• Research in Community and Public Health Nursing
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• v.9 no.2
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• pp.441-457
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• 1998

The purpose of this study is to provide fundamental information for the development of new sex education image media through the analysis of those tools produced by Planned Parenthood Federation of Korea. Twenty three video tapes related to the sex education were analysed. The data were sampled on the basis of the sex education instructions for primary and secondary schools published by the Seoul Office of Education in 1996 and the list of sex education information composed by the Planned Parenthood Federation of Korea with the following requirements. 1) The education materials are oriented to the middle and high school students as well a juveniles and are being used in public health centers and schools. 2) The education materials are not confined to the single subject such as AIDS or contraception. Because this study is focused on the analysis of image media, an analysis method widely and effectively used in public media study was chosen. The frequency analysis and percentage treatment were done by an SAS program. The results of the study are as follows : 1. An analysis of the material structure type showed that the frequency of the following subjects in 15 video tapes, composed as drama and cartoon, had this decreasing orde : sex behavior, sex relation ships, sex health, human development, personal technique, and society and culture. 2. The eight tapes of explanation and counseling showed a different sequence from that of the drama and cartoon material, primarily treating human development with 5419 seconds (47.9%) of type. The following were also considered in decreasing order: at 2000seconds (17.6%) sex behavior, at 1366 seconds (12.1%) sex health, at 1240 seconds (11.0%) society and culture, at 667 seconds (6.0%) relation ships, and at 611 seconds (5.4%) personal technique. 3. In a thematic analysis those education materials dealing with human development show this frequency sequence: anatomic physiology, reproduction, and adolescence. In relation, ships the sequence is dates, love, marriage and vows, and family. For personal technique, it is expressed as asking for help, and an empnasis on moral values. For sex behavior, they focus on abstinence, the co-responsibility of sex behavior, the sexual response of the human, and sexual nightmares. For the sex health area, the focus is contraception with abortion and reproductive health following that. In society and culture diversity is considered. 4. An analysis of the differences in production and content between 1980s and 1990s was also done. For materials produced in the 1980s the frequency of the subjects follows this order: sex behavior, human development, relation ships, sex health, personal technique, and society and culture with sub subjects such as abstinence, dating, adolescence, anatomic physiology, reproduction, calls for help, and the sexual response of a human being. For materials produced in the 1990s, highest frequency was sex behavior, the same as the 1980s. The rest of the material follows this decreasing order: relationships, human development, sex health, society and culture, and personal technique with sub subjects such as dating, co-resposibility in sex behavior, abstinence, and love frequently considered.

• (The) Research of the performance art and culture
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• no.35
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• pp.203-227
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• 2017

In this thesis, I examined the characteristics of modernism in this work, focusing on the melodrama "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')", which was popular in the 30s when the consciousness of modernity was overflowing. There has never been an example of a connection between modernism and drama in the 1930s. The characteristic of modernism is clearly embedded in the representative drama of "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')" at that time. In the title "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')". 'Don' reveals modern elements. 'Love' can be seen as revealing melodramatic elements. The flair of modern art, which is a background to reveal modern elements, is spread throughout the works. Hongdo fails to complete the relationship with his family, as well as with the couple. It became a person who accepted the modernistic phenomenon by showing the domination of matter. While the typical method of constructing conflicts in the pre-modern narrative works is horizontal and sequential, it can be said that it was in the form of a train station, while the post-modern era of narrative conflict formation from the 30s forms a plurality of conflicts simultaneously, can do. The fear of the ordinary people who see the reality that urban and western values are already rampant by attempting new contents that lead the change of values in "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')" became a factor to transfer into internal conflict again.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.63-74
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• 2021

