• Korean Journal of Social Welfare Studies
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• v.41 no.4
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• pp.189-224
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• 2010

Nowadays Korean society has a fast growing population of North Korean immigrant youth. Especially, North Korean immigrant youth, who are discontinuing formal education, experience difficulties in social exclusion and adaptation. Therefore, the purpose of this study was to understand the experiences of adaptation and social support of North Korean immigrant youth discontinuing formal education, and to seek affirmative supporting plans and solutions for their adaptation. The methodology utilized for this study was a case study research. On the basis of the results and categorization, 'a network between overall categories and of early adaptation' was derived. The major findings of this study are summarized as follows. First, the participants of this study experienced major difficulties during 'economical adaptation', and their economical adaptation was strongly interrelated with their 'educational adaptation'. The discontinuing of their education resulting from their fleeing period caused 'academic differential and age disparity.' Thus they could not enroll in the formal education system, and their insufficient educational background resulted in low wages and overwork due to manual labor jobs. Second, participants recognized 'interpersonal relations' as the most essential factor in adaptation, and 'social support' from the interpersonal relations played an important role in adaptation to and comfort in Korean society. 'Interactions with South Koreans' was recognized as a significant resource for gaining informational and appraisal support, but was not activated satisfactorily. On the other hand, interaction with North Korean immigrants was avoided by the reason that 'there's nothing to learn', however emotional support from North Korean immigrants of close relationship played an important role in participants' adaptation, especially in all aspects of psychological adaptation. Third, participants experienced a lot of difficulties and stresses in their 'physical health and psychological adaptation'. Their chronic diseases worsened by remaining untreated, and female perceived symptoms were observed more often than in male. Meanwhile, excessive 'stresses' from the unfamiliar environment of South Korea negatively affected their psychological adaptation. However, they were satisfied with sense of liberty and security from living in a democratic society.

• (The) Research of the performance art and culture
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• no.39
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• pp.457-507
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• 2019

The purpose of this study is to explore the formal and content features of the material for the Changgeuk album , which was produced and released in 1971. Changgeuk album was produced and published as a headword for "Changgeuk". However, it differs from the style of Changgeuk which is treated as a stage drama in that the narrative is developed around the commentary and dialogue in the formal aspect and the Pansori is only partially used. The styles of Changgeuk, implemented through gramophone record, radio broadcasts and television broadcasts, varied widely, unlike those of Changgeuk established in the 1930s. Pansori music wasn't the only center, and traditional performers weren't even the main members of the play. The characteristic form of the Changgeuk album is an experiment of Changgeuk that emerged naturally with radio reading and the advent of radio dramas in the 1950s and 1960s. So it is necessary to pay attention to the Changgeuk album in that it shows diverse forms of experiments conducted by Changgeuk in the newly introduced culture and media in the middle and late 20th century As for the contents of the Changgeuk album , the work embraces Lee Jong ik 's novel (1957), but develops the narrative centering on the life of Saint Sa-myung(四溟大師). And it is faithfully portraying the life of a Buddhist monk and the national salvation hero who pursued the original work. This content composition can be understood in the will of singer Lee Yong bae, the soundman who produced the album, and in the flow of historical dramas that summon the historical hero of the old country of the time to the stage. Singer Lee Yong bae reflects on his life in the past when he was full of greed and conceit through his life as a monk of Saint Sa-myung(四溟大師) and is greatly impressed by the personal aspect of Saint Sa-myung(四溟大師), and these emotions encouraged his creative will. Also, the Changgeuk record is meaningful in that it is one of the specific materials that embodies the national hero as a record and a traditional play under the discourse of the people, the nation in the 1970s.

• (The) Research of the performance art and culture
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• no.23
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• pp.185-212
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• 2011

