• The Korean Journal of Food And Nutrition
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• v.30 no.3
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• pp.618-626
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• 2017

The purpose of this study was to investigate the intake of energy drinks and awareness of caffeine among middle school students. The subject was 313 middle school in Incheon area. The questionnaire respondents are consisted of 133 male students and 180 female students. The recognition result that allowed multiple responses to energy drink types was recognized by hot six at 28.9%, followed by red bull 24.3%, monster energy 13.8%, wolf energy 8.0% and taurine soda 6.9%, respectively. There was a significant difference in the experience of energy drink intake, intake reason, intake time and place (p<0.05), but there was no significant difference in intake frequency and place (p>0.05). There were significant differences in experience and frequency of energy drink intake (p<0.05), but there was no significant difference in intake reason, choice criteria, intake time and place (p>0.05). The result of the perception of energy drinks according to gender was 2.25 points for male students and 2.61 points for female students in the question 'caffeine is also present in tea, green tea, cola and chocolate'. There was a significant difference between male and female students (p<0.05). As a result of the recogniton of energy drinks, "the appropriate amount of caffeine is cleared and the concentration improves." When asked, "low body weight is 2.24 points, normal 2.27 points, overweight 1.89 points, obesity 2.46 points (p<0.05). There was a statistically significant difference in body mass index (BMI) between the two groups (1.95 for low body weight, 2.10 for normal body weight, 1.62 for overweight and 2.43 for obesity). Regression analysis showed that $R^2=0.007$ and F=2.798, respectively. Significant differences were found at the significance level of p<0.05. Energy drink consumption expenditure(${\beta}=0.121$, p<0.05), sleep time(${\beta}=0.130$, p<0.05), and caffeine perception(${\beta}=-0.162$, p<0.05) were significant determinants of energy drinks intake.

• Cartoon and Animation Studies
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• s.20
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• pp.31-45
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• 2010

Stereoscopic 3D animation contents are in the rise as a key part of contents market. Major animation studios are planning to produce 3D animations in a stereoscopic process. This study aims at understanding the visual textuality of 3D animation contents at its early stage. To understand 3D animation, , are analyzed. Stereoscopic 3D animations are exploring the new visual aesthetics using the specific storytelling, sequence ordering, camera working, shot size and camera angles etc. Based on these visual textualities, stereoscopic 3D animations are constructing telepresence, multi-senses of individual spectators. Stereoscopic 3D animations have formed their own aesthetics and cultural meanings in the digital age.

• Korean journal of food and cookery science
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• v.30 no.3
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• pp.291-306
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• 2014

The purpose of this study was to examine the use of social commerce restaurant products by college students according to demographic characteristics and eating out behavior. The questionnaire for the survey was distributed to 450 college students, who have experiences of purchasing a restaurant product on social commerce, with 286 responses used for analysis. From the result, college students frequently use smart phones and SNS for making such purchases. While the awareness of social commerce was high, they sometimes visited the websites and purchased products. The awareness and purchase experience of Coupang and Ticket Monster turned out to be the highest. The most frequently purchased product was restaurant discount coupons, followed by fashion/accessories, movie or concert tickets, food products, and beauty shop discount coupons. The discount rate was mostly 30 to 40% on average. The most significantly considered matter in purchasing products and services was product quality, followed by discount rate and consumer review. The respondents ate out at least 3 to 5 times a week, spent $100,000{\leq}200,000$ won, and were generally satisfied with the restaurant products from social commerce sites. The main satisfaction reason was price, whereas the dissatisfaction reason was false and puffy advertising. Service quality improvement and variety of category were the most necessary factors for improvement. Among the demographic characteristics, there was a difference in purchase expenditure of social commerce restaurant products, as well as purpose, companion, time used and word-of-mouth experience according to gender. According to grade, there was a difference in purchase expenditure, companion, area of use and impulsive purchase. Among the eating out behavior, there was a difference in purpose, companion and word-of-mouth experience according to the eating out frequency. Meanwhile, there was a difference in purchase expenditure, companion, time used, word-of-mouth experience and tool according to the eating out cost.

