• Korean Journal of Social Welfare Studies
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• v.41 no.4
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• pp.161-187
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• 2010

This study begins with two research interests. Firstly, there seems to be a break of research in the field of family policy in Korea which exists especially in regard to family law. Family law was originally the core of state interventions in family life, but has been neglected because of the lack of literature with comparative research methods. This shortcoming needs to be addressed. Secondly, through inquiry into the definition of family or family policy with the lens of the law, the definition of family or family policy can be correctly extended. With these two interests combined, this research tries to derive an analytical tool - maintenance community - of the law and compare some important points of the family law of Korea with those of 16 EU-countries in terms of regime classification. The method used is, firstly, to describe the subjects of family law with a focus on partnering and parenting without subjective interpretation, and secondly, to classify the countries' family-law regimes with the criteria of privacy and autonomy using cluster analysis. The results show that the countries can be classified into three clusters: Nordic (Norway and Sweden), West-Northern (Denmark, France, England, Finland, and Belgium) and Middle South (Italy, Spain, Austria, Portugal, Netherlands, Greece, Ireland, Germany, and Korea). This result can be compared to a precedent research result which showed that 21 OECD countries can be classified in three clusters according to family policy. The number of the clusters is the same as this study, but some countries belong to other clusters; for example Denmark and Finland belong to the Nordic cluster according to family policy, while they belong to the West-Northern according to family law, and Austria, Germany, and Ireland belong to the Middle-South cluster according to family law, while they belong to the Continental according to family policy. From this result we can interpret Korean family law to be in the middle range according to both criteria of privacy and autonomy like other South-European countries including some Continental countries. We can make some theoretical suggestions. The fact that both family law and family policy regimes in countries can be classified into three clusters can be interpreted to mean that there exists parallelism between family law and family policy in a broad sense. But from the fact that some countries belong to different clusters according to family law and family policy, we can say that the family policy in a country is not always consistent with family law.

• (The) Research of the performance art and culture
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• no.23
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• pp.37-61
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• 2011

The Noh(能) performance is a traditional drama that represents Japan. The Noh performance was approved in the background of religious thought such as Shintoism(神道), Buddhisms(佛敎), and Syugendo(修驗道). Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. The Noh was approved while receiving a large influence from Shugendo. It can know the feature of the Shugen(修驗) culture in the Middle Ages through the consideration of . Moreover, the appearance of the training of 'Yamabusi(山伏)' can be seen. "Yamabusi" has not been paid to attention up to now in the research of . And, the focus was appropriated to Yamabusi and it researched in this text. Moreover, the problem of "Chigo(稚子)" is thought through . "Chigo culture" was general in the Middle Ages. It is thought that "Chigo culture" is reflected in . is an Noh performance for the boy named 'Wakamatsu' to enter the mountain and to train. It is because mother's sickness was cured. However, the boy gets sick while it is training. It was dropped to the valley according to the law of Shugendo, and it died. However, it revives by the Yamabusi's prayers. 'Taniko' is to drop to the valley and to bury it when the Yamabusi gets sick while lived. The title of the Noh originated in here. has elements of history, content of training of Shugendo, "Filial piety", and the Chigo culture, etc. These are features of the culture in the Middle Ages. It is not only a sad content though this is a content of the cruel remainder. It is because of the revival though waited rapidly at the end. As for the difficulty of training is drawn in the round, and the appearance of the training at that time is understood well. The essence of Shugendo is to train in the mountain. Supernatural power can be obtained through training. Moreover, it was thought that it was able to be newly reborn through training. The leading part of Shugendo is an Yamabusi. The Yamabusi took an active part in not only the mountain but also the village. The Yamabusi is ordinary people's lives and because the relation is deep, an important factor it knows the folk customs of Japan. The word 'Chigo' is not written in . However, a spectator at that time is 'Chigo' Wakamatsu and is already sure to have understood 'Chigo'. Because everyone knew the Chigo culture in the Middle Ages. A religion at that time and knowledge of the society are necessary to understand the play of Nho well.

