• Asia-Pacific Journal of Business
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• 제10권1호
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• pp.87-103
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• 2019

In December 2017, the Moon Jae-in administration announced a major policy shift away from nuclear and coal, committing itself to the vision of creating a society where renewable sources account for 20% of its electricity generation by 2030. This energy transition involves not just a technical transition from conventional energy sources to renewable energy but also active participation of multiple stakeholders in the energy governance. While energy policy making has long been dominated by the central government in Korea with the aim of managing the supply for rapid industrialization and economic growth, the Moon administration aims to diffuse the central government's authority across various actors in society. Among those actors, this study focuses on the roles that local governments play in energy transition. Despite deepening local autonomy since 1995, Korean local governments have remained policy targets or recipients in the energy policy domain. This article discusses how such a traditional role has evolved under the new administration's energy transition policy and examines what challenges and limitations local governments face in creating a more decentralized energy governance system.

• Journal of the Korea Society for Simulation
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• 제24권4호
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• pp.107-118
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• 2015

Many approaches to agent collaboration have been introduced in military war-games, and those approaches address methods for simulation entity (actor) collaboration within a team to achieve given goals. To meet fast-changing battlefield situations, an actor must be loosely coupled with their tasks and be able to take over the role of other actors if necessary to reflect role handovers occurring in real combat. Achieving these requirements allows the transfer of tasks assigned one actor to another actor in circumstances when that actor cannot execute its assigned role, such as when destroyed in action. Tight coupling between an actor and its tasks can prevent role handover in fast-changing situations. Unfortunately, existing approaches and war-game strictly assign tasks to actors during design, therefore they prevent the loose coupling. To overcome these shortcomings, our Role-based Command Hierarchy (ROCH) model dynamically assigns roles to actors based on their situation at runtime. In the model, "Role" separates actors from their tasks. In this paper, we implement the ROCH model as a component that uses a publish-subscribe pattern to handle the link between an actor and the roles of its subordinates (other actors).

• Journal of the Economic Geographical Society of Korea
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• 제11권3호
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• pp.334-349
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• 2008

In this study, the network formation process of personal actors in industries for the elderly was analyzed. This process is applied to the knowledge creation model of the SECI (Nonaka-Takeuchi learning cycle), that is socialization, externalization, combination, internalization. There are some kinds of opportunities to interact in these industries in the forms of field survey teams to overseas, some seminars and symposiums, many kinds of meetings, education and training programs, trade fairs and on-line forums. These palces(ba) - originating ba, interacting ba, cyber ba, exercising ba - played great roles in the formation of personal actor networks. Personal actors had opportunities to interconnect with distant actors through those places(ba). In the spatial perspective, personal actors could make face-to-face contact and build trust through temporary geographical proximity or temporary clusters with the help of personal mobility. Relations in the virtual spaces such as the Internet community did much toward building personal networks.

• Journal of the Economic Geographical Society of Korea
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• 제25권2호
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• pp.219-236
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• 2022

The Oxford area is one of the major innovative regions of the world. The innovative characteristics of the area, however, have not been well exposed to the academic communities of the world and Korea. In fact, the area was a base of breading the Cambridge area and has also been playing important roles in creating the major British high-technology region, called "Golden Triangle," composed of Oxford, Cambridge and London. This paper investigates the process of growing innovativeness of the Oxford area and sheds more lights on the birth, growth and key actors of the area's Regional Innovation Systems(RISs). For this research, the author reviewed the literature related to the RISs, and gathered data based on the Internet, statistical data sources, interviews with local scholars and practitioners.

