분청사기의 미감적 특징에 관한 연구

조성진 淑明女子大學校 2001 국내박사

Punch'ong ware which began to be made since early Chosun dynasty may well have formed a great mainstream in the history of Korean porcelains. It developed from "Sanggam" Celadon during Koryo dynasty, but its aesthetic sense was quite different from the inlaid celadon. In particular, on the threshold of 15th century when porcelains began to be distributed widely, Punch'ong ware were more widely used. The climax of Punch'ong development was during King Sejong's reign. However, an official kiln was established in Kwangju, Kyonggi-do later, while the royal family and administration offices began to prefer the white porcelain. After all, Punch'ong ware began to be localized with their unique forms, and its production began to decrease gradually. As the surface of the porcelain changed from blue green to white with no patterns, Punch'ong ware would be absorbed by the white porcelains. Thus, around mid-17th century after the Japanese invasion, Punch'ong ware which had prospered for about 200 years during the early Chosun dynasty would disappear. Despite the fact that Punch'ong ware had developed from the inlaid celadon during Koryo dynasty, it was quite different from the latter. Although its glazing process was similar to that of the inlaid celadons after the 14th century and its flower pattern inlaid could be explained within the scope of the inlaid celadons, its expression methods were quite different from the Koryo celadons. In addition, unlike the Koryo celadons, Punch'ong ware were not only possessed by the ruling class, which suggests that the aesthetic sense of Punch'ong ware was quite different. To be more specific, although Punch'ong ware were used primarily by the literati class, they were made by the unknown humble people, and therefore, they were also used by commoners. In this process, the sense of folklore art could be introduced into Punch'ong ware. In other words, despite the ruling class's aesthetic value was reflected on Punch'ong ware, it was also favored by the ruled class. Thus, the aesthetic sense of Punch'ong ware cannot be dichotomized into ruling and ruled classes', which is too important to be overlooked. Because such artifacts departed from the conventional form, being even unique and irregular, they may provide us with some important clues to review commoners' aesthetic sense. Such commoners' items as earthenwares and clay figures during Shilla Kingdom, Punch'ong ware during early Chosun dynasty, and the "iron-powdered" white porcelain and folk paintings during late Chosun dynasty are our valuable cultural assets showing the then commoners' aesthetic sense. Any study of the aesthetic consciousness or sense of Punch'ong ware must be an attempt based on the aesthetics as well as in view of the art history. Namely, it may well be most ideal to analyze the characteristics of celadon's forms and review its aesthetic phenomenon including the aesthetic essence and consciousness against its historic background. Then, how should we interpret or define the term of "aesthetic sense" or "aesthetic consciousness" for our traditional art? In fact, it seems to be difficult to classify out an aesthetics because it forms an inseparable part of art as far as our traditional art is concerned, because our traditional art was based on a high-degree conceptual thought. Therefore, the aesthetic classifications developed for the Western art cannot well be applied to such humble people's works as Punch'ong ware during Chosun dynasty, since it featured a folk art which cannot be well defined academically. So, in this study, the term "aesthetic sense" instead of "aesthetic consciousness" would be used. The term covers the aesthetic experiences in the widest sense of the word. After all, the term "aesthetic sense" is not only limited to the theoretical or academic aesthetics but also applied to the beauty sense connoted by literature, art or social phenomenon in order to analyze the essence of the aesthetic thoughts inherent therein. Therefore, the term may be able to explain the changes of aesthetic thoughts in a scientific way, and in this regard, the term "aesthetic sense" may surmount the limits imposed by the term "aesthetics". In particular, when an aesthetic sense is discussed in Korea or China, it is understood generally in association with an ultimate condition or nature or "Tao". If we can say that the phenomenon perceiving the object of Punch'ong ware is called "aesthetic sense", we can understand it in any way. So, the term "aesthetic sense" can be legitimate in this sense. The aesthetic consciousness of Punch'ong ware may well be equated with the discussion about its characteristics or features. Owing to the development of new decoration techniques, Punch'ong ware became diverse, causing an aesthetic sense. Its patterns continued to be transformed or omitted but looked sufficiently aesthetic. Unlike the blue green or white porcelains, Punch'ong ware were localized to be used by commoners, and in this process, a native culture was formed by the ceramists and vice versa. Namely, religion, thoughts, natural environment and culture may have affected their world of consciousness. The ceramists' temper or culture formed as such may have affected the aesthetic sense of Punch'ong ware. After all, we can witness randomization, naturalization and playfulness and abstraction in Punch'ong ware. 1) Randomization might result from non-refinedness or indifference. However, such a phenomenon can be traced ultimately to "oneness of heaven and man" or the "three religions"(Taoism, Buddhism and Confucianism). Ceramists made their products being influenced, though vaguely, by such thoughts or religions. 2) The aesthetic consciousness acquiescent to the natural environment may be equated with naturalization, and the view of nature or the folk belief might be reflected on the celadon makers' mind. The naturalization may be shown by the shape and patterns of Punch'ong ware. 3) The localization of Punch'ong ware may have led to the aesthetic sense of "playfulness". It can be estimated that Punch'ong ware came to be localized by folk life style and culture. Like other folk arts, the aesthetics of "playfulness" can be traced back to Punch'ong ware. 4) Here, the abstraction was a result from a highly imitative conception. Since the pre-historic age, the Korean people's culture has tended to be abstract. Punch'ong ware was not an exception. It was a play and at once an abstraction. 분청사기는 조선시대 전기에 형성되어 한국 도자사의 커다란 주류(主 流)를 이룬 하나의 맥이었다. 그것이 비록 고려 상감청자를 모태로 변모 발전하였으나, 미의 방향은 뚜렷이 달랐다. 특히 15세기가 되면 자기(磁 器)가 생활화됨에 따라 분청사기는 크게 확산되는 계기를 맞았으나, 그 후 경기도 광주의 관요가 형성되어 왕실과 관청에서 자기의 사용이 백자 로 자리잡기 시작하자 분청사기는 점차 지방 양식화되어 독특한 기법으 로 변모되게 된다. 그러나 본격적인 백자의 등장과 임진왜란을 계기로 14세기 중엽이후 약200여 년간 조선 전기를 풍미한 분청사기는 자취를 감추게 된다. 분청사기의 표현양식은 비록 이들의 유약 처리가 14세기 이후 상감청 자와 같고 또 인화분청(印花粉靑)을 상감청자의 범주에서 설명한다고 하 여도, 고려시대에는 상상할 수도 없을 정도로 일탈된 모습인 것이며 또 한 전혀 차원이 다르다. 뿐만 아니라 회화나 조각처럼 일부 지배계층의 전유물만이 아니었다는 점은 분청사기의 미의식을 도출하는데 매우 중요 한 요소이다. 즉 분청사기가 상류계층에서도 쓰여졌으나 그것을 만든 도 공들은 이름 모를 민중들이었고, 또한 일반 서민들의 용기로 사용되었다 는 점에 주목하게 된다. 이러한 과정 속에서 민예적인 감각이 삽입되고 민중들의 진솔한 미의식이 담긴다. 말하자면 상류사회의 안목이 작용했 다는 점을 인정한다 하더라도 분청사기처럼 중 하층의 미의식이 상하계 층을 막론하고 선호되었다는 점은 상류와 하류라는 이분법만으로 가릴 수 없는 그 본질적인 미의식을 담고 있다는 점에서 매우 중요한 부분인 것이다. 이러한 미술품들은 너무도 기존의 양식에서 일탈하고 있으며, 의 외적이고 또 파격적이어서 대대로 한 줄기 맥을 형성한 서민들의 미의 전형(典型)을 볼 수 있게 된다. 분청사기에 나타나는 미의식(美意識) 또는 미감(美感)의 문제를 탐구 하는 일은 먼저 미술사에서 도자기의 양식적 특색(樣式的特色)을 분석하 여 다양한 역사적 현상을 바탕으로 하고, 미학에서의 미(美)의 본질이나 미의식을 포함한 미적 제반현상(美的現象)을 그 본래의 영역에서 다루는 것이 가장 이상적일 것이다. 그러나 한국미술을 대상으로 밝혀 낸 미학 의 용어로서 '미감'이나 '미의식'의 개념을 어떻게 정리하고 해석해야 하 는가 라는 문제가 남게 된다. 한국적인 미학의 분류는 그것이 고도의 관 념적 사고에 의한 미의식이 기본체제인 것처럼 보이는 부분에 있어서 그 분류가 사실상 어렵다고 볼 수 있다. 또한 이러한 분류가 가능하다고 하 여도 미학적 분류는 서구적이어서, 조선시대의 분청사기와 같이 주로 천 민과 같은 지위에 있던 장인들이 만들어 낸 민예적 성격에 적용시키기에 는 지나친 경향이 있게된다. 그러므로 분청사기에서 사용한 '미의식(美意識)', '미감(美感)'이란 용어 조차 그 자체가 오히려 학문적이라 할 수도 있겠으나, 본고에서는 단지 한국의 정서에 기인하는 미적인 해석으로서 편의상 미감이라 정리하고자 한다. 따라서 분청사기에 사용되는 미감이란 용어의 의미는 광의의 미학 에 속해 있는 미적 체험을 지칭하는 것이라 할 수 있다. 말하자면 심미 의식 즉 미감(美感)은 이미 다소간의 이론형태를 갖춘 미학사상에 국한 되지 않고, 각 역사시대의 문학, 예술 및 사회 풍상(風尙)중에 표현된 심 미의식에 대하여 전면적인 고찰을 진행시켜 그 중에 내포된 미학사상의 실질을 분석하고 동시에 그의 변천에 대하여 과학적인 설명을 가질 수 있어야 하기 때문에 미학이란 용어의 사용에서 오는 한계점을 극복하고 대체시킬 수 있는 용어라 할 수 있다. 특히 한국이나 중국에서 미의식을 논할 때는 대체로 미(美)나 예술의 궁극적인 경지 혹은 근원을 자연(自 然)이나 도(道)와 연계하여 이해되고 있다는 점을 고려할 때 더욱 그러 하다. 분청사기에 있어서 대상을 자각하는 현상을 미의식이라고 한다면, 분 청사기를 어떤 식으로든지 이해한 상태를 특성 또는 특질로 인식할 수 있기 때문에, 이를 논의하는 것을 바탕으로 '미감'의 도출이라는 명제는 충분히 그 체제를 갖출 수 있게 된다. 따라서 분청사기의 미의식은 먼저 분청사기의 특성 또는 특질로 논의되어 질 것이다. 분청사기는 새로운 분장법의 개발로 인하여 여러 가지 기법이 개발된 다. 이러한 기법에 따른 특징이 새로운 미감을 일으키는 주 요인으로 작 용한다. 문양에서는 주로 어느 하나의 소재가 집중적으로 끊임없이 변용 되거나 생략되어 변모를 갖게 되는 양상을 분류해 볼 수 있고 그 속에서 미감을 추출하는 것이 가능하다. 또한 분청사기는 청자·백자와 달리 지 방 양식화하면서 서민용기로 확산되는데 이러한 과정에서 지방의 토착적 인 문화가 도공들의 심성으로 형성되었고, 이때 그들의 성정(性情)에 영 향을 주었을 것이라고 판단된다. 종교·사상·자연환경·문화 등은 도공 들의 의식세계에 다양하게 영향을 미쳤을 것이다. 이와 같은 그들의 기 질적 성정은 조형감각에 근본적으로 영향을 끼치면서 분청사기에서는 무 작위성, 자연성, 유희성, 추상성 등으로 표출되게 되었다. 1) 무작위성(無作爲)은 조형적으로 보면 비정제성이자 무관심성의 결 과일 것이다. 그러나 이러한 조형결과를 가져올 수 있도록 하였던 근원 적인 사상을 추론하자면, 천(天)과 합일하려는 인(人)의 자연사상, 그리 고 또 선(禪)과 불교적인 사유정신을 비롯한 삼가(道家,佛,儒)사상이 대 두되어 그들의 정신과 의식세계 속에서 조형수법의 직·간접적 근간으로 생각할 수 있다. 2) 자연환경에 따르는 미의식은 자연성을 형성하였으며, 민간신앙 속 의 자연관은 그대로 조형미술에 반영되었다. 그 결과 분청사기에는 하나 의 양식적 특징으로서 자연성은 그릇의 성형과 문양이라는 전과정을 통 해서 살아 나온 것이다. 3) 분청사기의 지방적인 특색은 유희성이라는 미감으로 승화되고 있었 다. 즉 그 지방에서 대대로 삶을 유지한 민중들의 생활과 문화 속에서 분청사기는 지방양식을 생성시키고 있었던 것으로 추론이 가능하다. 따 라서 타 장르의 예술 형태를 비교하면서 분청사기의 미의식이 유희미로 승화되고 있음을 살펴볼 수 있다. 4) 추상성은 고도의 사의적 관념(寫意的觀念)으로 이루어 낸 추상이다. 선사시대 이래 기질적으로 한민족은 추상성향에 대한 시각과 감흥을 띤 다면, 이러한 일반 민중적인 기질은 분청사기에서도 그대로 표출되어 유 희이자 추상이요, 추상이자 유희로서의 추상성에 이르고 있음을 알 수 있다.