• (The) Research of the performance art and culture
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• no.38
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• pp.249-275
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• 2019

Gangneung farm song is important for the ritualistic labortheatricals. Especially, in the theatrical process program, the songsof weeding, such as Haksan Odokkteggi and Ssadae, were alsoincluded to represent the agricultural ritualistic prayer for goodharvest. The use of Gangneung farm song is attractive in termsofthe circumstances. There is no chance of success as a plan simplyfor local events. As a comprehensive art, Gangneung farmsongshould simultaneously revitalize locality, representability andglobality. In this context, three directions are suggested dependingon the development progress. The second direction to the thirddirection are mainly oriented toward government-local authoritycentered support, but, in particular, the third direction should aimtobe an open archive in which the public and the contents prosumercan participate. In the production of the traditional content, OSMUmust be endlessly recreated and spread through 'diversity' and'interrelationships'. The contents utilization was discussed based on the transmissiondetails and analysis evidence of Gangneung Haksan Odokttegi. Thediversification of the way of performing farm song and the folk songs that can induce interest were proposed. Furthermore, basedon the fact that 12 songs classified into 8 work types, there-creation of the contents that focus on the playful aspect of theperforming arts was also proposed. In addition to suggestingthedesirable discourse of the performance groups, the experienceprogram development, education, public relations andcommunication reinforcement based on the narrating principlesoffarm songs, and the development and execution of farmsongprograms based on the tradition and the event demands wereproposed. While mentioning the necessity of value creation, thevitality of performing arts skills that put emotion, imagination, fun, sympathy, and etc. on the original form and the model of farmsongs should be supplemented to Gangneung Haksan Odokttegi. The independent transmission aspect of Gangneung Arirangisalso positive. There are difficulties of reduction of traditionalitydueto the designation, standardized transmission, lack of developmentof voluntary performances, and demonstration-centeredtransmission. Narrowly, we focused on the education andvitalization directions in terms of the capacity building of theconservation council itself. By embodying the essential value of theagricultural literature that farm songs possess, it can bringimpression of all worlds, all lives, communication and sharing, anddraw inspiration from the humanistic view of the world andemotion. The reconstitution of agricultural heritage, theconstruction of a storytelling linked with the concrete objects suchas Beomil National Preceptor, Gulsansa, FlagpoleSupport(Dangganjiju), Seokcheon, Hakbawi rock, and etc., andtheestablishment of fusion type farm song museum were proposed. In terms of culture industry, we requested active support fromtheinstitutions including local governments and various farmsongstorytelling creation projects.

• (The) Research of the performance art and culture
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• no.23
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• pp.245-280
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• 2011

One of the major streams of modern play in Korea is the work of introducing Korea's traditional ritual-'gut' into a play. Such work, together with the stream of diversification of culture, has brought about the tendency to induce 'gut' into a play in a creative way. The research on ritual plays in Korea has been done in the direction of studying the ritual plays in the West centering on the work of theoretically inquiring into histrionic features inhering in 'gut' as a ritual. This research made an analysis of the receptive aspect of rituals and histrionic characteristics presented in Korea plays through "Sanssikgim" and "Ogu" on the basis of the theory of ritual plays established by Artaud. In an effort to understand the receptive aspect of rituals, this research analyzed what forms these Korean works are borrowing from "Ssikgim gut" and "Ogu gut" while analyzing these works differently from the viewpoint of Artaud regarding characteristics of ritual plays. Accordingly, this research made an analysis of the structure and characteristic of "gut" with the aim of understanding in what form "gut" is absorbed into Korean plays by looking at the theatric receptive forms of "gut." The ritual plays in Korea originated in "gut." Likewise, the theater of cruelty by Artaud was greatly influenced by the belly dance stemming from "mudang-gut" in Asia. Accordingly, there is considerably exposed something in common between the ritual play in Korea and Artaud's theater of cruelty. "Gut" in Korea, or ritual plays are a little different from Artaud's work which makes its audience feel unfamiliar in that 'gut' or ritual plays in Korea are pursuing ritualistic quality and playing quality simultaneously, but there exists a similarity between the two in that they both desired to have communication with audiences. This researcher strongly believes that for the time to come, when the receptive aspect of the modern play assuming ritualistic quality is developed using the medium of communication with audiences, purification and play therapy, its direction will be more noticeably exposed.

