This study deals with a case study of a required Liberal Arts class called “Computational Thinking and Algorithms” at S University using the Engaged Learning class model. The study targets 188 first-year students in the first semester of 2023. The class was designed as a two-credit course by applying the three-stage teaching principle of problem definition - idea generation - solution application - confirmation. The research method was a t-test using SPSS and quartile analysis. The research results showed significant differences by quartile in the level of class content, class satisfaction, and project progression applying the Engaged Learning class model. The quartiles composed of students from the Literary and Creative Arts, Film Arts, and Law departments all showed lower satisfaction than the students from the other majors, while the students from the Software and AI integration department were the most satisfied with the level of lecture content applying Engaged Learning. However, the students from the Electronics and IT integration department were the least satisfied with the level of lecture content applying Engaged Learning as well as the project progression. The level of student participation in the Engaged Learning-based class was 84.1% positive and 0.5% negative, indicating that the Engaged Learning-based class model was more satisfactory to the students than the lecture-based class model. The percentage of affirmative and negative responses to the Engaged Learning model was 73.8% and 7.50%, respectively, indicating that students were more likely to understand the course content than in a lecture-style class. We further found that applying the Engaged Learning lesson model to the management of the Computational Thinking and Algorithms subject was more effective than lecture-style teaching. It is expected that the Engaged Learning lesson model will be expanded to be used in other subject classes in the future.
The winds of transition towards the ‘Fourth Industrial Revolution’ are very strong. The field of education is never outside their sphere of influence, and liberal arts education is no exception. However, it seems necessary for us to reflect differently on the fact that the trend of educational responses to adaptively accept current changes is only being strengthened. For instance, educational attempts to lead students to reflect critically and fundamentally on the prevailing trends of a particular era need to be made more actively than they are now, at least in the field of liberal arts education. This is because leading the generation who will live in a rapidly changing world to be aware of the historical context in which they are located has an educational weight that is difficult to overlook. In this regard, educational resources worth paying attention to are the redefinition discourse on the ‘human-machine’ and the preceding history of the digital age and hi-tech era symbolized by ‘robots’. The trajectories that intersect intellectual history, cultural history, and real history serve as a treasure trove of rich narratives and an important educational resource because they allow us to focus on the journey humanity has taken to reach the present stage. The field of liberal arts education, with its multidisciplinary characteristics, is the most appropriate place for these resources.
This paper studies the case of teaching Korean poetry texts when conducting masterful reading and reading classes in university liberal arts education. It would be near impossible to present an ideal and complete list when creating a reading list for such a course. However, in this paper, it is suggested that Choi Seung-ja's poetry should be placed on any list that deals with those times in life when life itself is neglected, as well as used in liberal arts education classes at universities. In our current age, which is seeing an increase in depression among young people, this paper argues that the theme of death as seen in Choi Seung-ja's poem can actually give hope to its readers, and instill in them a level of resistance to death that will manifest as a will to life.</br>In Choi Seung-ja's poem, death is a tragedy given to us humans, but it tells us how to deal with this tragedy so that we can overcome death. The attitude of the poetic persona is repeated and circulated and strengthened, and readers can adopt the courage needed to stand up to death by reading about the attitude of the poetic persona. In this paper, the significance of character education and poetry reading by learners living in an environment of death after COVID-19, can be confirmed in Choi Seung-ja's poetry learning. Learners find a way to overcome death in a finite life where death is a certainty. This process was confirmed in the ‘Writing Poetry Review’, which was written during the process of learning Choi Seung-ja's poetry. Thus, this paper revealed that Choi Seung-ja's poetry can function as a very efficient text in poetry education.
O corpo em performance manifesta saberes ancestrais que podem dialogar holisticamente com todos os campos. Se utiliza a abordagem transdisciplinar, com uma perspectiva que que vai além do visual. A gestualidade do corpo transcreve oralidade, espiritualidade e psique. Observar as expressões, possibilita ao investigador-fotografo interpretar com sua olhada, o sensível incorporado na performance ritual em ambientes sagrados, nos laboratórios artísticos em sala de aula e em espaços públicos. Os processos criativos, caracterizam o corpo em performance, viabilizando experiências sensoriais a partir de elementos da memória ancestral, identidade e linguagem das próprias emoções.
