• Journal of the Economic Geographical Society of Korea
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• v.1 no.1
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• pp.151-172
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• 1998

Over the past two decades, the process of globalization of multinational corporations has increased at a rapid rate. One manifestation of this process is the establishment of corporate head offices in a variety of international centers to administer and coordinate, the day-to-day operations in the host countries. In establishing a subsidiary overseas a firm creates a direct link between the operations of the domestic corporate center and the foreign host center This paper investigates elements of stability and change in the international linkage patterns among domestic parent corporations and host subsidiaries over the past several decades. In particular, it seeks answers to a number of question related to stability and change in linkages among foreign centers of control and those Canadian centers selected to administer the subsidiary operations from 1970 to 1991 over the four primary sectors, namely, resources, manufacturing, services, and finance. By confirming the core stability and dispersed linkages hypotheses, the papar offers some generalizations with respect to the location and stability of subsidiary headquarters centers in Canada and their respective subsector specialties. Finally, it addresses further research avenues fer the quaternary place study.

• Journal of dental hygiene science
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• v.11 no.6
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• pp.513-520
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• 2011

The purpose of this study was to examine elderly people's oral health behaviors and education needs. The subjects in this study were 195 senior citizens who were users of senior cultural centers and senior welfare agencies in Seoul and Incheon. After a survey was conducted, the collected data were analyzed by the statistical package SPSSWIN 19.0. The findings of the study were as follows: 1. Gender, academic credential and monthly mean income were identified as the general characteristics to impact on their oral health attitude. 2. The senior citizens who ever received oral health education had a better knowledge(p<0.05) and took a better attitude(p<0.01). 3. As for a time for toothbrushing, many brushed their teeth after breakfast(74.9%) and dinner(71.8%). Utilized Oral hygiene devices were interdental brushes(21.5%), dental floss(13.8%). As many as 62.5% felt they had a dry mouth, and the most prevalent way for them to cope with it was drinking water often(68.2%). 79.5% didn't get their teeth cleaned on a regular scaling. 4. The rate of regular scaling was higher in the elderly groups that ever received oral health education and whose knowledge scores was above the average(p<0.05). 5. In relation to the necessity of oral health education, 87.2% felt the need for that, and as many as 79.0% intended to receive that education. Their favorite period of education was 6months(41.0%), and the greatest group hoped to receive that education for an hour(55.4%). The largest group wanted to learn about prevention of oral diseases, followed by toothbrushing, denture management, dry mouth. Given the findings of the study, senior welfare centers and senior cultural centers should offer oral health education programs as part of lifelong education to provide systematic and prolonged education for the elderly to improve their oral health care to promote their oral health.

• (The) Research of the performance art and culture
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• no.37
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• pp.61-94
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• 2018

This article examined that the historical changes and current significance of the Jaedam(재담) and the Xiangsheng(相聲), one of the traditional Korean and Chinese language games. Both Korean Jaedam and Chinese Xiangsheng are representative language games and traditional performing arts for laughing. The origin of the Jaedam can be traced back to Uheui(우희). Uheui has been called Changyouxi in China, Bae Woo-hee, and Jo Hee in Korea. Uheui is the most traditional language game and a variety of performances were derived from its spreading and inheriting process. Among them, Korean Jaedam and Chinese Xiangsheng can be said to be a piece of art that has successfully inherited Uheui tradition. From the late 18th century, Korean Jaedam were established as independent performance arts, and became highly active in many performance by professional joker Park Chun-jae and other performers. With the development of gramophone record in the early 20th century, the Jaedam was mainly made on the theater stage and radio. At this time, the new performance art of 'Mandam(만담)' was derived from the Jaedam, which focused more on satire current events and criticizing the social situation. Mandam has been popular for a long time and then extinct in the 21st century. The jaedam have been handed down only in the Korean traditional performance so far. Meanwhile, Chinese Xiangsheng, which was built in the mid-19th century, a bit later than Korean Jaedam, was initially considered to be a vulgar art of the lower class, but finally became popular in the early 20th century. In the mid-20th century, Xiangsheng was transformed into a new character, which mainly deals with social praise and edification of the masses. But since 'New Xiangsheng' does not focous on a satire on social conditions, the humor has been reduced. In the early 21st century, Xiangsheng was on the verge of extinction just like Mandam, but through the efforts of young actors to revive tradition, another reformation of this art was made to return to tradition and small theater. Currently, the 'traditional Xiangsheng', which has returned to tradition, is once again receiving the love and support of the Chinese audience. Korean Jaedam and Chinese Xiangsheng have many similarities in terms of history and recruitment, but they are now in different fates. There is also a great deal in common ground in terms of the content and form of the two arts. In the case of Xiangsheng, it is one of the traditional folk art forms which is still loved by the Chinese people and has become one of the most important traditional performances. On the other hand, in Korea, Jaedam as independent performance arts has disappeared and now only can be seen in traditional performances such as 'Korean mask theater'. The fact that Korean Jaedam and Chinese Xiangsheng have undergone similar changes in their spreading and inheriting process, while Korean Jaedam have disappeared and Chinese Xiangsheng is well preserved. The reason can be confirmed through the main idea of this article.

