Nicola Vaccaj's (1790-1848) 성악교본에 대한 분석 연구 : 선율과 발음을 中心으로

김화옥 漢陽大學校 大學院 1985 국내석사

서예 체험 학습을 통한 학교 부적응 청소년의 심리치료 연구

김화옥 동방문화대학원대학교 2022 국내박사

본 연구는 예술 심리치료의 서예 체험 학습 프로그램을 통한 학교 부적응 청소년의 심리치료 연구로, 청소년의 또래관계 적응력과 자아존중감의 변화를 위한 효과성을 검증하기 위한 실천적 개입 방안을 제안하고자 한다. 연구 대상은 경기도 Y시에 소재한 고등학교 재학생 중 학교 교육과정 활동 참여자는 학교 부적응 청소년으로 대상으로 배정하였으며 실험집단 조건은 연구자 제한점에 해당하는 학교 부적응 청소년으로 통제집단 14명을 2021년 3월 10일부터 2021년 8월 30일까지 매회기 1회, 1시간 40분씩, 총 18회기를 거쳐 진행하였다. 예술 심리치료를 통한 서예 체험 학습 프로그램으로 진행하였다. 연구는 Copersmith(1967)와 Pope, McChale과 Chaighead(1998)의 검사를 개정하여 최보가와 전귀연(1993)이 연구 개발한 자아존중감 척도와 또래 관계의 척도는 Gullone과 Robinson의 IPPA-R 척도를 번안하여 사용하였다. 수집된 설문지를 데이터 코딩하여 SPSS ver 23.0을 사용해 통계적 자료를 처리하여 실시하였고, 통계적인 유의수준은 p<0.05로 설정하여 분석하였다. 표본의 인구 통계적 요인에 대해서는 빈도수, 백분율을 산출하는 빈도분석 및 실험 처치 전과 후의 또래 관계와 자아존중감의 차이를 분석하기 위하여 대응 표본 t검증을 실시하였다. 이상과 같이 본 연구의 가설 검증 결과를 요약하면 다음과 같다. 첫째, 서예 체험학습 프로그램을 통해서 학교 부적응 청소년의 또래 관계 및 자아존중감이 향상되었다. 프로그램에 대해 분석한 결과, 또래 관계의 하위변수 사전·사후 차이는 신뢰, 의사소통에서 통계적으로 유의미한 차이로 실험 처치 후 신뢰와 의사소통이 나아진 것으로 나타났으며, 화 및 소외감은 차이를 보이지 않았다. 자아존중감에 대한 사전·사후 차이 분석 결과 통계적 실험 처치 후의 자아존중감이 향상된 것으로 나타났다. 둘째, 학교 부적응 청소년들을 대상으로 한 예술 심리치료의 서예 체험학습 프로그램 회기별, 참여자별, 집단발달과정별 경험을 통해 자기 인식능력의 변화와 다양한 형태로 경험 진술을 분석해 본 결과, 프로그램 구성 실험집단 청소년이 통제집단 청소년보다 향상을 보여, 자아존중감과 또래관계 향상에 긍정적으로 나타났다. 셋째, 학교 부적응 청소년들을 대상으로 한 서예 체험 학습을 예술 심리통합예술치료프로그램으로 구성할 때 치료자와 참여자 사이에 서로의 느낌과 생각을 표현하였으며, 언어 중심의 상담의 틀을 넘어 서예와 예술 심리치료프로그램으로 통합적인 시도와 성장을 경험한 것으로 나타났다. 본 연구 결과를 바탕으로 다음과 같이 제안하였다. 첫째, 학교 부적응 청소년의 또래 관계 및 자아존중감 향상에 서예 체험학습 경험과 내용이 도움이 되는 것으로 확인되었다. 이는 학교 부적응 청소년의 또래 관계, 자아존중감 향상을 위한 긍정적인 영향을 미치게 되는 요소로서 학교 현장에서의 창의적 체험활동, 학급 특색활동 시간을 학기에 선택적으로 활용 및 지역사회와 연계한 MOU 체결 등 체계적인 프로그램과 콘텐츠 개발이 요구된다. 둘째, 학교 부적응 청소년들을 대상으로 한 예술 심리치료 서예체험학습은 회기별, 참여자별, 집단 발달과정별 참여 경험의 효과가 있는 것으로 확인되었다. 이는 더욱 다양한 예술 심리치료의 일환으로 서예 체험 학습을 학교 교육과정에 예술 심리치료 서예 체험 학습 프로그램으로 학급별 서예 체험프로그램 지도사를 활용하여 순차적으로 프로그램 운영 구축하는 적용방안이 요구된다. 셋째, 학교 부적응 청소년들을 대상으로 서예 체험 학습은 시대의 흐름에 따른 디지털 기기를 이용하는 융복합 서예, 전각, 서각 등 다양한 체험으로 구성하였을 때 효과가 입증됨을 통계를 통해 확인하였다. 청소년의 또래 관계 및 자아존중감을 높일 수 있는 기존의 틀에서 깨어난 미래를 준비하는 교육과정 시스템 구축과 정책 마련이 필요하다. 본 연구 결과 서예 체험 학습 프로그램은 학교 부적응 청소년의 또래관계와 자아존중감 향상에 긍정적인 변화가 나타났음을 알 수 있었다. 이러한 청소년기 서예 체험 학습은 마음의 평온을 유지하고, 내면의 감정을 다스려 나가는 예술 심리치료이다. 서예 체험이 학교에서의 부적응 학생들에게 또래관계와 자아존중감에 변화를 도모하였으며 학교생활 적응에 도움을 줄 수 있음은 시사하는 바가 크다고 볼 수 있다. This study introduces the psychological treatment for adolescents who are maladjusted to school through the calligraphy experiential learning program of artistic psychotherapy, and intends to propose a practical intervention method to verify the effectiveness on the peer relationships and self-esteem in adolescents. The subjects of the study were students at a high school located in Y-city, Gyeonggi-do, who were assigned to the treatment for school maladjustment adolescents. Until August 30th, 2021, one session for 1 hour and 40 minutes each was conducted (entire session consists of 18 ones. It was conducted as a calligraphy experience learning program through artistic psychotherapy. The study revised the tests of Copersmith (1967) and Pope, McChale and Chaighead (1998), and the self-esteem scale and peer relationship scale developed by Boga Choi and Gwi-yeon Jeon (1993) were adapted from Gullone and Robinson's IPPA- R scale was also used. The collected questionnaire was data-coded and statistical data was processed using SPSS ver 23.0, and the statistical significance level was set to p<0.05 and analyzed. For the demographic factors of the sample, the corresponding sample t-test was performed to analyze the difference between the peer relationship and self-esteem before and after the experimental treatment and the frequency analysis to calculate the frequency and percentage. As