• Asia Marketing Journal
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• v.22 no.2
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• pp.19-57
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• 2020

A rapidly shifting, hyper-sensitive modern fashion industry, coupled with an increasingly developing global environmental concern, has seen to an ever-imperative role for corporate social responsibility (CSR) to play in the successful operation of fashion companies. This study primarily investigates effective measures for successful CSR implementation in both corporate and consumer domains, looking at Patagonia, an exemplar company with an environmental mission, to understand the central contributions of active consumer engagement to the success of CSR initiatives. We explore consumer admiration as a concept necessary to elevate CSR practices from image maintenance to genuine engagement and advocacy, and how such admiration could be cultivated on the consumer-side, investigating perceived CSR authenticity and corporate self-sacrifice as primary determinants. Specifically, we speculate the asymmetric role of consumers' moral identity, revealing that moral identity symbolization positively interacts with both determinants while negatively moderating the relationship of these intentions and consumer admiration. We derive our analysis from diverse international and Korean data, concluding with theoretical and managerial implications for domestic and international companies in pursuit of environmental CSR campaigns that bridge consumer and company, as well as limitations and future research directions.

• Journal of the Korean Society of Clothing and Textiles
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• v.8 no.3
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• pp.19-30
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• 1984

There is a symbolic term which has realized custom of an era and has eome into fashion since the middle of 1920's. That is Garconne. This paper studied the image and costume of Garconne expressed in literary works, the form of art made it to come into being, and costume of a group of women played a role of pioneers of Garconne. Garconne attempted simple, casual, and mannish costume instead of usual elegance. It was the boiysh style($\`{a}$, la Garconne) which did not stress on the bust and waist like chanel suits used wool jersey by a designer, Chanel ana short skirts of low waist line. They got short haircut and wore low heel shoes. Garconne meant women who were free of convention, were familiar with love a d profession, and lived for themselves in the same manner of young men. They yieled new mode of 1920's. Though their lives were only a period, they manifested the symbol of the period though their figure and designation was not disappeared at the age but was settled as a mark of fixed image. There were several reasons why the Garconne was born. Rapid changes in politics, economics, and society in Europe were occurred from the First World War to 1920 and the trend of custom and art was a turning point. Especially, the entry of women into the society and the mode of Art Deco influenced it directly. The role of a pioneer of Garconne was appeared from the French Revolution. As Merveilleuse, Lionne, and Bloomers wore peculiar clothings ana had life style being irrelevant to tradition, they were talked about. They informed in advance the appearance of new women who were different from romantic ladies and were more modern and active. The pioneer design of Paul Poiret which were over whelming throughout a period and functional design of Chanel were increasingly accelerated.

• Korean journal of communication and information
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• v.80
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• pp.115-142
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• 2016

This study aims to reveal the content of and logic behind a recent negative public sentiment toward female idols with the example of a debate over songstress IU's fourth album that was released late last year. While previous studies on fandom have focused on the identification process towards entertainers and making community, a recent phenomenon of "anti-fandom" or "malicious comments" implies that more research is needed on negative emotions such as hostility or schadenfreude (feelings of pleasure from others' misfortunes). Schadenfreude is a social sentiment that originated in modern liberalism, which features contradictions between public equality and private ownership, and that has been intensified in neoliberalism, which features a maximization of this contradiction centering on a meritocracy. Celebrities in Korea often become the targets of schadenfreude, which is associated with the suspicion that they gain popularity not from their abilities but from "just being popular." It should also be noted that this kind of schadenfreude operates differently between male and female entertainers. Specifically, the acquisition of money and fame by modern women whose presence used to be located in the private possessions of males is considered to be due to their unjustified use of sexuality. This is also the background of the recent online misogyny culture in Korea. In this context, IU, who had been successful at building a differentiated image of "sister-like idol artist," became a valid target. Although accusing IU of utilizing pedophilia reflects a stalemate that a current politics of sexual violence faces, it rather damages the name of an individual than attracts public attention to the structural causes of childsexualabuse. This is why I see the way that pedophilia was used in the debate over IU as a schadenfreude. Consequently, the term pedophilia here contributes to an expansion of the entertainment economy that is sustained by rises and falls of the celebrities' stock prices.

