• Korean Journal of Logic
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• v.14 no.2
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• pp.1-38
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• 2011

Bernays has not drawn scholarly attention that he deserves. Only quite recently, the reevaluation of his philosophy, including the projects of editing, translating, and reissuing his writings, has just started. As a part of this renaissance of Bernays studies, this article tries to distinguish carefully between Hilbert's and Bernays' views regarding the axiomatic method. We shall highlight the fact that Hilbert was so proud of his own axiomatic method on textual evidence. Bernays' estimation of the place of Hilbert's achievements in the history of the axiomatic method will be scrutinized. Encouraged by the fact that there are big differences between the early middle Bernays and the later Bernays in this matter, we shall contrast them vividly. The most salient difference between Hilbert and Bernays will shown to be found in the problem of the uniformity of the axiomatic method. In the same vein, we will discuss the later Bernays' criticism of Carnap, for Carnap's project of philosophy of science in the late 1950's seems to be a continuation and an extension of Hilbert's faith in the uniformity of the axiomatic method.

• Safety and Health at Work
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• v.8 no.4
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• pp.347-355
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• 2017

Background: The objective of this article is to make some analysis on the process of work and accidents occurring in slaughterhouses, evidenced in the Brazilian documentary film called Flesh and Bone. As such, it was necessary to discuss an alternative theoretical concept in relation to theories about health and safety at work. This alternative discussion focuses on the concepts of biopower and biopolitics. Methods: The use of audiovisual elements in research is not new, and there is already a branch of studies with methodological and epistemological variations. The Brazilian documentary Flesh and Bone was the basis for the research. The analysis of this documentary will be carried out from two complementary perspectives: "textual analysis" and "discourse analysis." Results: Flesh and Bone presents problems related to health and safety at work in slaughterhouses because of the constant exposure of workers to knives, saws, and other sharp instruments in the workplace. The results show that in favor of higher production levels, increased overseas market sales, and stricter quality controls, some manufacturers resort to various practices that often result in serious injuries, disposal, and health damages to workers. Conclusion: Flesh and Bone, by itself, makes this explicit in the form of denunciation based on the situation of these workers. What it does not make clear is that, in the context of biopolitics, the actions aimed at solving these problems or even reducing the negative impacts for this group of workers, are not efficient enough to change such practices.

• Journal of Korea Trade
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• v.26 no.3
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• pp.45-62
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• 2022

Purpose - Using unexpected changes in geopolitical tensions on the Korean peninsula as a quasi-natural experimental setting, we examine whether and how geopolitical risks travel across borders through firm-level imports and exports linkages. We also test whether the effects are driven by either imports or exports and assess whether firms can effectively hedge themselves against geopolitical risks. Design/methodology - We focus on a series of unanticipated geopolitical events taken place in Korea in 2018. Making use of the shocks to geopolitical climate, we identify five milestone events toward peace talks. We employ the event studies methodology. We examine heterogenous firm-level stock price reactions around key event dates depending on firms' exposure to geopolitical risks. As a measure of firms' exposure to geopolitical risks in Korea, we utilize a text-based measure of firm-level trade links. When a firm announces and discusses its purchase of inputs from Korea or sales of outputs to Korea in their annual disclosure filings, we define a firm to have a trade relationship with Korea and have exposure to Korean geopolitical risks. Similarly, we use a measure of a firm's hedging policies based on a firm's textual mention of the use of foreign exchange derivatives in their annual disclosure. Findings - We find that U.S. firms that have direct trade links to Korea gained significantly more value when the intensity of geopolitical risks drops compared to firms without such trade links to Korea. The effects are pronounced for firms purchasing inputs from or selling outputs to Korea. We find that the effectiveness of foreign exchange hedging against geopolitical risks is limited. Originality/value - We document the international transmission of geopolitical uncertainty through trade linkages. Export links as well as import links serve as important nexus of transmission of geopolitical risks across borders. Hedging strategies involving foreign-exchanges derivatives do not seem to insulate firms again geopolitical risks. With the recent movements of localization and reshuffling of the global value chain, our results suggest a significant impact of geopolitical risks in Korea on the construction of the global value chain.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.8 no.3
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• pp.531-541
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• 2018

This study researched text mining and text network analysis to analyze the images of Nonghyup Insurance for consumers. With the recent development of social media, many texts are being produced and reproduced, and texts of social media provide important information to companies. Text mining and text network analysis are used in many studies to identify image of company and product. As a result of the text analysis, the positive image of the Nonghyup Insurance is safety and stability. Negative images of the Nonghyup Insurance is concern and anxiety. As a result of the textual network analysis, Centered mage of Nonghyup Insurance is safety and concern. This paper allows researchers to extract several lessons learned that are important for the text mining and text network analysis.

• Cartoon and Animation Studies
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• s.45
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• pp.367-396
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• 2016

As an animation educator at Mahidol University International College, Bangkok, for eight years I have been in a privileged position to be educating a small section of a new generation of Thai animators. Thailand has had little animation experimentation of their own and pre-internet had limited access to such diversity so I have attempted to bring some of the wealth of animation history, in particular British and European, as this is my background, into the classroom. In particular my teaching aim has been to introduce various possibilities to the choices of medium, styles and textual narratives that early (and current) experimental and independent animators have explored. Since the release of the first commercial feature film, Khun Kluay 2006, the Thai animation industry has gone through various highs and lows in the commercial sector, building a skilled workforce, many of whom trained and worked abroad then returned. Now there is strong evidence of an independent animation starting to emerge. In a continuation to my research on Thai Animation this paper will analyze selected independent works in more detail, exploring the themes, style and technology used. Whilst also acknowledging the possible mis- interpretation as that this is coming from the perspective of an outsider whose cultural language and interpretation may transcend the creators' given experiences and add alternative interpretation. The aim will be to contextualize the content, ideas and cultural perspective and bring more Thai works into the gaze of animation studies academics

