• East Asian mathematical journal
• /
• v.34 no.4
• /
• pp.463-486
• /
• 2018

This study identifies elements involved in designing rehearsals for improving preservice teachers' capacity to teach mathematics. Observation of a secondary mathematics methods course and regular interviews with the teacher educator following each class were used in this research. After characterizing what is considered and enacted in rehearsals as a way to help preservice teachers practice the work of teaching mathematics, I illustrate them with examples from the observations and interviews. I then discuss the challenge of dual contexts-the teacher education classroom and the secondary mathematics classroom-and dual perspectives-the mathematical and pedagogical-in designing and enacting rehearsals. I conclude with implications for mathematics teacher education.

• Journal of Astronomy and Space Sciences
• /
• v.39 no.4
• /
• pp.181-194
• /
• 2022

Korea Pathfinder Lunar Orbiter (KPLO), also known as Danuri, was successfully launched on 4 Aug. from Cape Canaveral Space Force Station using a Space-X Falcon-9 rocket. Flight dynamics (FD) operational readiness was one of the critical parts to be checked before the flight. To demonstrate FD software's readiness and enhance the operator's contingency response capabilities, KPLO FD specialists planned, organized, and conducted four simulations and two rehearsals before the KPLO launch. For the efficiency and integrity of FD simulation and rehearsal, different sets of blind test data were prepared, including the simulated tracking measurements that incorporated dynamical model errors, maneuver execution errors, and other errors associated with a tracking system. This paper presents the simulation and rehearsal results with lessons learned for the KPLO FD operational readiness checkout. As a result, every functionality of FD operation systems is firmly secured based on the operation procedure with an enhancement of contingency operational response capability. After conducting several simulations and rehearsals, KPLO FD specialists were much more confident in the flight teams' ability to overcome the challenges in a realistic flight and FD software's reliability in flying the KPLO. Moreover, the results of this work will provide numerous insights to the FD experts willing to prepare deep space flight operations.

• Korean Medical Education Review
• /
• v.15 no.3
• /
• pp.136-143
• /
• 2013

Clinical skills assessment was recently introduced to the Korean Medical License Examination to test medical school graduates' competencies in clinical skills. Various measures, including research and rehearsals, had been undertaken to prepare for the assessment for several years before the clinical skills assessment was first implemented. The assessment has been repeated annually for about 3,500 examinees over the course of 50 days per year for the past 4 years. The introduction of the assessment had significant effects on education in Korea's medical schools. Many schools have established clinical skills labs and the teaching of clinical skills has also been strengthened. The residents who have taken the clinical skills exam now express more confidence in caring for patients. To improve the quality of the assessment, it should be performed on a year-round schedule and a pilot test and various forms of the items should be introduced.

• Journal of the Korea Society of Computer and Information
• /
• v.23 no.2
• /
• pp.117-123
• /
• 2018

This article is to investigate the possibility that project-based classes introducing mobile phones can replace the monotony of traditional classes led by teachers as well as they can encourage students to take active part in the classes to some extent. The students in groups choose a genre for their own video projects (e.g., movie, drama, news, documentary, and commercial) and produce the video contents using a mobile phone for presentation made at the end of a semester. In the sense that the students are allowed to do video-based mobile phone projects, they can work independently outside of class, where time and space are more flexible and students are free from the anxiety of speaking or acting in front of an audience. A mobile phone project consists of around five stages done both in and outside of the classroom. All of these stages can be graded independently, including genre selection, drafting of scripts, peer review and revision, rehearsals, and presentation of the video. Feedback is given to students. After the presentation, students filled out a survey questionnaire sheet devised to analyze students' responses toward preferences and level of difficulty of the project activity. Finally, proposals are made for introduction of a better mobile phone-based project classes.