Parallel Magnetic Resonance Image (pMRI) Reconstruction with SENSitivity Encoding (SENSE) Method

채민경 동국대학교 일반대학원 2021 국내석사

In this paper, we will discuss the SENSE method and other methods that improve the method. Parallel MRI is the most representative way to reduce the scan time of the non-parallel MRI. New theories are being presented to improve the image-space-based SENSE method and the k-space-based GRAPPA method, which are the most representative methods of Parallel MR image reconstruction of uniform Cartesian k-space-sampling. As the main process in SENSE, generating a coil sensitivity map is closely related to the acceleration factor(R). Depending on how we set the acceleration factor, the speed and the partial field-of-view(FOV) can vary significantly. Therefore, it is challenging to implement efficiently for non-Cartesian acquisition or random undersampling. Non-Cartesian methods such as conjugate-gradient SENSE(CG-SENSE) and compressed sensing can be improved by applying machine learning, especially artificial neural networks. Issues, open problems, and future works are also discussed. 본 논문에서는 SENSE 방법과 방법을 개선하는 다른 방법에 관해 설명한다. 병렬 MRI는 비 병렬 MRI의 스캔 시간을 단축하는 가장 대표적인 방법이다. 균일한 Cartesian k-space 샘플링의 병렬 MR 영상 복원의 가장 대표적인 방법인 영상 공간 기반 SENSE 방법과 k-space 기반 GRAPPA 방법을 개선하기 위해 새로운 이론이 제시되고 있다. SENSE의 주요 프로세스로서 코일 감도 맵을 생성하는 것은 가속 계수(R)와 밀접한 관련이 있다. 가속 계수를 설정하는 방법에 따라 속도와 부분 시야(FOV)가 크게 달라질 수 있다. 따라서, 비 Cartesian 수집 또는 무작위 언더샘플링을 효율적으로 구현하기는 어렵다. 기계 학습, 특히 인공 신경망을 적용하여 압축 감지와 같은 비 Cartesian 방식을 개선할 수 있다. 이슈와 미해결 문제 및 향후 작업도 논의한다.

Judgment, Trust, and Common Sense in American Literature

Oliver, Jacob Skylar University of Washington ProQuest Dissertations & 2023 해외박사(DDOD)

