• KOREAN JOURNAL OF CROP SCIENCE
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• v.39 no.2
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• pp.165-170
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• 1994

High quality rapeseed cultivars including Nojeokchae, Yeongsanyuchae Halla-yuchae and Tamrayuchae have been released and recommended as a zero erucic acid variety to Cheju farmers for 13 years, where is a major rapeseed production area in korea. However, rapeseeds produced in Cheju island in 1992 and 1993 contained 47.7% and 37.0% of erucic acid respectively resulting in poor quality oil being not adequate for edible oil. It was considered that the zero erucic acid varieties did not have an opportunity to be cultivated in Cheju island by farmers living in the Island. Thus, the new rapeseed varieties without erucic acid should be bred and recommended to the farmers of southern area of Korea as a multiple cropping crop just after rice harvest, and for large scale mechanized and labour-serving rapeseed culture. The change of rapeseed breeding goal would be desirable for fatty acid composition improvement of rapeseed to develop varieties adaptable to southern part of Korea, and to produce rapeseed oil directly used as an edible oil safely.

• Journal of Technology Innovation
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• v.31 no.1
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• pp.105-148
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• 2023

This paper provides a new method of measuring the degree of technological progress which contributes to real economic growth based on Schumpeter's Trilogy. Using Microdata of Statistics Korea, the results of measuring and comparing the actual growth contribution of technological progress during the period 2003-2018 by the total factor productivity growth rate(growth accounting method), the R&D investment contribution rate, and the Schumpeterian innovation growth rate, respectively are as follows. First, the measurement of the real growth contribution of technological progress by the growth rate of total factor productivity and the growth rate of Schumpeterian innovation shows contradictory results. Second, when the growth rate of production is in a decreasing trend, the difference between the growth rate of production and the growth rate of total factor productivity increases compared to when it is in an increasing trend. Conversely, when there is an increasing trend, the difference between the growth rate of production and the growth rate of total factor productivity becomes smaller compared to when it is in a decreasing trend.. Third, the technological opportunity that affects the innovation growth rate, i.e., the contribution of R&D incentives to innovative growth is only 3.3%. The reason why this result is different from the existing perception of the contribution of technological progress to growth is that different entities are being measured while measuring the same term of technological progress. Therefore, the growth rate of total factor productivity should be used to measure macroeconomic efficiency, R&D investment should be used to measure the effectiveness of new technology supply, and the Schumpeterian innovation rate should be used to measure the economic impact of technological progress. The policy implications of the research results of this thesis are as follows: ① Transition from a policy of one-sided technology supply to a policy of convergence of technology supply and new technology demand support, ② Mission-oriented R&D policy and R&D policy that links national R&D with private R&D, ③ Reclassification of capital goods reflecting the degree of new knowledge.

• Journal of the Daesoon Academy of Sciences
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• v.44
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• pp.177-212
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• 2023

In this study, discussions of the suppression of cultural diversity in communities was conducted. First, based on the studies conducted so far and recent changes, the oppression that exists between the Chinese government and ethnic minorities was considered. The visible suppression mentioned was the expansion of Han Chinese Mandarin language education, sanctions on minority languages, and the expansion of higher education at the exclusion of minority identities. In terms of 'invisible' oppression, urbanization, urban development with modernization at the forefront, and the use of officials from minority ethnic groups educated by the central government were items that were discussed. Next, the case of Latin America was examined. In particular, attention was paid to the theory of resistance against Europeans and European culture. Based off of the worries and experiences of Latin American intellectuals who have underwent oppression as individuals from culturally diverse backgrounds, a mature theory was formulated that could be used to defend Chinese minorities in the future. There is a specificity to the problem of Chinese minority communities. However, from a large perspective, experience and self-critical exploration in Latin America serve as an opportunity to expand the specificity of Chinese minority communities. Their situation resembles previous situations in Latin America when native cultures were being culturally eroded by Europe. Thus, as Latin American scholars argue, a shift in perception is necessary. In addition to this, in the text, it is likewise necessary to reflect on diversity, freedom, and mutualistic respect. There are proposals advocating for the realization of Heyibutong (和而不同 harmony but not through sameness) based on the situation in China. In the process of this consideration, much thought was given about what the observed communities are like and what a hypothetically desirable community would be like. This extends not only to Chinese minority communities and native residents of Latin America, but also to Asians in the United States and foreigners in Korea. Through this, it is hoped that desirable communities characterized by cultural diversity can be skillfully pursued.

