• Information Systems Review
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• v.19 no.2
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• pp.21-35
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• 2017

The advancement of IT and the "Fourth Industrial Revolution" blurred the boundary between industries. The importance of strategic cooperation between enterprises is emphasized. IT companies must consider their existing business areas and create new territories to drive changes in the industry. They must also secure their competitive edge and manage economic costs to enable them to compete with their global counterparts. By utilizing their resources effectively, these firms can create value through inter-firm cooperation. This study analyzes the collaborative network of global IT companies using social network analysis and examines the effect of this network on firm performance. Collaborative linkages and betweenness centrality, which represent the bridging position of a firm in a network, significantly affect firm performance. This result highlights the importance of the structural position of a firm in a cooperative network of IT companies. This study also characterizes clusters in a network of IT companies. Most of these clusters comprise a combination of IT companies in diverse IT industries. These clusters suggest that these companies engage in multilateral cooperation without boundaries to maximize their business capabilities. This study offers practical implications for establishing a cooperative strategy and framework that can capture business trends in the IT industry from a macroscopic view. This study also visualizes collaborative networks in a multifaceted way using social network analysis to provide researchers and business practitioners with an informative viewpoint.

• Sijohaknonchong
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• v.30
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• pp.109-146
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• 2009

It is academically recognized that Jeong Wan-Young's sijo better represent Oriental ideas. The purpose of this study is to investigate Taoistic characteristics of Jeong Wan-Young's sijo. This is an effort to succeed and further deepen and extend previous relevant researches. For the purpose, this researcher categorized the poet's sijo in accordance with such characteristics as above mentioned. Findings of the study can be summarized as below. Pieces of Jeong Wan-Young's sijo which are based on Taoistic ideas are largely classified into three groups. First, some pieces of Jeong Wan-Young's sijo represents an orientation of return to hometown which is brought by the sense of loss. His sense of loss is attributed to the facts that his home is not what it was any longer and that he can't return to the old home. To overcome the sense, nevertheless, the poet is dreaming of return to home. The home found in Jeong Wan Young's sijo is something fundamental and original that he purposedly provided against the feeling of loss. It complies with the concept of 'Bokgwigigen(復歸基根)‘ a pursuit of Taoism. Second, other pieces of Jeong Wan-Young's sijo are seeking purity to retrieve childish innocence. Their subjects include the season of spring, dreams of childhood and longing for mother all of which represent the poet's strong desire for such retrieval as above mentioned. It may be said that pursued by that pieces are 'Purity, Feebleness and Smoothness' that are sought by Taoism. Third, other pieces of Jeong Wan-Young's sijo are considering human as a part of nature and seeking human life in harmony with nature. In other words, they are seeking union between human and nature which means going beyond discrimination between self and external objects, that is, 'Mulayangmang(物我兩忘)'. This may refer to return to nature which is the ultimate destination of Taoism.

• Cartoon and Animation Studies
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• s.37
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• pp.509-537
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• 2014

