• Journal of Korean Library and Information Science Society
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• v.20
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• pp.351-381
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• 1993

The purpose of this study is to analyze the various processes and patterns to build or synthesize class numbers in the 800 class of the Dewey Decimal Classification, Edition 20(1989). The results of the analysis are as follows: 1. The 800(Literature and rhetoric) class in the DDC system is the main class added analytico-synthetic principle positively to an enumerative scheme. 2. The facets to be a n.0, pplied in literature are language literary form literary period ; kind, scope, or medium ; notation 08(collection) or 09(criticism) literary feature, subject, author, etc. 3. In the 800 class, there are the five tables of precedence for literary forms aspects ; specific kinds of persons ; literary, period in relation to the aspects for works treating more than one literary form subforms, aspects and literary periods in the works treating a specific literary form. 4. The basic number synthesis of literary works proceeds through the various facets in the following sequence, as far as necessary for the item : base no. + literary form + literary time or period + kind, scope, or medium + notation 08 or 09 + subform + additional notation from T3C and other tables. 5. In view of the multiplicity of facets, their synthesis formulas take the following order : (1) Works about the literature : base no.(schedule) + language(T6) or form(T3B) (2) Works by or about individual author : base no.(schedule) + form (T3A) + period(schedule) + subform(T3A) (3) Works by or about more than one author, not restricted by language facet : base no.(schedule) + period(T1) ; base no.(schedule) + kind, scope, medium(T3B), or feature(T3C), or person(T5). (4) Works by or about more than one author, restricted by language facet : base no.(schedule) + form (T3B) + period(schedule) + subform(T3B) + notation 08 or 09(T3B) ; base no.(schedule) + notation 08 or 09(T3B) + 9(T3C) + area notation(T2) : base no.(schedule) + form (T3B) + notation 008 or 009(T3B) : base no.(schedule) + form (T3B) + kind, scope, medium(T3B) + notation 08 or 09(T3B) + period(schedule). (5) Affiliated literatures for which period numbers are not us base no.(schedule) + form (T3A or T3B), or notation 08 or 09(T3B) : base no.(schedule) + kind, scope, medium(T3B), feature(T3C), or person(T5) 6. The problems in the number building of the 800 class are the complexity and difficulty of number synthesis, the intrinsic weakness of from distinction and the inconvenience of retrieval inherent in the form class. In order to solve these problems, therefore, the citation orders and methods of DDC should be improved and synthesis patterns simplified from the point of view of its applicability and its usefulness in the "literature class".

• Korean Journal of Psychosomatic Medicine
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• v.22 no.2
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• pp.55-62
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• 2014

The relationship of mind and body has stimulated extensive discussion for a long time. However, answers are ambigous and not forthcoming yet. Meanwhile, after the western medicine had embraced materialistic paradigm, conditions which cannot be substantiated by organic change were pushed out to periphery under the banner of "Medically Unexplained Symptoms". Medical experts endeavored to understand these mysterious illnesses based on the mind-body relationship and provided a frame of interpretation called Psychosomatic Medicine. This frame of interpretation had influenced not only the communication practice but also the health-seeking behavior and even the subjective experience of patients regarding their illnesses. The frame of interpretation had been drastically changed many times keeping pace with the socio-economic situation and the new scientific discoveries. Accordingly, body or mind was given differential importance by medical experts. For instance, when treatment modalities were lacking, mind was given excessive importance and patients were blamed for their unconscious motives, characterological weaknesses and for their lack of responsibility. In contrast, after the discovery of effective drug, mind was given no more attention and patients were no longer blamed for their contribution to suffering. In this paper, the historical change of the frame of interpretation for understanding migraine and headache was presented as an example. By this, it can be demonstrated how the frame of interpretation has modified the subjective experience of patients, and how the patients' responsibilities were viewed differently. This observation can help to realize the enormous influence of the frame of interpretation provided by medical experts.

