• Korean journal of communication and information
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• v.43
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• pp.117-151
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• 2008

This paper regards former Samsung lawyer Kim Yong-Chul's action of claiming Samsung Group's slush fund as typical Whistle-Blowing from inside. News frames in KBS, SBS TV were examined through comparative analysis. In formal feature, 'episodic news frame' hold an absolute majority in both stations. From news sources, the group of whistle-blower such as lawyer Kim Yong-Chul and civic groups was confronted with Samsung and state authorities including the Prosecutor, financial agencies. Analysis on the theme of news coverages demonstrated 5 frames: 'public announcing frame', 'news of conflict frame' 'demanding a close inquiry frame', 'declaration of conscience frame', 'causing social upheaval frame', Analysis result shows that 'public announcing frame' was most frequently used in reporting and there was distinction between KBS and SBS in 'declaration of conscience frame' and 'causing social upheaval frame'. Relatively KBS preferred 'declaration of conscience frame' and SBS would use 'causing social upheaval frame', from which reciprocal relation as media ownership could be analogized. Both media tend to make light of in-depth news coverages on structural issues or essential settlement and it is shown that both stations treated this situation with intriguing audiences as stressing sensitive parts in this event. Follow-up of changing process of 'declaration of conscience frame' through diachronic analysis on framing informs that additional exposure of 'Lee Yong Chul', former secretary in Nov 19, 2007 influenced increasing of frequency of using 'declaration of conscience frame'. However, news reporting on whistle-blower in KBS and SBS generally adheres to passive attitude of following changes in the surroundings rather than playing an active role in improving social recognition on whistle-blowing, which can induce to the spread of negative feature on it. Thus it is assumed that terrestial television broadcasting should regard whistle-blowing as contradiction in social structures and active depth reporting seems to be neded for improving social recognition on whistle-blowing.

• Journal of Environmental Policy
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• v.8 no.2
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• pp.25-61
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• 2009

These days, environmental policies have changed from being command and control systems toward economic incentive systems, with various incentives having been established by OECD countries. In Korea, many environmental charges have been established in order to diminish activities which damage natural resources. Among them, the Ecosystem Conservation Cooperation Charge and the Replacement Charge for Forest Resources Creation are considered to be representative environmental charges. These charges, along with a few others, were designed to encourage efforts to protect natural resources. The charges include a number of different features, utilize varying methods, and altered ranges of jurisdiction. However, the charges may pose serious inequity problems in terms of their estimated values and their conditions of reduction and exemption. For instance, although the Ecosystem Conservation Cooperation Charge is a primary charge applied to natural resource damage, the charge does not fully secure its original objectives due to its low levy and limited range of provisions. Moreover, the Replacement Charge for Forest Resources Creation has been criticized because of similar reduction and exemption provisions. Therefore, this study analyzes the inequity problems associated with the charges and proposes solutions. First of all, the Ecosystem Conservation Cooperation Charge should be redesigned in such a way that it reflects the substantial value of natural resource damage through either abrogate or increased maximum limits of the charge. With regard to the Replacement Charge for Forest Resources Creation, the cases and ranges of reduction and exemption provisions should be narrowed. Finally, the charges collected should be expended in conformity with their original objectives, and their expenditure should be restricted to either restoration activities or activities directly related to compensation and mitigation of damaged natural resources.

• Cartoon and Animation Studies
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• s.49
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• pp.325-357
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• 2017

It can be assumed that the reasons why the animation characters, 'Olaf (in Frozen Kingdom)' and 'Minions (in Super Bad)', etc., which were very successful in the merchandising market while having won the popularity better than the main characters are very popular even though such characters appeared only by playing a funny role while assisting the adventures of the main characters are not only because of their cute appearances but also because such characters have their own core features in their inner world as the transitional object-characters. Simply expressing, a 'Transitional Object' as a concept suggested by a child psychologist, 'Donald Winnicott', means a lovey doll or an imaginary friend which temporarily replaces an infant's mother during the procedure when the infant is mentally separated from its mother. However, in case that the theory of transitional objects was applied directly to many narrative content characters for doing a study, there must have been done some studies in advance for establishing some new criteria and indexes related to the transitional object-characters of such narrative contents. Accordingly, while thinking that the 'emotional relationship' between a growth-subject and a growth mediator must be dealt with as the most important content in order to define a transitional object-character in a narration clearly, this researcher established some emotional index for judging the propensities of a transitional object-character on the basis of such way of thinking. The index is composed of 4 kinds of emotional roles (quasi-family member, growth mediator, lovey doll, an imaginary friend), 6 kinds of emotional supports (hugging, protecting, accepting, giving the initiative, improving the relationship and mutual supervising) and 4 kinds of emotional impressions (impression by contacting, impression to protect and impression accepting an attack). In case that some main characters of a family feature animation, 'Inside Out', are analyzed while the index mentioned above is applied, it was found that 'Bing Bong' and 'Sadness' have a high propensity as a transitional object-character. Especially, it could be inversely inferred in which ways some good transitional object-characters can help the narrations on growth of a family feature animation by taking a look at the character, 'Sadness' that has the highest propensity as a transitional object-character. The transitional object-character, 'Sadness' assists the narration on growth internally and externally by helping the internal maturity of a growth-subject in a way of projecting the tasks for the internal maturity of a growth-subject while helping the growth-subject to be successfully externally in a way of providing the growth-subject with some kinds of facilitating emotion. As the results from this Study, since such kinds of emotional experiences provided by such transitional object-characters are displaced to not only the relevant growth-subjects but also the audience who are emphasized with such growth-subjects as they are, such transitional object-characters play a role of hidden benefactors who induce some immersion into the narrations and provide child and adult audience with various layers of emotional satisfaction.

