• Korean Association of Arts Management
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• no.53
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• pp.5-45
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• 2020

This study aims to deeply analyze the subjective attitude of jazz performance audiences in Korea using Q methodology. In order to establish a population for the research, we decided 'People's mind about jazz performances' as the main topic and finally selected a Q model consist of 38 statements after having a depth interview with corresponding experts. Additionally, from January to February 2019, we implemented a Q-sorting and individual interview to total of 27 people including people majored in music, jazz club members and other citizens. The result were the following. First of all, a musical-interest oriented type. People of this type understood watching jazz performance as a daily leisure activity and went to watch a show more than once a month on overage. Those people obtained information of performances and actors before attending a show using social network such as SNS and jazz clubs. They also had a big desire to have an emotional interaction with jazz musicians while having a fan signing event or performance. Secondly, a general-interest oriented type. This type of people had a tendency of considering watching a jazz performance as a especial experience and not a daily life event. Attending a jazz performance was a novel experience which could be done with their close friends in a special day. Thirdly, people with self-value oriented type. This people were majored in jazz and classic in their universities. As they had a concrete perspective, professional knowledge and experiences, they were more sensitive on the general quality of the performances such as show's sound, light, video, sound system of the theater, player's ability, level of facilities, accessibility, etc. rather than the reputation of an artist. This research did not only revealed jazz audience's subjective tendency using Q methodology but also demonstrated the types of jazz audiences and their characteristics. Therefore, this could be a meaningful study for suggesting a significant implication for the marketing mix of performance planning on each jazz audience type.

• Korean Journal of Culture and Social Issue
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• v.27 no.4
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• pp.561-584
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• 2021

This study was conducted to classify 601 Korean adults into latent classes according to their love types and identify the differences in depression and find variables that affect the latent classes classification. As a result of the latent class analysis, the latent group for love types of Korean adults were classified into the L-H (7.7%) group, which showed the highest level of all three factors of intimacy, passion, and commitment, and the L-MH (33.6%) group, which all three factors were higher than the average, the L-M (39.8%) group with the mean of all three factors, the L-ML (14.6%) group with all three factors lower than the mean, and the L-L (4.3%) group with the lowest all three factors. Also, as a result of ANOVA, the L-MH group was psychologically healthier and more adaptive than the L-ML group. As a result of multinomial logistic analysis, females were more likely to belong to L-M, L-ML and L-L groups than males. In addition, singles were more likely to belong to the L-M and L-ML groups than those who were married. Also, the higher the anxiety attachment level, the higher the likelihood of belonging to the L-M, L-ML, and L-L groups than the L-H and L-MH groups, the L-ML and L-L groups than the L-M groups, and the L-L group rather than the L-ML groups. However, age, neuroticism, and emotional regulation did not affect the classification of latent classes. This study is meaningful in that it identified the various latent classes for the love types of Korean adults more three-dimensionally and suggested the possibility of differential interventions according to the characteristics of each group.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.1-15
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• 2019

Psy's Gangnam style in 2012 showed K-pop's potential for global growth and BTS proved it by reaching three consecutive Billboard No.1. The success in the global music market brings tremendous economical and cultural power. This study is conducted for the continuous growth of K-pop music in the global music market by analyzing the musical factor of K-pop's global success. The top 20 most-viewed K-pop MV on Youtube is chosen as a research subject because Youtube is a worldwide platform that reflects global popularity. For the process of K-pop music creation, the role of the composer is expanded and many overseas producers participate in music creation. All 20 songs are created by the collective creation system and there is a consecutive collaboration between the main producers and certain artists. The top 20 most viewed K-pop songs have the musical characteristics of transnational genre convergence, hook songs, sophisticated sounds, frequent use of English lyrics, a reflection of the latest global trends, rhythm optimized for dance and clear concept. It makes the K-pop song easily remembered and familiar to overseas listeners. K-pop's healthy and fresh theme brings emotional empathy and reflects Korean sentiments. K-pop's global success is not a coincidence, but a result of continuous efforts to advance overseas. Some critics criticize K-pop's musical style is similar and it shows K-pop's limitation but K-pop progressed its musical evolution. By keeping the merits of K-pop's success factors and complementing its weak points, K-pop will continue its popularity and increase influence in the global music market.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.45-71
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• 2019

