• Journal of Korean Philosophical Society
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• v.115
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• pp.249-279
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• 2010

The Law of the Heart, which appears in the chapter "B. The Actualization of Rational Self-consciousness Through its own Activity" in Hegel's Phenomenology of Spirit represents that the self-certainty of the reason may be the another face of the Madness. The Reason's indubitable certainty is the testimony of the truth for Descartes, and it also plays a role as the moral maxim of the conscience for Kant. But this subjective certainty unavoidably leads to the Madness of self-conceit, which unifies the consciousness and the reality ignoring the difference between them. The typical attitude appearing in the reformer like Don Quixote and also romantic idealists reveals the fact that modern reason and the psychosis can be both faces of one and the same coin. The Mirror Stage, the Imaginary, and the Formula of the Desire in Lacan's Theory shows that the Image of completeness is the result of Mis-understanding. Even if the Mirror stage is necessary for the Formation of the subject, at the same time it should also lead to the next stage, i.e., the Symbolic Order. It is considered as the realm of the Otherness, which refers to the realm of language or that of law. If the Ego can't go through the symbolic castration acted on by the Name of the Father, he will be remained in the prison of the Imaginary. The Madness also shows the similar process. For Hegel the Discipline of the Labor or the Death as absolute Otherness that inevitably delays the Desire plays the same role as the name of Father. It may be the experience of Separation or that of Sublation of the individual towards the universal, which is equivalent to the experience of Symbolic castration in Lacan. Furthermore there may be the difference between Hegel and Lacan as the following; while in Hegel the experience of Separation is founded on the spontaneity of the Spirit, for Lacan it is to be compelled and structured by the absolute Other.

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

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

• Journal of Popular Narrative
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• v.25 no.3
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• pp.211-266
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• 2019

Films of the 1960s in both Korea and Egypt share many common characteristics. These include the main trend of such films' in addition to some of the political situations. This trend mainly relates to the adaptation of novels into films. In the late 1940s, Andre Bazin wrote his ideas about a similar phenomenon in Europe and the United States. Based on Bazin's thoughts and other examples for films adapted from novels in the 1940-60s, I found that the trend in both Korea and Egypt can be explained as an international phenomenon, in which film developed to a further stage due to a dialectic between content and form after the increase in the development of film techniques. The trend in Korea is believed to have led to the so-called golden era of Korean movies, while in Egypt films adapted from literature were not able to earn high profits, even though in a 1996 list of the best 100 Egyptian films, 23 had been adapted from novels. To explain the reasons behind this phenomenon, I looked into the internal demand from filmmakers themselves to further develop the industry through the articles written at that time. In addition, I explored the different situations and policies that influenced film production in both countries in the 1960s. I found that political situations and policies could have helped in the continuity of such trend, but it is difficult to consider these as the main reason for its creation, in contrast to the internal demand, which I believe is the main reason for the creation of such direction.

• Laboratory Medicine Online
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• v.1 no.2
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• pp.100-104
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• 2011

Background: Malaria is a problematic disease in Korea, and microscopic examination of Giemsa-stained blood smear has been used as the gold standard for its diagnosis. However, this technique is time-consuming and has low sensitivity in samples with low numbers of malarial parasites (<20 parasites/μL). Here, we evaluated the performance characteristics of the LG Advansure^TM Malaria P.f./P.v. real-time QPCR (LG life sciences, Korea). Methods: Blood samples from 173 persons who visited Korea University Ansan Hospital were evaluated. QPCR was performed in 73 malaria patients and 100 healthy subjects by using the LG Advansure Malaria P.f./P.v. real-time QPCR^R kit, and the results were compared with those of microscopy. The detection limit of this kit was determined by serial dilution of Plasmodium-infected blood with normal blood (blood not infected with Plasmodium). Results: Among the 73 patients that were microscopically confirmed to have malaria (Plasmodium vivax infection, N=70, P. falciparum infection, N=3), 69 patients were diagnosed with P. vivax infection and 3 were diagnosed with P. falciparum infection by LG Advansure^TM Malaria P.f./P.v. realtime QPCR. Both the tests indicated absence of infection in the 100 healthy subjects. The detection limit of LG Advansure^TM Malaria P.f./P.v. real-time QPCR was 0.1 parasite/μL. Conclusions: LG Advansure^TM Malaria P.f./P.v. real-time QPCRis a very sensitive and specific technique and can be used as a confirmatory test for malaria.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.263-288
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• 2019

