Satisficing and maximizing consumers in a monopolistic screening model

This paper is based on a chapter of my Ph.D. dissertation. I would like to thank Jose Apesteguia, Daniel Danau, Seong-Hoon Kim, Paola Manzini, Ricardo Alberto Marques Pereira, and my supervisors, Marco Mariotti and Luigi Mittone, for their helpful comments. I am also grateful to the editor, the associated editor, and two referees. Any error is my own responsibility.Peer reviewedPostprin

Toward an empathic panentheism: a study of John B. Cobb Jr.'s idea of God and Nongmun Im Seong-Ju's Idea of Ultimate Reality

This thesis deals with "empathic panentheisim". Precisely, we look into a comparative study between the panentheism of John B. Cobb Jr.'s idea of God and Nonmun Im Seong-Ju's idea of Ultimate Reality. By doing so, we can find out that the relationship between God and the world shows us an "empathic" relationship. However, we can identify many problems in Korean churches. The core problem is "the dualistic view of God and the world." Most churches teach the divide of "the holy and the secular" or "things of God and things of the world." This dichotomy causes indifference and apathy toward the social justice or social problems. For solving this problem, we should deal with the panentheistic vision of God in Process Theology. In Alfred North Whitehead and John B. Cobb Jr.'s idea of God, actual occasions transit to the final concrescence through the mutual correspondence of God and the world. In this point, this relationship and correspondence between God and the world can be the empathic vision. Also, we should look into Nongmun Im Seong-Ju's idea of Ultimate Reality in the Neo-Confucian tradition. Nongmun Im Seong-Ju argues that li and qi are equally real. Under this major premise, Nongmun establishes his theory of li-qi unlike other Neo-Confucian scholars who separate li with qi and consider the li-qi dichotomy. In this point, Nongmun Im Seong-Ju considers the correspondence between li and qi as life-giving intention (生意, Saeng-ui). Nongmun Im Seong-Ju regards the life-giving intention as the heart-mind of empathy. The life-giving intention is an ontological and cosmic creativity to connect the human heart-mind and the Great Ultimate. For overcoming the dichotomy of Ultimate Reality (or God) and the world, both John B. Cobb Jr. and Nongmun Im Seong-Ju focus on the relationship and the correspondence. After all, both two scholars try to establish the empathic relationship between Ultimate Reality (or God) and the world

Teaching a traditional Korean art form : descriptive analyses of individual lessons taught by three gayageum sanjo master teachers

The present study represents the first systematic description of music teaching by gayageum sanjo masters. I observed and made video recordings of three renowned masters of sanjo who were teaching lessons to advanced-level students. I organized my descriptions around rehearsal frames, intervals of instructional time devoted to the accomplishment of identifiable proximal performance goals. Many of the characteristics of the teaching I observed are consistent with those identified in the teaching of artist-level Western musicians. Teachers strategically identified proximal performance goals that could be accomplished within brief time intervals and with few repetitions by the student. Thus, students consistently experienced successful outcomes throughout each lesson. As the students were performing at an advanced level and had already learned and could play the pieces they were working on, teachers were particularly focused on refining elements of musical expression and inflection. Perhaps as a result of this focus, teacher vocal and instrumental modeling were prominent features of all three lessons. Seldom did teachers address an aspect of student performance without providing some form of model. Data from these observations may provide a useful starting place for the formal study and further development of gayageum sanjo pedagogy.Musi

Our cool leader : anti-North Korea propaganda

textCurious as to how the Kim regime of North Korea could have controlled people for 70 years by making idols of themselves, I felt strongly that I had to do something to end the absurdity and to bring freedom to the people of the country. To this end, I believed the best way is to point out the self-contradiction of Kim Jong-un and his regime, was to present an anti-North Korea propaganda image based on the irrational facts of North Korea. The ultimate aims of this thesis project are: 1) to reveal the true North Korean life and people’s suffering, which is masked behind Kim Jung-un's propaganda and, 2) to send an anti-North Korean propaganda message into its territory. Our Cool Leader: Anti-North Korea propaganda, therefore, was intended to be an audience participation event. An artifact, a satirical bust sculpture of Kim Jong-un, and the related mask performance allowed audiences to explore how North Korea Propaganda works and view the propaganda images of anti-North Korea. In the final act, I intend to send the recorded performance video and anti-propaganda leaflets to North Korea.Theatre and Danc

