• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.193-203
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• 2019

Family films with insight of the society are now recognized as significant texts to communicate with audience from the beginning of the history of film and to reflect various viewpoints on changes of the times and socio-cultural context. In such aspect, the films of Hirokazu Kore-eda are very significant in that they suggest very sharp view on modern society through family narrative. His family narratives not only presented a profound reflection on the modern society and human relations through themes on death, loss, severance, and alienation, but also formed a public sympathy based on success in the box-office numbers despite his heavy subjects. His such achievement is closely related to the format of spatial representation to record 'time' and 'daily life' as well as the family film as a narrative form to draw the meaning of a family. Therefore, this study analyzes the family narrative and the format of spatial representation in the films of Hirokazu Kore-eda, and could find the film form where life and space closely communicate each other to reach the topic. This study, concentrating on the spatial representation and the roles and meanings of formal factors in family narrative, can find its own value in its expansion out of the previous studies which adopted macro perspectives on the trend of the times.

• 한국노년학
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• v.39 no.3
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• pp.589-612
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• 2019

Korea has undergone rapid modernization and globalization process in the last few decades. The purpose of this study is to explore how shifting traditional values are impacting Korean elderlies and their perceptions of aging experience. In order to understand how changing social and cultural practices are affecting older adults, the similarities and differences among Korean elderlies living in three different geographical locations are examined in a multidimensional comparative framework. Life story interviews were conducted with 30 Korean elderlies (10 urban residents in Korea, 10 rural residents in Korea, and 10 residents in the US). Paying attention to within-group variation, this study particularly focused on analyzing the psychological, social, emotional, and spiritual experiences that made lives meaningful and resilient in old age in spite of physical decline. Based on analysis of narrative, the following major areas were identified as having positive or negative influence on aging experiences: physical health, emotional health, family relationship, work, leisure/social activity, and spirituality. Common themes of aging well across all settings included: "life not indebted to their offspring," "physical and mental health," and "dying well." Spirituality played a critical role in cultivating perspectives on life and accepting aging process, which were rooted in specific religious traditions participants identified (e.g., Christianity or Buddhism). Interesting differences in the meaning of work and leisure were also found between elderlies residing in Korea and the US immigrant context. One unique factor continuing to negatively affect Korean elderly in rural community was related to shame of not obtaining higher education. Implications for future research are also addressed.

• (The) Research of the performance art and culture
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• no.22
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• pp.157-183
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• 2011

This study is to find out the legitimacy and features of Honam Choreography via Lee Mae-bang and Han Jin-ok, two of the masters, and to seek better and more creative ways to pass it down in view of regional particularities. The study looks into the traditional choreography's multi-conceptuality that is derived from various forms of art and lends it its identity with the original notion rooted in Buddhist dancing. Despite the local cultural traits of the Honam area, the fact that Lee Mae-bang is more feminine and Han Jin-ok more masculine shows the two's worlds of dancing have been created from different perspectives, though they are quite common in their roots and locales. The particularities of passing down traditional choreography are given a thought in this study with the distinction and identity taken into account. Also, it will give an opportunity to discuss the importance of localism as aesthetic consciousness and communica tion channel. In any case, there is no doubt that local difference and communica tion make a very important source of culture when we look into the originality of the choreography.

• Journal of the Daesoon Academy of Sciences
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• v.24_1
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• pp.315-349
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• 2014