This paper proposes 'postfilimc metamorphosis' and 'reanimation' as two concepts that aim at giving account to the aesthtetic tendencies and genealogies of what Suzanne Buchan calls 'pervasive animation', a category that refers to the unprecedented expansion of animation's formal, technological and experiential boundaries. Buchan's term calls for an interdisciplinary approach to animation by highlighting a range of phenomena that signal the growing embracement of the images and media that transcend the traditional definition of animation, including the lens-based live-action image as the longstanding counterpart of the animation image, and the increasing uses of computer-generated imagery, and the ubiquity of various animated images dispersed across other media and platforms outside the movie theatre. While Buchan's view suggests the impacts of digital technology as a determining factor for opening this interdisciplinary, hybrid fields of 'pervasive animation', I elaborate upon the two concepts in order to argue that the various forms of metamorphorsis and motion found in these fields have their historical roots. That is, 'postfilmic metamorphosis' means that the transformative image in postfimic media such as video and the computer differs from that in traditional celluloid-based animation materially and technically, which demands a refashioned investigation into the history of the 'image-processing' video art which was categorized as experimental animation but largely marginalized. Likewise, 'reanimation' cne be defined as animating the still images (the photographic and the painterly images) or suspending the originally inscribed movement in the moving image and endowing it with a neewly created movement, and both technical procedues, developed in experimental filmmaking and now enabled by a variety of moving image installations in contemporary art, aim at reconsidering the borders between stillness and movement, and between film and photography. By discussing a group of contemporary moving image artworks (including those by Takeshi Murata, David Claerbout, and Ken Jacobs) that present the aesthetic features of 'postfilmic metamorphosis' and 'reanimation' in relation to their precursors, this paper argues that the aesthetic implications of the works that pertain to 'pervasive animation' lie in their challenging the tradition dichotomies of the graphic/the live-action images and stillness/movement. The two concepts, then, respond to a revisionist approach to reconfigure the history and ontology of other media images outside the traditional boundaries of animation as a way of offering a refasioned understanding of 'pervasive animation'.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.1-11
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• 2009

This study focuses on Abstract Types in Contemporary Landscape Design. The formation and artistry of contemporary landscape design reveals many areas which Previously have not been able to be expressed in scenic landscape thanks to the deviation of the genre in contemporary landscape and the hybridization that has occurred among architecture, landscape and art genres. The focus of this study is basic research concerning "the abstract", which is used as a creative artistic theory in a variety of art fields such as landscape, architecture and painting. Through a theoretical establishment of "the abstract", its process of change, and the discovery of its contemporary principles, the relationship between each art field in landscapes and the formation of the abstract, abstract language, and abstract properties have been studied. The use of the abstract in contemporary landscape design can be classified in three ways: Inductive abstract representing conceptual transcendental symbols not logically but rather through intuition and transcendental cognition to display the inner expressions, ideas and minds of the artists. Second, a deductive abstract represents an expansive, logical model for the simplification of objects, distortion, exaggeration based on knowledge and logical reasoning about objective fact based on traditional realism. The complexity of the abstract is a concept that is bound to both the deductive & inductive abstract. As a major trend, the concept of "The abstract" in contemporary landscape has been putting forth ever-deeper roots. New trends like abstract works and landscape architecture reflecting the artist's inner expression, in particular, will provide fertile soil for landscape in the future. Further research about the concept of "the abstract" will also be necessary in the time to come.

• Journal of Korean Philosophical Society
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• v.117
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• pp.223-247
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• 2011

