• The Journal of the Korea Contents Association
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• v.22 no.3
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• pp.413-429
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• 2022

"Tourist Gaze" discussion in the 21st century introduces that tourist is the post-modern and post-fordism figure. Festival visitors can be said as one of the post-modern tourists, so this figure has "performance turn" feature as well. It will be discussed here why festival visitors of the Edinburgh Fringe Festival want to visit the festival. As post-modern and post-fordism figure, festival visitors want to experience autonomy, competence and relationshjp based on the performance turn.

• The Journal of the Korea Contents Association
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• v.13 no.2
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• pp.137-146
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• 2013

The vague anxiety or disbelief about new media undermines the confidence of old media about controlling the future. The negative response of old media makes the vicious circle. In spite of the development of new media and IT industry, the conservative view regards computer game as taboo. The absolute taboo provokes the absolute fear. Then the absolute taboo is 'computer game' in today's Korean society. Computer game as play in the digital era is burdened by the critique on the non-productivity and the deviation. And what's more, the digital technology of computer game intensifies the image of 'virtuality'. It cause the fear about computer game. This article starts on the understanding about computer game and inspects the mass image about computer game which is caused by the various aspects of cultural or technological facts in computer game. From this inspection, the article explains the mechanism of gamephobia and suggests the view to catch the cultural value of computer game beyond the fear.

• Korean Journal of Culture and Social Issue
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• v.10 no.3
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• pp.61-81
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• 2004

The purpose of this study was to investigate effects of North Korea defectors' living experiences in South Korea on their self-perceptions and perceptions of South Korea. For this purpose, a questionnaire was distributed to 66 defectors with no living experiences at all and 99 defectors with living experiences of an average of 2.7 years in South Korea. They were asked to rate their own as well as South Koreans' values, personality, attitudes toward sexual misbehavior, gender stereotypes. Also, they evaluated the society of South Korea and its political control. The results indicated that those defectors with living experiences tended to perceive more negatively their own and South Koreans as well, and yet that they were less negative for sexual misbehavior and weaker for gender stereotypes. Also, results suggested that living experiences led defectors to perceive South Korea in a more negative way. Those findings were discussed in terms of changes in culture.

• Korean Security Journal
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• no.49
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• pp.217-246
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• 2016

Most of the North Korean defectors are the socially disadvantaged, and formed the lowest class in South Korean society. Their main objectives are to achieve economic wealth. In this process, North Korean defectors have often committed the crime or have been criminal victims. The purpose of this study was to propose the effective preventive measures after analyzing the actual situation of North Korean defectors in criminal behaviors and criminal damages. This research has studied of the literature on the criminal behavior and the criminal damage by North Korean defectors, utilized the relevant statistical data, cited the news for the relevant cases, and proposed the effective preventive measures of criminal behaviors and criminal damages of North Korean defectors by doing in-depth interviews with personal protection officer First, in order to prevent criminal activity by North Korean defectors, we should uplift the identity as the members of Korean society, systemize the initial adapt education, enlarge the employment protection and the resettlement helper system, manage North Korean defectors according to adaptive type, develop the network, establish the management department for the defectors, strengthen the training of prison inmates, and strengthen the management of unprotected people. Next, in order to prevent the criminal damages of North Korean refugees, we should manage vulnerable North Korean defectors effectively, maintain the liaison between the personal protection officer and North Korean defector, arrange the personal safety measures in advance when traveling abroad, enhance the legal education for usual living in Korean society, and perform the re-education for the female socialization.

• Journal of the Korean Society of Child Welfare
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• no.56
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• pp.101-132
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• 2016

Fandom is a meaningful social phenomenon that represents a significant dimension of contemporary Korean youth culture. Previous research, however, has considered fandom as a deviant activity that is negative in nature, and there is scant research on the positive effects of fandom activity. This study examined the effects of off-line and on-line fandom activity participation on adolescents' academic time management capability. Data were collected from three waves (2010, 2012, and 2014) of the Korean Children and Youth Panel Survey (middle school cohort; N=2,206 at baseline). Results from the multi-level growth curve analysis were as follows. First, more than half of the adolescents reported participating in fandom activities, and the majority of them participated in both online and offline activities. Second, adolescents' academic time management capability improved over time. Third, both off-line and on-line fandom activity participation was positively associated with adolescents' academic time management capability at the baseline (first year of middle school). The size of this relationship, however, decreased over time (from middle school to high school). This study presented the importance of appropriate guidance by adults to develop and promote the positive aspects of fandom activity, and highlighted the need for further research that focuses on the positive aspects of fandom activities.

• (The) Research of the performance art and culture
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• no.20
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• pp.129-161
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• 2010

Women's social status is marginal in the patriarchal system, therefore it is not easy to express their's desire. Women's social role are restricted by the Confucian culture in the late of Chosun Dinasty. But women freely expressed their's gamseong(感性) by singing the folk songs. Many researches have focused on the reality of life or the structure and meanings of the women's folk songs. On the contrary, no one has paid attention to the gamseong in the women's folk songs. This is the reason why this thesis focused on the aspects of gamseong in the women's folk songs. The aspect of gamseong expression in women's folk songs can be classfied as follow: HAN(恨) resulting from living with one's husband's parents (Si-jip-sa-ri); LONGING caused by parting with the lover; HOPE due to childbirth and bringing up; SHIN-MYOUNG(神明) through deviation and liberation. In conclusion, We can find out women's gamseong would be formed from the their own roles and relationship with the others. Besides they could offset their sorrow and cure their pain through loving others and selfloving.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.