• Lingua Humanitatis
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• v.6
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• pp.321-357
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• 2004

In this article the structure of modern Russian humor is analyzed on the basis of some theories: bi-sociation theory (Koestler 1964), semantic script theory of verbal humor, using the concept of semantic presupposition, pragmatic felicity condition (Searle 1969; Levinson 1983) and grammatical rules (Chomsky 1965). Up to now the listed former theories were not examined and less analyzed by the semantic structure in the study of the structure of Russian humor(HcaeBa 1969; 3 $a_{OPHOB}$ 1991; 1992). Kreps (1981), who analyzed the works of Zoschenko, presented 21 types of humor, using the term 'humoreme'(Kpenc 1981, 36-37). These types are the list of the available means of humor that work not in the base of semantic criteria, but in the base of means of literary rhetoric. Kreps presented types of humor means, such as contradiction, antonymic substitution, macaronic speech and correlation of humoremes in the various types of humor. Apart from Kreps, Manakov (MaHaKOB 1986, 61-79) also studied these problems. He also set the system of the basic types of humor. Manakov introduced the linguistic means of humor of some Russian writers: Gogol, Tchechov. The means that Manakov showed with detailed examples, are trope, epithet, comic comparison, comic metaphor, comic periphrasis, euphemism, pun, zeugma, comic toponym, comic onomatopoeia, mania of foreign vocabulary, folk etymology, dialect etc. But these studies don't explain why these means make the works humorous. An, B.p tried to answer this question (안병팔 1997 a; b). An B.p. explains contexts of humor through the Release theory, the Superiority theory and the Incongruity theory. An, B.p. explained the process of deviation from the grammatical norms through morpho-syntactic and lexical means. But in these studies the humor was not analyzed by the semantic criteria. In order to linguistically evaluate various means of humor formation, it is necessary to elicit its deep structure, which makes it possible to research the formation and interpretation of humor. For this purpose this article, being based on the Incongruity theory, defined the structure of humor as negation of presupposition. Of course the former traditional studies also well shared the concept of 'contradiction' and 'contrast' of humor structure, but they didn't explain the structure by semantic differential features. This study, analyzing the works of' Zadornov, M., tried to note that through the negation of semantic presupposition the structure of contradiction is formed with semantic differential features on the semantic, syntactic or lexical dimensions.

• Sijohaknonchong
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• v.25
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• pp.129-144
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• 2006

The purpose of this paper is to reveal the rhetorical features of the Chosun Sijo through researching them. A poem has been made by imagination and rhetorics which are based on the poet's experience. The qualifies of the Poem have been determined by how the poet described the object oddly. So it is essential for the poet to struggle to make embellishments and artistic skills when he or she makes a poem. But the Chosun clerisy ostracized the poet who was trying to do these things mentioned above, which was a kind of special poetic point of view the Chosun clerisy had. They recognized embellishments and artistic skills as a resort to petty trick as a result of their sticking to the external form of the objects. The reason they thought them like this was that the Chosun clerisy thought the embellishments and artistic skills could show the self-pride and self-righteousness. Also, there were concerns on the distortion of the object nature by the artificial concoction. Because they can interrupted and distorted the stream of feeling and the original meaning, the artistic skills mush not be recognized as the artistic skills of itself. As a result, they valued the poem made from restraining the rhetoric and artistic skills. They valued the poem which had common words related people's daily life, but was able to feel the simple Lyricism. The poem based on these features has remains as a work which makes people enjoy the nature, and face their life without any resorts, and which has the natural leeway.

• The Journal of Art Theory & Practice
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• no.14
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• pp.187-215
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• 2012