Buddhist dance (seungmu) is a crux and highlight of Korean traditional dance; its aesthetics and technique are extraordinary, and Korean dance's unique style is well expressed. The Buddhist dance, which has been descended, is divided into Han Yeong Suk style, which is designated as Important Intangible Asset Number 27, and Lee Mae Bang style. While the two dances are same one, area is difference and they have unique style because of genealogical difference. However, studies on Buddhist dance so far have focused on single style's dance, or comparison of regional aspects (Han Yeong Suk dance is from Gyeonggi and Lee Mae Bang dance is from Honam area). But, Lee Byeong Ok suggested traditional artist dance is differed by male dance genealogy and female dance (gibang) genealogy dance, and while folk dance has storng tie with region, but artist dance has weak regional tie. Therefore, the purpose of this thesis is to study genealogical character of Buddhist dance's dancing style, clarifying Han Yeong Suk dance is male dance genealogy and Lee Mae Bang dance is gibang dance genealogy. In other words, among three theses that compared Lee Mae Bang and Han Yeong Suk dances, one analyzing movement, one comparing dance of invocation and one comparing traditional ballad, are re-analyzed from genealogical perspective and characteristics are comparatively analzyed. The overall summary of the genealogical attitude of the Han Yeong Suk and Lee Mae Ban dances is; First, Han's dance has masculinity, upwardness, progressiveness, activeness, outgoing character, boldness and grace, which are character of male dance lineage, while Lee's dance shows feminity, downwardness, backwardness, aesthecity, inwardness, delicacy and coquette. Second, the most expressed parts of the attitude of two dances are genealogical character, and then are original and regional characters. Third, two dances have strong genealogical attitude, but also has anti-genealogical attitude since the gender of descendent was changed, in other words Lee Mae Bang was man, and Han Yeong Suk was woman. Fourth, even though the two Buddhist dances have different genealogy and region, they share similarities as traditional dance descended in the same time period, so there are many common features. In other words, the two dances are Korean nation's dance and from same time period, but they should not be mixed, either. Even though they have small differences, they must keep each genealogy and descend to the next generation.

• (The) Research of the performance art and culture
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• no.39
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• pp.325-355
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• 2019

On June 12, 1791, the old bachelor Kim Hee-jip and the old lady Shin Deok-bin's Daughter get married. The wedding ceremony is a state-led so-called 'virgin virgin bachelor's marriage project'. At that time, the king ordered the recorder to record the case, which is called . The private sector also made it into a work, which is the Chinese drama written by LeeOk(李鈺). was created with the purpose of praising the king, and it inserted entertainment elements into it, so it had a frame of plays, but it did not have a performance in mind from the beginning. LeeOk uses different styles in each of the four acts. He tried to soothe his boredom by setting tales and proverbs in Acts 1 and 2, Pansori in Act 3, and drama in Act 4. In 1918, BaekDooYong(白斗鏞) published DongSangGiChan[東床記纂], which is combines drama and Yadam . In previous studies, these two were perceived as different works, but the two rooms were closely linked: the link was 'someone recognize me[知 己]'. He understood the table of contents made by Lee as 'JaeHyun(才賢)', 'deokhye(德慧)', 'Kwontaek(眷澤)', 'Bokyeon(福 緣)' respectively, and recorded the version of the yadam that fits it in . From acts 1 to 4, Baek contained his desire in it by constructing 'someone recognizes me → I recognize someone → do good things[積善] → blessings[餘慶]'. This is why we can't comprehend and as completely different works.

• Journal of Communication Design
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• v.68
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• pp.278-288
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• 2019

The purpose of this study is to analyze the effects of risk and convenience on purchase intention in the IOT market, and I want to analyze the moderating effect of emotional consumption value. In this study, two products were selected from three product groups. There are three major methods of research. First, theoretical considerations. Second, survey analysis. Reliability analysis and factor analysis were performed using descriptive statistics using SPSS. Third, we measured changes of EEG according to in - depth interview and indirect experience. As a result of the hypothesis of this study, it was confirmed that convenience of use of IoT product influences purchase intention. Risk was predicted to have a negative effect on purchase intentions, but not significant in this study. This implies that IoT products tend to be neglected in terms of monetary loss such as cost of purchase, cost of use, and disposal cost when purchasing. In-depth interviews and EEG analysis revealed that there is a desire to purchase and try out the IoT product due to the nature of the product, the novelty of new technology, and the vague idea that it will benefit my life. The aesthetic, symbolic, and pleasure factors, which are sub - elements of emotional consumption value, were found to have a great influence. This is consistent with previous research showing that emotional consumption value has a positive effect on purchase intention. In-depth interviews and EEG analyzes also yielded the same results. This study has revealed that emotional consumption value affects the intention to purchase IoT products. It seems that companies producing IoT products need to concentrate on marketing with more emotional consumption value.

