• Human Ecology Research
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• v.62 no.1
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• pp.101-120
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• 2024

This study aimed to examine the effect of adolescents' perceived parental blame (criticism) on learned helplessness and to examine whether maladaptive metacognitive beliefs and rumination sequentially mediate the relationship between parental blame and learned helplessness. The participants were 316 adolescents (Mean age=16.7, SD=0.75; 137 male, 179 female) attending grades 1st and 2nd in high school in South Korea. The participants were selected using a snowball sampling method, while the data was collected via an online self-report questionnaire. This survey was completed by the participants and analyzed using SPSS 28.0, Amos 26.0 (IBM Co., Armonk, NY), and PROCESS macro version 4.2 (Model 6; Hayes, 2022). The main results are summarized as follows. Firstly, the adolescents' perceived paternal and maternal blame indicated significant direct effects on learned helplessness. Secondly, rumination mediated the effect of paternal and maternal blame on learned helplessness. Lastly, paternal and maternal blame significantly affected learned helplessness through the sequential mediating effects of maladaptive metacognitive beliefs and rumination. This study elucidates the causal structure among the various factors influencing learned helplessness in adolescents, focusing on parental blame, maladaptive metacognitive beliefs, and rumination. Furthermore, considering the verified sequential mediating effects of maladaptive metacognitive beliefs and rumination in the relationship between adolescents' perceived parental blame and learned helplessness, these findings suggest that modifying maladaptive metacognitive beliefs may help to reduce learned helplessness among adolescents who perceive high levels of parental blame.

• Journal of Information Technology Applications and Management
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• v.30 no.1
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• pp.115-126
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• 2023

In various fields such as art, design, music, film, sports, games, and fashion, NFTs (Non-Fungible Tokens) are creating new economic value through trading platforms dedicated to NFT art and content. In this article, I analyze the current state of blockchain technology and NFT art content in the context of an expanding market for blockchain-based NFT art content in the metaverse. I also propose several tasks based on the economic and industrial logic of technological innovation. The first task proposed is to integrate cultural arts on blockchain, metaverse, and NFT platforms through digital innovation, instead of separating or distinguishing between creative production and consumption. Before the COVID-19 pandemic, there was a clear separation between creators and consumers. However, with the rise of Web 3.0 platforms, any user can now create and own their own content. Therefore, it is important to promote a collaborative and integrated approach to cultural arts production and consumption in the blockchain and metaverse ecosystem. The second task proposed is to align the legal framework with blockchain-based technological innovation. The enactment and revision of relevant laws should focus on promoting the development of the NFT trading platform ecosystem, rather than merely regulating it for user protection. As blockchain-based technology continues to evolve, it is important that legal systems adapt to support and promote innovation in the space. This shift in focus can help create a more conducive environment for the growth of blockchain-based NFT platforms. The third task proposed is to integrate education on digital arts, including metaverse and NFT art contents, into the current curriculum. This education should focus on convergence and consilience, rather than merely mixing together humanities, technology, and arts. By integrating digital arts education into the curriculum, students can gain a more comprehensive understanding of the potential of blockchain-based technologies and NFT art. This article examines the digital technological innovation such as blockchain, metaverse, and NFT from an economic and industrial point of view. As a limitation of this research, the critical mind such as philosophical thinking or social criticism on technological innovation is left as a future task.

• Journal of Digital Convergence
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• v.11 no.11
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• pp.667-673
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• 2013

The Baekjae Culture Festival was first held with the objective to re-explore and succeed the traditions of Baekjae culture based on history of Baekjae's seat of government, Gongju and Buyeo. It has contributed to the development of regional culture and establishment of cultural identity of local community with its pride as the leading historical cultural festival that introduces the history and culture of Baekje. However, the current Baekje Culture Festival as a historical and cultural festival is faced with a criticism as it is operated in the direction far from its initial purpose due to the lack of recognition in its significance and application. Therefore, the National Baekje Cultural Products Concours is held as part of various contests of Baekje Culture Festival in order to encourage the pride of Baekje history, draw international attention for the advanced and unique Baekje culture, develop innovative ideas for cultural products and grow the talents in design. The awarded work of this national concours is believed to be effective for the cultural contents industry. However, unlike its initial purpose, the concours has become a one-time exhibitionist event. Hence, through the analysis of general facts and case of domestic cultural products this thesis aims to find a way to utilize the National Baekje Cultural Products Concours in order to re-evaluate the history and culture of Baekje and enhance the public recognition through their viewing, consuming, promoting and experiencing of cultural products.

