• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.16 no.4
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• pp.85-99
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• 2021

Due to the continuous unemployment problem, the number of jobs is gradually decreasing, and entrepreneurship is emerging as an alternative. This is because, despite the government operating various start-up support programs to build a start-up-friendly culture, young entrepreneurs cannot endure the valley of death and disappear. Therefore, through this study, we intend to provide implications by analyzing the impact on Entrepreneurial satisfaction, which is essential for continuously running a business, and life satisfaction, which can act as a social awareness. This study was conducted with 573 non-wage workers who belonged to the founders among the participants of the 'College Graduation Occupational Migration Path Survey(GOMS)' survey provided by the Korea Employment Information Service. In order to analyze the relationship between entrepreneurial competency and job fit, Entrepreneurial satisfaction, and life satisfaction, the analysis was conducted using the SPSS 23.0 program. The main research results are summarized as follows. First, entrepreneurial competency has a positive effect on Entrepreneurial satisfaction and life satisfaction. Second, job fit indicates a moderating role in the relationship between entrepreneurial competency and Entrepreneurial satisfaction. Third, start-up satisfaction appears to have a partial mediating role in the relationship between entrepreneurial competency and life satisfaction. Fourth, as a result of analyzing the difference between groups according to the type of start-up(single/partnership), the group that worked together showed higher Entrepreneurial satisfaction and life satisfaction. The main implications of this study are: First, in order to increase the Entrepreneurial satisfaction and life satisfaction of university graduates who are the subject of the study, it will be necessary to design a program that can diagnose and enhance the entrepreneurial competency of students at the university level. Second, entrepreneurial competency is a basic intrinsic factor that founders must have, and it should act as an important evaluation factor when selecting founders for support programs from start-up support organizations as well as founders. Third, it is necessary to maintain mutual trust by documenting problems (positions, wages, management rights, distribution of profits, etc.) that may occur in joint ventures with objective data. Fourth, it is necessary to establish an environment in which the MZ generation, armed with the challenging spirit and creativity, can continue to take on challenges even if they fail.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.232-245
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• 2021

The present study is about a brand development strategy that utilizes Korean traditional patterns. The global culturenomics phenomenon confirms the value of the cultural aspects of design when a national brand is established. People succeed with their unique aesthetic sense and reinterpret it in a modern view, and this design acts as today's national brands. In this way, people used traditional patterns and original designs, along with regional characteristics and formative style, in developing their designs. However, due to recent changes in the global environment, modern people live in an "untact" world, and consumption culture shifted toward online marketing. In this environment, where one is isolated from social activities, there needs to be a strong image that can dramatically change the mood of one's home. I would like to re-examine the Dan-Chung pattern, whose painting depends on the aesthetic characteristics of architecture to protect the wooden members of the framework in traditional architecture. The pattern and color of Dan-Chung, coated in traditional architecture, differs by the type of construction used, which includes a palace, a Buddhist temple, and a Confucianism Dan Chung. The Geummoon pattern contains aesthetic factors to add solemnity to the Main Buddhist Halls, which contain Buddha. This is a new medium that continues the current traditions instead of remaining in the past. Among different Dan Chung patterns, Geummoon has magnificent decoration consisting of the highest grade materials and unique composition; therefore, it is suitable to be reinterpreted in modern terms. The same pattern can be interpreted in different ways with different colors, so there is a great aesthetic impression in the Geummoon pattern. The value of preservation for exploration and theoretical study of the traditional pattern is important, but recreating the pattern into modern formative art can present a new angle of view and national brand, bearing pride in our cultural assets. The study used multidimensional molding methods for realistic presentation after going through the two-dimensional design process. The significant value of Korean molding beauty which hangs onto the past will play a crucial role in establishing our national brand.

• Journal of the Korean earth science society
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• v.42 no.2
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• pp.201-220
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• 2021

The objective of this study is to increase awareness and interest regarding polar science and thereby aid in establishing the concept and future direction of polar literacy. To analyze the current status, textbooks based on the common school curriculum pertaining to polar topics were reviewed. Six countries that actively conduct polar science, namely Korea, France, Japan, Germany, the United States, and the United Kingdom, were chosen. Subsequently, 402 cases in 110 science and social studies (geography) textbooks of these countries were analyzed through both quantitative and qualitative methods. Based on the obtained results, the importance of polar research in geoscience education and the need for spreading awareness regarding polar research as an indicator of global environmental changes were examined. It was found that the primary polar topics described in the textbooks are polar glaciers, polar volcanism, solid geophysics, polar infrastructure, and preservation of geological resources and heritage. This demonstrates that the polar region is a field of research with important clues to Earth's past, present, and future environments and is also a good teaching subject for geological education. However, an educational approach is needed for systematically laying emphasis on polar research. The implications of this study are manifold, such as the establishment of a cooperative system between polar scientists and educators, extraction of core concepts for polar literacy and content reconstruction, discovery of new polar topics associated with the curriculum, diversification of forms of presentation in textbooks, and development of an affective image that is based on correct cognitive understanding. Furthermore, through the continuance of polar topics in textbooks, students can improve their awareness regarding polar literacy and polar science culture, which in turn will serve as the driving force for sustainable polar research in the future.

