• Asia Marketing Journal
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• v.15 no.3
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• pp.15-29
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• 2013

Shopping is considered a 'must-do' activity for most people on travel. One of the major parts of tourist shopping is the purchasing of souvenirs. Souvenirs are universally associated with tourism as a commercially produced and purchased object to remind the purchaser of the experience. Recently, Korea becomes one of the most popular destinations that many Asian tourists like to visit. Among those Asian tourists, the number of Thai tourists bound for Korea shows an incredible rapid growth. Thai people pick Korea and Seoul as their favorite country and city to visit for three consecutive years since 2009. One of the major reasons why Thais are choosing to tour Korea is the enthusiasm for Korean pop culture. That is, 'Hallyu' has influenced Thais' decision to visit Korea and purchase Korean products. The primary objective of the current research is to explore the shopping experiences of Thai tourists, specifically their souvenir shopping. It adopts a reflexive interpretive approach to bring light to the various meanings Thai tourists attach to the souvenirs they purchase in Korea. In order to accomplish the objective, the individual interviews were conducted. A total of 12 Thais who have experienced traveling in Korea participated in the study. Four themes were identified through interview text analysis. First, the research participants almost always purchase souvenirs in Korea because the souvenirs represent their identities as tourists. Especially, they purchase the souvenirs as gifts for others, including family members, friends, and colleagues. The souvenirs as gifts show love and thanks to others, and they cement the social relationship. However, purchasing souvenirs for others is more like the moral obligations which evoke the psychological stress. Secondly, the research participants feel closer to Korea while shopping souvenirs around. Thirdly, they obtain imaginative experiences and pleasure through souvenirs related to the Korean pop culture. Souvenirs provide them to visually extraordinary experiences. Lastly, souvenirs purchased in Korea act as visible status marker when they go back to Thailand. They show the socioeconomic status and lifestyles. Tourists themselves and others place special value to souvenirs that were purchased out of Thailand. The findings of this study are of both academic and practical importance. Souvenirs are among the most pervasive elements of the travel experience. However, souvenir shopping is the complicated consumer behavior within tourism both from business and social science perspectives. Along the same line, it needs strategic approaches in order to maximize the economy effects. It concludes by suggesting how further research could offer unique insights into how the souvenirs are positioned both in the context of tourism academics and industry.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.413-420
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• 2024

After Friedrich Nietzsche's advocacy of nihilism, many literary works, dramas, and films have depicted aspects of human psychology associated with nihilism. Animation, too, has been used to convey nihilism, with narratives infused with nihilistic themes produced as both TV series and theatrical animations. Particularly, animation, as a visual medium capable of realizing any imaginative image unlike other media, possesses distinctive characteristics from live-action cinematography and differs from comics in its temporal properties. Hence, this study aims to analyze how Nietzsche's defined three stages of nihilism are represented within animation characters and how they construct various scenarios, using the anime "Attack on Titan" as a case study. The research unfolds by first examining Nietzsche's types of nihilism and the three stages through a review of literature, while also investigating the portrayal of nihilism in mass media and considering the unique attributes of animation. Secondly, building upon the literature review, the analysis interprets the narrative and constructed world of the chosen case study from a nihilistic perspective, examining four major characters through the stages of passive nihilism, active nihilism, and eternal recurrence. The findings demonstrate that the anime conveys two messages regarding negation and affirmation of one's life and existence, thereby offering viewers an opportunity to deeply contemplate human existence. This study is considered significant as it examines how Nietzschean nihilism is portrayed within the popular entertainment medium of animation.

• Journal of the Korean Society of Food Culture
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• v.17 no.3
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• pp.240-251
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• 2002

This study is to describe practices of and attitude toward traditional wedding food and the attitude of housewives toward the traditional wedding food in Busan metropolitan and Kyungnam province area. Data were analyzed from the convenient sample of 525 housewives collected from September 20 to September 28, 2001. As for the necessity of traditional wedding food, the most popular food was ebagee food, pebaek food, yedan food in order. Of the various kinds of traditional wedding food, table setting for parent-in-law was chosen as the most popular one. Sociodemographic characteristics such as education level and age were statistically associated with perception of traditional wedding food being necessary as a ritual thing. The respondents preferred rice cakes as wedding food to fishes, fruits, traditional sweets and skewered slices of seasoned meats. More than half of the respondents think current practices of wedding food is prodigal and has to be done in thrifty manner. As a ritual practices of wedding food were to be readjusted to the change of social custom depending on the degree of modernization. More than half (52.1%) of the housewives expected traditional wedding food should fade away. A conclusion was that it is necessary to develop modernized wedding food reflecting traditional wedding customs with economic costs.

