• Fire Science and Engineering
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• v.23 no.5
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• pp.181-195
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• 2009

Modern constitution obtains its justice by protecting the people's basic legal rights. The constitutional rights can be more than a defensive measure against government power by modern viewpoints. The government has to create an atmosphere which the rights are not violated. The Constitution provides that the government has to make efforts to prevent disaster and protect the people from danger in Clause 34, Art. 6. The government has an obligation to protect the people's basic legal rights of life, health and property from fire damages, and those rights are gathering strength under a socialist state principle as fundamental ideology of modern societies. The present fire inspection system gains a point constitutionally but it still needs to be certified as the most suitable system. This article examines the solution to operate fire inspection system efficiently, given the reality of present system operation. It is necessary to improve the system by integrating the present fire inspection with the self fire inspection. Government needs to re-modification the Fire inspections system for prevent and promote (resolve) the problem which government officer (ex fire fighter) can make a irregularities and corruption as do it oneself.

• Journal of Environmental Impact Assessment
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• v.12 no.1
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• pp.55-72
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• 2003

The term sustainable development is being used widely since WCED suggested it in 1987. This paper aims at catching up its sociological implications. For doing this, the paper examined some major existing researches on sustainable development. It was found that sustainable development has been defined as an economic development with the preservation of nature as an environment of human life. In this sense, the existing concept of sustainable development is an economic perspective. Sustainable development as an economic perspective is faced with some limitations and/or problems. They are summarized as follows. The human-made environment is excluded from the concept of sustainable development. Its ideology is anthroponcentric in that the sustainability of nature is a necessary condition for economic development. The objective reference which can measure whether the current state of nature is sustainable or not is not proposed. Consequently, sustainable development results in merely a survivability of economy, a new form of economic utility and/or a successful economy. In terms of sociological perspective, economy and nature can not be sustainable without other social factors being sustainable, because all social factors including economy and nature exist in a causal mechanism. This means that sustainable development should be approached from a multi-dimensional perspective. The multi-dimensional approach can be a framework of sustainable development in terms of whole society, then can be termed sustainable society which implies not a sustainable development, but a societal development. The factors which should be included in the sustainable society are, at least, nature, economy, population as an aggregate, mode of living existence of people as a cultural actor, technology, and social structure.

• 한국사회정책
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• v.25 no.2
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• pp.3-29
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• 2018

By examining care from a normative perspective projected in the Constitution of South Korea, this paper attempts to assess care from the standpoint of justice and establish the status of care as a concrete political value. The point that this paper focuses on in the Constitution is about the "human worth and dignity" and "right to pursue happiness" clauses of the Article 10 at the beginning of Chapter II which defines the rights and duties of citizens. The clauses of "human worth and dignity" and the "right to pursue happiness" are generally interpreted as the highest values of the constitutional order. While exploring the human dignity and the pursuit of happiness clauses in light of care, this paper intends to address the value of care as human dignity, which is the highest ideology and constitutional principle of the Constitution and, at the same time, the limitation of explaining the freedom to care with a liberal concept of freedom implied in the pursuit of happiness. Ultimately, this paper argues for the justification of putting 'care' in the Constitution. In the end, this paper aims to emphasize the significance of care as a guiding principle for the maintenance of our lives and society, a primary principle of social regulation and public governance, and a direction for a just state which can identify and rectify care injustices.

• The Journal of Korean Philosophical History
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• no.50
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• pp.139-169
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• 2016

Nakron School of the ruling Noron Party in late Joseon Dynasty was at the helm of state with Neo-Confucian ideology and it came out of being obsessed with conventional 'spiritual' aspects and changed both political and academic atmosphere with interests in 'matters.' The power leading such a change was scholars in Seoksil Seowon (石室書院) which centered around Kim Won-Haeng (金元行). However, except for few progressive scholars-Bukhak scholars (北學論者), most of Nakron scholars secretly acknowledged the actuality of Qing Dynasty but they failed to get out of old Neo-Confucian traditions. It was difficult for them to accept Bukhak theory which jeopardized the existence of administration. They sought plans both to keep Neo-Confucian traditions and Sinocentrism in Joseon and to reach the cultural level of Qing Dynasty and in that process, they recognized restoration of the statecraft study (經世學) summarized on Seongridaejeon as an alternative. Hwang Yun-Seok is a representative Neo-Confucian scholar in such response of Nakron. He rediscovered value of the science of xiangshu in the Neo-Confucian category and highlighted importance of Seongridaejeon yet again.