• Cross-Cultural Studies
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• v.48
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• pp.289-323
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• 2017

L'Espoir, a novel by Andre Malraux, contains traits of the genre of literacy reportage that depicts the full account of the Spanish Civil War as non-fiction based on his personal experience of participating in war; the novel has been dramatized into a semi-documentary film that corresponds to reportage literature. A semi-documentary film is the genre of film that pursues realistic illustration of social incidents or phenomenon. Despite difference in types of genre of the novel and the film L'Espoir, such creative activities deserve close relevance and considerable narrative connectivity. Therefore, $G{\acute{e}}rard$ Genette's narrative discourse of novel and film based on narrative theory carries value of research. Every kind of story, in a narrative message, has duplicate times in which story time and discourse time are different. This is because, in a narrative message, one event may occur before or later than another, told lengthily or concisely, and aroused once or repeatedly. Accordingly, analyzing differing timeliness of the actual event occurring and of recording that event is in terms of order, duration, and frequency. Since timeliness of order, duration, and frequency indicates dramatic pace that controls the passage of a story, it appears as an editorial notion in the novel and the film L'Espoir. It is an aesthetic discourse raising curiosity and shock, the correspondence of time in arranging, summarizing, deleting the story. In addition, Genette mentions notions of speech and voice to clearly distinguish position and focalization of a narrator or a speaker in text. The necessity to discriminate 'who speaks' and 'who sees' comes from difference in views of the narrator of text and the text. The matter of 'who speaks' is about who portrays narrator of the story. However, 'who sees' is related to from whose stance the story is being narrated. In the novel L'Espoir, change of focalization was ushered through zero focalization and internal focalization, and pertains to the multicamera in the film. Also, the frame story was commonly taken as metadiegetic type of voice in both film and novel of L'Espoir. In sum, narrative discourse in the novel and the film L'Espoir is the dimension of story communication among text, the narrator, and recipient.

• Cross-Cultural Studies
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• v.50
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• pp.371-394
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• 2018

La estrella de Sevilla, is a representative masterpiece of the Golden Age of Spain, and is a tragic work of Lope de Vega, who was a representative drama writer living in the 17th century. However, regardless of its great literary value, there are insufficient researches on this drama even in Spain, due to several controversies surrounding the truth about Lope's creation. Here, this research concretely investigated the tragic characteristic of this drama, by largely dividing it into the viewpoint of Aristotle and Shakespeare. Thanks to the noble social status of the characters and proper dialogue of the hero Sancho Ortiz in trouble, there seems to be no problem in performing the cathartic function that Aristotle mentioned regarding the work in his review. However, there are a few problems in the aspect of the 'hero's free will to resist the absolute fate,' which is fundamentally the essence of the associated Aristotelian tragedy. Because, there's no Hamartia in this drama, the core mechanism that forms the absolute fate, makes the statement that accordingly, no absolute fate or irresistible force of destiny is established. Rather, the tragic characteristic of this drama can be more properly investigated from the viewpoint of Shakespeare. As noted differently from Aristotle, Shakespeare considered that the tragic characteristic came from the hero's characteristic. According to him, tragedy starts from the hero's value view and personality, instead of the external factors such as an absolute fate. Actually, Busto's death and separation between Sancho Ortiz and Estrella, two tragic affairs of La estrella de Sevilla, were caused by the crooked selfishness of King Sancho IV, who abused his authority, and Sancho Ortiz' excessively blind loyalty to the King, rather than the irresistible event. In conclusion, in light of a lethargic and hopeless situation, with no eventual choice of options before the injustice of absolute power, is must have been a significant tragedy for the audience, witnessing the play's tragic ending.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.146-165
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• 2016

