• Journal of Korean Philosophical Society
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• no.117
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• pp.139-167
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• 2017

This essay attempts to reveal how taste spontaneously cultivates and why it is necessary for cultivating taste to edify our personality and to develop culture. It is a key of the solution of the problems that taste always reflects its judgment through pleasure. Because the grounds of the universal validity of the judgment of taste are found, whenever taste tests the validity of its own judgment, the so-called 'delight of discovery' makes taste cultivate itself. For having the moral personality, we need to practice spontaneously the morality of our own behaviour and for judging whether an artwork to represent the period is succeeded or not, we need to have a high insight to select the cultural heritage. But the autonomous thinking can delightfully be made a habit, judging the beauty of artworks. In the main body of this essay, it is determined from the three examples of the negative judgment of taste which Kant suggested in deduction. According to Kant, the negative judgment of taste means that the beautiful work is displeased, but what it asserts is that taste is cultivated. I formalize the methods of reflection of taste revealed in three negative judgments of taste into'resisting', 'indicating of error', 'self-retracting'.(Chapter 2) And from this, I emphasize the necessity to cultivate taste in the way that these methods of the cultivation of taste can affect building our personality by stimulating our reason to have interest in moral(Chapter 3) and in the way that taste directly judges the product of cultural succession.(Chapter 4) In the end of last chapter, I examine further essentially the method of the reflection of taste, to inquire into how to enable it.(Chapter 5) Especially, I try to illuminate its grounds through Schiller's concept of the "impulse of amusement(Spieltrib)", because his explanation helps us to understand the dynamics of taste's delight of discovery. Although the abilities of mind conflict with each other, taste has the characters that it reflects to encourage them for each other and that it is vitalized by its own activity. We, as it were, can pleasantly handle two tasks, because taste makes the impulse of amusement from conflictive impulses in mind. In conclusion, I state that we have to experience directly the impulse of amusement like creative artist, because it is maximized from creation.

• Journal of Korean Philosophical Society
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• no.116
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• pp.251-281
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• 2017

The Parmenidean tradition of logos which previous researches fail to fully appreciate has three dimensions of reality-knowledge-discourse. Parmenides is not just an ontologist, as the traditional view emphasizes, but also an epistemologist, as the revisionist view begins to emphasize, and, at the same time, a meta-discourser, as those two established views fail to embrace. In order to reach the third view which fully grasps such a dynamic and integrated feature of Parmenides, we should closely pay attention to the organic interconnectedness of three discourse parts of truth-doxa-proem, especially the significance of proem and meta-discourse. In the Eleatic tradition of discourse, the figure who clearly appreciated and further developed such an authentic feature of Parmenides' discourse is not, as one might easily expect, one of the second-generation Eleatics, but Gorgias who has commonly been positioned at the opposite side of Eleatism. This paper investigates how he actually both innovated and succeeded the Parmenidean tradition of logos; especially, it characterizes his discourse as an antilogy(antilogia) from within the tradition: as a 'devil' advocate' who complemented and completed Parmenidean persuasion by positing the Parmenidean tradition of logos as an arena of a huge intellectual discipline and cultivation, offering himself as a sparring partner to it, and bringing up an antilogy. In the process of this antilogy he performed in his rhetorical speeches such as the Encomium of Helen and the Defense of Palamedes he experimented and examined a possibility of persuasion operating independently from truth, which, however, is not merely sacrificing truth in favor of persuasiveness and probability (to eikos) as Plato criticized mainly focussing on his 'philosophical' writing On not-being. Rather, it was an 'opposition for opposition's sake' and serious play which purported to provide balance and flexibility to contemporary intellectual society which had too much inclined towards truth and knowledge and become stiff and to put weight on the opposite side of mainstream. It is wholly our eranos (i.e. our share of contribution) to summon and examine such sophistic tradition for the sake of the task of our times, not for the sake of Plato's task, that we should build up a healthy culture of discourse where we can share serious play.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.14 no.1
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• pp.167-185
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• 2019