This dissertation examines a number of aspects of the relation between ideas of 'common sense' and social / political processes, with specific focus on American Literature. The introductory chapters (Prologue and Introduction) juxtapose contemporary issues in which 'common sense' is invoked, followed by a selective discussion of philosophical and political history pertaining specifically to protracted debates of the role of 'common sense' in determining propositions and beliefs provisionally held to be 'valid' or 'true'-consistently followed by intense controversies that persist to the present.The three primary examples here are the impact of Thomas Paine's pamphlet, Common Sense, particularly in affecting popular opinion concerning the impending war of revolution against the British, and two major literary works, Mark Twain's Adventures of Huckleberry Finn, and Herman Melville's The Confidence Man: His Masquerade. Framing these two texts by way of philosophical arguments that antedate debates over deconstruction, post-modernism, and topical theories current in literary theory and the humanities-or more recent arguments that frequently have not registered significantly in the development of recent theory in literature and the humanities, offers a way to examine enduring philosophical issues of considerable interest and pertinence. As noted in John Guillory's recent book, Professing Literature: Essays on the Organization of Literary Study (Chicago: University of Chicago Press, 2022), many of persisting theoretical controversies appear to have arisen as from the circumstances his book documents, that "Literary study became a profession before it became a discipline." (vii, italics in the original.)Among other things, this position shifts attention to how the practices of literary study as a profession foreground debates over competing 'readings' of specific texts, usually supported by a more or less identifiable ideological position-in which a particular practical or moral point provides the key to argumentative strategy, or aligns a critic with a particular and politically inflected 'approach.' In this respect, the aim is to examine the grounds of reading as a discipline.The two literary texts selected here are not presented for the purpose of developing a particular 'reading,' of either text. In recent decades, Adventures of Huckleberry Finn, from being one of the most frequently taught American works, has become a book for a variety of reasons that appears 'too hot to handle'-on topics of language (notably the 'N' word and dialects), racism, religion, class-such that the novel Twain actually wrote has been edited, re-translated, or just not taught. The case of Melville's The Confidence-Man: His Masquerade, is hardly identifiable as a 'novel' and only episodically as a 'narrative'-and the professional challenge this has presented is that 'readings' tend to reductive conclusions (Hershel Parker, for example, that the Confidence Man simply is The Devil) or Bruce Franklin's earlier annotated edition treats it as a compendium of world religion and mythology. The result is that The Confidence-Man, as the book Melville actually wrote, rarely gets read at all.The main task of the dissertation is to frame the problem of reading itself as already informed by a philosophical history and political traditions that implicitly depend on commonplace notions of 'common sense,' on what may well be unfamiliar grounds.The chapters of the dissertation, accordingly, situate debates over 'common sense'-almost always politically charged-oriented to a view of thinking as a process, not reducible to truth claims as either exclusively true or false, but requiring reflective judgment as treated in Immanuel Kant's Critique of the Power of Judgment. The dissertation examines questions surrounding the exercise of sound judgment and common sense, treated specifically as arising from reflective judgment. It opens with an exploration of the tensions between cultural norms and assumptions (collectively referred to as a community's sensus communis) and individual critical reasoning, providing an overview of historical perspectives on sensus communis from the ancient Greeks through the Enlightenment era, demonstrating that common sense has traditionally been framed as shared societal knowledge based on common values and principles. However, no conception of common sense as mere communal knowledge passes scrutiny. The critical turning point is in Immanuel Kant's articulation of the reflective or reflecting judgment as presented in his third Critique, which reorients the classical notion of judgment (the application of predetermined concepts to particular objects). Kant recognized this model failed to account for the contextual contingencies inherent to real-world judgments and did nothing to account for the origin of such concepts in the first place. Thus, he argues sound judgment involves assessing phenomena not just by static conceptual categories but also by their perceived purpose, conditions, and applicability to a given situation. This reflective orientation to judgment is key to exercising common sense. The second chapter emphasizes the aesthetic turn in reasoning, drawing on the pragmatist philosopher C.S. Peirce to argue that neither logic nor metaphysics alone can dictate practical ethics and values; our inherent desires and aesthetic inclinations shape what ends we judge to be good. Thus the crux of our reality is fundamentally aesthetic, involving our sense perceptions and conception of relative goodness. Ethics proceeds from these aesthetic foundations, setting standards for actions most likely to realize admirable ideals. Only then does logic come into play, providing tools to achieve best the ends delineated by aesthetics and ethics. But logical reasoning serves as an instrument for desired outcomes, not an end in itself. This re-ordered understanding grounds common sense in experiential aesthetics rather than conceptual absolutes.The second half of the dissertation applies the insights from the first two chapters to the analysis of two 19th Century American novels: Twain's Adventures of Huckleberry Finn and Herman Melville's The Confidence-Man: His Masquerade. Mark Twain's Adventures of Huckleberry Finn, analyzed in chapter three, portrays an outsider questioning and rejecting the sensus communis (and its concomitant cruelties) embedded in the cultural assumptions of the antebellum American South. As an outsider to conventional Southern gentility, Huckleberry Finn has been spared the indoctrination of its cruelties disguised as 'sivilized' mores. Thus, he is able to view established social conventions with a critical, common-sense eye. As Huck's relationship with Jim deepens, he increasingly recognizes Jim's full humanity despite societal commonplaces designed to prevent that very recognition. When confronted with a decision that would in part determine Jim's fate, Huck finds that he is unable to conform to the sensus communis, even to the point of risking his life and as--he is not infrequently reminded--his very soul.Where chapter three explores the fraught issues that surround learning to doubt the sensus communis of one's own community, chapter four turns our attention to the more intricate decision-making process of learning how to decide what is, in fact, worthy of our trust. Chapter four analyzes the delicate balance between trust and skepticism portrayed in Herman Melville's The Confidence-Man. Set aboard a crowded riverboat filled with grifters and deceivers, the narrative dramatizes the inherent challenges of accurately judging others' credibility and intentions when surrounded by strangers in a transient setting. Yet even as it highlights the fallibility of individual reasoning among multitudes, Melville's novel affirms the pragmatic necessity of basic confidence and good faith among fellow humans. Some degree of mutual trust enables the cooperative structures and commerce that allow society to function. Thus The Confidence-Man explores the complex dynamics and negotiations between trust and doubt required for civilization to cohere amidst a fluid population. Though strangers' sincerity can rarely be definitively proven, at some point, one must pragmatically satisfy the desire to believe in others' stated intentions in order to act at all. The novel thus resists absolutism in either naive credulity or blanket cynicism, but explores the extent to which each encounter tests the nature and role of trust.This dissertation demonstrates literature's power to cultivate open-mindedness, empathy, and sound judgment by engaging with complex depictions of moral dilemmas and social dynamics. It argues that exercising common sense involves questioning assumptions, reasoning toward ethical ends, and finding a livable balance between skepticism and pragmatic trust. From a pedagogical standpoint, these skills are developed through collective interpretation and discussion of common texts. A common literary work furnishes a shared frame of reference that enables exploratory discourse unhindered by factual disputes. As interlocutors wrestle with the open questions posed by an imaginative text, they flex skills essential to common sense, recognizing diverse viewpoints, tracing motivations and consequences, and clarifying foundational principles. Such sincere dialogue around a common touchstone makes space to surface and scrutinize unspoken assumptions. It also underscores the limits of ideological purity when navigating nuanced human realities.