• Cartoon and Animation Studies
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• s.33
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• pp.317-341
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• 2013

Found Footage Film has been increasingly addressed between film and visual art world in the age of rapid media change. With regards to this self-conscious found footage filmmaking, narrative structures are unraveled to relate new stories, images are removed from their original context only to reappear in a different context, new layers that alter the meaning are added, stereotypes from Hollywood movies are exposed, and new montages are used to destroy the illusion of the medium itself. The physical properties of the original material are also emphasized or altered in order to add a new meaning. The starting point of this study is the recognition of the origin of found footage film. It traces back to the found object from primitive impulse and found art from Dada and surrealism. Many found footage films have been at least partly inspired by Duchamp's ready-mades. These films use footages that the filmmakers did not shot, and even footage that was never intended as art. This essay deals with the found footage practices and interrogates the aesthetic implications by the concept of self-reflexivity. Self-reflexivity means consciousness turning back on itself, and found footage film is about films which call attention to themselves as cinematic constructs. It breaks with art as illusionism and exposes their own factitiousness as textual constructs. Furthermore, the inevitable mortality of celluloid and temporal reconstruction of original film will be treated. Recentely, many attention has been given to role of Found Footage Film. I hope to add the understanding of the artistic found footage film with this study.

• Cartoon and Animation Studies
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• s.37
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• pp.335-360
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• 2014

An infatuation with webtoons is facilitated by the ultra-rapid internet infrastructures and the highest ratio of penetration of smartphones in the world. Recently, the webtoon has been the focus of a new cultural content and its development has been noticed both and home and abroad. This study aims to find the new role of webtoon as a socio-cultural communication media. The webtoon reflects the reality as it is and shows directly and minutely the social problems, even although the other media make it glorified or reduced. We observe the role of webtoon as a new communication media content that can make the place for social discussion within several generations and social stratums, in which the producer and the consumer can communicate directly and immediately. Two webtoons( and ) have been selected for a textual analysis. In two webtoons, we analyse the method of representation of the social problem in the technique of expression and storytelling. This helps us maintain that the webtoon deserves as the socio-cultural communication media and the social problems represented in webtoon must have been evaluated more valuable in a new perspective.

• Cartoon and Animation Studies
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• s.37
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• pp.267-286
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• 2014

Yeon Sang-Ho's Animation occupies an exceptional place in Korean Animation, being categorized as the kind of realism representing the pitiable actuality rather than the liberal and creative imagination. His animation appreciated as 'stories much more real than the reality' mainly depicts the world of 'the others' who resides on the periphery of the society in a rough and straightforward way. Yeon Sang-Ho's Animation represents the emotions and desire of characters as well as the heartless real world refusing the fantasy, through which it reflects the portraits of people living in post-capitalistic era seen from the microscopic view. This article investigates the textual characteristics, defining his animation as the Brutal history of 'The Others'. Two conditions which constitute the actual world in his works are the absurd social system and the characters who are afflicted with the trauma, belonging to the lower classes. Therefore, the landscape of real life which contains vicious victim, corrupted monster and being as 'homo sacer' looks like a painting of hell. Yeon Sang-Ho's Animation summons the shadow of ourselves which has been negated or neglected through the figure of 'the others' produced in post-capitalistic era and exposes our bare face and the uncomfortable truth by displaying the affected area of out society plainly. Furthermore, his works demonstrate the possibility of Korean animation as a representational language of facing the reality and searching for the truth.

• Cartoon and Animation Studies
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• s.34
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• pp.81-104
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• 2014

Self-reflexivity means consciousness turning back on itself and breaks with art as illusionism and exposes their own factitiousness as textual construct. Self-reflexivity in media deals with the media's condition and process itself and tends to pull viewers out of the reality represented on screen by reminding them that is a media's construction or illusion on the screen. Representation aesthetics has been recognized with an essential theory of the art since Ancient Greek, but it has encountered crisis with the invention of the photography and the cinema in the early 1900s. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world. The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replace the past principal. This essay focuses on self-reflexivity in animation and their methodology. First, the change of representation aesthetics in visual arts will be discussed. Second, animations exposing their process of production and components will be analyzed, and lastly, intertextuality in animation will be dealt. I hope to provide the vision of the expanded animation media with this study.

• Korean journal of communication and information
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• v.59
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• pp.116-137
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• 2012

What is 'nation' and 'nationalism?' What does 'korean nationalism' mean? And how is korean nationalism represented through a chain of films called 'the korean blockbuster films?' The purpose of this study is to answer to these questions. The characteristics of the korean blockbuster films have been studied for quite a long time and the researchers have agreed with the context about nationalism in a large sense. However, majority of the studies ends up in the journalistic or impressionistic criticism without any theoretical discussion. Few theoretical criticisms also have founded on the formation process of nation of the Western Europe and their nationalism. Hence I would like to add the discourse of korean nationalism and to seize more accurately the social/cultural/historical peculiarity of the korean blockbuster films. In addition, as non-nationalist narratives have recently emerged, korean blockbuster films are entering to the evolution process. On this, the significance of this study seems to exist in providing a cornerstone to the expected evolution theory of the korean blockbuster films by means of complementation and reestablishment of nationalism of their first generation. and , presenting socio-historical peculiarity of the Korean nation, are examined by the close textual analysis.