In der vorliegenden Arbeit geht es um das Primat des Seins und die Ereignisontologie, denen der Diskurshorizont zwischen der Ontologie der philosophischen Hermeneutik und der dichterischen $Repr{\ddot{a}}sentation$ der Seinsquelle in $H{\ddot{o}}lderlins$ spekulativem Gedicht, >Andenken<, das die spekulative Philsophie als eine Philosophie ${\ddot{u}}ber$ das Wissen um Ursein vor dem Denken darstellt, zugrunde liegt. $H{\ddot{o}}lderlins$ und Hermeneutische Ontologie nimmt erstens das Ursein, das die ontologische Voraussetzung des Denkens sei, als die nicht nur logische, sondern auch temporale Quelle auf Grund der Kritik an der reflexiven Struktur des modernen Denkens an. Zweitens suchen beide die $Gesinnungsm{\ddot{o}}glichkeit$ des Urseins, das niemals ein begreifbarer Gegenstand des Denkens war, deshalb immer schon ${\ddot{u}}ber$ das Denken ${\ddot{u}}bertrefflich$ ist, auf der ontologischen Seite aus der selbstnegierenden Bewegung des Seins, auf der erkenntnistheoretischen Seite aus dem sprachlichen Ausdruck des Seins: Insofern das reflexive Denken die analytische Unterscheidung zwn Prinzip hat, ist das Ursein deshalb der logische Ursprung des analytischen Denkens, weil das Unterschiedene aus dem Einen geteilt wird. Und das Ursein ist deshalb auch die geschichtsphilosophische Arsche, weil das Viele die geschichtliche Selbstentwicklung des Einen ist. Aus dessen Grund $l{\ddot{a}}sst$ das Sein, das allem vorausgeht, mit seiner geschichtlichen Selbsterscheinung als negativer $Selbstverkl{\ddot{a}}rung$ und darnit zugleich mit dem sprachlichen Ausdruck als der epischen Symbolisierung solcher Ereignissen sich selbst als etwas sein. Das Wort des Verstandes, das nur die Negationsbewegung der Analyse ist, kategorisch einbegrenzt ist, kann daher nicht das Verweilen bei dem Geschehen der $urspr{\ddot{u}}nglichen$ Seinsquelle sein. Das dichterische Wort, das der Stimme aus der Seinsquelle $zugeh{\ddot{o}}rig$ ist, ${\ddot{u}}bersetzt$ die Selbstbewegung des Urseins auf den hermeneutischen Sinnhorizont, in dessen Spielraum das Ursein sich selbst aussagt. $Schlie{\ss}lich$ hoffe ich damit, in dieser Arbeit davon ${\ddot{u}}berzeugend$ vorderseite zu legen, dass $H{\ddot{o}}lderlins$ Gedicht, >Andenken< nicht nur die poetische Gesinnung auf die Seinsquelle, sondern auch die hermeneutische Ontologie der Seinsquelle ist.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.73-116
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• 2019

In recent years, television dramas have adopted an emerging approach of imagining a just society via fantasy. This study set out to examine by stages the patterns of social justice in I Hear Your Voice, Pinocchio, and While You Were Sleeping written by Park Hye-ryeon, who has been leading this trend. I Hear Your Voice shows why social justice is needed, as it is set against the backdrop of a society in which legal justice has collapsed. In this drama, the collapse of the legal justice system indicates that democratic society is falling apart at the roots. As a result, pain and suffering is propagated among the petit bourgeois, with social justice being demanded as an alternative to this problematic reality. The supernatural power of reading the thoughts of others is used to remind viewers of the value of truth and trust and raises the possibility of the existence of a true heart as an alternative from a social justice perspective. Set in a society in which media justice is distorted, Pinocchio makes an attempt at changing ideas about social justice. In this drama, the corrupt media justice covers up truth and becomes a parasite to power, creating victims that are falsely accused. In this situation, the Pinocchio Syndrome, which makes people hiccup when telling a lie, shows paradoxically that truth can be distorted, and ultimately destroys absoluteness that is not truth. Finally, While You Were Sleeping inherits the world views of the two previous dramas and proposes a type of social justice called 'common good' as an alternative. A completely unfair society is created when legal justice collapses and media justice is distorted. In this situation, the ability to see the future is an ability to imagine a world of possibilities. Altruistic choices based on trust in others help us to realize a positive future. Social justice as common good to enable solidarity among subjects in a way that transcends the limitations of time and space is proposed as an alternative to overcome the problem of an unfair society. Given the recent reality of South Korean society, this common good and these ways of life might literally seem like a fantasy. When social justice is represented by efforts and reconstruction processes to overcome the current social issues and make a better future, common good based on the understanding and sympathy of others can be an alternative to improve a reality that is problematic at its root. Ultimately, Park's three works explore the feasibility of a just society that is yet to come from the aspect of the common good.