• Journal of Cadastre & Land InformatiX
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• v.49 no.1
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• pp.157-179
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• 2019

The Seoul's 2030 Youth-Housing has been regarded as the only option to procure rental housing sites in downtown Seoul. But its supply did not catch up with the initial expectation, and the criticism that it may disrupt the current zoning system of the city has persisted. Consequently, the 2030 Youth-Housing policy has undergone amendments for six times within the last three years, and the significant changes in its guideline also have been made within the last one year. The study, in this context, tries to figure out the tendencies of those changes made in the guidelines so far by analyzing the aspects of the parcels allowable for Youth-Housing as well as the areas allowable for up-zoning. In the process, the propositional logic is to be adopted to draw the scope of the buildable areas for Youth-Housing. For this, the study refines the raw GIS data, inputs the values for each proposition, and proceeds the logical operation to judge every parcel of the city to discern whether it is eligible for a buildable site and/or for up-zoning for Youth-Housing. It is seen that: 1) the buildable sites rather evenly distribute around the peripheral subway-station areas while more concentrating on the quasi-residential and commercial areas; and 2) the areas eligible for up-zoning have the tendency to concentrate more on quasi-residential areas than others.

• The Research Journal of the Costume Culture
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• v.9 no.4
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• pp.574-591
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• 2001

This study reviews the concept and characteristics of the deconstruction philosophy in order to analyze the major aspects of the fashion world called the deconstruction fashion based on the deconstruction philosophy, and analyzes the works of Jean Paul Gaultier in terms of Derrida's deconstruction theory. The scope of this research is from 1980 to present, and this study fashion on the many kinds of literature on philosophy, aesthetics and literary criticism, and the domestic and international fashion journals and magazines. The deconstructionism is the philosophical theory which denies the traditionally recognized logocentric metaphysical theory and refuses the closed world and pursues the open world, opposing the dichotomic theory which is the deep-rooted tradition of the Western philosophy. The results of analyses centering on the internal deconstruction trend expressed in the works of Jean Paul Gaultier are as follows. 1 The past style combined with the present appears in the form of the entirely new trace, not the past emotion and meaning in Gaultier's works transcending the time and space. 2 Gaultier presents the unconventional intermeaning of meanings, producing various possibilities according to the wearing method of the wearer by layering several clothes. 3. Gaultier breaks from masculinity and femininity in the intertextuality of gender, and decomposes the fixed idea of men's or ladies'wear through the design sharing bisexual text. 4. In the intertextuality of T.P.O., Gaultier presents the problem of how to wear by mixing different items through obscuring the division of the nature of time, space, and purpose. Especially Gaultier can be called the first designer who, worthy of the father of the deconstructionism, has introduced in the fashion making inner wear like outer wear. 5. In the intertextuality of coordination, Gaultier presents a new perspective of coordination through free combination and contrast, raising a question about the man-made harmony criterion and deconstructing the clothes. On the other hand, Gaultier expresses the intertextuality of the material through the heterogeneous combination of the material. 6. The decomposition trend expressed in the many works of Gaultier reflects an open mind presenting a new perspective through the distortion of the form, exaggeration, and break from the existing construction method. 7. The decentering trend in the works of Gaultier is found to deconstruct the Western-dominated elements against the background of subcultural elements, the elements borrowed from the minority race, md the Oriental culture. 8. The discontinuity clothes of Gaultier present the disordered principle of design without the uniform rules, and express the unrestrained freedom without captivation by the preconceived idea through the disruption of the dress and its ornaments just like Gaultier.

• The Journal of Art Theory & Practice
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• no.5
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• pp.43-80
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• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.1
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• pp.1-17
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• 2014

The Practice of Landscape Urbanism has been criticized on two aspects; Landscape Urbanism does not yet provide differentiated forms of planning and design neither able to fill the gap between theory and practice. In response to these criticisms, Landscape Urbanists have tried to provide additional cases that can exemplify achievements of Landscape Urbanism in practice. There has been another type of effort to suggest distinct planning and design strategies of Landscape Urbanism from theoretical texts. However, these approaches overlooked the fact that professional practice actually gave huge influence on the theoretical framework of Landscape Urbanism. Based on this observation, the study examined the development process of Landscape Urbanism by verifying the correlation between its practice and theory. Through an extensive literature review, the study suggested horizontality, infrastructure, process, ecology, media, hybrid, site, and scale as eight major concepts of Landscape Urbanism. Afterwards, the study classified 51 projects cited in major essays and articles of Landscape Urbanism into four categories: Archetypal projects, precedent projects, exemplary projects, and progressive projects. The correlation between strategies of the selected projects and main theoretical concepts was analyzed. The study found out that the early stage of the theory was focused on defining and explaining the new design and planning approaches of contemporary design projects related with landscape. However, these days, Landscape Urbanism became a more productive in providing diverse types of practice sharing the direction and vision proposed by the theory. Various projects influenced in constructing theoretical structure of Landscape Urbanism as well as proved that the suggestions of Landscape Urbanism could be effective to reorganize contemporary cites in the form of design and planning strategies. The observation of this study can contribute to provide proper answers to the criticism on practice of Landscape Urbanism and be helpful in understanding the limits and unrealized potentials of Landscape Urbanism as a practical theory.

