• Korean System Dynamics Review
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• v.10 no.4
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• pp.5-25
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• 2009

Since the end of the 1950-1953 Korean War, many scholars and policymakers have expressed concern about the possibility of another conflict on the peninsula. In certain respects, the post-1953 North-South Korea relationship resembles the Cold War that existed between the United States and the Soviet Union, 1945-1990. Although a "hot" never occurred, peace was never guaranteed. By looking at international theories (i.e., realism and liberal theory) and by utilizing casual-loop diagram analysis, the main purpose of this research is to explore on the likelihood of peace and war on the Korean peninsula. First, several factors (e.g., economic stagnation of North Korea, unstable political systems, and so on) emphasized by realism perspectives are significantly related to the likelihood of conflict between North and South Korea. Conversely, several determinants (e.g., economic assistance to North Korea, inter-dialogue between two Koreas, cultural and social exchange, and so on) emphasized by liberal approaches are significantly related to likelihood of peace on the Korean peninsula. Given the two different interpretations about the likelihood of conflict or peace, it can be argued that a second military action might occur on the Korean peninsula if realism theories are true. However, if practical factors exist on the Korean peninsula, the two Korean can optimistically expect a peaceful reunification in the future, without interference from other countries.

• Science of Emotion and Sensibility
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• v.15 no.1
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• pp.47-56
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• 2012

The purpose of this study is to test the effect of pedagogical agent realism and expertise on persona effect. There were two perspectives of the pedagogical agents' social interaction. Self-identification hypothesis argues that complexity of agent image is better to increase social interaction. Subjective identification insists that simplified image is more helpful to facilitate social interaction. However, from the cognitive load theory perspective, learners' expertise can be a major factor to determine persona effect. Sixty-eight college students (male=19 and female=49) participated. The independent variables were the degree of realism of pedagogical agent (detailed vs. simplified image) and the expertise (high prior knowledge group vs. low prior knowledge group). The dependant variables were comprehension test and the agent persona instrument (API). There was no significant difference in comprehension test score; however, there were significant interaction effect on the most constructs of API: 1) facilitating of learning, 2) credible, and 3) human-like. The follow-up analysis of simple main effect revealed that high expertise group showed significantly higher perception of the three construct with high realism of pedagogical agent. The results of study show that learners' expertise plays a key role of perception of persona effect.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.541-551
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• 2016

In order to attain 'reality', technology, style and narrative have developed throughout the history of cinema. The projection of digital image necessitated a new perspective beyond the conventional relationship between film and reality. In the SF film, DISTRICT 9, strong realism elements are evident despite its genre. Advanced technologies enabled the digital images to vividly reproduce the realm of imagination. The encounter of the realistic approaches embedded in the style and narrative with the digital images emphasizes the social context of the cinematic background, as well as extending the potentialities of verisimilitude and perceptual realism. The amount of freedom in editing process derived from this film's documentary-like style opened a possibility for the effective delivery of the vast information-furthermore contributing to the realism of the film by encompassing the diversity that exists in the reality.

• The Journal of Art Theory & Practice
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• no.7
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• English Language & Literature Teaching
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• no.4
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• pp.285-305
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• 1998

In order to scrutinize what realism really means, this paper is to analyze and compare the major realistic plays of Yun Jo-byeong of Korea with the earlier realistic ones of Bernard Shaw of England. As all the scholars concerned admit, Shaw offered reality in all of his plays: social, political, economic, religious. He was a didact, a preacher who readily acknowledged that the stage was his pulpit. Though he preached socialism, creative evolution. the abolition of prisons, real equality for women, and railed against the insincerity of motives for war, he did so as a jester in some of the finest comedy ever written. Shaw brought serious themes back to the trivialized English stage, creating a body of drama that left him second to none among twentieth century dramatists. Today, evolution and creationism and Shaw's ideas on creative evolution and the Life Force remain timely issues. As for Yun Jo-byeong who has written many realistic plays lately, he is known as a major realist in Korea. But his realistic plays are more symbolic, poetic, and private than Shaw's. As a result, Korean realism has not been so flourished in Korea as in England. Therefore, we Korean playwrights who want to write really realistic plays should try to study Shaw's realism more closely than ever.

