• The Journal of Korean Academy of Sensory Integration
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• v.10 no.1
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• pp.21-31
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• 2012

Objective : This study aims to examine the Effect of the Brotherhood Group Sensory Integration intervention to Social Interaction of the Children with Pervasive Developmental Disorders. Methods : The Group Sensory Integration intervention was implemented for 8 weeks period from July to September 2011 targeting 2 children of 7~8 ages diagnosed Pervasive Developmental Disorders. For the study A-B-A' design among Single subject research design was used, while baseline A 3 phases, intervention B 16 phases, baseline A' 3 phases in total 22 phases were applied. The Quality of Social Interaction was measured through ESI(Evaluation Social interaction) during the baseline between A and A' period, and the Frequency of Social Interaction was measured under the condition that non-availability of intervention during baseline period, while during intervention period, it was measured by utilizing Interval recording method upon filming by video of 10 minutes free-play after every intervention. Results : The Quality of Social interaction indicated a statistical significance by all targeted children after intervention. Also a statistical significance was indicated in the Frequency of Social interaction as there appeared consecutively more than two of the values of baseline A average and Standard deviation band from all targeted children at the free-play implemented after each intervention of every phase. Conclusion : It could be verified that Brotherhood Group Sensory integration intervention has a positive effect to Social interaction of the Children with Pervasive Developmental Disorders. Therefore, the Brotherhood Group Sensory integration intervention can be effectively applicable as being a therapy to improve Social interaction toward Children with Pervasive Developmental Disorders at the clinic.

• Acta Via Serica
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• v.7 no.1
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• pp.105-130
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• 2022

This paper argues that the war in Syria is partly the result of a global Islamist wave that contributed to fuelling conflict across large regions of Asia and Africa. Of course, the war that has consumed Syria since 2011 most certainly has multiple interrelated causes and driving forces, and any attempt to isolate one or even two or three runs the risk of advancing an overly simplistic interpretation of history. This essay, therefore, does not aim to offer an appraisal of the multiple variables that contributed to the war in Syria. Instead, it zeroes in on how political Islam came to impact Syria and its people. In doing so, it demonstrates how competing varieties of political Islam represented leading causes of conflict. Indeed, different Islamist movements contributed to the outbreak of the war in 2011, fuelled the conflict for years on end, and to this day represent major obstacles to the achievement of sustainable peace. Four broad Islamist currents are especially relevant to the case of Syria: the Muslim Brotherhood; the Shia revivalist movement at the nexus of the alliance between Iran, Hezbollah, and Syria; Salafi jihadism and its volatile and fractious underworld of competing armed groups, from Al-Qaeda to the Islamic State; and Recep Tayyip Erdoğan's market-friendly Islamism, which induced Turkey to intervene in Syria's civil war.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.301-338
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• 2021

John Woo's A Better Tomorrow arrived at the turning point of Korean society between 1987 and 1988. The Hong Kong movie boom that started here reached its peak around the 1990s. What does this phenomenon mean? Hong Kong action films have functioned as an important resource for Korean young male subculture since the late 1960s. The audience of A Better Tomorrow matches the audience of previous Hong Kong films in a generational and gendered way. The fascination of Hong Kong action films by young Korean men from 1987 to 1991 has nothing to do with Hong Kong's political context. However, a certain affect is shared between Korean and Hong Kong audiences. It could be said to be the brotherhood within the struggling group. The affective economies of this fraternity embodies the broad solidarity of 1987, the solidarity of comrades seeking to resist the violence of the world. It also works on symbolic and practical gender bias. In other words, this loyalty is nothing but loyalty between the (male) brothers who are confronting the injustice of the world. This is the "translational possibility" of A Better Tomorrow.

• SUVANNABHUMI
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• v.11 no.2
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• pp.59-83
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• 2019

The Chinese Belt Road initiatives in the Southeast Asian countries marked a new chapter in the development of China political influence on this region. This article looks at the initiative from the cultural dimension and aims to place its narrative as the entry point to understand the use of identity politics in Asian countries that target the Chinese diaspora. This topic relates to the primordial sentiments of Southeast Asian nations amid massive Chinese investment in the region. The issue of Chinese investments under the Belt Road Initiative corridor has a relationship with the formation of anti-Chinese discourse and anti-communist in some Southeast Asian countries. We took the cases of Indonesian and Malaysian elections to observe the use of identity politics and anti-Chinese political discourse in Southeast Asia. In both cases, a common issue emerged, that of the strengthening both Islamic and indigenous sensibilities. The establishment of ASEAN during the Cold War may be seen then as an anti-thesis to emerging Chinese power. However, anti-Chinese and anti-communism sentiments were not enough to unite the forces of the nations of Southeast Asia. We have concluded that brotherhood, mutual prosperity, and anti-neo-colonialism are yet to be fostered completely to make a distinct ASEAN identity.