As a result of developing questions to investigate the difference in the perceptions and educational needs of professors and students concerning the competency-based liberal arts curriculum, and through conducting a corresponding survey, 33 professors and 502 enrolled students responded for two weeks in November of 2022. The analysis method utilized the Borich Demand Formula and the Locus for Focus Model. First, as a result of examining the difference in perceptions between professors and students about liberal arts education in A college, the survey found that students had a positive perception of the liberal arts curriculum compared to professors regarding all of the questions. Both professors and students were highly aware of the ‘relevance of liberal arts education level’ while the items showing statistically significant differences were the questions dealing with the ‘adequacy of the number of subjects opened’ and the ‘help to grow as professionals’. Second, as a result of analyzing the educational needs of our university's liberal arts curriculum using the Borich Formula and the Locus for Focus Model, the professors cited ‘lectures with teaching methods suitable for learning’, ‘sufficient communication with students’, and ‘diversity in liberal arts course selection’. Student ‘B’ determined that ‘lecture progress with a teaching method suitable for the learning content’ was their top priority when it came to improvement. Based on these results, to operate a better liberal arts curriculum, we need to seek ways to expand the range of choices for liberal arts education. Furthermore, we need to derive important basic vocational skills according to majors during the reorganization of liberal arts education at universities. This means that liberal arts education needs to reflect these changes in both its design and operational aspects. However, due to the different enrollment periods and limited graduation credits allocated to each department, there are real limitations in designing a course that fully reflects these educational demands. Therefore, it is necessary to analyze in detail the students' needs in order to immediately meet their educational goals, and to establish a flexible curriculum that reflects their demands for non-subject programs.
This study divided college students who received liberal arts accounting education into two groups (a traditional accounting-educated group, and a traditional accounting and corporate ethics-educated group) to analyze how traditional accounting education and corporate ethics education affect college students' corporate ethics.As a result of the analysis, there was no statistically significant results showing that traditional accounting education had a effect on the formation of college students' ‘21st Century Corporate Ethics’. On the other hand, in the case of the group that received both traditional accounting education and corporate ethics education, statistically significant results were obtained showing that corporate ethics related education had a positive effect on the formation of values that conform to ‘21st Century Corporate Ethics’.What the research results mean is that in order for college students to form the corporate ethics required in the 21st century, supplementary education related to corporate ethics is needed. As confirmed in the ‘2020 Davos Declaration,’ the formation of the ‘21st Century Corporate Ethics’ will have a great impact on the college students themselves, as well as on companies and communities. Therefore, future research regarding the contents of education and teaching methods that will allow students to better adapt to the ‘21st Century Corporate Ethics’ is also required for liberal arts accounting education.
A capela-mor da Igreja de Nossa Senhora Madre de Deus, situada na cidade do Recife, recebeu ornamentação em talha dourada e policromada que ilustra o quadro da arte sacra setecentista no contexto da América portuguesa. No entanto, desperta atenção a completa ausência de registros coevos que indiquem o decurso que assinalou a confecção da arte para o templo, os oficiais envolvidos nesses afazeres e as datas de execução dos trabalhos. Com o interesse de averiguar a constituição ornamental da referida capela-mor e discorrer sobre sua conformação plástica e estética, este trabalho objetivou analisar a decoração da capela-mor da Madre de Deus. Especificamente, buscou sistematizar as etapas fundamentais que assinalaram a modificação de sua ambiência, ampliar o entendimento de sua história, atenuar fração das inúmeras omissões envolvendo a narrativa da arte religiosa recifense. A partir de análises documentais e históricas, e de referencial teórico que reúne autores como Bazin (1983), Bohrer (2015) e Pedrosa (2019), dentre outros, foi possível mapear informações que elucidam parte da decoração produzida para esse espaço foi destruída por incêndio no ano de 1971; identificar fotografias que ilustram como foi a decoração exposta na capela-mor antes desse acidente; conhecer os processos de restauro concluídos em 1983 e 2006, os métodos empregados para a concretização desses serviços e os resultados alcançados.
Aesthetic emotions are elicited by different sensory impressions generated by music, visual arts, literature, theater, film, or nature scenes. Recently, the AESTHEMOS scale has been developed to facilitate the empirical assessment of such emotions. In this article we report a semantic profile analysis of aesthetic emotion terms that had been used for the development of this scale, using the GRID approach. This method consists of obtaining ratings of emotion terms on a set of meaning facets (features) which represent five components of the emotion process (appraisal, bodily reactions, action tendencies, expression, and feelings). The aims here were (a) to determine the dimensionality of the GRID features when applied to aesthetic emotions and compare it to published results for emotion terms in general, and (b) to examine the internal organization of the domain of aesthetic emotion terms in order to identify salient clusters of these items based on the similarity of their feature profiles on the GRID. Exploratory Principal Component Analyses suggest a four-dimensional structure of the semantic space consisting of valence, power, arousal, and novelty, converging with earlier GRID studies on large sets of standard emotion terms. Using cluster analyses, 15 clusters of aesthetic emotion terms with similar GRID feature profiles were identified, revealing the internal organization of the aesthetic emotion terms domain and meaningful subgroups of aesthetic emotions. While replication for further languages is required, these findings provide a solid basis for further research and methodological development in the realm of aesthetic emotions.