In recent studies of art historical methodology, such as Critical Terms for Art History and The Art of Art History, subjectivity, identity, abjection, and other terms have been placed safely in the genealogy of contemporary art history. This paper questions the contemporaneity in the story of contemporary art in our time in relation to two other critical terms that have been regularly cited by contemporary critics, not only in Euro-American fields but also in Korea. The terms are postmedium and postproduction, respectively, as used by Rosalind Krauss and Nicolas Bourriaud. This paper stems from the critical condition in which art criticism and theory have their power in the rise of neo-liberalism. But this paper does not deal with the contemporary as a chronological term for art history but rather examines the three critical terms-contemporaneity, post-medium, and postproduction-that have garnered scholarly attention. I would like to put aside postmodernism for the moment; I don't disregard the postmodern condition although the death of postmodern critical terms has resulted in the loss of its polemical power in art worlds such as in exhibitions, etc. To look at "the postproduction in the age of post-medium age after postmodernism," I first explore Krauss's notion of post-medium because, unlike media artists like Lev Manovich and Peter Weibel, Krauss's post-medium condition is different and insists on medium specificity. In this sense, Krauss has turned out to be another Greenberg in disguise. For her, photography and video are expanded mediums after Greenberg, because Krauss has spent her life explicating those mediums. Under the Cup, her recent publication, came out in 2011, and discusses her desire to defend medium-specificity against the intermedia of installation art found ubiquitously in international exhibitions and biennales. Her usage of post-medium has been taken up by Weibel as postmedia in a broader sense. But whether the post-medium condition or the postmedia age, we nonetheless enter the new age of the contemporary. Consequently, this paper questions what constitutes contemporaneity in our times. It is said that there is nothing new on earth, yet I find original artistic strategies among the younger generation in the postmedia age. The contemporary justifies its place in art fields and criticism by keeping its distance from postmodernism although we still find the remnants of postmodern artistic practices and theoretical foundations. By looking at materials written by Terry Smith, I would like to examine contemporaneity as a rhetoric where artists, critics, and curators endeavor to set up a new spirit of criticism, distant from the past of modernism and postmodernism. In discussions, modernism and postmodernism act as catalysts interacting with each other while justifying their own place. In conclusion, my paper reaches to delineate where the contemporary finds its place among artists' responses and working methods. It explores the postproduction of the Internet and the World Wide Web generations, where images become data rather than representation (of modernism) and appropriation (of postmodernism). This paper analyzes Bourriaud's text, as well as relevant artists like Pierre Huyghe, Liam Gillick, and others. By examining the aforementioned critical terms, I would like to reconsider our own contemporary art in Korea, especially among young artists influenced by digital media and the World Wide Web in the 1990s.

• Journal of Trauma and Injury
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• v.26 no.3
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• pp.111-124
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• 2013

Purpose: We should prepare proper medical service for disaster control as South Korea is not free from terrorism and war, as we experienced through the two naval battles of the Yeonpyeong, one in 1999 and the other in 2002, the sinking of Cheonan in 2010, and the attack against the border island of Yeonpyeong in 2010. Moreover, North Korea's increasingly bellicose rhetoric and mounting military threats against the world demand instant action to address the issue. The aim of this article is to describe our experience with three patients with combat-related gunshot and explosive injuries to their extremities and to establish useful methods for the management of patients with combat-related injuries. Methods: Three personnel who had been injured by gunshot or explosion during either the second naval battle of the Yeonpyeong in 2002 or the attack against the border island of Yeonpyeong in 2010 were included in our retrospective analysis. There were one case of gunshot injury and two cases of explosive injuries to the extremities, and the injured regions were the left hand, the right foot, and the right humerus. In one case, the patient had accompanying abdominal injuries, and his vital signs were unstable. He recovered after early initial management and appropriate emergency surgery. Results: All patients underwent emergent surgical debridement and temporary fixation surgery in the same military hospital immediately after their evacuations from the combat area. After that, continuous administration of antibiotics and wound care were performed, and definite reconstructions were carried out in a delayed manner. In the two cases in which flap operations for soft tissue coverage were required, one operation was performed 5 weeks after the injury, and the other operation was performed 7 weeks after the injury. Definite procedures for osteosynthesis were performed at 3 months in all cases. Complete union and adequate functional recovery were achieved in all cases. Conclusion: The patient should be stabilized and any life-threatening injuries must first be evaluated and treated with damage control surgery. Staged treatment and strict adherence to traditional principles for open fractures are recommended for combat-related gunshot and explosive injuries to the extremities.

• Sijohaknonchong
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• v.44
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• pp.165-195
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• 2016

This paper is compare to the enjoyment of way on Si-jo and Ga-sa in Lyric poetry. Si-jo and Ga-sa were created in Joseon Dynasty. Si-jo and Ga-sa is the Lyric poetry in traditional genre, representing Korea. These forms include the lyric genre but have a difference between the fixed verse and the long-poem in Joseon Dynasty. However, the two genres are the two genres had opened the possibility of communication from the very beginning in terms of gentry layer is the main writers. Joseon Dynasty those who enjoy the fixed verse and the long-poem, the literature of singing songs and reciting literature, in terms of the principle of metaphor and metonymy rhetoric will reflect the era of awareness and enjoyment of contemporary perception of reality characters. It can be said that performing Si-jo and Ga-sa of enjoyment fashion and work to compare with realistic about the versification principles but check ahead a lot of data, and add to the task of finding a logic that can explain clearly remain. This paper will have to complement the many points made in an attempt to unravel the complex issues in an integrated and comprehensive on-pronged approach and enjoyment of the fixed verse and long-poem Si-jo and Ga-sa and similar expressions are writing and testing the various parties of the enjoyment of culture in today's era of change in the 21st century can be the compass to navigate a new world culture.

