• Journal of Legislation Research
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• no.54
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• pp.303-343
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• 2018

In 2013 a new era for EU patent law system was launched. The creation of the EU patent with unitary effect and the establishment of the Unified Patent Court established a new legal framework on substantive patent protection and patent litigation in Europe. This year the EU Patent Package would become a reality. It includes a regulation on a unitary patent, a regulation on the translation regime and an international Agreement on the Unitary Patent Court. In contrast to the classical European patent, the post-grant life of unitary patent will be governed by the newly created unified patent court and it will have unitary effect. In this article, I highlight the effect of the unitary patent and the jurisdiction of the unified patent court over unitary patents (and 'traditional' patents granted under the EPC that are not opted-out) for actions in relation to patent infringement or to revocation of a European patent and to licences of right. This article explores on the one hand the relation between national patent, the classical European patent and EU patent with unitary effect and on the other hand the relation of unified patent court to the Brussels $I^{bis}$ Regulation. Particular attention is paid to the institutional changes created by the unitary patent package abd the new supplementary forum that enables the UPC to hear disputes involving defendants from third States that relate to an infringement of a European patent and give rise to damage inside as well as outside the Union. Furthermore on the perspective North-east Asia this essay examines the lessons from the experiences of EU patent package.

• Journal of Korean Classical Literature and Education
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• no.39
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• pp.67-97
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• 2018

The purpose of this paper is to clarify that the difference between past and present response to the same folktales relates to other cultural contexts. This is part of the research to explore the methodology of folktale education for intergenerational communication. This paper compares the reaction on a storytelling site from the past to with current college students' impressions. On the older site, the storyteller and audience sympathized with the characters of . Additionally, they were pleased with the conclusion that the characters would get a new family. However, university students thought that the characters of was incompetent. University students evaluated their success as depending on other people, accidentally obtained. Such a difference was closely related to the culture of the group intervening when understanding the folktale. In the past culture, empathy, interdependence, and unity were considered important values. Meanwhile, the new-generation culture emphasized the individual's free will and rights, diligence, and honesty. As a result, due to differences in cultural context, university students distorted , and communication with past generations was also broken. In this paper, we study the folktale education methodology that helps communication between generations. this paper proposes that It is more suitable to tile the story instead of for university students. That is because resembles the cultural context of university students. At the same time, it has the same problem as .

• Journal of Korean Classical Literature and Education
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• no.39
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• pp.221-246
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• 2018

In this text, the author examines the aspects and characteristics of the three forms that were created and enjoyed when the upper-class nobles of Japan "combined(混淆)" waka(和歌) and Chinese poetry(漢詩) between the 10th and 17th centuries. The three forms are the "Collection of Japanese and Chinese poems for singing"(和漢朗詠), "A collection of Japanese and Chinese poems" (詩歌合), and the "Renku renga"(聯句連歌). "Collection of Japanese and Chinese poems for singing" appeared in the 10th century, "A collection of Japanese and Chinese poems" appeared in the 12th century, "Renku renga" appeared in the 14th century, and all three continued to influence the history of Japanese literature after that time. As the combination of literary Japanese and Chinese progressed, the gap between waka and Chinese poetry decreased until they finally combined to create a single work. That is, waka and Chinese poetry converged in one place in multiple ways: as a work that was appropriate to be recited("Collection of Japanese and Chinese poems for singing"), facing each other work against work in a competition("A collection of Japanese and Chinese poems"), and, in the end, they reached the point where they were interchangeable as lines making up long poems(長詩)("Renku renga"). The combination of literary Japanese and Chinese can be said to be the Japanese version of the common movement in East Asian literary history during the Middle Ages to make songs from one's own language flawless in Chinese poetry. Meanwhile, by examining the status changes that appeared as Chinese poetry paralleled, fought with, replaced, and combined with waka, we can find clues to explain the attitudes of the Japanese people on Chinese poetry during the period when the three forms existed, as well as the characteristics of Japanese Chinese poetry that appeared in response to that. The preferences not of "myself" but of the "audience," content and expressions that revere the period rather than the inner self of the poet, and the fact that it is a means for enjoyable pleasure rather than having the original characteristics of lyrical poetry for self-expression are all characteristics of Chinese poetry in Japan during the early and late Middle Ages period. These characteristics can be said to be the current that flows in the underbelly of the history of Chinese literature in Japan. This author believes that the key to discussing the history of Chinese literature in Japan during the Middle Ages period from the perspective of East Asian literary history can be found here.

