• Proceedings of the Korea Technology Innovation Society Conference
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• 2003.05a
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• pp.105-120
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• 2003

Academic Capitalism is one of main steams that university has made. Academic Capitalism means that the resource allocation in the university is made by market forces. Persons who advocate the traditional Ivory Tower will resist the market mechanism in university's resource allocation. But, in several aspect, market mechanism has been in action in the university, whether we recognized it or not. In this paper, five directions of Academic System Innovation were suggested. First, competition among universities should be enforced through decentralization and autonomy. Second, competition among researchers shoul be enforced. Third, government should enlarge the portion of 'use-inspired basic research'. Fourth, autonomy of research units in a university should be enlarged for university's competitiveness. Five, government should provide the environment for structural coupling between university and regional society.

• Journal of Korean Library and Information Science Society
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• v.28
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• pp.505-525
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• 1998

This paper discusses the 'identity' issue of academic libraries and librarians in South Korea. With the rapid social changes, both academic libraries and librarians in South Korea are confronted with a crisis for survival. This paper criticizes the two main social ideology led to such a crisis : namely, the extreme forms of capitalism and technological determinism. To overcome the present crisis, this paper recommends the academic libraries to recover or reform their identity as a cultural, expecially, knowledge organization, not just as an information agency. Also recommended for academic librarians is to make their best effort to be a real professional with the required knowledge and experience.

• Asian review of World Histories
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• v.1 no.1
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• pp.5-44
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• 2013

This essay offers a historically based critique of the idea of "alternative modernities" that has acquired popularity in scholarly discussions over the last two decades. While significant in challenging Euro/American-centered conceptualizations of modernity, the idea of "alternative modernities" (or its twin, "multiple modernities") is open to criticism in the sense in which it has acquired currency in academic and political circles. The historical experience of Asian societies suggests that the search for "alternatives" long has been a feature of responses to the challenges of Euromodernity. But whereas "alternative" was conceived earlier in systemic terms, in its most recent version since the 1980s cultural difference has become its most important marker. Adding the adjective "alternative" to modernity has important counter-hegemonic cultural implications, calling for a new understanding of modernity. It also obscures in its fetishization of difference the entrapment of most of the "alternatives" claimed--products of the reconfigurations of global power--within the hegemonic spatial, temporal and developmentalist limits of the modernity they aspire to transcend. Culturally conceived notions of alternatives ignore the common structural context of a globalized capitalism which generates but also sets limits to difference. The seeming obsession with cultural difference, a defining feature of contemporary global modernity, distracts attention from urgent structural questions of social inequality and political injustice that have been globalized with the globalization of the regime of neoliberal capitalism. Interestingly, "the cultural turn" in the problematic of modernity since the 1980s has accompanied this turn in the global political economy during the same period. To be convincing in their claims to "alterity", arguments for "alternative modernities" need to re-articulate issues of cultural difference to their structural context of global capitalism. The goal of the discussion is to work out the implications of these political issues for "revisioning" the history and historiography of modernity.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.15 no.4
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• pp.27-43
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• 2020

Recently, there has been growing interest in entrepreneurial universities. Accordingly, this study discussed the paradigm shift from traditional university roles to entrepreneurial universities and conducted case analysis of Oxford University, Stanford University and Berlin Institute of Technology from the perspective of ambidextrous strategies of universities. Universities are emphasizing the importance of academic capitalism through market activities as well as the educational and research-oriented role to adapt and survive the rapidly changing uncertain environment. Therefore, many studies related to this have been conducted. This paper discusses the background and necessity of the transformation from traditional universities to entrepreneurial universities, and applies the case of a university that has been successful in transforming into an entrepreneurial universities and creating excellent outcome in terms of ambidextrous strategy. Specifically, this study examined the structural, contextual, and leadership perspectives as a antecedents for ambidextrous strategy. This paper expects not only to introduce cases but also to be used as reference for adapting to future paradigm shifts to entrepreneurial universities and setting the direction of universities.

