• Journal of Popular Narrative
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• v.25 no.1
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• pp.9-54
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• 2019

Since the birth of melodrama in the early Enlightenment era, it has flowed through various cultures and media. In order to grasp the principle of differentiation of melodrama and the direction of its change, a developmental approach to the formation process of melodrama is necessary. In this regard, this paper examines the formation process of modern melodrama and its aesthetic features around the time of the French Revolution. The modern melodrama was formed in the period between the end of the 18th century and the start of the 19th century. It was born at the intersectional point of the contradictions of the modern imagination and the political paradox of the French Revolution, which demanded an autonomous citizenship but did not recognize a woman as a citizen. The aesthetic of women's sacrifice and tears reproduced in the modern melodrama is a political aspiration to restore a corrupt society by glamorizing a woman as a moral icon. This was an icon to save a society under divide and crisis and a coordination of emotions to conceal sexist violence in the politics of the exclusion of women. The aesthetic of women's sacrifice and tears reproduced in modern melodrama has consistently been considered under negative evaluation such as a play of moral hypocrisy and vulgar drama. However, the academic interest in melodrama in the 1970s has been amplified due to the "Sirk-melo" which is a transition to the new aesthetic of women's sacrifice and tears, encompassing not only women, but also races and classes. In modern society, entering the era of uncertainty, where various social problems, national disasters, and global disasters have become commonplace, 'the aesthetic of women's sacrifice and tears' are shifting from gender differences to various victim narratives. Reviewing new theoretical trends and changes of recent melodrama as well as analyzing specific works are left as follow-up tasks.Since the birth of the melodrama in the early Enlightenment era, it has flowed through various cultures and media. In order to grasp the principle of differentiation of melodrama and the direction of its change, a developmental approach to the formation process of melodrama is basically necessary. In this regard, this paper examines the formation process of modern melodrama and its aesthetic features around the time of the French Revolution.

• Korea Trade Review
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• v.41 no.4
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• pp.185-219
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• 2016

The Chinese cosmetics market is rapidly expanding, but various problems have also emerged, including exaggerated advertisement, lack of accurate information on product usage and the emergence of imitation products. For this reason, cosmetics companies have been making efforts to convince Chinese consumers of their brand authenticity and trust. In particular, Korean cosmetics firms have been using Hallyu stars who are largely popular among Chinese consumers as a means to raise their brand authenticity and trust. The aim of this study was to view Hallyu stars as human brands in the Chinese cosmetics market and verify whether the Chinese consumers' attachment toward Korean celebrities help the consumers perceive the authenticity of the brands advertised by the stars, and whether such brand authenticity affects the Chinese consumers' trust in Korean cosmetics brands. Furthermore, based on the fact that brand authenticity is defined and classified differently according to the type of product, this study observed the authenticity of Korean cosmetics brands from the aspect of product, employee and company based on previous research conducted on cosmetics brand authenticity. To this end, this study surveyed Chinese consumers for a month by using a representative survey website (http://www.sojump.com) that actively shares information related to cosmetics. A total of 394 surveys were used in the empirical analysis. The results of empirical analysis indicated that Chinese consumers' attachment toward Hallyu stars spreads to the Korean cosmetics brands advertised by the celebrities to have a positive effect on the brand authenticity perceived by Chinese consumers, including the authenticity of product, employee and company. Results also showed that the authenticity of Korean cosmetics brands, including product, employee and company, affected Chinese consumers' trust in the brands. The results of this study can provide implications regarding advertising or marketing strategies using Hallyu stars that can be utilized by Korean cosmetics companies to improve brand authenticity and reliability perceived by Chinese consumers in the Chinese cosmetics market, where brand authenticity and reliability are important.