described above, the test results of this study are summarized as follows. First, through the calligraphy experiential learning program, peer relationships and self-esteem of adolescents maladjusted to schoo lhad improved. As a result of analyzing the data through the questionnaires, it was also found that trust and communication among the participants and therapists had improved after experimental treatment, but there was no difference in feelings of anger and alienation. The analysis of pre- and post-difference in self-esteem showed that self-esteem had improved after statistical experimental treatment. Second, as a result of analyzing changes in self-awareness ability and experience statements in various forms through the experiences of each session, each participants in the process of the calligraphy experiential learning program of art psychotherapy for school maladjusted adolescents showed the improvement of self-esteem and peer relationships compared to controlled group adolescents. Third, when experiential learning of calligraphy for adolescents with school maladjustment was applies as an art psychological integrated art therapy program, feelings and thoughts were shared among the therapist and participants, through the calligraphy and artistic psychotherapy beyond the framework of language-centered counseling. This program was proven to lead to the integrative art therapy. Based on the results of this study, the following is suggested. First, it showed that calligraphy experiential learning experiences and contents were helpful in improving peer relationships and self-esteem of adolescents maladjusted to school. By selectively having this calligraphy class for creative experiential activities and class-specific activities in the semester, signing MOUs with the local community, and systematic programs content development are required to continue this program. Second, art psychotherapy and calligraphy experiential learning were proven to have the positive effect on school maladjusted adolescents in each session. As a part of more diverse artistic psychotherapy, it is necessary to apply calligraphy experiential learning to the school curriculum as an artistic psychotherapy and calligraphy experiential learning program. Therefore, by conducting various calligraphic experiential learning using digital devices that are one step ahead of the flow of the times, such as convergence widely through calligraphy experiential learning, psychological treatment through art is gradually established as therapy and academic foundation are established. It Third, it was confirmed through statistics that the effect of calligraphy experiential learning for adolescents who did not adapt to school was proven when it was composed of various experiences such as convergence calligraphy, engraving, and calligraphy using digital devices according to the flow of the times. It is necessary to establish a curriculum system and prepare policies to prepare for the future that is awakened from the existing framework that can enhance peer relationships and self-esteem of youth. As a result of this study, it was found that the calligraphy experiential learning program showed positive changes in the improvement of peer relationships and self-esteem of adolescents who did not adapt to school. This experience learning of calligraphy in adolescence is an artistic psychotherapy that maintains peace of mind and manages inner emotions. It can be seen that it is very suggestive that the calligraphy experience changed the peer relationships and self-esteem of the students who were maladjusted at school, and that it could help them adjust to school life.

