• Korean Journal of Culture and Social Issue
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• v.14 no.2
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• pp.41-61
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• 2008

This study was performed to investigate the North Korean defectors's depression through the CES-D and a projective test simultaneously. So 40 North Korean defectors and 40 South Koreans participated in this study. The results are the following. First, the North Korean defectors demonstrated more higher CES-D scores than the South Koreans, while there were not significant differences in the Rorschach depression-related indexes, DEPI, CDI, S-CON between two groups. Second, at the analysis of the sex difference effect, women among the North Korean defectors showed the most high CDI index scores. In addition, we analyzed the mean differences between two groups for morbid content, shading response, achromatic response, human movement response, form dimension response, Lamda, and the number of total response. However, there are not significant differences between two groups for those variables, except for form dimension(FD) response. It suggested the probability that the North Korean women defectors could experience more psychological distress underlyingly than the North Korean men defectors. Third, most importantly, the correlation between CES-D and DEPI in the Rorschach test was significantly different in the two groups(the North Korean defectors and the South Koreans). In conclusion, the self-report of the North Korean defectors on depression could be exaggerated. So we should be cautious to interpret the self report results of the North Korean defectors.

• 기호학연구
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• no.57
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• pp.121-153
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• 2018

In terms of the story told, we see that Oh! Soojung(Virgin Stripped Bare by Her Bachelors) is a film of the ideololgy of masculinity. However, from the point of view of the manner of presenting story, Oh! Soojung is a film that aims to devalue this ideology. How will it be possible? This is the principle of the irony that the speaker, by saying P, wants to make Q listen that devalues and contradicts P. Our study is tempted to explain the process of interpreting the irony in the film. The ideology of the film occurs when the presupposed contents have become the subject. For example Cendrion who tells a story of a girl married to a prince presupposes that the girl, Cendrion, is obedient. The subject of this story is that the presupposition: /the girls who want to be happy must be obedient/, which represents the ideology of masculinity. Presupposed content thus imposes on the public a collective and conservative value, as its enunciator belongs to the collective voice. Since ironisation occurs when the utterance itself is annulled, one must also deny or cancel the story told of Oh! Soojng: /Jeahun who is rich and Soojung who is obedient and virgin have become lovers/. Since there is no semantic mark within the utterance, irony is a voice that comes from without; this is how we understand irony in a purely pragmatic way. The outer voices are two things: the way to build the story: question of focusing, ocularization and auricularization, and the way to present the story: question the order, the frequency or the plot. Our study is focused on the question of frequency at Oh! Soojung which has a repetition structure in which the memory of Jeahun and that of Soojung are represented one after the other. Since the memories of two characters are not identical, the repetition is accompanied by differences. The differences at first allow the public to build their own story from the di?g?se of the film and then make the audience fall into confusion where we can not be certain of what we see and know in the di?g?se of the film, and finally make their knowledge questionable. About repetition, so that it can have validity in terms of the informativeness of the utterance, it must deny the existence of the previous repetition. This is how repetition cancels itself and consequently the utterance. We see that the irony of Oh! Soojung occurs by repetition with differences that cancels the story of the film.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.6
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• pp.46-56
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• 2011

This study an alyzes the spatial experience of a notable sense of place in five cities-Seoul, Gyeongju, Chuncheon, Anseong and Gwacheon. A survey targeting 300 citizens was carried out to survey meaningful, memorable places and measured spatial experiences in those places. The types of spatial experiences were divided among places to determine the implications thereof. To do this, first, those places that have a notable sense of place have relevance in natural and historical resources such as parks, cultural assets, etc. Second, the main experiences in making sense of place included 'relaxation and walking' and 'a view and appreciation'. These were divided into two types, Spatial Contact and Human Contact. Third, cities such as Seoul, Anseong, Gwacheon offer a variety of experience in places having a notable sense of place. Fourth, in cities noted for natural landscape, history and culture, those spaces with a notable sense of place are concentrated in the center of the city. They exhibit a variety of behaviors, complexly and simultaneously. These results-based spatial experiences of citizens and spatial character have important meaning for city identity and city marketing. Through defining those places that have a notable sense of place and understanding the spatial features in these places, this study can suggest basic information for forming the development strategy of the city.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.3
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• pp.32-41
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• 2012