• International Area Studies Review
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• v.13 no.1
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• pp.513-530
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• 2009

The history of Chechnya is characterized by the resistance against the invasions of different foreign countries. Among them, the conflict against the Soviet Union, or Russia has been lasted approximately 200 years and it still remains unsettled. The relation between both country was deteriorated when the Chechnya declared their independence from Russia, and this resulted in the long-lasted war between Russia and Chechnya. One of the driving force of the war for Chechnya was its religion, Islam. The Islam and the brotherhood of Sufi Islam are integrated with Chechen nationalism and they were the key factors during the war against Russia. In this present paper, we will deal with the Chechen national culture and its identification, the conflict history of Chechnya-Russia, Islamization of Chechen, and the power of Sufi Islam in Chechnya in order to give a careful consideration to the conflict between both countries.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.167-182
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• 2000

The purpose of this study is to examine the art nouveau fashion represented in the end of the twentieth century. The characteristics of art nouveau are naturalism, medievalism , exoticism, and decadentism. The influences of art nouveau were seen in the fashion of the late nineteenth century : S-curve silhouette and organic curve motives printed on hems. Art nouveau has reappeared in modern fashion trends such as romanticism , decadence, ecology, ethno, and fusion. To sum up, art nouveau fashion at the end of the twentieth century is classified into four shapes. First, art nouveau appears in naturalism. Influenced by the arts and crafts movements and naturalistic trend, it has reappeared at the end of the twentieth century in themes like 'art & craft'. This expression technique is to objectively nature and to represented art nouveau textiles. Second, S-curve silhouette appeared at the end of nineteenth century's fashion with the art nouveau influenced rejection of the bustle style. At the end of the twentieth century, the design , emphasizing the hip, is represented in fashion collections as a phenomenon of romanticism . Especially the art nouveau silhouette of the end of the twentieth century does not represent S-curve silhouette. But , it emphasizes the hip only. Third, Art nouveau exoticism by symbolism is influenced by Chinese and Celtic art, the Middle Ages, and the exoticism that appeared in fashion at the end of the nineteenth century : harem style, kimono style, and turbans. Exoticism at the end of the twentieth century is expressed by optical flower prints and successive floral print arrangements as seen in the themes of ethno and fusion. Fourth, one of the characteristics of art nouveau, decadence is influenced by the pre-raphaelite brotherhood. This is expressed in the images of vampires, and symbolism expressing grotesque insect motives and decadent successive curves. At the end of the twentieth century decadence is represented in fashion ; grotesque insect motives, tatto looks of organic curve motives celtic hair style, see-through fashion, grotesque make-up . Besides hair style techniques, decadent expressions applying art nouveau paintings also appeared. Finally , art nouveau fashion represented as a fashion trend at the turning point to the new millennium is one of great significance as an organic, an environment-intimate and continuance-possible design in a future.

• Korean Security Journal
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• no.16
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• pp.137-159
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• 2008

In the 21st century, the Information Revolution caused unpredictable kinds of complications. Human society conducts a tactical network war like Swarming. Network war simultaneously consists of merits such as global monitoring and anti-dictatorship campaign, and violent demerits like terrorism. It has been becoming a generalization of terrorism of the present time to build a brotherhood and ideology to commit terrorism. This is considered as new terrorism, a form of network war. Theses days, terror organizations including Al Qaeda establish a brotherly network to commit terrorism when and where they want. New terrorism is a novel form that harms unspecified individuals. In fact, many countries have been experiencing damage from new terrorism. It is becoming an urgent issue to every country to prepare a suitable plan that cope with new terrorism. This dissertation provides defense strategy in macro and micro aspect as a responding scheme to new terrorism.