초등학교 방과후학교 중국어교육 활성화 방안 연구 : 용인시를 중심으로

김화옥 수원대학교 교육대학원 2010 국내석사

The purpose of this study is to find an efficient after-school education program to develop schoolchildren's talent, specialty and aptitude and to reduce private education expenses through inquiring into cognizance of schoolchildren, teachers and school parents. The goal of this study is to investigate the four specific subjects as below; First, I grasped the current situation of after school Chinese education at elementary school in Yong-in Region. Second, I carried out a survey for cognizance and preference of schoolchildren, teachers and school parents about Chinese education. Third, through the understanding of private education expenses, I found a solution to reduce such expenses with an after school education program. And last, on the base of the results of the above three subjects, I pointed out problems and suggested improvements for the after school Chinese education program The results of this study can be summarized as below; Most of the teachers who teach Chinese in after school education programs at elementary school, they are thinking that the Chinese education is needed in elementary school and it can help schoolchildren develop their talents and specialties. The schoolchildren, who are taking an after school education program, have an interest in Chinese class and want to take Chinese education programs which use various media. And it is shown similar proportion to make the decision for taking Chinese class between choosing by themselves and mom’s recommendation. They, also, think that 6 to 10 students per class are suitable for Chinese education program. The school parents are aware of the importance and necessity of Chinese but their thoughts mostly focus on English. And most of their children are taking the class, after formal school education, either private education or after school education. The reason why they choose an after school education is that it has inexpensive tuition and various programs. Meanwhile, they want experts from the outside for teachers, less than 10 students per class, a range of 26,000won to 30,000won for tuition per class and same aged class by achievement levels in after school Chinese education program. Regarding contents of the class, they prefer Chinese for daily lives and programs for the sake of arousing the children’s interest. The problems in the current after school Chinese education that were revealed from this study are listed below; Internally, there are many problems those are an assignment of classrooms in school, setting up a language learning environment, guarantee of minimum wage for teachers, restoring credibility to the formal school education and effective public relations. Also externally there are problems such as development of suitable teaching material for each level, making professional training programs for teachers and providing an expert teachers’ pool from the outside. The current after school education program is having an effective role in finding and developing student’s talent and aptitude. However, in order to expend such role and to operate more efficiently, it has to avoid the trap of the uniformity and inflexibility of formal school education, and further, it should be a more developed flexible education program to make students continue to learn the education contents in accord with their needs.

겸재 정선의 雙島亭圖 입지 및 조성원리에 관한 연구

김화옥 전북대학교 일반대학원 2012 국내석사

본 연구는 겸재 정선의 쌍도정도 표현된 지당의 입지 및 조성원리에 관한 연구로서 쌍도정지 그림을 실경의 관점에서 조명하여 선행연구 및 관련문헌 , 고지도 분석과 해석, 현장조사 및 향토사학자들의 인터뷰 결과를 바탕으로, 현장과 그림 속 실경을 비교하고자 하였다. 또한 쌍도정지의 위치 및 입지 장소성을 확인함으로써 쌍도정지 복원의 기초자료를 제공하고자 하였다. 쌍도정도의 입지는 남서쪽의 고산지대와 동쪽의 낮은 산지에 둘러싸인 산수를 고루 갖춘 산경과 산수교회에 부합하는 길지로서, 해동지도와 여지도 그리고 읍기도 등 다수의 고지도에서 성주관아지역에 그려진 못을 확인할 수 있었고 현장조사 및 향토사학자 등의 인터뷰 결과 현재 관운사 앞과 성주시외버스터미널 부지에 연못이 있었다는 사실을 확인하였고 쌍도정은 관운사 앞 공터에 있었을 것으로 추정된다. 본 연구를 통해서 아쉬움으로 남는 점은 쌍도정도에 표현된 역학적 도해와 쌍도정지의 조영자로 본 고산 윤선도 그리고 겸재 정선과의 관련성에 대해 깊이 있는 해석이 이루어지지 못한 점이다. 또한 겸재의 쌍도정도에 나타난 쌍도정지의 복원은 물론 오늘날 성주군 조선후기 관아정원의 모습 및 전통경관적 산수시스템 등 전통경관의 원형복원 및 회복 논의가 활발히 이루어지기를 바란다.