This study is performed to light up the semiotic system of streetscape in the harbor on the basic concept of all cultural phenomena that could be described as a Semiotic System. The semiotic approach to landscape analysis was used for understanding landscape characteristics owing to implication of psychological process. Streets of the study were located at Ganguri and Opori on Gang-Gu Harbor and the signboard semiotics of streets were divided into 17 meanings according to the business category. The analysis of this category was applicable on semiotic meaning. The research results are as follows: First, the main part of the business category was food. 56.3% of Ganguri and 61.8% of Opori had the name of food businesses. Second, the semiotic characteristics of Gang-Gu harbor streets mainly mean place name or friendly name. The food business could be related to the principal products of this district which are called Young-Duk Great Crab. Also, the place name could be from symbolic meaning of the crab and the friendly name could be connected with increasing the sales. Finally, the semiotic approach to landscape does not fully cover the streetscape but could be useful for understanding a skeleton of harbor streetscape.

• Cross-Cultural Studies
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• v.44
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• pp.29-58
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• 2016

'Post-memory' is the act of remembering traumatic events in history by subsequent generations who have not had direct experiences or relations with them. For this reason, the narratives of 'post-memory' are considered as re-interpretations of the past deeply influenced by current perspectives and concerns. The Chilean film NO goes back to the Referendum of 1988 in order to examine the "NO campaign" which was opposed to another eight years of continuation of the Pinochet regime. Although this campaign contributed significantly to the Chilean democratization, the filmmaker does not just celebrate it: rather he attempts to cast a critical reflection on its strategies that eventually turned democracy into a "commodity" by deploying commercial language and marketing tools for characterizing and describing it. On the other hand, the Korean movie The Attorney sheds light on the story of an attorney who, during the military regime in the 1980's, became a human rights lawyer when he tried to advocate for university students accused of violating national security law. This film reconstitutes the meaning of democracy built upon the logic of "common-sense" that privileges freedom and fundamental human rights over Statism. Despite the different historical contexts between Chile and South Korea, these two movies retell the history of a dictatorship that ended a couple of decades ago. In doing so, they raise questions about history, memory and democracy in order to deepen the understanding of current social and political circumstances while placing an emphasis on the roles and responsibilities of intellectuals during the transition to democracy and democratic consolidation.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.9-16
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• 2022

This study attempted to analyze the achievement criteria of the 2015 special curriculum middle school physical education curriculum based on Bloom's new education goal taxonomy. To this end, 184 sentences based on the common curriculum and basic curriculum achievement standards of the relevant curriculum were analyzed into a total of 24 combinations of 4 dimensions of Bloom's new education goal taxonomy and 6 dimensions of cognitive courses. The results of the study are as follows. First, in the case of the special curriculum physical education and middle school achievement standards, unlike the analysis of the basic curriculum of elementary schools shown in previous studies, the 'procedural knowledge-applying' combination was the most common, and it was confirmed that there was a hierarchy by school level. In addition, the dimensions of knowledge and cognitive processes were relatively diverse, confirming the key points of physical education and middle school classes for disabled students. Second, in the case of the common curriculum among the lower curriculum, knowledge and cognitive process dimensions were relatively diverse except for cognitive process dimensions such as 'remember', and higher knowledge and cognitive process dimensions such as 'metacognitive knowledge' and 'creative'. Third, in the case of the basic curriculum among the lower curriculum, the 'procedural knowledge-applying' combination was excessively concentrated at 60.7%, which was analyzed to require improvementsary.

