• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.10
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• pp.159-168
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• 2019

This study draws on goal orientation theory and proposes the team learning goal orientation as an antecedent of team creativity. In addition, an Input-Process-Output (IPO) model was adopted, in which the team reflexivity, team efficacy, and positive group affective tone (PGAT) are linking mechanisms in the relationship between team learning goal orientation and team creativity. Using 57 teams from three lectures of the college, hierarchical regression analysis was conducted at the team level. The results showed that the team learning goal orientation had positive associations with team creativity, team reflexivity, and team efficacy. In addition, team reflexivity and team efficacy positively predicted the team creativity. Furthermore, the relationship between team learning goal orientation and team creativity was mediated by the team reflexivity and team efficacy. In contrast to predictions, PGAT did not show significant relations with both team learning goal orientation and team creativity. In conclusion, this study integrated the team-learning goal orientation and team creativity literature and contributes to the understanding of team reflexivity as a cognitive process and team efficacy as a motivational process between the team property and team creativity. These results have practical implications for managing teams.

• Korean Journal of Social Welfare
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• v.65 no.2
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• pp.103-130
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• 2013

Although both ecosystem theory and empowerment have become the most prevalent candidate for integrated paradigm for social welfare practices, they could not overcome completely the long-standing and sharp divides between micro and macro practices, that is, between subject and structure as a main explanatory element in social welfare realm. Along with such traditional dualism and tension, a new emerging divide between modernism and postmodernism regarding intrinsic mission and roles of social welfare has urged strongly to develop the overarching theoretical framework for social welfare practice. In this regard, this study aims to recast the ecosystem theory and empowerment through the reflexive modernization theory of critical sociologist Anthony Giddens. With relatively strong emphasis on human capability coined as the reflexivity, Giddens's own creative theory of modernization can be thoroughly expected to provide a solid foundation of integrated paradigm enough to bridge the existing dualisms in social welfare theory and practice. Especially, his unique account of integrated way of how human agency is involved in the construction of social structure and how to transform each other recursively has profound implication for empowerment to be adequate and proper comprehensive framework for social welfare practice.

• Cartoon and Animation Studies
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• s.34
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• pp.81-104
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• 2014

Self-reflexivity means consciousness turning back on itself and breaks with art as illusionism and exposes their own factitiousness as textual construct. Self-reflexivity in media deals with the media's condition and process itself and tends to pull viewers out of the reality represented on screen by reminding them that is a media's construction or illusion on the screen. Representation aesthetics has been recognized with an essential theory of the art since Ancient Greek, but it has encountered crisis with the invention of the photography and the cinema in the early 1900s. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world. The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replace the past principal. This essay focuses on self-reflexivity in animation and their methodology. First, the change of representation aesthetics in visual arts will be discussed. Second, animations exposing their process of production and components will be analyzed, and lastly, intertextuality in animation will be dealt. I hope to provide the vision of the expanded animation media with this study.

• The Journal of the Convergence on Culture Technology
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• v.4 no.2
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• pp.123-130
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• 2018

Storytelling is a compound of two words, 'story' and 'telling'. While the static aspect of 'story' has been emphasized, the dynamic and specific aspect of telling has been ignored. So, in the argument of 'storytelling', it is necessary to break from talking about 'story' and discuss the matter in terms of 'telling' and 'interaction'. In order to accept this need, the term 'Traditional Storytelling' is coined to engage 'oral-storytelling situation' more actively. When 'storytelling' is expressed by a storyteller, it can be referred to 'traditional storytelling', called 'oral performance'. In fact, the storytelling, which has a long history, originated from oral storytelling such as 'oral narration'. It is natural that our current storytelling isn't the same storytelling of an oral period, but the traditional storytelling casts a few crucial viewpoints to us these days when 'telling' has a significant meaning. In the first place, it is 'reflexivity' that we should note in the form of traditional 'storytelling'. It is a kind of self-reference which means reflecting and looking back at oneself in the form of narration. Through this reflexivity, the storytelling is affected by the site of telling and an aspect of one-off thing very frequently. Another point we need to note is a frame. Through this frame, the traditional storytelling come to hold time and space of narration.

• Korean journal of communication and information
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• v.58
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• pp.178-200
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• 2012

This paper seeks to deal with the point that in order to perform meaningful communication, a conscious act of reflexion must be involved. In other words, performance of communication inevitably requires self-reflexion. It is known that rationality and dialogism function as necessary preconditions and as goals of communication. But these concepts are very ambiguous because the communicational paradox is not considered. The interaction model could be thought to solve the paradox problems, but such solution can ultimately be seen as a result of ignoring the point that personal reflexion is necessary or covering up the logical problem by depending on concepts such as 'legitimation' or 'ideal discourse situation.' Therefore this paper views that the theory of communication based on Luhmann's system theory and constructivism has a more meticulous logics, and considers that the concept of reflexion specifically supplements the interaction model also by examining Schmidt's concept of fiction and Grant's concept of porous communication.

