• Review of Culture and Economy
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• v.20 no.1
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• pp.21-50
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• 2017

The rise of Hallyu (Korean Wave) has generated a treasury of historiographic and cultural inquiries into the phenomenal success of South Korea's media entertainment industry. Whereas the majority of such studies focus on TV dramas and popular music, there is a medium, or rather a hybrid sub-genre within the medium category of short films, that must be reexamined and thus appreciated as the archetypal predecessor of popular Hallyu contents: music videos. The rapidly changing social, political, and economic climate in the mid- to late 1990s called for content that would grasp the attention of a younger, increasingly mobile population with diversified interests and routines that no longer guaranteed fixed-time viewership. Meanwhile, the advent of cable TV channels and high-speed internet service ensured greater temporal and infrastructural accessibility. The media entertainment industry's response to the new opportunities and challenges arising from these sudden growths in the scale, range, connectivity, and mobility of consumer demographics was synergetic cross-sector collaboration in the form of dramatized blockbuster music videos, which combined two popular and lucrative genres: trendy dramas and ballad music. In this essay, by relocating Hallyu's archetypal medium/genre, I claim that increasing upward and sideways mobility across sectors not only inspired new production but also reconfigured the very concept, form, and impact of media-driven cultural imaginary in South Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.4
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• pp.49-57
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• 2022

This study was conducted with the aim of investigating the garden architectural characteristics of Villa d'Este, which occupies a major role in the exploration of the contrasting background, location, and spatial composition characteristics of Italian Renaissance gardens. The survey for the study was divided into a literature survey and a field survey, and the details are as follows. First, in the mid-to-late 16th century, the villa was built under the direction of Cardinal Ippolito d'Este, and afterwards, the ownership of the villa was restored to the Italian government in 1850 due to financial difficulties. The Villa d'Este, which suffered another damage, is now operated with many visitors after going through the restoration process. Second, in the case of location, it has the characteristics of Urbana located in the city center and has valley-type topographical conditions located at the foot of the mountain.Third, in the case of spatial composition, it is orthogonal to the axis, and each part of the garden is developed, influenced by the contrast principles such as the installation of the Cortile del Belvedere and Villa Madama in the early 16th century. The main building is located in the hills so that you can see the garden and the surrounding scenery at a glance. Fourth, among the components, there were stairs, logia, courtyard, and grotto, fountains, cascades, ponds, and vegetation such as laurels, thorn trees.

• Pediatric Infection and Vaccine
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• v.30 no.1
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• pp.33-38
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• 2023

A case of persistent Ralstonia mannitolilytica bacteremia in the neonatal intensive care unit prompted source investigation due to its rarity. After an extensive investigation, a contaminated ultrasonic nebulizer was identified as the source, and the infection was controlled by removing the source. This study emphasizes the importance of further investigations, even in single cases of rare pathogens.

• Information Systems Review
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• v.18 no.4
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• pp.121-140
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• 2016

Today, consumers are interested in branded apps as new marketing channels. Consumers do not have ready access to information that will enable them to judge the quality of a particular product or service before purchase, but they will gain such information with branded apps. As they need to be actively chosen and downloaded to users' smartphone by the users themselves, branded apps have greater marketing effectiveness and influence than traditional channels. Therefore, corporations that place emphasis on interactions with customers anticipate a new marketing effect with their branded apps. With previous research on smartphone applications as a background, this research finds key factors in branded apps that influence users' satisfaction. Additionally, the study centers on the relationship in which satisfaction in the branded app significantly influences the purchase intention for the branded product/service.

• Korean Journal of Food Science and Technology
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• v.46 no.1
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• pp.79-86
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• 2014

In previous work, we fermented coffee beans using solid-state culture with various fungal mycelia to enhance the physiological activity of the coffee. The coffee fermented with Monascus sp. showed a higher physiological activity than non-fermented coffee or other coffees fermented with mushroom mycelium. The aim of this study was to characterize the various fermented coffees with respect to their area of cultivation and their variety using Monascus purpureus (MP) mycelium solid-state culture. Thirty types of green coffee beans, which varied in terms of their cultivation area or variety, were purchased from different suppliers and fermented with MP under optimal conditions. Each MP-fermented coffee was medium roasted and extracted further using hot water (HW) under the same conditions. Of the HW extracts, those derived from MP-Mandheling coffees had the highest yield (13.6-15.5%), and MP-Robusta coffee showed a significantly higher polyphenolic content (3.03 mg gallic acid equivalent/100 mg) and 2,2'-azino-bis(3-ethylbenzthiazoline-6-sulphonic acid) free radical scavenging activity (27.11 mg ascorbic acid equivalent antioxidant capacity/100 mg). Furthermore, in comparison to other MP-fermented coffees at $1,000{\mu}g/mL$, MP-Robusta coffee showed not only the most effective inhibition of tumor necrosis factor-${\alpha}$ (TNF-${\alpha}$) production in LPS-stimulated RAW 264.7 cells (67.1% of that in LPS-stimulated control cells), but also an effective inhibition of lipogenesis in 3T3-L1 adipose cells (22.2% of that in differentiated control cells). In conclusion, these results suggest that Vietnam Robusta coffee beans solid-state fermented with MP mycelium are amenable to industrial applications as a functional coffee beverage or material.