• (The) Research of the performance art and culture
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• no.39
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• pp.69-96
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• 2019

North Korea has conserved operas in a selective manner. The subject matters of operas recorded in the history of North Korea can be divided into classical tales, translated foreign works, Korean War and war against Japan. Operas that adapted folk classics of the 1950s are considered valuable materials to verify the changes of genres posterior to division of regime between North and South Korea. The officially confirmed works include "Kumgangsan Palseonnyeo (Gyeonwoo Jiknyeo)," "Chunhyangjeon." "Kongjwi Patjwi (Kotsin)," "Ondal," and "Geumnaneui Dal." These works had gone through recreation in terms of realistic situation setting, abolition of class difference, adjustment of social rank and punishment of evil while the base lies in the original folk classics. People emphasized in adapted folk operas are described as those who are hard-working souls without giving importance of difference of social rank, content with the currently living space, devoted to their parents and full of patriotic spirit, and members of community who participate in organized fights against unfair exploitation. This was the fruit of encouragement of work creation supporting union between labor and individual life, destruction of old things and fight promoting this destruction. Folk operas of South and North Korea posterior to Korean War have similarities in that both deal with a love story transcending social ranks and the concomitant conflicts and they focus on the audience who enjoy the operas. Nonetheless, they are different in that this love in North Korea became a tool of educating people wished by the regime, while it became an object of securing the audience by adding the tragic element to love in South Korea. North Korean operas of the initial stage are characterized by playwriting method emphasizing difficult life and compensation of common people, realistic stage expression, accentuation of melody and agreement between notes and lyrics. This was efforts designed to continuously lead senses concentrated from the theater to everyday life of people. In effect, this is in line with the playwriting method of revolutionary operas. Adapted folk operas were subject matters ideal for easily approaching the audience and leaving them good memories at the same time. To realize socialist realism, they went through an experiment of reviewing "people" through the classic folk operas. The possibility of continuation of a work was determined by thorough evaluation after carrying out an experiment in terms of subject matters, theme, music and operation plans from the moment of which the work was on the stage. The sign consisted in the possibility of visit of "Kim Il-sung" to appreciate the work and presentation of directionality. By proposing the clear directionality of which hard-working people who deny social status system can be duly compensated, it encouraged the audience who saw the opera to voluntarily put this in practice. Thus, operas established the directionality through selective processes for creating public communion even before revolutionary operas.

• Journal of Communication Design
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• v.66
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• pp.90-101
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• 2019

South Korea had a hard time creating its own image of a nation that formed its identity due to 6.25, Japanese-style rule, division of South and North Korea, and military dictatorship. Recently, Korea has been searching and spreading its identity by creating a Korean wave such as various events and K-POPs. However, since there are still no images and cultural products representing Korea's identity, it is necessary to develop design contents related to native culture and professional cultural product design. Design powers such as France and Japan focus on design projects that can add value to their national design policy projects. Traditional Korean contents also need to be specialized and continuous in image design and research. In this study, five lucky-SubokGangnYeon(long life, happiness and peace), a representative of Korean culture, studied with the most interest in the old and the modern, namely, "Living healthy long." Through the development of cultural product design and the use of design content, I would look forward to presenting the diversity and direction in producing Korea's own design products and images that fit the trend of modern 'age of 100.' Based on images based on special exhibitions related to longevity of the National Folk Museum of Korea, the museum discovers key used features and meanings, studies patterns and patterns, and analyzes design cases applied to modern cultural product design. We also want to look at the direction available through design content, which is a symbol of llong life happiness and peace. First, cultural products have limitations that lack the development of design products, lack of public relations and sales outlets, and lack of awareness of traditional culture, which should precede policy support and awareness reform at the national level. Second, we need to streamline prices that meet the needs of the market. Third, cultural product design and contents related to tradition can be settled and disseminated more easily when traditional design is utilized and distributed mainly on practical stationery and household goods. Fourth, it is necessary to develop contents of various Korean images based on research on Korean cultural history and aesthetic consciousness. Research on the Korean culture of designers should be conducted, not just in the form of figurative images. Fifth, traditional manufacturing methods and materials should be respected by modern times, but modern production products should be developed with economy and durability.

