• The Journal of the Korea Contents Association
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• v.21 no.4
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• pp.177-192
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• 2021

The Development Assistance Committee of the Organization for Economic Cooperation and Development discusses the reorganization of the five evaluation criteria of the Public Development Assistance Committee, which are used internationally, and the five evaluation criteria including adequacy, efficiency, effectiveness, impact, and sustainability when assessing public development assistance in 1991. This study is to derive alternatives by applying the evaluation criteria of the Development Assistance Committee of the Organization for Economic Cooperation and Development in the evaluation of the inclusive business program being implemented in Nepal since 2019. As a result of the study, the adequacy of Nepal's inclusive business program was consistent with continuous employment and job creation for vulnerable groups such as disabled and orphan women. Efficiency can be said to be efficient in that processes such as work order and work confirmation are made with an electronic management tool, and delivery of the result is transmitted online, saving time and cost compared to other industries. The effectiveness of this project can be said to be an effective program in that it provides high-quality jobs such as providing specialized computer graphics education for the vulnerable, such as disabled and orphan women in Nepal, and hiring graduates as employees. Sustainability is the point that KOICA's inclusive business program has enabled vulnerable groups in the existing fields of agriculture and manufacturing to engage in the computer graphics industry, and the scalability of movies, characters, education businesses, and role models in other countries.However, considering that the scale of public development assistance will continue to increase in the future, it is necessary to establish a systematic monitoring system and a recirculation system so that the project between the donor and recipient countries can continue.

• (The)Study of the Eastern Classic
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• no.63
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• pp.9-41
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• 2016

This paper focuses on 'clean(cheong: 淸)' kinds of style terminologies among various style terminologies appearing in Heo Gyun's Seongsushihwa("惺?詩話") and tries to analyze the distinctive points which 'clean(cheong: 淸)' kinds of style terminologies include. In Heo Gyun's Seongsushihwa, 11 of 'clean' kinds of style terminologies, such as "cheonggyeong(淸勁), cheonghryang(淸亮), cheongryeo(淸麗), cheongseom(淸贍), cheongso(淸?), cheongweol(淸越), cheongjang(淸壯), cheongjeol(淸絶), cheongjeol(淸切), cheongchang(淸?), cheongcho(淸楚)," were used. This paper focuses and analyzes 'cheonggyeong(淸勁)', 'cheongjeol(淸切)', 'cheongcho(淸楚)', and 'cheongweol(淸越)' that he suggested through applying to real literary pieces. The result of analysis indicates that 'clean' kinds of style terminologies 'cheonggyeong', 'cheongjeol', 'cheongcho', and 'cheongweol' share the same 1st character 'clean(淸)', yet have distinctive qualities by the 2nd characters. These 4 style terminologies all share 'cheong(淸)' image which means clear and clean, yet each one has the attribute of the 2nd character that indicates each one's individual characteristic. It is apparent that 'Cheonggyeong(淸勁)' reflects the 'gyeong(勁)' image meaning upright and solid and implies poems of poets' steadfast spirit within clear boundary; 'cheongjeol(淸切)' reflects the 'jeol(切)' image meaning either desperation and imminence or pitifulness and sorrow and implies poems of poets' urgent and pitiful emotions within clear and clean boundary; 'cheongcho(淸楚)' reflects the 'cho(楚)' image meaning either delicacy and fineness or slenderness and tenderness and implies poems of poets' beautiful but not luxurious, delicate and tender emotions within clear and clean boundary; and 'cheongweol(淸越)' reflects the image of 'weol(越)' meaning unworldliness and excellency and implies poems, within clear and clean boundary, of excellent appearance and mentality surpassing mundane world. Compared with the 1st character's attributes of the style terminologies which Heo Gyun used, the 2nd characters's attributes do not appear that vivid. Especially, in the case that the 2nd characters have similar meanings, it is not easy to clarify the categories. Indeed, in order to grasp clear and distinctive qualities of style terminologies, the kinds of them need to be initially categorized by the 1st characters, and then sorted by the 2nd characters. In this case, the contents which the 2nd characters of style terminologies indicate should be considered. It is because style terminologies explain both literary pieces' aesthetic qualities and writers' personalities, and because explanations about literary pieces' aesthetic qualities includes not only the conclusive poetic or semantic boundaries which literary pieces' created but also literary pieces' creation processes and expression techniques. Through the style terminologies with Heo Gyun used in Seongsushihwa, it can be aware that he evaluated poems focussing more on the conclusive semantic boundaries that poets' spirits and poems created than expression techniques or creation methods. The overall aspects Heo Gyun's such style criticism has will be checked out in more detail through further studies by examining more materials.

