• Journal of Korean Home Economics Education Association
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• v.20 no.3
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• pp.85-105
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• 2008

The purpose of this study was to develop a narrative analytic scoring rubric through teacher-students negotiations, as an assessment of tasks using methods of experiment and practice for home economic(HE) in the middle school. In this study. an analytic rubric had been developed in the following three stages: In the first stage, all the things for rubric development were defined and prepared, by selecting tasks used for rubric application through a questionnaire survey, providing detailed directions on methods and procedures and needed items, and selecting a class for rubric negotiation and setting the development schedule. In addition, the method suggested by Ainsworth and Christinson(1998) in Student Generated Rubrics was used. In the second stage, performance criteria for tasks in terms of knowledge, skills, and attitude were developed, setting scoring framework and scales depending on assessment areas. Referring to selected scoring framework and assessment criteria, observable and assessable behaviors were used to describe rubric based on A, B, and C scale. Then, a primary rubric was developed through teacher-students negotiations, using rubrics made by group. In the last stage, the developed primary rubric was reviewed by an expert of HE education to test the validity. Moreover, the analysis to test the suitability of the final rubric assessment tool employed 46 copies of questionnaire collected from incumbent home economics teachers selected by way of random sampling mainly focusing on those teachers who were in the Master's degree program or completed the program at one university. As a result, the average of suitability of aa the rubrics were over 4.0 in th 5-point scale.

• Cross-Cultural Studies
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• v.50
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• pp.77-101
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• 2018

Even in our modern era, the projection of monsters in the recent literature contains the critical imagination of human existence for the posthuman age. The meaning of the monster-abject, especially as from the perspective of feministic criticism, contains criticism of the violent and oppressive patriarch as observed in the modern times. This article focuses on the gendered imagination of the discussions of the "abject" discussed by Julia Kristeva, and the "monstrous femine" discussed by Barbara Creed. Kim Eon-Hee's poems and Han Kang's novels, which have been examined extensively for analysis, show that the practical strategy of abject that goes beyond hate and sublime, wonder and joy through the imagination and concepts of monsters. The monster-abject strategy of Kim Eon-Hee's poem can be summarized by the narrative method of mirroring and the imagination of the truncated body. Mirroring falsification, which mimics the male speaker, is a method that some feminists strategically utilize in relation to the problem of female aversion in recent years as noted in the literature. In Kim Eon-Hee's poem, "becoming a man" and "imitating a man," through the method of mirroring appear as an image of cutting to dismantle the body. In that way, the narrative strategy of the abject that draws out abominations and bizarre effects which contains a strong critique of the patriarchal dominant ideology. The monster-abject strategy of Han-Kang's novel is embodied through the being of plants and the process of vegetarian-anorexia process. The world of the adject which was oppressed in the Han-Kang's novel, returns to the senses of the body through the symbol of the body. It is noted that the fictional characters who realize the repressed desire through the pathological symptom expressed by the female, go on to body perform active transformation. The sense of a body in a novel is not only a rejection of the world of animalman-civilization, but also a radically questioning of the noted and recognized boundaries between human beings and non-human being entities. The two writer's works show that the imagination of the monster-adject is not limited to rejecting the existing gender categories, but also goes in the direction of exploring the possibilities of various associated gender actions.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• Journal of the Daesoon Academy of Sciences
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• v.31
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• pp.199-235
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• 2018

Most of the new religions derived from Jeungsan have claimed that Jeungsan's religious thought reproduced Dangun [檀君] Thought in its original form. However, Daesoon Jinrihoe is the only religious order out of the many new religions within the Jeungsan lineage, which has constantly kept its distance from Dangun Thought since 1909 during the earliest period of proto-Daesoon Jinrihoe. Even a mere trace of Dangun cannot be found in the subject of faith or the doctrinal system of Daesoon Jinrihoe. In this context, this study aims to examine possible connections between Daesoon Thought and Dangun Thought in order to determine why other Jeungsanist religions frequently exhibit Dangunist features. Specifically, a major part of this study will be devoted to comparing and analyzing the narrative structure of Daesoon Thought and Dangun Thought as well as their respective motifs. In fact, Jeungsan does not seem to have ever mentioned Dangun in his recorded teachings, therefore, after his passing into the Heaven, most of the religious orders including Daesoon Jinrihoe derived from him did not pay any attention to Dangun Thought for almost for 40 years. These orders did not originally perceive Dangun as an object of belief. After Korea's liberation, Dangun became widely accepted as a pivotal role among the Korean people. As Dangun-nationalism claimed to unify Koreans as one great Korean ethnic society, the religious orders of Jeungsan lineage also climbed aboard this creed and their faiths or doctrines were acculturated to reflect this change. The reason for this has been attributed to following modern trends to increase success in propagation. In the meantime, Daesoon Jinrihoe was the only order that did not accept Dangun-nationalism because it was not a teaching given by the order's founder. And the two systems of thought have more dissimilarity than parallelism in terms of philosophical ideology. These seem to be the main reasons why Daesoon Jinrihoe did not adopt Dangun into its doctrine or belief system.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.429-462
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• 2019

