• 산업융합연구
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• 제21권2호
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• pp.103-109
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• 2023

우리나라는 초등학교부터 소프트웨어교육을 실시하고 있다. 초등학교의 대표적인 소프트웨어교육 도구로 서양 체스 게임의 규칙을 토대로 재구성한 다양한 체스 게임을 활용하고 있는 실정이다. 반면 우리 전통놀이 중 윷놀이에도 소프트웨어 교육의 내용 요소가 포함되어 있어, 이에 대한 연구가 필요한 실정이다. 따라서 이 연구에서는 교육용 프로그래밍 언어인 엔트리와 거북이 로봇을 활용한 컴퓨팅 사고력을 기반한 윷놀이 프로그램을 개발하고 타당성을 검증하였다. 타당성 검증 결과로는 교과 성취기준과의 일치도(3문항)와 학습자료의 적절성(4문항), 수업 적용 가능성(3문항)에서 모두 CVR값이 0.7보다 높게 나타났다. 따라서, 이 연구에서 개발한 학습 프로그램이 교과 성취기준과 일치도가 높고 학습자료가 적절하며 수업에 적용할 수 있는 가능성이 높다고 판단할 수 있었다. 향후 이 콘텐츠의 일반화를 위해서는 효과성 검증이 되어야 할 것이며, 이를 이해 실험적인 연구가 필요하겠다.

• 영어영문학
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• 제56권3호
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• pp.487-500
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• 2010

In the history of colonization, how and to what extent the colonizer interacted with the local population differed according to race relations in specific periods. Generally speaking, social or sexual contact between two communities was tolerated when race relations were relatively relaxed. When the racial relationship became aggravated, however, such contact between the colonizer and the colonized was discouraged in order to forge and maintain ethnic solidarity. In Ireland, the colonizer's interaction with the colonized was not different from that of colonized countries in the Third World. Unlike those colonies, however, the settlers, that is, Protestants, simply could not be treated as the colonizer because they had lived in Ireland long enough to assert their Irishness. Joyce is keenly interested in intergender ethnic boundary crossings. In his works, two kinds of ethno-sexual interactions are presented from two totally different perspectives. As shown in the cases of the young lady in the street stall, Polly, Milkwoman, Sheila, and Cissy, Joyce describes the interaction of Irish women with Englishmen from a skeptical viewpoint. All of those cases demonstrate typical relationships epitomizing power relations in a colonial society. They reflect the turbulent time at the beginning of the century when Ireland had to fight with England to gain its independence. At such a transitional time, the ethnic relationship became aggravated and boundary crossings were discouraged. On the other hand, through the relationship between Stephen and Eileen, Girty and Reggy Wylie, Browne and Irish ladies, and Mr. & Mrs. Kernan, Joyce presents the interaction between Protestants and Catholics in terms of romantic or human relationships rather than power relations. From his description of those interactions, we can assume that Joyce, in the time of nation building, provided a blueprint for the future Irish nation, where Protestants and Catholics could build a nation and live harmoniously.

• 영어영문학
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• 제56권6호
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• pp.1211-1234
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• 2010

Mule Bone (1931), Zora Neale Hurston's collaboration with Langston Hughes, has been credited as the 'first' attempted by African Americans to create black folk comedy. The proposed research is driven from a question to the recent scholarship's tacit consent on such historic importance imposed on the play. This paper suggests a possibility that De Turkey and De Law (1930), Hurston's edition of the collaboration work, could be the truly first attempt in the tradition of American black folk comedy. By illuminating a series of historical moments in which Hurston first expressed her dream for writing a real black folk comedy that would be a really new departure in the African American drama, then collaborated with Hughes on the dream play project, and eventually quit the collaborationship due to artistic dispute with Hughes, this paper explains why Hughes edition Mule Bone came to remain 'unfinished' and, more importantly, fall short of Hurston's original goal and expectation from the collaboration. On the other hand, this paper sheds light on the significance of often-ignored Hurston's edition De Turkey and De Law by demonstrating how this play, compared to Mule Bone, fulfills her original idea of black folk comedy in terms of contents and themes compared with Mule Bone. Adding to the knowledge about little known behind story related to the Mule Bone controversy and the subsequent birth of the two different editions of the Hurston-Hushes collaboration project, supplementing the dearth of the related research with a critical comparison of the two editions, and discussing the validity of Hurston's edition as the real sense of black folk comedy, this paper argues for the necessity of reconsidering the origin of the mentioned genre. This paper finally concludes that De Turkey and De Law, replacing Mule Bone, deserves a right to be truly the first American black folk comedy genre in the sense that it was completed and copyrighted three months earlier than Mule Bone and that, more importantly, it cherished the original aim and artistic vision of black folk comedy Hurston first planned and expected through the collaboration with Hughes.