• SUVANNABHUMI
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• v.3 no.1
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• pp.47-66
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• 2011

Malay society is rooted on the Islamic concept. That Islam influenced every corner of that Malay society which had ever been an edge of the civilizations of the Indus and Ganges. Once the letters of that Hindu religion namely Sanscrit was adopted to this Malay society for the purpose of getting the Malay language, that is, Bahasa Melayu down to the practical literation but in vain. The Sanscrit was too complicated for Malay society to imitate and put it into practice in everyday life because it was totally different type of letters which has many of the similar allographs for a sound. In the end Malay society gave it up and just used the Malay language without using any letters for herself. After a few centuries Islam entered this Malay society with taking Arabic letters. It was not merely influencing Malay cultures, but to the religious life according to wide spread of that Islam. Finally Arabic letters was to the very means that Malay language was written by. It means that Arabic letters had been used for Arabic language in former times, but it became a similar form of letters for a new language which was named as Malay language. This Arabic letters for Arabic language has no problems whereas Arabic letters for Malay language has some of it. Naturally speaking, arabic letters was not designed for any other language but just for Arabic language itself. On account of this, there occurred a few problems in writing Malay consonants, just like p, ng, g, c, ny and v. These 6 letters could never be written down in Arabic letters. Those 6 ones were never known before in trying to pronounce by Arab people. Therefore, Malay society had only to modify a few new forms of letters for these 6 letters which had frequently been found in their own Malay sounds. As a result, pa was derived from fa, nga was derived from ain, ga was derived from kaf, ca was derived from jim, nya was derived from tha or ba, and va was derived from wau itself. Where must these 6 newly modified letters be put on this Arabic keyboard? This is the very core of this working paper. As a matter of course, these 6 letters were put on the place where 6 Arabic signs which were scarecely written in Malay language. Those 6 are found when they are used only in the 'shift-key-using-letters.' These newly designed 6 letters were put instead of the original places of fatha, kasra, damma, sukun, tanween and so on. The main differences between the 2 set of 6 letters are this: 6 in Arabic orginal keyboard are only signs for Arabic letters, on the other hand 6 Malay's are real letters. In others words, 6 newly modified Malay letters were substituted for unused 6 Arabic signs in Malay keyboard. This type of newly designed Malay Jawi Script keyboard is still used in Malaysia, Brunei and some other Malay countries. But this sort of keyboard also needs to go forward to find out another way of keyboard system which is in accordance with the alphabetically ordered keyboard system. It means that alif is going to be typed for A key, and zai shall be typed when Z key is pressed. This keyboard system is called 'Malay Jawi-English Rumi matching keyboard system', even though this system should probably be inconvenient for Malay Jawi experts who are good at Arabic 'alif-ba-ta'order.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.6-22
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• 2022

In this paper classifies the types of 228 anchor stones discharged from the west and south coasts, assumes a combined method by type, routes through discharge locations, and It attempted to estimate the burial site. Prior to classification of types, the weight, thickness, width, and length of the anchor stone were measured, and the largest Young in the tomb The scent weight was classified into I~V groups, and the shape of the anchor stone was classified into 1-6 types. All of these weight and shape correlations It was classified into 17 types. The combined method by type is 180kg or less depending on the morphological characteristics of the reference value of the extracted anchor stone, and the type An anchor of type 1 or 2 is used in combination with an anchor, and a anchor of type 3 or 6 weighs more than 180kg and is combined with an anchor The dragon was assumed to be an anchor. Along with this, the route and burial site are identified through past records and testimony of local residents It was checked against the data. The route was largely consistent with past records, but the new route was apparent in waters near the island or inland It was also drawn. In the case of burial sites, small and large in Taean Mado Sea and Jindo Byeokpajin Sea, where anchor stones are concentrated, Considering the pattern of the type anchor stones being discharged, it was consistent with the testimony that ships of various sizes were mysterious in the two seas. Based on this type classification, a study on the spatiality of the anchors was conducted. First, a comparison and analysis was done on whether actual real data, such as anchor stones, old ships, and relics, were identified on the Joun-ro route and international trade routes as recorded in the past literature. Where there was no record, the route was estimated based on real data. To this end, routes estimated based on the testimony of local residents and modern ship workers were analyzed as to whether ships traveled there in the past and whether they could actually sail. Next, the location of each seedling was estimated by ship size according to the weight of the anchor stone. In the case of the Taean Mado Sea and Jindo Byeokpajin Sea, both small and large anchor stones were discharged from the coastline and were far away.