• Korean journal of communication and information
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• v.57
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• pp.202-226
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• 2012

The purpose of this study is to analyze how Chinese people perceive the acceptance and spread of Korean popular culture through the analysis of the Korean Wave news frame in Chinese daily newspapers. The result of analysis showed that there was a significant difference in the number of an article appearance in all three daily newspapers by year according to a specific issue including the popularity of Korean Wave-related events, Korean dramas, movies and Korean stars. This reporting trend also appeared in the article format, and all three daily newspapers mainly used an episodic frame to deliver fragmentary Korean Wave trend or personal information emotionally rather than a thematic frame to analyze and interpret the Korean Wave trend in depth. As a result of analyzing dominant news frames using the inductive approach to examine specific contents of the articles, news frames that composed the Korean Wave into the cultural interest frame as 'Interest and attention toward Korean popular culture' and gave positive evaluations were dominant, followed by the economic news frames that explained the Korean Wave from the economic perspective and the political news frames that considered the Korean Wave from the viewpoint of the Chinese Government. These news frames appeared somewhat different according to the publishing purpose of daily newspapers. ${\ll}$People's Daily${\gg}$ which is the official organ of the Chinese Communist Party often covered the political frames to report the policies of Chinese government, ${\ll}$People's Daily (Overseas edition)${\gg}$ often covered economic frames from the overseas perspective and the Jinghua Daily which is a commercial newspaper by nature often handled cultural interest frames to consider Korean Wave as new cultural phenomenon.

• 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.

• (The) Research of the performance art and culture
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• no.37
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• pp.61-94
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• 2018

This article examined that the historical changes and current significance of the Jaedam(재담) and the Xiangsheng(相聲), one of the traditional Korean and Chinese language games. Both Korean Jaedam and Chinese Xiangsheng are representative language games and traditional performing arts for laughing. The origin of the Jaedam can be traced back to Uheui(우희). Uheui has been called Changyouxi in China, Bae Woo-hee, and Jo Hee in Korea. Uheui is the most traditional language game and a variety of performances were derived from its spreading and inheriting process. Among them, Korean Jaedam and Chinese Xiangsheng can be said to be a piece of art that has successfully inherited Uheui tradition. From the late 18th century, Korean Jaedam were established as independent performance arts, and became highly active in many performance by professional joker Park Chun-jae and other performers. With the development of gramophone record in the early 20th century, the Jaedam was mainly made on the theater stage and radio. At this time, the new performance art of 'Mandam(만담)' was derived from the Jaedam, which focused more on satire current events and criticizing the social situation. Mandam has been popular for a long time and then extinct in the 21st century. The jaedam have been handed down only in the Korean traditional performance so far. Meanwhile, Chinese Xiangsheng, which was built in the mid-19th century, a bit later than Korean Jaedam, was initially considered to be a vulgar art of the lower class, but finally became popular in the early 20th century. In the mid-20th century, Xiangsheng was transformed into a new character, which mainly deals with social praise and edification of the masses. But since 'New Xiangsheng' does not focous on a satire on social conditions, the humor has been reduced. In the early 21st century, Xiangsheng was on the verge of extinction just like Mandam, but through the efforts of young actors to revive tradition, another reformation of this art was made to return to tradition and small theater. Currently, the 'traditional Xiangsheng', which has returned to tradition, is once again receiving the love and support of the Chinese audience. Korean Jaedam and Chinese Xiangsheng have many similarities in terms of history and recruitment, but they are now in different fates. There is also a great deal in common ground in terms of the content and form of the two arts. In the case of Xiangsheng, it is one of the traditional folk art forms which is still loved by the Chinese people and has become one of the most important traditional performances. On the other hand, in Korea, Jaedam as independent performance arts has disappeared and now only can be seen in traditional performances such as 'Korean mask theater'. The fact that Korean Jaedam and Chinese Xiangsheng have undergone similar changes in their spreading and inheriting process, while Korean Jaedam have disappeared and Chinese Xiangsheng is well preserved. The reason can be confirmed through the main idea of this article.