With the introduction of the system of recognizing masters of craft and performance skills in 1970, the principle of "preserving the original form," which was already in general use, was adopted as a legal principle in the Cultural Heritage Protection Act. While the concept "original form" can be related to tangible elements of heritage through the Act, the intangibility of craft and performance skills does not allow their pinpointing at a particular temporal period or the identification of a particular master from the past as the basis of an original form. Therefore, those craft or performance skills that are available at the point of recognition of relevant masters must serve as the basis of the original form for the intangible heritage concerned. This means that the principle of preserving the original form of intangible heritage has been implemented not based on a fundamental form of materiality, but rather on the craft or performance skills that may be held by a master at the time of his/her recognition as a "temporary original form." This principle has been observed through intangible heritage transmission and education policies for recognized masters and their trainees, contributing to establish an elitist transmission environment in which public were denied to join the education on intangible heritage. Even with policies guided by the principle of preserving the original form, designated craft and performance skills have been transformed contingent upon given social and environmental conditions, thus hindering the preservation of the original form. Despite the intrinsic limitations of the principle of preserving the original form when applied to intangible heritage, this principle has served as a practical guideline for protecting traditional Korean culture from external influences such as modernization and Westernization, and also as an ultimate goal for the safeguarding of intangible heritage, engendering actual policy effects. The Act on the Safeguarding and Promotion of Intangible Cultural Heritage that comes into effect in March 2016 takes the constantly evolving nature of intangible heritage into consideration and resultantly adopts a concept of "essential form" (jeonhyeong) in place of "original form" (wonhyeong). This new concept allows for any transformations that may take place in the environment surrounding the intangible heritage concerned, and is intended to mitigate the rigidity of the concept of "original form." However, it should be noted that "essential form," which is manifested as the unique significance, knowledge, and skills delivered by the intangible heritage concerned, should be maintained according to the guidelines and principles related to heritage conservation. Therefore, the new concept can be understood not as a rupture, but more as a continuum of the concept of "original form."

• Korean Journal of Heritage: History & Science
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• v.42 no.3
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• pp.26-47
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• 2009

This study examined dwelling site from among the sites of the Neolithic age found in the Asan Bay(牙山灣) area, and the temporal-spatial location and meaning of the dwelling site (settlement). The majority of the settlements in the area are of a square style but some coexist with rectangular-style settlements, which is noteworthy. The dwelling sites of the Neolithic age found in Asan Bay area are mostly located in a ridge of hilly areas, divided into gentle, low areas (20~50 meters above sea level) and relatively high areas (50~80 meters above the sea level). Although location strongly corresponded to the residents' subsistence and the technical levels within the culture, it likely was greatly affected by natural environment where they lived, as well. In examining radiocarbon dating results and the excavated artifacts, the settlements found in Asan Bay were determined to belong to the period II(3,500~3,000 B.C.) stated in the Relative Chronological table of Dwelling sites in the Neolithic age, written by the author. Said Dwelling sites are proven to have a close relationship with those found on the coast of Gyeonggi Province(京畿道) and in the Geum River(錦江) valley. This is deemed to be the result of expansion and interchange between Gyeonggi Province(京畿道) group and Geum River(錦江) valley group, who constituted the large settlements. Additionally, the Daecheon-ri type dwelling sites in the Geum River valley were verified to be the result of exchange, and spread to the Asan Bay area in the same era. Two forms of Dwelling sites coexisted dynamically in the Asan Bay area around 3,500 B.C. Such a phenomenon resulted primarily from the expansion of the dwelling site due to the introduction of primitive agriculture, as well as environmental (temperature), biological and social changes at those times.

• The Korean Journal of Archival Studies
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• no.33
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• pp.155-206
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• 2012

Interests in archives management are getting expanded from the public sector into the cultural and artistic field for the ten years after legislation of "Act on the Management of Public Archives" in 1999. However, due to lack of recognition on the importance of archives in the cultural and artistic field, it is rather frequent that information is kept scattered or archives are lost. As an example, absence of precise contract documents or notes of bestowal keeps people from locating great amount of cultural properties, and because of it these creative properties are in the risk of thefts, the closed-door auctioning, or trades in unofficial channels. As how a nation manages cultural and artistic creation inside the nation reflects its cultural level, it can be said that one of the indexes to notice the extent of a nation's cultural level is to take a look at how they are circulated. This study started from this point. Growing economy and rising interests in culture and art made the society more cognizant of the importance and value that visual artworks have, but the archives and information which are showing the context of these artworks and are produced in the course of social interaction are relatively disregarded because too much emphasis lies on the work itself. It is harder to find archives or documentations in Korea than in other advanced countries about the artists themselves or philosophical discourse on the background of the artworks. There is not so much interest to preserve the archives and information produced after the exhibition also, and they are used for no more than promotion or reference. Hereupon, the researcher recognized the importance of visual arts archives and believed that systemic management on them are high in need. And metadata is an essential way for the systemic management, as recently management on artworks or their archives are conducted using the system of the agencies even though they are not produced electronically. The objective of this study is to manage visual arts archives systematically by designing a data model reflecting traits of visual arts archives. Metadata are needed in the every course of archives from acquisition to management, preservation and application. Visual arts archives find its rich value only when a systemic relationship is established among information on artist, artwork and events including exhibition. By establishing a Multiple Entity Data Model, in which artworks, artists and events (exhibitions) make relationship all together, metadata for management on visual arts archive gets more efficiency and at the same time explanatory trait of the archive gets higher. For this reason we, in the study, tried to design a data model by setting each as an independent entities and designating relations between them, in order to find a way to manage visual arts archives more systematically.