• Information Systems Review
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• v.6 no.2
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• pp.113-135
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• 2004

This paper defines appraisal items and weights of the items for the purpose of developing an appraisal instrument that objectively measures employee's effectiveness of knowledge contribution. Deductive research is used for the development of appraisal items and delphi method for the development of weights of the items. In the deductive research the term, "effectiveness of knowledge contribution" is first defined. Then knowledge contribution activities are classified as "dimension of explicit contribution" and " dimension of tacit contribution" due to the characteristics of knowledge. Each dimension is divided again by components. The dimension of explicit contribution is divided according to the content of knowledge, and the dimension of tacit contribution is divided according to the extent of tacitness of knowledge contribution. The total components of dimensions are 7. The dimension of explicit contribution is composed of factual knowledge and procedural knowledge. The factual knowledge is made up of "procedural knowledge outcome" and "other factual knowledge". The procedural knowledge is made up of "procedural knowledge manual" and "lessons-learned procedural knowledge". The dimension of tacit contribution is composed of "agency", "model" and "Q&A". The basic framework for measuring 7 components of knowledge contribution is quantitative and qualitative approach. This paper is premised on the assumption that the outcomes of employee's knowledge contribution activities are recorded in the knowledge management systems in order to evaluate them objectively. The appraisal items are defined as follows: at the dimension of explicit contribution, in quantitative approach, "the upload number" or "performance number", and in qualitative approach, other employee's "referred number" and other employee's "content and format satisfaction evaluation"; at the dimension of tacit contribution, "demanded number of performance" After the development of appraisal items by the deductive method, delphi method was used for the analysis of the weights of the items with the total degree of knowledge contribution, 100. This research does not include the standard marks of the appraisal items. It is because when companies apply this appraisal instrument, they could use their own standard appraisal marks of the appraisal items considering their present situations and companies' goals. Through this almost desert-like research about the appraisal instrument of employee's knowledge contribution effectiveness, it proposes a cornerstone in the research field of appraisal instrument, which provides a standard for employee's knowledge contribution appraisal, and appraisal items that make organizational knowledge to be managed more systemically in business sites.

• Archives of design research
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• v.18 no.3 s.61
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• pp.199-208
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• 2005

This study analysis if the concepts of kitsch and vernacular remains as cultural elements for product design. Because their function and aesthetic value have vivid possibilities for general product design fields. For the purpose, this study limits its range within post modernism, kitsch, and vernacular, and analyzes their relationships. Against functionalism, post modernism had cultural pluralisms to approach into popular styles, and some of them was amusing design. That post modernism designs stimulated human beings' emotion by decorations or some symbolic forms from specific objects is similar to the symbolism, regionalism, or pluralism of kitsch or vernacular. Kitsch is a free style that is not limited in any specific trends. It is a Meta culture that has influenced into various fields including design, so kitsch does not have a parallel position with a product or design. In product design, kitsch is the behavior and result of imitating existing objects' images. It could have amusement according to which objects are imitated. So if human beings feel amusement by kitsch, it could be same as the direction of post modernism. Kitsch is determined by design atmospheres. They cannot be specified abjectly, and can be different according to people. With symbolism and regionalism, kitsch and vernacular appeared according to people's needs. While kitsch is consumer's tastes-oriented, vernacular is cultural tradition-oriented. Kitsch has symbolism that specifies products' functions or design concepts, and it is a communication method between human being and products. Because vernacular is province-oriented, it has a lot of styles according to regional living environments and cultural differences. So vernacular design reflects continued traditional lifestyles. By restorative memory, regionalism, cultural pluralism, amusement, and symbolism, kitsch and vernacular could be understood the sub or parallel concepts of post modernism. They might be easily miss-understood mixed concepts that have western and national characters. But in kitsch and vernacular concept, modernizing pas by using the pluralism of post modernism should be considered positive. So, the range of the further study is also supposed to be focused on more widened fields to, to establish cultural identification in design.