초등학교 6학년 수학영재들의 기호감각 분석

조수경 경인교육대학교 교육대학원 2009 국내석사

The objective of this study is to discover the features of symbol sense. Various mathematical senses through comprehensive knowledge, in other words not only the number sense but also the space sense in figures (penal servitude) is very important. However, the features and teaching measures of number sense and space sense are widely researched, but the research on symbol sense, which is the intuitive power of symbol in algebra, is not sufficient. Therefore, this study tries to sum up the meaning and elements of symbol sense and the measures to improve them through documents. Also based on this, it analyzes the learning conditions about symbol sense for 6th grade mathematically gifted child and suggests the method that activates symbol sense in the math of elementary schools. Algebra in school math starts not through simple symbol expressions. In algebra, character symbol expression itself is a formalized language, and also it exists as a form that is combined with the indicated subject or meaning. When progressing to algebra from arithmetic, implementing the knowledge aspect of arithmetic and symbol manipulation in algebra should be considered. With the generalizations in arithmetic, you gradually treat symbols as a subject and understand the general meaning in expression. Expressing the relationship between the subjects by symbols is a natural progress from arithmetic to algebra, namely it should be realized organically and gradually from the prealgebra stage. In addition, this study analyzes the educational course of an elementary school and a middle school to check how symbols are reflected in the educational course. The study discovered that students should be able to experience the need of character use and have a chance to compose a correct character formula according to the formal language system of math, specifically, posses a chance to understand and interpret symbols. Considering various studies on symbol sense, symbol sense means the exact knowledge and essential understanding in a comprehensive way. Symbol sense is an intuition about symbols that grasps the meaning of symbols, understands the situation of question, and realizes the usefulness of symbols in resolving a process. Considering all other scholars’ opinions, this study sums up 5 elements of the symbol sense. (The recognition of needs to introduce symbol, ability to read the meaning of symbols, choice of suitable symbols according to the context, pattern guess through visualization, recognize the role of symbols in other context) This study draws the following conclusions after applying the symbol questionnaires targeting 6th grade mathematically gifted child : First, although they are math talents, there are some differences in terms of the symbol sense level. Second, 5 elements of the symbol sense are not completely separated. They are rather closely related in terms of mainly the symbol understanding, thereby several elements are combined. Based on this experiment’s results, this study suggests a few measures to actively utilize the symbol sense. First, the symbol sense should be taught according to each stage by considering the level of a learner. Especially, mathematically gifted child who belongs to the pre-algebra stage should be able to learn algebra more easily by applying the symbol sense to already learned arithmetic logic or concept rather than by introducing a new logic or concept. Second, the symbol sense study that focuses on the meaning. The symbol sense is closely related to the understanding of a symbol’s meaning. Therefore, we should not focus on the formal manipulation of math symbols but the meaning of symbols to prevent the excessive algorithm of math and help students study algebra. 본 연구의 목적은 기호감각의 특성을 밝히는 데 있다. 각종 정보를 종합적 인지를 통해 여러 가지 수학적 감각 즉, 산술에서의 수감각뿐만이 아니라 도형에서의 공간감각의 중요함은 이미 알려져 있다. 그러나 수감각과 공간감각에 대한 특성과 지도 방안에 대한 연구는 많이 이루어져있지만, 대수학습에 있어 기호에 대한 직관력인 기호감각에 대한 연구는 아직 미흡한 실정이다. 이에 본 연구에서는 기호감각의 의미와 요소, 기호감각의 향상을 위한 지도 방법을 문헌을 통해 정리한다. 또 이를 바탕으로 초등학교 6학년 수학 영재들의 기호감각에 관한 학습 실태를 분석하고, 초등수학에서 기호감각을 활성화할 수 있는 방안에 대한 시사점을 제안하였다. 학교수학에서 대수는 단순히 기호 표현을 통해 시작되는 것이 아니며 대수에서 문자기호 표현은 그 자체가 형식화된 언어이면서, 지시 대상이나 의미와 분리되지 않고 결합된 형태로 존재함을 알 수 있었다. 산술로부터 대수를 구성하는 시기에 수학 학습의 영역, 즉 산술의 지식적 측면과 대수에서의 기호 조작을 원활하게 수행할 수 있는 방안을 고려해야 한다. 산술적 상황을 일반화함으로써 점차 기호를 대상으로 취급하고, 표현에서 그 일반적인 의미를 이해하게 된다. 대상과 대상 간의 관계를 기호로 표현하는 것은 산술에서 대수로의 자연스러운 이행 즉, 전대수 단계를 통해 점진적이고 유기적으로 전개되어야 한다. 또한 초등학교와 중학교 교육과정을 분석하여 기호가 교육과정에 어떻게 반영되었는지 살펴보았다. 학생들에게 문자 사용의 필요성을 경험하고 수학의 형식적 언어체계에 따라 문자식을 올바로 구성할 기회 즉, 기호의 의미 충실한 이해를 포함하여 기호를 의식하기 이전의 과정이나 점검하고 평가하는 기회가 필요함을 알 수 있었다. 기호감각에 대한 여러 연구를 종합해볼 때, 기호감각은 기호를 바라보는 정확한 인지이자 본질적 이해라는 포괄적 의미를 지닌다. 기호감각은 대수적 활동에서 기호의 의미를 파악하고, 문제 상황을 이해하고, 문제 풀이 과정 안에서 기호의 유용함을 깨닫고 점검할 수 있는 기호에 대한 직관이라고 할 수 있다. 여러 학자의 의견을 종합하여 기호감각의 요소를 5가지(기호 도입의 필요성 인식, 기호의 의미 읽기, 맥락에 적합한 기호 선택, 시각화를 통한 패턴 추측, 다른 맥락에서의 기호의 역할 인식)로 정리하였다. 본 연구에서는 수학적 능력 수준이 다른 능력별 집단에 속하는 초등학교 6학년 수학영재를 대상으로 기호감각 문항지를 적용해 본 결과 다음과 같은 결론을 도출하였다. 첫째, 영재집단이라 하더라도 기호감각에 있어 집단별 수준 차이가 있음을 알 수 있다. 둘째, 기호감각의 5개 요소는 완전하게 구분되는 것이라기보다는 기호의 의미 이해를 중심으로 내적으로 밀접하게 관련되어 있어 몇 가지 요소의 조합으로 드러남을 알 수 있다. 본 연구는 이러한 실험결과를 바탕으로 기호감각을 활성화할 수 있는 방안에 대한 시사점을 제안하였다. 첫째, 기호감각은 학습자의 수준을 고려하여 각 단계에 맞게 지도해야 한다. 특히 전대수 단계에 속한 영재들에게 기호감각 학습은 새로운 원리나 개념을 소개하기 위한 것이시 보다는 이미 알고 있는 산술적 원리나 개념에 기호감각을 적용하여 새로운 시각으로 문제를 바라보게 함으로써 대수학습을 좀 더 용이하게 해야 한다. 둘째, 의미 충실한 기호 학습이 필요하다. 기호감각은 기호의 의미 이해를 중심으로 내적으로 밀접하게 관련되어 있다. 따라서 수학 기호의 형식적 조작이 아닌 기호의 의미 충실한 접근으로 수학의 지나친 알고리즘화를 방지하고 대수학습에 도움을 주어야 한다.