• Journal of Ginseng Culture
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• v.1
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• pp.11-27
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• 2019

The Jurchens, the ancestors of the Qing Manchus, had lived scattered in Manchuria and had made their living mostly on ginseng gathering and animal hunting. Their residential areas, rich with deep forest and numerous rivers, provided great habitation for all kinds of flora and fauna, but not so proper for agriculture. Based on their activities of foraging and hunting, the Jurchens developed a unique social organization that was later transformed into the Banner System, the most distinctive Qing military institution. By the sixteenth century, that the external trade brought considerable changes to Jurchen society. A huge amount of foreign silver, imported from Japan and South America to China, first invigorated commercial economy in China proper, and later caused a huge influence on Ming frontier regions, including Manchuria. In the late sixteenth century when the tradition of foraging and hunting encountered with silver economy, the Jurchen tribes became unified after years of competition and transformed themselves into the Manchus to build the Qing empire in 1636. In 1644 the Manchus succeeded in conquering the China Proper and moved into Beijing. Even after that, the Manchu imperial court never forgot the value of Manchurii ginseng; instead, they paid great efforts to monopolize this profitable root. Until the late seventeenth century, the Qing court used the Banner System to manage Manchurian ginseng. The banner soldiers stationed in Manchuria checked unauthorized civilian entrances in this frontier and protected its ginseng producing mountains from the Han Chinese people. All the process of ginseng gathering was managed by the institutions under the direct control of the imperial court, such as the Imperial Household Department, the Butha Ula Office, and the Three Upper Banner in Shengjing. Banner soldiers were dispatched to the given mountains, collect the given amount of ginseng, and send them to the imperial court in Beijing. The state monopoly of ginseng was maintained throughout the eighteenth and nineteenth centuries under the principle that Manchuria and its natural resources should be guarded from civilian encroachment. At the same time, Manchurian ginseng was considered as an important source of state revenue. The imperial court and financial bureau wanted to collect ginseng as much as they needed. By the late seventeenth century as the ginseng management by the banner soldiers failed in securing the ginseng tax, the Qing court began to invite civil merchants to ginseng business. During the eighteenth century the Qing ginseng policy became more dependent on civil merchants, both their money and management. In 1853 the Qing finally ended the ginseng monopoly, but it was before the early eighteenth century that wealthy merchants hired ginseng gatherers and paid ginseng tax to the state. The Qing monopoly of ginseng was in fact maintained by the active participation of civil merchants in the ginseng business.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.150-167
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• 2021

Since the advent of tertiary curriculum, middle school history education has been focused on political history, but many students perceive history as a simple memorization subject and complain about difficulties in abstract learning. The researcher saw this problem as caused by the history curriculum, and carried out this study for the purpose of proposing a revitalization of cultural property education in the middle school history curriculum. First, through the analysis of prior research, the usefulness of cultural property education, such as nurturing creative talent and realizing interactive history classes, was revealed, and the problems of the current political history-centered middle school history curriculum were pointed out. Afterwards, as a result of conducting an opinion survey on middle school 3rd grade students and social studies teachers, it was found that first, both middle school students and their teachers thought that the current political history-centered history had much room for improvement. Second, all groups agreed on the necessity of cultural property education in history education. However, in reality, it was found that it was not easy to sufficiently educate students about cultural property in a political history-centered curriculum. Third, teachers thought that it was necessary to improve the current history curriculum in order to enhance cultural property education. Based on these findings, the researcher suggested an improvement plan for the 2015 revised history curriculum. First, in the 'nature of the subject' section, cultural properties and historical materials should be included, and in the 'objective' section, politics, economy, society, and culture should be included. Contents related to cultural properties should be added to the sub-themes in the 'content system and achievement standards', and cultural properties-related contents should be further reinforced in the achievement standards, 'teaching, learning and evaluation'. It was suggested that this section should include cultural property learning and historical material learning, and guidance on teaching and learning methods of cultural property education should be added. If these aspects are reflected in the 2022 revised curriculum that is currently being developed, cultural property education will be improved, and more lively history education will be provided to students.