• Journal of Hospice and Palliative Care
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• v.12 no.3
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• pp.115-121
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• 2009

Despite a recent increased nation's attention given to improving end-life care, we professionals need to be more critical and reflective on our realities surrounding hospice palliative care. The aim of this paper is to suggest that palliative care models can be used for patients/families in the last phase of life and examine whether they are appropriate for caring them in congruence with philosophy of hospice. The hospice experience model (HEM) of Eagan & Labyak and the developmental model of Byock are introduced and examined for their congruence with philosophy of hospice in applying to clinical practice. The HEM as a patient/family value-directed end of life care model emphasizes three principles; unique experience of patient/family, interactions/relationships among multiple dimensions of personhood and between family, and personal growth and development in the face of suffering through a life-completion. The developmental model stipulates dying as the last stage of living, a stage of life cycle in which patients/family may have growth through life-completion in multidimensional relationships of personhood. The model includes the developmental landmarks and tasks for life-completion as the framework to guide a means of professionals' to recognize their opportunity to grow. The landmarks and tasks include worldly and social affair, individual relationships, intrapersonal, and transcendent dimension. The models could work as appropriate palliative care models for patients/families in the last stage of living. The professionals need to be encouraged to apply the models to end of life care setting.

• Journal of Korean Philosophical Society
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• v.129
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• pp.291-313
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• 2014

The aim of this paper is to clarify the Aristotle's conception of change(kinesis). Aristotle defines the change as a process which actualize a potentiality. From Aristotle's definition of the change, a number of consequences flow directly about how to conceptualize it. First, the change is fundamentally directional. Second, if we do not know what the change is directed toward, we do not understand what the change is. Third, everything that changes is caused to change by a distinct cause of change, a changer. Fourth, there is a single actualization of cause and subject of the change. All change, for Aristotle, is the change of an enduring subject. And all change occur in the infinite(to apeiron) which is time, space, matter. It would be absurd to equate the whole and the infinite, for that would be to say that the unlimited had a limit. The infinite does not contain, but in so far as it is infinite, is contained. And due at least in part to its potentiality, the infinite is unknowable. Because it lacks a form. The infinite traditionally derived its dignity from being thought of as a whole in which everything is contained. But Aristotle removes the infinite from its position of majesty. Aristotle's this idea was a revolution in philosophical perspective.

• Journal of Korean Philosophical Society
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• v.142
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• pp.165-192
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• 2017

The purpose of this thesis is to explain the difference between Heidegger's hermeneutical philosophy and Gadamer's philosophical hermeneutics. The difference is to say that Heidegger's philosophy begins with Aristotle's theory of category and transcendental philosophy. On the other hand, the beginning of Gadamer's philosophical research is Plato's dialog, philosophy and Hegels dialectic. 2. Heidegger regards humanism as a variant of the modern ideal of human beings. On the contrary, Gadamer understands humanism as a place where romantism leads to the ideals of human education. 3. Heidegger says that the hermeneutical circle is still a logical and existential structure of the circle. On the contrary, Gadamer understands the circle as a circle between the whole and the part. This circle is the law of traditional hermeneutics derived from the tradition of rhetoric. 4. Heidegger says Plato's philosophy is the first beginning of the substance metaphysic, Hegel's philosophy the end of the subject metaphysic. On the contrary, Gadamer says the hermeneutical understanding and the hermeneutical interpretation is endless. 5. Heidegger's ontology is as Sein zum Tode a future oriented and eschatological. On the contrary, Gadamer's hermeneutic is as Sein zum Text always the way to a past, the infinite openness.

• Korean journal of communication and information
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• v.25
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• pp.7-40
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• 2004

Today, nuclear energy conflict is caused from the dangerous radioactive material. The main party of this conflict are politic and economic systems which deride nuclear energy, and the persons concerned which it oppose and the anti-nuclear environment group. If the nuclear waste is transported from one nation to another nation, multi national anti-nuclear group appears as conflict party. We call this domestic and transnational risk communication new social movement. From the viewpoint of system theory, the new social movement can mean the offensive development of self-reference which withstand the "technicalization of communication" through the "symbolically generalized communication media" like money and power. By comparing Northeast Asia and Europe, the nuclear energy conflict did not show a big difference in the selection of nuclear waste storing site. In the Northeast Asia, when Taiwan exports the nuclear waste to North Korea, the international conflict broke out. In Europe, Germany has a hard experience with the construction-plan for the re-treating plant that produces the plutonium from the dangerous nuclear waste, and with the transnational transport of the nuclear waste. The new social movement aims the global paradigm which is able to guarantee the subtainability of ecological environment. The nuclear conflict in the "world risk society" is solved through the "discourse-alliance" which accomplishes sub-politics by crossing the border of class, nation and system.

