• Journal of the Korean Home Economics Association
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• v.20 no.4
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• pp.185-192
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• 1982

The purpose of this study was to examine preschool children's participation tendency and use of play materials in imaginative play. The subjects for the study included 22 boys and girls in nursery school. These children were observed for 110-3-minutes of play behavior during free play at nursery school, especially in block area and housekeeping area. The results obtained from the study were as follows. 1. There was a significant association between paricipation tendency in imaginative play and age or sex, Boys engaged in more social imaginative play than girls, and four-year-olds engaged in more social imaginative play than three-year-olds. 2. There was sex difference in the content of imaginative play and use of play materials. That is, boys usually chose masculine kinds of toys such as block, cars, trucks, and manipulative materials. And the boys' common fantasies were about car, robert and fighting. Girls usually chose play dough, kitchen sets, and blocks and there were maines stories of family life and cooking. 3. Children preferred to use more realistic toys in imaginative plays and there were few cases of imaginative plays with no materials.

• Korean Journal of Childcare and Education
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• v.20 no.2
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• pp.83-103
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• 2024

Objective: This study aimed to investigate the effects of children's characteristics and childcare teachers' attributes on the frequency and level of imaginative play in two-year-old classrooms. Methods: The study involved 191 toddlers, their mothers, and 32 teachers from childcare centers. Toddler characteristics encompassed temperament along with demographic variables such as gender and age. Teacher' attributes related to play included playfulness, play-support belief, and interactions with toddlers. Data analysis was conducted using SPSS 22.0 and HLM 8.2 software, employing basic analysis, hierarchical linear analysis, and hierarchical regression analysis. Results: First, as toddlers' age increased, both the frequency and level of their imaginative play increased. Second, individual-level model analysis revealed a positive effect of toddlers' extroversion on the level of imaginative play. Third, the class-level model results indicated that teachers' emotions had a negative effect, whereas their encouragement positively influenced the level of imaginative play. Conclusion/Implications: The significance of this study lies in its utilization of a multilayered model analysis, which offers a more robust examination of variable influences by accounting for hierarchical data structures.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.501-521
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• 2008

For bringing about a revolution in studying the classic literature the positivism must be overcome and the imaginative power about the history, literature and religion must be exercised. The theme of the monk-mask-play had been interpreted from the both viewpoint; the traditional mask play is the profane drama, but, on the other hand, it is the sacred drama. Judging from the social viewpoint, the sexual union of the old monk and the beauty symbolizes the reconciliation between the governing class and the production class. Judging from the viewpoint of the equalitarianism, that symbolizes the harmony of a masculinity and a femininity. Judging from the viewpoint of the education, that symbolizes the unification of reason and sensitivity. Judging from the viewpoint of the religion, that means the resurrection.

• Korean Journal of Child Studies
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• v.34 no.4
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• pp.125-141
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• 2013

The following study to enhance children's creativity in the context of diverse cultures and ethnic groups, and utilizes various programs from different countries aimed at 5 year old children with the Nuri framework. The study also seeks to measure pre and post play behaviors, creativity levels, and thinking capabilities of the children, then compare these results with those from a control group. Analysis of the results indicates that children who experienced programs from various countries through a multicultural approach had much higher levels of fluency, adaptability, originality, and imaginative capabilities than children who had not experienced such programs. Among the children's creative play behaviors, intrinsic motive-magination, sensitivity-curiosity, longetivity-concentration, various forms of interest-challenge, and leadership-independence were all found to be significantly higher.