• Asia Marketing Journal
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• v.15 no.4
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• pp.103-129
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• 2014

Differentiated positioning becomes increasingly difficult when brand salience weakens. Also, the daily increase in new media use and information load has led to a social climate that regards advertising stimuli as spamming. For these reasons, the focus of advertisement-related communication is shifting from persuading consumers through the direct delivery of information to an emphasis on appealing to their emotions using matching stimuli to enhance persuasion effects. Recently, both academia and industry have increasingly shown an interest in storytelling methods that can generate positive emotional responses and attitude changes by arousing consumers' narrative processing. The purpose of storytelling is to elicit consumers' emotional experience to meet the objectives of advertisement producers. Therefore, the most important requirement for storytelling in advertising is that it evokes consumers' sympathy for the main character in the advertisement. This does not involve advertisements directly persuading consumers, but rather, consumers themselves finding an answer through the advertisement's story. Thus, consumers have an indirect experience regarding the product features and usage through empathy with the advertisement's main character. In this study, we took the results of a precedent study as the starting point, according to which consumers' emotional response can be altered depending on the storytelling methods adopted for storytelling ads. Previous studies have reported that drama-type and vignette-type storytelling methods have a considerably different impact on the emotional responses of advertising audiences, due to their different structural characteristics. Thus, this study aims to verify that emotional response aroused by different types of advertisement storytelling (drama ads vs. vignette ads) can be controlled by the socio-psychological gender difference of advertising audiences and that the interaction effects between the socio-psychological gender differences of the audience and the gender stereotype of emotions to which advertisements appeal can exert an influence on emotional responses to types of storytelling in advertising. To achieve this, an experiment was conducted employing a between-group design consisting of 2 (storytelling type: drama ads vs. vignette ads) × 2 (socio-psychological gender of the audience: masculinity vs. femininity) × 2 (advertising appeal emotion type: male stereotype emotion vs. female stereotype emotion). The experiment revealed that the femininity group displayed a strong and consistent empathy for drama ads regardless of whether the ads appealed to masculine or feminine emotions, whereas the masculinity group displayed a stronger empathy for drama ads appealing to the emotional types matching its own gender as well as for vignette ads. The theoretical contribution of this study is significant in that it sheds light on the controllability of the audiences' emotional responses to advertisement storytelling depending on their socio-psychological gender and gender stereotype of emotions appealed to through advertising. Specifically, its considerable practical contribution consists in easing unnecessary creative constraints by comprehensively analyzing essential advertising strategic factors such as the target consumers' gender and the objective of the advertisement, in contrast to the oversimplified view of previous studies that considered emotional responses to storytelling ads were determined by the different types of production techniques used. This study revealed that emotional response to advertisement storytelling varies depending on the target gender of and emotion type appealed to by the advertisement. This suggests that an understanding of the targeted gender is necessary prior to producing an advertisement and that in deciding on an advertisement storytelling type, strategic attention should be directed to the advertisement's appeal concept or emotion type. Thus, it is safe to use drama-type storytelling that expresses masculine emotions (ex. fun, happy, encouraged) when the advertisement target, like Bacchus, includes both men and women. For brands and advertisements targeting only women (ex. female clothes), it is more effective to use a drama-type storytelling method that expresses feminine emotions (lovely, romantic, sad). The drama method can be still more effective than the vignette when women are the main target and a masculine concept-based creative is to be produced. However, when male consumers are targeted and the brand concept or advertisement concept is focused on feminine emotions (ex. romantic), vignette ads can more effectively induce empathy than drama ads.

• Asia Marketing Journal
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• v.15 no.1
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• pp.1-22
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• 2013

