• 고전문학과교육
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• 제15호
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• pp.67-88
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• 2008

In spite of a few numbers of Hyangga that is handed down today, Hyangga has diverse and abundant contents. So it is possible to survey Hyangga as a journey literature of the middle age. On this purpose we can inquire into the Hwarangs' group journey, because the Hwarang was one of the main enjoying group of Hyangga. Hwarangs' group journey shows many aspects. They made a journey for the public purpose like a tour of inspection of people's daily life and the fortresses of the country's peripheral areas. Also, they made a journey for personal purposes like enjoying the attractive view of the mountains and rivers or seeking pretty girls outside of the palace. On these journeys, Hwarang made and enjoyed Hyanggas. Among Hyanggas that remains today, Hyeseongga and Cheoyongga have a direct relation to Hwarang's journey. Hyeseongga was made to eliminate the calamities that occurred at the time of the start of a journey. It is expressed in this poem that Hwarang could take a peaceful trip with the condition that the celestial objects shed light on the earth path. As such, the trip becomes a sacred ceremony. Cheoyongga reflects the fact that the foreigner Cheoyong became Hwarang and toured the streets of Seorabeol, the capital of Shilla. The Cheoyong's bitterness of broken love is expressed in this poem. SongSadahamga and MoJukjirangga come under a broad category of Hwarang's journey literature. SongSadahamga is a farewell poem for Hwarang who leaves to fight on the battlefield. It was universal to make a journey for the fighting of a battle in Shilla period, so many Hyanggas would be made under those situations. MoJukjirangga has the content of Hwarang's trip for saving his follower who was taken by another senior. It expresses the intimate relationship between Hwarang and the follower. Though the words of the song have not been remained, Hyeongeumpogok, Daedogok, and Mungungok were created on the way of Hwarang's journey. These seem to be a series poems which have the proper characteristic features of the Hwarang's journey literature. In these poems, the king's open mind and liberal political views are reflected. In short, Hwarang created and enjoyed Hyanggas on the way of their journey, so Hyangga has the features of journey literature in Korean middle ages.

• Asian Journal of Innovation and Policy
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• 제9권3호
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• pp.308-338
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• 2020

The entrepreneurial journey is not short of challenges, and about 90% + tech start-ups experience failure (Startup Genome, 2019). The magnitude of the challenges varies across the tech start-up lifecycle stages, namely emergence, stability, and growth. This opens the research question, do the profiles of a start-up and its co-founder impact start-up success or failure across its lifecycle stages? This study aims to understand and identify the profiles of tech start-ups and their co-founders. We gathered primary data from 151 start-ups (Status: 101 failed and 50 successful ones), and they are across different lifecycle stages and represent six major start-up hubs in India. The chi-square test on status and start-up's lifecycle stage indicates a noticeable correlation, and they are not independent. The Kruskal Wallis test was used to distinguish statistically significant profile attributes. The parameters distinguishing success and failure are identified, and the need to deliver customer experience is emphasized by the start-up profile attributes: Product/service, high-tech nature of a start-up, investor fund availed, co-founder experience, and employee count. The importance of entrepreneurial experience is ascertained with entrepreneur profile attributes: Entrepreneurial expertise, the number of prior and current start-ups, their willingness to start again in the event of failure, and age of co-founder, which is a proxy to learning and experience. This study has implications for entrepreneurs, investors, and policymakers.

• 인간행동과 음악연구
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• 제5권2호
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• pp.93-102
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• 2008

융의 발달이론에 따르면, 인생은 만 35에서 40세를 전후로 페르소나가 형성되어가는 전반기와 참자기를 찾아 나서게 되는 후반기의 두 단계로 나누어진다. 이러한 관점에서, 나는 발달적으로 개성화에 대한 고민을 하지 않을 수 없는 역치점에 서 있으며, 음악-중심 음악치료사라는 페르소나를 가지고 있는 한 인간으로서 나의 개성화 과정은 음악적 참자기와 음악 안에서의 자기실현을 찾아나서는 과정에서부터 시작되어야 한다고 생각하였다. 나는 이러한 과정을 음악적 개성화(musical individuation)라 명명하고자 하며, 음악적 성장과 변화가 곧 음악 외적 성장과 변화를 상징한다는 음악-중심 음악치료 철학의 기본전제를 바탕으로, 나는 내 자신의 음악적 개성화 과정이 곧 나의 음악 외적 개성화 과정을 대변하리라 믿는다. 이 글은 아직도 많은 여정이 남아있고, 어쩌면 참된 완성이 가능하지 않을 수도 있는 음악적 개성화 과정에 대한 나의 개인적 기록이며 진솔한 고백이다.

