2016, Vol.73, No.4

This paper examines the details and effects of the level tests executed at KAIST, and shows the impact of differentiated instruction on the writing abilities of students, in order to demonstrate the necessity of writing assessments and differentiated instructions on writing education at universities. All of the students of KAIST have to take a ‘writing level test’, after which they take lectures on writing according to the grade obtained. This paper summarizes the contents and grading methods of the ‘writing level test’, which was incorporated in order to objectively identify the writing abilities of students. This kind of evaluation system can help in establishing the purposes and methods of writing education according to each student’s current status, and make the students establish a definite and firm motive for writing education. In addition, as an example of differentiated instruction, this paper summarizes the concrete contents and characteristics of the lectures titled ‘basics of writing’ and ‘logical writing’ respectively, which are executed at KAIST. This paper also emphasizes the method and effects of ‘one to one consultation’, which is an essential step of the above lectures. The effectiveness of graded learning is verified through surveys that were carried out during the process of ‘one to one consultation’ and the degree of improvement is seen from the results of the end of term writing test. The writing level test and education program of KAIST is based on the premise of a small group of students, the student’s desire for learning, the educational passion of the professor, and the contribution of the writing center. The process through which writing evaluation and differentiated instruction were carried out at KAIST provide several implications for inspecting problems and finding ways of developing writing education programs in universities.

Here-and-Now Eternalized — Based on the “Berlin Stela of the Royal Family”

Sung Hwan Yoo | 2016, 73(4) | pp.403~471 | number of Cited : 1

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After his ascension to the throne, Amenhotep IV embarked on a series of radical changes in art and religion. From the beginning of his reign, Amenhotep IV founded new temples to the Aten, a relatively new deity in Egyptian history, represented with the sun-disk (but, in essence, the radiant light of the sun instead of the physical disk) and built a new capital city in Middle Egypt to further the cult of the Aten. Soon after the foundation of the capital, he changed his name to Akhenaten and promoted the Aten as the sole deity of his religion. In the regnal year of eleven, he began to proscribe other older gods, especially the former state god Amun, throughout Egypt. Along with the dramatic departures with the past during his reign, the traditional concept of time, traditionally represented with two opposing but complementary concepts of Eternal Sameness and Eternal Recurrence, also underwent revisions and modifications. As a result, (1) the emphasis was shifted from the eternity (Dt + nHH) to the concept of here-and-now with a notable preponderance of Change (xpr) and the Eternal Recurrence (nHH) over Stasis (wnn) and the Eternal Sameness (Dt); (2) the abstract mystery of mythology as an intelligible reality was superseded by the physical reality of everyday life; and (3) artists, freed from the timeless and idealized artistic style of the past, began to pay more attention to detailing of the visual reality and the concept of here-and-now. Along with this changed temporal concept and worldview, the Amarna art demonstrates distinguished features summarized as follows: (1) the primary focus on Akhenaten and his royal family that, as the Holy Family, stood between the invisible deity and their people; (2) prolific expression of immediacy and emotion to express the actuality of words and deeds of Akhenaten and his family; and (3) the three-dimensional treatment of space even on a two-dimensional surface. In order to observe the prominent features of the Amarna art, the Berlin Stela of the Royal Family is used in the paper as a primary example in addition to other closely related stelae and tomb reliefs because it employs a number of innovative artistic devices and shows the unique traits of the Amarna period, such as the lively expression of gestures, keen interest in movements, preoccupation of the present (as the time of the epiphany), and an unrelenting emphasis on visibility and frivolous details.

Religious Sin Attested in Akkadian Literary Texts

Sungduk Yun | 2016, 73(4) | pp.473~502 | number of Cited : 1

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A Study on Siddhavastu of Daeseungsaronhyeonuigi written by Hyegyun

Kang Dae-hyun | 2016, 73(4) | pp.503~538 | number of Cited : 6

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There are many phonological summaries in Sanskrit about the Siddhavastu of India. In the history of Korea, references of Siddhavastu appear in Beopgyedogichongsurok written during the Goryeo Dynasty, and in Jineonjip which forms part of the Buddhist Ritual Collection of the Korean Medieval Period. References of Siddhavastu in Korean texts of the Ancient Period, on the other hand, had yet to be found. However, the author was fortunate enough to discover one trace of Siddhavastu from Ancient Korea; this was the Siddhavastu of Hyegyun of the Baekje Dynasty, which was discussed by Annen in his book Shittanzō, which was about a series of Japanese Siddham studies. One trace of Siddhavastu is found in Daeseungsaronhyeonuigi Sipsaeumui, and it is possible that Hyegyun adopted the GO-On (吳…音) type of Chinese character pronunciation, since Siddhaṃ (肆曇) or Siddhavastu (肆曇章) was also included in his book. Furthermore, this is the first evidence of literature for the Siddhavastu written by ancient Korean. The Siddhavastu of Hyegyun contained fourteen phones which formed the roots of the letters [a⋅ā⋅i⋅ī⋅ u⋅ū⋅e⋅ai⋅o⋅au⋅ṛ⋅ṝ⋅ḷ⋅ḹ] in Mahaparinirvanasutra; he holds the same view of Dharmakṣema⋅Xie Lingyun etc, and also adopts the notions of the fifty letters [ka⋅kha etc] of Mahaparinirvanasutra. In particular, the author realized that a⋅ā are the back vowels (後舌) in the fourteen phones inside the root of letters, ṛ⋅ṝ⋅ḷ⋅ḹ are the entering or checked tone (入聲) in the four tones (四聲), and the last two, aṃ⋅aḥ are from a⋅ā, and after aṃ⋅aḥ, the ultimate vowels, no other vowels exists. As mentioned above, it was good enough for verbal interchange between Korea and Japan in ancient times, as is proven by the citation in Annen’s Shittanzō. Consequently, it can be firmly established that one clear piece of evidence about Siddhavastu written by an ancient Korean does indeed exists.

A study on Ouyang Jingwu’s Harmonious Philosophy with Confucianism and Buddhism

ShimChangAe | 2016, 73(4) | pp.539~570 | number of Cited : 0

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A Study on the Sensualist Anthropology and Aesthetics of J. G. Herder — Focusing on the Relationship with the Aesthetics of Baumgarten and Lessing

Sun Kyu Ha | 2016, 73(4) | pp.571~608 | number of Cited : 2

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‘Woody Persona’ and the Problem of Authenticity

Kang, Eun-a | 2016, 73(4) | pp.609~639 | number of Cited : 1

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A Warm-hearted Gaze on the Diplomacy of the Joseon Dynasty in the opening port era - Review of The Strategic Diplomacy of the Joseon Dynasty in the opening port era: 1882~1884 by Hiromi Sakai

Munki Hong | 2016, 73(4) | pp.643~651 | number of Cited : 0

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The Epic Poem of the British People beyond Inequality - Review of The People: the rise and fall of the working class: 1910-2010 by Selina Todd

Seoungwon Lee | 2016, 73(4) | pp.653~664 | number of Cited : 0

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Journal of Humanities, Seoul National University 2023 KCI Impact Factor : 0.89

2016, Vol.73, No.4