• Journal of the Korea Society of Computer and Information
• /
• v.22 no.6
• /
• pp.33-40
• /
• 2017

This article is to investigate the possibility that project-based classes introducing mobile phones can replace the monotony of traditional classes led by teachers as well as they can encourage students to take active part in the classes to some extent. The students in groups choose a genre for their own video projects (e.g., movie, drama, news, documentary, and commercial) and produce the video contents using a mobile phone for presentation made at the end of a semester. In the sense that the students are allowed to do video-based mobile phone projects, they can work independently outside of class, where time and space are more flexible and students are free from the anxiety of speaking or acting in front of an audience. A mobile phone project consists of around five stages done both in and outside of the classroom. All of these stages can be graded independently, including genre selection, drafting of scripts, peer review and revision, rehearsals, and presentation of the video. Feedback is given to students. After the presentation, students filled out a survey questionnaire sheet devised to analyze students' responses toward preferences and level of difficulty of the project activity. Finally, proposals are made for introduction of a better mobile phone-based project classes.

• The Journal of the Korea Contents Association
• /
• v.20 no.4
• /
• pp.49-61
• /
• 2020

Recently, the convergence of genre-mixed collaboration and technology-mixed collaboration in performance art strategically fuses different goals and different properties, satisfying anticipated demand, and developing into experimental forms that bring out convergence contents of new value. To supplement problems of convergence attempts and heighten levels of completion, the effective collaborative processes of media experts must be studied and improved. This thesis attempts to study effective collaborative production plans of convergence performance that correspond to the demands of the times through multimedia convergence performance prototypes(Live performance play + Pre-made digital animation). It categorizes performance production processes into pre-production and production and researches the effective collaborative production processes of convergence performances that utilize these two forms of media through work selection, production direction establishment, human resource constituents, production schedule plan establishment, visualization processes, and performance practices and rehearsals. Continuous research must be conducted based on convergence performance contents planning, changes in production methods, and an understanding of distinct characteristics among convergence contents for the industrial development systemization and vitalization of convergence contents to be made possible.

• Korean Journal of Family Social Work
• /
• no.58
• /
• pp.151-179
• /
• 2017

The purpose of this study was to evaluate the communication enhancement program through Social Network Service(SNS) of older adults in the community. This program was mainly designed for improving self-efficacy of older adults and enhancing their communication in the community by using SNS. This program was composed of several sub-programs; understanding the value of communication, meeting with SNS users, SNS education and practice, having activities with SNS, promoting SNS, holding public rehearsals and starting ceremony, and having off-line meeting. This study applied analytical framework based on logic model of systems theory, collected data from the subject group, and evaluated the sub-programs on dimensions of process and outcome. The results showed that this program has an effect on improving self-efficacy through participating SNS activities, enhancing communication through boosting SNS, creating new culture for older adults, and changing attitudes between generations. Based on these results, the practical guidelines for expanding the communication enhancement program through SNS, leading by older adults in the community, were suggested.

• Journal of Korean Philosophical Society
• /
• v.137
• /
• pp.131-149
• /
• 2016

The main purpose of this paper is to inquire into Johnson's defence of naturalistic ethics, and show how it could escape the intractable conundrum that has bothered moral philosophy ever since the early 20th century. Johnson shares the deconstructivist stance in claiming that moral theories are largely metaphorical constructs, and thus their claim to absoluteness is ungrounded. However, Johnson breaks with deconstructivist philosophers by offering a need for a constructive inquiry into "moral understanding." Then, Johnson's recent discussions are more concerned with moral fundamentalism in which he argues, is not only cognitively incorrect but immoral. It is incorrect in that it relies on the false assumptions on human cognition, and is immoral in that it shuts off any moral discussions. Instead, Johnson sees moral experience as a matter of moral deliberation in which we attempt "dramatic rehearsals" in Dewey's terms. Johnson's constructive offer in moral philosophy reminds us of "the size of moral theory," which fits human moral understanding as an embodied being, and this presents a third constructive way over the dichotomous conundrum of moral philosophy between traditional absolutism and nihilistic deconstructivism.