As most G-20 countries expect medical spending to grow rapidly over the next few decades, the burden of healthcare costs continues to grow globally due to an increase in the elderly population and chronic illnesses, and the ongoing quality improvement of health care services. However, under the rapidly changing technological environment of healthcare and IT convergence, the problem may become even bigger if not properly recognized and not properly prepared. In the context of the paradigm shift and the increasing problem of the medical field, complex responses in technical, institutional and business aspects are urgently needed. The key is to derive a business model that is appropriate for businesses that integrate IT in the medical field. With the arrival of the era of the 4th industrial revolution, new technologies such as Internet of Things have been applied to eHealthcare, and the need for new business models has emerged.In the e-healthcare of the Internet era, it became a traditional firm-based business model. However, due to the characteristics of dynamics and complexity of things Internet in the Internet of things, A business ecosystem-based approach is needed. In this paper, we present and analyze the major success factors of the ecosystem based on the 3 - layer structure of the e - healthcare business ecosystem as a result of research on e - healthcare business ecosystem based on emerging technology such as Internet of things. The three-layer business ecosystem was defined as (1) Infrastructure Layer, (2) Character Layer, and (3) Stakeholder Layer. As the key success factors for the eHealthCare business ecosystem, the following four factors are suggested: (1) introduction of the iHealthcare concept, (2) expansion of the business ecosystem, (3) business ecosystem change process innovation, and (4) business ecosystem leadership innovation.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.14 no.4
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• pp.113-132
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• 2019

The degree of females' participation in corporate activity has been recently increased over the world and females' participation in economic activity may be new dynamic fuel for the Korean economy that falls into the vicious cycle of low growth. Start-up, therefore, has increasingly taken attention as an opportunity for females whose careers were interrupted to re-enter the labor market. The need for studies that examine factors influencing the decision of start-up is also increased along with the increase of the ratio of females' start-up. This study aims to verify effects of the women's characteristics(women discrimination, women's role conflict) and the human networks of females whose careers were interrupted, with the intention for entrepreneurial intention, which are mediated by personal attitudes and subjective norm suggested by Ajzen's Theory of Reasoned Action, based on an empirical research. The findings show that the human networks of females have an effect on attitudes toward start-up activity and subjective norm and the woman discrimination influence the personal attitudes. In contrast, the women's role conflict have no effect on both personal attitude toward start-up activity and subjective norm. This can be supposed as an outcome resulted from the subjects' low level of conflict caused by their sex roles, on their age distribution. The relation between subjective norm and entrepreneurial Intention seemed to be moderated by their perceived strong entrepreneurial supporting policy. Their attitudes toward start-up activity were found to have a mediating effect on the relation between the women discrimination, human networks and entrepreneurial Intention, while the subjective norm only mediated the relation between human networks and entrepreneurial Intention. Based on such results, this study attempts to suggest theoretical suggestions and the direction of various entrepreneurial supporting policy for the increase and the growth of start-up of females whose careers were interrupted, in Korea.

• 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)Study of the Eastern Classic
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• no.49
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• pp.225-260
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• 2012

The poetry of Haseo Jo Gyeong is first characterized by its fantasy content with mysterious and strange beings such as mountain wizards, gods of flowers, ghosts, Jujos and dragons. Such works imply the huge gap between his political ideal of Neo-Confucianism and the reality of society and are expressions of his resulting sorrow. Of course, he did not just look at reality pessimistically. Like other Neo-Confucianism scholars, he used the symbol of "spring" in his poems, which indicates that he did have optimistic belief in the world in spite of despair. In his poems, the symbol of "spring" implies the political world where the noble man grabbed the power and the sinister groups were extracted or the world where the political ethics of Neo-Confucianism was implemented. His works depicting the essence of natural objects, mountains, and rivers exhibit the characteristics of his poetry more clearly. He described the law of the universe behind natural objects and the vibrant aspects of natural objects by depicting their movements in a clear and sharp manner. Unlike the old Neo-Confucianism scholars that often created poems on the topic of acquirement of natural law and nature, he expanded his poetic world in a direction of revealing the secrets of objects. His works describing the spirit of mountains and rivers are especially noteworthy in that they implied a life attitude of moving forward in an deteriorating world bravely by manifesting strong and dynamic power. Paying attention to the secrets of natural objects, Haseo displayed his life ideal in richer ways by painting the new forms of ume flowers. Unlike the old ume flowers poems in the past, his ume flowers poems present ume flowers as ascetics that obtained truth, men of virtue that inspired contemporary people, or retired gentlemen that revealed the profound secrets of nature. While it is unique that he manifested the forms of ume flowers in ascetics and men of virtue while perceiving the dark reality of society, it is more noteworthy that he described ume flowers as the beings revealing the profound secrets of nature. It was the expression of his yearning for an innocent personality and his fear for losing the personality, clearly depicting a human form of his ego. He created a more human and realistic personality ideal by embracing the contemporary thinking based on the profound secrets of nature in his Dohak poetry[道學詩], which is a significant achievement in that it showed new changes to Dohak poetry in the 18th century.

