• (The) Research of the performance art and culture
• /
• no.35
• /
• pp.471-508
• /
• 2017

The basic intent of this thesis lies in proposing a meaningful direction of developing cultural content by combining Asian traditional dance forms which hold cultural closeness in common historically. For this study, this paper selected Oyangseon(五羊仙; 'Five Taoist Hermits on Five Sheep'), a Korean court dance of Chinese origin as an example as the Oyangseon story is commonly found in ancient Vietnam and China as well as Korea. Its original narrative is a mythic story that five hermits had come down to ancient Vietnam region riding on five sheep of five colors to bestow 6 ears of milets to people. Later, the story was spread to other regions to be reformed into Woljeongjeon(越井傳; Vietnam), Choi Wee(崔?; China) and Oyangseon(Korea) that have different plot and background. While Woljeongjeon and Choi Wee were adapted into novels that describe the hero Choi Wee's mysterious adventure to be repaid his father's previous devotion to ancient King's shrine. Meanwhile, the epic narrative of Korean Oyangseon proves the modification of the original myth by adding a Seowangmo(西王母; a Chinese mythic heavenly queen) motif while it was enacted as a court dance to praise king's long life and pray country's prosperity following Confucian concept. Based on this historical lineage of Oyangseon story, I searched for the possiblity of constructing a cultural content program by combining the Oyangseon dance of three countries. While there was Oyangseonmu(五羊仙舞) in China which was recently composed by referring to Korean Oyangseon, any traditional dance item based on Oyangseon story was not available in Vietnam. Thus, I tried to propose the Vietnam Dance College to choreograph a new dance item with Woljeongjeon story while using the traditional dance technique, music, costume, etc. of Vietnam as most as possible. As a result, I could display a direction of developing a cultural content by staging three countries' dance items based on Oyangseon story at Korean National Haneul Theater in Oct 2016.

• (The) Research of the performance art and culture
• /
• no.40
• /
• pp.111-136
• /
• 2020

Agricultural high schools are undergoing a change their name from the mid-1950s to the 2000s. Although it varies slightly depending on the case, it has been changed from 'rural forests' to 'agricultural farms' or 'agricultural industries' and 'life sciences high schools' in turn. In several aricultural high schools had managed Nongak Department(class), it's guarantees the continuity of Korea's traditional folk art. Examples include entertainment and farming in Honam region of Jeonju aricultural high School in North Jeolla Province, Geumsan aricultural high School in South Chungcheong Province, Gimcheon aricultural high School in North Gyeongsang Province. Therefore, the interpretation and significance of studies should follow. This method of Nongak education in modern school institutions is a new phenomenon in the history of Nongak after modern time, the emergence of a whole new pattern of professional entertainment Nongak after paving and Female-Nongak, as well as local traditional folk music. Education here was conducted in such a way that the best performers of the time were invited as guidance teachers among traditional folk artists. Thus, various local and professional music and entertainment were able to be promoted Apart from the social relations of delay, social progress, and economy, the education of farming and music, which consists of teachers and students in public schools, has provided an environment where unlimited freedom is allowed for art forms. In other words, the conditions for a new performance style experiment and creative fusion were met, and the foundation for the development of professional musical performers who had acquired individualized talents from previous generations was laid down in the context of the phenomenon of active stage music and theater performance of outstanding in the culture of Nongak. In other words, the Department of Agriculture and aricultural high school was a very free space compared to other communities' and economic community's agricultural music in social relationships bound by traditional cultural customs. This is why they have created a new style of performance through a new experiment and a different traditional performance repertoire, and their activities have led to a more stylistic expansion from traditional farming. More importantly, the figures who came across Agricultural Nongak department became the main experts of traditional Korean folk music nowdays. Thus, Nongak Department, operated by the Agriculture and Forestry High School, was a space where would give a very important meaning in terms of Nongak history.