Barrier-free films enhance accessibility to audiovisual image contents by providing specific information on screen and through sound so that people with vision or hearing loss can receive the same amount of information as those without disabilities and immerse themselves in the audiovisual images. This study pays attention to barrier-free audiovisual contents in relation to the cultural civil rights of people with vision or hearing loss in South Korea. While institutional efforts have been made in the 2010s to improve the access to audiovisual media of people with vision or hearing loss, the goal of enabling people with vision or hearing loss to fully enjoy all audiovisual contents at a level equal to the non-disabled has not yet been realized. Amid the lingering conflict between disabled groups and multiplexes that has lasted years, the global video streaming service Netflix has aggressively threatened the dominance of local multiplexes with the launch of its Korean service. As Netflix, which is subject to U.S. regulations guaranteeing the rights of people with vision or hearing loss, has produced original dramas and movies involving Korean production teams, the cultural civil rights discourse of the disabled has transitioned to the issue of the rights of cultural consumers crossing national borders in the era of globalization. Changes in the media environment raise the issue of civil rights guarantees in which disabled people enjoy the right to simultaneously watch movies and comment on movies by participating in a common discourse, equally with non-disabled people. The "right to be part of the audience for Korean cinema" for Korean deaf people, which has long been neglected, should also be considered as a cultural civil right that crosses the boundaries of language, nation and disabilities. This essay examines the current issues surrounding the right to cultural entertainment of people with vision or hearing loss in South Korea in conjunction with the contemporary trend of rapid changes in the media environment and the global spread of the movement for cultural civil rights of people with disabilities, and suggests the need for visual culture studies to take a serious step toward disability studies.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.67-99
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• 2019

This paper analyzed romance novels imported into Korea in the 1980s and examined the traits of Korean girls' culture at that time. To this end, This paper chose as subjects the series of 'high-teen romance' published by Samjungdang, 'princess bestseller' by Seoul Publishing and the 'silhouette romance' by Joongang Ilbo in the 1980s. Through the aspects of the paperback romances, the traits of the artist, the content of the work, and the response of the reader, this paper analyzed the position and affection of romance as a genre in Korean culture in the 1980s. In the 1980s, most of the paperback romances available in Korea were translations of the modern and progressive present lines of Harlequin Enterprise's category romance. There were also many writers who were mostly introduced with progressive characters like Charlotte Lamb. The Harlequin romance depicts a story of sensual love. These translated 1980s paperback romance novels allowed girls in Korea to freely imagine the problems of sex and love. In particular, it showed a new perspective on women's sexuality. In Korean love novels, the sexuality of women was treated as an object for the gaze of men. The novels of female writers as college student who criticized this dealt with women's sexuality, but focused on criticism and resistance to the ideology of chastity. The paperback romance made it possible for women to freely enjoy their sexuality by escaping the ethical standards of reality. In addition, the paperback romance was an escape from the frustration of love. Romantic love in Korean love novels did not lead to the unification of mind and body, and always ended in tragedy. On the contrary, the paperback romance started with the fear of the girl who felt love for the first time, showed the process of winning over anxiety, confirming love and reaching a happy marriage. Through this, girls understood general love that was not subordinated to the ideology of chastity, and accepted love positively. The process of establishing romance as a genre in Korean culture and the traits of its readers have not yet been sufficiently clarified yet. This paper compared the romance genre with the other love novels of the day, explaining the position and meaning of the romance genre in Korean culture in the 1980s. Through this, we were able to chart the historical development of the Korean romance genre.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.45-71
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• 2019

Through the expansion of platforms in the media era, this paper notes the phenomenon in which 'high-teen romance drama,' a genre which had been marginalized in the past, began to re-emerge. It analyzes the 'high-teen romance drama,' which is moving from TV to the Web and being produced in various ways, while successfully returning to the TV drama format. This study sums up the latest trends in TV and web-based high-teen romance dramas, and as a case study, this paper examines the characteristics of the 'high-teen romance drama' in relation to the platform's environment through the web drama A-Teen, TV drama 18 Moment. Due to the restriction of ratings, high-teen romance dramas have been one of the largely marginalized genres on television. But in the web space, high-teen romance dramas are no longer non-mainstream. The high-teen romance drama has been solidifying its position through the Web, with absolute support from young viewers. Web dramas are gradually expanding their influence on the genre and subject of TV dramas. The high-teen romance drama is one of the most prominent examples of this trend. The popular interest and success of the high-teen romance web drama has brought the forgotten high-teen romance drama back to TV. The web drama A-Teen is a high-teen romance drama about everyday life and love of high school students, and became one of the most popular and popular web dramas, leading to a Season 2. A-Teen actively utilizes teenage culture and expression, and a strategy that leads to empathy among teenage viewers. In A-Teen, love is recreated in a way that relieves the depth of overconsumption emotions. Instead of dealing in depth with the inner conflict over love, it takes an approach ofpresenting the emotional change of love in real time and forming a consensus with the acceptor. The TV drama 18 Moment is one of the programs that has helped refocus attention to TV-hitting romance dramas. 18 Moment underlines the growth of the characters, with the main characters reaching maturity through love as fresh and innocent teenagers. The TV drama 18 Moment is a high-teen romance drama that has been transformed into a way to apply the web-fadding high-times grammar while retaining the typicality of existing TV hagwons to suit the TV broadcasting environment. As the Internet becomes more ubiquitous, video content is changing based on the newly emerging platforms. Dramas no longer mean just traditional television media. While considering the limitations of TV, this paper analyzed the background of the rebirth of the high-teen romance drama, which had been marginalized, through the web platform. This is meaningful in that it identifies and considers the increasing popularity of this genre of drama.

