• Korean Journal of Culture and Social Issue
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• v.20 no.3
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• pp.205-233
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• 2014

This study aims to identify work conflicts in Korean socio-cultural context by applying grounded theory. Survey has been conducted through in-depth interviews with 11 different employees from various occupational categories. Data collected from the survey were then analyzed based on the grounded theory of Strauss and Corbin (1998), thus resulted in a paradigm model consisting of 31 categories, 63 subcategories, and 100 concepts by open coding. Axial coding was then conducted and the results were as follows. The causal condition was the 'character of an opponent'. Contextual conditions which affect the causal condition were 'situational characteristics', 'character of an opponent', 'character of oneself', and their 'mutuality'. 'Negative feeling' was the central phenomena of work conflict and action/interaction strategies were verified to be 'avoidance', 'expression', 'effort toward solving problems' and 'increasing conflict'. Intervening conditions were 'interrelation', 'intervention', and 'group/task characteristics'. The consequences were organized as 'conflict continuance', 'personnel change' and 'positive effect'. Through selective coding, 'managing with the conflict' was derived as core-category and three different types of management were classified. Ultimately, this study shows how employees work in Korea experience the work conflicts and what kinds of socio-cultural factors have influence on the work conflicts, which can supplement previous inadequate empirical research. Also, this study can provide implications and suggestions as a fundamental integrated model for the future empirical research on work conflicts.

• School Mathematics
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• v.4 no.1
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• pp.79-95
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• 2002

This paper is to make strides toward an enriched understanding of student learning and performance in mathematics that acknowledges the roles social and cultural contexts play in what students learn as well as what we are able to team about student learning. A student's mathematical practice over a year and a half is presented in detail in order to explore the relationships between classroom contexts and student performance. This study was situated at a K-4 urban elementary school in the United States. The data used for this study included classroom observations, interviews with the teachers and the student, and document collection. The data were analyzed by characterizing each classroom context and exploring the student's practice both in the classrooms and in the interviews. Despite the student's ongoing status as a struggling student, there were tremendous changes in his level of engagement in and persistence with mathematical tasks. The student was substantially more engaged in and enthusiastic about the daily mathematics lessons in third grade than he had been in second. However, we found little improvement in his mathematical understanding and performance during class or in the interviews. This highlights that increased engagement in the mathematical tasks does not necessarily signal increased learning. This paper discusses several issues of learning and performance raised by the student, looking at the relationship between classroom context and student performance. This paper also considers implications for how students' performances are interpreted and how learning is assessed.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.2 no.1
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• pp.133-155
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• 2022

Throughout the Chinese sphere, that is, in the People's Republic of China and Taiwan, tea houses, tea stores, and tea meditation groups often without a particular religious orientation have appeared in the past decades. Tea lovers groups with various philosophical discussions appear throughout cyberspace, where people show their appreciation for tea as a drinkable delicious product and a spiritual tool. The question to be asked here is whether it should be recognized as a religious or spiritual practice agent in and of itself? Should we then talk about the present-day movement of teaism? If we do recognize this as a spiritual phenomenon, should it then be labeled as a New Religious Movement? The trajectory of tea in China is intrinsically connected to religious traditions. This connection is historical, yet it plays a part in the contemporary religious and spiritual sphere. The article explores the continuation and developments of tea culture in the context of the religious sphere of China, looking at practices connected to tea of communities, religious organizations, and individuals. The author explores how tea drinking, commercializing and tea related practices intersect with politics, materiality, and spirituality in contemporary society. In this context it is then argued that tea is a cultural element, religious self-refinement tool, and an active material agent with social-political capacities. The study includes historical narratives, ethnographic data, and literary sources about tea, making up a genealogy of tea which encompasses ritualistic aspects, economic aspects, and power relations related to tea in Chinese society.

• Journal of Contemporary Eastern Asia
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• v.20 no.1
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• pp.134-150
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• 2021

Dominant approaches to designing morally capable robots have been mainly based on rule-based ethical frameworks such as deontology and consequentialism. These approaches have encountered both philosophical and computational limitations. They often struggle to accommodate remarkably diverse, unstable, and complex contexts of human-robot interaction. Roboticists and philosophers have recently been exploring underrepresented ethical traditions such as virtuous, role-based, and relational ethical frameworks for designing morally capable robots. This paper employs the lens of ethical pluralism to examine the notion of role-based morality in the global context and discuss how such cross-cultural analysis of role ethics can inform the design of morally competent robots. In doing so, it first provides a concise introduction to ethical pluralism and how it has been employed as a method to interpret issues in computer and information ethics. Second, it reviews specific schools of thought in Western ethics that derive morality from role-based obligations. Third, it presents a more recent effort in Confucianism to reconceptualize Confucian ethics as a role-based ethic. This paper then compares the shared norms and irreducible differences between Western and Eastern approaches to role ethics. Finally, it discusses how such examination of pluralist views of role ethics across cultures can be conducive to the design of morally capable robots sensitive to diverse value systems in the global context.

• Korean Institute of Interior Design Journal
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• v.23 no.6
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• pp.105-114
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• 2014

This study is intended to identify various reasons on the 'body' of women described in the paintings by Le Corbusier. As a great artist in the field of modern architecture, various figures of 'body' of women he painted were not a mere physiological body of a woman but a meaningful figure combined with many different types of concept in the social and cultural context. In the field of art, body is recently seen as a 'tool for thinking' that studies dealing with it are being actively conducted. Seen in this context, it is feasible to read the situations and causes at that time through movement and changes in the figure of women's bodies described in his painting. Even if it was a speculative inference, this study aimed examining what reasons and perspective Le Corbusier had when painting women's bodies and what message he intended to convey. Reasons on the 'bodies' of women derived in this study serve as an essence of mentality in understanding the spatial design that was constructed around the time of period. Adopting a different view from many of previous studies in the aspect of skills and spaces, it was intended to study changes in the complex and integrated causes in both spatial design and painting and re-interpret an essence of mentality of the spatial design in the humanistic approach according to the notions in society and culture.

