• 월간 기계설비
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• s.249
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• pp.76-79
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• 2011

서울시가 지난 3월 7일 건설공사와 관련한 저가하도급 대금미지급 임금체불 등 고질적인 하도급 부조리로 인한 피해를 속 시원하게 해결해 주는 "서울특별시 하도급부조리 신고센터"를 개소하고 본격적인 운영에 들어갔다. 서울시 감사관실 산하에 설치된 신고센터는 하도급 관련 신고 접수 및 처리를 일관성 있게 관리해 운영효과를 극대화할 예정이며, 앞으로 25개 자치구 공사 공단 감사부서에도 부조리 신고센터를 확대 설치할 계획이다.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.73-82
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• 2019

The satirical content of the absurd play, centered on Lee Keun-sam's play, represents the family image of a modern capitalist society where only duty is emphasized while the characters are lost in love with the family. They show humans becoming subordinate to economic logic as traditional relationships and family relationships change into material ones due to the rapid development of the economy. The narrator expresses the roles of the performer and the narrator together. It also presents the plot as a characteristic element of epic and absurd dramas, and directs actors as directors. It also foretells the events that will take place in the future, presents the inner consciousness of the characters in the play, and reduces and expands events and times. In terms of conflict, in order to fulfill the financial responsibility of their children, the professor translates them like a machine and the wife distributes the money they earn as they demand. The middle-aged professor and his wife are not willing to make a difference in the real world, so specific conflicts are not revealed. Therefore, no concrete conflict appears within this work. The plot of consisted of 22 epicentre compartments, consisting of a time frame from evening to the next morning. And no special events happen and show only one family's daily life. In addition, materials that show simple repetition of daily life such as newspapers, rice, birthdays, etc. are effectively showing the character of absurdity through repeated structure. The linguistic features of the absurd play focus on expressing anxiety, despair, fantasy and the sense of loss that the object's purpose has disappeared. The stage system avoids detailed portrayals of naturalist plays and creates a thoroughly simplified image that the theme of the play demands, which shows that the stage unit is also an important element that characterizes the absurdity of reflexes.

• Journal of Digital Contents Society
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• v.18 no.2
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• pp.293-301
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• 2017

This study collects 112 webtoon advertisements by Google extended search to reveal the narratives of webtoon in persuasive communication context. The results of content analysis are as follows. First, product categories are found relatively more in number such as content and game, cosmetics, public service announcement than other products. Second, the number of webtoon advertisements has increased these seven years; rather drastic increase is found in 2013. Third, as for the origin, brand webtoon is the largest number of all types. Fourth, there is a significant difference between public interest products and commercial products in absurdity advertising number. Commercial products use a variety of genres such as romance, drama, everyday life, including absurdity, while public interest products focus mainly on everyday life.

• Korean Journal of Logic
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• v.19 no.3
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• pp.341-368
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• 2016

Asserting a sentence of the form "p but I do not believe that p" sounds inappropriate, and even absurd or contradictory. The problem that Moore's paradox raises is to explain why asserting such a sentence is absurd despite the fact that there is apparently no logical contradiction in it. Many of the influential accounts of Moore's paradox try to locate its source in the nature of belief or in the nature of assertion. In this paper, I argue that these accounts are not satisfactory, and develop and defend a novel account. According to this account, the source of Moore's paradox should be located in self-reference. Self-reference is constituted by a certain disposition to form second-order beliefs. A subject who is ready to assert "p but I do not believe p" fails to conform to the disposition that is constitutive of self-reference, while at the same time referring to the relevant individual with "I."