• Journal of Cadastre & Land InformatiX
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• 제44권1호
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• pp.1-15
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• 2014

This paper, at first, intends to develop a conceptual model of spatial information eco-system based on the related literature reviews. The basic requirements in constructing the model are also specified. Next, the functional roles and interrelationships among the actors constituting the eco-system are analyzed to investigate the major reasons of inefficient and unsmooth flows of value-added process of Korean spatial information industry. Especially, the Korea Cadastral Survery Corp.(KCSC), which has dual organizational characteristics of public and private entity, is analyzed to be positioned as the most dominant actors in the eco-system. However, the KCSC needs to be changed and challenged to re-establish the missions and institutional roles for upcoming network societies. Here, we proposed 4 future-oriented development strategies and action plans to promote the Korean spatial information industry and to activate the eco-system.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• 제24권2호
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• pp.78-82
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• 2013

Child labor is being recognized as the key issue of human rights, and the International Labor Organization and the Convention on the Rights of the Child emphasize that children are individuals with dignity and rights. Male and female child actors belong to a profession with wide public exposure and there is a potential danger of invading classes and roles not matching the developmental stage of the child. In this study, we would like to discuss international and domestic laws and future complementary measures surrounding legal and institutional issues that need to be considered for child actors. Although the basic rights for child workers are stated in the Constitution Article 32 Paragraph 5 and Labor Standards Act Articles 64 through 70, they are insufficient. Following the revised broadcasting deliberation regulations by the Korea Communication Commission and amendment of the Juvenile Protection Law, several changes are taking place in the working environment. In certain foreign places such as California, United States, the economic and educational rights of male and female child actors are being protected. Although legal and institutional frameworks for the male and female child actors are being reinforced, more consistent devices are needed. Consideration for working hours, regulations to keep up with learning while working, and preparation for physical and emotional influences are required to keep up with international changes.

• Analyses & Alternatives
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• 제3권1호
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• pp.29-61
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• 2019

Within the discipline of International Relations (IR), the literatures on global governance (GG) and great power management (GPM) at best ignore each other, and at worst treat the other as a rival or enemy. On the one hand, the GPM literature, like both realism in all its forms, and neoliberalism, takes for granted the ongoing, disproportionate influence of the great powers in the management of the international system/society, and does not look much beyond that. On the other hand, the GG literature emphasizes the roles of smaller states, non-state actors and intergovernmental organizations (IGOs), and tends to see great powers more as part of the problem than as part of the solution. This paper argues that the rise to prominence of a non-traditional security agenda, and particularly of human security, has triggered a de facto merger of GPM and GG that the IR literature usually treated as separate and often opposed theories. We use the Ebola crisis of 2014-15 to show how an issue framed as human security brought about a multi-actor response that combined the key elements of GPM and GG. The security framing overrode many of the usual inhibitions between great powers and non-state actors in humanitarian crises, including even the involvement of great power military forces. Through examining broadly the way in which the Ebola crisis is tackled, we argue that in an age of growing human security challenges, GPM and GG are necessarily and fruitfully merging. The role of great powers in this new human security environment is moving away from the simple means and ends of traditional GPM. Now, great powers require the ability to cooperate and coordinate with multiple-level actors to make the GG/GPM nexus more effective and sustainable. In doing so they can both provide crucial resources quickly, and earn respect and status as responsible great powers. IGOs provide legitimation and coordination to the GPM/GG package, and non-state actors (NSAs) provide information, specialist knowledge and personnel, and links into public engagement. In this way, the unique features of the Ebola crisis provide a model for how the merger of GPM and GG might be taken forward on other shared-fate threats facing global international society.

• Journal of Contemporary Eastern Asia
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• 제15권1호
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• pp.41-63
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• 2016