• KOREAN JOURNAL OF CROP SCIENCE
• /
• v.68 no.2
• /
• pp.47-58
• /
• 2023

The quality and yield of crops produced using field cultivation are expected to decrease due to the recent global climate change caused by extreme weather. The plant reproductive stage associated with crop yields is a highly vulnerable period to global warming caused by high temperatures. This study analyzed the adzuki bean's yield properties, antioxidant contents, and pollen viability of adzuki bean (Vigna angularis L.) under high-temperature stress and growth periods in a temperature gradient greenhouse that forms 0 to 4℃ above the outside temperatures. As the main variety of red beans cultivated in Korean farms, the "Arari" red bean was grown in the rain shield greenhouse and the temperature gradient greenhouse from 2021 to 2022 in Milyang, Korea. Compared to 2022, it showed a 0 - 1.0℃ lower temperature during the whole growth period in 2021. However, its average temperatures were 0 - 3.7℃ higher in the vegetative stage and 0.4 - 2.4℃ higher in the anthesis stage in 2021. The lowest yield (6.8 ± 0.7 g) was at the highest temperature (T4: low, 23.6℃; average, 28.5℃; high, 35.8℃) during the anthesis stage in 2021. The temperatures of the mature stage were 1.7 - 3.9℃, which were higher in 2022 than in 2021, although the low temperatures of 2022 were lower than in 2021. The yields of the mature stage in 2022 increased more than in 2021 because of the high temperature of the mature stage. The growth and yield were good at 40.5℃ in the vegetative stage. However, growth was poor when the average temperature was 27.0℃ or higher, and yields decreased during the flowering period. Total polyphenol and flavonoid contents were increased, and the pollen viability was 40.75% in the whole growth period at high temperature (T4: low, 22.9℃; average, 28.8℃; high, 36.9℃). These results showed that the antioxidant levels increased when the antioxidant component was affected at higher temperatures than at normal. In contrast, the pollen viability-related yield decreased as the temperature increased. Our results are the basic data for field growers and the breeding of thermos-tolerance in adzuki beans to prepare for the changeable future climate.

• Journal of Christian Education in Korea
• /
• v.74
• /
• pp.7-31
• /
• 2023

The climate crisis threatens Earth's ecosystems and biodiversity. In particular, it can be said that the cause of the global crisis began with human greed. An educational alternative is needed to change the Christian worldview that causes greed. The purpose of this study is to find ways to apply democratic citizenship education to Christian education as an alternative to overcome the climate crisis. The contents of the study to achieve the purpose were first the essence of Christian citizenship education was examined by dividing it into citizenship education, democratic citizenship education, and Christian citizenship education. Second, The model of democratic citizenship education was established by defining its goals, content, methods, and directions within the context of Christian citizenship education. Third, the application plan of Christian education for democratic citizenship education was classified into 7 categories and proposed; environmental education to overcome the climate crisis, ethical education to restore the public role of the church, education to form God's character, education to realize the village education community, education that promotes Christ's peace and Christ education that fosters consideration for multicultural individuals, and literacy education to prevent the negative impacts of digital media culture. Next, the plan to apply democratic citizenship education to Christian education is, first, to reduce human greed and restore God's creation order through environmental education that can overcome the climate crisis. Second, through ethics education to restore the church's public nature, it is necessary to restore the church's role for the church's moral empathy and publicity. Third, through the education that forms the God's character, it is necessary to form a mature character of faith in which personality and faith are harmonious and balanced. Fourth, schools, villages, and churches form a community through education that realizes a village education community so that the members of the village can obtain educational results. Fifth, through education that aims for the peace of the God Christians should be able to live as Christian democratic citizens who achieve peace in the kingdom of God. Sixth, through education that considers multicultural people, faith education that helps them overcome discrimination, exclusion, and hatred toward multicultural people with the love of Jesus Christ and seek a life of coexistence. Seventh, through literacy education that prevents the harmful effects of digital media culture, personal ability to read and write in media should ultimately be improved to the ability to practice socially.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.41 no.4
• /
• pp.21-29
• /
• 2023