Through the expansion of platforms in the media era, this paper notes the phenomenon in which 'high-teen romance drama,' a genre which had been marginalized in the past, began to re-emerge. It analyzes the 'high-teen romance drama,' which is moving from TV to the Web and being produced in various ways, while successfully returning to the TV drama format. This study sums up the latest trends in TV and web-based high-teen romance dramas, and as a case study, this paper examines the characteristics of the 'high-teen romance drama' in relation to the platform's environment through the web drama A-Teen, TV drama 18 Moment. Due to the restriction of ratings, high-teen romance dramas have been one of the largely marginalized genres on television. But in the web space, high-teen romance dramas are no longer non-mainstream. The high-teen romance drama has been solidifying its position through the Web, with absolute support from young viewers. Web dramas are gradually expanding their influence on the genre and subject of TV dramas. The high-teen romance drama is one of the most prominent examples of this trend. The popular interest and success of the high-teen romance web drama has brought the forgotten high-teen romance drama back to TV. The web drama A-Teen is a high-teen romance drama about everyday life and love of high school students, and became one of the most popular and popular web dramas, leading to a Season 2. A-Teen actively utilizes teenage culture and expression, and a strategy that leads to empathy among teenage viewers. In A-Teen, love is recreated in a way that relieves the depth of overconsumption emotions. Instead of dealing in depth with the inner conflict over love, it takes an approach ofpresenting the emotional change of love in real time and forming a consensus with the acceptor. The TV drama 18 Moment is one of the programs that has helped refocus attention to TV-hitting romance dramas. 18 Moment underlines the growth of the characters, with the main characters reaching maturity through love as fresh and innocent teenagers. The TV drama 18 Moment is a high-teen romance drama that has been transformed into a way to apply the web-fadding high-times grammar while retaining the typicality of existing TV hagwons to suit the TV broadcasting environment. As the Internet becomes more ubiquitous, video content is changing based on the newly emerging platforms. Dramas no longer mean just traditional television media. While considering the limitations of TV, this paper analyzed the background of the rebirth of the high-teen romance drama, which had been marginalized, through the web platform. This is meaningful in that it identifies and considers the increasing popularity of this genre of drama.

• Korea Science and Art Forum
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• v.29
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• pp.305-318
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• 2017

The need for recognizing the crime in the urban spaces as a social problem and finding out specific approaches such as the study of space design and various guidelines for crime prevention is increasing. In this regard, "Crime Prevention Through Environmental Design" (marked as "CPTED") is actively underway. Yeomri-dong Salt Way is the first place to which the Seoul Crime Prevention Design Project was appled. The business objective of improving the local environment has been implemented rationally through cooperation and voluntary participation between subject of the project executives and community members. Since its efficiency has been proven, the sites have been expanded since then and becomes a benchmarking example of each local government.This kind of problem solving effort has the same context in purpose and direction of the 'Village Art Project' which has been implemented since 2009 with the aim of promoting the culture of the underdeveloped area and encouraging the participation of the residents by introducing the public art. It is noteworthy that this trend is centered around the characteristics of community functions and values. The purpose of this study is to propose the application method of community furniture as a way to increase the efficiency of CPTED to improve the 'quality of life' of residents. To do this, we reviewed CPTED, community design, public art literature and prior research, and identified the problems and implications based on the site visit Yeomri-dong of Seoul and Gamcheon Village of Pusan which is the successful model of "Seoul Root out Crime by Design" and 'Maeulmisul Art Project' respectively. The common elements of the two case places identified in this study are as follows: First, the 'lives' of community residents found its place in the center through the activation of community by collaborative activities in addition to the physical composition of the environment. Second, community design and introduction of public art created a new space, and thereby many people came to visit the village and revitalize the local economy. Third, it strengthened the natural monitoring, the territoriality and control, and the activity increase among the CPTED factors. The psychological aspect of CPTED and the emotional function of public art are fused with the 'community furniture', thereby avoiding a vague or tremendous approach to the public space through a specific local context based on the way of thinking and emotion of local people and it will be possible to create an environment beneficial for all. In this way, the possibility and implication of the fusion of CPTED and public art are expected to be able to reduce the social cost through the construction of the crime prevention infrastructure such as expansion of the CPTED application space, and to suggest a plan to implement the visual amenity as a design strategy to regenerate city.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.213-220
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• 2019