• Journal of Korean Philosophical Society
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• v.145
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• pp.91-117
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• 2018

This paper aims to clarify the similarities and differences between the Zhouyi and artificial intelligence. The divination of the Zhouyi is rooted in the oldest system of human knowledge, while artificial intelligence stands at the cutting edge of modern scientific revolution. At first sight, there does not appear to be any association that links the one to the another. However, they share the same ground as seen from a semiotic standpoint because both of them depend on the semiotic system as a means of obtaining knowledge. At least four aspects can be pointed out in terms of similarities. First, artificial intelligence and the Zhouyi use artificial language that consists of semiotic signs. Secondly, the principle that enables divination and artificial intelligence lies in imitation and representation. Thirdly, artificial intelligence and the Zhouyi carry out inferences based on mathematical algorithms that adopt the binary system. Fourth, artificial intelligence and the Zhouyi use analogy as a means of obtaining knowledge. However, those similarities do not guarantee that the Zhouyi could arrive at the scientific certainty. Nevertheless, it can give us important insight into the essence of our civilization. The Zhouyi uses intellect in order to get new information about the unknown world. However, it is hard to know what kind of intellect is involved in the process of divination. Likewise, we do not know the fundamental character of artificial intelligence. The intellect hidden in the unknown subject is a mystic and fearful existence to us. Just as the divination of the Zhouyi inspires the sense of reverence toward the supernatural subject, we could not but have fear in front of the invisible subject hidden in artificial intelligence. In the past, traditional philosophy acknowledged the existence of intellect only in conscious beings. Nonetheless, it becomes evident that human civilization ushers into a new epoch. As Ray Kurzweil mentioned, the moment of singularity comes when artificial intelligence surpasses human intelligence. In my viewpoint, the term of singularity can be used for denoting the critical point in which the human species enters into the new phase of civilization. To borrow the term of Shao Yong(邵雍) in the Northern Song Dynasty, the past civilization belongs to the Earlier Heaven(先天), the future civilization belongs to the Later Heaven(後天). Once our civilization passes over the critical point, it is impossible to go back into the past. The opening of the Later Heaven foretold by the religious thinkers in the late period of Joseon Dynasty was a prophecy in its own age, but it is becoming a reality in the present.

• Cartoon and Animation Studies
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• s.32
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• pp.245-261
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• 2013

This paper analyzes films by director Tarsem Singh in relation to the theory of the sublime. The medium of film works in dimensions of both spectacle and narrative. Tarsem's strength mainly comes from spectacle. The visual style of Tarsem is unique and undeniably beautiful, but in a strange and magnificent way, rather than sweet and pleasant. If you accept the premises of Kant and Lyotard that the beautiful is a positive pleasure and the sublime is a negative pain, Tarsem's spectacle is certainly closer to the sublime than the beautiful. The Fall proves the director's ability in both spectacle and narrative. The spectacle of this film is so overwhelmingly huge, and vivid, it easily surpasses spectators' maximum capacity of imagination, which leaves the spectators in awe. Spectacle tends to hinder thinking thus obstruct the flow of narrative, but at the same time it blocks rational suspicion about the narrative. The spectacle of the Fall works as the power to immerse the spectators into the internal logic of the film. Since the spectators are deeply moved by the spectacle, they willingly follow the narrative of the film, the tragic adventure of the heroes which again gives the audience deep catharsis.