동방정교회 이콘예술의 신학적 의미 연구

김화옥 이화여자대학교 신학대학원 2019 국내석사

기독교계의 3대 주요 종파 중 하나인 동방정교회에서는 신학적이고 교리적이며, 전례적이고, 종합적인 종교예술이 자리 잡고 있다. 특별히 이콘과 관련한 ‘이콘예술’은 동방정교회에서 교회와 신앙에서 없어도 될 부록이나 보조적 수단이 아니며, 오히려 그리스도교 신앙의 본질과 맞닿아 있다. 그러나 종교개혁 전통에 서 있는 개신교회에서 이콘을 보는 시선은 생소할 뿐만 아니라, 이콘에 대한 지식도 부족하며, 갖고 있는 인식 또한 부정적인 생각이 대부분이다. 이러한 이유로 개신교회에 몸담고 있는 연구자는 ‘이콘예술’에 관한 보다 정확하고 분명한 신학적 이유들을 연구하고 싶었다. 동방정교회 이콘은 성경을 바탕으로 그려진 신학의 가시화(可視化)를 말한다. 따라서 이콘은 그 자체가 신학적 의미를 포함한다. 이콘의 신학적 의미는 그리스도교 신학에서 그리스도의 ‘성육신’ 사건을 바탕으로 성립되기 때문이다. 이콘은 보이는 물질적 세계와 보이지 않는 초월적 하나님, 그리스도의 신성과 인성, 말씀과 육신, 내재성과 초월성, 시간과 영원을 다리 놓는 예술로써 독특한 존재론적 위치를 지닌다. 이콘을 통한 모든 행위들에서 우리는 하나님의 형상을 회복하고 하나님과의 바른 관계 안으로 이끌어 가시는 그리스도의 신비를 경험할 수 있게 되는 것이다. 이콘은 구체적인 시공간 안에서 믿고 있는 바를 가시적 형태로 드러낸 것이며, 공동체로서의 교회의 신앙이 낳은 거룩함의 표현이요, 거룩함에로의 참여하고자 하는 인간의 열망을 가시화하고 형상화한 것이라고 할 수 있다. 그것은 곧 하나님의 사랑과 그리스도를 통한 구원에의 기쁨에로 참여한다는 신비적 체험이라 할 수 있는 것이다. 구약에서처럼 말씀으로만 하나님의 계시에 직면하였다면, 신약에서는 형상과 말씀 두 가지를 통해 계시가 이루어진다. 즉, 이콘을 공경하는 것이 구약에서 금지한 존재하지 않는 허구의 ‘우상’을 숭배하는 것이 아니라, 신약에서의 성육신이라는 역사적 이콘에 기초하여 이콘이 증거하는 하나님을 경배하는 것이다. 이전에는 하나님의 형상을 만드는 것이 죄였으나, 하나님이 실제로 사람의 모습으로 오신 이후에는 그리스도의 형상을 이콘으로 묘사하는 것이 적절한 신앙의 표현인 것이다. 연구자는 개신교회와 개신교인들이 이콘과 그 이콘이 드러내주는 실제 사이의 관계를 제대로 이해하고 그것의 상징적 언어의 감춰진 의미를 올바르게 해독할 수 있다면, 이콘을 바라보면서 초월적 하나님에게로 나아가는 상승의 길을 경험할 것이라고 생각한다. 본 논문은 개신교회와 개신교인들이 ‘이콘예술’의 신학적 의미에 대해 놓치고, 외면하고, 보지 못했던 부분들을 연구하여 소개함으로써 이미지예술을 중요하게 다루지 않거나 의심의 눈초리로만 바라봄으로써 풍성한 신앙의 체험을 제약하는 개신교 예배, 문화, 신학에 초석을 제공하는 연구로 기여하고자 한다. In the Eastern Orthodox Church, one of the three major confessions of Christianity, theological, doctrinal, liturgical and comprehensive religious arts have been settled down. Especially, 'icon art' related to the icon is not an appendage or supplementary means to the life of the Eastern Orthodox Church, but rather it meets the essence of Christian faith. However, in the Protestant Churches, which are based on the tradition of the Reformation, icon is an unfamiliar subject. Futhermore, most Protestant Christians have a lack of knowledge in the icon and generally have a negative perception of it. For these reasons, the researcher who belongs to Protestant Church, hopes to explore more accurate and clear theological meanings of the 'icon art'. The icon of Orthodox Church refers to the visualization of theology based on the Bible. Thus, the icon itself contains theological meaning, since the theological significance of the icon is based on the 'Incarnation' of Christ. The ontological status of icon is unique: It connects the visible material world with the invisible transcendent God, and connects Christ’s divinity with humanity of him, and, the Word with the flesh. It is also an art that bridges between the immanence and the transcendence, as well as the temporality and the eternity. Through all the rituals mediated by the icon, we are able to experience the mystery of Christ restoring the image of God and leading to the right relationship with God. The icon reveals what people believe in a visible form within specific time and space. It is also an expression of holiness created by the faith of the church as a community, as well as a visualization and manifestation of human desire to participate in divinity. It is a mystical experience of participating in the love of God and the joy of salvation through Jesus Christ. In the Old Testament, if the revelation of God is given only through the Word, it is revealed in the New Testament in two forms: image and Word. In other words, veneration to the icon is not to adore the 'idols', which is nonexistent and fictional, forbidden in the Old Testament, but worshipping God, with which icon testifies on the basis of the Incarnation in the New Testament. It was sin to make God's image before the Incarnation, while it is the appropriate expression of faith to depict Christ’s image as an icon after God has actually become flesh. If Protestant Churches and Christians can understand the relationship between icon and the reality that reveals, and if they can correctly decipher the hidden meaning of its symbolic language, they will see the way of ascending to the transcendent God. In the present thesis , the author studied and introduced the aspects of Protestant Church and Christians who have ignored the theological significance of 'icon art' and have overlooked them. The author hopes that this study will serve as a stepping stone for the consideration of the significance of the icon in the Protestant worship, culture, and theology, which restrict the experience of abundant faith by not dealing with image arts as important or by looking at it with suspicion.