• Asia pacific journal of information systems
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• v.22 no.4
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• pp.101-123
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• 2012

Currently, Social Media, it has widely a renown keyword and its related social trends and businesses have been fastly applied into various contexts. Social media has become an important research area for scholars interested in online technologies and cyber space and their social impacts. Social media is not only including web-based services but also mobile-based application services that allow people to share various style information and knowledge through online connection. Social media users have tendency to common identity- and bond-attachment through interactions such as 'thumbs up', 'reply note', 'forwarding', which may have driven from various factors and may result in delivering information, sharing knowledge, and specific experiences et al. Even further, almost of all social media sites provide and connect unknown strangers depending on shared interests, political views, or enjoyable activities, and other stuffs incorporating the creation of contents, which provides benefits to users. As fast developing digital devices including smartphone, tablet PC, internet based blogging, and photo and video clips, scholars desperately have began to study regarding diverse issues connecting human beings' motivations and the behavioral results which may be articulated by the format of antecedents as well as consequences related to contents that people create via social media. Social media such as Facebook, Twitter, or Cyworld users are more and more getting close each other and build up their relationships by a different style. In this sense, people use social media as tools for maintain pre-existing network, creating new people socially, and at the same time, explicitly find some business opportunities using personal and unlimited public networks. In terms of theory in explaining this phenomenon, social capital is a concept that describes the benefits one receives from one's relationship with others. Thereby, social media use is closely related to the form and connected of people, which is a bridge that can be able to achieve informational benefits of a heterogeneous network of people and common identity- and bonding-attachment which emphasizes emotional benefits from community members or friend group. Social capital would be resources accumulated through the relationships among people, which can be considered as an investment in social relations with expected returns and may achieve benefits from the greater access to and use of resources embedded in social networks. Social media using for their social capital has vastly been adopted in a cyber world, however, there has been little explaining the phenomenon theoretically how people may take advantages or opportunities through interaction among people, why people may interactively give willingness to help or their answers. The individual consciously express themselves in an online space, so called, common identity- or bonding-attachments. Common-identity attachment is the focus of the weak ties, which are loose connections between individuals who may provide useful information or new perspectives for one another but typically not emotional support, whereas common-bonding attachment is explained that between individuals in tightly-knit, emotionally close relationship such as family and close friends. The common identify- and bonding-attachment are mainly studying on-offline setting, which individual convey an impression to others that are expressed to own interest to others. Thus, individuals expect to meet other people and are trying to behave self-presentation engaging in opposite partners accordingly. As developing social media, individuals are motivated to disclose self-disclosures of open and honest using diverse cues such as verbal and nonverbal and pictorial and video files to their friends as well as passing strangers. Social media context, common identity- and bond-attachment for self-presentation seems different compared with face-to-face context. In the realm of social media, social users look for self-impression by posting text messages, pictures, video files. Under the digital environments, people interact to work, shop, learn, entertain, and be played. Social media provides increasingly the kinds of intention and behavior in online. Typically, identity and bond social capital through self-presentation is the intentional and tangible component of identity. At social media, people try to engage in others via a desired impression, which can maintain through performing coherent and complementary communications including displaying signs, symbols, brands made of digital stuffs(information, interest, pictures, etc,). In marketing area, consumers traditionally show common-identity as they select clothes, hairstyles, automobiles, logos, and so on, to impress others in any given context in a shopping mall or opera. To examine these social capital and attachment, we combined a social capital theory with an attachment theory into our research model. Our research model focuses on the common identity- and bond-attachment how they are formulated through social capitals: cognitive capital, structural capital, relational capital, and individual characteristics. Thus, we examined that individual online kindness, self-rated expertise, and social relation influence to build common identity- and bond-attachment, and the attachment effects make an impact on both the willingness to help, however, common bond seems not to show directly impact on information sharing. As a result, we discover that the social capital and attachment theories are mainly applicable to the context of social media and usage in the individual networks. We collected sample data of 256 who are using social media such as Facebook, Twitter, and Cyworld and analyzed the suggested hypotheses through the Structural Equation Model by AMOS. This study analyzes the direct and indirect relationship between the social network service usage and outcomes. Antecedents of kindness, confidence of knowledge, social relations are significantly affected to the mediators common identity-and bond attachments, however, interestingly, network externality does not impact, which we assumed that a size of network was a negative because group members would not significantly contribute if the members do not intend to actively interact with each other. The mediating variables had a positive effect on toward willingness to help. Further, common identity attachment has stronger significant on shared information.