• Asia Marketing Journal
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• v.15 no.4
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• pp.103-129
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• 2014

Differentiated positioning becomes increasingly difficult when brand salience weakens. Also, the daily increase in new media use and information load has led to a social climate that regards advertising stimuli as spamming. For these reasons, the focus of advertisement-related communication is shifting from persuading consumers through the direct delivery of information to an emphasis on appealing to their emotions using matching stimuli to enhance persuasion effects. Recently, both academia and industry have increasingly shown an interest in storytelling methods that can generate positive emotional responses and attitude changes by arousing consumers' narrative processing. The purpose of storytelling is to elicit consumers' emotional experience to meet the objectives of advertisement producers. Therefore, the most important requirement for storytelling in advertising is that it evokes consumers' sympathy for the main character in the advertisement. This does not involve advertisements directly persuading consumers, but rather, consumers themselves finding an answer through the advertisement's story. Thus, consumers have an indirect experience regarding the product features and usage through empathy with the advertisement's main character. In this study, we took the results of a precedent study as the starting point, according to which consumers' emotional response can be altered depending on the storytelling methods adopted for storytelling ads. Previous studies have reported that drama-type and vignette-type storytelling methods have a considerably different impact on the emotional responses of advertising audiences, due to their different structural characteristics. Thus, this study aims to verify that emotional response aroused by different types of advertisement storytelling (drama ads vs. vignette ads) can be controlled by the socio-psychological gender difference of advertising audiences and that the interaction effects between the socio-psychological gender differences of the audience and the gender stereotype of emotions to which advertisements appeal can exert an influence on emotional responses to types of storytelling in advertising. To achieve this, an experiment was conducted employing a between-group design consisting of 2 (storytelling type: drama ads vs. vignette ads) × 2 (socio-psychological gender of the audience: masculinity vs. femininity) × 2 (advertising appeal emotion type: male stereotype emotion vs. female stereotype emotion). The experiment revealed that the femininity group displayed a strong and consistent empathy for drama ads regardless of whether the ads appealed to masculine or feminine emotions, whereas the masculinity group displayed a stronger empathy for drama ads appealing to the emotional types matching its own gender as well as for vignette ads. The theoretical contribution of this study is significant in that it sheds light on the controllability of the audiences' emotional responses to advertisement storytelling depending on their socio-psychological gender and gender stereotype of emotions appealed to through advertising. Specifically, its considerable practical contribution consists in easing unnecessary creative constraints by comprehensively analyzing essential advertising strategic factors such as the target consumers' gender and the objective of the advertisement, in contrast to the oversimplified view of previous studies that considered emotional responses to storytelling ads were determined by the different types of production techniques used. This study revealed that emotional response to advertisement storytelling varies depending on the target gender of and emotion type appealed to by the advertisement. This suggests that an understanding of the targeted gender is necessary prior to producing an advertisement and that in deciding on an advertisement storytelling type, strategic attention should be directed to the advertisement's appeal concept or emotion type. Thus, it is safe to use drama-type storytelling that expresses masculine emotions (ex. fun, happy, encouraged) when the advertisement target, like Bacchus, includes both men and women. For brands and advertisements targeting only women (ex. female clothes), it is more effective to use a drama-type storytelling method that expresses feminine emotions (lovely, romantic, sad). The drama method can be still more effective than the vignette when women are the main target and a masculine concept-based creative is to be produced. However, when male consumers are targeted and the brand concept or advertisement concept is focused on feminine emotions (ex. romantic), vignette ads can more effectively induce empathy than drama ads.