• Korean Journal of Human Ecology
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• v.23 no.1
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• pp.31-46
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• 2014

This study investigated the proceeding patterns of constructive play with lego blocks, and the differences on the quality of constructive play and symbolic play's pretending elements. The subjects were 132 children at child care centers and kindergarten: 64 three-year-olds (36 boy, 28 girl) and 68 five-year-olds (32 boy, 36 girl). The study found three proceeding patterns in the constructive lego play. First, children engaged in constructive and symbolic play simultaneously, or they switched back and forth between symbolic and constructive play. This pattern was termed as "constructive and symbolic play simultaneously or alternatively"(type 3), and it was occurred most frequently. Secondly, children focused only on constructing structures. This pattern was termed as "constructive play only"(type 1), Thirdly, children engaged in symbolic play only after they completed building some structures. This pattern was named "symbolic play after constructive play"(type 2). The findings also indicated that children who were categorized as type 1 and 2 showed higher quality of constructive play and longer duration in play than children as type 3. Five-year-old children sustained play longer and showed higher quality in terms of elaboration, imagination, and variety (number of blocks, shape of blocks). Furthermore, children as type 3 showed a higher level of imaginative play than children as type 1 and 2, especially in terms of role, objet, and context of projection.

• Korean Journal of Child Studies
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• v.34 no.2
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• pp.63-81
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• 2013

The purpose of this study was to investigate and conduct effective schemes to direct drama activities for three-year-old children and to examine its influence on them. This research subjects comprised 23 three-year-old children and 2 teachers attending classes at Gureum at SanDeul kindergarten in Seoul, Korea. The researcher first recognized that problems existed in the ways in which children's leading roles were limited by the actor's roles themselves and they therefore were constrained in their use of dramatic expressions while performing drama activities. The researcher also recognized that children's drama activities integrated with traditional culture were largely deficient. For more effectively direction of children's drama activities, action research method was conducted over two sessions. First, certain factors of plays and traditional culture were incorporated within children's drama activities. Second, certain factors of Madangguk and traditional culture were also incorporated within children's drama activities. Through undertaking this research project, children were given the opportunity to actively participated in drama activities, trained their range of imaginative expressions, improved their cooperation with peers and enhanced their interest in traditional culture. The research suggests that children's drama activities when integrated with plays and Madangguk could effectively enhance children's artistic and educational skill.

• Journal of English Language & Literature
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• v.56 no.5
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• pp.947-971
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• 2010

Anna Letitia Barbauld's poem "Washing-Day" (1797) has sparked a variety of feminist critical endeavors over the past two decades. While many feminist literary critics try to salvage the poem as a successful tongue-in-cheek riposte directed at the male dominant literary world, more rigorous Marxist feminists accuse Barbauld of being limited by her own middle-class woman's view on women's domestic labor. Legitimate as they may be, these readings fail to elucidate Barbauld's place in a larger literary and intellectual discourse during the eighteenth century. In this paper I read "Washing-Day" as a woman's georgic, a genre or mode concerned with agricultural labor, the public value of which was highly recognized in eighteenth-century England. Alluding to canonical texts by writers like Shakespeare, Milton, and Pope, Barbauld's "loaded lines" in mock-heroic form create a space in which the women's domestic labor of washing interrupts men's daily routines and disrupts their poetic assumptions. While she makes women's work visible, Barbauld also addresses its quintessential nature. Women's work is affective labor; women have to labor physically and mentally to produce the desired domestic comfort. By allowing the image of the soap "bubble" to echo with many "bubbles" in other writers' texts, from the soap bubbles the narrator used to play with as a child to the hot-air balloon "bubble" of the Montgolfier brothers, Barbauld pleasantly equates work and day-dreaming, men's toil and children's play, and finally public, scientific, and recognized labor and private, domestic, and imaginative activities.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.26 no.8
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• pp.1148-1157
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• 2022

In 2019, COVID-19 changed many people's lives. Among them, metaverse supports non-face-to-face services through various methods, replacing daily tasks. This phenomenon was created and formed like a culture due to the prolonged COVID-19. In this paper, the fun elements used in the existing game were organized to find out the fun factors of the metaverse, and the items and contents were reclassified according to the metaverse with five experts. Classification was classified using reproducibility, sensory fun [graphic, auditory, text, manipulation, empathy, play, perspective], challenging fun [absorbedness, challenging, discovery, thrill, reward, problem-solving], imaginative fun [new story, love, freedom, agency, expectation, change], social fun[rules, competition, social behavior, status, cooperation, participation, exchange, belonging, currency transaction], interactive fun[decision making, communication sharing, hardware, empathy, nurturing, autonomy], realistic fun[sense of unity in reality, easy of learning, adaptation, intellectual problems solving, pattern recognition, sense of reality, community], and creative fun[application, creation, customizing, virtual world].