This paper argues how the concept of melodrama can be articulated with the Affect Theory and Posthumanism in relation to animal or environment representation which have emerged as the new topics of the recent era. The argument will be made through the discussion of Agustin Zarzosa's book, Refiguring Melodrama in Film and Television: Captitve Affects, Elastic Sufferings, Vicarious Objects. Using a genealogical approach, the book revisits the notion of mode, affect, suffering (hysteria), and excess which have been dealt with in the existing studies of melodrama. In chapter one, he broadens the concept of melodrama as a mode into the means of redistribution of suffering across the whole society in the mechanism of the duo of evil and virtue. It is the opposition of Brooks's argument in which melodrama functions as the means of proving the distinction between evil and virtue. Chapter two focuses on the fact that melodrama is an elastic system of specification rather than a system of signification, with the perspective of Deleuzian metaphysics. Through the analysis of Home from the Hill (Vincente Minnelli, 1959), this chapter pays attention to an 'affect' generated by the encounters between the bodies and the Mise-en-Scène as a flow not of a meaning but of an affect. Chapter three argues that melodrama should reveal an unloved (woman's) suffering, opposing the discussion on the role of melodrama as the recovery of moral order. Safe (Todd Haynes, 1995), dealing with female suffering caused by the industrial and social environment, elaborates on the arguments on melodrama in relation to female hysteria with ecocritical standpoints. The rest of the two chapters discusses the role of melodrama for the limitation and extension of the notion of the human through 'animal' and 'posthuman' melodrama. It argues that the concept of melodrama as 'excess' and 'sacrifice' blurs the boundary between human and inhuman. In summary, although the author Zarzosa partly agrees with Peter Brook's notion of mode, affect and sufferings,he elaborates the concept of melodrama, by articulating philosophical arguments such as Deleuzianism, feminism, and posthumanism (Akira Lippit and Carry Wolf) with the melodrama. Thefore, Zarzosa challenges the concepts of melodrama led by Brooks, which had been canonical in the field.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.429-465
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• 2019

This paper analyzed the ways in which "others" were reproduced in Korean movies in the 1970s. In the midst of the social changes of the era, such as urbanization due to rapid industrial modernization, many people became laborers for industry in order to obtain the fruits of modernization.But the landscape of others, which was inevitably produced in the process of constructing such subjects, has been limited to analysis that is focused on gender and youth discourse. This article aims to extract the landscape of others in the 1970s by adopting a different perspective. The way in which the other is present can be divided into the following two categories. First, in 1970s film, the family community, in contrast with 1960s film, has disintegrated and cracked, due to the inability of others to enter or leave the community. The desperate perception that the family community can no longer function as a stable foundation or center of the constitution, and that it cannot have a sense of security and belonging,is revealed through the way the others are wandering in and out of the community. Second, 'Death' is an element of social life in the violence of the national ideology of the 1970s, and the everyday exceptional state. The way in which the 'other' is completely eliminated from the normal subjectivity requested by the state and is deported in film reflectshow everyday death or potential death is part of life of the 1970s. Normal life pursued through rapid urbanization and industrialization leads to the death of the other beings, but the way of existence of others is the desperate reality of the 1970s, when the boundaries of the state that provide stability and belonging are broken. As a result, the landscape of others in the 1970s reveals a violent reality that destroys the perfect middle class family discourse that industrial modernization was oriented around in the 1970s, and that produced masses of others who caused numerous deaths. In spite of regime censorship, Korean films were popularly revealing the violence of life brought in by the 1970s, following a detour of representation.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.191-221
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• 2019

