• Journal of the Korean Society for Library and Information Science
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• v.32 no.4
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• pp.31-52
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• 1998

User Education is one of the main activities among the traditional library services. Nowadays information technology has brought drastic changes into in the libraries, especially in the types of information sources, information users' behavior and the user education programs. The users need to know new information skills to retrieve the adequate information they need, and consequently libraries should develop new instruction programs to meet the user needs according to the radical changes of information technology and daily increasing electronic Information sources including internet resources. In this paper it was researched how to use the library websites for information instruction at the university libraries in Korea, USA and Canada through literature and by visiting the websites of the university libraries. It was found that Korean university libraries focus on providing the physical access to information, while American and Canadian university libraries focus on providing the intellectual access to information as well as the physical access to information. Most Korean university libraries have the entries about library history, library services and collection, outside networked information sources on the menu of their homepages, while there are guides how to use information sources such as subject bibliographies, reference tools, network resource tools, and guides how to write a paper, and information for user instruction on the websites of the western university libraries. It is very promising to make full use of the library webpages for library user education, which nowadays provide very powerful communication interface and make the library users find appealing and accessible.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.18 no.1
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• pp.10-15
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• 2007

Probably the three most important components to a comprehensive evaluation of patients with attention-deficit hyperactivity disorder (ADHD) are the clinical interview, the medical examination, and the completion and scoring or behavior rating scales. Teachers and other school personnel are often the first to recognize that a child or adolescent might have ADHD, and often play an important role in the help-seeking/referral process. A diagnostic evaluation for ADHD should include questions about ADHD symptoms, other problems including alcohol and drug use, family history of ADHD, prior evaluation and treatment for ADHD. Screening interview or rating scales as well as interviews should be used. When it is feasible, clinicians may wish to supplement these components of the evaluation with objective assessments of the ADHD symptoms, such as psychological tests. These tests are not essential to reaching a diagnosis, however, or to treatment planning, but they may yield further information about the presence and severity of cognitive impairments that could be associated with some cases of ADHD. Screening for intellectual ability and academic achievement skills is also important in determining the presence of comorbid developmental delay or loaming disabilities. The number and type of symptoms required for a diagnosis of ADHD vary depending on the specific subtype. To receive a diagnosis of ADHD, the person must be experiencing significant distress or impairment in daily functioning, and must not meet criteria for other mental disorders which might better account for the observed symptoms such as mental retardation, autism or other pervasive developmental disorders, mood disorders, anxiety disorders. This report aims to suggest a practice guideline of assessment and diagnosis for children and adolescents with ADHD in Korea.

• The Journal of Art Theory & Practice
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• no.16
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• pp.107-137
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• 2013

This paper examines a number of Korean artists-Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc-working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style's cutting edge cache in Korea. While their turn to abstraction was outdated from New York's critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists' struggle while caught between a dualistic framework such as Korea/U.S, East/West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art's legacy imposed upon them over the course of Korea's tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.9 no.2
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• pp.187-200
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• 2014

Industry Cooperation is not the choice of national development but the inevitable component in the world. Industry cooperation results of the reconstruction of the country is an important place as an essential element of the economic development of the national policy in the major economies. Despite several changes in the international economic environment, United States, Canada, Finland, Sweden, Israel settled and maintaining the sustainable development of the countries which successfully established Industry-University Cooperation or Industry-Acaemy Cooperation system in history. In this study, delivered to the realistic ways of Industry cooperation through comparison study on domestic and international cooperation programs. The new activation programs of industry academic cooperation are delivered, that is, The bonus payments system of technology development patent and free technology transfer for joint development, bonus points system and evaluation indicators for joint capacity building program which participate student, industry and academic sector, step-by-step training. system for total employment and entrepreneurship at the same time strengthening management training programs and education opportunity gives to the benefits for the community members. Finally, Intellectual property expert matching program which develops basis of technology trader and expert maps in the smallest unit by administrative area. practice the internet information search services in national wide network for this matching program and government office dedicated to staffing for technology transfer.

• Journal of the Korea Society of Computer and Information
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• v.25 no.8
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• pp.159-172
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• 2020

Social networking services (SNS) are developing significantly with the Internet and smartphones. It's a friendly social media, but if you think deeply about it, you'll find that it has a variety of faces. It is a communication tool between users, a medium for delivering information, an infrastructure for providing applications, and a community where people with common interests gather. In recent years, business tools, shopping and payment methods are also being swallowed. The influence of the spread of SNS on the real world is also expanding, and the work being dealt with from a sociological perspective is also increasing. Also, if you pay attention to the technical aspects of SNS, it is composed of various technical elements, such as infrastructure that handles large-scale access, user interface that supports comfortable use, and big data analysis to understand people's behavior more deeply. However, I usually use it as usual. However, if you look through SNS, you can see that the situation is surprisingly profound and multifaceted. This study began by looking at the history and current status of SNS and attempted to find its status through comparison with other media. From the point of view of relationship with society, it can be a risk and legal issue when using SNS, such as crimes using bad social media or social media. It is also necessary to comment on the activities on SNS or the guidelines established by the operators. Therefore, various legal issues on SNS will be discussed. Also, as an example of using SNS, I will introduce an example of using SNS in disaster response. From a more technical point of view, you will receive commentary on SNS's network-based technology and SNS's information use, and these articles will help you understand and use SNS safely and help you further utilize or develop SNS.

