• SUVANNABHUMI
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• v.13 no.1
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• pp.7-33
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• 2021

With a view to contributing to the epistemological and methodological debates in Southeast Asian Studies, the aim of this paper is to examine critically the epistemic concepts and approaches in the social sciences and then to seek an epistemic reflexivity and its potential methodological applications to Southeast Asian Studies. Although the field of social sciences has attempted to search for a means of tackling the ontological and epistemological dilemmas in its major paradigms, Southeast Asian Studies still demands a more 'actor-centered' epistemic account of reflexive interaction between actors and social structures. Bearing in mind the need for a more 'actor-centered' epistemic approach, this paper continues to discuss the 'epistemic reflexivity' in the social sciences and its potential applications to Southeast Asian Studies. In this paper, I will consider 'epistemic reflexivity' as an alternative methodological orientation. It emerges as interlinked with the ontological standpoint of what is called 'reflexive approaches' and its application to the detailed 'reflexive methodology' which I am proposing in this paper. In doing so, this paper discusses the autobiographical experiences of the author arising from his ethnographic field research in North Sulawesi, Indonesia and their implication for a reflexive methodology in Southeast Asian Studies. In conclusion, the paper argues that we need a 'more actor-centered' epistemic framework to compensate for the epistemological and methodological dilemmas in the social sciences and the alternative framework will equip Southeast Asian Studies with a reflexive methodology relevant to the life-dynamics of the social world in the process of developing its inquiries, methodological technics, analysis, and validation.

• Proceedings of the Korean Society of Computational and Applied Mathematics Conference
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• 2003.09a
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• pp.17.1-17
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• 2003

We study averaging properties in Banach spaces, First, we seek an averaging property equivalent to the reflexivity in Banach spaces. Second, we investigate averaging properties in Banach space using the Brunet-Sucheston's spreading model.

• Bulletin of the Korean Mathematical Society
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• v.39 no.4
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• pp.665-669
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• 2002

In this paper, we study averaging properties in Banach space. We prove that the convex block Banach-Saks property is equivalent to the reflexivity in a Banach space. And we show that a weakly compact operator is a convex block Banach-Saks operator.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.10
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• pp.159-168
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• 2019

This study draws on goal orientation theory and proposes the team learning goal orientation as an antecedent of team creativity. In addition, an Input-Process-Output (IPO) model was adopted, in which the team reflexivity, team efficacy, and positive group affective tone (PGAT) are linking mechanisms in the relationship between team learning goal orientation and team creativity. Using 57 teams from three lectures of the college, hierarchical regression analysis was conducted at the team level. The results showed that the team learning goal orientation had positive associations with team creativity, team reflexivity, and team efficacy. In addition, team reflexivity and team efficacy positively predicted the team creativity. Furthermore, the relationship between team learning goal orientation and team creativity was mediated by the team reflexivity and team efficacy. In contrast to predictions, PGAT did not show significant relations with both team learning goal orientation and team creativity. In conclusion, this study integrated the team-learning goal orientation and team creativity literature and contributes to the understanding of team reflexivity as a cognitive process and team efficacy as a motivational process between the team property and team creativity. These results have practical implications for managing teams.

• Journal of Contemporary Eastern Asia
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• v.18 no.1
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• pp.153-174
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• 2019

South Korea's energy policy has been historically established through an energy production structure that relies on thermal and nuclear power generation in relation to a centralized 'Hard Energy System'. However, climate change issues are forcing the transition to renewable energy, and it is crucial for local governments to enable this. This study analyses Seoul city's local energy governance, which is known as One Less Nuclear Power Plant Initiative, by applying the collaborative governance framework inspired by Ansell and Gash (2008) and the Reflexivity framework of Confucianism. It is considered that the local energy governance model of Seoul city can be used as a model by other local governments, and it will eventually lead to a decentralized energy system in this era of energy transition.

• (The) Research of the performance art and culture
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• no.32
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• pp.333-370
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• 2016

This study examines self-reflexive scenes of Changgeuk [창극; Korean classical opera] Seopyenje [서편제]. This show deals with Pansori [판소리; a kind of Korean folk play] and its singers. The uniqueness of this show is that although it is a new creative work of Changgeuk, the traditional Pansori music is used intactly. These characteristics are related to some self-reflexive scenes in the show: the narcissistic reference of Pansori makes to seem that this show inherits a artistry of Pansori; a play within a play and a role-play reinforce a reality on the action and characters of outer play; an intertextuality, bringing the narrative and music of Pansori Simcheong-ga [심청가] in this show, it makes audiences spontaneously discover a connection between the cited original text and the hypertext. Namely, the self-reflexivity of Changgeuk Seopyenje doesn't destroy an illusion, but rather it presents a kind of conservative self-reflexivity which uncovers a part of tricks for the illusion in order to create new illusion.

• 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.

• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.105-118
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• 2021

The purpose of this study is to explore the American Youth Film Director Damien Chazelle and his cinema world. Chazelle as a youth director directs three movies as (2014), (2016), (2018) in Hollywood, and represents youth directors in Hollywood. For this study, adopt two research methodologies which are 'Auteurism' and 'culture studies', and explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Hollywood history. This study concludes that Chazelle is a 'Auteurism director of self-reflexivity' who has three things in common as 'narrative: success myth', 'mise-en-scene: Chazelle's world', 'self-reflexivity: Auteurism film directing'. Youth film director Chazelle is opening up the future of Hollywood as a 'Auteurism film of self-reflexivity' and the creative film directing of the youth generation.

• 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.

• Journal of Science and Technology Studies
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• v.14 no.2
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• pp.281-318
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• 2014

This paper aims to examine women's understanding of technoscience by analyzing girls' comics(少女漫畵, Sonyeo Manhwa). The idea that women were not interested in science was a socially accepted. But this paper reveals that women are interested in science in a different way by analyzing Korean SF girls' comics. By examining an image of science in SF girls' comics in comparison to SF boys' comics(少年漫畵, Sonyeon Manhwa), this paper shows that women look technoscience through 'reflexivity' focused on 'human' and that this special character is derived from the feature of women's culture. SF girls comics have two features. First, girls comics reflect on power made by technoscience rather than describe it elaborately. And the reflexivity is expressed through a mental state, an emotion, and relations between human beings focused on a human nature, an ego, and an identity. It is different from boys comics that give weight to the mechanics and that show simple plot such as utopia or distopia, or a battle of good versus evil. Second, girls comics express technoscience as daily practices. In girls comics, some technosciences are linked to our daily lives and cartoonists and readers consider an 'essence of knowledge' together. It is different from men's view that regards knowledge as power or means.