• 산업경영시스템학회지
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• 제42권4호
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• pp.16-22
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• 2019

After Dantzig and Rasmer introduced Vehicle Routing Problem in 1959, this field has been studied with numerous approaches so far. Classical Vehicle Routing Problem can be described as a problem of multiple number of homogeneous vehicles sharing a same starting node and having their own routes to meet the needs of demand nodes. After satisfying all the needs, they go back to the starting node. In order to apply the real world problem, this problem had been developed with additional constraints and pick up & delivery model is one of them. To enhance the effectiveness of pick up & delivery, hub became a popular concept, which often helps reducing the overall cost and improving the quality of service. Lots of studies have suggested heuristic methods to realize this problem because it often becomes a NP-hard problem. However, because of this characteristic, there are not many studies solving this problem optimally. If the problem can be solved in polynomial time, optimal solution is the best option. Therefore, this study proposes a new mathematical model to solve this problem optimally, verified by a real world problem. The main improvements of this study compared to real world case are firstly, make drivers visit every nodes once except hub, secondly, make drivers visit every nodes at the right time, and thirdly, make drivers start and end their journey at their own homes.

• Nuclear Engineering and Technology
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• 제53권5호
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• pp.1705-1716
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• 2021

Bangladesh, as a newcomer country, is expecting to start her nuclear power journey by 2022. Due to evident reasons, newcomer nuclear countries face several key challenges concerning the development of national nuclear safety infrastructure. The paper investigates the status of the 7 key safety infrastructure issues out of the 19 and readiness of the supportive organizations, laboratories, and workforces following the International Atomic energy Agency's status evaluation guide at milestone 3 and foreign countries' practice. Much progress has been achieved at phase 3 regarding the establishments of a few Acts, a regulator, and an operator. However, comprehensive regulatory frameworks, skilled workforces, establishments of a few supportive organizations, and laboratories for managing environmental radioactivity, radiological accidents, and radioactive wastes are yet to ready. Several suggestions are made for establishing and expediting radiation monitoring laboratories, a radiological emergency management center, a radioactive waste management company, and technical support organizations for the safety infrastructure. To avoid perceived risks, policymakers and competent authorities need to emphasize creating an optimized safety infrastructure before commissioning and operating the 1^st nuclear power plant safely, securely, and cost-sustainably.

• 심성연구
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• 제31권2호
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• pp.177-214
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• 2016

그림형제가 수집한 민담 <황금 새>를 분석심리학적 관점에서 해석하였다. 민담의 제시부에 나타난 문제점은 왕과 아들 세 명의 치우친 남성적 구조 속에서 이 왕국은 여성성이 결핍되어 있다. 황금 사과의 상실은 균형을 이루기 위해 더욱 더 여성적 요소를 보충할 필요성을 느낀다. 가장 어리고 바보스러운 막내의 모험과 여행은 분석심리학에서 말하는 새로운 자아의 개성화 과정으로 볼 수 있다. 자아는 여행의 경과 중에 단계마다 새로운 왕국이라는 특정 집단의식의 지배에 사로잡히고 죽음의 위기에서 어려운 과제를 수행한 후에 해방되어 다음 단계로 나아간다. 이 과정은 성인화 과정으로 자아의 높아진 의식성의 회복 뒤에 여성성의 보충이라 하는 공주와의 결혼 즉 대극의 합일이 가능한 수준으로 발전할 수 있다. 여성성의 보충으로 보이는 새, 말, 공주는 독립되어 있는 것처럼 보이지만 그들은 서로 하나로 연결되어 있다. 이들을 만난 자아가 아직은 온전한 성공에 이른 것은 아니다. 집단 지배의식의 지시에 따라 출발하는 두 형들의 실패 뒤에 주관적 의식이 적극적으로 개입한 새로운 자아(막내)가 나섰다고는 하지만 아직도 페르소나의 구분과 버림은 쉽지 않은 난관이다. 반복된 고난에 이어 형들을 사형에 처한 다음에 즉 지적인 능력이 제물로 바쳐진 다음에 상위의 의식성을 획득하고 그의 아니마인 공주와 일차적 결혼을 한다. 대개의 이야기는 결혼으로 끝나지만 여기서는 다음 단계가 남아있다. 여우가 자신을 죽여 머리와 발을 잘라 달라는 간절한 부탁을 주인공이 마지못해 행하자 여우는 마법이 풀려 왕자가 된다. 여우가 공주의 오빠로 변신한 것은 동물이 인간화한 것으로 또 다른 의식화를 경험한다. 비로소 대극의 합일이 이루어지고, 신성한 결합이 전체성을 획득하고 즉 개성화의 완성을 이루게 된다.

