• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.6
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• pp.26-39
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• 2016

This research paper explores the process of developing skateboarding spaces in urban parks. Skateboarding is one of the most popular sport activities representative of urban parks. This research paper will analyze the process of introducing skateboarding activities into park spaces and their acceptance by the general public as well as derive meaningful general implications for park space development planning. The research method is a discourse analysis of newspaper articles regarding skateboarding issued between the 1960s and 2010s. These articles are the main resources to show the creation of a skateboarding culture, generation of skate park spaces, and the extinction of these spaces during the research period. The result of this research is as follows. There are reasons that allowed for the creation of skate park spaces in urban parks. First of all, positive associations that people have regarding skateboarding have influenced the park's users and operators' decisions that a park is proper space for skateboarding activities, and the agreement to remodel the park space. Secondly, skate parks became a space for multiple-uses that can be shared with other emerging sports, which resulted in a building boom of skateboarding spaces in urban parks. Thirdly, urban parks and their new culture of active sports became a marketing tool used by local governments to attract new inhabitants to their new towns. On the contrary, there are three main reasons for the deterioration of skate parks. First of all, within parks in which skateboarding activities collided with other park usage, the skate parks disappeared. Secondly, skate parks built specifically for competitive skateboarding events and without consideration of casual skaters disappeared, as these facilities were not sustainable for use in the long term. Thirdly, the golden age of skate park skateboarding did not last long, as skateboarding trends shifted from trick performance to street skating, where skate parks are no longer needed. For this reasons, the exclusive use of park space for skateboarding activities has faded from public interest. The findings of this research suggest how sport activities should be introduced to urban parks. At first, each park's management needs to identify a sport suitable for long-term development, and not only plan for temporal events or follow fleeting trends. Secondly, the park's management systems should reflect a type of sport activity that would not only be popular at the beginning of the spaces development, but also take into consideration how these activities will change over time. Lastly, in cases where there are conflicts between sport activities and other activities in urban parks, attempts should be made to suggest feasible solutions other than the liquidation of sport spaces. This study explains the development process of sport spaces offered in urban parks, by thorough research of the process of acceptance of skateboarding activities in current urban park systems. This conclusion also indicates further areas for research with the purpose of understanding general best practices in urban parks sport space planning.

• Journal of the Korean Society of Food Culture
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• v.3 no.2
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• pp.187-195
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• 1988

In accordance with the rapidly growing number of street food service without a registration, a study was undertaken to determine the present state of food service by the covered wagon bar, through an investigation in Jamwondong, around the south gate market and Kangnam subway station, in Seoul, between July 25th and August 25th of 1987. The survey was comprised of three parts: 1) foodservice operation in covered wagon, 2) personal and food handling hygiene, 3) food behaviors of customers. A total of 54 covered wagon bars, consisting of 51.8% mobile bars and 48.2% non-mobile bars, operating in the above three locations, were investigated. Survey results show non-mobile covered wagon bars to be more popular among persons in their thrities and fourties than among teens or the elderly; also among males than females; among company employees and college students than others. Seventy five percent of the mobile covered wagon bars served snack type foods and others served wine and foods for wine, in contrast to hundred percent of the non-mobile covered wagon bars served wine and foods for wine. The survey found many problems of hygiene, in method of food purchasing, menu planning, food preparation, dish washing treatment of leftovers and water supply, as well as personal hygiene. However, customers prefer the casual and popular atmosphere at the counter of the covered wagon bar. Finally, the study emphasizes a need for better operation of covered wagon bar, improvement of food stuff handling and the way of food services and personal hygiene. A change of the registration system from the illegal operation are urgently needed for better quality food services of covered wagon bars.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.21 no.1
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• pp.72-81
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• 2017

There is a common misbelief that female gamers prefers simple cute easy games so that they are incompetent if higher skill level is required or disqualified to be a winning party member in MMORPG. This pink game theories are the results of video game analysis done in US and Europe way before online games and mobile games become popular thus. there are many evidences that such misconceptions do not hold anymore. However, researches on gender game culture and gender preferences have not been seriously conducted since 2007 in Korea. Thus, in this paper, we surveyed 88 male and 151 female gamers from their late teens to 30s and found a gap between behavior and perception due to serious gender stereotypes. Gender differences are still found in several areas, but the degree of differences were weakened or in different direction from 2007. The game design to attract female gamers should understand such gender gaming culture and gender difference.