• 영어영문학
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• 제58권4호
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• pp.565-588
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• 2012

This paper aims at reconsidering 'suture,' a key concept in early Lacanian film criticism, with a view to narrowing a supposed gap between early Lacanian and later Lacanian film criticism. Early Lacanian film theorists, among whom Jean-Pierre Oudart, Jean-Louis Baudry, Laura Mulvey and Daniel Dayan, to name a few, are prominent, focus on cinematic signifying system as well as its ideological effects on shaping subjectivity of the audience. Initiated by Jacques-Alain Miller's article on suture as the logic of signifier and grafted into film as the logic of the cinematic by Oudart's writing, the concept of suture was established as a key word in early Lacanian film criticism. In their taxonomy, suture refers to the processes by which the audience are stitched into the story-world of a film. The audience are drawn into the film and take up positions as subjects-within-the-film such that they make sense of and respond to what the film represents as they are encouraged to do so by the film itself. On the other hand, later Lacanian film critics, who are much influenced by Lacan's later emphasis on the Real, focus on concepts such as gaze, petit objet a, fantasy, rather than suture. They are more concerned with the failure of suture and the disruption of the Symbolic than the ideological effects of suture and the consolidation of the Symbolic. They require a break from the previous approach of Lacanian film theory which centers around the Imaginary and the Symbolic. However, early Lacanian and later Lacanian film theory do not manifest as much disparity as they are supposed to do, for both are against the ideological manipulation of suture. Slavoj Žižek, a leading scholar of later Lacanian psychoanalysis, revives the concept of suture as a patch of the Symbolic which covers the gap, if not always successful.

• 영어영문학
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• 제57권6호
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• pp.1067-1088
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• 2011

While there is a high degree of convergence in linguistics in the treatment of the progressive as an aspect, the English progressive is unusually wide in its range of uses. This paper highlights the distinction between aspectual and non-aspectual progressives. The primary function of the progressive is to present a situation as ongoing, and this strictly aspectual use of the progressive is referred to as 'aspectual progressive'. On the other hand, the uses of the English progressive that are not, in a strict sense, aspectual is called 'non-aspectual progressive'. There are at least three basic uses of non-aspectual progressives. The first is the so-called progressive futurate (e.g., John is leaving tomorrow). In English, the present progressive can be used to express future time reference. This use of the progressive is regarded as a non-aspectual one, on the grounds that its meaning cannot be accounted for in terms of ongoingness. The second use is the habitual progressive (e.g., She's smoking a lot these days). Given that the habitual is an aspect, it is natural that the habitual progressive is not an aspectual progressive because one cannot view a situation in two different ways. In addition, ongoingness is not a defining property of the habitual progressive but is only a contingent or subsidiary property. The real essence of the habitual progressive is habituality. The third use of non-aspectual progressives is the experiential or interpretative progressive (e.g., You're imagining things), whose main characteristic is the subjectivity of the speaker's interpretation. The experiential or interpretative progressive does not serve a primarily aspectual function because the meaning of ongoingness has nothing to do with the content of the utterance.

• 영어영문학
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• 제57권6호
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• pp.1151-1171
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• 2011

Conrad's novels, specifically the Lingard Trilogy-Almayer's Folly, An Outcast of the Islands, and The Rescue-and Lord Jim, set in the Southeast Asian or Malay Archipelago can be considered travel literature that played a significant role in British imperial expansion. Conrad's Malay novels were based not only on his experience in the region during his commercial journey but also on information from earlier travel writings about the Malays and their customs, including James Brooke's journals. The English traders in Conrad's novels, namely Lingard and Jim, were partly modeled on Brooke, the White Rajah, who founded and ruled the English colony on the northwest of Borneo in the 1840s. The white traders in Conrad's novels, who act as enlightened rulers, represent the British commercial expansionism, which was obscured by the phenomenon of the civilizing mission in the late nineteenth century. On the other hand, the colonial official Clifford's tales and novels about British Malaya demonstrate the typical travel accounts of the late nineteenth century that stress the civilizing mission over commercial exploitation. The concept of the enlightening mission was rooted in evolutionary anthropological thinking, which developed as part of the natural history in the early nineteenth century. In fact, the development of natural history, stimulating British expansion in search of commercially exploitable resources and lands, enabled travel writing as the collection of natural knowledge to become a profitable business. In Conrad, the white characters are mainly traders acting as colonial rulers, while in Clifford, they are scientific rulers with their commercial interests rarely apparent. In sum, Conrad's novels reveal that the new imperialism of the civilizing mission is still a commercial one, which disturbs rather than contributes to the imperial expansion-in contrast to other travel literature such as Clifford's.

