, and social trust in Protestants was lost. Therefore, faith education should educate what life of the Bible and the experiences of the learner will meet and respond to God in order for the Bible's message to be realized in life. I tried to find out how to prepare for this faith education in detail. So I would like to look at "The preparation process for religious classes related to experience" compiled by the German Protestant Lutheran Bavarian Presbyterian Church and present tasks for application to the Korean Church. Preparation for experience-related religious classes consists of five courses. It is a personal meeting, a theological orientation, a pedagogical orientation, a pedagogical decision, and a summary of the progress plan. The main purpose of this process is to learn how biblical believers interpreted their experiences in life from the perspective of faith and tried to overcome the problem. Faith education related to experience deals with the essence of faith education, not one of the Bible teaching methods. Although the field of education is in the social change of expanding from the real world to the virtual world, the essential nature of faith education cannot change. Therefore, research and application of faith education related to experience in Korean churches will help the biblical message to be embodied in Christian life.

• Sim-seong Yeon-gu
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• v.30 no.2
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• pp.145-186
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• 2015

This thesis discusses and analyzes Jeju island's shamanistic myth "Samgong Bonpoori" from the perspective of analytical psychology. Similar to the "I live on my fortune"-type folktales discovered in the Korean mainland, "Samgong Bonpoori" is such a widespread myth that similar folktales are found not only in East Asian regions, including Korea, Japan, and China, but also in Ireland. The essence of the story is as follows; One day, a father asked his three daughters whose fortune they lived on. The first two daughters claimed that they owe their lives to their parents. However, the youngest daughter, Gameunjang-agi, replied, against his expectation, that "I live on my own fortune," and showed her fortune and virtue were physically embodied in the line drawn from her genitals to navel. Her answer enrages his father so fiercely that she was expelled and forced to embark on a journey with no one but a black cow carrying food to accompany her. In retaliation for telling lies against her, Gameunjang-agi transformed her two sisters into a centipede and a mushroom, while her parents were turned into beggars afflicted with blindness. Afterward, Gameunjang-agi wandered around the country and eventually found love with a Chinese yam digger. Not long after, they got married, and as a couple, they stumbled upon roots of gold in fields, which brought them an incredible amount of wealth. After this miracle has happened, Gameunjang-agi began to wonder about the status of her parents and decided to organize a party for all the beggars and the blinds in the country. She eventually found her parents and got a chance to reconcile with her sisters. The story ends with her parents regaining their eyesight and Gameunjang-agi reestablishing herself as the "Goddess of Providence." "Samgong Bonpoori" is a myth about a God. A God is ontologically a supremely perfect being; however, in this thesis, it will be discussed as a part of a folktale. Gameunjang-agi can be seen as the anima archetype of the father, which reveals the process of a paternal consciousness being transformed over time. At first, her parents deny Gameunjang-agi. However, after years of suffering from blindness, they regain their eyesight and finally recognize their daughter. This signifies that Gameunjang-agi is a being that has come into the world for a certain "purpose." Gameunjang-agi embodies the creative function of "femininity" that can renew the existing collective consciousness embedded in the patriarchal system. Such recognition of femininity matters to men to a great degree as well as to women. Without knowing their true nature (femininity), the two sisters submit themselves to their parents and conventional values. Not until they suffer from being transformed and captured into small and insignificant beings, a centipede and a mushroom, which symbolize their shadow, they fail to develop their self-awareness. Meanwhile, by reconciling with her parents and sisters--playing a significant role in reuniting the family--Gameunjang-agi turns out to be a figure that can reveal what it truly means to have self-awareness and achieve Self-realization. In conclusion, this story illustrates that recognition of femininity matters to men to a great degree as well as to women, and women's Self-realization plays a critical role in revitalizing the collective consciousness embedded in the patriarchal system.