• Journal of the Korea Society of Computer and Information
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• v.28 no.11
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• pp.209-226
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• 2023

Cross-border e-commerce has emerged as a crucial force in stabilizing China's foreign trade, driving the transformation and upgrade of China's foreign trade, and contributing to global economic development and stability. As a result, promoting the high-quality development of cross-border e-commerce has become a common challenge within the Chinese industry. However, with the rapid growth of cross-border e-commerce, it faces new phenomena and challenges, such as a mix of quality, fierce competition, and price competition. Brands serve as distinguishing markers for identifying entities, and brand building is a prudent choice for achieving high-quality development in cross-border e-commerce. This article utilizes brand theory, employing a combined qualitative and quantitative approach, with a specific focus on key elements within the operations of cross-border e-commerce enterprises. Through an analysis of the key elements influencing the formation and development of brands within the internal operations of Chinese cross-border e-commerce enterprises, it investigates their internal formation mechanisms and assesses the significance of these critical factors in influencing brand formation. The research process is based on data from overseas consumers, conducting empirical analysis, ultimately providing certain guidance for brand development in cross-border e-commerce enterprises.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.29 no.6C
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• pp.770-776
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• 2004

The goal of perceptual audio coder is to reduce redundancy and irrelevancy of audio signal based on the concept of masking. Several studies on masking effect reveal that the masking threshold varies as a function of the noise-like or tone-like nature of audio signals. Therefore, tonality of audio signal influences significantly the quality and efficiency of perceptual audio coder In this paper, we propose a new effective algorithm for tonality measure using spectrum energy. Since the proposed algorithm consists of a few transcendental functions and simple operations, it has lower complexity than MPEG psychoacoustic model-II. The proposed algorithm was tested with some audio signals, and DSP implementation showed that the proposed algorithm could be implemented with 3 MIPS. These results illustrate the efficiency of proposed algorithm in both performance and complexity.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.145-159
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• 2021

is a contemporary experimental film that forms ambiguity in the narrative and the psychological motivation of the characters, destroys linear temporality, and reminds of manipulation possibilities in digital images through varied techniques, and it carries implication by the fact that the transformation process of human subjects and self-awareness are connected to social trauma and makes way to infer by comparing it to the historical contexts of other nations or societies. centers on the space outside the screen, absent space, and the intrinsic meaning within the space and the frame and shares the information in the visible space and the space outside the screen and arouses an active perceptual process so that the audience can deduce the information that is not presented. The film visualized the historical meaning without describing the background of the times in detail and aimed to express the conflicts and worries between the god, a transcendental existence, with humans, which are marginal beings, within the conflicting structure among humans. Moreover, attempted to resolve the sadness of loss and absence through the spatial aesthetics and the film presented the progression of the situation through the contrast of the characters and also the comparison between light and darkness. This study intends to make an attempt of interpreting the realm involving personal (characters) stories and the social and historical backgrounds together with the religious sphere and discuss the visualization of the semantic context. In addition, this study analyzed the sequence of the scenes in , which reconstructs identity and historical cases and religious values to observe the meaning and characteristics and closely analyze the general meaning pursued by the film. discussed the issues of trauma that individuals, regions, and nations confront as a representation and interpretation of the trauma connoted in the film, and consideration can be provided about the implication concerning the situation and context in South Korea. Furthermore, the film placidly discusses the growth and agony in humans and the society without expressing it excessively, so it will be a valuable research result to inspire the trend of creating films that incorporate new imaging technology and original visualization techniques.

• (The) Research of the performance art and culture
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• no.33
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• pp.195-222
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• 2016

This study says that giving a life through the mixed power of motions which can not be fixed. It is a fundamental activity of the art of dance. In the fact, the art of dance is defined as the most instinctive and intuitive arts show that dance is a harmony of emotion on the body, thus, this view wants to discuss the relations between "sense and body". This view doesn't focus on the mere motions of dancing form, but characterizes dance as an art of another vitality through the mixture and combination of these motions. In other words, this study emphasizes that dance transcends time and space on stages, and that dance, as an expression of identity, is an art which shows a sense from inside of human. Therefore, when we want to understand the true meaning of the art of dance, we should attend what attributes of dance define it as an art and show its creative. This study, thus, seeing those attributes as the life-giving function of dance, aims to help understand the principle meaning of the art of dance that realizes creation as well as the attitudes of audience who appreciate the art of dance. And by doing so, this study contemplates how we should see the creative idea of choreography, forming sympathy and the art of dance.