• Korean Association of Arts Management
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• no.51
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• pp.135-166
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• 2019

Recently, the Japan Cultural Agency announced a plan for revitalizing the art market represented by reading museums (advanced art museums) to promote industry through strengthening the sustainability and economics of art museums. Along with these policy announcements, the Japanese cultural system and Bypyeongje are divided into pros and cons, and there has been a heightened opposition, which is now in a state where policy promotion has been temporarily suspended. The opposite reason is that it does not meet the museum's inherent purpose of preservation and lore, and the reason for favoring that commercialism can ruin the art world is that the Japanese art society is other than art museums and museums Also, it consists of non-profit organizations, art festival administration organizations, support staff, volunteers, etc., but because of the high subsidy bias, no real labor costs are paid, which means that it is virtually neglected. Also, there is a vigilance that the art society itself, which reduces its reliance on subsidies in response to social changes, can survive. Seeing that the situation is not much different from Japan, Korea is also actively discussing new establishments of the National Art Bank, performing art appraisal and evaluation functions for revitalizing art works, art loan, art trust, etc. There is. As it is difficult to solve realistic problems with subsidies from the future situation, it is difficult for us to expand investment in culture, and culture and economy are united and linked. You will find a plan to make it operational. In this regard, it is thought that the examination of the cultural and economic agency's strategy, represented by the Japanese advanced art museums, gives us a meaningful suggestion.

• Korea Trade Review
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• v.41 no.5
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• pp.325-351
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• 2016

This study empirically investigated the relationship among knowledge transfer, network(firm network and government network) and performance Korean MNCs' subsidiaries in terms of absorptive capacity and entry mode roles in China. For this, absorptive capacity was established as an independent variable, mediating variable, and moderating variable. And the entry mode was divided into single investment and joint venture and set to the moderating variable. Data for the analysis of actual proof was randomly selected from the companies which was established more than 3 years before KOTRA 'The overseas expansion Korean company directory (2014)'. Questionnaires to 138 Chinese subsidiaries of Korean MNCs were collected by FAX and E-mail. AMOS was utilized and collected data investigated the role of the absorption capacity and entry mode as the covariance structure analysis. The empirical analysis showed that absorption capacity has a direct influence on management performance as an independent variable with the network (firm network and government network). It only has a partial mediating role between enterprise networks and management performance, and no meaningful result was gained as its moderationg role bewteen the exogenous variable and management performance. And in terms of Korean companies' moderating role in entering China, they have a moderating role between government network, absorption capacity and management performance, but did not show a statistically significant result between knowledge transfer, enterprise network and management performance. Absorption capacity, as the variable affecting overseas subsidiary's management performance, should not be considered a mediating or moderating variable, but an independent variable. Since the joint venture is showing higher performance than single investment when going into the Chinese market, implication is provided for options in overseas expansion. But this research has the limitation in generalization because it is aiming at the subsidiaries of the Korean company investing in China. Therefore, it is more desirable in the future to conduct a study of the subsidiary of the Korean company entering several countries. It also has limitations in generalization, because the research was conducted using a limited number of variables, despite there are various factors affecting the management performance of Chinese subsidiaries.

• Korea Trade Review
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• v.42 no.5
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• pp.137-159
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• 2017

This study divides manufacturing in 18 countries including Korea, China, Japan and OECD countries into 11 areas and estimates and compares the technological efficiency of each industry. The traditional view of productivity is to increase production capacity through technological innovation or process innovation, but it is also influenced by the technological efficiency of production process. A Stochastic Frontier Production Model (SFM) is a representative method for estimating the technical efficiency of such production. First, as a result of estimating the production function by setting the output variable as total output or value-added, in both cases, the output increased significantly in all manufacturing sectors as inputs of labor, capital, and intermediate increased. On the other hand, R&D investment has a large impact on output in chemical, electronics, and machinery industries. Next, as a result of estimating the technological efficiency through the production function, when the total output is set as the output variable, the overall average of each sector is 0.8 or more, showing mostly high efficiency. However, when value-added was set, Japan had the highest level in most manufacturing sectors, while other countries were lower than the efficiency of the total output. Comparing the three countries of Korea, China and Japan, Japan showed the highest efficiency in most manufacturing sectors, and Korea was about half or one third of Japan and China was lower than Korea. However, in the food and electronics sectors, China is higher than Korea, indicating that China's production efficiency has greatly improved. As such, Korea is not able to narrow its gap with Japan relatively faster than China's rapid growth. Therefore, various policy supports are needed to promote technology development. In addition, in order to improve manufacturing productivity, it is necessary to shift to an economic structure that can raise technological efficiency as well as technology development.