근대문화유산을 활용한 중소도시 재생지역의 장소성 형성요인 측정척도 개발 연구

신주하 경희대학교 대학원 2022 국내박사

Many cities around the world have grown and expanded fast due to industrialization, but low growth rate has settled as the New Normal with the COVID-19 Pandemic. Low growth rate around the world not only increases the social deviation of population in the small/medium cities around the farm and fishery towns, but also accelerates the fall of cities due to the aging of population. A number of urban reconstruction policies have been attempted using the local assets to overcome such phenomena, but the reconstructed areas across Korea have all been similar as they have failed to consider the local characteristics. In order to resolve this issue, it is urgent to analyze the sense of place of reconstructed small/medium cities and to develop and activate the reconstruction models that reflect the local characteristics of each city. Also, there is no clear indicator to measure the sense of place of reconstructed small/medium cities using modern cultural heritages. The current study was conducted to develop and embody a placement indicator suitable for reconstructed small/medium cities by reestablishing the factors forming the placement of reconstructed small/medium cities using modern cultural heritages that have actively been used to expand urban reconstruction as a part of local revitalization projects, and discussing the development structure. Also, the correlation of the final variables of the indicator, satisfaction, and value was clarified. For that purpose, the preceding studies were examined to define the concepts of sense of place and forming factors, derive the factors and items, and conduct an in-depth interview of academic and real-world experts specialized in urban reconstruction and tourism. Also, an expert group underwent the Delphi survey twice to extract the sense of place forming factors and early measuring items and the structuralized survey form developed through the Delphi survey was used to survey the visitors who have experienced the four local small/medium cities reconstructed using modern cultural heritages. The total of 341 copies of survey forms collected were processed through SPSS 25.0 and AMOS for exploratory factor analysis, confirmatory factor analysis, and validity test to finally develop the sense of place indicator for reconstructed small/medium cities. First, the forming factors of sense of place of reconstructed small/medium cities were same as those of the preceding studies, including physical environmental factors, human activity factors, and semantic factors, and six additional factors and 21 measuring items were also derived. The additional factors were aesthetics and accessibility included in the physical environmental factors, experience included in the human activity factors, and attractiveness, locality, and distinctiveness included in the semantic factors. Second, the correlation between the finally developed sense of place indicator and the final variables (satisfaction and value) was examined. As a result of regression analysis with satisfaction, there was a significant correlation in the following order: attractiveness, locality, identity, and aesthetics. As a result of regression analysis with value, economic value showed a significant correlation in the order of experience, accessibility, and attractiveness, while emotional value showed a significant correlation in the order of attractiveness, identity, accessibility, locality, and aesthetics. Therefore, the finally developed sense of place indicator was found to be a suitable indicator to measure the sense of place of local small/medium cities reconstructed to revitalize the local area. The following are the academic implementations of the current study: first, the term 'sense of place' was adopted through literature study although there are several other terms used in Korea. Second, it is significant that the sense of place indicator commonly applicable for all local small/medium cities reconstructed using modern cultural heritages from the visitors' perspective. Third, six additional factors were derived for the final sense of place factors to suggest the fundamental resources for marketing activities to promote the target areas for tourism purposes. Lastly, an empirical study was conducted to contribute to accumulating scientific knowledge in regards to the theory of sense of place. The implementations for the real-world are as follows: first, it was found that it is important to consider the semantic factors of locality and the aesthetics of physical environment in order to reinforce the sense of place to improve the satisfaction of visitors. Second, it is also necessary to consider experience and accessibility in addition to attractiveness for the economic value which visitors feel when they visit the reconstructed urban areas. If the purpose of reconstructed small/medium cities is to attract visitors, in particular, accessibility must be considered in the first place. Third, the place itself shall be contemplated in depth to feel the aesthetics and semantic factors of physical environment in order to reinforce the emotional value by recognizing the sense of place. Finally, it is significant that the current study provided the substantial resources necessary to discover and improve the marketing strategies and policies suitable for the visitors. 전 세계 많은 도시는 산업화로 인해 빠르게 성장하고 확장되었지만, COVID-19 팬데믹 상황과 함께 뉴 노멀(New Normal)이라 불릴 만큼 저성장이 고착화되고 있다. 세계적인 저성장 기조는 농어촌 주변에 위치한 중소도시 인구의 사회적 유출현상을 증가시킬 뿐만 아니라, 인구 고령화로 인한 도시쇠퇴 현상을 가속화시키고 있다. 이러한 현상을 타개하기 위해 지역 자산을 활용한 도시재생 정책들이 다수 시도되었으나, 지역의 특성을 고려하지 않고 추진된 전국의 재생지역은 모두 유사한 형태를 띠게 되었다. 이러한 문제를 해결하기 위해서는 지방 중소도시 재생지역에 형성된 장소성을 분석하고, 지역 특성을 반영한 재생사업 모델 개발과 활성화가 절실한 시점이다. 또한 근대문화유산을 활용하여 진행된 지방 중소도시 재생지역에 형성된 장소성을 측정하기 위한 척도 역시 명확하게 구성되어 있지 않은 상태이다. 이에 본 연구에서는 도시재생의 확장이자, 지역 활성화 사업의 일환으로 활발하게 추진되고 있는 근대문화유산을 활용한 지방 중소도시 재생지역의 장소성 형성요인을 재정립하고, 형성구조를 고찰하여, 지방 중소도시 재생지역에 적합한 장소성 측정척도를 개발하고, 구체화하고자 하였다. 더불어 최종 개발된 측정척도와 만족도, 가치와의 결과변수 간 영향관계를 밝히고자 하였다. 이를 위해 선행연구 고찰을 통해 장소성과 형성요인의 개념을 구체화하고 형성요인과 항목을 도출하였으며, 도시재생 및 관광 관련 학계․실무전문가를 대상으로 심층 인터뷰를 진행하였다. 또한 전문가 집단을 대상으로 2차례에 걸쳐 델파이 조사를 실시하여, 장소성 형성요인과 초기 측정항목을 추출하였으며, 델파이 조사를 통해 개발된 구조화된 설문지를 이용하여, 근대문화유산을 활용한 지방 중소도시 재생지역 4곳을 경험한 방문객을 대상으로, 설문조사를 진행하였다. 총 341부의 수집된 자료는 통계분석프로그램인 SPSS 25.0과 AMOS를 활용하여, 탐색적 요인분석과 확인적 요인분석 그리고 타당도 검증을 통해, 최종적으로 지방 중소도시 재생지역의 장소성 측정척도를 개발하였다. 분석 결과는 다음과 같다. 첫째, 중소도시 재생지역의 장소성 형성요인은 선행연구 결과와 같은 물리적 환경 요인, 인간 활동 요인, 의미적 요인으로 도출되었으며, 추가적으로 6개의 세부요인과 21개의 측정항목이 도출되었다. 세부요인은 물리적 환경 요인에 심미성, 접근성, 인간 활동 요인에 체험성, 의미적 요인에 매력성, 지역성, 차별성으로 확인되었다. 둘째, 최종 개발된 장소성 측정척도와 결과변수(만족도, 가치)와의 인과관계를 검증하였다. 만족도와의 회귀분석 결과, 매력성, 지역성, 정체성, 심미성 순으로 유의한 영향관계가 확인되었으며, 가치와의 회귀분석 결과 중 경제적 가치는 체험성, 접근성, 매력성 순으로, 정서적 가치는 매력성, 정체성, 접근성, 지역성, 심미성 순으로 유의미한 영향관계가 확인되었다. 따라서 최종 개발된 장소성 측정척도는 지역활성화 측면에서 진행된 지방 중소도시 재생지역의 장소성을 측정하기 위한 척도로 활용하기에 적합한 것을 검증하였다. 본 연구의 학술적 시사점을 살펴보면, 첫째, 국내 다수의 연구자가 혼용하여 사용하고 있는 장소성 원어를 문헌 고찰을 통해 Sense of place로 통일하여 제시하였다. 둘째, 방문객 입장에서 근대문화유산을 활용한 지방 중소도시 재생지역에 공통적으로 사용할 수 있는 장소성 측정척도를 개발하였다는데 의의가 있다. 셋째, 최종 도출된 장소성 형성요인이 6개의 세부요인으로 추가 도출되어, 지방 중소도시 재생지역에서 관광을 목적으로 대상 지역을 홍보하기 위한 마케팅 활동에 기초자료를 제시하였다. 마지막으로 경험적 연구를 통해 장소성 이론의 과학적 지식축적에 기여하였다. 실무적 시사점은 첫째, 방문객의 만족도 향상을 위한 장소성 강화를 위해서는 지역의 의미적 요인과 지역 내 물리적 환경에서 느끼는 심미성의 고려가 중요하다는 사실을 확인하였다. 둘째, 방문객이 도시재생지역을 방문하고 느끼는 경제적 가치를 위해서는 매력성과 더불어 체험성과 접근성에 대한 고려도 필요하다는 것을 확인하였다. 특히, 중소도시재생사업의 목적이 관광을 기반으로 방문객을 유치하기 위한 목적이라면, 접근성에 대한 고려는 반드시 선행되어야 할 요소라고 할 수 있다. 셋째, 장소성 인식을 통해 정서적 가치를 강화하기 위해서는 물리적 환경 요인에 대한 심미성과 의미적 요인을 충분히 느낄 수 있도록 장소에 대한 깊은 고민이 전제되어야 한다. 마지막으로 본 연구를 통해 방문객 특성에 맞는 마케팅 전략과 지원 정책의 발굴 및 개선에 필요한 실증 자료를 제공하였다는데 의의가 있다.

Investigation of changes in correlative strength of sense-antisense gene pair between normal and tumor tissues of colorectal cancers

Choi, Hye-Mi Kangwon National University 2021 국내석사

Antisense transcription occurs widely more expected than when it was first identified in bacteria in the 1980s. However, the functional relevance of antisense transcripts in transcription remains controversial. Here, we investigated the functional relevance of antisense transcripts in regulating their corresponding sense transcripts by analyzing changes in correlative relationships between sense-antisense pairs under tumor and normal conditions. A total of 3,469 sense-antisense gene pairs (SAGPs) downloaded from BioMart mapped to a list of sense and antisense genes in RNA-seq data derived from 80 paired colorectal cancer (CRC) samples were analyzed. As a result, cancer-related genes were significantly enriched in the significantly correlated SAGPs (SCPs). Differentially expressed genes estimated between normal and tumor conditions were also significantly more enriched in SCPs than in non-SCPs. Interestingly, using differential correlation analysis, we found that tumor samples had a significantly larger density of genes with higher correlation coefficients than normal samples, as verified by various cancer transcriptomes from The Cancer Genome Atlas (TCGA). Moreover, we found that the magnitude of the correlation between SAGPs could distinguish poor prognostic CRCs from good prognostic CRCs, showing that correlation coefficients between the SAGPs of CRCs with a poor prognosis were significantly stronger than CRCs with a good prognosis. Consistent with this finding, the Cox proportion hazards model showed that the survival rates were significantly different between patients with high and low expression of genes in the SCPs. All these results strongly support the idea that antisense transcripts are important regulators of their corresponding sense transcripts. 안티센스의 전사는 1980년대 박테리아에서 처음 확인되었을 때보다 더 많을 것으로 예상되어진다. 그러나, 안티센스 전사의 기능적 연관성은 여전히 논쟁의 여지가 남아있다. 이 연구는 종양과 정상 조건에서 센스-안티센스 쌍 간의 상관관계 변화에 대한 분석을 통해 센스 전사체를 조절함에 있어 안티센스 전사체의 기능적 관련성에 대해 조사하였다. 바이오마트(BioMart)에서 다운로드한 총 3,469개 센스-안티센스 유전자 쌍 (SAGPs)이 80개 정상-종양 쌍을 이루는 대장암(CRC) 샘플에서 추출한 전사체 데이터(RNA-seq)의 센스, 안티센스 유전자 리스트에 매핑되었다. 그 결과, 암 관련 유전자(CRG) 는 유의하게 상관관계가 있는 센스-안티센스 유전자 쌍 (SCPs)에서 상당히 풍부하게 존재하고 있었다. 또한, 정상 상태와 종양 상태 간에 찾아진 차등 발현 유전자는 non-SCPs 보다 SCPs 에서 훨씬 더 풍부하게 존재함을 확인할 수 있었다. 흥미롭게도, 차등 상관 분석을 통해, 우리는 암유전체 아틀라스(TCGA)의 다양한 암 전사체에서도 정상 샘플보다 종양 샘플이 상관 계수가 큰 유전자의 밀도가 높게 나타나는 것을 발견하였다. 더욱이, 우리는 SAGPs 사이의 상관관계 크기가 예후가 나쁜 대장암과 예후가 좋은 대장암을 구별할 수 있다는 것을 발견할 수 있었다. 예후가 나쁜 대장암의 SAGPs의 상관계수는 예후가 좋은 대장암보다 유의하게 더 높은 값을 갖는 것으로 나타났다. 이 발견과 일치하게, 콕스 비례 위험 모형 (Cox proportion harzards model)은 SCPs의 유전자 발현이 높고 낮음에 따라 환자 간에 생존율이 유의하게 달라짐을 보여주었다. 우리는 이러한 모든 결과가 안티센스 전사체가 해당 센스 전사체의 중요한 조절자라는 생각을 뒷받침한다고 생각한다.

