• Lingua Humanitatis
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• v.1 no.2
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• pp.67-90
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• 2001

In the past few years, a trend has emerged emphasizing the interdisciplinary relationship between cultural and literary studies, and "memory" has been suggested as the central theme in this trend. According to Aleida and Jan Assmann, "memory" as collective memory (not individual recollection) has various functions and forms, of which communicative memory and cultural memory occupy opposite poles of a central axis. Whereas communicative memory relates to the living past shared among contemporaries, cultural memory relates to "recollected history" rather than factual history. Cultural memory finds transmission through symbolic media such as myths, festivities, and literary works. Literary works preserve critical and living memories as opposed to forgotten memories. In other words, literature should be better read as "criticism and memory" than "imitation and preservation." Works of literature are characterized by a turning away from repetition toward representation-the process of "making present" of what is past.

• Korean Journal of Culture and Social Issue
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• v.18 no.2
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• pp.215-234
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• 2012

The purpose of this study was to explore linkages between stress and a range of individual difference factors on children's memory for a potentially stressful event. Children (N=63) aged from 4 to 10 years, who undergone a minor dental operative procedure were evaluated. Overall, the results of this study replicated and extended previous findings of the related literature, providing some further evidence for a negative relation between stress and children's recall. More considerable variation in individual difference variables, in particular, children 's stress coping strategies, quality of previous experiences, amount of the advanced parental preparation were existed among the children, influencing the relation between the level of stress and children's remembering of a stressful event. Future inquiries for understanding theoretical, clinical, and forensic issues in children's remembering of a stressful event were discussed.

• 한국사회복지학회:학술대회논문집
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• 2008.04a
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• pp.422-425
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• 2008

바이링걸의 인지증고령자와의 보다 유효한 커뮤니케이션의 가능성의 검토를 목적으로, 이문화를 배려한 모국어에 의한 개인 회상법을 이용한 회화를 실시했다. 회화는, 재일 코리안의 문화를 배려한 특별 양호 노인홈에 입주중이며 중도의 인지증 바이링걸 고령자 4명(모두 여성, 평균 88세)의 협력하에 실시했다. 모국어와 일본어의 장면에서, 개인 회상법에 의한 회화 내용과 감정 표출에 차이가 발생하는가의 관점에서 양 회화장면의 비교 분석을 실시했다. 그 결과, 중증의 인지증고령자라고해도 바이링걸의 특징인 자연스러운 코드 스위칭(Code-Switching;CS)가 관찰되었다. 즉, 과거의 학습이나 경험에 의해 축적된 모국의 언어 형식을 사용하는 기능이 잔존 능력으로서 잠재하고있는 것이 밝혀졌다. 덧붙여 ERiC 감정 반응 평가 척도를 이용해 관찰한 결과, 일본어의 장면보다 모국어의 장면에 대해 긍정적 감정의 풍부함이 관찰되었다. 이상으로, 바이링걸의 재일 코리안 인지증고령자 1세와 모국어를 이용한 회상법에 의한 회화는, 바이링걸의 특징을 기초로한 하나의 유효한 어프로치라고 생각된다.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.679-693
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• 2016

The purposes of this study were to examine the patterns of recalling memories in the series and look into the desires of viewers disclosed in the process. Entering the 2010s, people got to recall their memories from the 1980s and 1990s. Nostalgia and retro became cultural products. What made the series, those depict the pure love, friendship, and family affection of main characters under age in those decades, so popular among the viewers? Finding a repeating pattern in recollection of the past, dating, and family love, the investigator saw that the pattern met the needs of viewers and thus analyzed their desires inherent in the series with a focus on its "narratives" and "characters." Their unique sounds effect and music established a micro-narrative that could be divided, thus allowing viewers to own certain scenes easily, which worked to make "non-existent" memories. Secondly, the series succeeded in capturing the desire of viewers living in the age of neoliberalism to reduce their fatigue from excessive choices by setting the characters in a contrived way and thus presenting the desire of maintaining the stable middle class world with no conflicts and the passive female characters. The recollections provided by the series, in the end, fill the desire and deficiency of the present beyond a simple return to the past.