• Journal of English Language & Literature
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• v.57 no.4
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• pp.625-649
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• 2011

Even though "An Outpost of Progress" and Heart of Darkness were based upon Joseph Conrad the sailor's same experience in Congo Free State, their narrative strategies are quite different. The realistic representation of "An Outpost of Progress," with which Conrad was not satisfied at all, was converted into the modernistic narrative strategy of Heart of Darkness so that the sympathetic power of the story should be improved. The conservative value system of realism is expressed by the omniscient author in "An Outpost of Progress," whereas the frame narrator of Heart of Darkness is proved to be an unreliable one whose norms and behavior are not in accordance with the implied author. The glorious history of the British Empire, which was proudly presented by the frame narrator at the beginning of Heart of Darkness, was strongly opposed by Marlow, another narrator, who said that the British Empire had been "one of the dark places of the earth" when ruled by the Roman Empire. The feeling of the frame narrator was uneasily changed into the gloomy mood when he described the Thames as the flow which "seemed to lead into the heart of an immense darkness" at the end of Heart of Darkness. Similar to the straightforward narrative strategy of representation in "An Outpost of Progress," the realistic approach of Part I in Heart of Darkness is considered by Conrad as insufficient to reveal the darkest truth of imperialism, which was declared by Kurtz as "The Horror! The Horror!" Thus Conrad uses the Chinese-box structure, in which Kurtz' episode is enveloped by Marlow's tale which is enclosed by the frame narrator's story, in order to penetrate into the mind of ordinary readers in the novelist's age of New Colonialism, while attacking the ideology itself of imperialism instead of critisizing its inefficiency and individualism.

• Journal of International Area Studies (JIAS)
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• v.12 no.4
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• pp.23-65
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• 2009

This study originates from the examination of both Soviet Russia's and contemporary Russia's tabula rasa that numerous comprehensive national exertions have been trying to overcome, relying on the creation of numerous national emblems, political symbols, and even folkloric materials. With this mind, this work substantiates how the political and cultural symbols have been created in the contemporary socio-political and socio-cultural discourse in Russia. As with the political symbols that most recently been studied by Lee Trepanier, it must be recognized that contemporary social movements and political discourses have failed to "articulate a concrete political vision that reflects a consensus among elites, nor have any gained popular support" as the author confessed already. Concomitant to this general consensus, as Roy Medvedev has put it, we can contend that "today's leaders in Russia have no new ideology, and the mass of the people have no strong new national idea."

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.209-214
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• 2024

The purpose of this study is to analyze the spatial structure of laboring classes in Manchester in the 19th century. Manchester had districts where laboring classes lived in destitution. Elizabeth Gaskell's Mary Barton demonstrates the miserable state of laboring classes by depicting their small, dirty living residential spaces. Engels's The Condition of the Working Class in England analyzes the laboring classes in industrial areas in England, especially Manchester. The laboring classes' districts formed in a set pattern were separated from the area for bourgeois. It lied in the old district near commercial areas, while upper classes were outside areas. It was the dominant ideology that drove the transformation of Manchester as an industrial city characterized by separation.

• Journal of the Society of Disaster Information
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• v.20 no.2
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• pp.398-410
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• 2024

Purpose: It is to present the development direction of the overall 'disaster management implementation process' (tentative name) for the establishment of an effective 'safety management plan' by the government and local governments. Method: To this end, prior research on the 'safety management plan' was reviewed to derive common problems, and the direction of development was suggested by incorporating the 'disaster management execution process' (tentative name) that can solve these problems with the military's 'operational execution process'. Result: Common problems of previous studies can be supplemented through the 'disaster management performance process' (tentative name) presented by this researcher. Conclusion: Through the "disaster management implementation process" (tentative name), the government's basic ideology of disaster management can be finally achieved, "confirming that it is a basic mission of the state and local governments and allowing the people to live in a society that is safe from disasters."

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

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

• Journal of 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."