• Cross-Cultural Studies
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• v.48
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• pp.289-323
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• 2017

L'Espoir, a novel by Andre Malraux, contains traits of the genre of literacy reportage that depicts the full account of the Spanish Civil War as non-fiction based on his personal experience of participating in war; the novel has been dramatized into a semi-documentary film that corresponds to reportage literature. A semi-documentary film is the genre of film that pursues realistic illustration of social incidents or phenomenon. Despite difference in types of genre of the novel and the film L'Espoir, such creative activities deserve close relevance and considerable narrative connectivity. Therefore, $G{\acute{e}}rard$ Genette's narrative discourse of novel and film based on narrative theory carries value of research. Every kind of story, in a narrative message, has duplicate times in which story time and discourse time are different. This is because, in a narrative message, one event may occur before or later than another, told lengthily or concisely, and aroused once or repeatedly. Accordingly, analyzing differing timeliness of the actual event occurring and of recording that event is in terms of order, duration, and frequency. Since timeliness of order, duration, and frequency indicates dramatic pace that controls the passage of a story, it appears as an editorial notion in the novel and the film L'Espoir. It is an aesthetic discourse raising curiosity and shock, the correspondence of time in arranging, summarizing, deleting the story. In addition, Genette mentions notions of speech and voice to clearly distinguish position and focalization of a narrator or a speaker in text. The necessity to discriminate 'who speaks' and 'who sees' comes from difference in views of the narrator of text and the text. The matter of 'who speaks' is about who portrays narrator of the story. However, 'who sees' is related to from whose stance the story is being narrated. In the novel L'Espoir, change of focalization was ushered through zero focalization and internal focalization, and pertains to the multicamera in the film. Also, the frame story was commonly taken as metadiegetic type of voice in both film and novel of L'Espoir. In sum, narrative discourse in the novel and the film L'Espoir is the dimension of story communication among text, the narrator, and recipient.

• The Korean Journal of Archival Studies
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• no.16
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• pp.201-256
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• 2007

Nowadays Korean main archives and manuscript repositories are planning to develop archival information service for students and teachers in their web sites. This study is aimed at discovering main issues of developing archival information service for students and teachers and finding a solution. The goal of archival information service for students and teachers is the promotion of use through launching service and the gradual growth of archival management program. The customer group is segmented into the students and teachers who are learning and teaching Korean history in classroom. As a result of analyzing curriculum and educational environment, the archival information must be developed into teaching-learning materials. And the processing archival information into archival content is needed. Consequently the character of archival information service for students and teachers is conceptualized as archival content service for teaching-learning materials. At every step of developing archival content service for teaching-learning materials, the next main points are considered and achieved. First, the strategy of customer-focused service must be the same from beginning to end. Second, the growth of traditional archival management(e.g. classification, description and finding aids) must be contributed. Third, the collaboration system leading by professional education staff must be organized. Fourth, the archival information must be related with teaching-learning activities. Fifth, the quality of content is more important than the quantity of it. Sixth, the networking with another agencies for cooperation must be considered.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.272-287
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• 2019