• Korean Journal of Social Welfare Studies
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• v.42 no.3
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• pp.291-327
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• 2011

The purpose of this study is to classify the type of retirement process among the mature-aged in Korea. The study used the panel data from Korean Labor Panel (year2~6) for the classification of retirement process through Optimal Matching and Cluster Analysis. Classification is made in 5 categories as 'peripheral-economically active', 'private-transfer dependent', 're-entering limited', 'securely exiting', 'exit-and-reentering'. First, "peripheral-economically active" is a group which frequently experienced job status change and work insecurity. Second, "private-transfer dependent" is a group in which private transfer is likely to be supplements income in the incidence of unemployment. Third, "re-entering limited" is a group in which the proportion of no financial support combined with the absence of any economic activity is the largest. Fourth, the type "Securely exit" is th group whose members switches over to non-economically active status with pension receipt. The last type is "exit-and-reenter" that the member are highly possible to reenter in the labor market and stay in long time regardless of with or without pension plan. To examine the inequality among the types of retirement process, the duration of each status is analyzed. First, in the situation of being non-economically active, the duration of status is maintain public pension receiving and duration stabile in "securely exit" group. For "private-transfer dependent" type, members are mostly dependent on private financial support and that duration of it is longest. Through the analysis of retirement process without under other financial supports, it is "securely-exiting" type for which the duration of full-time employment is longest. It appears that the duration of part-time employment is longest in "peripheral-economically active" type. And for the case of non-waged employment it is "exit-and-reenter" type. Finally, the redistribution policy based on life course perspective is necessary to prevent that the opportunity in the structure before retirement stage and the unfavorable position in labor market make worse disadvantage in retirement process and after that.

• (The) Research of the performance art and culture
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• no.41
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• pp.219-255
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• 2020

This article was triggered by Victor H. Mair's book 'Painting and performance'. The book explained that Buddhist paintings are common in the area where Buddhism was spread, and there are also performances using them. And although it has nothing to do with Buddhism, it has been shown that this form of performance can be global. However, the problem was not 'Korea'. It was because there was no record or transmission of the corresponding performance soon. In this situation, the landing method of Samcheok stable temple was announced in 2018. On the one hand, the academic community is very pleased, but on the other hand, it is troubled. The worries are summed up as 'synchronic and diachronic universality'. Is the landing method inherited from the Samcheok stable temple a unique type of temple? Otherwise, it is a question of whether it has been passed down or is it universal at the national level. However, prior to this essential question, we do not yet know the full picture of the stable landing method. So this article was prepared to show the overall outline of the stable landing method. There is a 'picture' in common throughout the landing method, and understanding how to operate it in various ways is the first step in understanding the landing method. There are five repertoires (which are called main halls) that are considered important, and more than that. What these repertoires have in common is the narrative structure of a Buddhist character. In this narrative, the most important thing is the revised figure, and it was the earthly method to inform the contents of the revised figure in various ways. In the case of Byeonsangdo, which serves as a clue to the narrative, there was a problem that could not be seen in the evening without light, which required special design. It is the way of shadow play and Yeongdeung. In other words, there are three types of performances in the landing method. The first is the method of using reparation, and the second is the method of using shadow. The third is the way of eternity. This method is not a selection based on the contents of the repertoire, but a selection based on the performance environment. If there is light and you can see the picture, use reparation. However, in the evening, it was impossible to see it dark (when there was no electricity in the past). The use of the visual method as a tool in this method is to confirm the transition to a visual culture that is a step further from the level of culture. Moreover, unlike the epic narrative, the power of the implied image provided an opportunity for viewers to experience the mystery of Buddhism through emotional stimulation.

• (The) Research of the performance art and culture
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• no.40
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• pp.193-222
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• 2020