Desire for a happy life becomes the will that man instinctively desires. In that the conditions of happiness are subjective and varied, the will of subjective desires has been studied with the attention of objective tendencies. The positive and meaningful will of life in the desire for happiness leads us to be the functionaries who act. These wills can be the driving force of a happy life, which allows one to have a hopeful reflective will in one's inner life, connecting oneself with others, and working in relationships with others. In addition, those who become lazy or lose their orientation in life can instill a will to be the main character of life, and furthermore, to give the ultimate meaning and goals of life. To understand and analyze these wills for happy lives more specifically, structural model compatibility and confirmatory factors were conducted. relatively reliable α=.855 value, the coefficient of correlation between recognition and will **p<.01, *p<.05 statistically significant measuring tool of not less than 05 was used. The study results of the structural model suitability of the factors of will and the confirmatory factor analysis showed that the model set by the researcher could reflect the characteristics of the data collected, and that the χ²(Chi-square) value was .126, which was consistent with the model by satisfying the acceptance criteria, and that the comparison of the reference values of the study model showed a relatively high level of suitability. To identify the relationship between cognitive and defined and behavioral factors of subjective will and existent will variables, the results of a verification factor analysis show that the χ²(Chi-square) value is 2.36 and the model and data are consistent with the acceptance criteria, and that the test data is consistent with the model and data set by the researcher are consistent with the model5.0 Through structural model analysis of human will, it was confirmed that the variables of subjective and existential, sensible and reflective will directly and indirectly influence and form a complex relationship. Our will is recognized as the subjective will, and the structure of the subjective will consists of the sensible and reflective will, and the relationship between the cognitive and just action elements and the subjective will of the human life and the will to exist is shown to be very meaningful, so we should conduct the education of the happy will of the emotional and just areas of life as well as the reestablishment of the cognitive educational direction that can lead to action.

• Korean Journal of Culture and Social Issue
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• v.24 no.4
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• pp.657-689
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• 2018

The purpose of this study is to develop a substantive theory on 'eating alone'(honbob)and the process of maintaining the lifestyle of eating alone for the need of a non-judgmental understanding on the new 'honbob' lifestyle. Data were collected through in-depth interviews with 10 male and female workers in Seoul and Gyeonggi-do, who voluntarily eat alone over 70% of their meals per week with the minimum duration of 5 years. Data analysis was performed using grounded theory proposed by Strauss & Corbin (1998) in the qualitative research method. As a result, a paradigm model on the process of maintaining 'honbob' was derived. Based on categorical analysis, the causal condition was 'not trying to tune' and the central phenomenon was 'following the desire to set efficiency as the top priority. Contextual conditions were 'the atmosphere of fierce competition', 'weakening of organizational culture', 'diffusion of individualistic culture'. The intervening conditions were 'personal trait and emotional experience', 'job characteristics of less organization culture'. The action/interaction strategies were 'accepting internal conflicts', 'acting in autonomy', 'finding relationship through media', and 'distancing from superficial relationship'. The consequences were 'enjoying time for self-exploration', 'valuing self-care', 'becoming a epicurean conventionalist', and 'becoming aware of the need for balance'. The core category has been shown as 'self-oriented in accordance to priority of efficiency and being able to appreciate the importance of social group'. The Such phenomenon passes through four different stages - first, the stage of weighing time efficiency while beginning hon-bob; second, the stage of conflict when one feels nervous and not free from others' view; third, the stage of adjustment to justify his/her 'hon-bob'; and the final stage of balance to perceive the importance of social group while going on 'honbob'. The study had the aim of increasing the understanding and acceptance of the new 'honbob' lifestyle through an in-depth exploration of office worker's 'honbob' experience and the process of maintaining 'honbob' so the society can better accept it and, further, to embrace co-existence of various cultures.

• Korean Journal of Culture and Social Issue
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• v.29 no.4
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• pp.537-567
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• 2023

This study compared the nature of disgust caused by the crime scene with that by the stereotype of the sexual-minority defendant, and compared the effect of each type of disgust on evidence evaluation and legal judgment. A total of 600 participants (300 men, average age of 44.40) were randomly assigned to sources of disgust (crime scene, sexual minorities defendant, control condition), the existence of additional evidence of innocence (o/x), and the existence of judicial directives (o/x). As a result of the study, disgust under the condition of a cruel crime scene with strong physical disgust was significantly higher than that of the sexual minority defendant, interpreted the evidence in a more guilty direction, and was more prone to_evaluate that the defendant was guilty. It is noteworthy that evidence evaluation was a significant moderating variable between disgust and probability of guilt under conditions where the source of disgust was a sexual minority, but not under control conditions and crime scene condition. It means that the effect of disgust on legal judgment may not be direct when the defendant is a sexual minority. In addition, the existence of the judicial instruction had a significant inverse effect on the sentence. And simple effect analysis found that presenting judicial instruction lowered probability of guilt only under the control condition. This makes it reasonable to infer that disgust derived from the characteristics of the crime scene and the defendant can be recognized as integral emotions that are difficult to correct with instructions. Finally, pity for the defendant was significantly higher under the conditions of sexual minority which shows that an emotional response of sympathy may occur in addition to disgust for sexual minorities. After examining the nature of disgust (physical & moral), legal judgment according to the source and degree of disgust was reviewed. In addition, the meaning of disgust and sympathy for the sexual minority defendant was discussed.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.17 no.5
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• pp.133-150
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• 2022

