Young-Suk Lee

본 논문은 STEAM 교육의 이론적 배경과 국내․외 연구 사례를 살펴보고, 주제중심 프로젝트 기반의 STEAM 교육 프로그램을 개발하였다. 이 프로그램을 초등학교 6학년 과학 3단원 [에너지와 도구]와 4단원 [연소와 소화]를 중심으로 관련 주제들을 추출하여 적용해 보았다. 그 결과 이 프로그램에 따라 활동한 학생들의 과학 흥미도와 과학에 대한 긍정적 태도가 비교반과 비교하여 유의미한 차이를 보이며 증가하였다. 연구결과 주제중심 프로젝트 기반 STEAM 교육 프로그램이 과학 교육에 대한 인식, 흥미, 과학적 태도에 긍정적인 변화를 가져온다는 것을 확인하였다.

본 논문은 온라인 평가 문항 관리 시스템 및 방법에 관한 것이다. 제안하는 시스템은 학습자 정보 데이터베이스, 영역별, 난이도별로 분류된 문항을 저장하는 문제 은행 데이터베이스로 구성된다. 문제은행 데이터베이스는 특정 학습자 또는 특정 학습에 대한 문항을 선택하는 문항 선제부, 특정 학습자 또는 특정 학습에 대한 문제지를 제작하는 문제지 제작부, 문제지를 저장하였다가 온라인 테스트를 수행할 때 출력하는 문제지 은행 데이터베이스를 포함한다. 학습자가 온라인 테스트에 제출된 문항들에 대한 문항 선택순서, 보기 선택순서, 클릭회수, 반응시간에 대한 평가 데이터를 수집하는 온라인 테스트부, 및 온라인 테스트부로부터 수집된 학습자의 온라인 테스트 평가 데이터를 분석하여 학습자의 학습수준과 학습능력, 성향을 평가하고 진단하여 보고하는 반응패턴 분석부를 포함한다. 제안하는 시스템은 보기 선택순서, 클릭회수, 반응시간을 학습자의 평가결과에 반영하여 효율적으로 학습자의 학습수준과 학습능력, 성향을

Yeats and Stein are both modernists. The one lived in Dublin; the other lived in Paris. Both revolutionized poetry and novel in their own way. Yeats’s poetry displays the highest degree of form that gives sense of time and space; he relies on tradition to achieve it, whereas Stein invents a totally new way of writing in order to make new sense in prose. This paper attempts to show how to read Yeats’s Meditations in Time of Civil War and Stein’s Tender Buttons. We see Yeats’s poems in it as well

W. B. Yeats is hardly treated as Expressionist in his poetry, though recently such attempts are made in his plays. In this essay, the possibility of reading some of his poetry as Expressionist work is touched on. Interestingly, Oskar Kokoschka is one of the first playwrights who tried an Expressionist style, not to mention his painting. Kokoschka was also the painter Jack seemed to have adored; after he met the Austrian painter Jack’s style underwent a big change. Jack Yeats’s later painting is

The city of London assumes many a pose in poems by W.B. Yeats, T.S. Eliot; Richard Aldington, F.S. Flint. To grasp what role the city plays in each poem, I read Yeats’s “The Lake Isle of Innisfree,” Flint’s “Lilac,” and Aldington’s “London: May 1915,” Eliot’s The Waste Land. In terms of the general tone Eliot’s Waste Land is purgatorial, Flint’s “Lilac” otherwordly, Yeats’s and Aldington’s poems dreamy and realistic, but when we look into it deeper, it assumes so different a pose. That makes the

The paper searches parallels between English and Korean poetry as represented by Kim Chunsoo and Kim Jonggil, two of modern and contemporary poets in relation to W. B. Yeats. It clarifies the validity of such a comparative study by showing the interrelationship in the visual art, for it is there physically to see, as exemplified by the giving and receiving of Picasso and Matisse through their works. Even though it is not that easy in poetry, it is nevertheless possible to relate such relationsh

I try to differently re-read “The Statues.” Wilson sees it as Yeats’s worst poem in ottava rima, which I refute. It treats the movement of civilization, from Egypt to Greece, India, and Ireland, in finest form; it is intentionally asymmetrical. It is, in fact, one of Yeats’s finest achievements in his poetic work: in form, says Ellmann, it is like “bamboo shoots” he has drawn so many times he has no need to look at a bamboo, in content it is the heart of the philosophical system polished over th

De Quervain's tenosynovitis is a condition that involves inflammation and narrowing of the first extensor compartment of the wrist, which houses the abductor pollicis longus (APL) and extensor pollicis brevis (EPB) tendons. 1,2)his condition is often caused by repetitive friction on these tendons, leading to swelling and thickening of the extensor retinaculum, the tissue covering the compartment, which restricts tendon movement and causes pain. 3)Various theories have been proposed to explain it

My paper makes an attempt to read Yeats’s poetry in the light of new poetry our contemporary poet, Daniel Albright, has written by focusing on the Yeatsian poetics renewed and (Post-)Modernized in Albright’s recent poetry in comparison with Yeats’s. Albright may never have thought he was under the influence of Yeats, but he has edited all of Yeats’s poetry, just as Yeats has edited Blake’s poetry when young. As Yeats scholar, I hear the Yeatsian echoes in Albright’s poetry. This reading is to he

The article aims to compare how the East and the West treat man’s attitudes to nature in poetry by taking three representative Modernist poets: W. B. Yeats, Kim Sowol, and Kim Jonggil. The last two, Sowol and Jonggil, represent Eastern poetics, while the first, Yeats, represents Western poetics. They represent their Modernist poetry in Ireland and Korea.

How Seamus Heaney, born on a farm in Northern Ireland in 1939—the year Yeat died—and living under Yeatsian influence, could make himself a new poet is an important question this paper is asking. My way to find this out is to conduct a close reading of some poems, mainly those in Death of a Naturalist, one of his best books of poetry, his first book. I focus on “Waterfall” and “Digging”: the former is much neglected and hardly discussed and the latter mostly regarded as a simple poem.

The paper compares Yeats and Renoir. In his Autobiography, Yeats mentions Manet and Monet in passing, but by the time he received his Nobel Prize for literature, he has formed a clear idea of French impressionism and knows painters, such as Monet. Though Yeats has never touched on Renoir, he is very much like him, sharing the same poetics of art: the heavenly vision of the world, and puts it into practice in his works, such as “The Lake Isle of Innisfree.” which is the main focus of my study in

This article discusses Yeats’s ecological poems. Probably this is a rare article in Yeats scholarship, which treats him as an eco-poet. In fact, eco-poetry is not new poetry, as we see some scholars deal with traditional poets, such as Shakespeare. My essay is also an attempt to give eco-critics some correction in the direction, because they are following something like Marxist and Feminist criticism. Poetry is not a political slogan, nor is it a useless thing.

This article discusses A Vision so it could be of some help to reading some of Yeats's metaphysical poems. It is true that some of his metaphysical poems are so beautiful but that it is not easy to grasp what they really want to say to the readers, and how and why they appear so haunting and attracting to the general readers. Equally important is that the book itself is a poem of supreme beauty. There are two versions of A Vision. The first version Yeats privately published in 1925. His wife Geo