• International Journal of Computer Science & Network Security
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• v.21 no.8
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• pp.203-211
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• 2021

The article studies the discourse and a legal uncertainty of the popular and generally understandable concept of cybercrime. The authors reveal the doctrinal approaches to the definition of cybercrime, cyberspace, computer crime. The analysis of international legal acts and legislation of Ukraine in fighting cybercrime is carried out. The conclusion is made about the need to improve national legislation and establish international cooperation to develop the tools for countering cybercrime and minimizing its negative outcomes. The phenomenon of nicknames is studied as a semantic source, which potentially generates a number of threats and troubles - the crisis of traditional anthroponymic culture, identity crisis, hidden sociality, and indefinite institutionalization, incognito style, a range of manifestations of loneliness - from voluntary solitude to traumatic isolation and forced detachment. The core idea is that it is the phenomenon of incognito and hidden name (nickname and other alternatives) that is the motivational stimulus for the fact of information trouble or crime.

• Cross-Cultural Studies
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• v.24
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• pp.19-31
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• 2011

This article examines the historical view of Benito $P{\acute{e}}rez$ $Gald{\acute{o}}s$ in his historical novel named "Zaragoza" and "$C{\acute{a}}novas$" by comparing with Numancia of Cervantes. In front of the national survival crisis, $Gald{\acute{o}}s$ recognizes that it is necessary that Spain should recover humanity and morality on basis of the krausist ideal. The krausists warned subjective idealism, stressing on free-will and moral conscience in a harmonious balance of rationality. Without refusing patriotism, they warned egoistic patriotism deformed by national selfishness or nationalism. Giner de los Ríos insisted on a necessity of harmonizing national inclination and universal one. $Gald{\acute{o}}s$ emphasizes that the identity of Spain is not possession of privileged class but sweat and tears of the mass of people in daily life. He represents Efemera as the ideal history on the basis of Unamuno's 'intrahistoria', by which, instead of $Luk{\acute{a}}cs^{\prime}$ progressive history, we can peep into a historical poetics of human free nature and vividness of discontinuous and endless shifting. According to the sub-history, we come to the conclusion that $Gald{\acute{o}}s$ and Cervantes would lay emphasis on sub-history, aiming to essence of Spanish soul originated from national landscape and people's daily life.

• Proceedings of the Korean Society of Crop Science Conference
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• 1998.10a
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• pp.336-352
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• 1998

The horticultural seed industry has made great progress in the last fifty years of its history after the independence of this country. The industry has accomplished self-sufficiency in major vegetable seeds and has even gained international competitive edge in certain crop seeds, particularly in hybrid cultivar development. However, the industry is facing a crisis at present coming from excessive competition among the domestic seed companies as well as the foreign currency crisis of the country. Several major seed companies have already been acquired by multinational corporations. Many people in the country as well as agriculturists are concerned about this situation. Although it is true that the industry is undergoing hard times, this crisis can be turned into a chance for making new progress depending on the joint efforts of the groups responsible, i.e., private companies, public institutions, and policy makers. Therefore, we have to turn this crisis into an opportunity for self-reform and progress. We should not be discouraged or give up. We Propose some ideas for the Progress of the seed industry. Public institutions and policy makers should do such things in cooperation as 1) training human resources for future breeders, 2) securing a wide range of genetic resources and improvement of the management system, 3) basic science research including biotechnology, 4) releasing breeding stocks from germplasm enhancement through use of exotic accessions, 5) support for breeding region- or use-specific cultivars, and 6) collection of foreign agricultural information for breeding cultivars for overseas markets. Eventually the responsible group for the final development of commercial cultivars, production, sales and management is private companies. Therefore, private companies also should have to do their best to develop competitive cultivars with a missionary spirit and endeavor for both domestic and overseas markets in cooperation with public institutions. Management based on competition, professionalism and rationalism is also urged. We are going to conclude with optimism that we can make a new vault of progress once the private and public sectors closely cooperate for the development of Korean horticultural seed industry by overcoming this crisis.

• Korean Educational Research Journal
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• v.38 no.1
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• pp.17-28
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• 2017

Nearly every country in the world now has the education of its own history in school curriculum. Although there is a difference in the nationality of each country, each has a common perception that history education is important. This is because everyone agrees that the nation's national identity is the core of its identity, and that it forms the backbone of national unity. In Korea, history textbooks were temporarily organized in selective courses and until recently were chosen as subjects of choice in the CSAT. However, despite the repeated neglect of national history education, the national sentiment should not always be neglected, and the formation of the national consensus will eventually prove to be a necessity for the Korean National University's CSAT. Despite the need for the education of Korean history, education has always been mentioned in conjunction with the word "crisis" and "stalemate". This article looks at the key issues in the history of the curriculum and the contents of history textbooks.

• International Journal of Contents
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• v.6 no.2
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• pp.28-32
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• 2010

Reports on the Korean culture's gaining popularity among foreign audiences have filled the Korean news media for more than a decade by now. On the other hand, some observers have begun to argue that the hyper-commercialism has brought the Korean cultural industries to a crisis. By examining a brief history of U.S. commercial media system's global spread, this paper makes an effort to understand the Korean media industry within an international and historical framework. Secondly, it analyzes the processes of Korean media industry losing its competitiveness following the Korean Wave success. Based on the research findings, this paper warns against the potentially detrimental effects of commercial media system.