• Human Ecology Research
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• 제56권6호
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• pp.589-601
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• 2018

This study explored the internal world through sandplay therapy for an elementary school boy who had social and emotional difficulties of poor peer relations, anxiety and withdrawal. This study examined the changing processes of sandboxes, how a boy expressed his internal world by the content themes in sandplay according to Turner (2009) based on analytical psychology and sandplay theories. There were 72 sessions. The initial phase was 1-6 (The beginning of war) expressing confusing wars as the start of a long internal journey. The intermediate phase was 7-55 (Struggle), dividing by phase I 7-18 (Hero's fight I), phase II 19-36 (Hero's fight II), phase III 37-48 (Seeking for a male identity), and phase IV 49-55 (Centering). The client identified himself as a teenaged hero and expressed the conflict between good and bad, between death and rebirth and struggled for seeking treasures in the fight of heroes. He found identity as a male by finding a sense of existence, establishing order in the middle of confusion, and expressing strong and rational masculinity. The final phase was 56-72 (The winner of the struggle). In the fights repeating, he expressed an adventurous and positive male energy such as racing, speed contests and a union in the opposites of hero and heroine as well as the birth of a new conscious. This study provides a basic knowledge of educational guidance in school and counseling fields by expanding the understanding of a boy's unconsciousness.

• International Journal of Knowledge Content Development & Technology
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• 제4권1호
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• pp.23-37
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• 2014

The Trust and Authority in Scholarly Communications in the Light of the Digital Transition research project1) was a study which investigated the behaviours and attitudes of academic researchers as producers and consumers of scholarly information resources in respect to how they determine authority and trustworthiness. The research questions for the study arose out of CIBER's studies of the virtual scholar. This paper focuses on elements of this study, mainly an analysis of a scholarly publisher's usage logs, which was undertaken at the start of the project in order to build an evidence base, which would help calibrate the main methodological tools used by the project: interviews and questionnaire. The specific purpose of the log study was to identify and assess the digital usage behaviours that potentially raise trustworthiness and authority questions. Results from the self-report part of the study were additionally used to explain the logs. The main findings were that: 1) logs provide a good indicator of use and information seeking behaviour, albeit in respect to just a part of the information seeking journey; 2) the 'lite' form of information seeking behaviour observed in the logs is a sign of users trying to make their mind up in the face of a tsunami of information as to what is relevant and to be trusted; 3) Google and Google Scholar are the discovery platforms of choice for academic researchers, which partly points to the fact that they are influenced in what they use and read by ease of access; 4) usage is not a suitable proxy for quality. The paper also provides contextual data from CIBER's previous studies.

• 한국연극학
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• 제53호
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.

• 한국철도학회논문집
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• 제19권4호
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• pp.555-563
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• 2016

선로용량은 수요에 부합되는 최대열차횟수를 결정하고 수송력 증대에 필요한 투자우선순위 판단을 위한 중요한 척도이다. 특히 2016년 중반부터 고속철도노선에 두 철도운영자가 운송사업을 개시함에 따라 선로용량과 실제배정 가능한 최대열차횟수 간에 상충이 발생하지 않고 유효운송경쟁이 보증될 수 있도록 선로용량을 산정 관리할 필요성이 있다. 열차종별 운행횟수, 도중정차패턴과 착발시각, 운행시간, 열차의 대피 또는 교행, 열차간의 안전시격 등에 따라 선로용량이 크게 달라지므로 현재까지도 실제 적용에 많은 논쟁이 있는 것도 사실이다. 이러한 문제점을 극복하고자 철도운영자의 운송정책을 고려한 열차운행 스케쥴을 반영할 수 있는 시뮬레이션 기법에 의한 선로용량 산정방법을 제시하고자 한다.