• (The) Research of the performance art and culture
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• no.38
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• pp.349-383
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• 2019

This discussion is focused on Donghaeanbyulsingut's 'gutchum-pan to pray'. 'Gutchum-pan to pray' is repeated in almost all of the geori in Byulsingut, so it is a crucial chum-pan that can never be disregarded in understanding Byulsingutchum. Meanwhile, it supposes that Donghaeanbyulsingut is grounded on the activity of producing 'praying (words) and dance (motions)' within its relationship with the structure of capitalistic society along with the context of traditional rituals. The motion that is newly generated as a response to the concrete expression of 'praying' conducted by a mudang (a shaman), that is, the expression coming from the inside associated with the praying is seen as gutchum. This dance is bound to be in competition and interest among shaman groups, and they tend to influence one another. If praying leads to dance, a mudang can gain profits from capital as well as the value of labor. When the mudang succeeds in forming a bigger bond of sympathy with her praying, the object of praying gets more eager to select byulbi and dances a heoteunchum (impromptu dance) more vigorously. This means that a mudang's ability to perform a ritual is associated with the object of praying's consumption. With his impromptu motions, the object of praying comes to go into 'the field of consumption' within the structure of capitalistic competition before he is aware of it. Behind the communication that praying leads to dance, a lot of things are associated with one another organically. 'Gutchum-pan to pray' is generated by the continuous movement of diversity and unity that the time has within the ritual of the mudang and the object of praying. It continues to create the future 'self' that is different from the present 'self', and it means that he expects variability from the present 'self' through 'gutchum-pan to pray'. The mudang also prays for him arranging the variability of the other (the object of praying) inside her labor. In a big picture, of course, the mudang expects the variability of herself, too, which is connected to the value of her labor. The variability that they expect forms a crucial axis that determines where the flow of time and space that the 'gutchum-pan to pray' has is directed to. The contents of praying are directly related with the villagers' lives, and what leads to dance is mostly related with their jobs. This implies that what the mudang experiences in her everyday consuming activity is directly associated with the villagers' activity for earning money. In other words, the contents of that praying change constantly according to the flow of capitalistic economy. Also, those striving to respond to it before anyone else also expect better life for them by substituting their self to the 'gutchum-pan to pray' eagerly. If so, who are the ones that generate 'gutchum-pan to pray'? This can be understood through relationship among mudangs, relationship between the mudang and villagers, and also relationship among villagers. Their relationships can never be free from the concepts like labor in capitalistic society, consumption and expenditure, or time; therefore, they come to compete with the other, the present self, or the better self within the diverse relationships. This gets to be expressed in any ways, words or motions. And the range that covers the creation of either group or individual 'gutchum-pan to pray' in the village is the village community. Outside the range, it is upsized to the competition of the village unit, so individual praying may become diminished more easily. Although mudangs pray in each geori, it does not mean all praying leads to dance. Within various relationships between mudangs and villagers, 'gutchum-pan to pray' comes to be generated, repeated, and extinct. As it is mitigated to more positive competition, it does not lead to gutchum any longer. In other words, repeating 'gutchum-pan to pray' previously created has turned the object of praying into the state different from the former. Also, the two groups both have experienced the last step of Byulsingut, and at that point, praying does no longer lead to dance. In other words, from the position of the shaman group, it is the finish of their labor time and ritual performance, and from the perspective of the villagers, it means the finish of consuming activity and participation in a ritual. The characteristics of 'gutchum-pan to pray' can be summarized as follows. First, it goes through the following process: competition in the village group → competition in the group → competition among individuals. Second, repeated praying does not lead to 'gutchum'. Third, in the cases of praying for each of the occupation groups, the mudang can induce a bond of sympathy from the objects of praying directly, and this lead to dance. Fourth, the group that fails in being included in the category of praying gets to be alienated from 'gutchum-pan to pray' repeatedly.

