• English Language & Literature Teaching
• /
• v.12 no.1
• /
• pp.77-101
• /
• 2006

The present study examines various pedagogical functions of conversational repair strategies employed by the teacher in the ESL classroom. As part of interactional resources, conversational repair is defined as the treatment of trouble occurring in interactive language use and is originally designed to deal with communication problems. Research on conversational repair has focused on ordinary conversation and organization of repair practices. Studies on more pedagogical functions of repair sequences initiated by the teacher are very few. The data were from five hours of ESL structure classes in an intensive English institute at a large U.S. university. They were closely transcribed and microanalyzed following the conversation-analytic methodology. The analysis found that ESL teachers' repair techniques not only resolve communication problems but they are also designed to serve several important instructional purposes of teaching the target language. They include creating opportunities of comprehensible input, inducing modified comprehensible output from students, guiding and controlling student output, and initiating corrections by initiating repair.

• Journal of The Korean Association For Science Education
• /
• v.20 no.4
• /
• pp.505-509
• /
• 2000

The kinetic structure of the content of instructions at the unit of 'heart and circulation' in "the common science", which was respectively given by two teachers majored in biology and two teachers majored in earth science was investigated. Concerning of the mean of the fundamental coefficient (B1), the mean of weighted coefficients (B2) and the progression of instruction (P), T4 (B1, 0.14; B2, 0.82; P; 0.86) teacher showed relatively lower kinetic structure and faster progression than those of the others. The other teachers showed a different level of the kinetic structure and progression: T1(B1, 0.21; B2, 0.86; P; 0.79), T2 (B1, 0.02; B2, 0.85; P; 0.80), and T3 (B1, 0.22; B2, 0.83; P; 0.78). T1 teacher who showed the largest total frequency of verbal elements, the great number of sorts of verbal elements and secondary span, had a higher level of the kinetic structure, but T4 teacher showed the lowest level of total frequency of verbal elements, the great number of sorts of verbal elements and secondary span. The main reason why T4 teacher's instruction achieved a lower level of kinetic structure was estimated that he neglected to reorganize teaching materials and he showed a small number of discourse units. In addition, the unit of 'heart and circulation' was less related to T4 teacher's major and T4 teacher had a shorter teaching experience than those of the others. T4 teacher also took charge of only one class, and this did not allow to instruct repeatedly.

• The Mathematical Education
• /
• v.46 no.2 s.117
• /
• pp.173-192
• /
• 2007

We define mathematical learning as a process of overcoming framing difference of teachers and students, two main subjects in a mathematics class. We have reached this definition to the effect that we can grasp a mathematical classroom per so and understand students' mathematical learning in the context. We could clearly understand the process in which the framing differences are overcome by analyzing mutual negotiation of informants in specific cultural models, both in its form as well as in its meaning. We review both of the direct and indirect forms of negotiation while keeping track of 'evolution of subject' in terms of content of negotiation. More specifically, we discuss direct negotiation briefly and review indirect negotiation from three distinct themes of (1) argument structure, (2) revoicing, and (3) development patterns and narrative structure of proof. In addition, we describe the content of negotiation under the title of 'Evolution of Subject.' We found that major modes of mutual negotiation are inter-reference and appropriation while the product of continued negotiation is inter-resemblance.

• Korean Journal of Childcare and Education
• /
• v.20 no.1
• /
• pp.91-111
• /
• 2024