This study aims to analyze the post-humanistic imagination that has emerged as a major academic thesis in Korean literature, especially novels. In particular, this paper focuses on Cho Ha-hyung's two novels Chimera's Morning(2004) and A Prefabricated Bodhi Tree(2008), published in the early 2000s, for intensive analysis. Post-humanism can be seen as an extension of post-modernism that tried to overcome the limitations of modernity and seek to establish a new world view. In particular, this thought pays attention to the comprehensive understanding of how the rapid development of science and technology, which has developed since the 20th century, has changed the view of humanity and human-centered civilization itself. At the concrete level, it is developing in the direction of constructing a new subject idea by reflecting and dismantling Western-, reason-, and male-centered power mechanisms that are the core of modern civilization. Cho attempts to discover and re-illuminate the surrounding figures, non-humans, and objects that were not noticed in the classic works written in the past. This ideological flow reflects the fact that the concept of human beings, which had been dominated by the humanities in recent years, has been completely changed, and the natural science and technology perspective is applied to the discourse field in various ways. From the point of view of post-humanism, objects that have not been classified as humans and objects that were considered inferior to humans should be included in human or comparable levels. These questions generate interdisciplinary research tasks by involving the large categories of philosophy, such as ontology, epistemology and empirical fields, as well as calling for the participation of the entire literature, science and social sciences. Against the backdrop of a disaster-hit world, Chimera's Morning and A Prefabricated Bodhi Tree depict human beings as variants transformed by bio-technology, and creatures made out of the artificial intelligence built by computer simulations. Post-humanistic ideas in Cho's novels provide a reflective opportunity to comprehensively reconsider the world's shape and human identity reproduced in the text, and to re-explore boundary lines and hierarchy order that distinguish between human and non-human.

• Korean Association of Arts Management
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• no.50
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• pp.101-146
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• 2019

After the enactment of the Local Culture Promotion Act in 2014, the government has been continuously trying to find the direction of the local culture that reflects the local life and conforms to the local people's emotions. In response to these efforts, the Organizing Committee for the C Region Biennale has uniquely formed the Biennale Artistic Director as a local artist who includes the historical, ecological and emotional characteristics of the C region. Therefore, I sought to explore the perception of the identity and role of the local cultural arts director through the narratives of the research participants who were appointed as the local residents of the C region and the director of the Craft Biennale. For the study, six local cultural arts directors were selected as research participants, and their identity as a local cultural arts director and its role were explored, focusing on their narratives. In this process, various types of data such as photographs, documents, in - depth interviews, and conference materials were collected and narrative was analyzed based on deterministic events. The results of the investigation are as follows. The idea of the identity of the local cultural arts directors was found to be in three directions. First, it is the view that the symbolic role of the artistic supervisory system of the 10 persons guarantees the identity. Second, the identity of local cultural arts directors was recognized as a role to find ways to be localized by developing and debating cultural and artistic discourses in various regions. Third, the participants had a concern and affection for local cultural arts, not one-time but continuous, and recognized it as their identity. The directors who participated in the interviews showed that the discourse of cultural arts in various regions were developed and discussed, and they wanted to find ways to be localized. The roles of local cultural arts directors recognized by research participants in connection with their identity are as follows. First, it should be the subject of systematic and long-term planning that can close the year and connect with the art events of the following year. Second, it should play a role of academic / research that can derive the identity of social and cultural ecological analysis connected with the area. Third, local arts professionals are required to act as cultural brokers, ie local culture professionals, who can create a venue for international cultural exchanges. Research on the form of local government supervision as a mediator of local cultural arts is to find out the origin of the identity of local artists and to establish a methodology for the direction of culture and art as a subject of local people. In addition, there is a need for continued interest and research in providing a reflection on the communication and meaning of the desirable local culture, and suggesting the system for cultivating local cultural arts intermediaries.