• 한국노년학
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• v.37 no.1
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• pp.55-82
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• 2017

The purpose of this research is to provide implications for the development of age-friendly industry of Korea by analyzing the age-friendly industry activation policy suggested by the Presidential Committee on Ageing Society and Population Policy in response to the population ageing problems. Policy and theoretical implications are derived from an analysis of age-friendly industry activation policy as directly related to the improvement of the three major problems (i.e. health, economy, and loneliness) of Korean older people. This analysis focuses on its specific content, common and core logic, and the validity of the logic. The results show that: 1)the first Plan for Ageing Society and Population suggests a policy for improving poverty, 2)the second Plan for Ageing Society and Population suggests a policy for improving health, and 3)the third Plan for Ageing Society and Population suggests a policy for improving health and loneliness. All policies not only are commonly based on the logically limited concepts of successful ageing and active ageing, but also are characterized by narrow realm, insufficient content, and fragmented policy. The results result in the following policy implications: 1)the age-friendly industry activation policy should be developed with continuity, sufficiency, and diversity, 2)lessons from the limitation related with the de-contextualisation of successful ageing and its elective affinity with consumer capitalism, 3)lessons from the prevention-oriented perspective of active ageing, and 4)lessons from the social characteristics of (non-)psychological resources, limitation of the reablement related with social investment state. The analyses also provide a theoretical implication that a different perspective on the social construct of ageing is needed beyond the dichotomy of ageing based on modelling ageing. Lastly, the paper suggests not only the limitation of the research but also the preferred follow-up studies regarding age-friendly industry activation policy.

• 한국노년학
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• v.37 no.1
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• pp.83-102
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• 2017

Expending on a life course perspective, this study explores the long-term and short-term reciprocity in parent-child relationships in Korean context. Since the reasons for providing filial support are believed to differ by gender, we focused on how a child's gender affects both types of reciprocity. Data were collected from middle-aged sons (N=726) and daughters (N=883) with at least one surviving parent. Logistic regression was then conducted in order to examine the relations between the support a child currently provides to parents and the current or previous support received from the parents. Dependent variables are financial and instrumental support that middle-aged child currently provide to the parents. The financial and instrumental support a child received from the parents within a year are included in the model as an independent variable to assess short-term reciprocity. The level of financial support a child has received during the transition to adulthood process is included in the model as a independent variable to explore long-term reciprocity. Result supports the existence of gender differences in the long-term reciprocity. Daughters provided instrumental support in response to the financial support that they had received from parents during the transition to adulthood process. However, for sons, this tendency was not found. When it comes to financial support, long-term reciprocity was observed neither for the sons nor for the daughters. Both sons and daughters are prone to provide financial support to the aged parents regardless of the level of financial support they had received during the transition to adulthood process. Short-term reciprocity was found both in sons and daughters. when they have been receiving a financial or an instrumental support from the aged parents within a year, they tend to provided instrumental support to the parents. This study shows that the aged parents still fulfill the reciprocal relationship to a certain degree. Secondly, we can conclude that the norm of reciprocity interplays with the norm of filial responsibility in contemporary Korea.

• Journal of Communication Design
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• v.55
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• pp.240-249
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• 2016

This study focused on cases about user experience using digital media as a marketing. The recent convergence of various types of media is resulting in new types of content. In a situation where approaching consumers through digital and virtual means is no longer an alternative or an option but a necessity, customers must be influenced and stimulated using various types of digital media. Because modern consumers prefer to participate actively rather than to be passively exposed to information, there is a need to maximize and optimize the consumer's experience using digital media. In this research, consumer experiences that utilized digital media were examined, and these case studies were analyzed from an experiential marketing perspective. How the 5 different types of Experiential Marketing proposed by Bernd Schmitt and Digital medias were combined in the digital marketing campaigns was examined. The case studies analyzed in this research were chosen out of widely popular digital marketing campaigns ran by beauty brands that used various experimental marketing types, such as 'Make-up Genius' of L'Or?al, 'Google Glass Tutorials' of Yves Saint Laurent and 'Digital Runway Bar' of The Burberry Beauty Box. This study classified that case samples into paid media, earned media and owned media based on sense, feel, think, act and relate that are the strategic experiential modules of Bernd Schmitt. This study could be confirmed various customer experience as a sense, feel, think, act and relate through that cases using digital media technology and marketing element of digital media. Through the process of examining which digital media types each marketing campaign utilized and how these types of digital marketing were combined, this research is significant in that it helps for the understanding of the current state of digital marketing and in that it can serve as the foundation for future research of efficient digital marketing.