• Korean Journal of Environment and Ecology
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• v.25 no.1
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• pp.17-30
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• 2011

This study has analyzed the vegetation composition in the areas using different slope revetment techniques of riverbanks, in a way to improve the vegetation induction in the future considering the ecological aspects of the induction in Garaeyoul Village, Gangdong-gu, Seoul. The result of the vegetation distribution in each different slope revetment technique was analyzed, that the naturalized herb was dominant in the pole block accounting for 70.7%, while native herb was dominant in the lawn block occupying 48.5% and in the crib block occupying 55.7%. The vegetation coverage measured by different slope revetment techniques was highest in the crib block(average 97.5%), followed by the lawn block(average 95.3%) and pole block(average 27.9%). The vegetation base area was the most wide in the crib block and the most narrowest in the pole block. The result of community analysis in areas using different slope revetment techniques, dry herbs and vine herbs were dominated and the coverage was very poor in the pole block. In the lawn block, the barb was fragmented into narrow areas due to the blocks, which prevented the creation of large-scale plant communities. In the crib block, Miscanthus sacchariflorus, Fescue arundinacea and Aster pilosus, which also consisted of large-scale communities. Average dry weight was also measured by each slope revetment technique. The weight was heaviest in the crib block with $187.63g/m^2$, followed by the lawn block($137.65g/m^2$) and pole block($6.75g/m^2$). The soil moisture contents in the crib block and lawn block was 16.3% and 15.2%, respectively, while that of the pole block was 4.7%, which revealed the highly dry condition of the pole block soil. The analysis result of soil chemical property showed that there was little difference in soil texture, soile acidity(pH), and exchangeable ion content, however, the soil organic matter(OM) content and available $P_2O_5$ were highest in the pole block. In the future, in order to induce more vegetation into river banks and walls, a proper construction method should be applied so that the vegetation area can be expanded as much as possible, considering the safety of the banks.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.1
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• pp.27-40
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• 2014

The functions of urban open space, which embraces community revitalization, are diverse. It is the means of public healthcare, learning centers for children, hub of arts and cultural programs, as well as promoter of urban tourism. However, in-depth discourse and research on the topic of urban open spaces has been limited so far. Hence, this study aims to investigate the motivations and satisfaction of visitation based on four representative waterfront open space in Seoul; Cheongyecheon Waterfront, Seoul Forest Park, Seonyudo Park and Banpo Hangang Park. The methods of study are literature review, observation investigation, and questionnaire survey. The findings are analyzed through the Exploratory Factor Analysis, Reliability Analysis, ANOVA Analysis and Regression Analysis by SPSS 18.0. The results of the study are as follows. First, urban waterfront open spaces in Seoul has 5 factors of visitor motivation; community amenity, nature access, cultural and educational assets, aesthetic enjoyment, and lastly means of escape. Second, factors of recognizing urban waterfront open spaces as community amenity and nature access indicate meaningful differences in visitor's perception by spatial characteristics. Third, distances between the destination and the visitor's residence influence significantly their perceived motivation. Close-range visitors perceived nature access as a principal factor, whilst medium to long-range visitors perceived visitation for aesthetic purposes more importantly. Lastly, the will to escape was shown as the influential factor in visitor satisfaction. Visiting open spaces for the enjoyment of nature and aesthetic purposes were factors that also closely relate to visitor satisfaction. In addition, it was found that there are different visitor motivations that influence visitor satisfaction in accordance with the spatial characteristics of each open space. In summary, it can be said that urban waterfront open space is a hybrid space connected to various types of urban contents beyond daily experiences. It was found that several visitor motivations including community development, design aesthetics, education and culture, entertainment, enjoyment of natural landscape, and relaxation, affect the overall satisfaction of the visiting experience. It is anticipated that the results of the study will be used by the local government in setting up strategies for the creation and management of successful urban waterfront open space, and for those involved in planning and design act as a starting point for spatial programming and amenities arrangement in accordance to the city's tourism and urban marketing approach.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.12 no.5
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• pp.67-77
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• 2017

