• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.18 no.6
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• pp.1-10
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• 2023

Strong Critics of' Moral Hazard, due to plummeting severely their stock price down and damage falling on plain investor, has been skyrocketed against massively and simultaneously exercising stock option right of C-Level members in Stock market listed startups right after IPO regardless of proper and legal process followed. Korean Financial Supervisory Board initiate new act of extending to apply'Lock-up Rule'even to stock option of core interest group after IPO. However, it will cause startups and venture more difficulties to recruit top level of talented staffs. This paper aims to propose RSU(Restricted Stock Unit) as alternative to breakthrough the current deadlock issue with respect to stock option controversy many startups facing. This paper to meet goal, first, including Korean introducing status of RSU, it clarify the concept of RSU by comparing exploration with Restricted Stock and define characteristic of RSU by comparing Stock Option. Second, it bring more effective ways of startups introducing RSU in Korea overcoming its limitations and challenges. Third, it carry out FGI to legal expert deeply involved of introducing RSU in Korea at policy domain. FGI focus on defining core challenging factors and their level of huddles of introducing RSU in Korea with proposing breakthrough policies to landing RSU softly in Korea. Fourth, it suggest valid policies of introducing and stabilizing RSU in Korea completely. This paper expect some contributions Korean startups and venture on finding market friendly right breakthrough out of stock option dilemma currently in.

• Journal of the Korean association of regional geographers
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• v.10 no.2
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• pp.267-285
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• 2004

Globalization has been the buzzword during the past couple of decades, embroiling humankind into the inescapable maelstrom of homogenization. Some critics identify the globalization process undergoing in the realms of politics, economy, culture and ecology with Americanization which entails Neoconservatives' scheme to stretch out the hegemony of the United States. The top-down transcontinental movement, however, deems to confront localization or a reasoned resistance from the local driven by the spiritual attachment to places and, in that sense, regional identity. What is needed to cope with this complex circumstance of glocalization is to be acquainted with beth the global sense of the local and the localized sense of the global at once. For this, it seems indispensible to do justice to area studies. As far as American studies are concerned, this research field has so far been tainted by an overdose of politics, economics, business administration, law and sociology. Regional analysis which constitutes the reason d'etre of the discipline of geography has remained marginal to the political economic mainstream. It is the mounting concerns about America and enhanced research caliber that raises the regional geographical studies of America on the right track. Particularly, a number of articles have been published since the mid-1990s owing to the combined efforts of practitioners, institutions and periodicals. It is expected that systematic training of new generation of American specialists, advance in research infrastructure, and generous funding will stimulate geographical investigation of America in the coming future.

• The Journal of Art Theory & Practice
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• no.2
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• pp.169-190
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• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• Journal of Science of Art and Design
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• v.2
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• pp.222-238
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• 2000

The attempts to explain the criterion of art criticism can be divided into three directions. The first is that there is a universal criterion of criticism. The second is that criticism is a subjective impression of each critic. Therefore, there is no universal criterion beyond a subjective impression. The third is that denies both claims. It tries to and the objective criterion which is neither universal nor subjective. In this paper, I will see how John Dewey criticizes the first two theories and holds the third theory. Dewey's denial of the first theory can be seen in his view of the judical criticism. The judical criticism claims that art criticism can be made on the universal criterion, as judical decision can be made on the general rule supposed to be applicable to all cases. But Dewey claims that the judical criticism cannot explain what makes the artist the 'masters'. Defining art as an experience, Dewey claims that art is a process of doing and undergoing, and that art is essentially an interactive activity between men and his environment As environment changes, the experience of the environment also changes. So art should accept the possibility of new experience. But, since the judical criticism advocates of the universal criterion which cannot allow the changeability, Dewey denies it. On the other hand, Dewey's denial of the second theory can be seen in his view of the impressionist criticism. The impressionist criticism claims that criticism is to clarify the impression which is consisted of feeling and imagery the art object evokes. To this claim, Dewey replies that to clarify an impression is to analyze it, and analysis can proceed only by going beyond the impression to the judgement. As we have seen so far, Dewey has denied the judical criticism that there is a universal criterion supposed to be applicable to all criticism. He has also denied the impressionist criticism that there are only subjective responses to the art object, and hence that there is no criterion of criticism at all. For Dewey, these two criticism are based on the same false assumption of the criterion, although their conclusions are different from each other. Both the judical and impressionist criticism failed to realize the difference between the meaning of the criterion as applied in measurement and as used in criticism. Criticizing of these two views of criticism, Dewey claims that there is an objective criterion which is neither universal nor subjective. Art criticism is objective in tv#o senses, i. e., in the first sense that it can be judged by the properties of the art object and in the second sense that it can be verified by the communities of the critics.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.449-460
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• 2021