• Korean Journal of Culture and Social Issue
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• v.19 no.3
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• pp.343-365
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• 2013

This study examined the effects of various individual differences on children's memory of a stressful experience. The participants for the current study were children (N=85) aged 4-9 years those who experienced a naturally occurring stressful experience from a dental procedure. There was overall negative relation between the level of stress and children's memory performance. However, more interestingly, the results of this study provided some further evidence that several cognitive (i.e., receptive language ability and working memory capacity) and emotional (i.e., children's general anxiety condition, children's self-report of pain and anxiety about the event) individual difference factors were associated with variations in children's remembering across ages. The results suggest that the relation between stress and children's memory might be impacted in part by children's various individual characteristics. Furthermore, the findings are discussed in the applied context that based on the results clinical and legal professionals can tailor interviews to best meet children's needs and capabilities, and create developmentally and individually sensitive guidelines for interviewing children in the legal system.

• Journal of Agricultural Extension & Community Development
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• v.20 no.2
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• pp.485-509
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• 2013

People have tendency to remember only the last good memories in result. It was similar that main singer or event has often at end of the program. Psychologist of Kahneman found that we remember about the pleasurable quality of our past experience is almost entirely determined by the strongest experience(Peak) and the last experience(End). This study examined Peak-End Rule available to the three different group of foreigner package tourists visited Ha-Dong Wild tea cultural festival. Results that all group's End experience have influence to satisfaction of festival. Also Peak experience has influenced significant to satisfaction of festival except of third group. First and Second group satisfaction were influenced both of Peak experience and End experience.

• Journal of Digital Convergence
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• v.16 no.11
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• pp.477-485
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• 2018

Beyond the mid-2010s, there has been increasing cases of using 'Reminiscence' as a trigger for recalling 'Past' in pre-production process of creative contents. In previous researches on this phenomenon, it has been recognized that retro, recall, compassion, and memory are similar. In order to look closely to grasp the psychological tendency of the contents user in detail, the study about 'Reminiscence' was conducted. The researcher analyzed 'Reminiscence' as a process of restructuration based on the experience and desire of the person individual which were derived from the past and further analyzed it as a lack of desire due to the time can never return. The study hopefully can make a balance against the cutting edge content distribution technology biased production tendency.

• (The) Research of the performance art and culture
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• no.39
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• pp.701-748
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• 2019

Gwanak-yeongsanhoesang, called as Samhyeon-yeongsanhoesang or Pyojeongmanbangjigok, is played by the musical instrumental organization, Samhyeonyukgak or by a large scale wind ensemble added Sogeum and Ajaeng. This study aims to analyze the structure and form of Piri melody which plays major melody of Sangnyeongsan in Gwanak-yeongsanhoesang, and to examine the relationship between Piri melody and Daegeum yeoneum grasping the structure and function of yeoneum. In Sangnyeongsan of Gwanak-yeongsanhoesang, the criterion for grouping the phrases of Piri melody is yeoneum. Especially, Daegeum yeoneum carries out the function of finishing the phrase of Piri playing the major melody by ornamenting or extending it, and presenting the motives or motive elements of the next phrase while Piri rests. The types of a, b, g, and i in the various shapes of the minimum melodic fragment of Piri are important motive elements that constitute a phrase of Piri melody. Especially, main motive a-type (仲→無) contrasts with b type (林→潢) which forms a strong tension by transposing 2 degrees upward. In addition, a-type gradually descends towards the end of music by changing to g-type (仲→林) or to i-type (太→林) which is 3 degrees below, which is related to the gradual descent cadence of Korean traditional music. A phrase of Piri melody of Sangnyeongsan in Gwanak-yeongsanhoesang consists of a combination of the types a, b, g, i, and cadence (x-type), and each phrase is structured in the repeating tension-relaxation. Looking at the structure of Piri phrases by similar types, each phrase has a logical variation structure through the methods such as omission and addition of notes, and crossing of melodies. The shape of the minimum melodic fragment of Daegeum yeoneum can be divided into a back-yeoneum of a~b types and a front-yeoneum of x1~x3. The x-types ornament Jungnyeo (仲), the cadence tone of Piri melody or are simply used as the extending back-yeoneum, and types a and b have the function of a front-yeoneum that prepares the beginning of the next phrase of Piri melody. The combination types of the minimum melodic fragment of Daegeum yeoneum appear mostly as the shape of back-yeoneum + front-yeoneum. In addition, the front-yeoneum of the type a and b appears independently without back-yeoneum, and the x3 type has a shape of the back-yeoneum without the front-yeoneum. Looking at the structure of Daegeum yeoneum by similar types, it can be seen that Daegeum yeoneum is also composed of a variation structure of omission and addition of notes like Piri melody.

