• Journal of The Korean Association For Science Education
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• v.28 no.6
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• pp.603-617
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• 2008

Inspired by the socio-cultural perspective on teaching and learning science, we have explored how the teacher and students interact with one another and develop meanings in science classrooms. Data came from four 10th grade science classrooms, and video recordings and verbatim transcripts of the lessons were analyzed. Focus of the analysis was on the participation structures as well as the possibility of developing the space for hybrid meaning making. The participation structures identified were mainly teacher-led, and students rarely took an active stance to initiate an opportunity for generating new meanings. However, some participation structures had the potential to develop a new discursive space in which hybrid meaning can be constructed through negotiation between participants. Implications for future research and more desirable educational practices were discussed based on the result.

• Korean Institute of Interior Design Journal
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• v.15 no.2 s.55
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• pp.81-90
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• 2006

This treatise makes clear not only a structural methodology of 'the conceptual blending theory' using in a linguistics could be applied to the similar process in a hybrid design but also both methods include the same meaning construction in the sense of a mutual educational system. Both methods have something in common that they are fundamentally focused on a metaphorical expression which implies poetic messages to be concentrated on a formal structure. Therefore, the purpose of this treatise is to examine the structural characteristics in the hybrid design in order to analyze the rhetorical expressions(metaphor, allegory) as symbols of communication. One of the those is intertextuality that expresses metaphorically by blending and borrowing codes and another is hypertextual space where various texts twines around each other making brand-new and diverse organizations, as the combined allegory with a number of hidden expression. Ultimately, it is important that this approach could verify whether it deals the illogical present state of a spacial form or structure with a kind of mechanism of a 'conceptual blending theory' or not.

• Cartoon and Animation Studies
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• s.16
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• pp.141-163
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• 2009

This paper examined the goblin characters in Japan animation. The meaning of the goblin in this paper is not a just monster. They have a spirit. This concept is based on animism in japanese mind. I attempted a chase of goblin character's making methods. My theoretical approaches lean on the concepts "inter-textuality" of Julia Kristeva and "text" of Roland Barthes. First of all, I compared some beings of the old chinese myth-geographical book with some characters of Japan animation . The making method of goblin characters is two. One is 'Hybrid', the other is 'Mutant'. And than I appled to Japanese traditional image, "Baek-kuy-ya-hang-do"(hundreds of goblins' parade). The making method of goblins is combined to a inter-textual way as hybrid or mutant.

• Journal of the Korean Geographical Society
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• v.51 no.3
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• pp.421-439
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• 2016

Global society is shifting and now evolving towards glocalization, meaning the increasing role of region and multi scalar interactions between region and global social world. In this glocalization era, there has been mushrooming literature and much discussions on the impacts of place-branding and place-marketing on regional development both in academia and practical researches. The inclusive and participatory creative place-making process, however, is more quintessential than the resultant place marketing strategy. This paper tries to reassess the creative place-making based on culture-led regional development perspectives. Specifically it compares Korea and Japan's strategies and suggests a hybrid model of place-making-branding-marketing, utilizing cultural content industries. It then stresses the importance of building a virtuous circle of sustainable regional cultural industrial ecosystem including culture-based interpretation of places and improvement of community quality of life.

• Journal of the Korean Society of Radiology
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• v.16 no.5
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• pp.649-660
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• 2022

In 1959, Satomura used spectral Doppler ultrasound to express the velocity of red blood cells according to time change, and Kato defined a zero-base line that could tell the direction of blood flow, making it possible to know the direction of blood flow. This became the basis for the widely used classifications of Triphasic, Biphasic, and Monophasic. However, the above classification has limitations that confuse users with the meaning and timing of use in a clinical environment. As a result, the American Society for Vascular Medicine (SVM) and the Society for Vascular Ultrasound (SVU) A consensus document on Doppler waveform analysis was declared by the joint committee. This study tried to review this consensus and to suggest nomenclature and modifiers that can be used in the domestic vascular ultrasound clinical field. The joint committee formed by SVM and SVU recommended that the use of the triphasic waveform and the biphasic waveform be used as a multiphasic waveform rather than being used due to the ambiguity of interpretation. In addition, it was agreed to name the hybrid-type waveform, which is a monophasic and high-resistance waveform, which has always been a problem of interpretation in a clinical environment, as an intermediate resistive waveform. In addition, in order to increase the communication efficiency between the interpreter and the sonographer, waveform analysis was classified into a main descriptor and a modifier, and it was recommended to use a single nomenclature by unifying various synonyms. It is expected that this literature review will provide accurate arterial spectral Doppler waveform interpretation and an agreed-upon nomenclature to radiologists performing vascular ultrasound examination in clinical practice, and will be utilized as basic data that can contribute to the improvement of public health.

• Korea Science and Art Forum
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• v.25
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• pp.463-475
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• 2016

As the transition to the digital age in the late 20th century, the intrinsic value of the craft, the emotional values of human, has been noticed as an alternative to overcome the adverse effects of the modernism of the industrial age. To introduce experimental tries which convergence of contemporary technologies and elements of traditional craft, and to inspire artists and present the new possibility of creation to them who want to take advantage of craft emotion as the elements of creation is the purpose of this study in the current digital technology age. First, the meaning and value of craft in modern times and digital media and hybrid creation environments are theoretically investigated based on previous studies and literature. Second, design cases produced by combining digital technology as a tool and craft elements are classified for substantial understanding of the design. Thirdly, identify the design characteristics presented through case studies and suggest the new possibility of creation. The results of the study are as follows. Reject typical types highlight the functional role and try free express conversion, e.g. form, material, texture, making process etc. Extracts the various elements that can be applied and search combining ways, because the convergence of digital technology and the craft is sufficient to activate the human emotion. Interaction between the craft and the digital medium is made actively. Craft accepts digital form, the craft appeared again as the contents of the digital. the traditional and digital method appropriately fused and utilized depending on the situation in process.