This study focuses on the increasing supply and consumption of affair dramas on TV with the theme of unconventional 'infidelity', therefore, is an empirical study that reveals factors related to the problem consciousness of married men and women about infidelity dramas that can affect the sexual socialization of married men and women. This study investigates the effect of married men and women's right to sexual self-determination between couples, personal psychological characteristics (emotional maturity, emotional alienation, self-perception), surrounding environmental characteristics (prevalence of extramarital relationships), and demographic background (gender, age, educational background, economic level) on 'the presence or absence of critical consciousness of infidelity dramas'. For the data of this study, an online survey is conducted on married men and women(614 people), and binary logistic analysis is conducted using SPSS. As a result of this analysis, first, 46% of married men and women have a relatively good level of critical awareness of affair dramas, and overall, the level of critical thinking of married men and women about the infidelity dramas is rather low. Second, there is no significant difference between genders in the perception of problems such as 'excessive beautification of infidelity', 'incitement of infidelity' and 'damage of family values', however, married women are more critical than married men regarding 'explicit sexual description', indicating differences according to gender characteristics. Third, for married men, the level of 'self-perception' and 'marital sexual self-determination right' have a significant effect on the critical mind with infidelity dramas. In the case of married women, it is found that 'the right to sexual self-determination' between married couples and 'emotional alienation' have a significant effect on 'the presence or absence of critical consciousness of infidelity dramas'.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.49-71
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• 2013

Melodrama emerged as a form of the moral in the early modern age. As an approach 'the moral' not only means that rewarding virtue and punishing vice, but also refer to a principle of spiritual life and a way of life. -Melodrama theatricalizes a new vision of human life and society through a new type of the virtuous protagonist and sentiment/-ality. -This allows melodrama to be a dominant cultural form in this modern age, beyond the borders of the theater, mass-media, and literature. Virtue and sentiment/-ality are the core elements of melodrama, which differentiate it from tragedy and comedy especially in the structure and effect of the drama. Actually virtue and sentiment/-ality have been a main target of criticism. Virtue has been regarded as a trite quality of the stereotypical protagonist, and sentiment/-ality as a banal emotion which paralyzes an audience's recognition of reality. -However, this thesis regards both virtue and sentiment/-ality as vehicles for showing and sharing the morals of the modern age. First, the virtues of the protagonist included the general and universal ones of the bourgeois -at that times, the bourgeois represented themselves as a human being- such as the responsibility and obedience of a father, a mother, a wife, a husband, a daughter and a son. They also included the professional ethics such as courage, honesty, and justice and so on. The fall or salvation of the protagonist is largely determined by his/her private individual virtue. Second, sentiment/ality is a theatrical device that makes the audience internalize the protagonist's virtue. The protagonist expresses his/her universal virtue sentimentally, and the audience also expresses their virtue by sympathizing with the protagonist's virtue sentimentally. However, the melodramatic protagonist as an individual, is not connected with society, but remains isolated. As a result, s/he has no influence on the society, where s/he can only ends her/his play alone with a happy-ending. S/he is happy alone, or at best happy with his/her own family. On the contrary to this, tragic protagonist usually fixes social disorder through his/her fall. In that sense, we can say that melodrama presents only the half of the human life.

• Journal of the Korean Society of Food Culture
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• v.23 no.6
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• pp.693-704
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• 2008

In this study, the preference for Korean Kimchi by Chinese people in Shandong Province was evaluated. Specifically, this study was conducted to aid in the introduction of Kimchi to China by providing information and developing local types designed to meet regional taste preferences. The subjects were comprised of 298 Chinese (male 108, female 190) residents of Weihai, Yantai and Qingdao, in Shandong province, China. The subjects were provided with a self administered questionnaire form designed to evaluate their views on Korean Kimchi. The collected data were then analyzed using the SAS software package. The results revealed that 95.3% of the respondents were aware of Korean Kimchi. In addition, 100% of the respondents who had visited Korea and 98.1% of the respondents who had an interest in Korea were aware of Kimchi. With regard to the origins of their interest in Kimchi, 26.8% of the subjects answered 'through mass media', while 23.9% reported that they learned about Kimchi 'through friends'. Most subjects recognized Kimchi as a 'Korean traditional food' (92.6%), a 'delicious food' (53.2%), and a 'fermented food' (38.0%). Baechu Kimchi was found to be the most well-known Kimchi, followed by Kkakdugi, Oi Kimchi, Yoelmu Kimchi and Nabak Kimchi. Additionally, 69.1% of the subjects knew how it was prepared, most of whom reported that they learned how Kimchi was prepared through 'Korean movie and/or drama'. Moreover, 88.9% of the subjects had eaten Kimchi. Overall, 43.8% of the subjects reported that they ate Kimchi $1{\sim}2$ times per month, while 32.1% reported that they ate Kimchi $1{\sim}2$ time per year. The most common places that Kimchi was eaten were a 'Korean restaurant' (67.6%) or with a 'colleague' (32.8%). The primary reasons for not having eaten Kimchi were 'no knowledge or dislike of Kimchi by family' (30.3%), 'difficulty purchasing Kimchi' (21.2%), 'high priced Kimchi' (21.2%), and 'dislike the smell and shape of Kimchi' (12.1%).

