• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.126-147
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• 2018

The compositions and iconographies of the three Illustrations of the Sixteen Contemplations produced in the early Joseon Dynasty effectively manifest the transitional period of Joseon society as well as the Joseon people's perception of the Pure Land. In particular, the painting at titled Chionji (知恩寺) dated 1435 and another painting at titled Chion' in (知恩院) from 1465, which were commissioned by the Joseon royal family and high-ranking monk, embody the Pure Land faith of the Tiantai School of Buddhism (天台宗) which thrived during the late Goryeo period. This indicates that the Joseon royal court continued to favor the Pure Land faith that emphasized salvation through "self-power" (自力), which was popular among both the royal family and the nobility of Goryeo. On the other hand, in the painting at titled $H{\bar{o}}rinji$ (法輪寺), which is presumed to have been made in the sixteenth century, the compositions and iconographies shown in late Goryeo examples of the Illustrations of the Sixteen Contemplations are disassembled. Moreover, a new iconographical motif, i.e. "welcoming the dragon boat" (龍船接引), emerged with this painting. This motif symbolizes the idea that the souls of the deceased are guided by Amitabha Buddha to rebirth in the Pure Land of Extreme Bliss, which is based on the "other-power" of the Pure Land faith that emphasizes the power of Amitabha Buddha in attaining salvation rather than the educational "self-power" of the Pure Land faith. The emergence of this motif demonstrates the transformation of the Pure Land belief into a faith that relied on the "other-power" of Amitabha in Joseon's Confucian society.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.9-40
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• 2019

This study presents an investigation into South Korean films in the 1990s in the aspects of genre change and emotional reorganization. The 1990s witnessed a change of genres and a paradigm shift in the history of Korean films according to the revolutionary changes of the film industry structure and media environment. Believing that these changes had something to do with emotional changes driven by global capitalization symbolized by democratization in 1987 and the foreign currency crisis in 1998, the investigator analyzed the phenomena in film texts and examined the opportunities and context behind them. Unlike previous researches, this study made an approach to the history of Korean films in the 1990s with three points: first, this study focused on why the romantic comedy genre emerged in the 1990s and what stages its formation underwent since there had been no profound discussions about them; secondly, this study analyzed the biggest hits during the transitional period from 1987~1999 to figure out the mainstream genres and emotions during that period since these hits would provide texts to show the genre domain and public taste in a symbolic way; and finally, this study grew out of the separate investigation approach between melodramas and romantic comedies and looked into an emotional structure to encompass both genres to make a more broad and dynamic approach to South Korean films in the 1990s. History flows continuously without severance from previous times. When there is attention paid to inflection points and opportunities in the continuum, it can show the dynamics and structures of changes. This research led to the following conclusions: the mainstream genre of South Korean films had been melodramas until the 1980s. The old convention had been kept to offset or suture contradictions and excessive elements deviant from the structural consistency. Here, the structural consistency refers to no compliance to rational regulations or trade. The process of genre reorganization in the 1990s happened while securing some distance from the convention of making the structural consistency a sacrifice. The direction was to reinforce control through reasonable rationalism and logic of capital. It developed into romance, which would start with comedy to keep distance from the objects through laughter, heighten the level of remarks, and expand criticality, symbolize emotions with taste items, and build through the logic of mutual consensus and practical trade. In the 1990s, the South Korean films thus developed in a direction of moving away from the narrative of urgent pathos based on unconditional familism. It was on the same track as the entry of the South Korean society into the upgraded orbits of democracy and capitalism as the twins of modern rationalism since the latter part of the 1980s.

• Journal of the Korean Geographical Society
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• v.47 no.2
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• pp.297-309
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• 2012

This study examines how East Asia is represented in US World Geography textbooks and what kind of cultural and political epistemological frameworks are embedded in those representation focused on China and Japan. For this, four World Geography textbooks that widely used in public middle school throughout the State of Connecticut are selected as the major units of analysis and analyzed using content analysis. The results are as follows. First, The textbooks have the cultural epistemological framework that East Asia are portrayed not only as homegenous and static world but also as exotic world whose mode of life is quite different from that the West. Second, China are represented as having more traditional and negative images, whereas Japan are portrayed as receiving more modern and positive images in the textbooks. This difference is caused by the relationship between the U.S. and them and imply that the epistemological framework on East Asia of American can change according to the relationship between the U.S. and East Asia. Third, the textbooks seem to be dominated by colonialism epistemological framework that emphasize hierarchical order between the U.S. and East Asia and omit East Asian countries' contribution to global cultures and economies as political epistemological framework. These findings suggest the need to investigate the epistemological frameworks underlying World Geography textbooks used Korean classroom about neighbor Asia or non-Western societies.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.243-277
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• 2020