• The Journal of the Society of Stroke on Korean Medicine
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• v.12 no.1
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• pp.41-49
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• 2011

Objective : Stroke is the most common disabling neurological disease of adult life. And some part of the clinical symptoms and signs are correlated to the post stroke complication. This study was to analyze the therapeutic effect of the East-West collaborative treatment, especially on the motor power and the clinical symptoms and signs improvement of ischemic stroke patients. Method : For 2 weeks as possible, we observed the patients with acute ischemic stroke receiving East-West collaborative treatment. We assessed the patients using Motricity Index (MI) and the changes of clinical symptoms and signs three times at seven-day intervals. At the end of the study, we compared the results. Result : Motricity Index of patients changed from 71.55 to 76.03 (upper limb) and 73.05 to 79.42 (lower limb), respectively. Some items of clinical symptoms and signs showed the statistically significant result. Especially, the urination and defecation symptoms improved obviously. Conclusion : The East-West collaborative treatment has an effect on motor power and clinical symptoms and signs improvement of acute ischemic stroke patients.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Journal of Family Resource Management and Policy Review
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• v.27 no.2
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• pp.19-33
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• 2023

The purpose of this study is to explore the family diversity-related service experiences of Family Center practitioners under the main policy goal of recognizing family diversity set out in the Fourth Master Plan for Healthy Families. To this end, a focus group interview was conducted with 12 Family Center practitioners in multiple cities and districts who had extensive family service experiences. The focus group interview data were analyzed using thematic analysis. The analysis found that Family Center practitioners understood the concept of family diversity according to the changes in the family policy environment and applied it in various forms to the administration of their respective centers. However, while administering the family support services considering the aspect of family diversity, they experienced a lack of resources for various family service programs, conflicts between each family service goal and the family diversity-related program goal, and difficulties in identifying the recipients. To expand family diversity-related services in the future, the interviewees emphasized the need for education programs about family diversity targeted at Family Center practitioners, and family support services that reflect regional characteristics. They also stressed the need for changes in program operation methods, such as expanding family diversity education, and developing family service programs appropriate for diverse families. Lastly, they highlighted the need for mounting a publicity campaign for Family Centers, widening the target recipients of family programs, and expanding the budget for the administration of the family diversity project. The results of this study can serve as a basis for restructuring family services for the application and expansion of family diversity practices, and as educational material that can be used to strengthen the capacity of family service practitioners to plan and execute family support programs that take family diversity into consideration.

• Korean Journal of Environment and Ecology
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• v.37 no.3
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• pp.209-220
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• 2023

Over the past few centuries, widespread changes to natural ecosystems caused by human activities have severely threatened biodiversity worldwide. Understanding changes in ecosystems is essential to identifying and managing threats to biodiversity. In line with this need, the IUCN Council formed the IUCN Global Ecosystem Typology (GET) in 2019, taking into account the functions and types of ecosystems. The IUCN provides maps of 10 ecosystem groups and 108 ecological functional groups (EFGs) on a global scale. According to the type classification of IUCN GET ecosystems, Korea's ecosystem is classified into 8 types of Realm (level 1), 18 types of Biome (level 2), and 41 types of Group (level 3). GETs provided by IUCN have low resolution and often do not match the actual land status because it was produced globally. This study aimed to increase the accuracy of Korean IUCN GET type classification by using land cover maps and producing maps that reflected the actual situation. To this end, we ① reviewed the Korean GET data system provided by IUCN GET and ② compared and analyzed it with the current situation in Korea. We evaluated the limitations and usability of the GET through the process and then ③ classified Korea's new Get type reflecting the current situation in Korea by using the national data as much as possible. This study classified Korean GETs into 25 types by using land cover maps and existing national data (Territorial realm: 9, Freshwater: 9, Marine-territorial: 5, Terrestrial-freshwater: 1, and Marine-freshwater-territorial: 1). Compared to the existing map, "F3.2 Constructed lacustrine wetlands", "F3.3 Rice paddies", "F3.4 Freshwater aquafarms", and "T7.3 Plantations" showed the largest area reduction in the modified Korean GET. The area of "T2.2 Temperate Forests" showed the largest area increase, and the "MFT1.3 Coastal saltmarshes and reedbeds" and "F2.2 Small permanent freshwater lakes" types also showed an increase in GET area after modification. Through this process, the existing map, in which the sum of all EFGs in the existing GET accounted for 8.33 times the national area, was modified so that the total sum becomes 1.22 times the national area using the land cover map. This study confirmed that the existing EFG, which had small differences by type and low accuracy, was improved and corrected. This study is significant in that it produced a GET map of Korea that met the GET standard using data reflecting the field conditions. 