• Journal of Korea Game Society
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• v.17 no.4
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• pp.63-70
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• 2017

It has been a year since the $Pok{\acute{e}}monGo$ has been released. Over the past year, the $Pok{\acute{e}}monGo$ have become a social phenomenon. This study analyzes the dual characteristics play of the original $Pok{\acute{e}}mon$ game. The Pocket Monster game, which has both casual and hardcore capabilities, has a broader player base and enjoys popularity for 20 years, satisfying the requirement of easy and convenient access, which is an advantage of casual games. In addition, the rating battle system of $Pok{\acute{e}}mon$ game turns casual play into hardcore play. In this paper, we analyze the dual play characteristics of longevity games such as Pocket Monsters, and propose strategies and directions for game development that can survive long term in the competitive game market.

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.69-83
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• 2013

This research is to analyze costumes of Greek Mythology Gods in films using Morris' semiotics. In film "Clash of The Titans", Zeus' costume of shining gold armored body suit and long manteaux expressed the limitless sublime. The definite form contouring body shape of his costume also demonstrated classical beauty. Hades' costume of dark colored armor, long manteaux, and transformation via smoke also described the limitless sublime. The unbalanced and irregular shaped armor showed ugliness. In "Percy Jackson & The Olympians: The Lightening Thief", the armor and long manteaux of Zeus showed the limitless sublime. The beauty of his body and his sophisticated business wear indicated classical beauty. These features were also present in Poseidon's costume as well. The limitless sublime and ugliness are implied in Hades' look by portraying him as having a monster body with horns and wings, and his costume of punk look. In "Immortals", gods of Olympus wore clothing that was reminiscent of Egyptian times, which represented a time of strong royal authority, in order to expose the limitless sublime. Classical beauty was shown in the beauty of their body. Titans' costumes and look of non-human being were composed of black and red to present ugliness. The inherent meanings of Gods' costumes are death of god, patriarchy, and the good triumphing over the evil. The Greek gods are not held in the same reverence in the contemporary society. However mythology inspires lots of visual creations. The results help to accumulate a creative design database for fashion.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.2
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• pp.11-25
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• 2008

John William Waterhouse (1849-1917) is a painter renown for his romantic beautiful femme fatale images in the late 19th century in England. The purpose of this study is to examine the fashion in Waterhouse's femme fatale images. Waterhouse displays the devilism of femme fatale by the symbols of a wicked woman. He emphasized how wicked she is by means of water such as lake, river, and sea as well as symbols associated with demons such as forest, cave, naked woman, long hair, a monster-headed woman looking like an animal, water lily, and garden. On the other hand, he illustrates the woman's style as an image of a typical feminine beauty. Expressing naturally a fine-curved, immature girl's body with marvel-like white and clear skin in a kneeling down or crouching passive rose and depicting it as an innocent and fragile feminine image, he created a passive and lovely image of a young girl. With her eminent beauty and sex appeals, she lured men into danger. Words such as evil, women, and death had been used in describing her as femme fatale to emphasize her wickedness as well as to deliver the meaning across from the inside and to the outside. They also described her as a type of woman with body posture and fashion corresponding to the sexual ideology during the Victorian Age. His description of this fashion image was to show that femme fatale's fashion, which represents attraction and fatality, does not necessarily translate to an active fashion style that emphasizes sensuality. It also tends to minimize resistance and feelings of being threatened. Therefore, it allons us to acknowledge that even girlish body with innocent and frail-looking fashion can be a form of femme fatale, and that fashion styles is essential in forming the image of femininity.

• English & American cultural studies
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• v.14 no.2
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• pp.251-285
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• 2014