This paper examines a social and cultural history of horror films through the keyword "technology", focusing on The Spark of Fear: Technology, Society and the Horror Film (2015) written by Brian N. Duchaney. Science fiction film is closely connected with technology in film genres. On the other hand, horror films have been explained in terms of nature/supernatural. In this regard, The Spark of Fear, which accounts for horror film history as (re)actions to the development of technology, is remarkable. Early horror films which were produced under the influence of gothic novels reflected the fear of technology that had been caused by industrial capitalism. For example, in the film Frankenstein (1931), an angry crowd of people lynch the "monster", the creature of technology. This is the action which is aroused by the fear of technology. Furthermore, this mob behavior is suggestive of an uprising of people who have been alienated by industrial capitalism during the Great Depression. In science fiction horror films, which appeared in the post-war boom, the "other" that manifests as aliens is the entity that destroys the value of prosperity during post-war America. While this prosperity is closely related to the life of the middle class in accordance with the suburbanization, the people live conformist lives under the mantle of technologies such as the TV, refrigerator, etc. In the age of the Vietnam War, horror films demonize children, the counter-culture generation against a backdrop of the house that is the place of isolation and confinement. In this place, horror arises from the absolute absence of technology. While media such as videos, internet, and smartphones have reinforced interconnectedness with the outside world since the 1980s, it became another outside influence that we cannot control. "Found-footage" and "torture porn" which were rife in post-9/11 horror films show that the technologies of voyeurism/surveillance and exposure/exhibitionism are near to saturation. In this way, The Spark of Fear provides an opportune insight into the present day in which the expectation and fear of the progress of technology are increasingly becoming inseparable from our daily lives.

• Journal of the Korean Geographical Society
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• v.40 no.5 s.110
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• pp.473-490
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• 2005

The term hybridity has recently emerged as one of the most popularized leitmotivs in contemporary diasporic and transnational problematics on migrants' nomadic experiences. Especially, in postcolonial politics, hybridity is argued to provide a critical 'third space' on which to challenge discursive boundaries and redescribe power-embedded history However, this paper suggests that the hybrid subject position can be easily articulated in producing new cultural discourse and empowering hegemonic subjects in certain spates. Based on distinguishing the intentional, conscious hybridity from the organic, lived hybridity, this research Intends to investigate the Janus-faced, double-edged nature of the postcolonial politics of hybridity in the case of Los Angeles Koreatown. First, I discuss how a place of organic hybridity in Koreatown can lead to challenging invented and depoliticized ethnicity. At the second half of this paper, 1 focus on understanding the ways in which new Korean American professionals and elites employ the discourse of '1.5 generation' as an intentional hybridity for empowering their own political position at a local scale. I conclusively suggest that hybridity should be a deconstructive strategy to unlearn dominant socio-spatial boundaries rather than bring about the third space as a reterritorialized political position.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.641-651
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• 2022

This research compares and analyzes evacuation time depending on the change in stair width in case of fire at Goshiwons. For this, a simulation has been conducted based on possible evacuation time according to the calculation method for the number of people admittable to a specific target for fire fighting equipped with accommodation. Currently, Gosiwon, which is classified as an accommodation facility (a total floor area of 500 m² or more), uses blind spots prescribed by the Fire Services Act, Building Act, and Parking Act to build a high-rise building on a small area of land, and most Gosiwon is transformed into a modified accommodation. This is in line with the owner's operating profit, so it is expected to show a continuous increase. Securing the golden time of Gosiwon evacuation time is the last bastion of Gosiwon residents who belong to the economically disadvantaged in our society, and we hope this study will serve as a starting point for discussions on revising related laws and regulations to establish a social safety net As a result of the evacuation simulation analysis, the evacuation time was the least when the width of the group and the evacuation stairs were expanded to 200cm, and the evacuation time of the existing building was reduced by up to 166.3 seconds by comparing 648.4 seconds and scenario 6. This analysis can be meaningful, in that the width of the evacuation stairs revision of related laws and regulations for the safety of multiplex available premises.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.123-161
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• 2019