• 영어영문학
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• 제58권6호
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• pp.1041-1061
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• 2012

In the late nineteenth century, British colonial activities became aggressive and annexationist in the tropics, including the Southeast Asian Archipelago, which reflected the historical circumstances of both increasing resistance from the indigenous and severe competition among European powers. Interestingly, the change in English colonial policy toward an annexationist or imperialist vision adopted the motto of a civilizing mission, which was founded on the anthropological assumption that the white English were civilized, while the non-white indigenous were savage. The assumption developed into colonial discourse through systematic gathering of anthropological knowledge about the peripheries of the Empire. The knowledge system was flawed, which stressed the differences of the peripheral populations from the English and served as an inverted discourse on the Imperial Self rather than the description of the Other. Furthermore, the natives were heterogeneous, which rendered indistinct the racial and cultural differences between the English and the natives. Still, the aboriginals called Malays, who were comprised of many ethnic subgroups, needed to be deemed savage or inferior by the English in order to justify the English civilizing work or imperial ambition. Put differently, the representation of the English as civilized necessitated the (mis)representation of the natives as savage. In this context, Clifford's works contribute to systematic misrepresentation of the Malays, on which colonial discourse is founded, though not without self-contradiction. On the other hand, Conrad's novels that are set in the Malay Archipelago resort to a strategic misrepresentation that reveals the relativity of the discourse. Exploring the dilemma of denationalization to various degrees, Conrad's Malay texts problematize the (mis)representation of the indigenous as inferior, which is the basis of English claim to superiority.

• 고령자･치매작업치료학회지
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• 제12권2호
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• pp.47-55
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• 2018

목적 본 연구는 요양병원 노인에서 수면의 질에 따른 손 기능 변화와 수면의 질과 손 기능, 수면 장애 요인간의 상관관계를 알아보고자 하였다. 연구방법 2017년 11월부터 2018년 1월까지 6개월 이상 입원중인 23명의 환자를 대상으로 수면 측정도구 A를 사용하여 수면의 질, 악력계를 이용하여 악력을 평가 하였고 BBT, 9-Hole Peg test를 사용하여 협응력을 평가 하였다. 수집된 자료는 SPSS 21.0 통계 프로그램을 사용하여 대응 표본 t-검정, 피어슨 상관분석을 실시하였다. 연구결과 수면 점수 '상' 집단에서는 수면의 질과 BBT 간에, 악력과 BBT 간에 상관관계를 보였고 '중' 집단에서는 악력과 BBT 간에 상관관계를 보였다. 두군 모두에서 수면의 질과 수면 양상 간의 유의미한 높은 상관관계를 보였다. 결론 요양병원에 입소한 노인 중 수면 장애의 질적 차이를 보일 때 BBT와 악력 향상을 위한 치료의 병행은 수면의 질을 향상시킬 수 있으며 수면 양상 중재는 수면의 질을 개선하는데 효과적일 것으로 생각 된다.

• 한국멀티미디어학회논문지
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• 제23권7호
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• pp.850-861
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• 2020

Hangul is a language that is composed of initial, medial, and final syllables. It has 11,172 characters. For this reason, the current method of designing all the characters by hand is very expensive and time-consuming. In order to solve the problem, this paper proposes an automatic Hangul font generation system and evaluates the standards for mapping Hangul characters to produce an effective automated Hangul font generation system. The system was implemented using character generation engine based on deep learning CycleGAN. In order to evaluate the criteria when mapping characters in pairs, each criterion was designed based on Hangul structure and character shape, and the quality of the generated characters was evaluated. As a result of the evaluation, the standards designed based on the Hangul structure did not affect the quality of the automated Hangul font generation system. On the other hand, when tried with similar characters, the standards made based on the shape of Hangul characters produced better quality characters than when tried with less similar characters. As a result, it is better to generate automated Hangul font by designing a learning method based on mapping characters in pairs that have similar character shapes.

• 복식
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• 제63권2호
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• pp.55-67
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• 2013

The root of cultural and artistic diversity of modern society goes hand in hand with the appearance of new art concepts that started during the social and cultural turmoil. These concepts crossed the boundaries of traditional and universal aesthetic concepts and value criteria. Since there is a close relationship between the fashion industry and the cultural flow of its times, the purpose of this study is to investigate the influences and applications of conceptual art, which became one of the big frameworks of contemporary art on fashion. The study thus sets out to develop and analyze the collections of Hussein Chalayan and Martin Margiela, who were fashion designers that pursued conceptual and ideal values, from the perspective of conceptual art. The goal was to examine the conceptual thoughts they sought after, and to understand their expressive determinations that they pursued conceptually as well as the superficial formativeness of their works. The characteristics according to the expressive methods and conceptual intentions of conceptual art that specified concepts and ideas were as follows: readymade symbolized objects, expanded intervention, data form from process of changing and implementation, and language as visual metaphors. Then those characteristics of conceptual art were used in this study to analyze the collections of Chalayan and Margiela. As a result, both designers applied and mixed many characteristics of the expressive methods of conceptual art. In modern society, art and fashion share a cultural identity and it can be said that it is an accurate reflection of the time. They are not separate genres. Just like the unique flow of modern society that creates new concepts through mixture and infusion of different disciplines, fashion is included in the domain of art. In addition, understanding and studying other disciplines can make a huge contribution to the growth and development of fashion.