Monsters cannot speak. They have been objectified and represented through a particular concept 'monstrosity' that renders the presence of monsters effectively simplified and nullified. In contemporary monster narratives, however, the site of monsters reveals that they could be the complex construction of society, culture, language and ideology. As going into the structure that concept is based on, therefore, meanings of monsters would be seen to be highly unstable. When symbolic language strives to match monsters with a unified concept, their meanings become only further deferred rather than valorized. This shows the language of monsters should disclose the self-contradiction inherent in 'monstrosity,' which has made others—namely beings we define as 'different' from ourselves in culture or physical appearance—embodied as abject and horrifying monsters. Unable to be understood, accepted, or called humans. I analyse Frankenstein and Dracula that firmly converge monstrous bodies into a symbolic meaning, demonstrating how this fusion causes problems in the multicultural society. I especially emphasize the undeniable affirmation of expurgated others we need to have empathetic relations with, because their difference, unfamiliarity, and slight divergences are likely to be defined as abnormalities. In the multicultural society, thus, we must learn to embrace diversity, while also having to recognize there are many others that have been thought of as monsters; ironically enabling us to think about an undeniable imperative of being responsive to other people. In this respect, the monstrous inhuman goes to the heart of the ethical undercurrent of multiculturalism, its resolute attempt to recognize and respect someone else's difference from me. A focus on empathetic relations with others, thus, can strengthen the process of creating social mechanisms that do justice to the competing claims of different cultural groups and individuals.

• Journal of English Language & Literature
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• v.58 no.2
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• pp.189-215
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• 2012

This paper reads Mary Shelley's Frankenstein (1818) in light of the 18th-century understanding of 'sympathy' including those of Hume and Smith and also in light of what Michael Hardt in our century has called "affective labor." I argue that the imaginative capacity and "seeing" are crucial in understanding Smith's idea of 'sympathy.' By showing how the monster's ugliness precludes any human character from sympathizing with him, Mary Shelley exposes that Smith's idea of sympathy fails to maintain social harmony. Mary Shelley revises Smith's 'sympathy' and makes it more radical by suggesting that the active affective labor could bridge the epistemological distance lying between the agent concerned and the impartial spectator. I first read Smith's idea of sympathy as an imaginative capacity which is inevitably influenced by 'seeing' and visual perception. Then I analyze the scenes in which the creature in Frankenstein fails to acquire any human sympathy due to his ugliness, and show how the specular nature of 'sympathy' is disrupted when one party is visually ugly and deformed. I conclude that affective labor and active moral reflection on the part of the spectator need to be provided when the agent concerned is 'ugly' and thus challenges our habitual epistemological boundary. Shelley's re-evaluation of Smith's sympathy, thus, suggests that affective labor may not be something that women alone have to perform, but an ethical practice that concerns all human beings and that can transform the otherwise flawed human capacity for sympathy.

• Knowledge Management Research
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• v.23 no.1
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• pp.1-26
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• 2022

With the spread of social networks, platform-based social commerce has grown rapidly with the use of multiple smart devices. Given the rapid growth of social commerce sites such as Coupang and Ticket Monster, it is very important to understand the user's purchase decision-making process in a social commerce environment. The purpose of this study is to develop a richer understanding of the goals of users using social commerce. Second, a methodological alternative for analyzing the user's goals is introduced. In this study, laddering interview and means-end chain analysis were used. As a result of interview conducted on 40 users who have more than 6 months of purchasing experience using social commerce, a hierarchical goal map showing the user's goal structure was derived. This map contains 22 ultimate goals of social commerce, including warm relationships with others, fun and enjoyment of shopping, accomplishment, satisfaction, financial saving, and convenience. In addition, there are various paths from activities to ultimate goals, so investigating the goals pursued by users can give us insight into understanding user.

• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.303-336
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• 2022

'Otherness' is a major philosophical concept in modern Western thought. It has been a force through which the concept of a subject's rights emerged. This paper focuses on Emmanuel Levinas' discussion of 'otherness.' Levinas emphasizes our ethical responsibility for others, which is meaningful in that it can be applied as a paradigm of communication for use in modern society. In the context of modern times and multicultural societies, it is important to recognize the diversity of others and to promote coexistence. Coexistence at this time should be 'unifying' rather than subject-centered. This paper attempts to understand this narrative. An epic is a cognitive process that constitutes the fundamental desires and experiences of humans. Humans try to project and understand themselves through narratives. The possibility of coexistence with others can be examined by analyzing otherness as found within those narratives. Therefore, this paper suggests the possibility and direction of coexistence by analyzing the storytelling that establishes relationships by shaping characters in Guillermo del Toro's film, Shape of Water.