• The Journal of Korean Academy of Sensory Integration
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• v.19 no.1
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• pp.69-82
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• 2021

Objective : This recent work intended to provide basic information for researchers and practitioners related to occupational therapy about Developmental Coordination Disorder (DCD) in South Korea. The previous research of screening DCD and the effects of intervention programs were reviewed. Methods : Peer-reviewed papers relating to DCD and published in Korea from January 1990 to December 2020 were systematically reviewed. The search terms "developmental coordination disorder," "development coordination," and "developmental coordination" were used to identify previous Korean research in this area from three representation database, the Research Information Sharing Service, Korean Studies Information Service System, and Google Scholar. We found a total of 4,878 articles identified through the three search engines and selected seventeen articles for analysis after removing those that corresponded to the overlapping or exclusion criteria. We adopted "the conceptual model" to analyze the selected articles about DCD assessment and intervention. Results : We found that twelve of the 17 studies showed the qualitative level of Level 2 using non-randomized approach between the two groups. The Movement Assessment Battery for Children and its second edition were the most frequently used tools in assessing children for DCD. Among the intervention studies, the eight articles (47%) were adopted a dynamic systems approach; a normative functional skill framework and cognitive neuroscience were each used in 18% of the pieces; and 11% of the articles were applied neurodevelopmental theory. Only one article was used a combination approach of normative functional skill and general abilities. These papers were mainly focused on the movement characteristics of children with DCD and the intervention effect of exercise or sports programs. Conclusion : Most of the reviewed studies investigated the movement characteristics of DCD or explore the effectiveness of particular intervention programs. In the future, it would be useful to investigate the feasibility of different assessment tools and to establish the effectiveness of various interventions used in rehabilitation for better motor performance in children with DCD.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• Iberoamérica
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• v.22 no.1
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• pp.73-109
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• 2020

In the tourism industry, emotional labor-related problems are highly likely because workers cannot avoid frequent face-to-face contacts with customers. Emotional labor, however, is not always recognized in the same pattern by every worker in similar situations. As can be see in this research, emotional labor appears to vary depending on individual characteristics and sociocultural and economic conditions. In fact, there are so many factors affecting emotional labor, and the level of influence concerning these factors can vary depending on when and where they are. Psychological and mental pains and stress from emotional labor depend on a number of factors. The expression of emotional labor, depending on age, length of employment and gender, shows a clear difference. In particular, for those who are planning to participate in international labor migration to the United States in the future, emotional labor was often not recognized as a serious problem or rather a positive social and cultural experience. In fact, there are various types of tourism workers in Oaxaca, and their experiences vary greatly depending on individual and economic and sociocultural environments. The emotional labor of the workers in the tourism sector of Oaxaca also has various forms depending on various conditions. Positive or negative perceptions and consequences of emotional labor vary depending on the circumstances of the individual and working conditions. In other words, socioeconomic conditions, individual personality or experiences, sociocultural characteristics, and autonomy in the workplace, have a significant impact. As a result, the forms and effects of emotional labor expressed and understood by tourism workers vary considerably and may vary depending on the situations. Considering these problems, the way emotional labor emerges is greatly influenced by sociocultural or personal factors as well as economic factors. In addition, rather than considering the existence and seriousness of emotional labor as given depending on the nature of a particular industry or work, it should also be recognized that the expression of emotional labor differ considerably from individual to individual. Also, the seriousness of problems caused by emotional labor can be diversified. In this sense, it is necessary to clearly understand the meanings of the dynamism, diversity and multidimensionality of emotional labor from a new perspective.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.77-90
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• 2020

Today, the transition to the era of "post-drama" brought a change in the position of text, which was considered the center of the play, and the expansion of the role of actors. After entering the post-drama era, the actor no longer transforms himself into "delivering" the fixed meaning of text, but "producing" the valid meaning of "now, here" meeting the audience. In other words, actors in the post-drama era have expanded their roles as "performers" who can become the subject of narratives themselves and create various theatrical languages. Despite the expansion of the actor's role, verbal-centered actor training through text, which still forms the basis of acting education, does not satisfy the newly changing contemporary theatricality and creates a gap between education and the field. Therefore, the researcher argued that non-verbal-centered acting education needs to be discussed, and highlighted the actors' physical training on the "empty" side. The researchers first compare and analyze the characteristics of modern theater people's training methods from an "empty" perspective. Based on this, researchers about the meaning and direction of the training "empty". Furthermore, the study concludes with an emphasis on the direction of acting education in the post-drama era, which is free from language that can respond to stimuli and interact freely.