• Child Health Nursing Research
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• v.26 no.1
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• pp.82-89
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• 2020

Sudden infant death syndrome (SIDS) in Korea remains a poorly-understood subject for both professionals and the public. Recent reports have emphasized ethnic differences in SIDS rates, suggesting that making adjustments in child-rearing practices may contribute substantially to SIDS reduction. Two of the three major risk factors for SIDS-vulnerability of the infant and exogenous factors-need to be understood in particular depth due to their broad scope and sociocultural grounding. This paper presents substantial issues regarding preterm birth and male gender on infants' vulnerability to SIDS in Korea. Practices of caring for healthy infants are addressed in the context of sleeping practices, including sleeping position, bedding arrangements, sleeping on the floor, the back-to-sleep position, high indoor temperatures and ondol floor heating, and swaddling. Professional and social awareness about how to reduce SIDS should be raised by promoting a better understanding of risk factors in the context of ethnic and cultural variations in child-rearing practices.

• The Journal of Art Theory & Practice
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• no.9
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.1
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• pp.33-52
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• 2022

The History and Culture Park and the Lee Kun-hee Donation Hall will be built in Songhyeon-dong, Seoul. Political games from the Joseon Dynasty to the present greatly influenced the historicity of Songhyeon-dong. However, place analysis was limited to changes in landowners and land uses rather than a historical context. Therefore, this study analyzed the context in which the placeness of Songhyeon-dong changed according to the emergence of cultural hegemony using the perspective of modern cultural geography and comparative history. As a result of the analysis, cultural hegemony in historical transitions, such as Sinocentrism, maritime expansion, civil revolutions, imperialism, nationalism, popular art, and neoliberalism, was found to have created new intellectuals in Bukchon, including Songhyeon-dong, and influenced social systems and spatial policies. In this social relations, the placeness of Songhyeon-dong changed as follows. First, the founding forces of Joseon created pine forests as Bibo Forests to invocate the permanence of the dynasty. In the late Joseon dynasty, it was an era of maritime expansion, and as Joseon's yeonhaeng increased, a garden for the Gyeonghwasejok, who enjoyed the culture of the Qing dynasty, was built. Although pine forests and gardens disappeared due to the development of housing complexes as the population soared during the Japanese colonial era, Cha Gyeong's landscape aesthetics, which harmonized artificial gardens and external nature, are worth reinterpreting in modern times. Second, the wave of modernization created a new school in Bukchon and a boarding house in Songhyeon-dong owned by a pro-Japanese faction. Angukdongcheon-gil, next to Songhyeon-dong, was where thinkers who promoted civil revolution and national self-determination exchanged ideas. Songhyeon-dong, the largest boarding house, served as a residence for students to participate in the March 1st Movement and was the cradle of the resulting culture of student movements. The appearance of the old road is preserved, so it is a significant part of the regeneration of walking in the historic city center, connecting Gwanghwamun-Bukchon-Insadong -Donhwamunro. Third, from the cultural rule of the Government General of Joseon to the Military Government, Songhyeon-dong acted as a passage to western culture with the Joseon Siksan Bank's cultural housing and staff accommodations at the U.S. Embassy. Ancient and contemporary art coexisted in the surrounding area, so the modern and contemporary art market was formed. The Lee Kun-hee Donation Hall is expected to form a cultural belt for citizens with the gallery, Bukchon Hanok Village, the Craft Museum, and the Modern Museum of Art. Discourses and challenges are needed to recreate the place in harmony with the forests, gardens, the street of citizens' birth, history and culture park, the art museum, and the surrounding walking network.

• Journal of the Korean Institute of Rural Architecture
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• v.26 no.1
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• pp.11-20
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• 2024

Due to the decrease in the school-age population and the overall population, school closures will continue to occur. Currently, most school closures are happening in rural areas, where geographical conditions often result in relatively poor educational, welfare, and cultural facilities compared to urban areas. Additionally, the proportion of elderly populations and migrant women is continuously increasing. In order to effectively utilize closed schools in the future, various efficient utilization methods that align with the social context of the respective regions will be necessary. The purpose of this study is to examine the status of closed school and utilization types in selected rural and island areas of similar sizes through field surveys and literature reviews. By comparing and analyzing these findings, we have identified the predominant utilization types in rural and island areas and assessed the current situation where utilization is lacking. Based on the results, we aim to provide fundamental data for improving and enhancing the utilization of school closures in the face of the ongoing decline in the school-age population.

• Journal of Conservation Science
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• v.36 no.1
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• pp.37-46
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• 2020

It is difficult to predict the kinds of damage to contemporary art because of the diversity of materials and experimental techniques used. This makes it hard to conserve. Furthermore, the artist's intention in contemporary art is emerging as one of the important issues to be handled in conservation treatment. Thus, collaboration with various stakeholders such as the artists themselves, bereaved family members, and foundations have become more important than ever from the viewpoint of planning conservation treatment. The trustworthiness of conservation treatment would be significantly enhanced if conservation treatment reflected the understanding and respect of not only the appearance of the work, but also the social/cultural context inherent in the work. This should be done, in particular, through collaboration with the artists. In this study, various case studies at home and abroad were analyzed as to explore collaboration methods with various stakeholders for objective and trustworthy conservation treatment. Along the way, the study raised the need to establish new conservation ethics for contemporary art. It is expected that the outcomes of the study could be used as basic material to preserve the originality of contemporary artwork and to set the direction for conservation practice.