선형공원의 장소성 형성요인과 행동의도 : 경의선 숲길공원 연남동 구간을 중심으로

박지향 연세대학교 공학대학원 2021 국내석사

최근 선형공원은 철도 폐선 등 유휴 교통기반시설을 활용하여 도시에 녹지를 제공하는 전략적 공원 조성 방안으로 각광받고 있다. 한편, 공원의 자연성과 문화재의 역사성은 대상지의 장소성을 높이며, 높은 장소성은 방문객의 만족도와 행동의도에 긍정적인 영향을 미친다. 선형공원은 공원의 한 종류이자 과거 용도를 재생한다는 점에서 자연성과 역사성이 존재할 것으로 보인다. 또한 시민들에게 긍정적인 평가를 받는다는 점에서 유의미한 장소성이 형성되었을 것으로 보았다. 따라서 본 연구는 선형공원의 장소성 형성요인을 실증적으로 확인하고, 집단 간 장소성 형성요인의 차이를 살펴보았다. 또한 장소성 형성요인이 방문자의 만족도와 행동의도에 미치는 영향을 밝히고자 하였다. 연구의 공간적 범위는 선형공원의 특징을 잘 보유하고, 방문자가 많은 경의선 숲길공원 연남동 구간이다. 연구의 내용적 범위는 선형공원의 장소성 형성요인과, 만족도 및 행동의도이다. 행동의도는 재방문의사와 타인추천의사로 정의하였다. 조사방법으로 설문조사를 실시하여 172부를 회수하였다. 설문조사 중 장소성은 선행연구와 선형공원의 특성을 반영한 형용사 31개를 선정하여 5점 리커트 척도로 측정하였다. 행동의도(재방문의사, 타인추천의사)와 만족도도 5점 리커트 척도로 측정하였다. 설문조사 결과는 SPSS Statistics 25를 이용하여 통계분석을 실시하였다. 주요 분석결과는 다음과 같다. 첫째, 대상지의 장소성 수준은 전반적으로 긍정적이며 높게 형성되었다. 빈도분석 실시 결과 31개 장소성 형용사 중 28개의 형용사가 보통(3점) 이상을 받았다. ‘매력적인’, ‘개방적인’이 가장 점수를 높게 받았다. 둘째, 요인분석을 통해 도출한 대상지의 장소성 형성요인은 자연성, 생동성, 일상성, 의미성이다. 일반적으로 공원에서 나타나는 장소성 요인(자연성, 일상성, 상징성)과 유사하며, 선형공원의 빠른 이동을 나타내는 특성(Conduit)이 ‘생동성’에 반영되었다. 셋째, 대상지의 장소성 형성요인은 집단 간 차이를 보인다. 요인점수를 사용하여 t-test 및 ANOVA를 실시하였다. 60대 이상은 대상지의 옛 모습(철길)에 대한 사회적 기억으로 ‘의미성’ 점수가 높았다. 5회 이상 방문, 여가휴식 목적의 방문일수록 ‘일상성’의 점수가 높아 선형공원의 일상적 용도가 확인되었다. 마지막으로, 대상지의 장소성 형성요인은 만족도와 행동의도(재방문의사, 타인추천의사)에 정(+)의 영향을 미친다. 장소성 형성요인을 독립변수, 만족도와 행동의도를 종속변수로 하여 로지스틱 회귀분석을 실시하였다. 장소성이 강화될수록 만족도 및 행동의도에 긍정적인 영향을 미치므로 장소성 강화와 재방문률 상승 방안의 필요성을 시사했다. 연구의 한계로 선형공원의 일부 구간에서만 조사를 실시하여 선형공원의 특성이 모두 반영되지 못한 점이 있다. 5점 리커트 척도로 측정한 행동의도를 이분형 자료로 변환하는 과정에서 자료의 손실이 발생했을 가능성이 있다. 그럼에도 불구하고 앞서 밝혀낸 장소성 형성요인을 타 선형공원에서 적용하여 일반화 가능성을 모색할 수 있다. 더 나아가 4개의 장소성 형성요인의 출처를(조경, 프로그램 등) 역으로 추적하여, 추후 선형공원 설계 및 운영요소에 반영할 수 있을 것으로 기대된다. Linear parks have recently been spotlighted as strategic parks that provide green spaces for cities by redeveloping underused traffic infrastructure including disclosed railways. The nature of linear parks and history of their cultural assets enhance the sense of place, contributing to visitors' satisfaction and their behavioral intentions. The linear parks may well harbor the sense of nature and history because they reuse existing old facilities. Significant sense of place also seems to be formed as the parks receive positive perception by citizens. This study aims to identify factors that determine the location of the linear parks and review the differences of such factors among groups and analyze the factors influencing visitors' satisfaction and behavioral intentions. As for the spatial scope, this study focuses on Yeonnam-dong section of Gyeongui Line Forest Park because it preserves the characteristics of linear parks, favored by a large number of visitors. With regard to its contents, the study revolves around formative factors of the sampled park section, citizens' satisfaction and their behavioral intention. The behavioral intention was defined as intention of revisiting and recommending to others. In terms of the research method, a questionnaire was conducted in which 172 subjects responded. The sense of place was measured with 5-point Likert scale using 31 adjectives regarding the characteristics of linear parks. The behavioral intention and satisfaction were measured with 5-point Likert scale. The results of the questionnaire were statistically processed using the SPSS Statistics 25. The outcomes of the survey is summarized as follows. First, the sense of location of the sample park section was found positive in overall terms. The frequency analysis shows 28 out of the 31 adjectives regarding the sense of place scored higher than normal (3 points). The adjectives 'attractive' and 'open' scored the highest. Secondly, the formative factors of location were sense of nature, vitality, dailiness and significance, similar to ones found in ordinary parks (sense of nature, dailiness and symbolicity). The characteristic implying a rapid movement along the linear park (conduit) was reflected in 'vitality'. Thirdly, the formative factors significantly differed among the groups. In this regard, T-test and ANOVA were conducted using the scores of the factors. In the group aged 60 or above, 'the sense' of the social memory of the old look (railway) scored higher. For subjects who had previously visited the section 5 times or more or for recreation, 'dailiness' scored higher, which clearly confirms the ordinary uses of the linear parks. Lastly, the formative factors were found to positively affect subjects' satisfaction and behavioral intention. Logistics regression analysis was carried out with the determining factors of the sense of place as independent variables, and the satisfaction and behavioral intention as dependent variables. The result shows the higher the sense of place, the higher the satisfaction and behavioral intentions, which necessitates higher sense of place and higher ratio of revisiting. This study may be limited in that it sampled only a part of the linear park, not reviewing all its features. Besides, in the process of converting subjects' behavioral intentions measured through the 5-point scales, the data might have been lost. Nevertheless, the outcomes of this study could be generalized by applying them to other linear parks. Furthermore, the sources of the 4 formative factors of the sense of place (landscape, program, etc.,) could be traced back to be reflected in future design and operation of the linear parks.