The Northern Song Dynasty, the heyday of cultural and artistic achievements, brought significant changes to the history of gardens in China. The developments and contemplations that had evolved during the previous Tang Dynasty became intertwined with literature, painting, and art, leading to garden being perceived as works of art. In particular, the emergence of Su Shi(蘇軾) that permeated literature and art during the Northern Song Dynasty, had an impact beyond individual garden creation, influencing the development of public gardens and the diversification of garden. His long exile periods served as an opportunity to understand and reflect the local culture and characteristics, influencing the development of the garden. This study focuses on the ideology of Su Shi(蘇軾) that managed various gardens, examining the relationship between his exlie life and ideology. To do so, the study examines the form of the literati's gardens managed by Su Shi(蘇軾), with a particular emphasis on the Baiheju(白鶴居) garden in Huizhou, revealing the following characteristics and values. First, Su Shi(蘇軾), who was proficient in the Three Houses: Confucianism, Buddhism, and Taoism, combined his philosophy and unique perspective techniques with the location and composition elements of Baiheju(白鶴居) to enjoy the landscape. Although the ancient residence has a simple form, it possesses expansiveness through the combination of internal and external views. The interior is designed to be perceived as a single space, but it allows overlapping experiences of space and simultaneous appreciation of different sceneries. On the other hand, the spatial layout incorporates a hierarchical order to establish a sense of order. Second, the garden reflects the local characteristics, featuring numerous tropical plants and presenting vibrant and contrasting colors with structures. The planting forms embrace the concept of "huosei seikou" (活色生香) to enhance the color harmoniously. Additionally, the garden incorporates the poet's spiritual world, projecting it onto the garden as a contemplative place for spiritual nourishment and exploration of the ideal realm. For the pursuit of serenity and profound contemplation, the selected plantings are simple yet distinctive, providing rhythm and depth to the garden space. Third, Baiheju(白鶴居) has undergone changes over the years, but fundamentally, the form and elements of the garden shaped by Su Shi(蘇軾)'s descendants persist, confirming its heritage value.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.97
• /
• pp.87-104
• /
• 2020

Myogilsang on Diamond Mountain, signed and dated (2000) by Seon-u Yeong (1946-2009), is the first work by a North Korean artist to enter the collection of the National Museum of Korea (fig. 1a). The donor acquired the painting directly from the artist in Pyeongyang in 2006. In consequence, there are no issues with the painting's authenticity.This painting is the largest among all existing Korean paintings, whether contemporary or from the Joseon Dynasty, to depict this iconography (see chart 1. A Chronological List of Korean Myogilsang Paintings.) It is ink and color on paper, measures 130.2 × 56.2 centimeters, and is in a hanging scroll format. Since this essay is intended as a brief introduction of the painting and not in-depth research into it, I will simply examine the following four areas: 1. Seon-u Yeong's background; 2. The location and the traditional appellation of the rock-cut image known as Myogilsang; 3. The iconography of the image; and 4) A comparative analysis of Seon-u Yeong's painting in light of other paintings on the same theme. Finally, I will present two more of his works to broaden the understanding of Seon-u Yeong as a painter. 1. Seon-u Yeong: According to the donor, who met Seon-u at his workshop in the Cheollima Jejakso (Flying Horse Workshop) three years before the artist's death, he was an individual of few words but displayed a firm commitment to art. His preference for subjects such as Korean landscapes rather than motifs of socialist realism such as revolutionary leaders is demonstrated by the fact that, relative to his North Korean contemporaries, he seems to have produced more paintings of the former. In recent years, Seon-u Yeong has been well publicized in Korea through three special exhibitions (2012 through 2019). He graduated from Pyeongyang College of Fine Arts in 1969 and joined the Central Fine Arts Production Workshop focusing on oil painting. In 1973 he entered the Joseon Painting Production Workshop and began creating traditional Korean paintings in ink and color. His paintings are characterized by intense colors and fine details. The fact that his mother was an accomplished embroidery specialist may have influenced on Seon-u's choice to use intense colors in his paintings. By 1992, he had become a painter representing the Democratic People's Republic of Korea with several titles such as Artist of Merit, People's Artist, and more. About 60 of his paintings have been designated as National Treasures of the DPRK. 2. The Myogilsang rock-cut image is located in the Manpok-dong Valley in the inner Geumgangsan Mountain area. It is a high-relief image about 15 meters tall cut into a niche under 40 meters of a rock cliff. It is the largest of all the rock-cut images of the Goryeo period. This image is often known as "Mahayeon Myogilsang," Mahayeon (Mahayana) being the name of a small temple deep in the Manpokdong Valley (See fig. 3a & 3b). On the right side of the image, there is an intaglio inscription of three Chinese characters by the famous scholar-official and calligrapher Yun Sa-guk (1728-1709) reading "妙吉祥"myogilsang (fig. 4a, 4b). 3. The iconography: "Myogilsang" is another name for the Bhodhisattva Mañjuśrī. The Chinese pronunciation of Myogilsang is "miaojixiang," which is similar in pronunciation to Mañjuśrī. Therefore, we can suggest a 妙吉祥 ↔ Mañjuśrī formula for the translation and transliteration of the term. Even though the image was given a traditional name, the mudra presented by the two hands in the image calls for a closer examination. They show the making of a circle by joining the thumb with the ring finger (fig. 6). If the left land pointed downward, this mudra would conventionally be considered "lower class: lower life," one of the nine mudras of the Amitabha. However, in this image the left hand is placed across its abdomen at an almost 90-degree angle to the right hand (fig. 6). This can be interpreted as a combination of the "fear not" and the "preaching" mudras (see note 10, D. Saunders). I was also advised by the noted Buddhist art specialist Professor Kim Jeong-heui (of Won'gwang University) to presume that this is the "preaching" mudra. Therefore, I have tentatively concluded that this Myogilsang is an image of the Shakyamuni offering the preaching mudra. There is no such combination of hand gestures in any other Goryeo-period images. The closest I could identify is the Beopjusa Rock-cut Buddha (fig. 7) from around the same time. 4. Comparative analysis: As seen in , except for the two contemporary paintings, all others on this chart are in ink or ink and light color. Also, none of them included the fact that the image is under a 40-meter cliff. In addition, the Joseon-period paintings all depicted the rock-cut image as if it were a human figure, using soft brushstrokes and rounded forms. None of these paintings accurately rendered the mudra from the image as did Seon-u. Only his painting depicts the natural setting of the image under the cliff along with a realistic rendering of the image. However, by painting the tall cliff in dark green and by eliminating elements on either side of the rock-cut image, the artist was able to create an almost surreal atmosphere surrounding the image. Herein lies the uniqueness of Seon-u Yeong's version. The left side of Seon-u's 2007 work Mount Geumgang (fig. 8) lives up to his reputation as a painter who depicts forms (rocks in this case) in minute detail, but in the right half of the composition it also shows his skill at presenting a sense of space. In contrast, Wave (fig. 9), a work completed one year before his death, displays his faithfulness to the traditions of ink painting. Even based on only three paintings by Seon-u Yeong, it seems possible to assess his versatility in both traditional ink and color mediums.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.1
• /
• pp.52-64
• /
• 2015

