• Korean Security Journal
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• no.15
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• pp.29-50
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• 2008

Many countries throughout the world have enacted laws on terrorism in the light of the changes that time has brought to them, geographical features, cultural values, and environmental elements. Especially some advanced European nations prescribe the definition of terrorism, the purpose of terrorism, the behavior of terrorism, and the types of crimes related to terrorism and so on for the following reason that it is more vital for the authorities concerned to investigate and punish terrorists after the rise of terrorism. In this regard, this paper analyzes legislative countermoves against terrorists of advanced countries such as France, Germany, and England and through this sheds light on the need of future anti-terrorism bills. The legislative basic guidelines directly to manipulate future terrors based on theories derived from this study could be summarized as follows. In the first place, providing laws on direct investigative power and harsher punishment to those involved in terrorism is a prerequisite for social security and thus the presidential directive of the state anti-terrorism action guidelines just deals with administrative measures without any effective response to terrorism. Hence it is urgent to make anti-terrorism bill concerning investigation and punishment of terrorists. In the second place, it is associated with the objectives of terror. The expression "all sorts of" stated in Korean law is so quite unclear that it can not fulfill the required conditions for naming it "crime". Comprehending provisoes of the crime that meets the purpose of the terrorists is necessary in order to investigate and inflict punishment on them. Therefore, it is advisable to establish specific and precise principles such as political, social, ideological, and religious purpose of terrorists in the bill. In the third place, to meet the flow of times of technicalization, informatization, such provisoes as destruction of electronic data system, crimes related to nuclear materials, purchases of weapons by terrorists, tax administration for prohibition of sale, and arson should be considered in terror bill. In the fourth place, nonselective attack toward unspecified individuals has become a serious issue in our society. Terrorists leave poisonous foods or beverages to crowded place or dump toxic chemicals into river intentionally. Therefore more strict regulations must be included in terror bill to prevent possible terrorist attacks.

• Journal of Korean Home Economics Education Association
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• v.29 no.1
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• pp.15-33
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• 2017

The purpose of this study was to develop and evaluate a practical problem-based teaching learning process plan for safety in residential environment to raise safety awareness of middle school students. The plan consisting of 4 lessons has been developed and implemented according to the ADDIE model. Various activity materials (26 student's activity sheets and 8 reading texts, and 8 teacher's reading texts) and visual materials (4 sets of pictures & photos and 8 moving pictures) as well as questionnaire were developed for the 4-session lessons. The plans were implemented by the researcher to 4 classes 121 freshmen of M boy's middle school in Kyeongbuk during December 21st to 29th, 2015. Students were highly enjoyed and satisfied with the whole 4-lessons in the aspects such as the level of participation in the lesson, understanding of the contents, adequacy of materials and activities, and usefulness in own's daily life. Students also reported that they were highly aware to practice the contents learned from the lessons in daily family life at home with one's family and recommended to teach the lessons to other schools, too. It can be concluded that the teaching learning process plan for safety in residential environment would raise safety awareness of middle school students through the Home Economics subject.

• Journal of Service Research and Studies
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• v.14 no.2
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• pp.82-100
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• 2024

Due to the intensifying global technological competition, the strategic and economic importance of intellectual property such as patents as intangible assets is increasing. The purpose of this study is to understand the current status of patent innovation in the service industry and to derive the characteristics and implications of patent innovation in the service industry. To this end, this study conducted an investigation and analysis to understand the characteristics of patent innovation in the service industry based on the data from the business activity survey. The proportion of patent companies in the service industry, characteristics of each service industry, proportion of each service industry, and the number of patent rights holdings were analyzed. In addition, the trend of patent changes in the service industry was investigated. The service industry was compared and analyzed with other industries based on the results of the analysis of patent innovation in the service industry. In particular, the service industry was divided into four types in terms of the rate of increase in the proportion of patent companies and the ratio of patent holing companies, and the types were derived. Based on the analysis results, the characteristics of patent innovation in the service industry were presented. As a result of the study, the proportion of patent holding companies in the service industry was lower than that of other industries, and the gap with other industries was widening, showing that the patent innovation of service companies is lower than that of other industries. The average number of patents held by service industry companies was lower than that of other industries, and the increase rate of the number of patent rights held was also lower than that of other industries, widening the gap. Patent innovation in the service industry can be divided into four quadrants in terms of the rate of increase in the proportion of patent holding companies and the proportion of patent holding companies, and it has been studied that the service industry needs policy support suitable for the characteristics of patent innovation in the quadrant to which the individual service industry belongs.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.