• Cross-Cultural Studies
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• v.46
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• pp.281-296
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• 2017

Andrei Amalrik's plays are a unique phenomenon in the 70 years' history of Soviet drama. Half a century after the Soviet theater had intentionally forgotten its own achievements of avant-garde dramaturgy in the early 20th century, his bizarre plays suddenly emerged in the Soviet theater environment, completely separated from contemporary Western practices of the experimental theater. Surprisingly even now, Amalrik's plays have almost been forgotten not only in Russia but also by foreign Russian literary scholars. Amalrik's autobiographical essay is his only book published in Russia after the collapse of the Soviet regime. There is no collection of his works, and reevaluation of his work is not found even in Russia. However, Amalrik is a writer who should get a proper evaluation. The purpose behind studying his plays is to restore the tradition of Russian grotesque-absurd dramaturgy, which has been inherited from Gogol, Khlevnikov, Mayakovsky, and Oberiu. In this paper, we will analyze the mechanism of composition in Amalrik's plays.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.83-84
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• 2013

이 연구는 코엔 형제 영화의 열린 결말이 작품의 주제와 어떻게 연관되는지, 그리고 그러한 열린 방식으로 내러티브를 종결시킬 수 있게 하는 서사 논리가 무엇인지 논의한다. <바톤 핑크>(1991), <노인을 위한 나라는 없다>(2007), <시리어스 맨>(2009) 등 코엔 형제의 열린 결말 영화들은 모두 '불확실성'에 관한 영화이다. 이 불확실성은 부조리하고 아이러니컬한 세상의 불가해성과 그것에 대한 캐릭터의 이해 불능으로 나타난다. 코엔 형제의 영화들은 바로 이러한 세계의 불가해성에 대한 논증의 내러티브이며, 이들의 열린 결말은 플롯과 논증의 중층 구조에서 스토리 문제의 해결이 아니라 논증의 완결을 추구한 결과이다.

• Cartoon and Animation Studies
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• s.37
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• pp.267-286
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• 2014

Yeon Sang-Ho's Animation occupies an exceptional place in Korean Animation, being categorized as the kind of realism representing the pitiable actuality rather than the liberal and creative imagination. His animation appreciated as 'stories much more real than the reality' mainly depicts the world of 'the others' who resides on the periphery of the society in a rough and straightforward way. Yeon Sang-Ho's Animation represents the emotions and desire of characters as well as the heartless real world refusing the fantasy, through which it reflects the portraits of people living in post-capitalistic era seen from the microscopic view. This article investigates the textual characteristics, defining his animation as the Brutal history of 'The Others'. Two conditions which constitute the actual world in his works are the absurd social system and the characters who are afflicted with the trauma, belonging to the lower classes. Therefore, the landscape of real life which contains vicious victim, corrupted monster and being as 'homo sacer' looks like a painting of hell. Yeon Sang-Ho's Animation summons the shadow of ourselves which has been negated or neglected through the figure of 'the others' produced in post-capitalistic era and exposes our bare face and the uncomfortable truth by displaying the affected area of out society plainly. Furthermore, his works demonstrate the possibility of Korean animation as a representational language of facing the reality and searching for the truth.

• Fire Science and Engineering
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• v.20 no.4 s.64
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• pp.42-57
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• 2006

This study suggests improvement plans : safety check system security through combination in stages, unification of fire inspection, enterprising security of prevention work, enforcement of certificate of qualification for safety, activation of civil partner-ship of fire disaster prevention through contrast prevention work of administrative service with civil mind and an in-depth analysis : dispersed and duplicated management current safety check service, improper commission collection, immorality diffusion of involved, potential irregularities causes, deficit of professionalism security.

• Korean journal of communication and information
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• v.75
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• pp.83-144
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• 2016

SBS's -also known as - is one of the most famous investigative programs in South Korean television sector. This program is well-known for its much detailed and tenacious investigation of unsolved crimes, various social wrong-doings, as well as public scandals through a mystery code and meticulous storytelling. As a result, generates much popular interests and responses from local audiences. This work both examines and contextualizes the multiple roles and implications of this program through a textual and production analysis. Especially, it critically pursues this program's achievements and limits in the context of the changing roles of investigative journalism and its unstable status at current juncture.