This research traced the characteristics of the semantic landscape, construction intent, landscape composition, and geomantic conditions of the area subject to the research based on the research methods of 'field investigation, document studies, and interviews,' centering around the entire area of Gokseong Hamheo-pavilion (Jeonnam Tangible Cultural Assets No. 160). The result of the research, specifically revealing the forms and methods by which the reciprocal view of nature and landscape composition appearing in the landscape of the entire area of Hamheo-pavilion, as part of the analysis and interpretation over the view-based construction characteristics and position of the entire area of Gokseong Hamheo-pavilion, can be summarized as follows. First, Hamheo-pavilion is a pavilion built as a resting area and as a venue for educational activities in 1543 in the nearby areas after Gwang-hyeon Sim founded Gunjichon-jeongsa for educational activities and dwelling purposes at Gunchon at the 30th year of King Jungjong. Gunchon, where Hamheo-pavilion and Gunjichon-jeongsa is located, exhibits the typical form having water in the front, facing Sunja-river(present Seomjin-river), and a mountain in the back side. Dongak-mountain, which is a guardian mountain, is in a snail-type form where cows leisurely ruminate and lie on the riverside, and the Hamheo-pavilion area is said to be an area bordering on one's way of enjoying peace and richness as it is a place with plentiful grass bushes available for cows to ruminate and lie down while sheppards may leisurely play their flutes at the riverside. The back hill of Hamheo-pavilion is a blood vessel that enters the water into the underwater palace of the turtle, and the building sitting on the turtle's back is Hamheo-pavilion, and the Guam-jodae(龜巖釣臺) and lava on the southern side below the cliff can be interpreted to be the underwater fairly land wanted by the turtle.6) Second, Hamheo-pavilion is the scenery viewpoint of Sungang-Cheongpung (3rd Scenery) and Seolsan-Nakjo(雪山落照, 9th Scenery) among the eight sceneries of Gokseong, while also the scenery viewpoint of Hamheo-Sunja(2nd Scenery) and Cheonma-Gwiam(天馬歸岩, 3rd Scenery) among the eight sceneries of Ipmyeon. On the other hand, the pavilion is reproduced through the aesthetics of bends through sensible penetration and transcendental landscape viewed based on the Confucian-topos and ethics as the four bends among the five bends of Sunja-river arranged in the 'Santaegeuk(山太極) and Sutaeguek(水太極, formation of the yin-yang symbol by the mountain and water)' form, which is alike the connection of yin and yang. In particular, when based on the description over Mujinjeong (3rd Bend), Hoyeonjeong(4th Bend), andHapgangjeong(2nd Bend) among the five bends of Sunja-river in the records of Bibyeonsainbangan-jido(duringthe 18th century) and Okgwahyeonji(1788), the scenery of the five bends of Sunja-river allow to glimpse into its reputation as an attraction-type connected scenery in the latter period of the Joseon era, instead of only being perceived of its place identity embracing the fairyland world by crossing in and out of the world of this world and nirvana. Third, Hamheo-pavilion, which exhibits exquisite aesthetics of vacancy, is where the 'forest landscape composed of old big trees such as oak trees, oriental oak trees, and pine trees,' 'rock landscape such as Guam-jodae, lava, and layered rocks' and 'cultural landscape of Gunchon village' is spread close by. In the middle, it has a mountain scenery composed of Sunja-river, Masan-peak, and Gori-peak, and it is a place where the scenery by Gori-peak, Masan-peak, Mudeung-mountain, and Seol-mountain is spread and open in $180^{\circ}$ from the east to west. Mangseo-jae, the sarangchae (men's room)of Gunjichon-jeongsa, means a 'house observing Seoseok-mountain,' which has realized the diverse view-oriented intent, such as by allowing to look up Seol-mountain or Mudeung-mountain, which are back mountains behind the front mountain, through landscape configuration. Fourth, the private home, place for educational activities, pavilion, memorial room, and graveyard of Gunji-village, where the existence and ideal is connected, is a semantic connected scenery relating to the life cycle of the gentry linking 'formation - abundance - transcendence - regression.' In particular, based on the fact that the descriptions over reciprocal views of nature regarding an easy and comfortable life and appreciations for a picturesque scene of the areas nearby Sunja-river composes most of the poetic phrases relating to Hamheo-pavilion, it can be known that Hamheo-pavilion is expressed as the key to the idea of 'understanding how to be satisfied while maintaining one's positon with a comfortable mind' and 'returning to nature,' while also being expressed of its pedantic character as a place for reclusion for training one's mind and training others through metaphysical semantic scenery.