• Journal of Fashion Business
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• v.9 no.4
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• pp.59-78
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• 2005

This study aims to know the deferences of hair fashion feeling group in accordance with hair styling activities, general characteristics, life styles objecting to capital area university women students and aid to hair fashion design. So the results are as belows. 1. Frequency Analysis of Categories A. Hair fashion feeling - Natural, sexy, romantic pretty, sophisticate, ethnic are 90% in total hair fashion feeling variables in sequence of frequency, so it can be said these are in vogue. B. Hair styling activities - The objections visit the hair salon once 1-2months, spend about 42,000 won a month, perform cut & wave perm to sentimental reasens & hair style changes, determine the hair style well coordinated in her image and managed easily. In her home, they manage her hair style 12 minutes a day, spend 17,000 won to buy hair aids, do hair blow dry or pin or pony tail mainly in the morning, scarcely use the hair styling aids but if use, essence or wax mainly. And the degree of interest to hair style is high. C. General Characteristics - The objections's average age is 21.1, residence is seoul kangnam 23.3%, seoul kangbook 18.4%, other capital areas 58.4%, the degree of education is university students 94.9%, graduated student 5.1%, marriage is married 96%, unmarried 2.8%, family who live with is married are mainly man & woman and living with father & mother in low in man's, unmarried are mainly live alone & nuclear family, personal expenses a month is 300,000 won in average, income of home is 4,000,000 won a month. D. Life style - The objections are not in interest of physical exercises but if are, do yoga & health, like drama & comedies program, watch TV or meet friend in leisure time, like balad & dance music, fashion magazine, meet friend in cafe or college. 2. Relationship of hair fashion feeling & other variables Using the $x^2$-test, level p<0.05, Hair styling activities(frequency of hair salon coming in and out, ordinary time representing hair style, preferred hair styling aids, the amount of hair style interest), General Characteristics(age), Life style(leisure time) variables are meaningful.

• English & American cultural studies
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• v.18 no.4
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• pp.103-137
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• 2018

Harold Pinter's One for the Road(1984) is a play about violence. Nicholas, who appears to be the manager of a place, interrogates Victor, Nicky, and Victor's wife Gila in a room for one day from morning to night. There is no direct physical violence in this play. But hints about the atrocities that took place outside the stage make the audience guess the violence and cruelty. Violence, which is not seen as such, is the central theme of the play. One for the road is worth reading as a resistance to breaking the mirror of global ideology, not as it deals with violent events confined to Turkey. The problem which Pinter had in mind, in particular, is that the United States plays a leading role in producing world-class ideologies, and that Britain is involved in collusion with the United States in cultivating such ideological fantasies, both abroad and at home. This thesis analyzes the contrasting reactions of each character in the play based on this social context. In particular, the conflicting reactions of the characters on the system are the most important conflict in the drama. Nicolas is a manager who moves on the system without seeing the truth. Victor and his family, on the other hand, do not move within the same ideology as Nicholas. This paper will take a look at what their strategies of resistance is and how they are revealed in the work. In fact, Nicholas appears split. Nicholas seemingly reacted decisively to the interpellation of the system. He expresses his belief and respect for the legitimacy of his actions. However, he has repeatedly sought the respect and love of Victor. Nicholas is now swaying. The theme that Nicholas presents consciously by grabbing at his own sway is 'Patriotism.' But this fantasy splits through Victor's silence and death demands. Therefore, the questions to be answered are: So why does Nicolas appear to be torn apart in a system that directs violence? But why is he forced to assimilate into the system? What other figures imply? To answer these questions, this thesis will take Slavoj Zizek's view of ideology. On the other hand, there are previous studies that read the system of violence in One for the road from the Althusser's perspective. Surely, this play explores the role of Ideological State Apparatus. However, from the point of view of Althusser, it is not possible to read Nicholas's division and the point of resistance seen by Victor's family. Pinter does not limit the scope of the ideological system as a closed one that regenerates ideologies, but secures the domain of main body resistance and struggle. On the other hand, there are already several domestic theses that read Pinter's work in Zizek's perspective. But these theses are mainly focused on analysis of Mountain Language. What this thesis would suggest is that there is a potential for an ethical figure of Zizek to be considered in One for the Road.