The purpose of this study was to develop the entrepreneurial mentoring scale on start-up mentoring situation. In recent years, as the needs for entrepreneurship have grown from domestic to foreign, entrepreneurship education is actively being carried out. The entrepreneurial mentoring is strengthening its weight and contents in entrepreneurship education. However, research on the mentoring function scale designed to reflect the characteristics of entrepreneurial mentoring is rarely performed in Korea. In this study, we conducted a qualitative and quantitative research to achieve the research goal. First, we derive the entrepreneurial mentoring scales through literature review and expert group discussions, and we conducted the empirical analysis to draw conclusions. The results of this study are as follows. In the first step, literature review was conducted. In the second step, four major factors and questionnaires were derived through expert group discussion. In the third step, the doctoral level specialists developed 16 questionnaire items to measure the four factors of entrepreneurial mentoring derived from the second step and verified the content validity and the facial validity in fourth step. As a result of this survey, we conducted questionnaires on founding mentors who belonged to 17 Creation Economic Innovation Centers nationwide (153) and analyzed the problem solving, networking, communication, and motivation formation through exploratory factor analysis. This questionnaire was used to survey the entrepreneurial mentors who belonged to the 17 Center for Creative Economy and Innovation under the Ministry of Science, ICT & Future Planning of South Korea(153). In fifth step, as the results of factor analysis such as EFA and CFA, we could confirm four factors including problem solving, networking, communication, and motivation. The significance of this study is as follows. First, academic significance was the first study of the entrepreneurial mentoring function scale reflecting the characteristics of entrepreneur mentoring as a qualitative and quantitative approach in Korea. Second, it is hoped that practitioners will be able to better measure the mentoring function of entrepreneurial mentors and contribute to improving the quality of future entrepreneurial mentoring programs.

• The Journal of Art Theory & Practice
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• no.4
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• pp.123-144
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• 2006

Foreigners who arrived in Korea after the age of enlightenment were Japanese, Chinese and 'Westerners' who were Europeans and Americans. The westerners were diplomats who visited Korea for colonization or for increasing their economical profits by trading after the spread of imperialism, and tourists curious of back countries, artists, explores and missionaries to perform their roles for their religious beliefs. They contacted with Korean cultural and educational people as missionaries and instructors during Japanese colonial period. In 1945, the allied forces occupied Korea under the name of takeover of Japanese colony after Japan's surrender and the relation between foreigners and Korean cultured men enter upon a new phase. For 3 years, American soldiers enforced lots of systems in Korea and many pro-American people were educated. This relationship lasted even after the establishment of the government of Korean Republic and especially, diplomats called as pro-Korean group came again after Korean War. Among them, there were lots of foreigners interested in cultures and arts. In particular, government officials under American Forces who were influential on political circles or diplomats widened their insights toward Korean cultural assets and collected them a lot. Those who were in Korea from the period of independence to 1950s wrote their impressions about Korean cultural assets on newspapers or journals after visiting contemporary Korean exhibitions. Among them, A. J. McTaggart, Richard Hertz and the Hendersons were dominant. They thought the artists had great interests in compromising and uniting the Orient and the West based on their knowledge of Korean cultural assets and they advised. However, it was different from Korean artist's point of view that the foreigners thought Korean art adhered oriental features and contained western contents. From foreigners' point of view, it is hard to understand the attitude Korean artists chose to keep their self-respect through experiencing the Korean war. It is difficult to distinguish their thought about Korean art based on their exotic taste from the Korean artists' local and peninsular features under Japanese imperialism. We can see their thought about Korean art and their viewpoint toward the third world, after staying in Korea for a short period and being a member of the first world. The basic thing was that they could see the potentialities through the worldwide, beautiful Korean cultural assets and they thought it was important to start with traditions. It is an evidence showing Korean artists' pride in regard to the art culture through experiencing the infringement of their country. By writing about illuminating Korean art from the third party's view, foreigners represented their thoughts through it that their economical, military superiority goes with their cultural superiority. The Korean artist's thought of emphasizing Korean history and traditions, reexamining and using it as an original creation may have been inspired by westerners' writings. 'The establishment of national art' that Korean artists gave emphasis then, didn't only affect one of the reactions toward external impact, 'the adhesion of tradition'. In the process of introducing Korean contemporary art and national treasure in America, different view caused by role differences-foreigner as selector and Korean as assistant-showed the fact evidently that the standard of beauty differed between them. By emphasizing that the basis to classify Korean cultural assets is different from the neighborhood China and Japan, they tried to reflect their understanding that the feature of Korean art is on speciality other than universality. And this make us understand that even when Korean artists profess modernism, they stress that the roots are on Korean and oriental tradition. It was obviously a different thought from foreigners' view on Korean art that Korean artists' conception of modernism and traditional roots are inherent in Korean history. In 1950s, after the independence, Korea had different ideas from foreigners that abstract was to be learned from the west. Korea was enduring tough times with their artists' self-respect which made them think that they can learn the method, but the spirit of abstract is in the orient.