• Journal of Korean Philosophical Society
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• v.105
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• pp.373-400
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• 2008

This essay is an analysis on Daoist deconstructivism and Confucian constructivism about music and language. (1) Daoist criticizes that the Confucian constructive music and language fail to describe original sounds and original facts of doing nothing (wuwei, 無爲). According to Daoist, music and language can be an instrument to describe true facts in the world. So Daoists try to attain a state of 'seeing things as things themselves (yiwuguanwu, 以物觀物)' by 'forgetting oneself (wangwo, 忘我).' (2) However Confucian music and language is a part of one's life. Confucians try to get truth, goodness, and beauty by exercising one's music and language. Confucian music is associated with political and moral development in society. The Confucian genres of poetry (shi, 詩), appealing letter (shu, 疏), declaring writing (biao, 表), record (ji, 記), and written words (ci, 詞) are processes of developing one's life. Further, Confucian rhetoric of 'Xing (興)' in writing poem shows that one's language can be developed in contexts of one's life. (3) Although music and language is associated with human subjective narratives as if Confucians say, diverse narratives of different subjectivity cannot appear in one's lives if all kinds of narrative is absorbed in Confucian absolute ideological slogan to devide things into good and bad. Accordingly, the Confucian view of music and language can develop diverse narratives when it does not show an inclination toward moral dichotomy preunderstood by Confucian ideology.

• Journal of Korean Philosophical Society
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• v.144
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• pp.51-82
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• 2017

In Meditation II, Descartes questions "sed quid igitur sum" ("But what then am I?"). To this question to rule our essence, A. Clark insists that "We are soft selves". The idea by Clark is a spontaneous conclusion of the extended mind theory stating that cognitive process, cognitive state, and self may be extended over biological organisms. However, it seems that it is difficult for the extended self to have the qualifications as a moral agent. There have been disputes about expandability of cognitive process and cognitive state, but there have not been many disputes about the possibility of accountability of behavior by the extended self. First of all, in this thesis, it will be revealed that the extended self through the analysis of metaphorical theories and the ontological essence of agent and behavior by G. Lakoff and M. Johnson is just metaphorical rhetoric, which is not suitable for rational comprehension of ontological essence of agent and behavior. Moreover, the analysis of problem about artificial moral agent (AMA) proposes the "Strong First-person Viewpoint" as a requirement of the agent. Finally, the concept of extended self will be shown to be unsuitable for theoretical explanation of us, and the concept of human person will be proposed as an alternative solution.

• International Area Studies Review
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• v.22 no.3
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• pp.29-66
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• 2018

The purpose of the study was to point out the limitation of the conceptual discussions in which researches on gender responsive budgeting have remained so far and to empirically analyze the effect of institutionalization of gender responsive budgeting on the gender equality by using macro data. The units of the analysis were 73 countries which implements gender responsive budgeting among the 229 countries registered in the World Bank. Panel data were established on the materials of 7-year period from 2006 to 2012, which were analyzed by Fixed Effect Model. Gender Equality (Gender Gap Index) which is the ultimate goal of gender budgeting was established as the dependent variable while Institutionalization of Gender Responsive Budgeting (formal and qualitative classification) was established as the independent variable. In addition, social and economic factors, political factors and geographical factors which were judged to affect dependent variables were established as control variables. As a result of analysis, the institutionalization of gender responsive budgeting has positive effect on gender equality. Thus, the study confirmed that gender responsive budgeting has positive effect on gender equality in countries with legal, procedural and formal foundations rather than in countries with simple rhetoric in catchwords and documents. Moreover, the higher the level of institutionalization of gender responsive budgeting is, the more positive effect it has on the gender equality. Therefore, the study found out that efforts need to be accompanied to enhance the level of institutionalization in order to increase the effectiveness of institutionalization of gender responsive budgeting.