The development process of cyber literature theory in the 1990s clearly shows the duality of the pursuit of symbolic power and desire through the formation and conflict of literary fields, collective intelligence. All desires are bound to be power-oriented, and cyber literature is meaningful in that network-space critics developed while advocating the humanities of coexistence. The failure of cyber literature theory is due to the conflicting desire of critical power between real and virtual spaces. Cyber literature theory in the 1990s was the first literary response to the birth of artificial nature, although the contradiction of desires revealed in symbolic power and the limitations of barking are clear. Literature discourse has always explored the relationship between the social conditions of the time (including technological progress) and art texts. Producing a new critical discourse encompassing the whole within the literary field of artificial nature is an important task in literature in the era of technology compilation, and humanities and technology must coexist. Through this paper, we examined the impact of the birth of artificial nature on humanities. This study is an important achievement of humanities engineering that understands, interprets, and leads technology.

• 한국노년학
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• v.25 no.2
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• pp.171-193
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• 2005

Nowadays, the employment policies for older people is requested to become the new form in the change of information, globalization, and aging. It is discussed, simultaneously, about an age integrated society as the full time jobs' continuation and social jobs after the full time jobs. The discussion of jobs' continuation include from institutional system to age integrated society. Social jobs include from public labor to social wages. jobs' continuation passes over stabilization, regarding it as ideal society. social jobs are interpreted it as residual welfare, excluding the meaning of social solidarity. In fact, most of the debates is overwhelmed by the logic of economy. And so they pass over the quality of life of individuals. Therefore, this study critics the employment policies for older people in the present situation and states a direction improving the quality of life older people.

• Journal of the Daesoon Academy of Sciences
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• v.20
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• pp.169-191
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• 2009

The Four Tenets of Daesoon thought are the Creative conjunction of the virtues of Eum and Yang, the Harmonious union of divine beings and human beings, the Resolution of grievances for the mutual beneficence of all life and the Realization of the Dao in the world. This article compares the concepts of the "Creative conjunction of the virtues of Eum and Yang", the "Harmonious union of divine beings and human beings" and the "Resolution of grievances for the mutual beneficence of all life" with "EumYangDaeDaeRon", "ShinMyonKiDeok", the Theory of Mutual Giving Life / Mutual Destruction (SangSaeng/SangGeukRon) of the Book of Changes and analyzes their common and different points. The conclusion is that Daesoon thought and the philosophy of the Book of Changes share common fundamental standpoints. However, the Daesoon thought defines the world of SeonCheon (the state before the Heaven and Earth have been created) as Mutual Giving Life (SangSaeng), and the world of HuCheon (the state after the Heaven and Earth have been created) as Mutual Destruction (SangGeuk). According to Daesoon thought the Mutual Destruction (SangGeuk) is seen as negative, while according to the philosophy of the Book of Changes the Theory of Mutual Giving Live/Mutual Destruction (SangSaeng/SangGeukRon) is viewed as a positive relationship of EumYangDaeDae. This is a point of difference between the Daesoon thought and the philosophy of the Book of Changes. According to EumYangDaeDae relationship theory the contradictory "other" is viewed not as an enemy, but as a necessary element that assures one's existence. When Buddhism and Christianity first came to existence, they did not belong to a main stream. Later, through continuous theorization and systematization they became generally accepted religions. The case of Confucianism was not much different. During Song dynasty in China Buddhism has contributed to the systematization and establishment of Neo-Confucianism; in the middle of 20th century the Confucian scholars of Hong Kong and Taiwan interpreted and defined Confucianism a new in the light of Western philosophy. Thus the "Modern Neo-Confucianism" came to existence. That's why the history of Confucianism is also called "the history of advancing and developing a concept". From this point of view the critical acceptance of some elements of Confucian, Buddhist, Taoist etc. traditions, as well as modern philosophy, by Daesoon, in order to achieve the systematization of Daesoon thought, is a very important process. As a part of this process, this essay explains the Daesoon thought from the point of view of the Book of Changes, which may be said to present the original East-Asian view of the world. Daesoon's emphasis of human dignity, the equality of sexes, the critics the hierarchical society etc. are rather "modern" and should be examined from the point of view of social science. Besides, leaving the boundaries of "modern philosophy", the concepts of "Harmonious union of divine beings and human beings", viewing the universe as one organism etc. should be approached from the point of view of Post-Modernism.