This case focuses on Shanghai Tang, the first truly Chinese luxury brand that appeals to both Westerners and, more recently, to Chinese consumers worldwide. A visionary and wealthy businessman Sir David Tang created this company from scratch in 1994 in Hong Kong. Its story, spanned over almost two decades, has been fascinating. It went from what best a Chinese brand could be in the eyes of Westerners who love the Chinese culture, to a nearly-bankrupted company in 1998, before being acquired by Richemont, the second largest luxury group in the world. Since then, its turnaround has been spectacular with a growing appeal among Chinese luxury consumers who represent the core segment of the luxury industry today. The main objective of this case study is to formally examine how Shanghai Tang overcame its downfall and re-emerged as one the very few well- known Chinese luxury brands. More specifically, this case highlights the ways with which Shanghai Tang made a transitional change from a brand for Westerners who love the Chinese culture, to a brand for both, Westerners who love the Chinese culture and Chinese who love luxury. A close examination reveals that Shanghai Tang has followed the brand identity concept that consists of two major components: functional and emotional. The functional component for developing a luxury brand concerns all product characteristics that will make a product 'luxurious' in the eyes of the consumer, such as premium quality of cachemire from Mongolia, Chinese silk, lacquer, finest leather, porcelain, and jade in the case of Shanghai Tang. The emotional component consists of non-functional symbolic meanings of a brand. The symbolic meaning marks the major difference between a premium and a luxury brand. In the case of Shanghai Tang, its symbolic meaning refers to the Chinese culture and the brand aims to represent the best of Chinese traditions and establish itself as "the ambassador of modern Chinese style". It touches the Chinese heritage and emotions. Shanghai Tang has reinvented the modern Chinese chic by drawing back to the stylish decadence of Shanghai in the 1930s, which was then called the "Paris of the East", and this is where the brand finds inspiration to create its own myth. Once the functional and emotional components assured, Shanghai Tang has gone through a four-stage development to become the first global Chinese luxury brand: introduction, deepening, expansion, and revitalization. Introduction: David Tang discovered a market gap and had a vision to launch the first Chinese luxury brand to the world. The key success drivers for the introduction and management of a Chinese luxury brand are a solid brand identity and, above all, a creative mind, an inspired person. This was David Tang then, and this is now Raphael Le Masne de Chermont, the current Executive Chairman. Shanghai Tang combines Chinese and Western elements, which it finds to be the most sustainable platform for drawing consumers. Deepening: A major objective of the next phase is to become recognized as a luxury brand and a fashion or design authority. For this purpose, Shanghai Tang has cooperated with other well-regarded luxury and lifestyle brands such as Puma and Swarovski. It also expanded its product lines from high-end custom-made garments to music CDs and restaurant. Expansion: After the opening of his first store in Hong Kong in 1994, David Tang went on to open his second store in New York City three years later. However this New York retail operation was a financial disaster. Barely nineteen months after the opening, the store was shut down and quietly relocated to a cheaper location of Madison Avenue. Despite this failure, Shanghai Tang products found numerous followers especially among Western tourists and became "souvenir-like" must-haves. However, despite its strong brand DNA, the brand did not generate enough repeated sales and over the years the company cumulated heavy debts and became unprofitable. Revitalizing: After its purchase by Richemont in 1998, Le Masne de Chermont was appointed to lead the company, reposition the brand and undertake some major strategic changes such as revising the "Shanghai Tang" designs to appeal not only to Westerners but also to Chinese consumers, and to open new stores around the world. Since then, Shanghai Tang has become synonymous to a modern Chinese luxury lifestyle brand.

• Korean Journal of Culture and Social Issue
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• v.24 no.4
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• pp.657-689
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• 2018

The purpose of this study is to develop a substantive theory on 'eating alone'(honbob)and the process of maintaining the lifestyle of eating alone for the need of a non-judgmental understanding on the new 'honbob' lifestyle. Data were collected through in-depth interviews with 10 male and female workers in Seoul and Gyeonggi-do, who voluntarily eat alone over 70% of their meals per week with the minimum duration of 5 years. Data analysis was performed using grounded theory proposed by Strauss & Corbin (1998) in the qualitative research method. As a result, a paradigm model on the process of maintaining 'honbob' was derived. Based on categorical analysis, the causal condition was 'not trying to tune' and the central phenomenon was 'following the desire to set efficiency as the top priority. Contextual conditions were 'the atmosphere of fierce competition', 'weakening of organizational culture', 'diffusion of individualistic culture'. The intervening conditions were 'personal trait and emotional experience', 'job characteristics of less organization culture'. The action/interaction strategies were 'accepting internal conflicts', 'acting in autonomy', 'finding relationship through media', and 'distancing from superficial relationship'. The consequences were 'enjoying time for self-exploration', 'valuing self-care', 'becoming a epicurean conventionalist', and 'becoming aware of the need for balance'. The core category has been shown as 'self-oriented in accordance to priority of efficiency and being able to appreciate the importance of social group'. The Such phenomenon passes through four different stages - first, the stage of weighing time efficiency while beginning hon-bob; second, the stage of conflict when one feels nervous and not free from others' view; third, the stage of adjustment to justify his/her 'hon-bob'; and the final stage of balance to perceive the importance of social group while going on 'honbob'. The study had the aim of increasing the understanding and acceptance of the new 'honbob' lifestyle through an in-depth exploration of office worker's 'honbob' experience and the process of maintaining 'honbob' so the society can better accept it and, further, to embrace co-existence of various cultures.