• Sijohaknonchong
• /
• v.24
• /
• pp.5-46
• /
• 2006

Korean verse has flexibly changed its form and contents according to the historical background of the times. This fact arouses reader sympathy because it has reflected ideas, historical aspects and realities of the times. However, korean verse has kept its own characteristics in some ways, allowing it to exist today. It holds its form as 3 verses of three by three or four meter and three letters of the last of three verses. It makes every different version which has specific aspects of each times in the same 'sijo' area. 'Sijo' in Korean poems, is the first form that has been changed from formal to private functionally. As a result of that common verses in the Goryeo to Joseon eras were going with the stream of the times. Verse was the plate for justice so that there was no double meaning, symbols, or technical sentences. It had to show the idea of Myungchundo Jwonginryun. The theme was commonly fitted within certain areas. such as blessings, fidelity, devotion, etc. Around the end of the Joseon era, there was activation of private verses - a form of sijo with no restrictions on the length of the first two verses. Some ideas had been changed because Sarimpa gained power, domestic conflict, and the introduction of practical science. These things had an effect on the form of Sijo. After all, it shows the ideas of collapsing feudalism, resistance of confucian ideas, equality of the sexes, and opposition to the group who rule the government. Thus Sasul Sijo seems to have the tendency of resistance to reality. It was a specialty of realism poetry It explained our life in detail and reflected real life by being an intermediary of realism. This met and represented the demand of a reader's expectations. After 1905, there was new form of sijo that is very different, in form and content, from the previous versions. It was even different in areas of what people accepted. They started to think sijo was not the form of lyrical verse that is once was. It became a 'record of reading'. The form changed to 'hung or huhung' that satirized the times and the ending of a word in the last verse. Although this form could deliver the tension in statement, it was too iu from the original form. Therefore, it didn't last long, and its position got smaller because of the free verse that had western influence and was emerging in the times. In the middle of 1920, there was a movement of Sijo revival. It was lead by Choinamsun. He wrote poems and Sijo which were effected by western ideas in his early works. Although he worked with that, he took the lead in the movement of Sijo revival. He published the collection of Sijo $\ulcorner$Baekpalbunnwoi$\lrcorner$ that has one major theme-patriotic sentiment. He thought an ancient poem was a part of racial characteristics so that he expressed the main theme which represented the times and situations of his era. Modern Sijo is difficult. Sijo has to have modern and Korean verse characteristics at the same time. If it considers a modern aspect too much, it could not be distinguished from sijo and free verse. If it overly leans toward Sijo. it would seem to be too conservative which it then could be said to have no real charm of a poem. In spite of these problems, it is written constantly, because it has its own specialty. It has been focused on some works because they reflect awareness of modern times, the democratic idea, and realism. Overall, the authors of Modern Sijo express various themes by using different forms. The more what we can guess in this work, Sijo will exist permanently because of its flexibility. Furthermore, one special characteristic-flexibility of the korean verse will make it last forever and it will be a genre in Korean poetry.