• Journal of Korean Academy of Nursing Administration
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• v.3 no.1
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• pp.51-64
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• 1997

The purpose of the study was to introduce an integrated approach of new Casuistry and specified principlism in resolving ethical problems and studying nursing ethics. In studying clinical ethics and nursing ethics, there is no systematic research method. While nurses often experience ethical dilemmas in practice, much of previous research on nursing ethics has focused merely on describing the existing problems. In addition, ethists presented theoretical analysis and critics rather than providing the specific problems solving strategies. There is a need in clinical situations for an integrated method which can provide the objective description for existing problem situations as well as specific problem solving methods. We inherit two distinct ways of discussing ethical issues. One of these frames these issues in terms of principles, rules, and other general ideas; the other focuses on the specific features of particular kinds of moral cases. In the first way general ethical rules relate to specific moral cases in a theoretical manner, with universal rules serving as "axioms" from which particular moral judgments are deduced as theorems. In the seconds, this relation is frankly practical. with general moral rules serving as "maxims", which can be fully understood only in terms of the paradigmatic cases that define their meaning and force. Theoretical arguments are structured in ways that free them from any dependence on the circumstances of their presentation and ensure them a validity of a kind that is not affected by the practical context of use. In formal arguments particular conclusions are deduced from("entailed by") the initial axioms or universal principles that are the apex of the argument. So the truth or certainty that attaches to those axioms flows downward to the specific instances to be "proved". In the language of formal logic, the axioms are major premises, the facts that specify the present instance are minor premises, and the conclusion to be "proved" is deduced (follows necessarily) from the initial presises. Practical arguments, by contrast, involve a wider range of factors than formal deductions and are read with an eye to their occasion of use. Instead of aiming at strict entailments, they draw on the outcomes of previous experience, carrying over the procedures used to resolve earlier problems and reapply them in new problmatic situations. Practical arguments depend for their power on how closely the present circumstances resemble those of the earlier precedent cases for which this particular type of argument was originally devised. So. in practical arguments, the truths and certitudes established in the precedent cases pass sideways, so as to provide "resolutions" of later problems. In the language of rational analysis, the facts of the present case define the gounds on which any resolution must be based; the general considerations that carried wight in similar situations provide warrants that help settle future cases. So the resolution of any problem holds good presumptively; its strengh depends on the similarities between the present case and the prededents; and its soundness can be challenged (or rebutted) in situations that are recognized ans exceptional. Jonsen & Toulmin (1988), and Jonsen (1991) introduce New Casuistry as a practical method. The oxford English Dictionary defines casuistry quite accurately as "that part of ethics which resolves cases of conscience, applying the general rules of religion and morality to particular instances in which circumstances alter cases or in which there appears to be a conflict of duties." They modified the casuistry of the medieval ages to use in clinical situations which is characterized by "the typology of cases and the analogy as an inference method". A case is the unit of analysis. The structure of case was made with interaction of situation and moral rules. The situation is what surrounds or stands around. The moral rule is the essence of case. The analogy can be objective because "the grounds, the warrants, the theoretical backing, the modal qualifiers" are identified in the cases. The specified principlism was the method that Degrazia (1992) integrated the principlism and the specification introduced by Richardson (1990). In this method, the principle is specified by adding information about limitations of the scope and restricting the range of the principle. This should be substantive qualifications. The integrated method is an combination of the New Casuistry and the specified principlism. For example, the study was "Ethical problems experienced by nurses in the care of terminally ill patients"(Um, 1994). A semi-structured in-depth interview was conducted for fifteen nurses who mainly took care of terminally ill patients. The first stage, twenty one cases were identified as relevant to the topic, and then were classified to four types of problems. For instance, one of these types was the patient's refusal of care. The second stage, the ethical problems in the case were defined, and then the case was analyzed. This was to analyze the reasons, the ethical values, and the related ethical principles in the cases. Then the interpretation was synthetically done by integration of the result of analysis and the situation. The third stage was the ordering phase of the cases, which was done according to the result of the interpretation and the common principles in the cases. The first two stages describe the methodology of new casuistry, and the final stage was for the methodology of the specified principlism. The common principles were the principle of autonomy and the principle of caring. The principle of autonomy was specified; when competent patients refused care, nurse should discontinue the care to respect for the patients' decision. The principle of caring was also specified; when the competent patients refused care, nurses should continue to provide the care in spite of the patients' refusal to preserve their life. These specification may lead the opposite behavior, which emphasizes the importance of nurse's will and intentions to make their decision in the clinical situations.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.45-86
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• 2020