• Korean journal of communication and information
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• v.41
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• pp.200-231
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• 2008

This study content-analyzed Korean cable television programs aired from Feb. 6 to Feb. 19, 2007, focusing on the contextual variables linked to violent acts. A total of 657 PAT's (perpetrator-action-target) in the 68 programs sampled were analyzed for characters' age, sex, type, relationship, and motivation, humorization, punishment for their violent acts, and finally reality of violence. According to the results, (1) most violence occurred among male characters, who were at their ages between 20 and 39; (2) more than half of the total violent acts happened among acquaintances including family members; (3) anger, retaliation, personal or group interest, and violence for fun were ranked at the top tiers of the motivation list; (4) most violences were overlooked without punishment; (5) and about 80% of the whole violence were realistic. In terms of program types, (1) female perpetrator and victims appealed more often in drama than the other genres; (2) violence among acquaintances and simple fun as motivation were prevalent most in entertainment programs; (3) every violent act in children's programs was done by unrealistic characters. According to the analysis by program ratings, (1) while least violence appeared in '19 and older', all of the violent acts were portrayed as realistic; (2) humorization were most prevalent in the 'everyone' rating; (3) and female perpetrators and victims appealed most in the programs rated as '15 and older'. Generally, various contextualized violences displayed different distributions according to program types and ratings. The qualitative features of the current findings about cable television violence provide a fundamental data for future studies, which will explore the subsequent effects of violent media contents.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.204-210
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• 2016

The reason to research the musical is it has a lot of useful things for the various studies department not only Korea Musical Theatre own although it has been a successful musical theater on the Off-Broadway by Reboot culture era. Even though does not release on Korea, the popular of the show and powerful results of environments have delivered through the international magazines and Youtube channels to Korea. To study of Musical will be lead us to the world which adopted to the social problems as the youth school violence, family communication hurdle, and religion missing by script not only the musical drama but the interpretation for Teen-agers social problem. There are many kinds of Neo educations are proved by smart learning as STEAM. The students who have been studied with the smartphone, I-pad, personal computer, or laptop as smart tools for class are familliar as feedback processing speedly. It would make them learn the skill for their knowledge of a digital age, but it should not let them how to understand other people's emotion as real although STEAM has emtion part. Besides they have communicated on the social network not the ordinary man but the special ego by themselves, as mention or retweet as like their amusements and make the gossip group. This study would show the perspective for understanding Teen-agers Social Problem and who is the victims today's juvenile problems though the musical based on Jim Taulli's directing.

• (The) Research of the performance art and culture
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• no.43
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• pp.145-172
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• 2021

Shin Myung-soon's is based on the taboo 'bombing of the Han River Bridge'. The reality of the bombing of the Han River Bridge in 1950 and the shooting of Colonel Choi Chang-sik was known only as a word of mouth. At that time, the ruling class did not want to reveal the painful mistakes of the unfavorable war situation in the early days of the war and the false broadcasting of the president. The truth of the case, which was kept completely secret even to the bereaved family, could only be revealed after the regime change. After that, the bereaved family of Colonel Choi Chang-sik confirmed the innocence of the deceased through a request for retrial, and then the was born. However, the fate of was not so smooth. At the time, the performance officials vividly remember the difficulties they had with the text. Despite passing the pre-screening of the script, the performance was canceled just before the performance. The fact that the National Theater, officials from the Ministry of Culture and Education, and even military generals visited the practice room to stop the performance, on the contrary, was a testimony to the dangers of . It can be summarized as a crack in official history and a move to stop it. was later adapted into a special TV drama in 1981 and was first released to the public. This was a very meaningful step in terms of dealing with politically sensitive subjects on television, but the inconsistency of in the first place has largely disappeared. After that, in 1988, only after democracy entered the phase of appeasement, could be performed in its full form. In short, can be said to be an example of a process in which the history of the Korean War recorded from the standpoint of an established order and the counter-memory that crack it up are transformed according to the changes of the times and media.