• Asia Marketing Journal
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• v.15 no.3
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• pp.117-139
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• 2013

Research on purchase intention had showed remarkable progress in contributing to the theory of consumer behavior. Despite the popularity of academic discussions on various issues influencing purchase intention, the mediating role of brand recall and brand attitude on purchase intention, in particular advergames, has not yet been well explored, especially in developing economies such as Malaysia. Furthermore, the influence of self-brand congruity, entertainment and brand placement acceptance as antecedents to brand recall and brand attitude are expected to add value to the brand recall, brand attitude and purchase intention relationships. This paper aims to investigate the impact of the mediating role of brand recall and brand attitude on purchase intention in advergames among Malaysian gamers. The antecedents towards brand recall and brand attitude are also examined to measure their influence on purchase intention. A total of 350 Malaysian gamers were interviewed through online survey in this study. The results showed that brand recall and brand attitude mediate the relationship between self-brand congruity, entertainment and brand placement acceptance with purchase intention. Also, entertainment and brand placement acceptance were found to have a significant relationship with brand recall. As expected, brand recall and brand attitude showed a positive relationship with consumer purchase intention in advergames. It was found that self-brand congruity has a significant influence on brand attitude and purchase intention. When users see the brand which matches with them, they tend to act positively toward the brand exposed in the game. This is consistent with Escalas and Bettman (2005) who suggested that the greater the congruity, the more positive the consumer's attitude toward the brand in question. This leads to game usage and purchase (Davis and Lang, 2013). In the advergaming context, the entertainment value in advergames is very important to determine the level of enjoyment and pleasure experienced by gamers during game-playing. Therefore, the more entertaining the ads, the more it will be remembered and the greater the positive behavior of the consumer towards the advergames - this ultimately stimulates their intention to purchase the brand. This study shows the effect of brand placement on brand recall and brand attitude and also purchase intention. Brand placements might not work in games due to the interactivity involved in game-playing as people could be distracted from noticing the brand placements (Yang et al., 2006). However, the significant influence of brand placements found in this study may provide major promise for advertisers. Game players may or may not explicitly remember the brands they see in the games, but these placements may influence their brand recall and brand attitude and could therefore influence later decisions (Yang et al., 2006). In this study, it was found that self-brand congruity was not significantly related with brand recall. The reason for this could be attributed to the fact that this study examined gamers who are highly involved in the interactive medium of games which force them to focus on game play rather than advertisements; the level of recognition to remember the brand exposed in the game is low and contributes to the "mismatch" between the gamers and the said brand. The present study contributes to the existing literature of the antecedents of brand recall and brand attitude in advergames. This study contributes to the role of brand recall and brand attitude as mediators in purchase behavior theory. Academically, the relationship between brand recall and brand attitude is well known in advergaming research, but their impact as important mediators on purchase intention add new understanding in the interactive communication literature. Their mediating role may provide new insights on how they facilitate the effects of self-brand congruity, entertainment and brand placement on purchase intention. Besides that, the studies on the influence of self-brand congruity on brand recall and brand attitude and also consumer intention to purchase had not well-investigated in advergames. This study contributes to fill those gaps in advergames literature. For practitioners, this study could suggest the use of illustrative or demonstrative placements of new products to help customers remember new brands, and the use of associative placements for existing products to increase consumers' purchase intention (Ho et al., 2011). To advertisers, this study may provide useful information to improve their current advertising strategies in games, for instance, by considering game players' congruity, entertainment value and brand placement factors.