• Culinary science and hospitality research
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• v.18 no.3
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• pp.191-205
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• 2012

Due to a surplus of rice on the market, there has been a growing interest in developing better processed rice products, especially rice liquor or spirits which are popular and have a large market value. In this study, Takju was made with different varieties of rice and rice powder particle sizes, after which a taste survey was performed and measurements were taken on the characteristics of Takju including the temperature of the fermenting material, sugar content, alcohol content, acidity, amino acid types, colors, etc. The varieties of rice used in the study included Chucheong, Hiami and Anda. The temperature of the brew for each kind of Takju reached its highest point 48 hours after preparation. Differences among rice varieties were only apparent in the acidity and taste evaluations. The acidity was found to be highest with Anda, followed by Chuchoeng and Hiami. Chuchoeng had the highest taste evaluation scores. With regards to particle sizes, the alcohol content and acidity were found to be highest with coarse rice powder while ultra fine rice powder showed the highest fermenting temperature, sugar content, acidity, amino acid type, pH level, color and taste scores right after preparation. The results of this study suggest that among the kinds of Takju made from different rice varieties and particle sizes, the one made from Chucheong ultra fine rice powder is the most preferable over other variations.

• Cartoon and Animation Studies
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• s.46
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• pp.151-179
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• 2017

The purpose of this study is to analyse the characteristics of the 1920s and 1930s to analyze the emotions of laughter in the popular culture, This period, such as the style of comic books, tools, and textures, has been influenced by the influence of the eodi, and it is in its way to establish the aesthetic aesthetics of the colonial Joseon Dynasty. In the pop culture of the 1920-30s, laughter was a new feeling in the gloomy atmosphere of colonial rule. It was the comic media that showed the sensation to the public, owned it, and injured it. Also, the comic book was an important period in which comic books were produced to produce quantitative and qualitative growth. The study explored how the comics interacted with other media in the 1920s and 30s. And the study analyzed what was selected in there. This can quickly explain how the comics gained, or how they obtained them. This shows how the comics gained, in a way, how they obtained laughter.

• (The) Research of the performance art and culture
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• no.20
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• pp.95-128
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• 2010

'The Orphan of Zhao family(Zhaoshi-Guer)'is one of the famous Chinese drama constantly transmitted for a long time from Yuan Dynasty to Qing Dynasty. The plot of the play in the transmitting process has not been changed much, but added new characters or episodes. The Kunqu, one of the Chinese drama styles was characterized by graceful music and refined literature, being very popular among the gentry of Ming and Qing Dynasty. The 'Zhaoshi-Guer' play in 'chuanqi' style of the 'The Sixty Plays' collection, is called 'Ba-yi-ji', which was sung in Kunqu崑曲 stage. Because 'The Sixty Plays' collection was widely read throughout the late Ming and Qing Dynasty, the 'The Sixty Plays' version became the model of Kunqu lineage example and so it was in the case of "Ba-yi-ji". In the end of the Ming, new performing type of drama that is called as Zhe-zi-xi(折子戱) was appeared. Zhe-zi-xi refers to make only some pieces, not the whole. With the new form of performance appeared many of the selected texts of plays have come out including 'Zui-bai-qiu'. Through the comparison between the pices of two Kunqu version, 'The Sixty Plays' and 'Zui-bai-qiu', I tried to observe the charisteristics of the Ba-Yi-ji performance of Qing dynasty. The latter succeded the former, but more performance oriented, such as using lively and easy word with the acting direction intensified and comic characters.

• The Korean Journal of Archival Studies
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• no.52
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• pp.315-342
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• 2017

Language is an important medium for communication among the members of society and a mirror that reflects society as a whole. As society and culture change and develop over centuries, language follows suit. To keep up with the changes in the new era and express new concepts, countless new neologisms continue to appear. Recently, the use of neologisms is getting increasingly focused on social networking service and other Internet communication sites, which then spread rapidly through various media. If you look at the popular neologisms on the Internet, it implicitly reflects conflicts between the eras and the generations, people's psychology and ideology, and social phenomena such as culture. The function of neologisms is not solely for the entertainment element of communication but also for criticizing social problems and their vital use as a search keyword. This study focuses on the meaning and importance of gathering information and analyzing records about neologisms that reflect the social phenomenon in a certain period, and this will be labeled as "neologism archiving." This study proposes a direction for the construction of a neologism archive by comparing the currently existing neologism archiving system with the existing dictionary concept. In addition, this study serves as a reminder of the convenience and the contemporary social phenomena, such as smooth communication between generations, and the dissemination of inequality of information sharing. Lastly, this study aims to support experts with their research on neologisms for the social phenomenon.

