• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.675-690
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• 2016

The current study attempts to empirically identify a theoretical background that effectively explains Korean pop-culture consumption in the Asian Pacific region; particularly, in China. Specifically, this study investigates how globalism, proximity, and modernity, which have been suggested in literature as key theoretical backgrounds for the Korean wave, influence China's motivation to consume the Korean wave and its subsequent consumption of Korean TV programs (e.g., dramas, variety shows, etc.). The findings suggest that the motivation to consume the Korean wave is positively related to globalism and proximity. Modernity, however, is found to have a negative influence on the motivation to consume the Korean wave. That is, the more one holds international values, the more one perceives Korea as similar to China, and the more one holds traditional values, the more motivation one shows to consume the Korean wave. The study also finds that the motivation to consume the Korean wave has a significant impact on the consumption of Korean TV programs. In the revised model, the study suggests that proximity, followed by globalism, has the strongest positive relationship with motivation. Such a finding suggests that a proximity approach could serve as a better theoretical perspective to explain the phenomenon of the Korean wave in China. Regarding the relationships of the demographic/socio-economic variables and the motivation to consume the Korean wave, females, rather than males, the higher the family income one gains, and the lower education level one has had, the more motivation one will show to consume the Korean wave.

• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.666-675
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• 2016

With the changing consciousness of consumers, there has been an increasing interest in nature-friendly lifestyles and safety of food ingredients. Therefore, the LOHAS image, which has value in social health and sustainability, is expected to be a factor that helps restaurants establish differentiation strategies. This study examined the LOHAS image of restaurants on involvement and willingness to pay. The results were as follows. First, eco-friendly food ingredients and interiors among the LOHAS image factors of restaurants had a significant effect on involvement. Second, the perception of LOHAS in the LOHAS image factors of restaurants had a significant effect on involvement. These results may be due to the lack of a conceptual understanding of LOHAS among restaurant customers, who fail to properly grasp its meaning. Therefore, in order to promote the LOHAS image of restaurants to customers, it is necessary to consider presenting POPs or signs that will enable customers to understand the concept of LOHAS inside the restaurant. Third, consumers' involvement turned out to have a significant effect on their willingness to pay. Thus, it is necessary to imprint the image of a LOHAS restaurant using eco-friendly colors, sculptures, and agricultural products so that customers can perceive food ingredients or interior elements as eco-friendly.

• The Journal of Art Theory & Practice
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• no.7
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.

• Journal of Korean Library and Information Science Society
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• v.51 no.1
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• pp.179-200
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• 2020

This study aims to detect the knowledge structure of Korean studies using document co-citation analysis and text mining techniques. This study divided Korean corpus into two perspectives: Self-perceived and others' perceived Korean studies. To this end, we collected 10,929 humanities and social literature containing the word Korea or Korean as a keyword in the SCOPUS database. As a result of analysis, a total of 20 subdomains were found in the knowledge structure of self-perception, and a total of 14 subdomains were found in the knowledge structure of otherts' perception. Differences in Korean Studies between two are: First, the sub-area of self-perceived Korean studies is subdivided into more diverse areas than the sub-area of other-perceived Korean studies. Second the major areas in self-perceived Korean studies are customers and services, industrialization, multiculturalism, mental health, tourism, Korean language, environment, and cities. Others' perceptions of Korean Studies are grouped into domestic and foreign situations of Korea, Korean pop culture, Koreans as US immigrants, and Korean language. Finally, the common areas of self-perception and others' perception were mental health, tourism, Korean language, North-Korean defectors, and juvenile delinquency.

• Journal of Distribution Science
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• v.15 no.11
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• pp.83-93
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• 2017

