• The Journal of the Korea Contents Association
• /
• v.18 no.7
• /
• pp.74-83
• /
• 2018

This study analyzed the differences in effectiveness between celebrity and consumer endorsers by type of story in storytelling ads. A $2{\times}2$ factorial design experiment was conducted: the type of advertising endorser (celebrity, consumer) and the type of story (life experience, brand myth). 200 women in their 30s and 40s participated in an online survey. Study shows that for a life-experience ad, the consumer model has higher advertising effectiveness than the celebrity endorser for all three dependent variables : ad attitude, brand attitude, and purchase intent. In the case of brand-myth ad, the celebrity endorser had more favorable ad attitude than the consumer endorser did, while there was no difference in brand attitude and purchase intent. The theoretical and practical implications of the study were discussed in the conclusion.

• Sim-seong Yeon-gu
• /
• v.36 no.1
• /
• pp.1-54
• /
• 2021

Princess Bari, the seventh daughter of the King and Queen, is abandoned at birth. She one day embarks on a solitary journey into the underworld to seek the antidote she needs to save her ailing father. The shamanic myth then depicts terrible ordeals, after which the Princess manages to obtain the elixir of life to bring her parents back to life, leading to her deification as the Queen of all shamans. The life of Princess Bari as the ancestor of shamans incorporates the necessary rite of passage to become a shaman, persevering through all manner of trials and tribulations until death and then being reborn. Princess Bari's story of deification as the goddess of shamans constitutes the archetype or the primitive image of the collective unconscious, the mytheme. From the perspective of analytical psychology, Princess Bari, who became the Queen of shamans after undergoing a process of pain, death, and then rebirth demonstrates a facet of the individuation process, evident in heroic mythology. Princess Bari not only cured her parents of disease but also brought them back to life. What enabled her to obtain the elixir to resurrect her parents was her love and compassion for them based on self-sacrifice, enduring all the trivial and repetitive undertakings of everyday life. She viewed the world and behaved from the perspective of a broader Self. Making herself a powerful healer through the ordeals in the underworld, Princess Bari is the psychopomp as well as the healer archetype. The sacred power of healing that goes beyond the Princess' sufferings represents the Self Archetype inherent in the mentality of the Koreans, in other words, a symbolic power that indicates the divine representation of a healer.

• Journal of Korean Classical Literature and Education
• /
• no.35
• /
• pp.87-122
• /
• 2017

1) The passage "Sila seongdae so-seongdae cheonha daepyeong nahu-deog (新羅盛(聖)代 昭盛代 天下大平 羅侯德)" of the Korean Dynasty , corresponds to the primary passage of Cheonyong Rang Manghaesa(처용랑 망해사)>. These passages are ironic expressions of King Heongang's reign. This passage can therefore be interpreted as having the meaning of "People talk about King Heongang who ruined the kingdom. The bright politics of Silla's loyalty is the virtue of King Heongang." 2) "Cheoyong aba isi insaeng-ae sangbuleo hasilandae isi insaeng-ae samjaepalnan-i ilsi somyeol hasyatda (處容 아바 以是人生애 相(常)不語시란 以是人生애 相(常)不語시란 三災八難이 一時消滅샷다)." This was said by Cheoyong(처용), who was unable to reveal his anger while witnessing his wife being raped by Yuk-sin(疫神). This passage means, "Father Cheoyong(처용), in this world if a man does not express anger about the absurdity of the world, he can escape from catastrophe," or, "Father Cheoyong (처용), because in this world you had not expressed anger about the absurdity of world, you could escape from catastrophe." 3) In "maa-man maa-man haniyeo sibi jegug-i moda jiseo syeon aeu cheoyongbi-hal maa-man haniyeo (마아만 마아만 니여 十二諸國이 모다 지 셰온 아으 處容아비 마아만 니여)," the most likely interpretation of Maa is "마아(麻兒)," which means "scarecrow." In this way, this passage emphasizes that Cheyong(처용) is not a scarecrow, but a representative of the eyes of all people in all kingdoms. 4) In "meoja oeyaja logliya ppallina nae singohal maeyara (머자외야자 綠李야 리나 내 신고 야라", meoja (머자) is the double arranging shape of meotda(멎다), and oeyaja(외야자) is the double arranging shape of oeda(외다); those characters mean "ugly" and "wrong for each other." Additionally, Rokri(綠李) can be regarded as an administrator in blue or black clothes who is performing an errand of the yuksin(疫神).