• Korean Journal of Culture and Social Issue
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• v.21 no.1
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• pp.1-20
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• 2015

Among the cultural groups that increase South Korea's diversity, there are adolescents returning to Korea after their stay abroad. From 15 in-depth interviews with those who stayed abroad for longer than 5 years, 11 codes were generated. The codes were divided into two categories: "assets" when the multicultural experience served as resources for the returnees adapting to Korean culture successfully and "disadvantages" when the multiple experience remained fragmented for the returnees experiencing difficulty in re-acculturation. The distinguishing factors between the success and difficulty in re-acculturation appeared to be the cultural identity as Korean and the "openness to experience." The interwoven nature of personal and social factors stood out, along with the role of cultural identity throughout the process. Also the "openness to experience" as a strategy of integrating the past experiences is discussed, as well as the implications of the findings and the suggestions for future studies in the contemporary multicultural South Korea as a host society.

• (The) Research of the performance art and culture
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• no.40
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• pp.269-305
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• 2020

Youngsan is generally known as Pansori Danga(短歌). However, the contents of 'Yeongsan' in 『Songnamjabji』 are different. In 『Songnamjabji』, Cho Jaesam explained the contents related to 'Youngsan' using three kinds of poems: Shin Kwangsoo's poem, Baegho Imje's poem, Kim Myeongwon's poem. First, 'Ujo Youngsan' appears in Shin Kwangsoo's poem. Shin Kwangsoo wrote the (1750) when Yoo Jinhan's 『Manhwajib(晩華集)』(1754) was published. It is difficult to see the 'Ujo Youngsan', which appears in Shin Kwangsoo's poem written in a time when Pansori was not widely known, as the Pansori Danga. Second, Jo Jaesam called the music in Baegho Imje's poem 'Youngsan Dodeueum'. In 'Youngsan Dodeueum', flute and 'Dodeuli rhythm' were used. This fact is connected with , an instrumental music. , also a Buddhist term, continued to be used in the palace as well as among the people. Third, Cho Jaesam introduced Kim Myeongwon's poem in 'Yeongsan' part and called it 'Taryeong.' At that time, the term 'Taryeong' referred to both Pansori and Jeongga(正歌). Later, in the 19th century, 'Youngsan' was recorded as a term for the Danga to loosen the neck before Pansori began in earnest. In other words, the early 'Yeongsan' recorded in 『Songnamjabji』 was a Buddhist term, referring to the music of the upper class Seonbi, such as , Gasa(歌詞) and Sijo(時調). In 1855, when 『Songnamjabji』 was written, 'Youngsan' was used as a term used to refer to both Changbu-Music and Gagaek(歌客)-Music, mixed with the term 'Taryeong'. And as Pansori became popular, the term 'Taryeong' came to be called 'Pansori' and 'Youngsan' was used to refer to Pansori Danga. Therefore, all the records of 'Youngsan' should not be interpreted as Pansori Danga. This situation is closely related to religious and social change. The policy of worshipping Confucianism and suppressing Buddhism rejected the term 'Youngsan' which had a Buddhist meaning. In the middle of Joseon Dynasty, when Buddhism was suppressed, 'Youngsan' and 'Taryeong' were mixed. As Buddhism regrown in the late Joseon Dynasty, with the advent of Pansori, the term 'Youngsan' seems to be newly resettled in the sense of Danga. Pansori appeared in the 19th century and 'Yeongsan' was used as a Danga. And the reason should be regarded as this social and religious change.