• (The) Research of the performance art and culture
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• no.22
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• pp.371-411
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• 2011

In the twenty first century of rapid cultural change performing art requires new mode of expression based on imaginative power and creativity as well as establishing its own identity. The modern technological environment support this with advanced technology and bring about the expansion of reason from new experience. The introduction of digital media on artistic expression in particular, expands the physical ability of human body which is the main subject of performing art. A virtual body from digital technology is freed from physical boundaries and goes over space and time. It also suggests the possibility of new mode of communication with audience. This study aims at examining the subject of performing art and its digitalized movement focusing on EveR, the world's first professional robot actor. The robot actor which came on stage according to the new expression medium, a digital body, stands in need not only of technological value but also of cultural and artistic application for expression in art. In this endeavor to meet the demand, this study examines the development process and function of 'EveR' the robot actor. Also it searches into the performance of Ever which replaced human being as well as the historical significance of the title:the world's first. To be more specific, there is a example research on two performances:a pansori play "EveR is simply stunning(2009)" and children's play "The Robot Princess and Seven Dwarfs(2009)." Through this example research, it is enabled to anticipate the influence of robot actors on performing arts and to search for the better way of them to evolve. Furthermore, it aims at finding ways to create high value through promoting robot actors to be familiar to the public as well as supporting them to become active cultural contents. The performance with robotic technology is one of the artistic experiment that may cause the change of the future of performing art by actualizing technological imagination together with human body and machinery. As a consequence, it is expected that the meeting of performing art and robotic technology gives positive influence on activating performing art as one of the integrated cultural phenomenon which satisfies the taste of modern era. Moreover, this study may also be the beginning of the expansion of performing art to stretch to diverse field.

• Journal of Korean Philosophical Society
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• v.146
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• pp.307-328
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• 2018

The use of thought experiments has a long history in many disciplines including science. In the field of philosophy, thought experiments have frequently appeared in the pre-existing literature on the contemporary Analytic Philosophy. A thought experiment refers to a synthetic environment where the designer of the experiment-with his or her intuition and imagination-tests common-sense knowledge. It can be understood as a conceptual tool for testing the validity of the common understanding of an issue or a phenomenon. However, we are not certain about the usefulness or efficacy of a thought experiment in knowledge production. The design of a thought experiment is meant to lure readers into believing as intended by the experiment itself. Thus, regardless of the purpose of a thought experiment, many readers who encounter the experiment could feel deceived. In this paper, to analyze the logic of thought experiments and to seek the source of uneasiness the readers and critics may feel about thought experiments, I draw lessons from three renowned thought-experiments: Thomson's 'ailing violinist', Putnam's 'brain in a vat', and Searle's 'Chinese room'. Imaginative thought experiments are usually constructed around a gap between the reality and the knowledge/information at hand. From the three experiments, several lessons can be learned. First, the evidence of the existence of a gap provided via thought experiments can serve as arguments for counterfactual situations. At the same time, the credibility and efficacy of the thought experiments can be damaged as soon as the thought-experiments are carried out with inappropriate and/or murky directions regarding the procedures of the experiment or the background of the study. According to D. R. Hofstadter and D. C. Dennett(1981), the 'knob setting' in a thought experiment can be altered in the middle of a simulation of the experimental condition, and then the implications of the thought experiment change altogether, indicating that an entirely different conclusion can be deduced from thought experiment. Lastly, some pre-suppositions and bias of the experiment designers play a considerable role in the validity and the chances of success of a thought experiment; thus, it is recommended that the experiment-designers refrain from exercising too much of their imagination in order to avoid contaminating the design of the experiment and/or wrongly accepting preconceived/misguided conclusions.