The purpose of this study was to develop a female entrepreneurial competency model. For the purpose, two Focus Group Interviews (FGI) were conducted with seven outstanding female entrepreneurs, and three expert reviews were conducted. In addition, in order to verify the validity of the provisional female entrepreneur competency model derived from the FGI and competency modeling expert review, the female entrepreneur competency model was finally confirmed through a survey of 442 female entrepreneurs. The results were as follows. First, a female entrepreneur competency model consisting of 6 competency groups and 25 competencies of entrepreneurship, emotion, business management, relationship management, strategic management, and multitasking, and 75 behavioral indicators describing each competency was developed. Second, sensibility and multitasking are competencies that reflect the characteristics of female entrepreneurs. In particular, 'social sense', which is the ability to be considerate of others in the emotional competency group and the ability to respond well to subtle nuances, and the multitasking competency group's unique strengths are women's ability to perform various tasks at the same time. The 'work-family control ability' of a female entrepreneur who maintains a balance between 'multi-tasking' and work and family is a representative competency of only female entrepreneurs. Third, the developed female entrepreneurship competency model is meaningful in that it not only increases female entrepreneurial competency so that prospective female entrepreneurs can successfully run a business through entrepreneurship education, but it also makes it easy for existing female entrepreneurs to reflect and improve their competencies. If we provide appropriate training programs to female entrepreneurs based on their competency, it will be possible to effectively enhance the entrepreneurial competency, which is the key to strengthening the competitiveness of female entrepreneurs. The female entrepreneur competency model developed through this study can provide a basis for future research on competency diagnosis and education needs analysis.

• Korean Association of Arts Management
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• no.50
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• pp.101-146
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• 2019

After the enactment of the Local Culture Promotion Act in 2014, the government has been continuously trying to find the direction of the local culture that reflects the local life and conforms to the local people's emotions. In response to these efforts, the Organizing Committee for the C Region Biennale has uniquely formed the Biennale Artistic Director as a local artist who includes the historical, ecological and emotional characteristics of the C region. Therefore, I sought to explore the perception of the identity and role of the local cultural arts director through the narratives of the research participants who were appointed as the local residents of the C region and the director of the Craft Biennale. For the study, six local cultural arts directors were selected as research participants, and their identity as a local cultural arts director and its role were explored, focusing on their narratives. In this process, various types of data such as photographs, documents, in - depth interviews, and conference materials were collected and narrative was analyzed based on deterministic events. The results of the investigation are as follows. The idea of the identity of the local cultural arts directors was found to be in three directions. First, it is the view that the symbolic role of the artistic supervisory system of the 10 persons guarantees the identity. Second, the identity of local cultural arts directors was recognized as a role to find ways to be localized by developing and debating cultural and artistic discourses in various regions. Third, the participants had a concern and affection for local cultural arts, not one-time but continuous, and recognized it as their identity. The directors who participated in the interviews showed that the discourse of cultural arts in various regions were developed and discussed, and they wanted to find ways to be localized. The roles of local cultural arts directors recognized by research participants in connection with their identity are as follows. First, it should be the subject of systematic and long-term planning that can close the year and connect with the art events of the following year. Second, it should play a role of academic / research that can derive the identity of social and cultural ecological analysis connected with the area. Third, local arts professionals are required to act as cultural brokers, ie local culture professionals, who can create a venue for international cultural exchanges. Research on the form of local government supervision as a mediator of local cultural arts is to find out the origin of the identity of local artists and to establish a methodology for the direction of culture and art as a subject of local people. In addition, there is a need for continued interest and research in providing a reflection on the communication and meaning of the desirable local culture, and suggesting the system for cultivating local cultural arts intermediaries.