Purpose - The study aims to analyze the VMD(Visual Merchandising) perception factors in recent sporting goods store and clarify the effect of each VMD perception factors on brand image, satisfaction, and customer revisit intention. The VMD perception factors play an important role in attracting and actually inducing sales to the visiting customers. It has investigated the effect of VMD perception on customer satisfaction and revisit intention. It is expected that the company's marketing strategy with VMD will be differentiated and competitive in sports item stores, brand image enhancement, customer retention, and acquisition. Research design, data, and methodology - In order to verify the hypotheses of this study, a total of 380 questionnaires had been distributed. 360 respondents were used in the final analysis excluding 20 respondents' incomplete answers. The SPSS 18.0 program was used and the data analysis was conducted for the demographic characteristics and distribution behavior. Principal Components Analysis was used for the common factor extraction for validity analysis, and factor analysis was conducted to verify such as validity in brand image or brand attitude. As for Multiple regression analysis, was performed to verify and in the research model, and in and , the mediation was defined through the Sobel Test in order to verify the brand image mediating effects on VMD, store satisfaction, and revisit inquiry of sports store. Results - Qualitative research shows that VMD sub-variables such as aesthetic, fitness, and functional convenience influence store satisfaction and revisit intention. As a result of analyzing the mediating effect of the brand image, the more VMD is strengthened, the more brand image is improved and store satisfaction is also increased. Conclusions - VMD enhancement requires a VMD strategy aligned with the company's management policies and objectives, a visual directing and consistent concept that delivers a strong message to customers. The customer actual purchasing behavior is a combination of various factors such as sports item stores' interior design, display, advertisement promotion like POP(Point of Purchase), salespersons and their service quality, so that the VMD image and the brand image must be consistent and a unique strategic plan is required.

• Cartoon and Animation Studies
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• s.45
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• pp.479-512
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• 2016

This is a practice-based research, aiming to explore the experiments of Animated Documentary, which is a unique form can explore the mysteries and complexity of memories. Animated Documentary is a medium through which one can reveal an individual's memories within the context of a narrative that is historically situated and influenced. The marriage of animation and documentary gave birth to a new form of film. How to category this new form? Is it an animated short or documentary short? In fact, this raises issue that questioning the nature of animation and documentary. From Shuibo Wang's works, more young Chinese artists began to experiment with symbols (related to the Political Pop Trend) in visual narration, which could also be seen as a reflection of structuralism and semiology in the contemporary Chinese art field. As a case study, this paper demonstrates how animated short "Ketchup" revealed the problems of youth and social turmoil through the memories of a six-year boy. On the Festivals and conferences, the publics were shocked to know "Ketchup" based on true memories, and they were more curious why the crucial things almost be forgotten. Actually forget fulness is one of the layers of memories and Animated Documentary will offer a new way to explore how our memories are shaped.

• Journal of Science of Art and Design
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• v.9
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• pp.49-87
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• 2006

Narrative has broad domains. So it is related to the everything man faces in his daily life and also performed in various modes. Narrative is revealed through all media including a character, which is also applied to plastic art. And narrative objects formed beyond the differences in media aid forms of expression are commonly based on a language. The study on such objects which created a new conceit of narratology can be said to be a spiritual trend by which to understand the world and man from the viewpoint of a 'story'. Plastic art took high interest in narrative in the same period as the rise of postmodernist art in the latter half of the 20th century, which was also applied to sculpture. The researcher, therefore, investigated through the history of sculpture in the 20th century the process in which narrative was denied under the value system of modernism and reappeared with the quickening of postmodernism. And as a result this period could be briefly characterized by 'return to figure' and 'reappearance of narrative'. The is, such flow means that late sculpture converted its center of interest from simple geometric abstract forms to irregular, figurative images. The researcher chose as the subject of his study the work of Louise Bourgeois, who was judged to have performed narrative positively and successfully among a great number of performed narrative positively and successfully among a great number of postmodernist sculptors who adopted it as their own strategy of expression. As the central artist of postmodrnist sculpture, She expressed human desire and condition as sexuality through the introspection of her own personal experience in contrast to the character of pop art sensitive to external world. The researcher borrowed narrative semiotics as a method of analyzing more elaborately the problem about the generation of narrative shown in her works. For it, he selected as the sample work for analysis Bourgeois's , which were judged to contain narrative most abundantly and as the metaphor of a gaze and recollection presented a new woman self that sublimed love, hatred, and loneliness. The narrative in her works are characterized by introspection questioning one's own trauma. It has independent domain and characteristics and clearly reveals narrative and content-centered characteristics, which are commonly discovered in postmodernist sculpture. The researcher could more concretely and definitely understand the characteristics of narrative through figurative images by analyzing the sample work. The researcher wanted to call your attention to the fact that the sculpture in the late 20th century contained narrative commonly and uniformly despite being characterized by various expressions and modes. And the focused on highlighting the fact that the narrative was more effectively revealed through figurative images of human body and simultaneously analyzing the formalizing process and structure for narrative. Besides he wanted to argue that the position of narrative defining the characteristics of sculpture should be valued more justly. Also, such acceptance of narrative, which is discovered in the sculpture, will have to be understood as the characteristics of the period reflecting the cultural aspect of the present time.

