• Survey Research
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• v.13 no.1
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• pp.89-112
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• 2012

This study aims to explore emotional closeness between grandparents and grandchildren in Korean families with a focus on the lineage. The effects of the geographical proximity and the normative aspect as well as intergenerational financial, instrumental, and emotional supports were taken into consideration to accounting for the grandparent-grandchildren affective solidarity. Research questions are addressed using the data of "Survey on Generational Solidarity and Differences in Cultural Experience and Perception in Korea", and a series of multinomial regression model were conducted. Findings indicate that the salient factor to boost grandchildren's affective solidarity with paternal grandparents is financial transfers between grandparents and parents. By contrast, all types of intergenerational supports affected grandchildren's emotional closeness toward maternal grandparents. Geographical proximity was associated with the affective solidarity between grandchildren and maternal grandparents. The effects of normative solidarity were not shown at both lineages.

• Journal of Families and Better Life
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• v.31 no.2
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• pp.1-24
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• 2013

The purpose of this study was to understand the lived experiences of grandmothers who provide child care services to their grandchildren and employed mothers who utilize child care by grandmothers, with regards to their relationships while exchanging the specific type of intergenerational support. The data for this study came from 42 in-depth, individual interviews with 21 pairs of employed mothers who had at least one child younger than elementary-school age and their mothers or mothers-in-law who had provided child care on a daily basis for their grandchildren. Our phenomenological analysis revealed that the grandmothers felt uncomfortable and overwhelmed when caring for their grandchildren and that they considered this activity to be different from caring for their own children by nature. However, the grandmothers wanted to help their adult children based on their feeling of "boo-mo-ma-eum" (meaning parental heart, i.e., love or care). The employed mothers perceived that they were substantially dependent on the grandmothers by receiving help with child care and housework. Reliance on grandmothers was inevitable and beneficial to these mothers. Dynamic intergenerational living arrangements enabled the dependent relationships. The grandmothers set specific boundaries pertaining to current and future child care so that they would not take on too much responsibility for child care. The mothers used various strategies that contributed to stable child care support from the grandmothers. Providing financial remuneration was an important strategy that had symbolic relational meanings, such as expressing gratitude, rather than financial meanings.

• The Southeast Asian review
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• v.20 no.2
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• pp.73-99
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• 2010

To properly answer the question 'Why have Vietnamese Women kept appearing in Korean Films and TV dramas?', We need to induce Postcolonial discourse along with historical and cultural similarities between Korea and Vietnam. It is because the relationship of two countries can be defined as a neocolonialism specially in view of economic relationship. Koreans need to locate themselves on the superior position by othering Vietnamese women, who are close enough to be compared and also distant enough to be othered. This paper is intended to bring their being in Korean films and TV dramas under the light of postcolonial discourse. According to the postcolonial concepts such as ambivalence, stereotyping and subaltern, Korean films and TV dramas are classified into three groups, which are Vietnam war melodramas, Horror movies based in Vietnam, and TV dramas with Vietnamese brides. War melodramas have been othering Vietnamese woman through ambivalence of the fear of Vietcom warrior and the fascination of exotic beauty. Horror movies, produced about 10 years later, brought the Vietnamese women back to Korean audience, stereotyping them into ghosts, which are incarnated through the suppression and eruption of sexual desire. The third group consists mainly of TV dramas. Their story usually evolves around Vietnamese brides migrating into Korea. The women are forced into the position of Subaltern, not representing themselves in their own voices. Facing multi-cultural society, our visual media are requested to modify their neocolonial approach of presenting Vietnamese women. To accomplish the goal, they have to find ways of storytelling to show the women in their everyday lives and help them to speak for themselves.

• Cross-Cultural Studies
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• v.47
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• pp.291-312
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• 2017

This paper examines how 'house' is meaningful in Chi Li's novel. Chi Li focuses on the house as a symbol of status, and the house as a place of gender performance. First, as a sign that symbolizes an individual's identity, 'house' is divided into intellectual and petit bourgeois, and constitutes binarism into civilization/non-civilization, knowledge/non-knowledge, spirit/anti-spirit and superior/inferior. In recognizing the irrationality and unfairness behind house symbolizing intellectual and petit bourgeois, Chi Li shatters the boundaries of the binaralized house as a sign of identity. Second, it dismantles the house as a place where gender is (re)produced. This is accomplished through two aspects. One is to re-define a private area house as a public area in which economic activity occurs. The house, as a public area in which economic activity occurs, becomes a place where women are reborn as economic entities. Passive, dependent femininity is reconstructed as independent and subjective. The other dismantles the definition of the house which is identified with masculinity. The house identified with masculinity is a place that symbolizes the socio-economic capacity of men. According to the socio-economic ability of males, the house is a place symbolizing the realization of masculinity, and it becomes a place to fix the gender order while reproducing masculinity. It may become a place to experience the weakening or defamation of masculinity. At that moment, the house becomes a place where the gender order of masculinity and femininity is overturned. Through this, Chi Li reconstructed, and in a sense revolutionized the definition of the house as a place where traditional gender is (re) produced by dismantling the definition of fixed femininity or masculinity.