• Journal of Korean Philosophical Society
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• v.130
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• pp.219-246
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• 2014

Do the particular good and the common good stand in relation of opposition or superiority each other? With regard to this question, some argue that the relevant Thomas texts reveal the superiority of the common good over the particular good, while others argue for the superiority of the particular good. The argument of this articles is, however, that closer examination of texts shows that Thomas Aquinas seeks to the unity of the common good and the particular good instead of seeing the conflict between them. It is true that Thomist moral and political theory emphasizes the value of the individual, but it should be noted that for Thomas the individual as individual does not exist, but shares specific formal determination with other members of the same species and, therefore, is the individualized, concrete universal. Good, meanwhile, means perfection which each being pursues and a thing is called good in the absolute sense when it actualizes its potentialities as a whole. An individual person is said to pursue only partial good, if it only seeks its perfection as an individual. The nature of individual person should be fully realized only in and through the community pursuing the common good. But the aim of living together which is rooted in the nature of human being as a rational being is for its members to live virtuously. The political community is said to try to bring its individual members to perfection, since the virtues are what renders human beings and their acts good. In this sense the particular good of the individual person is achieved through the pursuit of the common good and the common good is realized through the pursuit of the particular good so that they coincide each other. But this unity remains imperfect, when it would not be rightly ordered to its due end which is non other than the highest good, that is God. Accordingly the goodness of the human being in an absolute sense lies in the unity of the particular good and the common good rightly oriented towards the highest good, which is also called common good which every being pursues.

• 기호학연구
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• no.56
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• pp.45-70
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• 2018

Criticism of the postmodern philosophy of the system of representation, which has continued since the Renaissance, is based on a critique of the dichotomy that separates the subjects and objects and the environment from the human being. Interactivity, highlighted in a series of works emerging as postmodern trends in the 1960s, was transmitted to an interactive aspect of digital art in the late 1990s. The key feature of digital art is the possibility of infinite variations reflecting unpredictable changes based on public participation on the spot. In this process, the importance of computer programs is highlighted. Instead of using the existing program as it is, more and more artists are creating and programming their own algorithms or creating unique algorithms through collaborations with programmers. We live in an era of paradigm shift in which programming itself must be considered as a creative act. Simulation technology and VR technology draw attention as a technique to represent the meaning of reality. Simulation technology helps artists create experimental works. In fact, Baudrillard's concept of Simulation defines the other reality that has nothing to do with our reality, rather than a reality that is extremely representative of our reality. His book Simulacra and Simulation refers to the existence of a reality entirely different from the traditional concept of reality. His argument does not concern the problems of right and wrong. There is no metaphysical meaning. Applying the concept of simulation to algorithmic art, the artist models the complex attributes of reality in the digital system. And it aims to build and integrate internal laws that structure and activate the world (specific or individual), that is to say, simulate the world. If the images of the traditional order correspond to the reproduction of the real world, the synthesized images of algorithmic art and simulated space-time are the forms of art that facilitate the experience. The moment of seeing and listening to the work of Ian Cheng presented in this article is a moment of personal experience and the perception is made at that time. It is not a complete and closed process, but a continuous and changing process. It is this active and situational awareness that is required to the audience for the comprehension of post-representation's forms.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.2
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• pp.13-27
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• 2019

This study shows the changes in the space created by the planning and leisure activities of Hangang River Park, focusing on the Yeouido portion of the Hangang River Park, which has the most users and the greatest degree of planning. The relationship between planning, behavior, and space changes are explained based on Giddens's Structural Theory. As research material, Hangang River Park plans and satellite photos were interpreted and newspaper articles were used to identifying the space changes and their causes, and a model of the space changes was derived through the application of the theory. The flow of space change in the Yeouido portion of the Hangang River Park due to planning and leisure activities is as follows. In the 1970s, the first sports spaces are made due to need from residents near the riverside, but huge plans for the utilization of the entire space were not realized. In the 1980s, leisure spaces were planned and developed through a comprehensive plan. Various sports spaces were built, but the environment of the spaces became a slum. In the 1990s, various leisure activities were revitalized due to the revision of the legal system, regulations on the usage of space, and space maintenance, and from the late 1990s, ecological issues arose along the Hangang River. In the 2000s, there was an overall space improvement project directed by two comprehensive plans, and cultural and ecological issues appeared in the Hangang River Park plans. However, actual leisure spaces were developed along with the promotion of large-scale activities. Regarding the structuration theory, elements of interaction, modality, and structure are the aspects of space changes in the Yeouido portion Hangang River Park. As the flow of the space change, the proportions of the comprehensive plan and the individual plans were similar. The comprehensive plan was influenced by the change of public businesses and the proliferation of large-scale activities. Individual plans were influenced by the user's activities and opinions. However, both plans were influenced by the users and suppliers. The leisure space of the Hangang River Park can be viewed as a social space, in terms of the structuring as a theory due to the user repeatedly changing the use of the space. The purpos of this study is to investigate the changes in the Hangang River Park space through planning and leisure activities. Through this study, we can understand the characteristics of the Hangang River Park in planning the leisure activity space.