• Journal of Agricultural Extension & Community Development
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• v.26 no.1
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• pp.47-55
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• 2019

The aim of this article is to critically explore the history, methods, characteristics and cause mechanism of Korean farmers' movement who resisted to market globalization from the perspective of social movement theory. I believe that the most influential elements of Korean farmers' movement are three structural elements; namely resentment, political opportunity structure, and media and discourse. Therefore, focusing on the three elements, I analyze the emergence and expansion of the Korean farmers' movement against market globalization from 1993 to 2008. And I analyze the roles of these three structural elements which played in farmers' social movement in South Korea. Particularly, this article analyses in perspective of market globalization and government trust crisis about the basic reason why Korean farmers' movement was so fierce in process of agricultural market globalization.

• Korean Journal of Psychosomatic Medicine
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• v.29 no.2
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• pp.176-183
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• 2021

Objectives : The purpose of this study was to find out how demographic factors, suicide attempt patterns, psychiatric history and management of suicide attempters affect the completion of emergency department (ED) based case management program. Methods : Among the patients who attempted suicide and visited the emergency department of Chung-Ang University Hospital from June 1, 2018 to May 31, 2021, 661 patients who agreed to case management were studied. After being discharged from the emergency department, subjects were registered for an eight-week follow-up service program. Hierarchical logistic regression analysis was conducted with demographic factors, suicide attempt patterns, psychiatric history and management as independent variables, and completion of case management program as dependent variables. Results : Suicide attempt pattern had the most significant influence on the completion of case management program, followed by demographic factors, psychiatric history and management. Those who completed the case management program were significantly more likely to have suicide plans in the future, more authentic in suicide attempts, and had higher proportion of past suicide attempts than those who did not complete the program. Conclusions : To ensure that the subjects complete the follow-up project program and get connected to community services, an individualized approach with consideration of suicide attempt patterns, demographic factors, and psychiatric history is needed.

• The Journal of the Korea Contents Association
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• v.15 no.9
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• pp.47-60
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• 2015

Original play of theatrical troupe Yeonwoo Stage has gone through history represented by (i) the development period of "research on play," (ii) the resistance/growth period of "play movement," (iii) the prime/segmentation period of "metaphor for reality," (iv) the crisis/transition period of "rediscovery of reality," and (v) the challenge/advancement period of the "active development of repertoire." "Collective creation" based on the singe-representative system was a solution to overcome difficult circumstances, crisis facing the theatrical troupe and the lack of resources in the development period and the resistance/growth period, "co-creation" based on the five-representative system, the two-representative system, the system of an operation committee consisting five members, etc. in the prime/segmentation period and the crisis/transition period, and "planning and production" based on the single-producer system in the challenge/advancement period. "Collective creation" system was operated by the entire theatrical troupe, which was led by a director; "co-creation" system was operated by performers, who were directed by a director (-playwriter); and "planning and production" system was operated both internally and externally and was led by a producer. During its long history of developing original play, Yeonwoo Stage has (i) expanded the scope of Korean-style narrative, (ii) succeeded collective creation culture to the next generation, (iii) followed the trend of the times, (iv) attempted to attract popular empathy.

• (The)Study of the Eastern Classic
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• no.36
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• pp.203-228
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• 2009

ChaeHo Shin's major interests were in the ancient history, among other periods of the Korean history. Shin's depiction of history is characterized by having nation in the heart of history, whose tendency of nationalism was purposefully strong. In general, the nationalism of those times was emphasizing a 'strong' nation, just as in the case of Shin's theory, and at the same time stood for the theory of social evolution with a view to raising the nation in the front line of history. The nationalism, in association with the theory of social evolution, ended up having a propensity that criticizes imperialism on the one hand, and envies it on the other. This inclination is literally shown in Doksasillon (A New Guide to Reading History), which is ChaeHo Shin's research on the ancient history. Doksasillon is a historical essay that was published serially in 50 installments from August 27th through December 13th in 1908. Unlike the existing views in the late 1900s on the ancient history, among other ages of the Korean history, Doksasillon can be called a treatise with a focus on nation. Doksasillon is an incomplete study which can be divided into two parts, introduction and ancient times that is the first volume. It, nevertheless, shows the aspect of a powerful nation activist who tried to surmount the life-and-death crisis of nation by 'recalling' the nation in the period of the late-Joseon and the Korean empire in 1908 and 'rediscovering' the territory. It also reflects a slice of a historian's anguish that attempted to cope with the national crisis by virtue of the 'power' of history. It is ChaeHo Shin who 'rediscovered' the Buyeo tribe as the mainstream of the ancient history of Korea, and recomposed and materialized the ancient history. Shin chose the 'Buyeo tribe' as a principal race, and used it as a representative of the Korean nation in the ancient era, which was because Buyeo and Goguryeo were the strongest. The emphasis laid on the powerful nation in the history of Korea well reflects the efforts of a powerful nation activist in the age of the late-Joseon, and on the other hand, it shows how nationalism came to be formed in Korea. ChaeHo Shin is regarded as a person who lived in the age in which nationalism, which underscores the homogeneity of a nation, had to be stressed as a sole weapon for a nation who was left behind in modernization and whose rights were disseized. Dosasillon shows a process of reconstructing the history of DanKun and the Buyeo tribe and unearthing a hero who was valued as a savior of the nation, which was the reason that ChaeHo Shin wrote a history.

• The Journal of Art Theory & Practice
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• no.2
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.