The Korean Demilitarized Zone (DMZ) was established in 1953 by the Korean War Armistice Agreement. It extends from the estuary of the Imjin River, in the west, to the coast of the East Sea. It is 4 km in width and 148 km in length. However, the ecosystems of the civilian control zone (CCZ) located between the southern border of the DMZ and the civilian control line (CCL) and the CCZ in the estuary of the Han River and the Yellow Sea are similar to those in the DMZ, and, therefore, the ecosystems of the DMZ and the CCZ are collectively known as the "ecosystems of the DMZ and its vicinities." The flora in the DMZ and its vicinities is composed of 1,864 species, which accounts for about 42% of all the vascular plant species on the Korean Peninsula and its affiliated islands. Conducting a detailed survey on the vegetation, flora, and fauna in the DMZ is almost impossible due to the presence of landmines and limitations on the time allowed to be spent in the DMZ. However, to assess the environmental impact of the Munsan-Gaesong railroad reconstruction project, it was possible to undertake a limited vegetation survey within the DMZ in 2001. The vegetation in Jangdan-myeon, in Paju City within the DMZ, was very simple. It was mostly secondary forests dominated by oaks such as Quercus mongolica, Q. acutissima, and Q. variabilis. The other half of the DMZ in Jangdan-myeon was occupied by grassland composed of tall grasses such as Miscanthus sinensis, M. sacchariflorus, and Phragmites japonica. Contrary to the expectation that the DMZ may be covered with pristine mature forests due to more than 60 years of no human interference, the vegetation in the DMZ was composed of simple secondary forests and grasslands formed on former rice paddies and agricultural fields. At present, the only legal protection system planned for the DMZ is the Natural Environment Conservation Act, which ensures that the DMZ would be managed as a nature reserve for only two years following Korean reunification. Therefore, firstly, the DMZ should be designated as a site of domestic legally protected areas such as nature reserve (natural monument), scenic site, national park, etc. In addition, we need to try to designate the DMZ as a UNESCO Biosphere Reserve or as a World Heritage site, or as a Ramsar international wetland for international cooperation. For nomination as a world heritage site, we can emphasize the ecological and landscape value of the wetlands converted from the former rice paddies and the secondary forests maintained by frequent fires initiated by military activities. If the two Koreas unexpectedly reunite without any measures in place for the protection of nature in the DMZ, the conditions prior to the Korean War, such as rice paddies and villages, will return. In order to maintain the current condition of the ecosystems in the DMZ, we have to discuss and prepare for measures including the retention of mines and barbed-wire fences, the construction of roads and railroads in the form of tunnels or bridges, and the maintenance of the current fire regime in the DMZ.

• (The) Research of the performance art and culture
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• no.20
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• pp.163-204
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• 2010

"Nectar of Immortality", also known as Suryukwha, is a painting which is hung on the wall during Suryukjae, a rite to console the spirits residing on both land and water. The Suryukwha at Bonyung Temple in the Ming Dynasty consisted of 139 scrolls depicting separate scenes. In Korea, however, Nectar of Immortality combines all the scenes into one large painting. The lower part of Nectar of Immortality describes pain, disasters, and the frailty of human life in this world. This is intended to inspire people to embrace Buddhism and be delivered from their worldly existence. However, it reflects the social realities of that time as well. The scenes at the bottom of the painting of nomadic troupes of entertainers and their performances are part of this reflection. In this section, various scenes of traditional Korean performance are illustrated, such as double and single tightrope walking, Sotdaetagi (performing atop a pole), Ssangjulbaegi (one form of Sotdaetagi), tumbling, bell juggling, mask dramas, dish spinning, puppet shows, the dance of Sadang, and sword dancing. Among these performances, some, such as Sotdaetagi, Ssangjulbaegi, double tightrope walking, bell juggling and sword dancing (Punggakjaengipae), have since ceased to exist. The troupes of entertainers depicted in Nectar of Immortality are Sadangpae, Namsadangpae, Sotdaejaengipae, Choranipae, Punggakjaenipae, Gutjungpae, and circus troupes. When, after itinerant lives, these entertainers die, they become forlorn wandering spirits with no descendants to perform their memorial services. The entertainers in the performance scenes are the embodiment of souls who are the subjects of salvation through Suryukjae. Among these entertainers, Sotdaejaengipae, Sadangpae, Choranipae, Punggakjaenipae and Gutjungpae no longer exist. In sum, Nectar of Immortality provides insight into the vanished content of numerous historic forms of performance and the activities of nomadic troupes of entertainers.