• Journal of Global Scholars of Marketing Science
• /
• v.18 no.4
• /
• pp.195-215
• /
• 2008

The scarcity is pervasive aspect of human life and is a fundamental precondition of economic behavior of consumers. Also, the effect of scarcity message is a power social influence principle used by marketers to increase the subjective desirability of products. Because valuable objects are often scare, consumers tend to infer the scarce objects are valuable. Marketers often do base promotional appeals on the principle of scarcity to increase the subjective desirability their products among consumers. Specially, advertisers and retailers often promote their products using restrictions. These restriction act to constraint consumers' ability th take advantage of the promotion and can assume several forms. For example, some promotions are advertised as limited time offers, while others limit the quantity that can be bought at the deal price by employing the statements such as 'limit one per consumer,' 'limit 5 per customer,' 'limited products for special commemoration celebration,' Some retailers use statements extensively. A recent weekly flyer by a prominent retailer limited purchase quantities on 50% of the specials advertised on front page. When consumers saw these phrase, they often infer value from the product that has limited availability or is promoted as being scarce. But, the past researchers explored a direct relationship between the purchase quantity and time limit on deal purchase intention. They also don't explored that all restriction message are not created equal. Namely, we thought that different restrictions signal deal value in different ways or different mechanism. Consumers appear to perceive that time limits are used to attract consumers to the brand, while quantity limits are necessary to reduce stockpiling. This suggests other possible differences across restrictions. For example, quantity limits could imply product quality (i.e., this product at this price is so good that purchases must be limited). In contrast, purchase preconditions force the consumer to spend a certain amount to qualify for the deal, which suggests that inferences about the absolute quality of the promoted item would decline from purchase limits (highest quality) to time limits to purchase preconditions (lowest quality). This might be expected to be particularly true for unfamiliar brands. However, a critical but elusive issue in scarcity message research is the impacts of a inferred motives on the promoted scarcity message. The past researchers not explored possibility of inferred motives on the scarcity message context. Despite various type to the quantity limits message, they didn't separated scarcity message among the quantity limits. Therefore, we apply a stricter definition of scarcity message(i.e. quantity limits) and consider scarcity message type(general scarcity message vs. special scarcity message), scarcity depth(high vs. low). The purpose of this study is to examine the effect of the scarcity message on the consumer's purchase intension. Specifically, we investigate the effect of general versus special scarcity messages on the consumer's purchase intention using the level of the scarcity depth as moderators. In other words, we postulates that the scarcity message type and scarcity depth play an essential moderating role in the relationship between the inferred motives and purchase intention. In other worlds, different from the past studies, we examine the interplay between the perceived motives and scarcity type, and between the perceived motives and scarcity depth. Both of these constructs have been examined in isolation, but a key question is whether they interact to produce an effect in reaction to the scarcity message type or scarcity depth increase. The perceived motive Inference behind the scarcity message will have important impact on consumers' reactions to the degree of scarcity depth increase. In relation ti this general question, we investigate the following specific issues. First, does consumers' inferred motives weaken the positive relationship between the scarcity depth decrease and the consumers' purchase intention, and if so, how much does it attenuate this relationship? Second, we examine the interplay between the scarcity message type and the consumers' purchase intention in the context of the scarcity depth decrease. Third, we study whether scarcity message type and scarcity depth directly affect the consumers' purchase intention. For the answer of these questions, this research is composed of 2(intention inference: existence vs. nonexistence)${\times}2$(scarcity type: special vs. general)${\times}2$(scarcity depth: high vs. low) between subject designs. The results are summarized as follows. First, intention inference(inferred motive) is not significant on scarcity effect in case of special scarcity message. However, nonexistence of intention inference is more effective than existence of intention inference on purchase intention in case of general scarcity. Second, intention inference(inferred motive) is not significant on scarcity effect in case of low scarcity. However, nonexistence of intention inference is more effective than existence of intention inference on purchase intention in case of high scarcity. The results of this study will help managers to understand the relative importance among the type of the scarcity message and to make decisions in using their scarcity message. Finally, this article have several contribution. First, we have shown that restrictions server to activates a mental resource that is used to render a judgment regarding a promoted product. In the absence of other information, this resource appears to read to an inference of value. In the presence of other value related cue, however, either database(i.e., scarcity depth: high vs. low) or conceptual base(i.e.,, scarcity type special vs. general), the resource is used in conjunction with the other cues as a basis for judgment, leading to different effects across levels of these other value-related cues. Second, our results suggest that a restriction can affect consumer behavior through four possible routes: 1) the affective route, through making consumers feel irritated, 2) the cognitive making route, through making consumers infer motivation or attribution about promoted scarcity message, and 3) the economic route, through making the consumer lose an opportunity to stockpile at a low scarcity depth, or forcing him her to making additional purchases, lastly 4) informative route, through changing what consumer believe about the transaction. Third, as a note already, this results suggest that we should consider consumers' inferences of motives or attributions for the scarcity dept level and cognitive resources available in order to have a complete understanding the effects of quantity restriction message.