• 기호학연구
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• no.54
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• pp.93-117
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• 2018

The process of creating Hunminjeongeum described in Haerye version of Hunminjeongeum shows a rule of signification by which a signifiant represents a referent. In this article, I will suggest two types, the mythical and the anti-mythical, that affect the iconic relation between signifiant and referent, and consider how they are realized in Hunminjeongeum. The mythical type is shown as Yin-Yang and the Five Elements Theory and Three Elements Theory of Heaven, Earth and Man dominating the thought of intellectuals at that time. It had became mythos, that is the object of absolute belief, by connecting with the power of King at that time. It is very metaphysical and involves a kind of grand narrative. It is also the voice from the past in time and from China in space. It is reflected in Hunminjeongeum's letter system intactly. Meanwhile, the anti-mythical type also affects the creation of Icon in Hunminjeongeum. Even if Hunminjeongeum had been created from King Sejong's project, its intention seemed to be educational and practical. That is the problem of that time, not of past time, and for common class, not for ruling class. It can be considered as logos in that it had been planned and processed at a real-life situation at that time. Some arguments between King Sejong and liege Choi, Manri about the validity of Hunminjeongeum also show that the creation of Hunminjeongeum had involved the problem of critical logos. Above all, in that referents of Icons of Hunminjeongeum are the figures of human vocal organs, we can suggest that these Icons also implied an Indexicality implying actual connection between voice and body. It can be considered as a deconstrucion of metaphysics and grand narrative that had been dominated by foresaid mythical type. Hereafter, from time when Hunminjeongeum have been widely used, mythos of metaphysics and grand narrative that had dominated Hunminjeongeum have been deconstructed and Hunminjeongeum has become to realize its potential competence of pragmatic sign system for the convenience of common people. Therefore, I expect that the cultural potentiality of Hangul today can be realized by such tendency of logos incessantly deconstructing mythos, that is one direction of mythosemiosis.

• 기호학연구
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• no.54
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• pp.119-145
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• 2018

This paper attempts to divide the narrative into three levels and review the approach methodology to understand Princess Bari as a narrative. If the stratification of the narrative, the analysis of each levels, and the integrated approach to them are made, this can contribute to suggesting new directions and ways to understand and study Princess Bari. The story level of Princess Bari, the surface structure, is shaped by the space movement and the chronological sequential structure of the life task that started from the birth of the main character. This story shows how a woman who was denied her existence by her father as soon as she was born finds an ontological transformation and identities through a process. Especially, the journey of finding identity is mainly formed through the events that occur through the relationship with family members. This structure, which can be found in the narrative level, forms a deep structure with the oppositional paradigm of family members' conflict and reconciliation, life and death. The thought structure revealed in this story is the problem of life is the problem of family composition, and the problem of death is also the same. In response to how to look at the unified world of coexistence of life and death, this tradition group of myths makes a relationship with man and God. This story is mainly communicated in the Korean shamanistic ritual(Gut) that sent the dead to the afterlife. Although the shaman is the sender and the participants in the ritual are the receivers, the story is well known a message that does not have new information repeated in certain situations. In gut, the patrons and participants do not simply accept the narrative as a message, but accept themselves as codes for reconstructing their lives and behavior through autocommunication. By accepting the characters and events of as a homeomorphism relationship with their lives, people accept the everyday life as an integrated view of life and death, disjunction and communication, conflict and reconciliation, and the present viewpoint. It can not change the real world, but it changes the attitude of 'I' about life. And it is a change and transformation that can be achieved through personal communication like the transformation of Princess Bari into god in myth. Thus, Princess Bari shows that each meaning and function in the story level, composition level, and communication level is related to each other. In addition, the structure revealed by this narrative on three levels is also effective in revealing the collective consciousness and cultural system of the transmission group.