• Journal of Korean Biological Nursing Science
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• v.2 no.2
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• pp.53-66
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• 2000

Objectives: The studies in biological, behavioral and psychosocial perspectives in nursing research are fundamental in the balanced development of nursing knowledge. Many nursing researchers have placed a strong emphasis on developing psychological and behavioral aspects of nursing knowledge as is evidenced by the large body of research in these areas. However, the paucity of nursing research using the principles of biological science for measurements and techniques have often invited open criticism by many nursing researchers. This study attempts to characterize the researches performed in master and doctoral thesis which used physiological variables. Methods: We analyzed masters' thesis from 1962 to 1996 and doctoral thesis from 1982 to 1996 listed in CD from Korean Nurses Association. Results: Out of 3060 masters' thesis from 1962 to 1996, 342 (11.2%) thesis used physiological variables whereas 43 (10.1%) doctoral thesis used physiological ones. Number of thesis with physiological variables was the highest in Seoul National University for masters' thesis whereas for the doctoral thesis the number was the highest in Yonsei University. The research subjects in these thesis with physiological variables were mostly patients (53.5% in masters' and 69.8% in doctoral). Master's thesis often conducted either nonexperimental or survey research (69.9%) whereas experimental research design prevailed vital signs(181 thesis), blood tests(133), body composition(124), microorganisms(74), gastrointestinal functions(36), lab test(33), drug(21), urinary functions(20), movement(17), Apgar Score(15), reproductive functions(9), skin related functions(6), body fluid and electrolytes(4), parasite(4), metabolism(3), and sensory(1), Among the 338 master' thesis which studied the common nursing concepts such as anxiety, pain, stress, and depression, 48(14.2%) thesis utilized physiological variables while 15 out of 35 doctoral thesis addressed these concepts using physiological variables. Conclusion: In summary, our results indicate that despite the large amount of nursing research performed over the last decades, there are a few nursing researches done with physiological variables either in masters' or doctoral thesis. To enrich nursing knowledge with different perspectives of nursing including especially biological ones, the efforts have to be made to conduct bionursing science research.

• 한국무역상무학회:학술대회논문집
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• 2006.06a
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• pp.45-72
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• 2006

The Equator Principles are a set of voluntary environmental and social guidelines for ethical project finance. These principles commit banks and other signatories to not finance projects that fail to meet these guidelines. The principles were conceived in 2002 on an initiative of the International Finance Corporation and launched in 2003. Since then, dozens of major banks have adopted the Principles, and with these banks among them accounting for more than three quarters of all project loan market volume the Principles have become the de facto standard for all banks and investors on how to deal with potential social and environmental effects of projects to be financed. While regarding the Principles an important initiative, NGOs have criticised the Principles for not producing real changes in financing activities and for allowing projects to go through that should have been screened out by the Principles, such as the Sakhalin-II oil and gas project in Russia. In early 2006, a process of revision of the principles was begun. The Equator Principles state that endorsing banks will only provide loans directly to projects under the following circumstances: - The risk of the project is categorized in accordance with internal guidelines based upon the environmental and social screening criteria of the International Finance Corporation (IFC). - For all medium or high risk projects (Category A and B projects), sponsors complete an Environmental Assessment, the preparation of which must meet certain requirements and satisfactorily address key environmental and social issues. - The Environmental Assessment report addresses baseline environmental and social conditions, requirements under host country laws and regulations, applicable international treaties and agreements, sustainable development and use of renewable natural resources, protection of human health, cultural properties, and biodiversity, including endangered species and sensitive ecosystems, use of dangerous substances, major hazards, occupational health and safety, fire prevention and life safety, socio-economic impacts, land acquisition and land use, involuntary resettlement, impacts on indigenous peoples and communities, cumulative impacts of existing projects, the proposed project, and anticipated future projects, participation of affected parties in the design, review and implementation of the project, consideration of feasible environmentally and socially preferable alternatives, efficient production, delivery and use of energy, pollution prevention and waste minimization, pollution controls (liquid effluents and air emissions) and solid and chemical waste management. - Based on the Environmental Assessment, Equator banks then make agreements with their clients on how they mitigate, monitor and manage those risks through an 'Environmental Management Plan'. Compliance with the plan is required in the covenant. If the borrower doesn't comply with the agreed terms, the bank will take corrective action, which if unsuccessful, could ultimately result in the bank canceling the loan and demanding immediate repayment. - For risky projects, the borrower consults with stakeholders (NGO's and project affected groups) and provides them with information on the risks of the project. - If necessary, an expert is consulted. The Principles only apply to projects over 50 million US dollars, which, according to the Equator Principles website, represent 97% of the total market. In early 2006, the financial institutions behind the Principles launched stakeholder consultations and negotiations aimed at revising the principles. The draft revised principles were met with criticism from NGO stakeholders, who in a joint position paper argued that the draft fails by ignoring the most serious critiques of the principles: a lack of consistent and rigorous implementation.