• Asia Marketing Journal
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• v.12 no.3
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• pp.1-24
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• 2010

Typically, marketing literature on innovation diffusion has focused on the pre-adoption process and only a few studies explicitly examined consumers' post-adoption behavior of innovative mobile services. Besides, prior use diffusion research has considered the variables that determine the consumers' initial adoption in explaining the post adoption usage behavior. However, behavioral sciences and individual psychology suggest that social influences are a potentially important determinant of usage behavior as well. The purpose of this study is to investigate into the effects of network factor and brand identification as social influences on the consumers' use diffusion or continued usage intention of a mobile service. Network factor designates consumer perception of the usefulness of a network, which embraces the concept of network externality and that of critical mass. Brand identification captures distinct aspects of social influence on technology acceptance that is not captured by subjective norm in situations where the technology use is voluntary. Additionally, this study explores the effect of the use diffusion on the brand switching intention, a generally unexplored form of post-adoption behavior. There are only a few empirical studies in the literature addressing the issue of IT user switching. In this study, the use diffusion comprises of rate of use and variety of use. The research hypotheses are as follows; H1. Network factor will have a positive influence on the rate of use of mobile services. H2. Network factor will have a positive influence on variety of use of mobile services. H3. Network factor will have a positive influence on continued usage intention. H4. Brand identification will have a positive influence on the rate of use. H5. Brand identification will have a positive influence on variety of use. H6. Brand identification will have a positive influence on continued usage intention. H7. Rate of use of mobile services are positively related to continued usage intention. H8. Variety of Use of mobile services are positively related to continued usage intention. H9. Rate of use of mobile services are negatively related to brand switching intention. H10. Variety of Use of mobile services are negatively related to brand switching intention. With the assistance of a marketing service company, a total of 1023 questionnaires from an online survey were collected. The survey was conducted only on those who have received or given a mobile service called "Gifticon". Those who answered insincerely were excluded from the analysis, so we had 936 observations available for a further stage of data analysis. We used structural equation modeling and overall fit was good enough (CFI=0.933, TLI=0.903, RMSEA=0.081). The results show that network factor and brand identification significantly increase the rate of use. But only brand identification increases variety of use. Also, network factor, brand identification and the use diffusion are positively related to continued usage intention. But the hypotheses that the use diffusion are positively related to brand switching intention were rejected. This result implies that continued usage intention cannot guarantee reducing brand switching intention.

• Korean Journal of Culture and Social Issue
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• v.23 no.2
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• pp.295-332
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• 2017

The main purpose of this research is to analyze stress, social support and coping behavior of adults based on their level of self-efficacy. A total of 899 adults (399 male; 500 female), each with a child attending either elementary and secondary school, participated in the study. The inter-rater reliability for the open-ended questionnaire utilized in the study was 93.4%, with a Kappa coefficient of .92. The range of Cronbach α for the variables measured through a quantitative method was .87~.92. The results were as follows: First, the representative responses to the question about their most painful stress experiences were, financial difficulties, child rearing and duties of workplace. The Lower Efficacy group, compared to the Upper Efficacy group, responded much more with financial difficulties related responses. There were significant differences in the level of stress symptoms according to level of self-efficacy. The Lower Efficacy group expressed stronger levels of stress symptoms when compared to the Upper Efficacy group. Second, in terms of social support, the participants responded that they received the most help from their family members, followed by none(self), and friends. When comparing the two efficacy groups, the Upper Efficacy group responded most frequently that they received social support from their family members, whereas the Lower Efficacy group indicated none. There were significant differences in the level of relational conflicts according to the level of self-efficacy. The Upper Efficacy group showed much less conflict in parent-child relations, spousal relations and relations with their boss, compared to the Lower Efficacy group. Third, for the type of social support participants received, the most frequent response was emotional support, followed by none, and advice. Relatively, when comparing the two groups with each other, the Lower Efficacy group responded more frequently with none, whereas for the Upper Efficacy group responded more frequently with advice. There were significant differences in the amount of emotional support received according to level of self-efficacy. The Upper Efficacy group received much more emotional support from their spouses and their bosses compared to the Lower Efficacy group. Fourth, the most frequently adopted coping style to stress was self-regulation, followed by direct problem solving, and nothing(none). The most frequent response for the Upper Efficacy group was direct problem solving, whereas for the Lower Efficacy group was nothing(none). There was a significant difference in coping efficiency to stress according to level of self-efficacy. The Upper Efficacy group coped more efficiently with stress than the Lower Efficacy group.