初等學生의 家庭 背景이 進路意識에 미치는 影響에 關한 硏究 : 慶州市를 中心으로

김화옥 경주대학교 행정경영대학원 1999 국내석사

This study is for the purpose of giving basic materials on career awareness through the evidence that the background of home make effect on the level of career awareness. In order to establish the purpose of this study, I make five sumptions. 1) The level of career awareness of the children is different where they reside. 2) The level of career awareness of the children is different what their parents' vocation is. 3) The level of career awareness of the children is different how they live. 4) The level of career awareness of the children is different what their religious background is. 5) The level of career awareness of the children is different what their parents' level of education is. In order to search examinations these five sumptions, I carried out the questionaire after remaking the standardized questionare for the children of 5-6 grade in several elementary schools. The examined school for the questionare was located in city, farming village and fishery village. I asked the children the questionare which are divided into five parts on their residence, their parents' vocation, level of their life, religion of their home and the level of their parents' education. To deal with the materials, I used "Spss/Win 7.5 , computerized program for the statistic analysis on the questionares which was returned 281 from 300 (94%). I analyzed the differences "F Test" through "One Anova". In the case which has meaningful differences , I analyzed the differences among groups after performing the test. The analyzed results are as follow: First, the proof is that the circumstance of home makes an effect on the children's level of career awareness. Children's career awareness are different in turns their parents' level of education, religious background of their home and their parents' vocation. Especially, parents' level of education is much different from almost of the sphere. But their residences and the level of life are less different. These analyses show that their parents' mental consciousness makes much effect on career awareness of the children. Therefore, the education for career of the children must be planned and prepared in consideration of their home circumstance and the cause of variation. Second, I could find that there were not only positive side but also negative side through the analysis of the level of career awareness. Children have much ability in choosing their careers and in processing the information about career. Also, they take much interest not only in choosing their career through the right self-awareness but also in deciding their careers on scientific and reasonal basis. So, I think that it is very desirable for them to have these abilities. But they showed the negative responses that they don't feel self-consciousness about career which they chose and they have less independence in deciding their careers. Such negative responses are due to the short of responsibilities which they like to depend on their parents and teachers as they decide their careers. It is related with which their parents' over-concerning and over-protecting for their children. In order to be formed the right awareness of career by children, teachers and parents should reinforce education for them in close relation between school and home.