• The Journal of Art Theory & Practice
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• no.3
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• pp.67-84
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• 2005

Since the evaluation of its intellectual activities and abilities is done by curator's capabilities, planning exhibition is very important as the final result achieved by their own knowledge, information, and research. ARPA(Advanced Research Project on Arts) is suggested as the system which enables curators responding simultaneously to the society in the times, based on its special characteristics. If this system settles well, which means that the curators at NMCA(National Museum of Contemporary Art, Korea) play their roles as the professionals in each of their fields, the goal of consolidating the status of museum as the representative national museum, and building up competent department of curators, will be achieved at the same time. To clarify above, the curators set up the various assignments of research about the types of arts such as painting, Korean painting, sculpture, installation, new-media, design, craft, photogarphy, architecture, etc. And they establish the art objects classified by the regions, such as the Northern American, Southern American, European, Asian, and other Third World countries. They elaborate art objects more on the history, the work, the artist, and the issue of contemporary art. Furthermore, when the curators devote deeper study to those research subjects, they can have the opportunities to design an exhibition upon the research. Today, the museum of art is 'The Place for Communication and Encounter', it is regarded important to share the aesthetical, creative values with current artists, and to understand mutually with the spectators. It is needed to improve the curator's work, in order to meet the demands of the times and even to advance. Because the form of 'exhibition' is the tool that reveals the identity NMCA aiming at, the motivation, the development, and the realization should be leaded by the curators, who are the mainstream of the museum. ARPA is a system for identifying the exhibition like mentioned above. The main purpose of this system is to produce synergy effect, having the researching, collecting work in liaison with planning exhibition. ARPA will be able to improve the quality of exhibition through the way of developing the exhibition, passing through the stable process in the long run. So far, I have referred to a new paradigm of the exhibition design at NMCA via ARPA. Yet, there still remain missions in reality, such as analyzing the previous exhibition and reshuffling personnel and system, which should be done. When these matters settled, these plans would be suggested practically. At this point, it is the most significant that NMCA is attempting to let others aware of the importance of exhibition planning based on research. when the ARPA and exhibition planning is conjoined together successfully, the competent exhibition will be achieved, which can offer a meaningful exhibition to the art world, strengthen infra structure thru exchanging with public museum in the region, and eventually, establish a network with museum in foreign countries.

• (The)Study of the Eastern Classic
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• no.68
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• pp.237-281
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• 2017

This research aimed at investigating Kim Gyoshin's recognition on Korean traditional ideology and harmony of Christian idea and traditional idea through the writing and diary in "Bible Joseon". Kim Gyoshin expressed positive interest in Korean traditional idea and traditional religion, and intended to localize Christian belief through communicating with them. He expressed infinite respect for national cultural asset of Buddhism, intending to research Korean Buddhism. He paid utmost attention to Confucianism among traditional ideas. He had a strong affection for learning(好學), benevolence(仁義), conscience(良心) of Confucianism as patriotic character. He calmly practiced caution and solitary(愼獨) of sincere(誠), solemnity(敬) of Confucianism through his life, however he chose Christian belief by accepting atonement belief realizing human sinful nature fundamentally inherent in human being. He personally respected Confucius and lived after the model of him, however he searched the spirit of life to renew the people from Christianity. Academically, he respected Confucius, and believed in Jesus in religion. He highly evaluated the attitude of patriot(志士), which highly regarded the academic attitude of learning(好學) and benevolence(仁義), in this regard, criticized blind and non-intellectual belief. He had an open attitude toward Korean traditional idea with no prejudice. As human individuals have their own inherent moral value, he viewed that each people would have their inherent ethnicity and mission. He considered that Korean Peninsula where contradiction and yoke of the world history are inherent is the center of East Asia that would purify injustice of the world. He viewed that Korean people had owned their original good heart[仁] even before Buddhism and Confucianism had been transmitted to the country. He determined that Korean people were good people, who received goodness from the heaven. However, while Uchimura created Japanese style Christianity by adapting Japanese knighthood to Christian idea, Kim Gyoshin lacked sharp critical mind regarding how to establish Korean style Christianity by adapting which of Korean traditional idea to Christian idea.