• The Journal of the Petrological Society of Korea
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• v.8 no.3
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• pp.131-148
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• 1999

Characteristics and complex structures in the northwest Nevada, U.S.A. are de-veloped due to relative tectonic movement of major tectonostratigraphic terranes. Theresearch area is composed of autochthonous rocks of both Early Triassic Koipato Group and Middle Triassic Star Peak Group, which is located in the Humboldt Range, northwest Nevada, U.S.A. The present research is focused on deformation history, related fabric development, and state of regional paleostress during the Jurassic to Late Cretaceous. The Triassic autochthonous rocks in the Humboldt Range, Nevada, U.S.A. display polyphase deformation due to E- to ESE-directed tectonic transport of the Fencemaker allochthon over autochthonous rocks of the Humboldt Range. Structures involving the Mesozoic foreland deformation are development of intense foliation, different styles of folds, minor thrusts, transposed layering, and strong mylonitization. These tectonic structures are mostly developed along the western flank of the Humboldt Range, and are reported as the first deformation of the Mesozoic foreland in the Humboldt Range, Nevada, U.S.A. Regional principal stress(${\sigma}_1$) is interpreted to be E to ESE between the Jurassic and Early Cretaceous on the basis of orientations of strongly developed $D_1$ structures. The deformation during the Middle to Late Cretaceous, is characterized by development of consistent N- to NNE-trending metamorphic quartz veins, and shear zones parallel to pre-existing $D_1$ foliation. Orientations of metamorphic quartz veins as well as other kinematic indicators are N to NNE and are interpreted as those of regional principal stress(${\sigma}_1$) during the Late Cretaceous. The sense of shear applied in the Humbololt Range is dextral and is caused by reactivation of early-formed $D_1$ structures. These results reflect counterclockwise rotation of regional principal paleostress in the Humboldt Range from the Jurassic to Late cretaceous. Finally, development of both shear band cleavage and S/C mylonitic fabrics indicates that the shear zones in the Humboldt Range reflect involvement of enhanced non-coaxial flow during bulk shortening in mylonitic formation.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.53-60
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• 2020

The study is based on the assumption that the trend of phenomena and trends in research are contextually consistent. Therefore the purpose of this study is to explore the trend of dance through the subject analysis of the Korean creative dance study by utilizing text mining. Thus, 1,291 words were analyzed in the 616 journal title, which were established on the paper search website. The collection, refining and analysis of the data were all R 3.6.0 SW. According to the study, keywords representing the times were frequently used before the 2000s, but Korean creative dance research types were also found in terms of education and physical training. Second, the frequency of keywords related to the dance troupe's performance was high after the 2000s, but it was confirmed that Choi Seung-hee was still in an important position in the study of Korean creative dance. Third, an analysis of the overall research subjects of the Korean creative dance study showed that the research on 'Art of Choi Seung-hee in the modern era' was the highest proportion. Fourth, the Hot Topics, which are rising as of 2000, appeared as 'the performance activities of the National Dance Company' and 'the choreography expression and utilization of traditional dance'. However, since the recent trend of the National Dance Company's performance is advocating 'modernization based on tradition', it has been confirmed that the trend of Korean creative dance since the 2000s has been focused on the use of traditional dance motifs. Fifth, the Cold Topic, which has been falling as of 2000, has been shown to be a study of 'dancing expressions by age'. It was judged that interest in research also decreased due to the tendency to mix various dance styles after the establishment of the genre of Korean creative dance.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.217-247
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• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."

• Cartoon and Animation Studies
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• s.37
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• pp.361-392
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• 2014

Regarding works that express objects realistically in painting, Gustave Courbet advocated realism in the mid-19th century, France, resisting the then academist style of painting, and works in realist style were produced in earnest by painters such as H. Daumier or Jean F. Millet, who went along with him. Later, realism has expanded into the realm of general literature, including fine art, which has had profound impacts on works of art and literary works. In comics, too, in the same historical context as a form of painting, realistic comics began to be produced by painters or cartoonists at the time. These realism comics are those dealing with stories based on facts, and in terms of contents, objective description and representation of the social realities of the times is one of the most important objectives, but it could not be concluded that in their visual aspect, that is, that of expressing the objects, they were realistic. In the meantime, a graphic novel was born, which was the intermediate form between comics and novels around the United States and Europe since the 1980s. Graphic novels appeared in forms and styles with strong literary and artistic values in the comics market in the U.S. which was full of the superhero genre (comics around heroes), and their major characteristics are very realistic expressions in terms of contents and visual aspect. They are complex and delicate and even have artistic, literary values as if readers read a fiction or literary work of which its narrative structures or pictures are produced with graphics. The characteristics of realistic expressions shown in graphic novels are very different from the previous works of comics. It is noteworthy that they began to be acknowledged as works of art like painting or illustration, thanks to their features of strongly individual auteurist painting style, a fairly high degree of completion of the works, and creative and experimental expression techniques or methods, instead of following the fashion of the times. In recent years, in South Korea, Hollywood blockbuster films have been released one after another and become box office hits, there are increasing interest and demand for the original graphic novels. Accordingly, many original graphic novels have been translated and started to be sold, and keeping pace with this global flow of fashion, some writers in Korea began to produce works of graphic novels. However, to look into the domestic works produced claiming to be graphic novels, there are various opinions on their format and authenticity. In this sense, this study focused on Ga-ya Kwon's Namhansanseong, one the representative works of Korean style graphic novels, and in particular, it attempted to analyze their characteristics and commonalities focusing on the visual aspect of realistic expressions of objects. It is expected that there would be an opportunity to seek for ways so that Korean style graphic novel can be further developed as a genre of comics, with competitiveness by looking back on the identity and present state of domestic graphic novels and developing and applying Korea's original subject matters differentiated from those of graphic novels in the U.S., Europe or Japan through this study. In addition, it is desired that they will be a new energizer for the stagnant domestic comics market.