• Journal of Korean Library and Information Science Society
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• v.20
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• pp.351-381
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• 1993

The purpose of this study is to analyze the various processes and patterns to build or synthesize class numbers in the 800 class of the Dewey Decimal Classification, Edition 20(1989). The results of the analysis are as follows: 1. The 800(Literature and rhetoric) class in the DDC system is the main class added analytico-synthetic principle positively to an enumerative scheme. 2. The facets to be a n.0, pplied in literature are language literary form literary period ; kind, scope, or medium ; notation 08(collection) or 09(criticism) literary feature, subject, author, etc. 3. In the 800 class, there are the five tables of precedence for literary forms aspects ; specific kinds of persons ; literary, period in relation to the aspects for works treating more than one literary form subforms, aspects and literary periods in the works treating a specific literary form. 4. The basic number synthesis of literary works proceeds through the various facets in the following sequence, as far as necessary for the item : base no. + literary form + literary time or period + kind, scope, or medium + notation 08 or 09 + subform + additional notation from T3C and other tables. 5. In view of the multiplicity of facets, their synthesis formulas take the following order : (1) Works about the literature : base no.(schedule) + language(T6) or form(T3B) (2) Works by or about individual author : base no.(schedule) + form (T3A) + period(schedule) + subform(T3A) (3) Works by or about more than one author, not restricted by language facet : base no.(schedule) + period(T1) ; base no.(schedule) + kind, scope, medium(T3B), or feature(T3C), or person(T5). (4) Works by or about more than one author, restricted by language facet : base no.(schedule) + form (T3B) + period(schedule) + subform(T3B) + notation 08 or 09(T3B) ; base no.(schedule) + notation 08 or 09(T3B) + 9(T3C) + area notation(T2) : base no.(schedule) + form (T3B) + notation 008 or 009(T3B) : base no.(schedule) + form (T3B) + kind, scope, medium(T3B) + notation 08 or 09(T3B) + period(schedule). (5) Affiliated literatures for which period numbers are not us base no.(schedule) + form (T3A or T3B), or notation 08 or 09(T3B) : base no.(schedule) + kind, scope, medium(T3B), feature(T3C), or person(T5) 6. The problems in the number building of the 800 class are the complexity and difficulty of number synthesis, the intrinsic weakness of from distinction and the inconvenience of retrieval inherent in the form class. In order to solve these problems, therefore, the citation orders and methods of DDC should be improved and synthesis patterns simplified from the point of view of its applicability and its usefulness in the "literature class".

• Cartoon and Animation Studies
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• s.50
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• pp.215-237
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• 2018

I analyze orange that is consistently used, even though not consciously, in the films whose function and meaning are clear. In detail, there are examples of color in films, psychological phenomena of colors expressed in posters and opening titles, color characteristics of clothes and costumes, and semiotic analysis of color names in film titles. (1) Fact and Truth; civilization and criticism. The film tries to tell the truth than the fact. It represents facts as it is, but it presupposes truth. This is a unique characteristic of media films. The truth of the fact is not important. The film tells the truth believing and wanting to show off. The film, which has inherent characteristics of the gap between fact and truth, represents nature and civilization. It carries nature as it is and criticizes the harm of civilization. Orange is nature and civilization. Realistic films such as Hong Sang Soo and Kim Ki Duk, fall into this category. For example, there are A Taxi Driver(2017) and I Can Speak(2017). (2) Virtual History; fake images and memories. In Hollywood SF genres like The Matrix(1999), orange was dealt with virtual reality. However, in Korean films they are replaced by historical dramas. The representation of history becomes a virtual reality. Films such as The Fortress(2017), Masquerade(2012), and Roaring Currents(2014) deal with virtual history. In these films, orange is a fake image and memory. (3) Light=color; Aura. The color and light of orange is aura. At sunrise and sunset, the orange of the incandescent light is almost similar to that of the artificial light. Orange of tungsten makes the real characters surrealistic and mysterious. For example, there are The City of Madness(2016), The Man from Nowhere(2010), and Coinlocker Girl(2014). (4) Fantasy; communication with other worlds. Orange is a sweet fantasy. In our daily life, we go to a supermarket, share a chat with friends in a coffee shop, and spend time in front of a television. Orange makes our life free and dreams. It is the communication between the former being and the other world. This can be found in the sexual fantasy scenes of all genres. For example, there are Sunny(2011), Welcome To Dongmakgol(2005), and 200 Pounds Beauty(2006).

