목적: 본 연구의 목적은 명시적 학습에서 암묵적 요소를 최소화시킨 명시적 학습과 암묵적 학습의 운동학습 효과를 비교하기 위함이었다. 방법: 36명의 피험자들은 암묵적 운동학습 집단, 명시적 운동학습 집단, 통제집단에 각각 12명씩 무작위로 할당되었다. 피험자들은 배드민턴 경험이 없는 여자 중학생으로 구성하였다. 과제는 배드민턴 서브라인에서 반대편 코트에 위치한 목표물을 향하여 쇼트 서브를 정확하게 넣는 것이다. 본 연구에서는 명시적 운동학습 효과와 암묵적 운동학습 효과를 비교하기 위해 습득단계 3(집단) × 4(분단), 파지단계 3(집단) ×2(분단), 그리고 지연파지검사단계에서 3(집단)×2(분단)에서 반복측정분산분석을 하였다. 결과: 연구결과 습득단계에서 암묵적 운동학습 집단이 명시적 운동학습 집단보다 수행이 우수한 것으로 나타났고, 파지단계와 지연파지단계에서도 암묵적 운동학습 집단이 명시적 운동학습 집단보다 오차 값이 낮은 것으로 나타났다.

Amenity landscapes in rural areas are becoming increasingly important as a resource to enhance the (public) interest in rural landscapes and to vitalize the rural areas. Befitting the times, the objective of this project is to discover the amenity landscapes distributed throughout the rural areas and to produce material in the form of a publication for the promotion of the aforementioned landscapes. For such purposes, local autonomous bodies, rural amenity resource investigation team, and experts on landscape found rural amenity landscapes and entered them for a selection process, out of which the top 100 rural amenity landscapes were ultimately selected based both on the assessment system developed by the researchers and on the assessment process executed by the assessment committee. The following two categories of assessment criteria for the amenity landscapes were presented: village-related assessment criteria including value as resource and use value; landscape-resources-related assessment criteria, including aesthetic value, identity, adherence to traditionality, and sustainability. Assessment for each criteria item was made by applying a 5-point Likert scale throughout. The sum of the points for each landscape was then converted at a 100 point scale for ultimate use in selection of the top 100 landscapes. This paper is the outcome of such series of processes and systems.

This paper examines the pastoral ideal and its legacy to landscape design. We have had the routine convention of experiencing natural beauty from the picture-like nature. We, who would liken a scenic view to a picture, often equate natural beauty with superficial representations of nature shown in pastoral literature and traditional landscape paintings: the lush of towering trees, the field of endless green, the soft babbling flow of the river and the crisp clear sky. It is not a portrayal of nature as it is, but in fact a conceptual expression of its ideal form. The ideological root of that natural beauty can be retraced to the pastoral ideal, so eagerly longed for by people of the western world. A pastoral landscape graciously marked with leisurely peace and subtle harmony is what we identify as beautiful nature. In fact, however, it is no more than an artificial refuge in contextual isolation from its surrounding, and a by-stander's nature seen purely through the eyes of the outsider. The tradition of pastoralism, reaching its peak in the 18th century with its English Landscape Garden style, was transplanted into the real world through the practice of landscape architecture. Landscape design in such a form is just a static means of decoration devoid of meaning and process. And we simply identify the green ornamentation with nature.