• (The) Research of the performance art and culture
• /
• no.42
• /
• pp.47-75
• /
• 2021

This thesis looks into the interpretation of the Korean War and mystery genre in Korea in the 1970s by analyzing the special drama , in which the theme was directly related to the Korean War, airing through MBC in 1979. It begins by finding the change in direction in the 1970s when the world of TV was dictated through the heavy censorship and the memory of the war by the government. It also looks at the intentions of the producer who was taking in the new way and the viewers who also accepted this drama and its reflections. In order to gain some insights into these issues, it compares between the drama "The Last Witness" and the original novel by Seong-jong Kim who holds the same time to see the way in which this is dramatized. The drama, "The Last Witness", was produced with a plan to generate a high-quality special drama which combined both artistry and sense of purpose. Nevertheless, as watching TV became a leisurely past-time during this period, TV dramas become more aggressive and suggestive in order to attract viewers. This ultimately was encored with obstacles due to the regime and the heavy censorship at the time. The genre of special drama that is well known in South Korea, is designed as an art form to satisfy both their unique artistry and its purpose. The conflict is seen between the key elements of the artistic drama crated by the producers and the 'encouraged' elements that often are needed to engage the viewers. Thus, more often than not, special dramas defeat the original intention of national harmony, encouraged by the regime. This is due to the 'novelty' aspect which grows from the effort of bringing enjoyment to viewers whilst also trying to achieve the artistic drama to life. Alongside this, crime element in this drama is designed in a way that visually embodies the process of deduction, becoming a new possibility to secure the reality of the times. However, it was also a paradoxical existence since it was indicated as an example of unrefined culture that lost its original intention. In that way, it is worth to think that detective suspense stories, which were not popular in Korea, influenced viewers as a tv drama series in the 1970s through the various elements that compose the genre. They went through a process of transplantation and acceptance whilst also attempting to satisfy the viewers and their encouraged elements to engage them. As is well known, crime drama in Korea has its own style by mixing anticommunism and detective reasoning. This combination is found in the way in which the genre naturally forms through the elements selected and excluded in the dramatization of "The Last Witness". The point is that the special drama "The Last Witness" can be seen as an intermediate form that shows the tendency of transformation from the detective reasoning form alongside the crime aspects as TV dramas began to include anticommunism messaging and investigation in the 1970s. In conclusion, when the detective reasoning is used as an element in a TV drama, it shows the trust of the public system and it constantly seeks the possibility of circumventing the political interpretation. The memories of the war is seen as a tool that neutralizes the dismal imaginations inscribed on the dark side of society and the system. As a result, "The Last Witness", broadcasted at the end of the Yushin regime in Korea, is a strange result which combines the logic of a special drama and the encouraged characteristics of television dramas. The viewers' desire which is the discussion about the hidden traces from the texts needs to be restored again.