NAZYWAM SIEBIE SNOBEM – POLITYKA ESTETYKI KOREAŃSKIEJ POEZJI W OKRESIE DYKTATURY

This study addresses the issue of politics of aesthetics in Korean poetry in regards of ‘authenticity of snobbism’ manifested in poems and essays published from late 1960s to 1980s under dictatorships. The special attention is on the double positioning of oneself as the accuser and the accused. The questions of the politics of aesthetics of Korean poetry, even the recent argument, has discriminated ‘authenticity’ from ‘snobbism’, in the needs to qualify literature as the accuser of the opportunism and passivism under the dictatorships. However, this dichotomy has restricted the political-aesthetic possibilities of literature to an exclusive property of poets or (poets as) ‘citizens’. This study explores how Korean poetry generated the possibility of political aesthetics from every single snobbish corner of lives by placing ‘the accuser’ of the dictatorial government on the position of ‘the accused’ through its own voice. Poems and essays of Kim Soo-young, Kim Kwang-kyu and Lee Seong-bok will be significantly examined as what manifested the autoimmunity of literature beyond the pose of self-reflection.이 글은 ‘속물의 진정성’이라는 주제로 한국 시의 미학적 정치성을 다루는 글이다. 1960년대 후반에서 1980년대까지 독재 정권 하 출간된 시와 산문을 다루면서, 이 글은 ‘비판하는 자’와 ‘비판 당하는 자’로서 스스로를 동시에 위치시킴으로써 ‘겹쳐있는 존재’가 드러내는 가능성을 논한다. 그간 한국 시의 정치성과 미학성과 관련하여 ‘진정성’은 언제나 ‘속물성’과 명확히 차별되는 무엇으로 논의되어 왔다. 그 기저에는 독재 정권 하 기회주의자 혹은 ‘소시민’을 ‘비판하는 목소리’로서, 문학이 더 나은 세계의 가능성을 배태하는 공간이 되어야 한다는 절박한 요청이 자리하고 있었다. 그러나 이러한 ‘진정성’ 기획은 정치적-미학적 가능성을 소수의 문학인이나 그들이 상징하는 ‘시민’의 형상만이 전유할 수 있는 것으로 제한하였고, 그로써 문학의 정치성과 예술성은 고립된 방식으로만 논의될 수 있었다. 그러나 한국 시는 가장 ‘속물스러운’ 일상의 세목에서 그 속물성을 비난하는 자와 속물로서 비난 당하는 자의 목소리가 겹쳐지는 방식으로 ‘진정성’의 이분법을 초과하는 정치적-미학적 가능성을 형성해내고 있었다. 이 글은 김수영의 시와 산문, 김광규와 이성복의 시를 통해 한국 시가 ‘자기 반성’의 포즈를 넘어서는 ‘자기면역’을 수행함으로써 독재 정권 하 문학의 정치성과 미학적 윤리성을 추구해나간 방식을 독해해보고자 한다.Niniejszy artykuł porusza kwestię polityki estetyki w koreańskiej poezji, w odniesieniu do „autentyczności snobizmu” zobrazowanej w wierszach oraz esejach autorstwa Kim Soo-young, Kim Kwang-kyu oraz Lee Seong-bok, opublikowanych w okresie dyktatury (od końca lat 60. aż po lata 80). Szczególną uwagę poświęcono zagadnieniu umieszczenia siebie w podwójnej roli – jako oskarżyciela i oskarżonego. Pytania dotyczące polityki estetyki w poezji koreańskiej, odróżniały „autentyczność” od „snobizmu”, co miało na celu zakwalifikowanie literatury jako oskarżyciela oportunizmu i pasywności w okresie dyktatury. Jednakże ta dychotomia ograniczyła polityczno-estetyczne możliwości wspomnianej literatury. Celem niniejszego artykułu jest zbadanie, w jaki sposób mogło dojść do powstania w poezji koreańskiej estetyki politycznej poprzez umieszczenie „oskarżyciela” dyktatorskiego rządu w pozycji „oskarżonego”

Mother, warrior, and prophet : the myth of Kim Jong Suk in DPRK Cinema

In the late 1970s, North Korean propaganda began to increasingly idolize various members of the Kim Il Sung family. Among the hagiographies of the so-called bloodline of Mt. Paektu is that of Kim Jong Suk (1917-1949), the first wife of Kim Il Sung and the mother of Kim Jong Il. Although her cult has attracted the attention of many scholars, this is the first study on the representation of Kim Jong Suk on the screen. The article provides an analysis of five movies dedicated to her, created between 1979 and 1985. All were written by Paek In-jun, the most important screenwriter in Kim Jong Il’s film production unit. The image of Kim Jong Suk in cinema is highly idealized and she is ascribed attributes that exceed typical human capacities; however, cinematic representations of her are careful not to suggest any that might be interpreted as supernatural. Kim Jong Suk is a master in both the male and female spheres. She is a compassionate mother, healer, and nurturer, and at other times a ruthless, merciless warrior. The Mother-Warrior figure she represents refers to paradigms popular in the Communist sphere, and Kim Jong Suk’s selflessness is characteristic of the so-called hidden heroes of North Korean cinema. The uniqueness of Kim Jong Suk lies in her close relation with Kim Il Sung, not as a wife but as his most faithful follower. It makes her a convincing messenger of his messianic role

Gardner-Webb’s Dr. Francis Kim Discusses U.S. Monetary Policy on Top National Television Network in South Korea

Dr. Francis Kim, associate professor of finance in the Godbold College of Business at Gardner-Webb University, was recently featured on SBS, one of the top three national television and radio networks in South Korea. Kim discussed financial-related topics of international interest and appears for about 15 minutes.https://digitalcommons.gardner-webb.edu/gardner-webb-newscenter-archive/3415/thumbnail.jp