This paper was carried out to bring the researches on Cultivation Practice of Daesoonjinrihoe which have been at a standstill after analyzing the directions of studies on Cultivation Practice and diagnosing its problems, in addition to that, the paper was also conducted in a way of discussing the research directions in the future. This work enables scholars who have interests in Daesoon Thoughts to easily comprehend over the length and breadth of Cultivation Practice of Daesoonjinrihoe as well as help them understand what level of researches regarding Cultivation Practice has been demanded. Furthermore, this paper will be a step-stone for scholars to ponder how and on what perspective they approach a wide variety of studies on Daesoon Thoughts. The problems reflected on the previous researches on Cultivation Practice are summarized as follows: first, except a few researches in general, problem recognition, research target, style, method, and content are not diverged from the frame defined by Jang Byeong-Gil, who set it up in Daesoon Religion and Thought (Daesoon Jonggyo Sasang) in 1989. Proliferating overlapped researches without developing problem awareness is of great concern. And such researching climate has gradually set in. Secondly, there are numerous researches intending to reveal the researcher's forceful attitude implying faith. Thirdly, most of the previous researches neglect to focus on defining the range of researches. Fourthly, when defining concepts, more thorough insight is needed. Lastly, the researches on analysing symbols and attempting signification analysis are relatively few, only to find many errors. To solve these problems, this paper suggests to develop theories which back up Cultivation Practice by researching on the fields of theory of mind-nature(心性), theory of mind-qi(心氣), theory of pain, Religious Ethics, viewpoint of God/gods, and psychology. Secondly, all the symbols and meanings of elements shown in Cultivation Practice need analyzing more elaborately sophisticatedly and more in-depth. In order to fulfil this goal, by adapting the recent trends of historical studies, it is essential to attempt to engraft Cultivation Practice of Daesoonjinrihoe on cultural phenomena, to analyze thick layers of meanings beneath its surface, to interpret differently, utilizing various perspectives such as focusing on the gender problems, and to extract true meanings out of Cultivation Practice by analyzing everyday events which can occur in real cultivation practices. Thirdly, the terms and concepts regarding Cultivation Practice base the principle themselves. Fourthly, by utilizing methodology of comparative studies on religions, the comparative researches on cultivation practice of different religious traditions are also needed. Lastly, the history of aspects on Cultivation Practice such as transition of mantras, processes which have been conducted through proprieties of prayer and training should be collected and classified. In this context, this work is very important since it helps understand the aspects of transition of originality and characteristics in Cultivation Practice of Daesoonjinrihoe according to passage of time.

• Korean Journal of Culture and Social Issue
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• v.12 no.4
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• pp.55-75
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• 2006

Most previous research on impression formation has been examined the effects of various informations exclusively within a category, either social category or individual characteristic. The present research examined and compared the priming effects of social category information (we and other) versus personality information (warm and cold) on impression formation. In Study 1, participants primed subliminally with combinations of social category and personality information (we/warm, we/cold, other/warm, and other/cold) were asked to rate faceial pictures on the good-bad and likable-dislikable dimensions. The analysis revealed only the significant main effects of social category information but not any effects of personality information on both the impression dimensions. In Study 2 in which participants were primed with either social category or personality information exclusively, priming of social category information influenced the judgments of likable-dislikable dimension and that of personality information influenced the judgments of good-bad dimension. These results suggest that personality information influences impression in general even though its impacts may be overwritten by social categorical information. The findings were discussed with its implication of everyday's impression formation and the cultural psychological perspectives.

• Management & Information Systems Review
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• v.36 no.4
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• pp.1-19
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• 2017

These days, the concept of creating shared value is drawn keen attentions to. This interest comes out of the expectation that Creating Shared Value(CSV) can offer an answer to some social issues by creating societal and economic values on the top of the achievements that existing Corporate Social Responsibility(CSR) has made. However, it is difficult to make a clear distinction between the achievements that the activities of CSR and CSV have made. In this regard, developing a methodology to make an actual proof analysis on the accomplishments of CSV and to verify customer's awareness of and attitude towards the CSV is necessarily required. A company needs to gain a competitive advantage in the marketplace as well as resolve a social issue by innovating value chain. The research has verified the cause and effect relationship between the CSV from the point of view of value chain and the purchase intention aroused by its economic, societal and cultural values through the company image and credibility with actual proof analysis and come up with following results. First, a societal and cultural value resulted in giving positive impact on a company's image, which implies that CSV activities can be the thin end of the wedge through which customers have a good image of the company involved in CSV. Second, a societal value makes a positive influence on the credibility of a company. In this regard, CSV should be recognized not just as a thing that generates a cost, but a way to win-win as well as future development. Third and last, the research results show that both company image and credibility influence on purchase intention. Considering that CSV generates a positive evaluation on a company that will ultimately cause continuous profit-making, the company's ultimate goal of activities, it should be approached from the perspective of making a mid-and-long term strategy.