• Journal of Korean Philosophical Society
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• v.142
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• pp.323-347
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• 2017

In the 1980s, traditional analytic epistemology was abuzz with proposed solutions to the Gettier problem, responses to skepticism, newly minted objections to a variety of internalist and externalist theories of justification, and enthusiastic criticisms of foundationalism and coherentism. Debates over competing analyses of knowledge and justification raged. Since then, virtue epistemology has become a diverse and increasingly well-established field. I think that most researchers in Korea will feel the name "virtue epistemology" itself as strange or unfamiliar. It is primarily because virtue epistemology has a brief history. So, virtue epistemology did not present many opportunities for its introduction to Korean researchers. Another reason is that the name of "virtue epistemology" itself has a strangeness or unfamiliarity. Since the concept of "virtue" has mainly been used in moral or ethical contexts, virtue ethics is very familiar to most people. In contrast, the name of "virtue epistemology", combining "virtue" with "epistemology", is strange to many people. This paper primarily aims to introduce virtue epistemology in our philosophical society. What is it? How is virtue epistemology different from traditional analytic epistemology? What is the nature of virtues in virtue epistemology? What are the advantages, urgent tasks, and prospects of virtue epistemology? Focusing on these questions, I seek to understand the background to the rise of virtue epistemology, the differences and relations between virtue epistemology and traditional epistemology, and the nature of virtue and the main theories in virtue epistemology.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.271-317
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• 2014

This essay studied the acting theories of Diderot, Delsarte, Meyerhold, and Artaud to know the historical formation of 'sign acting' and its theoretical and aesthetic appropriateness. The sign acting so far discussed shows the repetitive patterns of idea as follows. The sign acting (1) emphasizes the physical expression such as gesture and movement, (2) assumes that the physical expression functions as a sign evoking special emotion and thought, (3) thus recommends the imitation of the outer sign, (4) uses a tableau for the effective reception of outer sign, (5) aims for the spectator oriented aesthetics as it stresses the result of outer sign rather than the creative process of a role, (6) assumes that the emotional reaction or the intellectual understanding springs from the physical experience, (7) thus emphasizes the physical language rather than speech, (8) can attain the appropriateness of physical language by the recent theories of cognitive science. Besides having such commonness, the sign acting also reveals the individual differences. For instance, the intended sign for Diderot and Delsarte was the sign of emotion, for Meyerhold the stylized sign of circus and acrobatics, and for Artaud the spiritual sign. If Diderot and Meyerhold demands the cool consciousness for the correct sign acting, Artaud's sign acting tends to pursue the state of trance. And if Diderot, Delsarte, and Meyerhold think the sign acting on the level of sensory appeal, Artaud insists that the sign acting should dismantle the spectator's sense. As such the discussion of sign acting shows both recurrent ideas and new visions, forming an unity out of diversity. Perhaps the sign acting is a matter of practice before we consider it as a theory. It is not only supposed to have been existed practically since ancient theatre, but also used by actors consciously and unconsciously in expressing certain emotion and thought. We need to study the sign acting more academically, considering its long history and aesthetic potentials. In fact the sign acting has been an essential element of acting, in spite of bad reputation judging it as a banal and worn-out style. It is true that the sign acting, in the worst case, could produce a stereotypical expression. It was this aspect of sign acting that caused a fierce negative reaction of the realists who sought the natural expression based upon psychological truth. Of course the sign acting has a serious problem when it stays banal and artificial. But we need to see this issue from a different perspective. What is the natural expression of emotion? How is it free from the learned way of expression? In some respect, we use, in reality, a learned expression of emotion that could be accepted socially. For instance, when we attend a funeral, we use the outer sign of mourning gestures learned socially. If a semiotic expression pervades various aspects of our life, the acting, being the representation of life, seems not to be free from codified expression. The sign acting could be used consciously and unconsciously in all kinds of acting.

• Journal of Ginseng Culture
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• v.1
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• pp.28-42
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• 2019

What is unknown about Leibniz (Gottfried Wilhelm Leibniz, 1646~1716), a great philosopher and mathematician, is that he inquired about ginseng. Why Leibniz, one of the leading figures of the Enlightenment, became interested in ginseng? This paper excavates Leibniz's references on ginseng in his vast amount of correspondences and traces the path of his personal life and cultural context where the question about ginseng arose. From the sixteenth century, Europe saw a notable growth of medical botany, due to the rediscovery of such Greek-texts as Materia Medica and the introduction of a variety of new plants from the New World. In the same context, ginseng, the renowned panacea of the Old World began to appear in a number of European travelogues. As an important part of mercantilistic projects, major scientific academies in Europe embarked on the researches of valuable foreign plants including ginseng. Leibniz visited such scientific academies as the Royal Society in London and $Acad{\acute{e}}mie$ royale des sciences in Paris, and envisioned to establish such scientific society in Germany. When Leibniz visited Rome, he began to form a close relationship with Jesuit missionaries. That opportunity amplified his intellectual curiosity about China and China's famous medicine, ginseng. He inquired about the properties of ginseng to Grimaldi and Bouvet who were the main figures in Jesuit China mission. This article demonstrates ginseng, the unnoticed subject in the Enlightenment, could be an important clue that interweaves the academic landscape, the interactions among the intellectuals, and the mercantilistic expansion of Europe in the late 17th century.