The popularity of melodrama indicates that melodrama is composed in a historical context. This is the reason why it is necessary to analyze the imagination of melodrama within a sociocultural context rather than asking the essentialistic question of "What is melodrama?". (2016) and (2018) caused sensations while holding unchallenged top positions in terms of viewing rate and popularity. These dramas indicate the popular imagination and desire of Korean society in the 2010s during a period of upheaval. This paper analyzed imagination in melodrama with a focus on nation and emotions of individuals in and . In preexisting dramas, conflicts are often limited to individuals and families; on the contrary, in and , a nation appears as a motif that forms conflicts between individuals. In these intense situations of conflict, people make rational judgments at first; however, they soon dispose of such judgments and reveal value-oriented attitudes through emotions, which drive actions. Both dramas form poésie mainly through poetic rhyming and the mise-en-scène of objects. The dramas also amplify emotions. The main emotions of these dramas are sympathy and sadness. Such emotions are not consumed in itself; instead, they show moral aims through performativity. Consequently, sympathy becomes solidarity, and sadness becomes mourning. Unlike preexisting melodramas whose endings were simply pursuits of love and happiness within the realm of individuals, and demonstrate a moral imagination that simultaneously reminds us of the individual and community through solidarity and mourning.

• Journal of the Korean Society of Food Culture
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• v.22 no.4
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• pp.492-497
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• 2007

The objectives of this study are to determine the full extent of the negative media reports and to broaden public awareness through content analysis. Samples of this study are news reports on vibrio on three major broadcasting companies such as MBC, KBS and SBS and three major national newspapers such as Chosun daily, Joongang daily and Donga daily in Korea for 5 years from January 1st in 2000 to December 31st in 2004. Total 628 cases were searched through from the web sites of fore mentioned TV and newspaper companies. It is highly advised to adhere to the proven fact as much as possible and full and thorough research on the outcome should be sought by media before they reach to the public.

• Korean Journal of Culture and Social Issue
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• v.20 no.2
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• pp.89-105
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• 2014

This study investigated the effects of a brief Loving-Kindness and Compassion Meditation(20 minutes) on compassionate love and altruism of undergraduate students. Among the 187 students who were completed the KIIP-SC, 35 of high scored students in Interpersonal Problem Scale were randomly assigned to one of two different groups: Loving-Kindness and Compassion Meditation group(LCM, n=19) and Imagery Trainning group(IT, n=16). During the 20 minutes of practice, LCM group was asked to practice loving-kindness and compassion meditation and IT group was asked to investigate personal characteristics of the imagined people who were same as LCM. Compassionate love, four immeasurebles, two kind of altruistic behaviors, and mood states were measured pre- and post-treatment. LCM group showed significantly higher incremental scores for compassionate love, donation for strange person, and helping behaviors for friends, for close person, and for stranger than IT group. Negative and positive mood states were improved for each of the groups, but there was no significant differences between groups. The results suggested that the comparatively short practice of loving-kindness and compassion meditation could increase altruistic attitudes and intentions toward other persons. And, these effects could not be attributed to mood effects. Limitations of this study and the directions of further research were discussed.

• Korean Journal of Culture and Social Issue
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• v.17 no.2
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• pp.175-197
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• 2011

This study aimed to expand and reconstruct the Driving Behavior Determinants' factors in order to confirm the relationship between Driving Behavior Determinants(DBD) and drivers' reckless driving behavior level. To expand the structure of DBD, drivers anger, introversion and type A characteristics were added, which were never considered as related factors in existing DBD studies before. The correlations between the new factors of DBD and reckless driving behavior(includes driver's personal records of driving experiences for the last three years) were verified. A factor analysis result showed us that new DBD questionnaire consists of five factors such as, 'Problem Evading', 'Benefits/Sensation Seeking', 'Anti-personal Anxiety', 'Anti-personal Anger', and 'Aggression'. Also, reckless driving behavior consists of 'Speeding', 'Inexperienced Coping', 'Wild Driving', 'Drunken Driving', and 'Distraction'. The result of correlation between the DBD and reckless driving behavior indicates that inappropriate level of DBD is highly correlated with dangerous driving behavior and strong possibilities of traffic accidents. Based on these results, we might be able to discriminate drivers according to DBD level and predict their reckless driving behavior through a standardization procedure. Futhermore, this will make us to provide drivers differentiated safety education service.