• Cartoon and Animation Studies
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• s.30
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• pp.263-291
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• 2013

In this article, I analyze Korean Dong-in culture and its relationship with Yaoi, focusing on the changes in the 1990s. While Korean Dong-in culture has developed under the influence of Japanese Dojin culture, it is not well-known that Korean Dong-in culture has its own characteristics, reflecting the unique situations surrounding the Korean society. The reason that I pay attention to the changes in the 1990s is that they have created the foundation of the current Korean dong-in culture through changes such as the import and reception of Yaoi, the creation of 'virtual community' in PC telecommunication, the enforcement of Juvenile Protection Law, and the inauguration of 'Comic World,' Among them, the import and reception of Yaoi, a genre characterized by homosexuality including sexual relationship and fanwork, played a decisive role in the change of dong-in culture from manwha circle by highly motivated amatuer artists to fandom. The circumstances that original manhwa dong-in by manwha circle and Yaoi by manhwa fandom coexisted by the mid-1990s, the enforcement of Juvenile Protection Law and the lift of ban on Japanese popular culture rapidly weakened original manhwa dong-in. Also, the popularity of Comic World as a new type of dong-in events reflected the spread of fanwork as a new trend of Korean dong-in. In summary, the import and reception of Yaoi should be considered as one of the important changes in the 1990s Korean Dong-in culture, because 1) Korean women considered Yaoi as a liberating subculture by its powerful contents-homosexuality with sexual relationship, and 2) Yaoi succeeded in attracting new population favoring fanwork as a major trend in Korean Dong-in, differentiated from original manhwa circle population.

• Cartoon and Animation Studies
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• s.50
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• pp.275-297
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• 2018

Japan's mechanic animation is widely known throughout the world. 1952년, Japan's first mechanic animation and the first TV animation, , has been popular since it's creation in 1952. Atom, a big hit at the time, has influenced many people. Japanese mechanic animations convey their unique traits and world view to the public In this paper, we are going to discuss the change of the Japanese mechanical design through comparison of the mechanical design, which has been booming since the 1990s in Japan; and the . I expect the results of this analysis to depict Japanese culture and thought reflected in animation, which is a good indication of worldwide cultural view of animation. unexpectedly influenced the Japanese animation industry after it screened in 1995, and there are still people constantly reinterpreting and analyzing it. This is the reaction of the audience to anticipate the mystery and endless conclusions of the work itself. The design elements of Evangelion are distinguished from other mechanical objects. Mechanic design based on human biotechnology can overcome limitations of machine and make you feel more human. The pilot 's boarding structure, which can contain human nature, is reinforced in the form of an enterprising plug, and the attitude of excavation makes humanity more prominent than a straight robot. Thus, pursues a mechanic design that can reflect human identity. can be selected as the mechanic animation of the 80's, and the "Neon Genesis Evangelion" of the 90's shows it with a completely different design. By comparing the mechanical design of two works, therefore, we examine the correlation between the message and the design of the work. presents the close relationship between the identity of the mechanical design and the contents. I would like to point out that mechanical design can be a good example and theoretical basis for the future.