• Korean Journal of Organic Agriculture
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• v.23 no.1
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• pp.43-58
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• 2015

This study is conducted in order to select the varieties that can supplement problems related with organic cultivation of bulb onion (Allium cepa L.). 15 test varieties were selected considering rural preference, breeding line, breeding company, open-pollinated cultivar, F1 hybrid cultivar of either domestic or foreign products. Onion varieties were assessed in 5 criteria which are : growth of plants in low temperature, freezing injury resistance, resistance to physiological disorder such as bolting and doubled bulb, lodging index during harvest, and marketable yield. As a result, e-Joeun, Katamaru, Pop, Art, Singihan among F1 hybrid cultivars and Changnyeongdaego, Seouldaego, and Chunjujunggo among open-pollinated cultivars were selected as more suitable varieties for the organic cultivation. Although Sunpower cannot be selected in varieties those are suitable for organic cultivation, it showed excellent traits in the bulb characteristics. No significant differences were found between open-pollinated cultivar and F1 hybrid cultivar except growth of plants in low temperature (plant sheath diameter) and lodging index during harvest (May 24th). And no significant differences were recognized between domestic varieties and foreign varieties except missing plant ratio after wintering.

• Journal of the Korean Society of Food Culture
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• v.28 no.1
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• pp.89-98
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• 2013

The purpose of this study was to develop measures for establishing and enforcing legal nutrition labeling for Takju based on results from consumer awareness surveys, statistical model development, and evaluation of nutrients. The statistical model developed with consumer survey results showed that consumers would like to know the nutrients they intake from drinking Takju, as their awareness about Takju was low. Specifically, consumers would like to see information regarding alcohol content, calories, carbohydrates, and saccharides on the label. Structural equations from the research model showed that consumers who had some knowledge of Takju also had positive thoughts of the nutrition fact labels for Takju. Evaluation of nutrients in Takju showed that the starch sources and other ingredients used in Takju fermentation did not influence nutrient facts, and nutrient concentrations also varied among the different Takju. In addition, this research suggests methods for consumers to make reasonable selections and to inform them of the nutrition fact labeling for Takju. Benners and pop-up were manufactured to promote voluntary participation of companies and to provide nutrition facts from Takju. Eventually, a measure was suggested to establish and enforce nutrition labeling, using results from consumer and nutrient surveys of Takju.

• Restorative Dentistry and Endodontics
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• v.28 no.1
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• pp.23-33
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• 2003

The purpose of this study was to compare in vitro interfacial relationship of restorations bonded with three self-etching primer adhesives and one self-etching adhesive. Class I cavity preparations were prepared on twenty extracted human molars. Prepared teeth were divided into four groups and restored with four adhesives and composites Clearfil SE $Bond/Clearfil^{TM}$ AP-X (SE), UniFil $Bond/UniFil^{\circledR}$ F (UF), FL $Bond/Filtek^{TM}$ Z 250 (FL) and Prompt $L-Pop/Filtek^{TM}$ Z 250 (LP) After storing in distilled water of room temperature for 24 hours, the specimens were vertically sectioned and decalcified. Morphological patterns between the enamel/dentin and adhesives were observed under SEM. The results of this study were as follows : 1. They showed close adaptation between enamel and SE, UF and FL except for LP. 2. The hybrid layer in dentin was $2{\;}\mu\textrm{m}$ thick in SE, $1.5{\;}\mu\textrm{m}$ thick in UF, and $0.4{\;}\mu\textrm{m}$ in both FL and LP. So, the hybrid layers of SE and UF were slightly thicker than that of FL and LP. 3. The lengths and diameters of resin tags in UF and FL were similar, but those of LP were slightly shorter and slenderer than those of SE. 4. The resin tags were long rod shape in SE, and funnel shape in other groups Within the limitations of this study, it was concluded that self-etching primer adhesives showed close adaptation on enamel. In addition, the thickness of hybrid layer ranged from $0.4-1.5{\;}\mu\textrm{m}$ between adhesives and dentin. The resin tags were long rod or funnel shape, and dimension of them was similar or different among adhesives.