• Journal of The Korean Association For Science Education
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• v.34 no.5
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• pp.511-521
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• 2014

In this study, we conducted an exploratory investigation of the imaginative writing processes of middle school students. Twelve 8th graders were asked to imagine and write about the daily life of atoms, assuming that they became specific atoms for themselves. The think-aloud method was used to investigate students' writing processes. We recorded students' writing processes, and also collected the data through interviews to clarify ambiguities in their writing processes. The analyses of the results revealed that their imaginative writing processes could be classified into the three types by the two aspects of writing process components (retrieving information and generating ideas). That is, the integration of retrieving information and generating ideas, the predominant retrieving information, and the predominant generating ideas. The students who were classified into the type of the integration of retrieving information and generating ideas came up with a story and properly introduced science concepts into it. These suggested that this type of students expressed their own understanding more effectively, and that this type was most appropriate for imaginative writing in learning science. The results also showed that the imaginative writing processes were greatly influenced by whether the planning step was adequately considered or not. On the bases of the results, we suggest the teaching strategies for effective imaginative writing in learning science.

• Journal of architectural history
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• v.24 no.1
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• pp.29-40
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• 2015

This study is on historiography of Modern Architecture since its beginning to present. As a critical review of the history of the writing history of Modern Architecture, this study tends to be a meta-history and criticism of historical text. This study try to analyse historiographical project of Modern architecture at specific phase since the beginning of modern architecture. The historiography of Modern architecture shows that writing a history is making a discourse of Modern architecture as a imaginative representation to define and justify Modernism in architecture. The analysis of canonic text since early 20th century proves that the history of writing history of Modern architecture played a critical role not only to shape of our ideal but the practice of architecture with a ideology construction in retrospect. With a name of truth or morality they made myths about the modernity in architecture. So we can find deep 'Hagelean Unconscious' in writing history of Modern architecture not even the first generation of historians but the second generation who were influenced by earlier writer in spite of their intention of revision and overcoming, which is in itself the key concept of Hegel's philosophy of History. Under this kind of 'operative' discourse our view point of Modern architecture were confined and the historiography of Modern architecture itself was narrowly defined as a kind of melodrama that a few architect and work of art matters. The rise of critical history fundamentally has changed the way of seeing and writing the history of Modern architecture. but it has also a new kind of dilemma as regard to writing history and involving practice. This review of historiography traces the texts of historians as like Pevsner, Giedion, Banham, Rowe, Tafuri, Frampton, and Curtis relating to different discours making. When we consider Benjamin's famous concept of constellation, writing history necessarily is a kind of montage making in time and we always need to recognize the historicity of historiography.

• Journal of The Korean Association For Science Education
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• v.24 no.5
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• pp.1008-1017
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• 2004

In physics education, language is an fundamental learning tool as in other subjects. In writing activity, students can get fair opportunities to express their own ideas during the class. Even though there are various styles of writing, students are usually supposed to make a report in their science classes. But there have been few studies in science education on the tasks and features of student's science writing. In this research, different styles of writing tasks were designed for science classes, and students' writing was analysed in terms of conceptual and emotional aspects. Also the usefulness of each task type was discussed relating to school physics education. Four types of writing, i.e. , , , and writing were developed, and 'The reflection of light' was selected as the theme and given to students. Four types of writing were analysed in this paper. In each type of writing, students showed different features in their conception. They also showed emotional expressions in imaginative writing types, that is, and types. Based on these results, it is recommended that in physics teaching various types of writing need to be designed, developed and applied according to the aim of a particular lesson.

• Journal of Science of Art and Design
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• v.6
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• pp.100-118
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• 2004

Mi Fu, who was associated with Wen Tong, invented the Mijoem Technique (Dotting Technique) in landscape painting with his son Mi Youren. His landscapes, which referred to Dong Yuan's landscape technique and was inspired by the scenery of Jiang Nan, illustrate the mood of a cloud-covered foggy landscape by liberally applying dots with ink. 'Chunsansoesong' which is considered done by Mi Fu, clearly shows the virtues of ink painting's spreading, absorbing and omission techniques. This simply rendered landscape - whose mountains and hills are wrapped in both clouds and fog - displays exquisiteness by using small dots. In 'Chunsansoesong', the characteristics of Song painting: a 'vital energy', a 'poem within the painting', a 'beauty of margin', a 'beauty of one brush stroke, and a 'display of inner meanings' are implicatively expressed This is because it's simple but connotatively delineative. There is the characteristic of a 'poem within the painting' when analyzing the both fragmented and combined 'Chunsansoesong'. The margins support an imaginative space as the height of the mountains get higher which result in deepening both the width and depth of the landscape space. Furthermore, the soft thickness of ink, clouds, pine trees, and pavilion evoke delineative feelings and a desire to write a poem Every thing in 'Chunsansoesong' is enveloped in both clouds and fog regardless of its distance and this delivers boundless feelings of Oriental mystery and urges a desire for 'writing a poem'. The pavilion that faces the cloud and fog-bound mountains especially flames the poetic urge further by inducing viewers' poetic imaginations. As we reviewed above, 'Chunsansoesong's cloud and fog-covered landscape is a good example that clearly showcases the characteristics of a 'Poem within the Painting'.