중학교 3학년 학생들의 구조감각 실태조사 : 인수분해와 방정식 단원을 중심으로

신은주 한국교원대학교 대학원 2008 국내석사

본 연구의 목적은 인수분해와 방정식 단원에서 중학교 3학년 학생들이 지니고 있는 구조감각은 어떠한가를 알아보고 구조감각 지도에 대한 시사점을 제공하고자 하는데 있다. 이를 위하여 다음과 같은 연구 문제를 설정하였다. 1. 중학교 3학년 학생들의 구조감각 수준은 어떠한가? 2. 중학교 3학년 학생들의 문제해결에서 나타나는 구조감각은 어떠한가? (1) 문제 수준에 따른 구조감각은 어떠한가? (2) 괄호의 개수와 변수의 위치에 따른 구조감각은 어떠한가? 본 연구의 문제를 해결하기 위하여 중학교 교육과정에 포함된 인수분해와 방정식 단원의 교과 내용을 모두 학습한 순천시 3개 학교 5개 학급 163명을 연구 대상으로 선정하였고, 검사지를 통한 조사 연구를 실시하였다. 검사 도구는 구조감각 수준을 알아보기 위해 문헌연구를 통하여 구조감각 수준을 설정하고 각 수준의 특징을 지니고 있는 17문항, 그리고 괄호의 개수(0, 1, 2)와 변수의 위치(한변, 양변)에 따른 구조감각을 알아보기 위해 6문항을 2문항씩 3종류의 검사지(A, B, C형)에 분배하여 총 19문항으로 구성하였다. 본 연구로부터 다음과 같은 결론을 얻을 수 있다. 첫째, 0수준 31.2%, 1수준 36.2%, 2수준 14.1%, 3수준 18.4%의 분포 비율로 학생들의 구조감각 수준이 0, 1수준에 머무르고 있다. 따라서 학생들의 구조감각 향상에 도움이 되는 교수 학습 방안, 특히 1수준에서 2수준으로 수준이 상승될 수 있는 지도 방안이 요구된다. 둘째, 구조를 가장 잘 이용하기 위하여 적절한 조작을 선택하는 문제의 경우에 학생들이 다른 구조를 사용하거나 다른 수준의 구조감각을 사용하는 것을 볼 수 있었다. 그런데 어떤 구조를 사용하고 어떤 수준의 구조감각을 사용하는가에 따라 문제해결에 차이가 있는 것으로 나타났다. 그러므로 적절한 조작을 선택하고 그 조작의 사용과정과 결과를 반성해 보도록 하는 것이 더욱 필요하리라 본다. 셋째, 복합적인 항이 곱이나 멱인 경우보다 합인 경우에 낮은 구조감각을 사용하였고 합인 항이 몇 개 있는가 즉, 괄호가 몇 개 있는가에 따라서도 구조감각의 차이가 있었다. 많은 학생들이 괄호를 제거의 대상으로 보는 경향이 있는데 괄호의 역할을 이해할 수 있는 학습이 필요하다고 본다. 넷째, 변수가 한변에 있는 경우보다 양변에 있는 경우에 구조감각이 더 잘 드러나는 것을 볼 수 있는데 이때 등호의 개념이 구조를 인식하는데 도움을 주었음을 알 수 있다. 따라서 등호의 이해와 더불어 변수의 위치에 따른 문제의 이해에 대한 교육이 필요하다고 본다. The primary purpose of this study was to investigate the structure sense performance of third grade Middle School students in the factorization and equation unit in order to address implications for teaching and learning structure sense in mathematics education. For this purpose, the following research questions were established. 1. What is the level of structure sense of third grade middle school students? 2. What type of structure sense do third grade middle school students show when solving problem? (1) What type of structure sense is shown at differing level questions? (2) What effect to structure sense performance is shown when dealing with a number of sets of brackets and the placement of a variable? In order to investigate the aforesaid research questions, this study sought the cooperation of 163 third grade middle school students from 5 classes at three middle schools, located in Suncheon. The students learned the factorization and equation unit prior to this research according to the middle school educational curriculum and were used as subjects by which feedback was collected via questionnaires. To clarify the levels of structure sense, this study established levels of structure sense after a comprehensive literary review. 17 questions were organised in accordance to a level established by groupings via characteristics appropriate to a particular level. Furthermore, to discover if structure sense was affected by the number of sets of brackets (0, 1, 2) and by the placement of a variable (one side, both sides), another 6 questions were created. Among the 6 questions, 3 groupings of 2 questions were arranged into three types of research questionnaires (A, B, C type) to total 19 questions. The conclusions drawn from results obtained in this study were as follows. First, With a distribution of 31.2% for level 0, 36.2% for level 1, 14.1% for level 2 and 18.4% for level 3, it was clear that most students fell into the categorizes of level 0 and 1. This implies that concrete teaching and learning plans are necessary to help raise student structure sense. In particular, plans should address a rise in students from level 1 to 2 such as compound terms. Second, students used different structures or different levels of structure sense when they chose appropriate manipulations to make best use of a structure. As such, their choices differed from the problem solution offered for the task because they used different kinds of structures and levels of structure sense. Hence, teachers need to emphasize appropriate choice manipulations and consideration of the reasonableness of computation. Third, results showed that students used less structure sense when a compound term contained a sum than when it contained a product or power. Additionally, they used structure sense differently according to the number of compound terms (sum) i.e. the number of sets of brackets. It appeared that students were aiming at bracket removal. Therefore, teachers need to educate students on the understanding of the effect of brackets. Fourth, results showed that students used structure sense when a variable appeared only on one side of an equation not when a variable appeared on both sides. As teachers know that the concept of equality helps students to understand a structure, they should provide students with a comparison of questions by placement of the variable together with the understand of equality.