• Journal of the Korean Home Economics Association
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• v.37 no.5
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• pp.61-84
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• 1999

The purpose of this study is to understand the context of cosumers' lives in Korea with a narrative analysis method. The epistemological orientation of eh narrative analysis is Interpretivism, which blends the two polar philosophical perspectives, Empiricism and Rationalism, and includes Narrotology, Hermeneneutics, Semiotics, and Structural Criticism. Narrative analysis takes as its object of investigation the story itself. This study collects eleven narrative plots from four housewives, into which Labov's structural approach is applied. This study shows clearly that the socio-cultural environment in which consumers live has strong influence on their consumption behavior and also reveals that narrativization tells not only about past actions but how individuals understand those actions, that is, meaning.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.109-117
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• 2010

This study conducts a case analysis based on the Olympic Forest Park in Beijing, which is specially designed for the 2008 Beijing Olympic Games. The construction of the Olympic Forest Park not only comprises the design philosophy of city parks and forest parks, but also applies Chinese traditional design elements. This study, first, researches on the design concepts of city parks in the context of traditional landscape architecture elements from both physical and cultural perspectives. The author studies the related materials including the"General Introduction of the Beijing Olympic Forest Park Landscape Plan", and employs the approaches of site investigation and user survey and interview, to analyze the cognition and preference degree of the various traditional design elements displayed in the Olympic Forest Park. To quantize the survey data on the Olympic Forest Park, this study uses the spss(v17.0) software to run a frequency analysis and presents detailed demographic, frequencies and means analyses. The author then reaches the conclusion on the preference degree of the various Chinese traditional design elements in the Olympic Forest Park. According to the analysis result, the elements that appear with the highest frequencies are mountains and waters, traditional garden plants and artistic conception. The most favorable elements are in sequence traditional garden architecture, traditional garden philosophical thinking and artistic conception. The Olympic Forest Park in Beijing is constructed on the basis of multiple design elements, comprising Chinese traditional design elements and the historical axis. As an exemplification of contemporary city park that reflects the variation of age and development of society, the Olympic Forest Park offers the reference for the selection of traditional design elements in the future schemes of city parks. However, due to the difficulty in gathering materials about the Forest Park and the limitations on the location and time constrain of the survey, there exists lack of sufficiency that could be improved in the future.

• (The) Research of the performance art and culture
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• no.32
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• pp.399-426
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• 2016

Sanjo has a quintessential value not only because of its musical depth but also because of its style of music that best expresses Korean sentiment. However, new values are being established from different viewpoints as time passes so Sanjo's values need a modification in order to encompass a contemporary value that is required and accepted by modern society. In this context, while focusing on communication with the public, I contemplated the developmental direction of Sanjo in five perspectives; The Social realization of value, The Experimental and social transformation, The Social diffusion of creation, The Leap of fusion and harmony and finally The Socialization of contents. In the perspective of 'social realization of value', Sanjo refers to creative activity as a new 'duneum' which allows traditional and creative activity to deviate freely while still being under the Sanjo guideline. Either way, it has a periodical value because new forms with new rhythms are the only ways to communicate with the modern public. When these values can be understood by modern society can Sanjo be revived and be acknowledged as an infinite value. Secondly as an experiment and social transformation, there is a transformation of musical instruments in the 21th century. Our musical instruments should be transformed to effectively perform our music rather than to perform Western music. Third, social diffusion of creation should be the 'new Sanjo festival in 21th century' which can facilitate the communication with the public. Fourth, regarding leap of fusion and harmony, I suggest a performing culture consisting of 'Storytelling Sanjo' and 'Media Art' which will ceaselessly evolve Sanjo performance as a medium to communicate with the public. Finally, in regards to the socialization of contents, I emphasize that Sanjo should have contents of mass media as a way of means to help utilize mass media.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.172-195
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• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.