The regulation of nutrient uptake into cells is important, as it allows to either increase biomass for cell growth or to preserve homoeostasis. A key strategy to adjust cellular nutrient uptake is the reconfiguration of the nutrient transporter repertoire at the plasma membrane by the addition of nutrient transporters through the secretory pathway and by their endocytic removal. In this review, we focus on the mechanisms that regulate selective nutrient transporter endocytosis, which is mediated by the α‐arrestin protein family. In the budding yeast Saccharomyces cerevisiae, 14 different α‐arrestins (also named arrestin‐related trafficking adaptors, ARTs) function as adaptors for the ubiquitin ligase Rsp5. They instruct Rsp5 to ubiquitinate subsets of nutrient transporters to orchestrate their endocytosis. The ART proteins are under multilevel control of the major nutrient sensing systems, including amino acid sensing by the general amino acid control and target of rapamycin pathways, and energy sensing by 5′‐adenosine‐monophosphate‐dependent kinase. The function of the six human α‐arrestins is comparably under‐characterised. Here, we summarise the current knowledge about the function, regulation and substrates of yeast ARTs and human α‐arrestins, and highlight emerging communalities and general principles.
Design and Applied Arts Commercial and Advertising Art Commercial Photography Design and Visual Communications Fashion Design Game and Interactive Media Design Graphic Design Illustration Industrial and Product Design Interior Design Digital Arts Philosophy and Religion Applied and Professional Ethics Buddhist Studies Christian Studies Ethics Islamic Studies Judaic Studies Logic Philosophy Philosophy and Religious Studies, General Religious Studies
Dans cet article, nous analysons les thèmes et les stéréotypes que le film On l’appelle Jeeg Robot (Gabriele Mainetti, 2016) reprend de l’univers américain des super-héros et nous montrons comment ces éléments ont été réélaborés pour ensuite être insérés dans un contexte italien actuel. Le film est intéressant car le réalisateur puise dans un genre qui recourt normalement à une série d’éléments standards et qui est donc fortement stéréotypé, pour créer un produit original dans le cinéma italien de genre, en fusionnant divertissement et critique sociale.
The article is devoted to the analyzes of number of Iranian edged weapons, lacking any fighting efficiency but distinctively ornamented, from the collections of the Russian museum of ethnography and Peter the Great Museum of anthropology and ethnography (the Kunstkamera). Such weapons of diversified types (sabers, swords, daggers, battle-axes, defensive weapons) form a considerable part of museum collections, and evidently were produced by quantities in Iran, from where they appeared in the museums either directly, that is important, or via the antique shops in Europe and Russia in the second half of the 19th-the beginning of the 20th centuries.
Based on the complex analyses of both the objects, and primary sources as well as research literature on history and ethnography, the author puts these arms in the context of Iranian culture of the 19th century, linking their use with the rituals, organized in the first ten days of muharram, a month of the Muslim lunar year. During these days, various ceremonies, commemorating the martyrdom of the third shia imam Khusain in the desert near the city of Karbala in 680, take place in the shia Muslim communities. The author provides profound descriptions and analyses of the activities and performances, that could have incorporated such kind of non-battle arms and armour, specially made for these occasions, as well as the real weapons, thus acquiring another ethnographical status. Travelers, ethnographers, historians, who visited Iran and nearby territories with shia brand of islam venerated, described the ceremonies in details, through their attention was paid more to the scenario of the events, their religious and ethnic specificity, than to the objects used. Nonetheless, the analyses of philological data, cultic and ritual aspects of the ceremonies, and comparison of even a few facts from primary sources and juxtaposition them with the images, made by the artists who saw them with their own eyes, as well as with real objects, permitted the author to arrive at the steadfast conclusions. These are the principles of ornamentation of the arms and armor under discussion as well as the range of decorating them images, which as investigation has showed, reflect the symbolic ideas of muharram ceremonies and vivid in these events heroic and mythological features of Iranian culture, that have appeared to be one of the most important sources to determinate the place of these objects in the Iranian ritual culture of the second half of the 19th century and the beginning of the 20th. The stylistic analyses of such objects from the Russian museum of ethnography and Peter the Great Museum of anthropology and ethnography (the Kunstkamera), provided by the author, can serve as the basis for the attribution of this kind of weapons from other museums to the sub-culture of muharram ceremonies.
Psychologists are increasingly interested in studying the psychological effects of engaging with various forms of the arts and humanities because of their significance and ubiquity in human life. There is, however, a lack of a robust conceptual framework to support a systematic and integrative approach to the study of the psychological effects of the arts and humanities. Through an extensive review of the extant literature on conceptual and operational definitions of the arts and humanities engagement from historical, institutional, and disciplinary perspectives, the present article further expands an initial conceptualization of the arts and humanities presented in Tay, Pawelski, and Keith. The implications and limitations of the integrative conceptual framework of arts and humanities engagement, as well as directions for future research, are discussed.
El artículo indaga en las técnicas de montaje elaboradas por el cine, como
un procedimiento para la organización formal en la música. A partir de fragmentos
heterogéneos que se cortan y conectan han resignificado la forma y el
tiempo musical desde las vanguardias del pasado siglo XX. Se analiza el caso
del preludio Canope, número diez del segundo libro de Claude Debussy y la
incidencia de su concepción musical para nuevas poéticas.