In this study, the development of traditional contents is to be enabled to succeed the values of the heritage on the song sang during dry-field farming of Bongpyeong Memil-dorikkaejil-sori. In addition, the identity on the heritage of songs sang during farming were diagnosed, and their value in context with the history and the value as the community for succession are emphasized as the value of cultural asset to expand the discussion up to the level of traditional cultural industry works. In the Bongpyeong Memil-dorikkaejil-sori, the intrinsic artistic value, the excellence of value as the educational experience, factor for overcoming the extinction of farming songs, and the promotion direction of the storytelling on buckwheat were provided. This is breaking from the formalization and being old-fashioned on the Bongpyeong Memil-dorikkaejil-sori to focus on the symbolization of the agricultural heritage in the modern context, habituating and spreading the gene of slash-and-burn field (hwajeon or budaeki). In terms of methodology on awareness, historicity or creativity, alternative method on the folk songs in labor was provided by having critical mind on the Bongpyeong Memil-dorikkaejil-sori and buckwheat songs. By reviewing the field contextualization of designating the intangible cultural asset, suggestions were made on activating the succession, and even the method of symbolic registration on the heritage of buckwheat farming was mentioned. Heritage on agricultural culture that can represent Pyeongchang and Gangwon must be discovered to be made into a brand. In addition, the uniqueness in the Madang 'Song Madaengi Traditional Music' must be found to apply as the brand on the point in which the people around the world can have consensus for utilization. As the farming song, rediscovery of the Bongpyeong Memil-dorikkaejil-sori is required to create the sustainable status as the multi-purpose cultural contents and provide the network of professionals for activating the folk songs to enable the opportunity of qualitative substantiality and spread instead of quantitative growth. In addition, festivals for each region, especially the festival for Pyeongchang area must be utilized centrally on the development of farming songs to organize the storytelling actively.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.191-221
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• 2019

This study aims to analyze the post-humanistic imagination that has emerged as a major academic thesis in Korean literature, especially novels. In particular, this paper focuses on Cho Ha-hyung's two novels Chimera's Morning(2004) and A Prefabricated Bodhi Tree(2008), published in the early 2000s, for intensive analysis. Post-humanism can be seen as an extension of post-modernism that tried to overcome the limitations of modernity and seek to establish a new world view. In particular, this thought pays attention to the comprehensive understanding of how the rapid development of science and technology, which has developed since the 20th century, has changed the view of humanity and human-centered civilization itself. At the concrete level, it is developing in the direction of constructing a new subject idea by reflecting and dismantling Western-, reason-, and male-centered power mechanisms that are the core of modern civilization. Cho attempts to discover and re-illuminate the surrounding figures, non-humans, and objects that were not noticed in the classic works written in the past. This ideological flow reflects the fact that the concept of human beings, which had been dominated by the humanities in recent years, has been completely changed, and the natural science and technology perspective is applied to the discourse field in various ways. From the point of view of post-humanism, objects that have not been classified as humans and objects that were considered inferior to humans should be included in human or comparable levels. These questions generate interdisciplinary research tasks by involving the large categories of philosophy, such as ontology, epistemology and empirical fields, as well as calling for the participation of the entire literature, science and social sciences. Against the backdrop of a disaster-hit world, Chimera's Morning and A Prefabricated Bodhi Tree depict human beings as variants transformed by bio-technology, and creatures made out of the artificial intelligence built by computer simulations. Post-humanistic ideas in Cho's novels provide a reflective opportunity to comprehensively reconsider the world's shape and human identity reproduced in the text, and to re-explore boundary lines and hierarchy order that distinguish between human and non-human.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.55-85
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• 2019

In this article, we examine the real meaning behind the stories in which the N-po Generation (Millennial Generation) is depicted, through the observation of entertainment programs, TV series, and movies. This could be an opportunity to investigate the aspects of emotional customs of our era, which have been described by television media as portraying the complex and multifaceted reality in the most mundane and popular manner while influencing the public. Problems with youth unemployment, the polarization of life, and instability are not only global issues but situations that specifically occur in South Korea. It is thus vital to pay attention to the inner side of the N-po Generation who enjoy Sohwakhaeng (small but certain happiness) by eating alone as the placebo effect of this tough reality. This is an agenda that should be viewed as a problem in the fundamental design of South Korean society. The consciousness of the problem shown in the TV series has been drawing attention. The TV series Because depicts a love narrative that concentrates on emotions in a relationship that started between housemates due to poverty and housing problems, leading to marriage. Thus, the TV series persuasively dramatized 'confluent love' in the N-po Generation. In the movie , Miso can be regarded as a symbol that represents the emergence of a new generation of cultural sensitivity. There is a suggestion in the sequence of that identifies the pursuit of taste with the discovery of identity. The TV series is a growth narrative that deals heavily with youth unemployment, temporary workers, fragmented families, and dating violence. The housemates in find emotional stability through interaction with each other, and courageously approach their individual problems. In the process, images of women, who are empathetic towards others and are willing to jointly solve their problems, are calmly depicted to reveal a story of growth revolving around a ground emotional community. The current problem that South Korean society should contemplate is how to be fully human beyond mere survival, and how to further seek the conditions of human existence. In that sense, what we should pursue is a notion of 'publicness', which can put several generations together. Because of the reality that confliction between generations must be triggered, in order to make a passage of sympathizing, mass media's sensitivity training becomes more important. This may be the duty of mass media.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.217-247
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• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.22-43
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• 2023

This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.