• Korean System Dynamics Review
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• v.16 no.3
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• pp.49-75
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• 2015

A company is a core of free market capitalism. It needs to be sustainable to make capitalism better. In this reason, a company has to be ethical to be longer, because unethical company can not be survival. It means that we should understand what is the ethical company and how to be. Because interdisciplinary exchanges give a hint to understand what and how from, so it was studied to find the academic theories which have a relationship with ethics or morality not only in the area of Business management, but also Psychology, Pedagogy, Ethics, Philosophy, and etc.. Making a visible structure by System Dynamics with results through interdisciplinary exchanges to understand the reason why unethical accidences are rising and damages are growing although companies pay "Ethics Pays" more and more to reduce immoral cases is the goal of this study. On the theory of "Social Ethics", 5 ways explain the reason why unethical behavior has not been demolished make a complex structure, which was founded from studying interdisciplinary exchanges such as "Ethics Pays", "Moral Reasoning", "Social Cost", and "Fallacy of Compositions". Finding the controllers and Factors of this model to control to be better, then the market could be more effective with lesser social cost.

• Journal of the Korean Home Economics Association
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• v.44 no.8
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• pp.143-150
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• 2006

Life Science or Home Economics has its own history of scholarship. In South Korea, the School of Home Economics was regarded as the best school of 'producing best brides' in the early stage of its academic history. Since the 1980s when South Korean society went through a speedy economic growth with development of culture and service industry, the school was transformed to educating highly professional career women in the field of industry which deals with everyday lives. As an applied science in nature, the school of Home Economics has had a heavy emphasis on engineering the familial and social life. It also has heavily depended on imported theories and statistical researches. In the crisis of familial and social disintergration, the role of School of Home Economics needs to be redefined. Reexamination of the premises of Home Economics and methodology is necessary. Decolonializaton of the scholarship in the changed condition of global capitalism is particularly urgent in the late modern era of reflexion.

• Journal of Korean Institute of Industrial Engineers
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• v.40 no.5
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• pp.462-476
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• 2014

The Korean government has been implementing diverse policies with programs to generate better outcomes and results of university-industry collaboration since 1990s. In this paper, we analyze the effect of universities' competency factors on the performance of technology commercialization and start-ups respectively. We employ multiple regression models using 154 data sets from university information posting system of the Korean Council for University Education. Through conducting statistical analyses with diverse data manipulations, we obtained a high degree of significance on hypotheses, and also could compare mutual differences between the effects of university competence on technology commercialization and start-ups. The technology transfer and commercialization specifically depends on professors' patent applications and technology holding company, while start-ups does professionals in industry-university cooperation. We suggest government to spur on the ongoing customization of university-industry collaboration policy, and university to properly cope with global atmosphere changing from ivory tower to academic capitalism and start-ups promotion.

• The Journal of Art Theory & Practice
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• no.2
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• pp.191-213
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• 2004