• Trans-
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• v.6
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• pp.1-15
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• 2019

Performing arts is an intangible arts that disappears immediately at the moment it is presented and remains only in the memory of the performer's body and audience. The same repetition, restoration and reproduction of the disappeared performance is impossible, but artists of all times and places have tried various recording methodology to leave their performances in the tangible form. The performing arts archive is where performing arts are recorded, preserved, and utilized. In the fourth industrial Revolution era, library institutions in developed countries are turning into institutions that support creative activity by not only artists but also the general public. Korea's performing arts archives should also shift from the role of an old archive to a platform to create new cultural contents. This paper summarizes the changes in the Korean performing arts archive and presents the creative application of the performing arts archive in response to the fourth industrial revolution.

• The Journal of the Korea Contents Association
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• v.10 no.12
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• pp.223-235
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• 2010

As the funeral service is on ritual of addressing death that is the final phase of life, it can be said to be the final stage of welfare service. It is developing into the stage of make-up, which reproduces the image of reality or expresses with the better appearance from the level of recovery technique, which restores the final form of the dead. This is caused by a request of the bereaved family with the aim of remembering the dead's final image with good looks. Methods, which are being changed by period, can be found in a record. As this funeral make-up is one field of special make-up, it is systematically made into proper application method along with the development in special materials. Thus, it will become one of the most important courses henceforth in our funeral culture available for beautifully decorating the dead's final image. In order to satisfy the request of the bereaved family, it is necessary to made floral decoration, casket cloth, and acoustic effect including the casket stage of worshipping the dead inside the funeral hall.

• The Journal of the Korea Contents Association
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• v.19 no.3
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• pp.1-9
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• 2019

The purposes of the study are to investigate Koreans' perception about Vietnam by analyzing social big data and to seek changing direction in perception. For the purposes, the texts about Vietnam in Naver Blog and Twitter and the number of search and click for Vietnam in Naver were analyzed by Social Metrics of Daum Soft and Datalab of Naver. The study also analyzed the annual change of their interest in Vietnam based on social media. The results showed that Koreans still remember the Vietnam war, have a positive emotion toward Vietnam, and view Vietnam as a country where we can gain mutual benefit by exchange. The findings also indicated that Koreans perceive Vietnam as a favorite tourist spot regardless of age. Meanwhile, children under 12 showed a different pattern of an annual change in perception. It might be a positive sign that Koreans' interest region toward Vietnam would be diversified because children under 12 would be the central axis of cultural contents.

• Women's Studies Review
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• v.27 no.1
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• pp.73-109
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• 2010

The cultural pluralism on which more and more emphasis is put in the globalized cultural environment, takes local identity as a crucial index for the cultural exchange on the global level, but at the same time it results in transforming individual regions/places into a homogeneous space, as it forces the local identity itself to fit into the standardized global perspective. In this context I focus on two art projects that are related to 'Dongducheon', a town that houses the U. S. Second Infantry Division. These projects attract specific attention due to the fact that Dongducheon is a significant place with very 'thick' cultural identity: it reveals that modernization in Korea took place in intersection of nationalism, patriarchy and gender/sexuality postcolonial (military) culture. With these two Dongducheon related art projects (Donglyung Kim) and (Eunyoung Jeong) as excellent examples of site-specific art practice, this paper asks what it means to keep the historicity of disappearing local space/place in the global era. And how is it possible to 'represent' an extremely gendered/sexualized place like Dongducheon. This should be examined from a postcolonial feminist perspective. Since emancipation from Japanese occupation Dongducheon has been an island or an outside space in the nation-state Korea. This becomes more complicated, as now mostly women from the Philippines or former Soviet countries are working in the nightclubs in Doungducheon. and are feminist activist experiments to make the place with its residents to be seen and heard in proper a way of mourning, recognition and communication. shows the 'new' kijich'on women as those who are daring to be on an 'Odyssey' for a better life as they run everyday life in Dongducheon, working in clubs, doing laundry, bearing children, going to mass; tries to help them to be heard and felt, while it gathers sounds on the street or at mass and shows the doors or narrow alleys which lead to the their rooms. It aims to mourn the dead kijich'on women and to represent the precarious life of the present migrant kijich'on women, as it shows no faces.