• Journal of Venture Innovation
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• v.4 no.2
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• pp.97-108
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• 2021

Labor contracts appear in form as an exchange relationship between labor products and wages, but since they transcend the level of simple barter, they can be economically identified as "trading" and can be identified as "rental." From a legal point of view, a legal device that legally supports and imposes binding force on commodity exchange relations is a contract. Such a labor contract led to a relationship in which wages were received and a certain amount of time was placed under the direction and supervision of the employer as a counter benefit to the receipt of wages. Since working hours are subordinate hours with one's labor under the disposition authority of the employer, long hours of work can be done for the health and safety of workers and furthermore, it can be an act that violates the value to enjoy as a human being. The reduction of working hours needs to be shortened in terms of productivity and enjoyment of workers' culture so that they can expand and reproduce, but users' corporate management labor and production activities should also be compatible compared to those pursued by capitalist countries. Working hours can be seen as individual time and time in society as a whole, and long hours of work at the individual level are reduced, which is undesirable at the individual level, but an increase in products due to an increase in production time at the social level can help social development. It is necessary to consider working hours in terms of finding the balance between these individual and social levels. If the regulation method of working hours was to regulate the total amount of working hours, flexibility and elasticity of working hours are a qualitative regulation method that allows companies to flexibly allocate and organize working hours within a certain range of up to 52 hours per week. Accordingly, it is necessary to shorten working hours, but expand and implement the flexible working hours system according to the situation of the company. To this end, it is necessary to flexibly operate the flexible working hours system, which is currently limited to six months, handle the selective working hours by agreement between employers and workers, and expand the target work of discretionary working hours according to the development of information and communication technology and new types based on the 4th industrial revolution.

• Journal of Yeungnam Medical Science
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• v.21 no.2
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• pp.151-166
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• 2004

Background: Spirituality has been an important part of Transpersonal Psychology and is believed to have a large effect on the mental health because it has been systematized. The aim of this study was to determine the level of spiritual disposition on human beings along with its effects on one's mental health. Materials and Methods: The study targeted 400 women residing in Youn-Gil city of JiLin Prov., which is a district of the Cho-Sun tribe in China. Their spiritual well-being was studied using the Spiritual Well-being Scale-Korean Version. The spiritual well-being scale consists of 2 sub-scales of religious well-being and existential well-being. The study was evaluated using a lie scale, psychotic trend, and a combined anxiety-depression scale. The results were considered to be factors of one's mental health. The correlation between the spiritual well-being and each tendency was analyzed by regression analysis. Results: The total score of the Cho-Sun tribal women according to the spiritual well-being scale was 68.29 which was much less than the 100.65 of Korean Christian women. There was no significant correlation between the spiritual well-being and the Lie trend. However, it was found that 86%(344) of Cho-Sun tribal women scored above 70 in the Lie trend with a mean score of 74.57 which is higher than normal populations. Regarding the correlation between the spiritual well-being and psychotic trend, the psychotic trend became significantly higher when the religious well-being was at a high level. On the other hand, the psychotic trend became significantly lower when the existential well-being was at a high level. Regarding the correlation between the spiritual well-being and anxiety, the anxiety was significantly higher when the religious well-being was at a high level. However, the anxiety level was significantly low when the existential well-being was at a high level. Regarding the correlation between the spiritual well-being and depression, the depression level was somewhat significantly high when the religious well-being was at a high level. However, the depression level was significantly low when the existential well-being was at a high level. Conclusion: This study evaluated the effects of spiritual well-being on a person's mental health among Cho-Sun tribal women in Youn-Gil city of JiLIn Prov., P.R. of China. The results found that the religious well-being, which is a sub-scale of spiritual well-being, had negative effects while the existential well-being had positive effects on the mental health. These results proved that a person's religious disposition had negative effects on their mental health in a communitarian society.

• (The) Research of the performance art and culture
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• no.18
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• pp.257-282
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• 2009

