• Cross-Cultural Studies
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• v.40
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• pp.41-60
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• 2015

This article aims at exploring the convergence and sharing of cultural tastes among Northeast Asian countries by analyzing TV drama "Boys over flower", based on the original Japanese manga and produced in Korea, China, Japan and Taiwan in the $21^{st}$ century. It explores the expectation and desire of the mass who have taken pleasure in watching it in each country as well. This article argues that the sharing of the sensitivities and tastes of young women, the main consumer of the drama, by the mass of the four countries, are an important cultural phenomenon in that it reveals the emergence of "girl" as an active cultural consumer, who had been the object of a restraint and strict protection of the bourgeois family structure.

• Cross-Cultural Studies
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• v.33
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• pp.77-94
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• 2013

This article aims at analyzing melodramas in films of Northeast Asia for seeking comparative studies of popular narrative which have been widely favored in Korea, China and Japan since the 1990s. It is explored of expectation and desire of public who have taken pleasure in watching the films in each countries of Northeast Asia as well. It is selected to Letter(1997) made in Korea, The Road Home(1999) in China and Love Letter(1995) in Japan for the research as above Melodrama of each countries has been searched at not only maintaining the traditional melodramatic convention but also corresponding to sociocultural environment of each countries for meeting tastes of public 'in the 1990s' when cultural interchanges have been more active along each countries of Northeast Asia. It will be concretely pursued to the interchanges and influence-reception relation of melodrama for follow-up research as it has been sprightly enjoying as well as transforming common cultural contents at each countries of Northeast Asia since the 1990s.

• Journal of Digital Convergence
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• v.8 no.2
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• pp.69-87
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• 2010

This research is to investigate phatic communication by puting the purpose in maintaining and strengthening social relationship among people in groups in Korean residential community space. Phatic communication is the activity for friendship, expressing and sharing the tastes, expectations, and common features of residents by inducing the participation of residents in all sorts of events, meetings, and activities in residential space. Through this pathic activity, the range of communication age, the time of communication, the selection of location, and the topic of communication discourse are examined. The investigation methods of this research were taken two ways: First, it carried out the observation of participation and in-depth interview by the participation of researcher in a way of life as a member. In order to prove more objectively, it enhances the reliability of data by adding the questionnaire survey through the convenience sampling of 150 residents of three communities. Moreover, $x^2$; chi-square test was conducted in order to verify the difference in heterogeneous groups. Accordingly, this research will bring about the great development in cultural studies by exploring a way of Korean life, based on the communication of Korea community in residential life space, which can unify the community through sharing the meaning, interacting and delivering the message.

• (The) Research of the performance art and culture
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• no.40
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• pp.163-192
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• 2020

Sinjungsin Mask Play, one of Ttangseolbeop, is related to Seongjusin's life story. Sinjungsin Mask Play is a reconstruction of the story of the folk gods Seongjusin met while returning home. Seongjusin's life story proceeds in the form of Mask Play, and the monk who leads the sermon plays narration and main roles. Many believers play various roles and musicians. Sinjungsin Mask Play introduces many folk beliefs, sounds for intrigue, and talks. Sinjungsin Mask Play uses the same method of enumeration and repetition as the existing Mask Play. The repetition of a sentence or phrase plays a role in foreseeing the meaning of the context or foretelling the development of the plot to the audience. This repetition is intended to emphasize the situation of the scene and to create rhythm. Since Mask Play was exclusively for the common people, Mask Play actors use the repeating method commonly used in folk songs to form lines. This gives the audience a familiarity, effectively communicating the lines and responding to their tastes. Sinjungsin Mask Play borrowed people's way of playing for the public's mission. It inherits the dramatic forms of traditional traditional plays such as repetition of words or sentences or phrases, codification of words or sentences, borrowing of existing songs, and formal expression units. In addition, through repeated performances, believers can easily and easily learn and understand. This is the dramatic form and characteristics of Sinjungsin Mask Play. Sinjungsin Mask Play was handed down from Faith Communities and was used as a means of folk cultivation to spread illegality. Buddhism externalizes the process of accepting folk beliefs through Mask Play, and in the case of Shinto who participated directly or indirectly, they naturally acquire the belief system of Hwaeom Kyung through play. Sinjungsin Mask Play, one of Ttangseolbeop, can be said to have great value as an ICH, as well as popularization and mission.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.123-160
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• 2020

Manga develops by reflecting a change of society, reader's needs, and their thoughts and changes of tastes, sensitively. Shojo manga and Jyosei manga also do. We can find several kinds of meaningful changes in Japanese Jyosei manga in the 2010s. The works which represent preciousness of daily life, women's narrative and self-realization are gradually increasing. In addition, the works that deal with very touchy issues such as sex discrimination at work, sexual harassment begin to emerge. It has never been found in the manga of the former era. While this paper analyzes the social and cultural causes of these changes of the works that exclude romance and treat gender issues focusing on recent works, it examines changes of Japanese Jyosei manga in the 2010s and their meanings. I investigate the current trends of Japanese Jyosei manga in the 2010s through Umimachi Diary that represents a precious everyday life with woman-centered narrative, Metamorphose no engawa that deals with women's story from a new perspective, Good-bye My Miniskirt that tackles gender issues. Furthermore I intensively analyze how Nagi's Long Vacation and Darucyan, which win popularity from women in their 20s~30, represent lives and troubles of contemporary Japanese women. Nagi's Long Vacation represents the heroine's quest for a self throwing everything out. While Darucyan deals with self-realization, it forms of a bond of sympathy of readers by representing the heroine who suffers sexual harassment and inequal conditions very realistically. Nagi's Long Vacation and Darucyan have something in common with portraying troubles and self-realization of the working women in their 20s based on a indigenous reality to Japanese society very realistically. However they are unusual in that it is different from the manga of the former era in dealing with heroine's troubles and their solutions. The most distinctive changes of Jyosei manga since 2010 are that real issues surfaced with social changes. In addition, these social contradictions result from irrational discriminations and old customs of Japanese society for a long time. Manga reflects subtly the portraits of the times, their images of women, and their values. These changes of Jyosei manga also show the concerns of readers at that time, and it means that women began to be aware of the issues.