• (The) Research of the performance art and culture
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• no.35
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• pp.203-227
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• 2017

In this thesis, I examined the characteristics of modernism in this work, focusing on the melodrama "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')", which was popular in the 30s when the consciousness of modernity was overflowing. There has never been an example of a connection between modernism and drama in the 1930s. The characteristic of modernism is clearly embedded in the representative drama of "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')" at that time. In the title "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')". 'Don' reveals modern elements. 'Love' can be seen as revealing melodramatic elements. The flair of modern art, which is a background to reveal modern elements, is spread throughout the works. Hongdo fails to complete the relationship with his family, as well as with the couple. It became a person who accepted the modernistic phenomenon by showing the domination of matter. While the typical method of constructing conflicts in the pre-modern narrative works is horizontal and sequential, it can be said that it was in the form of a train station, while the post-modern era of narrative conflict formation from the 30s forms a plurality of conflicts simultaneously, can do. The fear of the ordinary people who see the reality that urban and western values are already rampant by attempting new contents that lead the change of values in "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')" became a factor to transfer into internal conflict again.

• Journal of the Daesoon Academy of Sciences
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• v.45
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• pp.187-226
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• 2023

In contemporary society, digital media has become an integral part of daily life that shapes how people interact with the world around them. This phenomenon has also influenced religious activities and practices. Studies on digital religion and religious practices among digital natives in the Western world have indicated that traditional religious practices are on the decline. Instead, more accessible and flexible forms of religious activities and beliefs are emerging. Given this context, it is important to investigate whether similar trends are occurring in Korea. This study aims to explore the religious activities and expressions of Korean individuals in the online environment. Specifically, the study focuses on four main areas: ①the online religious activities of established religions such as Protestantism, Buddhism, and Catholicism; ②the online religious activities related to divination belief systems such as the Four Pillars of Destiny (四柱 saju) and Tarot; ③online holy sites and wish comments or chats; and ④popular religious neologisms such as jileumshin (지름神 a god with the power to justify consumption) and gatsaeng (갓[God]生 one's best life). Through this review, it can be ascertained that religious ideas and practices are restricted by the attributes of digital media. This implies that the emergence of simplistic forms of religious ideas and activities is associated with the features of digital media and the consumption of digital content.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.135-174
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• 2020

The article focuses on the student activism experience of the 1990s and 2010s and on the accumulation of everyday experiences created by the conditions of the 2010s against the backdrop of differences in how the composition of 'we' is portrayed in oral narrative. What stands out in the 90s oral narratives on student activism experiences, which were compiled in the 2010s, is the distancing of the culture of student activism at that time. In the words of speakers who experienced university life in the 1990s, the culture of student activism at the university was created through private relationships, and was, needless to say, considered 'natural'. At the same time, however, the 'natural' is said to be 'abnormal' or 'strange' in the context of the 2010s in which it is being talked about, and is meant to be an experience with a certain distance from the present speakers. This aspect is associated with the conditions under which the experience of the 90s is being described in the 2010s. The present, which explains past experiences to speakers, was explained after the 2016 candlelight protest and Gangnam Station femicide protest, and is described as a world that is qualitatively different from before, and is located as an opportunity to create a critical distance from past experiences. This qualitative change, which raises suspicions about the homogenous "we", is based on a newly acquired sense of gender sensitivity, living since the mid-2010s, when gentler issues were the biggest topic in Korean society, among others. In the 2010s, the composition of 'we' is no longer understood as a community of people who share any commonality, but as individuals who unite despite numerous differences. This reveals the experiences of those who have already embodied this in their everyday senses in the 2010s. The 'we' they formed should have nothing to do with private relationships, nor was homogeneity considered the most prominent group, so it was nothing that could explain the 'me' at the time of the demonstration and outside of the venue. It was in that context that the relevant experience was described in a cautious manner throughout. This, in turn, raises the need to ask and understand a new sense of student activism and, moreover, social movements and the sense of unity as 'we'. It should also be asked who is the main body of the movement and what is the use of asking it. Soon, the need and meaning of defining the fixed identity of 'we' in the movement should be questioned. Therefore, it should be asked what fixed positions or coordinates can really represent someone's position.