兒童의 審美的 視 感覺 要素와 活動의 準據에 관한 硏究

이명호 경상대학교 대학원 2009 국내박사

The purpose of this study is to analyze the characteristics of children's components and activities of aesthetic sense, and to suggest common criteria of aesthetic sense activity repertories. In other words, this study suggests the systems of visualizing ideas, formulating pictures and expressing pictures activities about shape sense, color sense, space sense, sense of aesthetic contents and aesthetic integrative sense and finally provides the common criteria of aesthetic sense repertories. Specific questions for study are as the follow. First, How aesthetic sense components and activities are expressed in the standard child care·education course and nationally authorized school curriculum? Second, what kinds of items are included in the components and activities of aesthetic sense contained in the standard child care·education course and nationally authorized school curriculum and what are the actual cases and examples lay a finger on it concretely? Third, how aesthetic sense activities repertories, activities process and components of aesthetic sense are related with each other? The basic references used in this study are fine arts activities-related regarding information specified in the standard child care·education course designed by Ministry of Gender Equality and Family, arts activities-related regarding information specified in Kindergarten curriculum, art activities-related regarding information written in 'Pleasant life'course-one of the textbooks in primary schools- and art activities-related regarding information written in The National Common Basic Curriculum for 3rd to 10th graders. Here are basic data utilized in analyzing children's components and activities of aesthetic sense. This researcher collected 500 juvenile pictures from June 2007 to may 2008 for the study and classified them into three parts. The number of the first part pictures was 120 including 30 pictures of fine arts drawn by children in child care center, 30 pictures by children in kindergarten, and 30 pictures by 1st to 2nd graders in an elementary school and 30 pictures by 3rd to 4th graders in an elementary school. In other words, the pictures consisted of 30 pictures in summer of 2007, 30 pictures in the autumn, 30 pictures in the winter, and 30 pictures in spring of 2008. The second part was a total of 150 pictures including 30 pictures juvenile pictures showing children's shape sense, 30 pictures showing color sense, 30 pictures showing space sense, 30 pictures showing sense of aesthetic contents and 30 pictures showing aesthetic integrative sense - one of the aesthetic sense components of children. In other words, the pictures were the 37 pictures in summer of 2007, 37 pictures in the autumn, 38 pictures in the winter, and 38 pictures in spring of 2008. The last part was a total of 90 pictures showing children's aesthetic sense activity process including 30 juvenile pictures showing clearly the process of activities visualizing ideas, 30 pictures showing clearly the process of activities formulating pictures, 30 pictures showing clearly the process of activities expressing pictures. In other words, the pictures consisted of 23 pictures drawn in the summer of 2007, 23 pictures in the autumn, 22 pictures in the winter, and 22 pictures in spring of 2008. For the final analysis, among the total of 360 juvenile pictures, the researcher selected 77 pictures which reveal clearly aesthetic sense components; shape sense, color sense, space sense, sense of aesthetic contents and aesthetic integrative sense and the process of aesthetic sense activities; visualizing ideas, formulating pictures and expressing pictures. To sum up this study, the category of the fine-arts-experience specified in the standard early childhood curriculum of Ministry of Gender Equality and Family is esthetic exploration, arts expression and arts appreciation. The subject of arts experience activities among the 3 to 5-year-old children is exploring elements of pretending, navigating artistic elements, expressing through dramatic play, actively moving body, using tools to describe the body, enjoying arts activities, and utilizing various arts materials, expressing in an integrated manner, appreciating role-playing, appreciating dance, and appreciating arts. The system of fine arts-related activity defined in kindergarten curriculum includes browsing the beauty of nature and life, enjoying the artistic expression, and appreciation. The sub-provincials include having an interest in Sound, movement and sculpture, browsing the artistic elements, moving and dancing to express, expressing as sculptures, expressing as role-playing, expressing in an integrated manner, enjoying the process of creative expression, feeling beauty, respecting artistic expression, appreciating Korea traditional arts. The system of fine arts activity-related contents defined in the 'Pleasant Life' course is aesthetic experience, aesthetic expression and aesthetic appreciation. The main subjects are family and friends, animals and plants, mountains and fields, the sky and sea, spring, summer, fall, winter. The system of 3rd to 10th grader activities related to fine art education consists of a system of the natural environment and esthetic experience activities, a system of the visual culture environment and aesthetic experience, a system of the topic expression activity, a system of aesthetic expression manners, a system of formative elements and the principle expression, a system of aesthetic expression process, a system of art appreciation activities, and a system of art culture appreciation. The result of the study shows that the common criteria that classifies the children's aesthetic sense activity repertories are aesthetic experience, emotional and physical matters, recognition or thought, a way of recognition or personalities, preferences and values, the scope of aesthetic reflect, time and space, the actual things or images, and desires and adaptation methods. Specific repertories that can be included in the aesthetic experience category is 77 items. Children's aesthetic sense components can be classified as shape sense, color sense, space sense, sense of aesthetic contents and aesthetic integrative sense. Shape sense varies from a simple form, a imitative form, the form of nature, a preferred form, the form of two-dimension, a impressive form, a conceptual form, a static form, a unique form, different forms, a duplicate form, a real form, the form of association, a objective form, the form of imagination, variant forms, the form of rich, a sophisticated form to the form of creative. Color sense varies from Imitative color, preferred color, unique color, different colors, rich color, symbolic color, real color to objective color. Space sense includes free space, various space, space of imagination, sophisticated space, and organic space. A sense of aesthetic contents includes self-centered contents, experience in daily life, imitative contents, conceptual contents, factual information, objective information, symbolic contents, organic contents, the overall contents, detailed information, variant information, sophisticated contents and creative contents. Aesthetic integrative sense is revealed in formulating pictures and expressing pictures activities by being systematically connected with shape sense, color sense, space sense and sense of aesthetic contents. Children's aesthetic sense activity is at the center of visualizing ideas, formulating pictures and expressing pictures activities. the activities of visualizing ideas can be represented as free ideas, various ideas, symbolic ideas, associative ideas and creative ideas. the activities of formulating pictures vary from various plans to sophisticated plan to creative plan. the activities of expressing pictures include non-verbal expression, imitative expression, self-centered expression, regular expression, emotional expression, sentiment-reflected expression, conceptual expression, mental expression, exaggerated expression, omission, redundant expression, symbolic expression, the overall expression, detailed expression, open expression, intentional expression, real expression, objective expression, sophisticated expression, creative expression and aesthetic expression

A Study on the Effect of Architectural Education on the Aesthetic Consciousness of Architects

LI QI 홍익대학교 대학원 2024 국내박사

Some studies have shown that architects and consumers also have different preferences in appreciating the same architectural shapes. This difference in aesthetic consciousness exists in other works of art, but it seems to be more pronounced in architectural shapes because, unlike less appreciated art forms, architecture is a consumer product of mass aesthetic consciousness. These differences can have a more serious effect on the appreciators of architectural shapes. In order to investigate the reasons for such differences, this study first reanalyzes data from a survey of architects and consumers about architectural aesthetic preferences, and determines that these two groups exhibit differences in aesthetic consciousness, primarily with regard to the functionalist style of architectural shapes. Second, an analysis of the educational system revealed that the language of geometric shapes, which had a continuous influence on functionalism, may be one of the reasons for the differences in aesthetic consciousness. Third, the ventral visual (HSF) pathway of the brain for shape processing was analyzed, and it was found that the neostriatum, which is associated with visual habits, and the ventral striatum, which is associated with the reward mechanism, jointly play a role in the process of shaping. Therefore, this study suggests that the familiarity with the language of geometric shapes developed in architects' education is one of the reasons for differences in architectural aesthetics. Fourth, a questionnaire experiment was conducted to establish this claim, and a significant correlation between familiarity with the language of geometric shapes and architectural aesthetic outcomes was demonstrated based on a correlation analysis of the results of the experiment. Based on the above analysis, one of the reasons for the differences in architects' and consumers' aesthetic consciousness of functionalist architectural shapes is the variability in the familiarity of the design language of geometric shapes in the educational process. Next, first of all, the brain activities of architects and consumers who appreciate architectural shapes were comparatively analyzed in this study. Through these, it is known that the brain areas of active architects and consumers are different in the process of appreciating architectural shapes. In the architect's brain, the more active areas are Hippocampus and Precuneus, which are related to the professional knowledge of shapes, and in the architect's brain, the Orbitofrontal cortex, which embodies the value of compensation, is strongly activated. This suggests that architects may have a greater favorable impression of architectural shape styles in which they have been educated when appreciating architectural shapes. Second, the brain activity of architects and consumers involved in design was analyzed. Differences in brain activation between the two groups occurred mainly in the Prefrontal cortex, and architects showed a tendency to inhibit the left Prefrontal cortex in reference to architectural knowledge during design activities, possibly because more creative designs could be created through these that were different from the previous ones. Through a structured analysis of design education, this study determined that geometric familiarity brought about through shape education affects the visual aesthetic consciousness of architects. Instead of recognizing the beautiful structures found through geometric shapes, this design education based on geometric shapes develops into styles in which the value of the shapes can be perceived as beautiful. But this sense of beauty is perceived differently depending on people's experience. Consumers form visual memories from everyday visual experiences, architects' visual memories from geometric shape education. As a result of this learning, the architect's aesthetic consciousness has a tendency to fail to satisfy the consumer's general aesthetic consciousness. To describe it in more detail, design education affects the architectural shape appreciation process and the design process. That is, architects are influenced by design education, which tends to produce a greater sense of goodness of shape when appreciating architecture, while at the same time architects inhibit their own knowledge of shape in order to obtain innovative shapes. From this, it can be seen that architects produce architectural shapes that they are satisfied with without realizing it than shapes that consumers like. As a result of these analyses, this study concludes that theories such as geometric shape theory in the educational process, for example, are one of the reasons for the differences in aesthetic consciousness between architects and consumers. Due to the limitations in the development of such theories, it is difficult to elicit a common aesthetic sense from a wider group of people. The fact that architects are constantly rewarded during studio practice after their theoretical studies affects the reward mechanism of architects. Thereby giving architects a higher aesthetic value for geometric shapes than consumers who are not educated in this way. And as the goal is to design more innovative architectural shapes during the design process, this ultimately leads to the persistence of architectural shapes that make it difficult for consumers to develop a common aesthetic sense. Therefore, if one wants to address the negative effects of this difference in aesthetic consciousness, one way to do so is to find a common aesthetic sense within different groups. This method can be analyzed by using the concept of collective memory, and determining the sense of goodness within a group through surveys of literature or populations, which is applicable to architectural typologies where consumers are part of a group. The second method combines theories and experiments related to evolutionary aesthetics and neuroaesthetics to find people's universal aesthetics, and this method can produce good feelings in a larger group. This study concludes that architects can be flexible in designing using these two methods.