Objective: The purpose of this study is to explore trends in institutional evaluation research in early childhood education through keyword network analysis. This aims to understand trends in academic discourse on institutional evaluation and gain implications for follow-up research and related policy directions. Methods: A total of 6,629 keywords were extracted from 572 dissertations and journal articles published from January 2006 to October 2023 for the purpose of analyzing and visualizing the frequency and centrality of keywords, as well as the structural properties of keyword networks. The analysis and visualization were conducted using the TEXTOM, UCINET6, and NetDraw programs. Results: First, the number of institutional evaluation studies increased steadily from 2006 to 2010 and then decreased, with a higher frequency of studies on daycare centers compared to kindergartens. Second, the most frequently occurring keyword in the analysis was 'daycare center,' and the highest connection strength was found in the term 'daycare-center-evaluation.' Third, network analysis revealed that key terms for institutional evaluation research included 'evaluation certification,' 'recognition,' 'evaluation indicators,' 'teacher,' 'daycare center,' and 'kindergarten.' In the ego network analysis for each institution, 'parent' emerged as a highly ranked keyword. Conclusion/Implications: This study confirmed the perspectives of previous studies by revealing the structure of core concepts in early childhood education institution evaluation research, and provided implications for follow-up and direction of institution evaluation

• Journal of Korean Theatre Studies Association
• /
• no.48
• /
• pp.385-419
• /
• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• Journal of the Daesoon Academy of Sciences
• /
• v.40
• /
• pp.1-38
• /
• 2022

The aim of this research is to discover the value of peace conveyed by Haewon Sangsaeng, the Resolution of Grievances for Mutual Beneficence, as espoused by Holy Teacher Kang Jeungsan (姜甑山, 1871~1909) and to evaluate its modern significance. To the faithful, Jeungsan is seen as the Supreme God who descended into the world in the Late Joseon Dynasty in the year 1871. Until the time of His passing away into Heaven in 1909, He vastly saved the world and fulfilled the hopes of humankind by carrying out the fundamentally innovative Reordering Works of Heaven and Earth (1901~1909) in the Three Realms of Heaven, Earth, and Humanity. He has thereby been appraised as a great religious figure within religious and academic circles. Jeungsan's ideological contributions can be summarized into two main points. One is the concept of 'the Great Opening and the Later World,' which foreshadowed the liquidation of the old system of order and the arrival of a new world. The other contribution is the concept of 'the Resolution of Grievances for Mutual Beneficence,' a fundamental principle meant to achieve human salvation and world peace. In this context, 'the Great Opening' is precisely a 'positivistic religious expression of peace,' and 'the Resolution of Grievances for Mutual Beneficence' is the principle by which 'peace can be achieved in the world for all humankind.' In particular, the Resolution of Grievances for Mutual Beneficence is a tenet within the doctrine of Daesoon Jinrihoe, and it is the main concept that forms the basis of Daesoon Thought. It can be said to be the core current that flows through Jeungsan's Reordering Works of Heaven and Earth. Nowadays, the Resolution of Grievances for Mutual Beneficence is being discussed and cited in various ways in academic fields as well as in discourse on coexistence, mutual beneficence, and peace. The Resolution of Grievances for Mutual Beneficence is specifically based on observations of the structure of conflicts as observed throughout world history via global conflicts, regional conflicts, cultural conflicts, ideological conflicts, class conflicts, generational conflicts, racial conflicts, religious conflicts, and other such conflicts. That is why the Resolution of Grievances for Mutual Beneficence is discussed in depth within academic settings wherein the nature of conflict-resolution is examined. Looking at the previous studies on this topic, those studies tended to focus on key concepts or concerns such as human beings, divine beings, the earthly paradise of the Later World, ideal societies, world peace, new principles of order, and lasting peace. In particular, the Resolution of Grievances for Mutual Beneficence has been presented as directly related to concepts such as love, coexistence, harmony, and peace for humankind and the world. Its significance has been applied to ethics, philosophy, order, and principles, and it has been understood as conveying values such as peace. Accordingly, this paper examines the ideological connections to the succession and establishment of Jeungsan's notion of the Resolution of Grievances for Mutual Beneficence based on previous research, but further examines the value of peace communicated via the principles and ideas that pervade current discourse on the Resolution of Grievances for Mutual Beneficence. I hope to thoroughly explore Haewon Sangsaeng in regards to its modern significance to the world and to humankind.