• Korean Security Journal
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• no.36
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• pp.29-55
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• 2013

In modern society, citizen's expectation about policing levels have been rising over time and it limited resources of the police to deal with the security services are insufficient. Until now, the state monopoly of the police activity was changing to subject of a variety in cooperation with public security system. The citizens considers community not the destination to police enforce the law but space for effective policing partners. Japanese police focus on cooperation oriented policing to strengthen the police and local residents with crime prevention for a long time. Also, the community through a variety of problem-solving policing activities to identify problems such as anxiety and anguish of the people. The legal basis for cooperative policing activity is that Nagaoka city crime prevention regulation in 1979. In recent years, Tokyo local government legislated the safe town development regulations(東京都安全 安心まちづくり條例) and set up the hot-spot area to promote the safety of public facilities. Cooperative policing not police intervention for crime prevention but national policy for the city reclamation in Japan. Police as well as the Ministry of Land and Transport, Ministry of Justice, Ministry of Education, Prime Minister and all government departments thread safe city, crime prevention, and has been working to make the safe city. Japan's cooperative policing is a system that receives the most attention and greater implications.

• Journal of Hospice and Palliative Care
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• v.3 no.1
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• pp.60-73
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• 2000

Purpose : The purpose of this study was to describe a total pain model in patients with terminal cancer and to identify factors relating to total pain using the Twycross Pain Management Model, which included physical, psycho-social and spiritual pain. Method : The study was a retrospective descriptive study. The first stage included 87 patients who received hospice service at Y hospital in 1997. The second stage included five model patients who suffer severe pain as selected by the four hospice nurses. Data collection was from 1) chart analysis and 2) in-depth interviews with the hospice nurses about their selected patients. Data analysis was performed using SPSS-WIN and content analysis. Result : 1) The main problems of 3 patient with terminal cancer were pain(77%), constipation (25.3%), family coping(35.6%), psycho-spiritual distress(17.2%)and other symptoms. 2. The Twycross model was a useful model. However, new items were added; loneliness, depression, and no improvement in condition as depression factors. In anger, new items were anger due to family neglect, at God and in relationships. The case studies identified the followsing; 1) Patient suffer from physical pain as well as multiple other symptoms when cancer is advanced. 2) Body concept, role change, threat to self concept, fear of pain, fear of death, anxiety, family conflict, financial burden, spiritual distress, hope for a cure, are all affected. Conclusion : 1) It is believed that the Twycross model is useful but further tests and revisions are necessary for deciding priorities in the care plan. 2) Pain management must improve culturally appropriate and family support, psychological, spiritual care are imperative for patient with terminal cancer. 3) Further study is recommended to test correlations of depression, anxiety, spiritual distress and family coping using valid instruments. A qualitative study on the spiritual journey of the patient with terminal cancer is also recommended.

• Cartoon and Animation Studies
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• s.25
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• pp.65-85
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• 2011

In this essay, Japanese animator Kihachiro Kawamoto's works will be analyzed. Kawamoto made Breaking of Branches is Forbidden in 1968 and was famous for puppet animation as The Demon(1972), Dojoji Temple(1976) and House of Flame(1979) used Japanese traditional elements in his works. The themes are the agony and despair of a human being, and the narrative is developed dramatically. This is possible through a variety of techniques in animation expression. For example of this are the movement of the puppets and the lighting. In the case of Kawamoto's works, above all, it can be said that the dramatic development depends on editing - the relation of each shot to the next shot. Therefore, this analysis will focus especially on the editing of The Demon, Dojoji Temple and House of Flame. Kawamoto's method of editing will be examed and the analysis will confirm that classical continuity edting by controling space and time has been used. Namely that the effect of editing enhances dramatic development of the narrative on Kawamoto's works. This study will also discuss the benefit of using cinematic methods of in animation. Eventhough it is not essential, Kawamoto chooses cinematic method editing. Through their use, he is able to absorb the audience in the traditional Japanese world which ordinarily could be too difficult to understand through puppet animation.

• Cross-Cultural Studies
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• v.43
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• pp.405-428
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• 2016

The purpose of this paper is to examine the narrative-building method and the post-historical descriptive aspects of the movie Paradise in Service, which deals with the modern history of Taiwan. Although Paradise in Service tells the history of a certain time period, it focuses on the anguish and agony felt by people who lived during that age rather than on the meaning of historical events or interpretation of the past in terms of official historical discourse. That is, as it avoids looking at the present by composing a narrative in the descriptive historical context and from bearing weight from the viewpoint of realism, it gains the possibility of establishing a new field of discourse through a post-historical discussion using descriptive historical texts. However, the movie tries to create fantasy through a special type of licensed prostitution as a means of post-historical description. In other words, when this movie tries to reproduce the microscopic history of common people in trouble because of a historical tragedy, it considers only men and excludes "weak" women. Thus, although Paradise in Service has meaning in that it gives an example of how movies can disrupt official historical discourse and group memory and rewrite history by focusing on individuals, it is limited by its male-centrism.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.8
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• pp.102-110
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• 2019

Today's professional sports teams are in a highly competitive environment with no prospects in sight. A that was considered the favorite to win a championship can suffer from a severe slump, a team that was expected to be at the bottom can achieve victory. This unexpected situation is continuing to repeat. It is also a sign of the need to look at the use of human resources and strategies in the sports industry. Accordingly, this study looks at Daegu FC soccer team, Korea's first team for citizens. A case study on human resources innovation was done. This study introduces an argument for ordinary resources (AOR) from Frey et al. (2015) for a theoretical review and a case analysis of domestic professional football. This study determines the direction of how Daegu FC should proceed. The results of the research are as follows: first, the success of harmonizing strategic and mundane resources, and second, belief in coaches. The main contribution of this research is that it presents the importance of human resources, which is one of basic tactics that sports teams should utilize. In the sports industry, where the temporality is underlined for its clear beginning and ending, teams are more likely to use diverse sports tactics to obtain superior grades, which enriches the basis of their tactics.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.59-65
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• 2019