• (The) Research of the performance art and culture
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• no.36
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• pp.327-363
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• 2018

This paper tracks the present state of the Gugak educational programs run by Gugak-specialized museums including Museum of Gugak not only to set a directionality of Museum of Gugak to step forward for their main purposes, but also to find measures to invigorate its Gugak educational programs. There are 826 museums registered in 2016 nationwide, and ten of them are Gugak-specialized museums including Museum of Gugak. An analysis of the educational programs by Museum of Gugak presents high achievements in concentrativeness, participation and satisfaction levels. However, several issues such as difficulty level adjustment, education period arrangement, contents development, setting of a precise aim of education, and overcoming of regional limitations are to be solved in the future. Considering these special circumstances, the study suggests setting a directionality of Gugak education by following four conditions: Firtly, the Gugak education programs by Museum of Gugak should be user-oriented. Secondly, it is necessary to provide customized learning programs to suit users of various ages and generations. Thirdly, a solid education is required to enhance creativity deviating from uniform, unilateral, fragmentary education focused on materials and relics of museums as the users' experiences and learning levels vary. Fourthly, integrated education with relevant study in common use is required as the specialized environments of the museum could cause users psychological resistance and lessen their willingness to approach. Focusing on these four conditions several invigoration measures for the Gugak education programs are discussed: Firstly, a step-by-step approach, not a radical shift, is required in order to turn existing programs into the user-oriented. Secondly, customized learning programs should be planned in consideration of life cycle of the users. Thirdly, it is necessary to establish virtuous circulation reflecting activity-based contents as well as to provide the users experiences through five senses for solid Gugak education, in which various elements such as experiencing, learning, playing, viewing are reflected manifoldly. Fourthly, integrated education can be implemented when the features of Gugak educational programs are internally structured and the external environment matures.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.124-139
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• 2013

Choi Cheon-yak(about 1684~1755) is an artist who left the various artistic works such as sculptures of royal tombs, architectures. In addition, he was not only a skilled caster but also an able artisan carving jade in the early Joseon Dynasty period. Starting from making royal seals of King Suk-jong, he had made more than about 40 Royal seals until 1755. Choi Cheon-yak was well known as a skilled jade craftsman. Another of his great abilities was to carve subjects into ideal figures. In virtue of his greater abilities, he could take part in the process of constructing Royal tombs and sculpting the stone statues of military officials' which were erected at aristocrats' tombs. With these accumulated skills, when he was in charge of designing the folding screen stones for King In-jo's Jang Neong, he could even replace 12 animals system and clouds with peonies and lotus. Among his various abilities, his skill in carving a sculpture can stand comparison with any other contemporaries. His sculpture skill was at its zenith in 1752, the stone statues of military officials' at the Ui soseson's tomb count his showpiece that describes a model at the age of his late teens and is a realistic and portrayal sculpture, which met the royal family's dignity. In the same year, the stone statues of military officials' constructed by Choi Cheon-yak was elected in front of the Jo Hyen-myeong's tomb(1690~1752). This masterpiece referred to the armor of those of King Gong-min Neong and newly added a helmet and the patterns of a tortoise shell. These patterns of a tortoise shell were passed down to Park Moon-su's tomb in 1756 and Queen Jeong-sung's Hong Neung by his colleagues : Kim Ha-jeong and Byeon Yi-jin etc. He was one of the greatest sculptors in the $18^{th}$ century. People in Joseon praised him highly for his imaginative work from an amorphous object. Especially, these stone statues of military at Jo Hyeonmyeong's tomb shows the proofs of his supreme artwork.

• Journal of the Society of Disaster Information
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• v.17 no.3
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• pp.415-426
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• 2021

Purpose: The purpose of this study is to create the deveopment plan for promotion of advanced disaster-safety awareness, which is noted as a major factor in the large disaster. Method: This study is to conduct theoretical review with regard to disaster management and safety awareness. Consciousness surveys on safety awareness and previous disaster case was analyzed to derive the cause of the disaster, and the development plan for promotion of advanced disaster-safety awareness was suggested. Result: In the survey on the public's sense of safety on the disaster management evaluation, 'Response' stage was well performed, but the 'Recovery' stage was not. Especially, it was found that disaster safety education at the 'Prevention' stage was very lacking. In the survey on the public's safety awareness, the awareness level of the evacuation facility was very low, information on infectious diseases and collapse accident was insufficient. Especially, it has been found that the awareness on safety regulation in daily life is very insufficient. Through the case study on previous disaster(COVID-19, Fire in Miryang Sejong Hospital, Forest fire in the east coas at 2004'), it was derived that the lack of safety awareness(such as safety insensitivity) was the main factor of the expansion of the damage scale. Conclusion: The development plan for promotion of advanced disaster-safety awareness are as follow. First, it is necessary to spread the safety culture movement through the expansion of safety education and safety promotion. Second, disaster confrontation training for the public should be implemented to improve the effectiveness of disaster response. Finally, it is necessary to change the individual awareness on safety. When these factors are implemented systematically, advanced disaster-safety awareness can be promoted. Ultimately, disaster accidents in our society can be reduced.