• The Korean Journal of Franchise Management
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• v.5 no.1
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• pp.27-47
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• 2014

This research was conducted on the purpose of seeking the measures of how to cope with the changing industry of Topokki franchises. Despite of the fact the number of Kukdae Topokki's stores is quite smaller than that of its competitors, such as Jaws Topokki and Addal Topokki, Kukdae Topokki is recognized as one of the front-runners in the industry. But the competition in the topokki industry has become fiercer, as the market became saturated. To find a desirable solutions, this study analyzes past-to-current status of the Topokki industry by dividing it into 4 stages and provides few strategies that Kukdae Topokki can apply to the 4th stage where 'brand awareness' is very important. To this end, few drawbacks of Kukdae Topokki are proposed as the following. First, the brand image that Kukdae Topokki pursue does not correspondent with the image in consumer's mind. Second, Kukdae Topokki has selected the wrong targeting group. It aims for the image of 'retro' to target people in their 30-40s. However, most of the consumers are people in their 20-30s. Third, the taste of Kukdae Topokki is not uniform among franchises. Fourth, the awareness and accessability are low. To provide a proactive actions for the next stages, several solutions are proposed as following. First, By managing consistent Kukdae Topokki's Brand Touch point, consumers may have a strong image on the brand by communicating with consumers consistently at all touch points. Second, instead of the existing guide from the head office(franchiser), a standardized criteria for the usage of materials and periodical education for franchisee are needed. Third, to raise the awareness of Kukdae Topokki, open many branches in the area where the main consumers(20-30s women) are mostly spread out.

• The Bulletin of The Korean Astronomical Society
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• v.45 no.1
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• pp.34.3-34.3
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• 2020

Faint z ~ 5 quasars with M1450 ~ -23 mag are known to be the potentially important contributors to the ultraviolet ionizing background in the post-reionization era. However, their number density has not been well determined, making it difficult to assess their role in the early ionization of the intergalactic medium (IGM). In this work, we present the updated results of our z ~ 5 quasar survey using the Infrared Medium-deep Survey (IMS), a near-infrared imaging survey covering an area of 85 square degrees. From our spectroscopic observations with the Gemini Multi-Object Spectrograph (GMOS) on the Gemini-South 8 m Telescope, we discovered eight new quasars at z ~ 5 with -26.1 ≤ M1450 ≤ -23.3. Combining our IMS faint quasars with the brighter Sloan Digital Sky Survey (SDSS) quasars, we derive, for the first time, the z ~ 5 quasar luminosity function (QLF) without any fixed parameters down to the magnitude limit of M1450 = -23 mag. We find that the faint-end slope of the QLF is very flat (-1.2) with a characteristic luminosity of -25.7 mag. The number density of z ~ 5 quasars from the QLF gives lower ionizing emissivity and ionizing photon density than those in previous works. These results imply that quasars are responsible for only 10-20% of the photons required to completely ionize the IGM at z ~ 5, disfavoring the idea that quasars alone could have ionized the IGM at z ~ 5.