• Cross-Cultural Studies
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• v.48
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• pp.67-106
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• 2017

This study focuses on two specific history of Korean literature in Chinese: the outline of The History of Joseon Literature (2010) by Li Yan and The History of Joseon Literature (1988, 2008) by Wei Xu-sheng; it was conducted to compare narrative viewpoints to the history of South and North Korean literature and therefore identify distinguishable characteristics. As a result, the following was concluded. First, The History of Korean Literature by Cho Dong-il and The History of Korean Literature in North Korea (15 volumes) include thorough discussions on division of historical eras, concept of genres as well as individual literary works and applied such discussions on writing literary history. However, Wei Xu-sheng and Li Yan's The History of Korean Literature did not illuminate theoretical discussion of South and North Korea. Li Yan's outline of The History of Joseon Literature was published in 2010 and the first edition of Wei Xu-sheng's The History of Joseon Literature was published in 1986 and later was published as revised editions in 2000 and 2008. Regarding published dates, it is a matter of course to reference Cho Dong-il's The History of Korean Literature, published in the 1980s, or The History of Korean Literature in North Korea (15 volumes), published in the 1990s; nevertheless, neither Wei Xu-sheng nor Li Yan used those texts in their works. Their works were heavily influenced by the narrative tradition of the history of national literature and therefore, entailed unsophisticated discussion on the division of historical eras or the concept of genres. Second, those two texts also emphasized external factors such as politics, society, economy and culture and explicitly mention these factors in historical overview of each chapter. Such an approach is commonly used in narratives of literary history under socialist regimes, including The History of Korean Literature in North Korea (15 volumes). Accordingly, evaluations based on 'political standards' - stress of people, nationality, practicality and so forth - in main texts are particularly accentuated, akin to narratives of literary history under socialist regimes. Finally, since those two Korean literature history works are written by Chinese scholars, they focus on correlation between Chinese literature history and Korean literature history. However, several genre-related terminologies such as Xiaopin (a kind of essay), Yuefu (a kind of popular song/poem), Yuyan (fable), Shuochang (telling of popular stories with the interspersal songs), Shizhuan (biography or/and memoirs in history) were adopted directly from Chinese literature. In analyzing Korean literature using terminologies introduced from Chinese literature, differences between original and alternative definitions were not examined in detail. While some terminologies and concepts were adopted directly without further consideration as to state of the two nations, it is also interesting to note that dichotomy, mainly used in Korean literature history, was used to discuss the genre of Cheonki (romance tale), relevant to Suyichon and Keumosinhua, rather than follow traditions of Chinese literature history.

• 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.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.303-345
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• 2019

This article analyzes the multi-layered communication in the Webtoon Princess Pari, released on the Daum portal site, created (written and illustrated) by Kim Naim, through analyzing the narrative structure and comments with the qualitative / quantitative methodology. The webtoon Princess Pari is structured in an omnibus style in which unit narratives are intermittently articulated, multi-lined, and interconnected. As integrated narratives which link with unitary narratives, Pari's growth story as a shaman and a romance narrative are structured. The classical original story of the shaman was used as a prehistory corresponding to the prequel of the webtoon through a preview, and the writer restructured the narrative to overcome the contradictions of the gender asymmetry and the patriarchal ideology of the original text. The viewer then creates a conversational space by giving critical and reflective comments. According to a statistical analysis conducted through sampling, the types of comments can be classified as follows: Appreciation and criticism of the contents ≫ Emotional response ≫ Intuitive overall review ≫ Knowledge and reflection ≫ Comments on comments. In the process of creation and acceptance of the Webtoon, a multi-layered dialogue between classical and modern, content and audience, acceptance and creation has been at play. In the creation dimension, the writer used a device to fill the gap of mythical symbols of the contents. At the level of the audience, they formed a culture of sharing information, knowledge, and reflection about tradition/folk/culture through comments. This corresponds to classical and modern dialogue through the webtoon. The viewers form a sympathetic bond, attempt hermeneutical coordination, supplement the information, and search for a balanced angle through controversial conversation. In addition, by commenting on attitudes, views, and perspective, the commentators showed a behavioral pattern corresponding to meta-criticism in literature. The viewers' comments acted as feedback on the creation of the webtoons, so that the creation and acceptance itself influenced the production of the content of the webtoon. The webtoon Princess Pari, which was based on Korean classical narrative, has been reorganized onto 'moving and dynamic' content, which leads to sense, thinking, criticism and reflection through the formation of various dialogues.