• Communications of Mathematical Education
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• v.29 no.3
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• pp.465-489
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• 2015

The purpose of this study is to suggest implications for the development and revision of future teaching materials for mathematically gifted students by using network text analysis of secondary mathematics materials. Subjects of the analysis were learning goals of 110 teaching materials in a gifted education center in science attached to a university from 2002 to 2014. In analysing the frequency of the texts that appeared in the learning goals, key words were selected. A co-occurrence matrix of the key words was established, and a basic information of network, centrality, centralization, component, and k-core were deducted. For the analysis, KrKwic, KrTitle, and NetMiner4.0 programs were used, respectively. The results of this study were as follows. First, there was a pivot of the network formed with core hubs including 'diversity', 'understanding' 'concept' 'method', 'application', 'connection' 'problem solving', 'basic', 'real life', and 'thinking ability' in the whole network from 2002 to 2014. In addition, knowledge aspects were well reflected in teaching materials based on the centralization analysis. Second, network text analysis based on the three periods of the Mater Plan for the promotion of gifted education was conducted. As a result, a network was built up with 'understanding', and there were strong ties among 'question', 'answer', and 'problem solving' regardless of the periods. On the contrary, the centrality analysis showed that 'communication', 'discovery', and 'proof' only appeared in the first, second, and third period of Master Plan, respectively. Therefore, the results of this study suggest that affective aspects and activities with high cognitive process should be accompanied, and learning goals' mannerism and ahistoricism be prevented in developing and revising teaching materials.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.101-110
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• 2019

The actor's art work is to build and create a role on stage based on the writer's drama. The actor's role creation is possible by analyzing the role of the writer in the drama logically and acting it actively. This is how an actor who practices practical acts goes beyond a stereotypical role-building and performs live acting skills. A case study in the field work for the application of Etude is absolutely necessary at present, where Etude of Stanislavsky is operated in Korean university education and field. This study will be a case in which Etude, which is a scientific and systematic acting methodology of Stanislavsky, is recognized and applied in the field as a methodology for more extended actor training methodology rather than making a judgment about the value of Etude as applied to theater education and the field as an acting training method. The researcher will introduce the methodology of using Etude as an acting method of Stanislavsky through the use of Etude in the creative play , and would like to give an example of an acting creation process model about 'how to apply Etude'. Through these studies and applications, actors can avoid falling into stereotypes and mannerism, and prepare the foundations for a living actor's art, the acting guide for creating a practical role.