This study examines how cinematic texts are used in movies through Lee Jun-ik's 2015 film, and what narrative and visual effects are obtained through them. This film portrays poet Yun Dong-ju as a central figure and chooses to reconstruct his life. The movie, , used Yun's poetry as a device to maximize the lyricism of the film and to suggest a change in the fate of the character and the inside. In other words, uses Yun Dong-ju's poetry to aesthetically express the inner change of the characters in the film and the sensitivity of the film. Through this, I visualize Yun Dong-ju as poet Yun Dong-ju, a poet who was stuffed in literary books, as a normal literary youth. It is also a reminder of the weight of the reality that the present youth is experiencing and the problem of an individual living in history. In this respect, the movie is a major text that depicts the poetry and poetry of the time, and the age of poet through the media. 'Poetry' as the text of the text delivered with the image maximized the lyricism of the image and led to high aesthetic achievement. Through poetry and poetry, it can be regarded as the main text approaching the problems of history, individual, literature and reality.

• The Journal of Korean Philosophical History
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• no.52
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• pp.185-211
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• 2017

Lee Neung Hwa is a scholar of the late Joseon Dynasty, renowned for his studies of Korean studies. In this thesis, the study of Confucianism and Buddhism removed the research and teachings of Confucianism as a traditional study of Confucianism. Lee Neung Hwa criticized the social functioning of Confucian texts during the late Joseon Dynasty. His criticisms reflect the historical consciousness of the late Joseon Dynasty. Lee Neung Hwa is also known as the Buddhist religion. The History of Chosun Buddhism is his masterpiece. He pointed out the differences between the Buddhist scriptures of the Joseon Dynasty and the Japanese Buddhist scriptures. Moreover, the Joseon Dynasty felt more integrated into the Japanese Buddhist kingdom than in Japan. And ineunghwa also studied the mythology of Korea. He established a universal cultural phenomenon as a universal cultural phenomenon, which belongs to any ethnic Koreans. He insisted that the Sin Gyo of Dan Gun is the identity of Korean culture. His Founding Myth was not a matter of historical fact. His Founding Myth was a tool of ideological struggle to fight against Japanese imperialism.

• The Journal of Korean Philosophical History
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• no.30
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• pp.7-36
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• 2010

Cho Gwang-jo(趙光祖, 1482-1519) was the moralist who had the purest conscience and aimed the devoted politics among many fellow Confucianists of Chosun Dynasty. He even criticized his teacher who was in his late forty years for not being able to control his emotions when he was just a teenager. That is to say, he was the one who have kept his cold reasons for entire life. Nevertheless, as mentioned before, Cho Gwang-jo was very faithful to his emotions and also very honest. We find that he was definitely emotional. He demanded to change the relationship between the king and the courtier to the one between the father and the son with humane communication. He expressed his mind and emotion he had used to have at the moment of his death: he loved his king just as he loved his father. However, the king, Joongjong, was indifferent at the human's emotion as if he was a senseless figure. That was the saddest frustration and grief he had. However, his grief did not remained just as the mere grief but again survived as the hope for the survivors and descendants with the big echo. In this respect, his gried did not just end as the grief but it can be said that it even revived itself as the strength and courage. Then, Cho Gwang-jo's life as a human being was never a failure. Moreover, his grief and agony did not just remained as the vain emotion and sadness.

• Women's Studies Review
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• v.26 no.1
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• pp.207-237
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• 2009

This paper aims to show that Sylvia Plath searched for the female poetic voice, by tracing the aspects of her early poems. This study attempts to demonstrate that Plath disclosed the violence of male-centered literary tradition against women poets although her early poems seem to be written from a male point of view. In her poems, "Snakecharmer", "Full Fathom Five", and "The Colossus", it is particularly found that Plath hoped to be empowered with the poet's voice, which nevertheless resulted almost in silence or babbling. Plath, indeed, devised a strategy in order to show that, for women poets, the patriarchal literary tradition is a destructive power rather than a generative one. Namely, women poets are not able to fully grow out of a male-oriented tradition. On that account, she tried to represent in her early poems herself who sought to be empowered with an authoritative voice, invoking the male muse, but this ended in failure. Plath was skeptical about the way she had desired to find her own voice by relying upon the male muse, and she needed to free herself from that literary tradition.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.101-110
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• 2019

Filmic spaces are not only a core expressive factors that can embody both internal and external meanings of films, but also play an important role for initiating dramatic context in terms of narratives. They establish visible environment in which provocative incidents occur and characters' behaviors are induced, include characters' psychology or emotional meanings of narratives and provoke tensions through symbolic meanings and the implicit function of surface background. This paper, therefore, analyzes the film, , by focusing on the dramatic function of narrative space. This film provides insights and thoughts through deep philosophical reflection, by escaping from the convention of such a genre, through deep philosophical reflection, by escaping from the convention of such a genre, though it belongs seemingly to the crime thriller genre using Mexico's drug cartel as it main material. In the film, narrative spaces are responsible for emotions invoking dramatic tensions beyond provocative incidents and the elaborately planned and controlled mise-en-scene absorbed audiences' attention by organizing ultimate suspense. In conclusion, flow and dramatic lingering imagery of this film might be achieved by power of scenes rather than plot factors. This study thus explained the correlation between narrative spaces and dramatic immersion, by analyzing spaces appearing in and visualized construction. It is hoped that this will further extends the pattern of researches on dramatic immersion, which have been primarily focused on plots and characters.