인간마음의 실체에 관한 연구 : The scarlet letter 중심으로

김화옥 高麗大學校 1991 국내석사

Pyrrole 유도체와 DADC와의 반응에 관한 연구

김화옥 연세대학교 1981 국내석사

Pipemidic acid의 光分解에 관한 硏究

김화옥 曉星女子大學校 1995 국내석사

역사박물관 전시 공간에 대한 고찰 : 국립중앙박물관 상설 역사전시관을 중심으로

김화옥 수원대학교 대학원 2012 국내석사

The introduction of modern museums in Korea can be traced to the public opening of Imperial museum on November 1st, 1909, commissioned by Sunjong, the last emperor of the Korean Empire. The process in which Imperial museum became the National Museum of Korea was a difficult one, due to Japanese intervention in domestic museum affairs at the time. This thesis seeks to assess the process in which the National Museum became a symbolic place of national identity by examining the partitioning of exhibition space in the museum. With progress in time, the National Museum’s dual-role of preservation and collection is expanding, thereby increasing sociocultural and educational demands and strengthening its function of exhibition. The museum not only serves as a cultural institution which demonstrates national tradition, but also assumes great responsibility in history education. The museum’s historical exhibition has the important function of sociocultural and educational communication. As the museum’s historical exhibition serves a multitude of social, cultural, and educational functions, this study seeks to focus on examining the process of historical awareness in respect to the permanent exhibition’s synthetic elements (Yongsan 2nd) and its organization before its introduction. In this paper, the development of the National Museum is categorized chronologically into the following: Gyeongbokgung 1st period (1945~1954), Namsan period (1954~1955), Deoksugung period (1955~1972), Gyeongbokgung 2nd period, Gyeongbokgung 3rd period, Gyeongbokgung 4th period, and the Yongsan period (2005~present). This categorization is based on the location of the museum during each period. In greater depth as to this chronological category, one can categorize further into four stages or ‘phases’ to analyze the changes in exhibition form. The first phase of this are the Imperial museum, the previous embodiment of the National Museum, and the Japanese Colonial Museum established during the annexation period. The second phase of transition fits into the chronological order between Gyeongbokgung 1st and Deoksugung periods, after liberalization from Japan. This is when the museum first began to be called “National Museum”. The third phase is between Gyeongbokgung 2nd and 4th periods, when the museum came to be formally titled “National Museum of Korea”. The 4th and final phase correlates to the Yongsan 1st and 2nd periods after moving out of the palace (2005~present). We have analyzed the transformation in arrangement of exhibition space for permanent exhibitions in the museum. By closely examining its research aspects, it was possible to infer that the antiquity exhibitions in the Colonial Museum and Imperial museum were organized by types of relics and were intended as Japanese colonial education centres to reform annexed Koreans, instead of as a purely chronological type of exhibition. Even after independence during the Gyeongbok 1st, Namsan, and Deoksugung periods, the exhibition format of organizing into item types instead of doing it chronologically was left unchanged. Between the Gyeongbok 2nd and 4th periods when the museum came to be formally called “The National Museum of Korea”, there were some attempts to remodel the format, but the only noticeable difference made was to organize exhibitions chronolgically from prehistory to the Unified Silla period, and still much of the museum remained categorized into relic types as it was during its colonial years. With the move to Yongsan in 2005, major changes were instituted in the permanent exhibitions on the museum’s 1st floor. The Yongsan 1st period of exhibition featured a much more detailed subdividing of the prehistoric gallery into four exhibitions: Paleolithic, Neolithic, Bronze, and early Iron ages. Another significant change was the introduction of the Balhae gallery as a central exhibition of Korean heritage. Due to strong public request, a new Gojoseon gallery was also added, and the previous Proto-Three Kingdoms gallery was modified to become the Buyeo and Samhan gallery. The Goryeo and Joseon galleries were constructed to follow Unified Silla and Balhae in chronological order. Thus, with these major changes the museum truly became a symbol of national identity and pride, with its syntatic format of exhibition. The exhibition of artifacts in a museum is a tool which promotes a nation’s identity and tradition, and is a communal institution which creates cohesion. Even under the same education, historical awareness can vary greatly in interpretation of and understanding of artifacts. Value-judgements and approaches to the same artifacts can also vary to great extent. A museum serves basically as a post stone to historical awareness. In conclusion, the National Museum of Korea is a museum which represents the entire nation, and as such great emphasis should be placed on its important responsibility of historical education. The first floor permanent exhibition hall is a place of historical education based on tangible artifacts. This is a place for supplementing history education in school, and is also a great educational centre for foreigners and multicultural families who have not received history education in a Korean school. These aspects carry the socio-educational function of life-long education for the public. The synthetic element in museum exhibition ought to be emphasized and supplemented further for its role of offering social education to ordinary people as well as school education.