• Journal of Legislation Research
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• no.55
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• pp.137-166
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• 2018

Wenn nach dem starken Trinken etwas strafbares passiert, so ist das Gesamtverhalten als $strafw{\ddot{u}}rdig$ und strafbar anzuerkennen. Aber nach dem Schuldprinzip handelt ohne Schuld, wer bei Begehung der Tat $unf{\ddot{a}}hig$ ist, das Unrecht der Tat einzusehen oder nach dieser Einsicht zu handeln(Koinzidenzprinzip). Die Rechtsfigur der "actio libera in causa" dient dazu, diese in $h{\ddot{a}}ufigen$ $F{\ddot{a}}llen$ als kriminalpolitisch $unerw{\ddot{u}}nscht$ empfundene $L{\ddot{u}}cke$ zu umgehen. Dabei kommt auch dem Vollrauschtatbestand in der Praxis $erh{\ddot{o}}hte$ Bedeutung zu. Der deutsche Gesetzgeber war sich bei der Aufnahme des Vollrauschtatbestandes in das Gesetz durchaus $bewu{\ss}t$, $da{\ss}$ die Vorschrift eine Ausnahme zur Schuldzurechnungsregelung darstellte. Er $w{\ddot{a}}hlte$ jedoch die Form eines $selbst{\ddot{a}}ndigen$ Tatbestandes, um die Durchbrechung des reinen Schuldprinzips $ertr{\ddot{a}}glich$ zu machen. Der Vollrauschtatbestand ist ein abstraktes $Gef{\ddot{a}}hrdungdsdelikt$ -demnach die im Rausch verwirklichte rechtswidrige Tat nur objektive Bedingung der Strafbarkeit ist -, das sachlich eine Schuldzurechnungsregelung $enth{\ddot{a}}lt$, und zwar eine Ausnahme $gegen{\ddot{u}}ber$ die Regelungen ${\ddot{u}}ber$ Schuldzurechnung. Dieser Vollrauschtatbestand ist dennoch als regitime $Erg{\ddot{a}}nzung$ der in Schuldzurechnungsregelungen beschriebenen $Schuldzurechnungsgrunds{\ddot{a}}tze$ anzusehen. Er steht $n{\ddot{a}}mlich$ in Einklang mit dem Schuldgrundsatz, wenn als subjektives Tatbestandsmerkmal des Vollrausches die Kenntnis der $Gef{\ddot{a}}hrlichkeit$ des Rauschzustandes $f{\ddot{u}}r$ die Begehung von Delikten vorausgesetzt wird.

• (The) Research of the performance art and culture
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• no.33
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• pp.329-354
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• 2016

Hyupryulrang was the position that announced the start and end of music in royal ceremonies. It appeared when the royal etiquette was categorized and implemented due to the five etiquette system, which was formed by the influence of Confucianism. Confucianism valued etiquette and music and this aspect was reflected in royal five etiquette, making music involved in royal ceremonies. So there was a need to have a mediator who will announce the insertion of music according to the process of royal ceremonies. For harmonious realization of royal ceremonies and music, hyupryulrang was indispensible. In Korea hyupryulrang appeared in Goryo era and lasted until Joseon era. Hyupryulrang during Joseon was handled by bongsanshi and once was taken by jeonak( 典樂) temporarily but finally was managed by officials in jang-akwon(掌樂院). Among the officials in jang-akwon, jang-akwon jeong(正) mainly served the role but jang-akwon chumjeong(僉正) and jang-akwon juboo(主簿) were sometimes recruited for the role according to circumstances. What was common among jang-akwon jeong, chumjeong, and juboo was that they were all danghakwan(堂下官). Danghakwan was an official who had the fundamental limitation of not being able to participate in policy making so was in a lower position compared to dangsangkwan. Meanwhile, according to circumstances of ceremonial process or the characteristics of ceremonies, gyeraseonjeonkwan(啓螺宣傳官), mushingyungseonjeonkwan(武臣兼宣傳官), and yeojipsa(女執事) were recruited as hyupryulrang instead of officials of jang-akwon, so that there would be no problems in ceremonies and performance of music. The activities of hyupryulrang can be summarized as setting up or laying down hui in most ceremonies that involved band. At night, however, as hui(麾) was invisible, jochok(照燭) or sometimes geumgogi(金鼓旗) was used. As for the term that referred to hyupryulrang, in case of royal banquet, the names of the ceremonial tools were borrowed such as geohuichabi(擧麾差備) and jochokchabi(照燭差備). The location of hyupryulrang was in the west on top of seogye(西階) facing toward the east, which was a position where hyupryulrang could watch the ceremonial process easily and be close to the band. That is, it was a position where one can see the space of ceremony and the space of music at the same time. Also, hyupryulrang was involved in musical parts related to ceremonies such as rehearsals, arrangement of the band, controlling the speed of music, and prevention of missing any musical pieces, and was in charge of such tasks. Hyupryulrang, who had to take charge of music in accordance with ceremonial procedure, was a mediator between royal ceremonies and music.