In this article, the "modernization of the tradition" constructed on the cultural politics and the way in which it appropriated in the korean theatre in the 1970s were analyzed. It is trying to reveal its implications. It is also a work to critically review the aspects of self-censorship in the korean theatre in the 70s. To that end, we looked at the theatre company Minye Theatre, which preoccupied the traditional discussions in the 1970s by creating national dramas. Until now, the evaluation of the theatre company Minye Theatre in the 1970s has focused on the achievement on the directing of Heo Gyu, who promoted the succession and transformation of tradition. However, the traditional ideology constructed in the state-led cultural politics in the 70s and the way in which it was operated cannot be evaluated only in terms of artistic achievement. The ideology of tradition is selected according to the selective criteria of the subject to appropriate tradition. What's important is that certain objects are excluded, discarded, re-elected, re-interpreted and re-recognized in the selection process of selected traditional ideology. This is the situation in the '70s, when tradition was constantly re-recognized amid differences between the decadent and the disorder that were then designated as non-cultural, and led to a new way of appropriate. The nation-led traditional discussion of the '70s legalized the tradition with stable values, one of the its way was the national literary and artistic support. Under the banner of modernization of tradition, theatre company Minye preoccupied the discussions on the tradition and presented folk drama as a new theatre. As an alternative to the crisis of korean theatre at the time, the Minye chose the method of inheriting and transforming tradition. It is noteworthy that Heo Gyu, the representative director of the theatre company Minye, recognized the succession and transformation of traditional performance as both a calling and an experiment. For Heo Gyu, tradition was accepted as an irresistible stable value and an unquestionable calling, and as a result, his performance, filled with excessive traditional practices, became overambitious, especially when it failed to reflect the present-here reality, the repeated use of traditional expression tools resulted in skilled craftsmanship, not artistic creation. The traditional ideology of the 70s unfolds in a new aspect of appropriation in the 80s. In 1986, Son Jin-Cheok, Kim Seong-nyeo, and Yoon Mun-sik, who were key members of the theatre company Minye Theatre, left the theatre to create the theatre company Michu, and secured popularity through Madangnori(popular folk yard theatre). Son Jin-Cheok's Madangnori is overbearing through satire and humor. It gained popularity by criticizing and mocking state power. On the other hand, not only the form of traditional performance, but also the university-centered Madanggeuk movement, which appropriated on the spirit of resistance from the people to its traditional values, has rapidly grown. In the field of traditional discussions of the 70s, Madanggeuk was self-born through appropriation in which the spirit of resistance of the people is used as a traditional value. Madanggeuk as well as Michu that achieved the popularization of Madangnori cannot be discussed solely by the artistic achievement of the modernization of tradition. Critics of korean theatre in response to state-led traditional discussions in the 70s was focused only on the qualitative achievement of performing arts based on artistry. I am very sorry for that. As a result, the popular resistance of the Madanggeuk and the Madangnori were established in the 'difference' with the traditions of the theatre company Minye Theatre. Theatre company Minye Theatre was an opportunity for the modernization of tradition, but the fact that it did not continuously produce significant differences. This is the meaning and limitation of the "tradition" of the theatre company Minye Theatre in the history of korean theatre in the 1970s.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.