• Korean Journal of Heritage: History & Science
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• v.48 no.2
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• pp.142-157
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• 2015

This study examines how traditional knowledge functions in the specific techniques to make pottery in terms of the traditional knowledge on the pottery techniques of Onggi potters. It focuses on how traditional pottery manufacturing skills are categorized and what aspects are observed with regard to the techniques. The pottery manufacturing process is divided into the preparation step of raw material, the molding step of pottery, and the final plasticity step. Each step involves unique traditional knowledge. The preparation step mainly comprises the knowledge on different kinds of mud. The knowledge is about the colors and properties of mud, the information on the regional distribution of quality mud, and the techniques to optimize mud for pottery manufacturing. The molding step mainly involves the structure and shape of spinning wheels, the techniques to accumulate mud, ways to use different kinds of tools, the techniques to dry processed pottery. The plasticity step involves the knowledge on kilns and the scheme to build kilns, the skills to stack pottery inside of the kilns, the knowledge on firewood and efficient ways of wood burning, the discrimination of different kinds of fire and the techniques to stoke the kilns. These different kinds of knowledge may be roughly divided into three categories : the preparation of raw material, molding, and plasticity. They are closely connected with one another, which is because it becomes difficult to manufacture quality pottery even with only one incorrect factor. The contents of knowledge involved in the manufacturing process of pottery focused are mainly about raw material, color, shape, distribution aspect, fusion point, durability, physical property, etc, which are all about science. They are rather obtained through the experimental learning process of apprenticeship, not through the official education. It is not easy to categorize the knowledge involved. Most of the knowledge can be understood in the category of ethnoscience. In terms of the UNESCO world heritage of intangible cultural assets, the knowledge is mainly about 'the knowledge on nature and universe'. Unique knowledge and skills are, however, identified in the molding step. They can be referred to 'body techniques', which unify the physical stance of potters, tools they employ, and the conceived pottery. Potters themselves find it difficult to articulate the knowledge. In case stated, it cannot be easily understood without the experience and knowledge on the field. From the preparation of raw material to the complete products, the techniques and traditional knowledge involved in the process of manufacturing pottery are closely connected, employing numerous categories and levels. Such an aspect can be referred to as a 'techniques chain'. Here the techniques mean not only the scientific techniques but also, in addition to the skills, the knowledge of various techniques and levels including habitual, unconscious behaviors of potters.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.1-17
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• 2018

This study was conducted to interpret the landscape of Songge Byeoleop(Korean villa) garden at Jogyedong, Bukhansan near Seoul which was built in the mid 17C. to restore through the literature reviews and field surveys. The results were as follows; Songge Byeoleop garden was a royal villa, constructed at King Injo24(1646) of Joseon dynasty by prince Inpyeong(麟坪大君), Lee, Yo(李?, 1622~1658), the third son of King Injo who was a brother of King Hyojong. It was a royal villa, Seokyang-lu under Mt. Taracsan of Gyendeokbang, about 7km away in the straight line from main building. It was considered that the building system was a very gorgeous with timber coloring because of owner's special situation who was called the great prince. The place of Songge Byeoleop identity and key landscape of the place were consisted with Gucheon waterfall and the sound of the water with multi-layered waterfall which might be comparable to the waterfall of Yeosan in China. After the destruction of the building, the place was used for the royal tomb quarry, but there was a mark stone for forbidden quarry. The Inner part of Songge Beoleop, centered with Jogedongcheon, Chogye-dong, composted beautifully with the natural sceneries of Gucheon waterfall, Handam and Changbeok, and artificial structures, such as Bihong-bridge, Boheogak, Yeonghyudang and Gyedang. In addition, the existing Chinese characters, 'Songge Beoleop' and 'Gucheoneunpog' carved in the rocks are literary languages and place markings symbolizing with the contrast of the different forests and territories. They gave the names of scenery to the rock and gave meaning to them. Particularly, Gucheon waterfall which served as a visual terminal point, is a cascade type with multi-staged waterfall. and the lower part shows the topographical characteristics of the Horse Bowl-shaped jointed with port-holes. On the other hand, the outer part is divided into the spaces for the main entrance gate, a hanging bridge character, a bridge connecting the inside and the outside, and Yeonghyudang part for the purpose of living. Also in the Boheogak area, dual view frame structures are made to allow the view of the four sides including the width and the perimeter of the villa. In addition, at the view point in Bihong-bridge, the Gucheon water fall divides between the sacred and profane, and crosses the Bihong-bridge and climbs to the subterranean level.