• Asia Marketing Journal
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• v.13 no.4
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• pp.105-137
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• 2012

After relationship marketing emerged as a new approach in the marketing field in the 1980s, it has been widely studied in the United States, Europe and Asia. Rapid environmental changes and global competition has made it inevitable for companies to consider their relationships with the environment more closely. Under these circumstances, relationship marketing has held a position as a pivotal paradigm in the field of strategy as well as in marketing. In addition, relationship marketing has overcome the limitations of a traditional marketing research while providing richer implications in company's marketing activities. The paradigm shift to relationship marketing has brought fundamental changes in a marketing point of view. First, in philosophical aspects, unlike past research which focused solely on customer satisfaction, organizational relationship parameters which focuses on trust and commitment has become key elements of successful relationship marketing while shifts in thoughts naturally take place from adaptive marketing to strategic marketing. Second, in structural aspects, the relational mechanism of governance such as network structure with a variety of relational partners has emerged as a new marketing organization from the previous simple structure focusing on the micro-economic, marketbased trading between seller and customer. Third, in behavioral aspects, it proposed the strategic course of the action of gaining an advantage over the competition on the individual firm level by focusing on building long-term relationships and considering partnership with the components in the entire marketing system, rather than with one-time transaction-centric action between a seller and a customer. Fourth, in the aspects of marketing performance, marketing performance was sought through the long-term and cooperative relationship with various stakeholders, including customers in the marketing system, focusing on the overall competitive advantage based on relationship rather than individual performance of individual companies' marketing activities, such as market share and customer satisfaction. However, studies of relationship marketing were mostly centered in interorganizational relationships focusing on the relational structure and properties of commercial sector in the marketing system. Paradoxically, the circumstance of the consumer's side that must be considered is evolving again in relationship marketing. In structural aspects, a community, as the new relationship governance structure in the digital environment, and in behavioral aspects, the changing role of consumer participation demanding big changes in the digital environment engaged in the marketing system. The possibility of building a relationship marketing community for common value creation is presented in terms of organization of consumers with the focus on changing marketing environment and marketing system according to the new realities of the 21st century- the popularity of digital environments and the diffusion of customer participation. Therefore, future research of relationship marketing must seek for a truly integrated model including all of the existing structure and properties of the research oriented relationship from both the commercial and consumer sector.

• Korean Journal of Culture and Social Issue
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• v.18 no.1
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• pp.127-152
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• 2012

The research investigates the attitudes toward children among mothers young children and maternal grandmothers, focusing specifically on the ideal number of children, gender preference, old age security and positive and negative values of children. A total of 442 respondents, consisting of 221 young mothers (average age of 35) and 221 maternal grandmothers (average age of 63) completed a questionnaire developed by Kim, Park and Kwon (2005). The reliability of the scales ranged from Cronbach α of .78 to .91. The results are as follows. First, as for the ideal number of children, young mothers reported that they would prefer two children, while grandmothers reported that they would prefer four children. As for the ideal number of male child, young mothers reported that they would prefer that they would prefer one son, while grandmothers reported two sons. Second, as for the gender of the child, young mothers did not show a gender preference, while grandmothers stated that at least one child should be a son, especially if it is the only child. Third, grandmothers had higher expectation of old age security in their male child than young mothers but two groups did not show any difference for the female child. Fourth, as for positive values of children, young mothers were more likely to emphasize personal aspects (i.e., psychological pleasure and happiness) and family cohesiveness, while grandmothers were more likely to emphasize social aspects (i.e., continuing the family line and old age security. As for negative values of children, young mothers were more likely to emphasize personal aspects (i.e., parental role and responsibility), while grandmothers were more likely to emphasize social aspects (i.e., family conflict and relationship). Fifth, as for factors that influenced the number of children that they decided to have, young mothers were more likely to report negative values of children (i.e., financial constraints), while grandmothers were more likely to emphasize positive values of children (i.e., continuing the family line).