• The Journal of Information Systems
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• v.16 no.4
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• pp.131-155
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• 2007

The purpose of this thesis is to study on the philosophical analysis model and its methodological application of information systems research evaluation from critical realist perspective. Fist of all, I examine ontological epistemological methodological assertions of critical realism. Because the philosophy of critical realism is an opportunity for information systems study. I examine Dobson and Mutch's critical realist perspective on actors-structure model. I suggest a critical realist actors-praxis-structure model. This model provides the potential for a new approach to social investigations in its provision of an ontology for the analytical separation of structure and agency. Of most importance might be the incorporation of non-humans into the analysis of social interaction and of technology into the elaboration of structures. I also examine Tsoukas's critical realistic meta-theory of management. I suggest a critical realist IS management model. This model elucidate the nature of management and delineate the scope of applicability of various perspectives on management. The causal powers of management reside in the real domain and, taken together, their logics are contradictory, the effects of their contradictory composition are contingent upon prevailing contingencies. I analyze Carlsson's theory of design knowledge. His framework builds on that the aim of IS design science research is to develop practical knowledge for the design and realization of different classes of IS initiatives, where IS are viewed as socio-technical systems and not just IT artefacts. The framework proposes that the output of IS design science research is practical IS design knowledge in the form of field-tested and grounded technological rules. The IS design knowledge is developed through an IS design science research cycle. In conclusion, I think that IS actors-praxis-structure model, meta-theoretical IS management model, and IS design knowledge model according to critical realistic approach are very useful for IS research evaluation. Nevertheless, important problems are left not resolved.

• Cross-Cultural Studies
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• v.37
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• pp.81-107
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• 2014

Freud's' discovery of the unconscious' is a great revolution. Because of this, human beings were able to get the opportunity to look into their inner than honest. Lu Xun and Guo Mo Ruo a pair of realism and romanticism literature representative of Chinese modern literature writers. They then absorb the psychoanalytic theory o Freud along with other Western zeitgeist, introduce them widely inliterary theory and creative practice, which was again. Lu Xun was reflected in the human world of the unconscious Freud uncovered on the basis of strict realism literary spirit, Guo Mo Ruo is in accordance with the romantic literary time for the purpose of 'art for art' depicting a man's inner psychological well did. Although Freud spirit they claim to social and literary artistry of literature based on different yarns in the Acceptance of analytical theory, has the characteristics of a common sentiment analysis method to express and describe the unconscious human potential. 5.4 When Lu Xun and Guo Mo Ruo China Journalism writers, including Freud's psychoanalytic theory has embraced the Enlightenment and the old feudal society was a major contribution to want to read exactly what the human inner hearing. Chinese modern literature writers have to accept sometimes positive, sometimes accepting the psychoanalytic theory was intellectually sharp criticism, which could be a great instrument in time to the 5.4 Enlightenment and psychological fiction novel further development.

• The Journal of Art Theory & Practice
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• no.6
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• Journal of Educational Research in Mathematics
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• v.16 no.3
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• pp.179-198
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• 2006

In This Paper, I call Johnson & Lakoff (1980; 1999)'s Experientialism or Experiential Realism or, Embodied Realism, Nunez(1995; 1997)'s Ecological Naturalism as Experientialism and try to investigate the possibility of their Experientialism to be a philosophy of mathematical education. This possibility is approached in the respect with the problem of objectivism and relativism. I analyzed the epistemological background of embodied cognition first and then mathematical epistemology of experientialism. Experientialism shares its Philosophical position partly with Dewey and Merleau-Ponty. Experientialists deny the traditional hypothesis of philosophy as such separability of subject and object, and of body and rationality and also They have better position of epistemology than that of Hamlyn, and of Social Constructivism. Therefore, They guarantee wider range of mathematical universality than Hamlyn and Social constructivist. I conclude that the possibility of Experientialism to be a philosophy of mathematical education depends on the success of its supporting the practical study on mathematics education.

• Journal of Christian Education in Korea
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• v.70
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• pp.303-337
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• 2022

The purpose of this study is to realize Ontact PBL that can sufficiently contain interactive elements that can increase the perception of reality between professors and students in an environment without human contact. This is a class designed, developed, and operated ontact PBL for the first semester of 2021. As a result of diagnosing the realism of teaching and learning for students who took the class, the average teaching realism improved significantly by 0.95. This was found to be effective in improving the sense of realism in teaching as there were many related opinions in the reflective journal on students' classes. In addition, there was an effect on learning presence, and it was confirmed that emotional presence, which is a sub-element of learning presence, significantly improved by 0.7, social presence by 0.5, and cognitive presence by 0.6. Learning presence also confirmed the students' reflection on the class, and it was possible to judge that Ontact PBL was effective in improving the sense of presence.