• Korean Journal of Social Welfare
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• v.59 no.3
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• pp.59-73
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• 2007

The compensation system in industrial accident insurance is systemized with "either receiving all or no benefits at all" according to "admited or denied as an industrial accident". Therefore, they are centered on the decision as "industrial accident" or "non-industrial accident", but judging between the two is very complicated, and has inherent conflicting factors. In the early stage of industrialization, industrial accident compensation was based on the indemnity liability for employer's faults. In order to be compensated any damage, the injured worker should prove that the accident was not due to his or her faults. However it was very difficult for injured worker or his or her family to prove the employer's faults, so it was almost impossible to get compensation. Thereafter industrialization progress and improvement of workers' political status lead to conversion from principle of liability with employer's faults to principle of liability without employer's faults. In addition to that, coverage of industrial accident compensation was also expanded. This improvement strengthened the benefit payment principle of "All or Nothing". Even though the "All or Nothing" principle provokes tremendous criticism, the reason why it's difficult for industrialized countries to adopt partial compensation system, is that partial compensation system worsens the administrative hardship, therefore industrialized countries overcome the restrictions of the "All or Nothing" principle with making balance in provisions for any risk to some extent. However, in Korea because the general compensation system for covering medical cost and income loss from accidents, is not equipped, it could be possible to cause acute conflicts with regard to coverage of industrial accidents. Therefore it is required to improve the industrial accident insurance with the acceptance of the significance and logic of discriminated compensation, and create the integrated compensation system in the long run.

• Archives of design research
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• v.11 no.3
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• pp.219-228
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• 1998

As automobile drivers' desires become ever diversified with the spreading phenomenon of 'characteristic automobile decorations', it is feared that the design quality may be deteriorated, while the safety be retarded in terms of performance and function. In Korea, the 'Dress-up tuning' becomes the source of the social criticism because of lack of relevant codes and professional tuning services, while automobile drivers are excessively having their automobiles overdressed ignoring the overall aesthetic aspect and functions. Under such a circumstance, this study was aimed at reviewing the practices and dress-up accessories by each automobile part of those foreign automobile makers and professional tuners who have introduced the concept of 'customizing' and developed dress-up accessories and various tuning parts only to satisfy their customers' tuning needs. It is anticipated that automobile styling would tend more to pursue a 'coordination' featuring ordinary consumers' individualistic senses, while customers' needs reflecting their life styles be more refined. Meanwhile, Korean automobile consumers have accommodated the product designs : presented within the producers' frameworks, but they are expected to pursue the design values varying according to changing structures of production, society and industry as well as the resultant design activities. In all, makers and designers are requested to be aware of such changing environment structures and thereby, explore other alternatives, or reflect seriously on the socio-cultural implications inherent in the products, namely on the production and consumption of people's favorites.

• Management & Information Systems Review
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• v.33 no.3
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• pp.167-187
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• 2014

While Korean GAAP had detailed regulations for the measurement and disclosure of operating income in the past, K-IFRS did not provide specific rules for operating income until 2011. Some firms that adopted K-IFRS before 2011 did not disclose or calculated operating income in an inconsistent manner although operating income is usually considered as one of the core information items to assess firm valuation. Inconsistency in firms' treatment of operating income invoked much criticism from diverse users of financial statement. The Korean Accounting Institute (KAI hereafter) revised the K-IFRS rules relevant to operating income in September 2010 in response to the voices raised by the business community, whereby the operating income number is allowed to be calculated in conformity with the previous K-GAAP. This study was motivated by the revision of K-IFRS and aims to provide a clue on the validity of such policy decision. To achieve the research objective, we test the relative value relevance of the alternative operating income numbers under K-IFRS versus K-GAAP. Our main findings are as follows. The value relevance of operating income reported before K-IFRS is proved to be higher than after K-IFRS. K-IFRS operating income adjusted to the previous K-GAAP has greater explanatory power for market values relative to one calculated under the K-IFRS regime. In an additional analysis, the sample was decomposed according to whether the operating income under K-IFRS is greater than under K-GAAP. The difference in the value relevance of K-IFRS versus K-GAAP operating income is significant only in the subsample consisting of firms which reports higher operating income under K-IFRS compared to K-GAAP. Also, the firms which would have reported negative operating income on a consecutive basis are more likely to have chosen K-IFRS, resulting in higher numbers than otherwise. It is likely that firms facing the threat of delisting due to consecutive operating loss reporting are more likely to have adopted K-IFRS disclosure rules by which they could report higher operating income numbers. To sum up, these results corroborate the limitation inherent in the K-IFRS regarding operating income disclosures. This paper suggests that the recent revision of K-IFRS implemented by KAI is likely to mitigate some of afore-mentioned limitations effectively.