• Title/Summary/Keyword: language expression ability

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Analyzing Elementary Student Experience on Software Education: Based on Computational Thinking Framework (컴퓨팅사고 프레임워크 기반 초등 소프트웨어교육 경험 분석)

  • Lee, Jeongmin;Lee, Myunghwa
    • Journal of The Korean Association of Information Education
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    • v.23 no.5
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    • pp.415-425
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    • 2019
  • The purpose of this study is to analyse of elementary student experience in software education based on computational thinking framework. A total of 27 students (5th grade) were interviewed who took software education during 4 months in A elementary school which located in Seoul. The findings revealed were as follows: First, the elementary learners were able to perform scratch projects and learn basic concepts for computing thinking. elementary students' studied basic concepts for computational thinking by the process of carrying out their Scratch project. Second, elementary learners were able to confirm the execution of computing accidents in the process of implementing scratch projects. Third, elementary students had change in creative expression and interactive connectivity in terms of learners' computing thinking. The result of this study is meaningful in that it analyzes the educational experience of elementary school students qualitatively and suggests the direction of software education for enhancing computing thinking ability.

The Hope of the Stroke Patients (뇌졸중환자의 희망)

  • 김이순
    • Journal of Korean Academy of Nursing
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    • v.27 no.1
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    • pp.212-227
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    • 1997
  • Cerebrovascular diseases in Korea is an important health problem since mortality and mobidity have been increased rapidly. It marked the 2nd cause of specific death rates in 1993. The stroke causes physical function disorder due to hemiparalysis and emotional disorder, and stroke patients experience helplessness, powerlessness. sense of alienation and loss of hope. These feelings make the rehabilitation difficult because they lose the will of life. The subjects of the study were seven citizens who live in Pusan, are over 50 years old and belong to low income-level. The data were collected from Jan. to Sep. 1995. The researcher as a caregiver and volunteer made confidence of them and asked for their agreement on the purpose of the study. The subjects expressed their experience as openheartedly as possible. The analysis of the data was made through the phenomenological analytic method suggested by Giorgi, which is as follows ; as an unit of description which include the subject' expressions and the researcher's observation, it is examined the theme that express the hope experience with the subject's language(underlining), and the focal meanings are identified. The focal meaning is the crystalization of the theme, which is written in the language of the researcher. After intergrating the focal meaning and make the situated structural description as the meaning of the hope experience identified on each subject's point. After intergrating the situated structural description and make the general structural description as the meaning of the hope experience identified on total subject's point then the systemizing of the structure of the hope experienced phenomena and the flowing of the conciousness was researched. The conclusions of this study was as follows : The ten sources of hope which the subjects experienced were sorted as under 〈mutual relations to others : spouse, children, relatives, fellow believer. health professioner. associate patient group〉, 〈spiritual dependence〉. 〈recovery of physical function〉. 〈rumination of the past life〉, 〈expectation of the future〉. 〈economic power〉, 〈belief〉, 〈ability〉. 〈spontaneous participation〉 and 〈recovery of roles〉. Their hope was spoken out by the following two kinds of linguistics. First. the hope was expressed in the affirmative expression as follows : 〈 to be dependable〉, 〈to make efforts〉, 〈to keep under control〉, 〈to desire〉, 〈to be pleasant〉, 〈to be peaceful〉, 〈to be grateful〉, 〈to give help〉, 〈self-confidence. Courage〉, 〈to be happy〉, 〈to satisfy oneself〉, 〈to share with others〉, 〈to understand〉 and 〈to be affected, be impressed〉 Second, the hope was expressed in the negative on pression as under : 〈to be distressed〉, 〈to be uneasy〉, 〈to be sorry, be unsatisfied〉 〈despair〉, 〈to abandon〉, 〈to be fearful〉, 〈to suffer〉, 〈to bear a burden〉 〈to be confused〉, 〈to be solitary〉, 〈chest trouble〉, 〈to feel heavy〉 〈grief〉, 〈to be daunted〉, 〈to get angry〉, 〈to be uncomfortable〉, 〈to have something regretable〉 and 〈to feel guilty〉. And their hope was expressed by the following four behavioral expressions : 〈physical sphere〉, 〈psychological sphere〉, 〈social support sphere〉 and 〈spiritual sphere〉. The reaction patterns of their hope experience appeared in the following 4 coping method : 〈conquest type〉, 〈dependence type〉, 〈adaptation type〉 and 〈fate type〉. Finally, in the hope structure the sense of certainty don't always coexict with the sense of uncertainty, When the stroke patients try to search for the best quality of life, the senses of certainty and uncertainty make a continual cyclic system in the hope structure.