• (The) Research of the performance art and culture
• /
• no.37
• /
• pp.223-247
• /
• 2018

A reading aloud performance is an activity in which the actors convey the meaning of the play to the audience through reading the play without memorizing the play. Although this term has been used for a long time, it can be said in the early 2000s that Korea began to pay attention to reading aloud performance in the cultural world. As the theater education is strengthened in the 2015 revision curriculum, interest in this "reading aloud performance" is also growing. In this article, we analyzed the reading aloud performance of the 8th contemporary Japanese drama '2018' in order to utilize the reading aloud performance in the educational field and to utilize it in the lecture of the children education. There are two types of rehearsals for the actors on stage: 'Reading by watching drama', 'Playing by memorizing drama', and 'Mixing two types'. In the end, the key is that there is no set rule for the type of reading aloud performance. It's not trouble to see or not to see the play. It is not necessary to have a stereotype that you should do a proper reading aloud performance in consideration of your situation, but that you should do this. If children understand the concept of read aloud performance in a flexible way, the educational effect will be greater. Based on this analysis, we suggested 'not sticking to the form of reading aloud performance' and 'choosing various types of reading aloud performance' as a criterion for applying to the education field for children. In addition, the sub-criteria required for selecting 'various types of lecture performances' include' selecting a specific scene in the content of the play ',' considering the level or situation of the student ',' not hesitating to make a new type of lecture performance '. I hope that this article will be a stepping stone to revitalize the discussion in the educational world where discussion on the performance of reading aloud is requested, and to solve the problem of lack of educational design due to lack of theory.

• (The) Research of the performance art and culture
• /
• no.33
• /
• pp.329-354
• /
• 2016

Hyupryulrang was the position that announced the start and end of music in royal ceremonies. It appeared when the royal etiquette was categorized and implemented due to the five etiquette system, which was formed by the influence of Confucianism. Confucianism valued etiquette and music and this aspect was reflected in royal five etiquette, making music involved in royal ceremonies. So there was a need to have a mediator who will announce the insertion of music according to the process of royal ceremonies. For harmonious realization of royal ceremonies and music, hyupryulrang was indispensible. In Korea hyupryulrang appeared in Goryo era and lasted until Joseon era. Hyupryulrang during Joseon was handled by bongsanshi and once was taken by jeonak( 典樂) temporarily but finally was managed by officials in jang-akwon(掌樂院). Among the officials in jang-akwon, jang-akwon jeong(正) mainly served the role but jang-akwon chumjeong(僉正) and jang-akwon juboo(主簿) were sometimes recruited for the role according to circumstances. What was common among jang-akwon jeong, chumjeong, and juboo was that they were all danghakwan(堂下官). Danghakwan was an official who had the fundamental limitation of not being able to participate in policy making so was in a lower position compared to dangsangkwan. Meanwhile, according to circumstances of ceremonial process or the characteristics of ceremonies, gyeraseonjeonkwan(啓螺宣傳官), mushingyungseonjeonkwan(武臣兼宣傳官), and yeojipsa(女執事) were recruited as hyupryulrang instead of officials of jang-akwon, so that there would be no problems in ceremonies and performance of music. The activities of hyupryulrang can be summarized as setting up or laying down hui in most ceremonies that involved band. At night, however, as hui(麾) was invisible, jochok(照燭) or sometimes geumgogi(金鼓旗) was used. As for the term that referred to hyupryulrang, in case of royal banquet, the names of the ceremonial tools were borrowed such as geohuichabi(擧麾差備) and jochokchabi(照燭差備). The location of hyupryulrang was in the west on top of seogye(西階) facing toward the east, which was a position where hyupryulrang could watch the ceremonial process easily and be close to the band. That is, it was a position where one can see the space of ceremony and the space of music at the same time. Also, hyupryulrang was involved in musical parts related to ceremonies such as rehearsals, arrangement of the band, controlling the speed of music, and prevention of missing any musical pieces, and was in charge of such tasks. Hyupryulrang, who had to take charge of music in accordance with ceremonial procedure, was a mediator between royal ceremonies and music.