Le $th{\acute{e}}{\hat{t}}re$ musical en $Cor{\acute{e}}e$ est devenu aujourd'hui une mode. Beaucoup parlent de musical, mais beaucoup de musicals sont $mont{\acute{e}}s$ sur la $sc{\grave{e}}ne$ sans des recherches $n{\acute{e}}cessaires$ suffisantes. C'est pour cette raison que la plupart des spectacles musicaux qui sont $cr{\acute{e}}es$ en $Cor{\acute{e}}e$ sont $destin{\acute{e}}s$ en faillite $d{\grave{e}}s$ la naissance. D'ailleurs les musicals $liscenci{\acute{e}}s$ par $l^{\prime}Am{\acute{e}}rique$, la France qui sont $mont{\acute{e}}s$ sur la $sc{\grave{e}}ne$ de $Cor{\acute{e}}e$ aujourd'hui sont assez pour nuire le $march{\acute{e}}$ $cor{\acute{e}}en$ $constitu{\acute{e}}$ autour de musical. Quels sont donc les $probl{\grave{e}}mes$ que posent les musicals $liscenci{\acute{e}}s$? $Premi{\grave{e}}rement$ ils encouragent la mime, pas la $cr{\acute{e}}ation$. En d'autre terme, les musicals $liscenci{\acute{e}}s$ que les $Cor{\acute{e}}ens$ montent sur la $sc{\grave{e}}ne$ ne sont pas les $cr{\acute{e}}ations$ propres chez les $Cor{\acute{e}}ens$, par contre, ces derniers sont $demand{\acute{e}}s$ de suivre ${\grave{a}}$ la mot les indications $dict{\acute{e}}es$ par le droit d'auteur. Les $cr{\acute{e}}ateurs$ $cor{\acute{e}}ens$ ne sont pas libres de $cr{\acute{e}}ation$. $Deuxi{\grave{e}}mement$ les musicals ${\grave{a}}$ la mode ont pouvoir de $d{\acute{e}}truire$ la $diversit{\acute{e}}$ de l'homme. L'homme se $caract{\grave{e}}rise$ par la $diversit{\acute{e}}$ et se $diff{\grave{e}}re$ l'un par rapport ${\grave{a}}$ l'autre. C'est l'essence de l'homme. Tous sont $diff{\acute{e}}rents$. Pourtant le musical qui $r{\grave{e}}gne$ sur tous genres de spectacles d'aujourd'hui de $Cor{\acute{e}}e$ ne laisse pas vivre d'autres genres de spectacles, la danse, le $th{\acute{e}}{\hat{a}}tre$, etc. Seul le musical est $compt{\acute{e}}$. $Troisi{\grave{e}}mement$ le musical ne peut pas nier $compl{\grave{e}}tement$ son origine commerciale. En fait le musical est devenu une chose important depuis des investigations immenses par le gouvernement $d^{\prime}Am{\acute{e}}rique$ pour donner des travails aux gens. Donc, $d{\grave{e}}s$ le $d{\acute{e}}but$, il n'y avait pas de $consid{\acute{e}}rations$ artistiques dans et sur le musical. Comme c'est par le commerce que le musical est $r{\acute{e}}pandu$, s'il y aura un $probl{\grave{e}}me$ quelconque, il est $tr{\grave{e}}s$ possible qu'on cherche ${\grave{a}}$ $r{\acute{e}}soudre$ le $probl{\grave{e}}me$ par la vue de commerce. En comprenant les $probl{\grave{e}}mes$ $mentionn{\acute{e}}s$ $l{\grave{a}}$-dessus, il faut $pr{\acute{e}}parer$ le changement de $march{\acute{e}}$ $cor{\acute{e}}enne$ de musical. Le moyen le plus $su{\hat{r}}$ de se $pr{\acute{e}}parer$ est de trouver la $r{\acute{e}}solution$ dans la culture. Pourtant cette $derni{\grave{e}}re$ ne signifie pas la tradition comme $c^{\prime}{\acute{e}}tait$ le cas $jusqu^{\prime}{\grave{a}}$ aujourd'hui, car les $Cor{\acute{e}}ens$ ne sont pas ${\acute{e}}duqu{\acute{e}}s$ par cette $derni{\grave{e}}re$. La $modernit{\acute{e}}$, disons occidentale, traverse la $Cor{\acute{e}}e$. Donc, la signification du mot 'culture' doit ${\hat{e}}tre$ $bas{\acute{e}}e$ sur la tradition et la $modernit{\acute{e}}$ en $m{\hat{e}}me$ temps.