Energy policy is known to have higher path dependency among policy fields (Kuper and van Soest, 2003; OECD, 2012; Kikkawa, 2013) and is a critical component of the infrastructure development undertaken in the early stages of nation building. Actor roles, such as those played by interest groups, are firmly formed, making it unlikely that institutional change can be implemented. In resource-challenged Japan, energy policy is an especially critical policy area for the Japanese government. In comparing energy policy making in Japan and Germany, Japan’s policy community is relatively firm (Hartwig et al., 2015), and it is improbable that institutional change can occur. The Japanese government’s approach to energy policy has shifted incrementally in the past half century, with the most recent being the 2012 implementation of the “Feed-In Tariff Law” (Act on Special Measures Concerning Procurement of Renewable Electric Energy by Operators of Electric Utilities), which encourages new investment in renewable electricity generation and promotes the use of renewable energy. Yet, who were the actors involved and the factors that influenced the establishment of this new law? This study attempts to assess the factors associated with implementing the law as well as the roles of the relevant major actors. In answering this question, we focus on identifying the policy networks among government, political parties, and interest groups, which suggests that success in persuading key economic groups could be a factor in promoting the law. Our data is based on the “Global Environmental Policy Network Survey 2012-2013 (GEPON2)” which was conducted immediately after the March 11, 2011 Great East Japan Earthquake with respondents including political parties, the government, interest groups, and civil society organizations. Our results suggest that the Feed in Tariff (FIT) Law’s network structure is similar to the information network and support network, and that the actors at the center of the network support the FIT Law. The strength of our research lays in our focus on political networks and their contributing mechanism to the law’s implementation through analysis of the political process. From an academic perspective, identifying the key actors and factors may be significant in explaining institutional change in policy areas with high path dependency. Close examination of this issue also has implications for a society that can promote renewable and sustainable energy resources.

• Journal of the Korean Society of Costume
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• 제59권1호
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• pp.29-46
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• 2009

Aiming at finding symbolistic meanings and characteristics of makeup in Chinese Beijing Opera("BO"), this study formulated a theoretical framework mainly from literature in the Symbolism and symbolistically analyzed materials related to BO makeup from literature, internet web pages and illustrated news concerning performing arts. Main objects to analyze are the characteristics of four main roles in BO and the patterns, symbols, ornaments and traditions of Beijing Opera facial makeup("BOFM"). Four main roles are Sheng, Tan, Ching and Chou, categorized by gender, age, social position and personality. The result to analyze symbolistic meanings and characteristics of makeups for the roles in BO are as follows: the patterns and colors of BOFM function as explanations to help audiences understand each role's personality and dramatic situations as well as provide hints about the development and ending of an opera: that is, BO makeup is a communicative intermediary between audiences and actors in BO. It tends to follow the stereotypes, which conventionally dress and exaggerate the characters of roles, and copy the traditional Chinese perception about colors. Thus, by the metaphysical and typical expression of BOFM, Chinese people have not been pursuing the realism in opera but applying BO makeup to a mutual communication method between audiences and performing artists as to share their collective cultural heritages and spirits. Threfore, BO makeup has been an interacting language between the two entities and grown within the history of BO as a beauty art to highlight a BO by its unique systems, ornaments and beauty.

• The Journal of the Korea Contents Association
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• 제18권1호
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• pp.642-650
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• 2018

Musical is produced by multiple specialists including director, writer, composer, lyricist, choreographer, music director, actors/actresses and so on. For the success of one musical, all the people with different background should demonstrate their creativities. The basic frame of a work is made by writer, composer and lyricist first unless it is a licensed musical. They are called as Creative Team, and also director, choreographer, actors/actresses and staff are called as Production Team. Both teams are collectively called as Creative Staff. Then, the secondary creative staff members may participate in the work depending on the production size, and each team can consist of the members such as music director, stage designer, sound designer and so on. The staff related to music in Creative Team of the musical is developed with the initiation from the music supervisor who decides the musical color and genre of the work, the fragmentation and the specialization. However, composer or music director takes these roles in charge in Korea. This study aims to establish the roles and concept of vocal coach according to the fragmentation of working process and to investigate their roles and needs in the domestic musical industry upon case analysis of musical production processes in overseas. The common things and differences in the roles and the functions between ordinary voice teachers and musical vocal coaches were analyzed and the cases of vocal coach in the Korean musicals were reviewed by the interviews. In addition, creative team system was reviewed in the Korean musicals.