• Cross-Cultural Studies
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• v.49
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• pp.59-93
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• 2017

This paper provides an in-depth examination of the relationship between cinema and Giorgio Agamben's aesthetics and philosophy. Intersecting Agamben's key concepts including gesture, mediality, biopolitics, historicity, and profanation with historical and aesthetic dimensions of cinema, I argue for his ambivalent view on cinema and visual media. On the one hand, Agamben linked cinema and visual media to his discussion on biopolitics and spectacle as he considered them as apparatus for capturing and controlling gestures. On the other hand, he also argued that cinema could restore the image with capacity to preserve and recuperate gestures based on his consideration of montage as cinema's key aesthetic and technical component (an operation of profanation) and his Benjaminian thought on the ways in which montage suspended linear flow of images and activated an alternative memory of them. Drawing on history of cinema and optical devices in the 19th and early 20th centuries as well as examples of found footages of filmmaking predicated upon stoppage and repetition of images, I argue that Agamben's concept of potentialities can be extended into his thought on cinema and visual media apparatuses in general.

• Journal of the Daesoon Academy of Sciences
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• v.45
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• pp.153-186
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• 2023

Since the 2000s, Korean society has been transitioning into a multicultural society with a sharp increase in the influx of various non-Koreans including immigrant workers, immigrant spouses, international students, and refugees. As a result, Korea, which had maintained religious peace and coexistence as a multi-religious society, is showing signs of increased risks of social problems such as the surfacing of conflicts between religions. Religion can contribute to the integration and safety of communities in the process of becoming a multicultural society, but at the same time, it requires discussion from an educational perspective because of its ambivalence in potentially causing conflict within communities. Considering that one of the main functions of religion is social integration, religious education is required for the stable settlement of multicultural societies. In recognition of this, discussion regarding a new perspective on religious education is needed to respond to religious diversity and to understand the current society and the means of becoming a global citizen. This new discussion would be a 'general religious education' model that provides an education covering various religious and non-religious worldviews in order to cultivate 'religious literacy.' However, in a multicultural society, while general religious education may be useful in reducing prejudice and discrimination among students in an integrated environment, it should also be recognized that a 'special religious education' would be needed to acknowledge the unique values of each human group. This would be the most effective approach to multiculturalism. Therefore, this study proposes a form of 'cooperative religious education,' which combines general religious education and special religious education as a direction for religious education. In providing readers with background context, this study will review Korean religious policies and religious education, and then present realistic methods that can be implemented in schools.

• Journal of Korea Game Society
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• v.20 no.4
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• pp.33-46
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• 2020

As the part of a research project, we examined the causes of game addiction. Traumatized infants may project into virtual space a variety of mental symptoms such as aggression and delusion, division and depression, lack of integrated ego, low emotional awareness, compulsive obsession with objects, rebellion against social norms, and low reality awareness. Game space plays various roles in exhibiting presence of self, omnipotence and hopelessness, division of the self-image, emotional duality, immersion, and motility. This roles have both functional and dysfunctional effects.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.737-742
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• 2023

This paper attempts to analyze how Paris was transformed by Haussman through comparing flaneurs in works by Balzac and Baudelaire. In both writers' works, flâneurs as the emblems of modernity observe Paris, especially architecture. Although representative of modernity, they are ambivalently obsessed with the heritage of the past. Balzac's The Wrong Side of Paris, Godefroid as a male bourgeois, is a flaneur observing antiquated architectures, the heritage of past. In Baudelaire's "The Swan for Victor Hugo" the flaneur passing through the modern Caroussel feels the Old Paris is gone. In "Parisian Dream," illusionary Paris exhibits metopolitan imagery wrought by capitalism led by Napoleon the third. The difference between the two writers demonstrate how Paris was changed by modernity.

• Iberoamérica
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• v.21 no.2
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• pp.25-52
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• 2019

Esperpento denotes a literary style in Spanish literature first established by Spanish author Ramón María del Valle Inclán that uses distorted descriptions of reality in order to criticize society. And esperpento's narrative strategy is similar in many ways to Mikhail Bakhtin's carnivalism. Especially Valle Inclán's first esperpentic theatre, Luces de Bohemia contained various carnivalistic elements of Bakhtin. The various techniques of Valle Inclán's esperpento used in Luces de Bohemia can be explained by Bachchin's carnivalist techniques. Therefore, this paper aims to re-examine the esperpentic techniques in Luces de Bohemia of Valle Inclán in terms of Bakhchin's carnivalism. Because the esperpentic tecniques of this play pursue the subversion of power or authority through the carnivalistic aspects such as polyphony, subversion of seriousness, parody, grotesque realism, plaza, ambivalence, anomalous structure of space, time and plot, etc. Esperpento and carnivalism serve as a tool to interpret the social reality, beyond criticism and satire of Spanish society. The characters act passively on all the external factors that determine human destiny, rather than actively carving their own destiny like the classic heroes. Modern man cannot defy or control the external situation of the modern civilization. So they are tragic. In this situation, the protagonist of the tragedy who challenges reality disappears and a puppet figure like Max Estrella, the protagonist of the Luces de Bohemia, takes his place on a satirical level. This is the satire and the true meaning of carnivalistic humor that Valle Inclán tried in his play.

• Cartoon and Animation Studies
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• s.19
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• pp.37-50
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• 2010

The purpose of this paper is to explore the hegemonic masculinity in Disney animated feature films in terms of Antonio Gramsci's hegemony and R. W. Connell's hegemonic masculinity. According to Gramsci, hegemony refers to the predominance of a dominant group over other groups. By the same token, Connell uses the term hegemony as the configuration of gender practice which embodies the domination of men and the subordination of women. He describes four masculinities to explore male hierarchy in male groups: hegemonic masculinity, subordinated masculinity, complicit masculinity, and marginalized masculinity. Through Connell's terms, this study investigates masculinities in Disney films, especially Beauty and the Beast (1991) in relation to hegemonic masculinity. As a result, Disney describes repeatedly hegemonic masculinity as hard body defined by Susan Jeffords and supports tacitly the domination of a specific male group.