• Journal of Acupuncture Research
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• v.27 no.4
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• pp.147-178
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• 2010

Objectives : This study was to propose the improved instruction for authors and research ethic regulations by the comparative analysis of those of the domestic journals, for the purpose of enhancing the citation rate of Journal of Korean Acupuncture and Moxibustion Society. Methods : Narrative review method was used for comparatively analyzing instruction for authors of 34 domestic journals, especially focused on how to write a reference. Thereafter, in order to elucidate the drawbacks of current instruction for authors and research ethic regulations of the acupuncture and moxibustion society, the well prepared instructions and research ethic regulations was selected from them, which were compared with the present instructions for authors and research ethic regulations of the acupuncture and moxibustion society. Results : As a result of the comparative analysis of instruction for authors in the 34 domestic journals, style for references was based largely on that of National Library of Medicine and vancouver at the same time. The number of reference was limited according to types of writings. for example, the original article and case report was frequently limited to 40 and 20 references respectively. Authors were mostly listed up to six. If there are more, the first three or six authors were listed with 'et al'. it was generally recommended that using abstracts as references should be avoided and References to papers accepted but not yet published should be designated as 'in press' or 'forthcoming', and that the names of journals should be set in italics and abbreviated according to the List of Journals Indexed for Medline (formerly Index Medicus) published by the National Library of Medicine or koreanmed or WHO-IST, etc. In addition, citation of electrical literature, English writing of reference and obligational citation of more than two articles in the journals were encouraged. In consequence of comparison between well prepared instructions and research ethic regulations of the selected journals and those of current instructions for authors and research ethic regulations of the acupuncture and moxibustion society, the followings were needed to be added or revised. 1. Requirements for case reports were not mentioned. 2. Reporting Guidelines for Specific Study Designs were not included. 3. Previous Orthography of herbal prescription should be revised. 4. Orthography of authors and guidelines for writing article constituents such as title, abstract, introduction, method, statistics, results, discussions were not presented. 5. How to write a reference was so simplified. 6. Definition of Research Ethical Misconduct was omitted and establishment, management and members of committee for research ehtics were not mentioned, 7. Information, reception and investigative procedures of Research Ethical Misconduct was not specified. Conclusions : For the development of Journal of Korean Acupuncture and Moxibustion Society, apporopriate revision of the instruction for author and research ethic regulations should be made based upon the above findings. English writing of reference were believed to be one of the alternatives enhancing citation rate.

• Cartoon and Animation Studies
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• s.6
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• pp.7-22
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• 2002

Animation constitutes the core of the media industry, which in turn lies at the center of the cultural industry. It is considered one of the industries where South Korea has the competitive edge over other countries. With the pool of customers getting wider, the genre of animation has become more and more diverse, forming a great market for it. Aware of this trend, this study focused on animation as a part of the pop culture, and on providing corresponding various viewpoints for future cultural studies. This researcher measured the practicality and persuasiveness of this study through Shreck, a three-dimensional C.G. animation which is acclaimed for its success in dismantling the old grammar of animation movies that represent the anti-Disney ideas. This researcher felt it imperative to heed the unique language of Shreck, which contains discourses on various cultural ideologies such as paradoxical structure that pits entertainment that is shown through dismantling of the canon, feminism and antifeminism against each other. This study analyzed the entertaining element of the animation genre by means of the Semiotics of Keith Moxey, thereby attempting to establish a legitimate social status of the genre, whose artfulness has been depreciated in the art society. In chapter II, this researcher examines the chronological development of three-dimensional C.G. animation that has shown a rapid advancement. Chapter III defines the cultural ideology of Shreck by exploring basic theories and texts employed in analysis of art works. This study started with the assumption that defines, from the viewpoint of symbology, the animation text as an aggregate of discourses on entertainment, and competitive and paradoxical ideologies. Then, this researcher analyzed the text and the generation process of meanings in Shreck. Consequently, this study has come to the following conclusions: First, Shreck induces changes of concepts about the canon by means of distorting and reversing the existing animation movies, which seems to reflect in the contemporary tendency of seeking new interpretations of entertainment. Second, Shreck shows up the cognitive changes of our age as to feminism by competing feminism against antifeminism. Although Shreck serves as a venue of competition between the two opposing ideas, it stops short of brushing off women as outsiders in society. Rather, it represents the resistance to the male chauvinism existing in the structures of animation and culture. As shown in the text analysis, Shreck presents an advent of a new ideology critical of the previous animation films. In addition, it reflects in the struggle between the pro-feminism on the part of the viewers and the anti-feminism that lies in the social and culture structure. This study, however, is limited in its scope and selection of subject. First, although this researcher has stressed the importance of understanding the animation as part of the pop culture and conducting researches within the historic paradigm, this study fails to provide an in-depth insight in the impacts that the changes in the C.G. industry and the systematic conditions may have on the three-dimensional C.G. animation genre. Furthermore, this study runs the risk of being understood as pro-American due to its selection of Shreck as its research subject.