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A Study on Christian Educational Implications for 6 Key Competencies of 2015 Revised National Curriculum (2015 개정 교육과정의 6개 핵심역량에 대한 기독교교육적 함의)

  • Seo, Mikyoung
    • Journal of Christian Education in Korea
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    • v.63
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    • pp.221-253
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    • 2020
  • The purpose of this study is to define the key competency as Christian(in another word: Christian key competency) and to interpret the six key competencies of the 2015 revised curriculum in a Christian educational way. Also as an alternative to the key competencies model of the 2015 revised curriculum, this study aims to materialize the formation of a Christian key competencies model based on Christian faith. This study derived 'faith' from the key competencies as Christian throughout preceding research analysis. The 'faith' of the key competencies as Christian means the ability to know oneself, and to know the world and God within the knowledge of the Bible (knowledge of God) in the personal relationship with God, and also it is the ability to think, judge, and act with biblical values, Christian world view, and Christian self-identity. The key competency 'faith' could be the basis (standard) of motivation, attitude and the value of all competencies in cultivation and exercise. The model of Christian key competencies has the structure in which each six key competencies become to be cultivated based on the Christian key competency called "faith." Based on the structure, the six key competencies of the 2015 revised curriculum were interpreted and explained from the perspective of Christian education. In the self-management competency, self-identity can be correctly formed in relations with transcendent God. In aesthetic emotional competency, the empathic understanding of human beings comes from the understanding of the image of God, the supreme beauty, the source of beauty. About the community competency, human community is the source of God who created the universe, human and all of things. It is because a Christian community is a community within the relationship of Trinity God, Nature and others. Therefore regions, countries, and the world become one community. Communication competency first stem from good attitudes toward yourself and others with respectful mind. It comes from an understanding of Christian human beings. Also, there is a need of having a common language for communications. The common language is the Bible that given to us for our communicative companionship. Through the language of the Bible, God made us to know about God, human being and the creative world, and also made us to continue to communicate with God, others and the world. For having the knowledge-information processing competency, a standard of value for the processing and utilization of knowledge and information is required. The standard should be the basis of moral and ethical values for human respect. About creative thinking competency, the source of creativity is God who created the world. Human beings who have the image of God own creative potential. As well as, creativity has different expression forms depending on individual preferences and interests, and different approaches will be made depending on each individual's importance and achievement. Individual creativity can be found through education, and it can be embodied by converging knowledge, skills and experience.

The Application of Digital-Diagrams as Infographic Material in Multimedia Design (멀티미디어디자인에서 인포그래픽 도구로서 디지털다이어그램 활용에 관한 연구)

  • 류시천
    • Archives of design research
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    • v.17 no.3
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    • pp.133-146
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    • 2004
  • Diagrams have been deeply and widely used for supporting effective communication relating to design information and knowledge in most design fields. The results show that their role expands to "developmental design material" increasing the principle and method of design process. It's recent trend that Digital-Diagrams are aggressively used in multimedia design fields such as web contents, interactive movies and DVD Titles in order to support user's information understanding more effectively and to stimulate user's participation in information acquiring process. This study aims to clarify the essence of digital diagram corresponding to infographic material in multimedia design and application of multimedia contents development process . This study purpose leads to argue the substance of Digital-Diagrams as one of infographic types and identity of Digital-Diagrams which is relatively compared to existing Diagrams. Eventually, this study examines the application issues of Digital-Diagrams in multimedia design process. Regarding the identity of Digital-Diagrams, they are functionally utilized depending on hypertext based on language forms and interactivity based on graphical forms as core attributes. Therefore, they semantically enlarge user s information understanding by segmenting hierarchy of information expression and rather support user s acquisition of information control ability. Relating to multimedia design process, Digital-Diagrams are used by information designers and navigation designers as method for ‘modeling for realization based on information acquisition support for information-users. Especially, the study results show that the applications of Digital-Diagrams are performed for information representing methods for information designers and embodiment of useful functional factors of interface for navigation designersgation designers.

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A Study on Methods for the Visualization of Stage Space through Stage Lighting (무대조명을 통한 무용 예술의 무대공간 시각화 방안 연구)

  • Lee, Jang-Weon;Yi, Chin-Woo
    • Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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    • v.23 no.4
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    • pp.16-28
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    • 2009
  • Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.