• Journal of Information Technology Applications and Management
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• v.28 no.3
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• pp.77-87
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• 2021

The color gray in the cinema expresses the private or public memory and oblivion in the reminiscence scenes. The aesthetic function and meaning of gray that interacts with other elements in cinematic time and space are expanded in various ways. This study was analyzed the cases in which gray was used as the main visual style by limiting the scope to Korean films. Based on the traditional cultural symbolic meaning of gray, I analyzed how it was applied and transformed in films, and interpreted the cultural-social meaning by the interaction between gray and other elements. In film history starting from monochrome, gray has been used as a visual device suitable for realizing cinematic or imaginary reality. Gray is adopted when dreams or recollections are visualized as imaginary reality, and it is used when dreamy imaginations of daydreaming are demonstrated. Gray, which reproduces the dreamlike reality of imagination, is the concrete and realistic way of expression. First, in Korean films, gray is a flashback visual device that recalls the past, and is an intermediary visual form that materializes the imaginary. In films such as Ode to My Father (2014), DongJu (2015), A Resistance(2019) and The Battle : Roar to Victory (2019), the gray of the past is a visual device for cultural memory that builds the homogeneity and identity of the group. In the era of hyper-visibility, gray in black and white images is intended to be clearly remembered by unfamiliarity rather than blurry oblivion by familiarity. Second, in genre films with disaster materials such as Train To Busan (2016) and Ashfall (2019), the grays of rain, fog, clouds, shadows and smoke highlight other elements, and the gray color causes anxiety and fear. In war films such as TaeGukGi: Brotherhood Of War (2003) and The Front Line (2011), gray shows a more intense brutality than the primary color. In sports films such as 4th Place (2015), Take Off (2009) and Forever The Moment (2007), gray expresses uncertainty and immaturity. Third, gray visualizes the historical memory of A Petal (1996), the oblivion in Oh! My Gran (2020) and Poetry (2010), and the reality of daydreaming Gagman (1988) and Dream (1990). At the boundary between imagination and reality, gray is a visual form of dreams, memories and forgetfulness.

• Korean journal of communication and information
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• v.68
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• pp.130-165
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• 2014

By exploring the works of popular culture, our research aims to demonstrate that culture and politics revolve around each other. Culture and politics are not separate but are articulated into cultural politics; the process of articulation reveals various comparable areas, including contradictions and differences. Our research pays specific attention to Japanese modernity in the eight popular manga series by Naoki Urasawa. These works seemingly value peace and brotherhood, placing themselves in opposition to the logics of the conservative right wing. After engaging in a thorough reading and re-reading, however, we found three salient themes in the deep layers of the works: first, no-nationality a-nationality; second, the relationship between Japan and the West, and representation of Asia; and third, nostalgia for Japan of the past, and transnational desire. The manga series contain the ideas of leaving Asia and entering the West and overcoming modernity. Our research findings reveal that the works of popular culture, specifically those by Naoki Urasawa, subtly expose transnational desires of Japan in tandem with the tensions in international politics between Asia and Japan.

• Korean Journal of Social Welfare
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• v.66 no.4
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• pp.257-280
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• 2014

This is a study of Jinminso. The purpose of the study is to search and analyze the documents about Jinminso. The data is composed with the first hand historical documents both government documents and civil newspapers which are searched by internet. Based on the documents found, it is safe to say that Jinminso has existed and functioned as an indoor almshouse for the poor. It was established in June 25, 1898 by civil people with donated money in order to reduce the burden of Emperor and to share the love and care for their people with a brotherhood mind. The Jinminso resident were the poor, the sick, the orphans, widows, elderly living alone, and the disabled. They received food, clothes, and shelter. However, Emperor Gojong ordered to shut down Jinminso, and it was closed in Sept. 25, in 1898. The main reason was inappropriate collection of money for the agency operation from the merchants. When Jinminso was closed, all the inmates became homeless. The founders asked to reopen it, and it was accepted but this time was opened as a government agency in 1899. Jinminso imposes great meanings. One, Jinminso was not just an office but a direct service agency housing hundreds of poor people; two, poverty was understood as social problem not just a local district problem; three, rules and regulations were prepared to set up a system of modern age social welfare. The findings provide a clue how the government and society perceived poverty and the poor during the time of late 1800s to early 1900s. The existence of Jinminso will pose many new question.