• Asia pacific journal of information systems
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• v.22 no.4
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• pp.31-49
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• 2012

In this essay, we problematize the problematics of the KMIS SOLOMO research agenda. We propose that the SOLOMO agenda is a conditioned product of the various assumptions, biases, premises, and presuppositions that the field of IS collectively succumbs to and shares, and thus needs to be problematized to arrive at a new set of research questions for the field. The problematization begins with the ontology that underlies the agenda. We argue that the agenda is largely drawn from a dichotomic, deep ontology of Human vs. Technology. While such ontology is neither right nor wrong in its own right, we suggest it is what underlies and influences the field's whole mode of inquiry including its research agenda. We propose an alternative ontology, the Actor-Network Theory (ANT), which as a flat ontology provides a radically different set of research questions for the field. Next we take issue with the teleology of the SOLOMO agenda, and suggest that the telos of the agenda, and of the field of IS and the whole of Management discipline together, are anchored upon the capitalist episteme so that it creates a significant hole in its teleological scape. While not in any sense calling for an ideological demagogue, we propose that the field of IS should open itself to an alternative teleology including a leftist perspective. We draw upon the Critical Management Studies (CMS) to explore how further problematization can be made on the SOLOMO agenda, generating questions about its performativity, denaturalization, and reflexivity. As a result of the discussions, a list of new problematized research questions for the SOLOMO agenda is generated. In the end we state the motivation of the essay and call for a critical refurbishing of the field of IS.

• Journal of Digital Convergence
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• v.19 no.10
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• pp.377-382
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• 2021

A fuzzy relation between X and Y as fuzzy subset of X × Y was proposed by Zadeh. Subsequently, several researchers have applied the notion of fuzzy subsets to various branches of mathematics and computer sciences. Murali an Nemitz have studied fuzzy relations connected with fuzzy equivalence relations and fuzzy functions. Ounalli and Jaoua defined a fuzzy difunctional relation on a set. difunctional relations are versatile mathematical tool, which can be used in software design and in database theory. Their work have revealed the usefulness of difunctional relations in program specification and in defining program correctness. The main goal of this paper is to define a fuzzy deterministic relation on a set, characterize the fuzzy deterministic relation as its level subsets and investigate some properties in connection with fuzzy deterministic relation. In particular we prove that a fuzzy relation R is fuzzy deterministic iff R is a fuzzy function.

• Journal of Distribution Science
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• v.13 no.7
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• pp.63-71
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• 2015

Purpose - The characteristics of the modern management environment in Korea clearly involve the limitations of knowledge management, globalization, changes in industrial structures, polarization of the economy, consumption, and education, and the demand for creative management. To achieve a continuous competitive advantage for individuals as well as organizations, Wisdom Management can be said to be a paradigm for the current environment. The Research is an alternative to environmental management in the early study of the need to conceptualize the theoretical approach to wisdom management. In other words, it presents a new management paradigm for a business environment of uncertainty and unpredictability. Furthermore, it aims to propose Wisdom Management as an alternative in the modern management environment as well as a topic of discourse. Its purpose is to provide basic knowledge to people who study and practice in this field to strengthen the competitiveness of individuals and companies. Research design, data, and methodology - This paper first provides six characteristics of the current management environment at home and abroad. It then attempts to emphasize the necessity of wisdom based on such characteristics by classifying wisdom according to recent management study research. This allows the derivation of definitions of wisdom management, suggesting its components and properties. Results - The six characteristics of the modern business environment are: 1) limits of knowledge, 2) intensifying globalized competition, 3) changes in industry structure - IoT (Internet of all Things) trend, 4) serious polarization and social unrest diffusion, 5) personal and organizational competitiveness creativity requirements, and 6) domestic special national and social situations. Therefore, accordingly, wisdom can be defined and classified as: wisdom that offers potential integration beyond knowledge, practicing and maintaining knowledge wisdom as an efficient strategy for an organization wisdom as a decision-making process that addresses ambivalence wisdom as the pursuit of common goods based on ethics; and, wisdom as creativity that involves intuition and insight. This paper attempts to define Wisdom Management in accordance with these definitions of wisdom. Wisdom Management is a management system that is awareof the current environment given in the multidimensional perspective, achieves the efficiency of the organization and the goals of common good through an uncertain decision-making process, based on the organization of individual and organizational knowledge, and the internal experiences and resources. Wisdom Management components include human beings, virtue, knowledge, creativity, and ambivalent thinking. Its properties include intentionality, self-destructiveness, creative and ethical reflexivity, complexity, insight, unpredictability, ambivalence, and wholeness. Conclusions - Since all organizations face the limitations of their environment, crises, and opportunities, applying wisdom in management to develop as Wisdom Management can be an inevitable alternative to the uncertainties of the management environment faced by modern society. The conceptualization of Wisdom Management forms a valuable context to further advance knowledge management theory into practice. It is also a cornerstone of strategic management and can provide insight into its potential for success and implementation.

• Trans-
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• v.3
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• pp.55-86
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• 2017

This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.