The trend of "Blockbuster Exhibitions" over the past decade has led to the unfortunate reality that museums, losing sight of their role as an Academic organization, are becoming increasingly influenced by the corporate world. In my dissertation entitled "The Commercialization of Blockbuster Exhibitions in Museums," I explore the modern tendency toward Blockbuster exhibitions in art museums and the negative impact of those exhibitions on the art world. Museums of the modern day have expanded their territory from the traditional venue of public education to the hybrid cultural space. This mission, evident in the museum's attempt to satisfy audiences with the offering of diverse activities, has changed the concept of the museum, giving priority to the desire for financial gain. From the viewpoint of this new museology, the museum considers Blockbuster exhibitions as the safest method to increase ticket sales. As a program that openly reveals the commercialism of the museum, I explore the Blockbuster show and its strategies as a means of exposing the influence of the corporate world on art. A key component to the Blockbuster exhibition is the "hype" that is created to attract an audience. This devotion to increased publicity distracts from what should be the goal of public education, as the primary focus leans towards the desire for a large number of visitors. Consequently, this unavoidably standardized exhibition is presented to the public in a manner that deprives the audience of a unique experience. With large crowds and increased ticket prices, it is difficult to form a genuine appreciation of the artwork. In addition to the profit gained by increased ticket prices and the commercial sales of "souvenirs" from the museum gift shop, Blockbuster shows are used as a means to attract the attention of corporate sponsors. As explained in my dissertation, the importance that the museum places on corporate sponsorship as a capital resource is evident, however the degree to which the museum allows itself to he influenced by the desire for capital gain poses a threat to its function as an academic organization. Circumstances in American museum history, in particular, have influenced the transition from academic resource to corporation within museology. In keeping with the nation's tendency towards capitalism, art museums in the United States were initially established and developed by individual capitalists who applied principals of corporate operation to museum management. As a result, in modern days, We witness the influence of enterprise on museum programs, while corporate management may be able to guarantee immediate fiscal benefits, however, it is unable insure the future of the museum. In Slim, my dissertation discusses the mechanism of the commercialized "Blockbuster Exhibition" and the impact that it has on the future of the museum as an industry. This research provides an opportunity to reconsider the role of the museum as an academic institution, particularly in regard to the need to decrease the capitalization of exhibitions and refocus their influence on the art world as an educational resource.

• Journal of the Korean association of regional geographers
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• v.21 no.4
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• pp.691-703
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• 2015

The purpose of this study is to examine the various concepts related to tall buildings, the history of skyscrapers, and their symbolism of our time. First, skyscraper is a word used to describe a very tall building, and the "tall" is a relative concept dependent on time and place. There is no firm height cutoff of skyscrapers, and their practical meaning depends on both time and place. Second, there is academic disagreement over which building should be considered the first skyscraper. Skyscrapers in the modern sense began to emerge in the late nineteenth century. From this point, the world's tallest building was always in the United States (especially, New York and Chicago). However, since the late 1990s, the skyscrapers in Asian countries have taken the title of world's tallest building. Third, skyscrapers are not simply tall buildings, but symbolic images. They are symbols of capitalism, finance, and ambition. The symbolism of the skyscraper has three dimensions, such as the symbolism of height (size), capital (corporate power), and landscape.

• Journal of English Language & Literature
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• v.55 no.2
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• pp.241-257
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• 2009

The essay discusses the way in which the aesthetic of Pre-Raphaelites reformulates the habitual system of knowledge in the Victorian age by adapting $Ranci{\acute{e}}re^{\prime}s$ concept of aesthetics. $Ranci{\acute{e}}re$ develops an original theory of aesthetics, a regime of knowledge which enables to perceive and reflect art as such. In this way, aesthetics turns to be the logical system by which the consensus idea of the beautiful comes to exist. For $Ranci{\acute{e}}re$, aesthetics is an agreed system of the sensible and reproduces the habitual knowledge of the world. Therefore, a new aesthetic movement means an attempt to break the given aesthetics and reorients the new distribution of the sensible. The important point of $Ranci{\acute{e}}re^{\prime}s$ argument is that he does not presuppose the dimension beyond the present unlike Frankfurt School. What $Ranci{\acute{e}}re$ claims is that there is no such the aesthetic which can correct the instrumental reason, but rather an indifferent moment in which a worker finds out himself as a creator who can give rise to the new regime of the sensible and feels free from what he must work for. From this perspective, the essay explores the aesthetic of Pre-Raphaelites and its meaning in nineteenth century Britain. Pre-Raphaelites was an artist group who railed against a so-called academic style of paintings and created a new aesthetic criterion to describe the truth of the natural world. The essay examines the interrelationship between Pre-Raphaelites and photography that would enable them to re-distribute the sensible and produce a new way of seeing the order of things. This is related to the birth of a modern gaze as in the case of landscape paintings. What is crucial is that the distribution of the sensible is always-already doubled with the political. In short, Pre-Raphaeltes is not only an aesthetic movement but also a political pursuit to achieve a disenchanted perception of nineteenth century industrial capitalism.