• The Journal of Art Theory & Practice
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• no.13
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• pp.35-71
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• 2012

The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

• (The)Study of the Eastern Classic
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• no.72
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• pp.97-126
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• 2018

has many sexual elements among our literature. So is considered obscene. But if you take a closer look at , you can see that he is dealing with the real problem. Especially, the conflict between Gangsoe and Jangseung shows the contradiction of reality. However, it can not be questioned because it is hidden behind sexual elements. 's strategy of revealing is similar in Media Narrative. has been made into a film since the 1980s. However, these films stayed at the level of B-erotic movies. The real meaning of is gone, and the sexual image is more emphasized. Incidentally, this aspect is related to reality at the time. At that time, the military was in control of politics. So I wanted the people not to be interested in politics. For this reason, many erotic movies were created. Eventually, the strategy of revealing was even more maximized in Media Narrative. But recently there was a new attempt like . This was a new attempt to go beyond the standardized approach. Future interpretations of are expected more.

• Journal of the Korean Data and Information Science Society
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• v.26 no.5
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• pp.1071-1085
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• 2015

The researchers attempted to develop a way to extract a near real-time online nation image using social media. Referring to previous studies about nation images and the categories defined in Wikipedia, an ontology considering the characteristics of nation image was constructed. Separately, data sets from various social media were compared and the click view of Wikipedia English-edition was selected. The ontology was applied to the recent six years of the data extracted of the three big exporting countries of the east Asia, China, Japan, and Korea. To compare the nation images, correspondence analysis was employed to show images in the area of politics, society, culture, and economy. The nation images extracted are indeed the reasonable representation of them. The researchers verified them to a few known government policies and confirmed that it could be used to help government officers to make foreign policies to boost nation's export and to employ as a key performance index for them.

• Journal of the Economic Geographical Society of Korea
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• v.19 no.4
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• pp.616-629
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• 2016

This study aims to analyze a creative city development case of the Nantes City in France focused on vitalizing creativity by urban regeneration and to get some policy implications through reflecting on process, governance and performance of the Nantes case. The Nantes City tried to overcome its regional economic depression caused by closing shipyard through its creative city program. The Nantes creative city program has been maintained for 20 years, which succeeded in both transforming economic structure of the Nantes city and improving the image of it. As a result, the Nantes city is regarded as a best city for living in France. It established own city model by participating in European projects, referring to cases of other cities and adopting specialists' views. In the process of creative city, the Nantes distinguished itself from other cities in sizes and circumstances and devoted itself to interactions between the city and culture projects, focused on clear objectives and dynamic co-works. In addition, the Nantes changed creatively buildings and spaces to regenerate deserted regions, and established some high valueadded creative industry on the basis of historic and cultural resources.

• Korean journal of communication and information
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• v.42
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• pp.79-106
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• 2008

Based on the third-person effect hypothesis, this study conducted a nation-wide online survey to assess how Korean voters perceived the mass media's effect on the candidates' image and voting behavior during the 17th presidential election. The research results showed that the voters tended to perceive that the mass media such as newspaper, television and the Internet had a greater effect on others than on themselves with regards to the formation of the three candidates' images. The third-person effect on the voting behavior was also revealed differently in terms of the medium according to age and political tendency of the voters. For instance, the younger and liberal voters were likely to see newspaper as having a greater influence on other voters' choice of candidate, while the older voters saw TV as having a greater effect on other voters. The conservative tendency did not affect the perception of the voters at all. Another noteworthy result was that personal characteristics of the candidates' images such as appearances and communication skills did not affect the voters' behaviors in the election process.

• The Journal of the Korea Contents Association
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• v.8 no.5
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• pp.134-144
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• 2008

A city is the center of all the economic activities, politics, administration and creation of cultures, and it is also a social community. It is also an environment in which human beings live and act, and thus, psychological and emotional pleasure are greatly demanded. Facilities of cities, buildings and harmonizing each and every structures with the environment sets up the image and the identity of a city because they are the most important visual structuring elements in cityscapes. Currently, most of the cities in Korea including Seoul, are in discordance with their natural environment because of all different sorts of buildings and signboards are jumbled up close together. The traditional, local colors have disappeared form those cities and all cities look the same. It is hard to find traditional beauty and identities of the cities in Korea, and the Korean cities are not even close to the threshold of other foreign cities. In order to solve these problems, there is a dire need of improving the modification of cityscapes in the long run. This research aims to understand the current abstruse situation Korean cities are in, analyze their problems and describe actual methods of improving those cities so that they can have a more ordered and organized structures. Also, this research should be used as a data of future researches based on citiscapes.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.2
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• pp.204-216
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• 2015

Fashion is changing and evolving everyday with an influence from and over contemporary socio-cultural factors. Cartoons expressing the phenomena of times through exchanges of mutual effects with socio-cultural factors that result from functionality and media characteristics. This study examines how fashion provides a great correlation with society-culture expressed in cartoons. The research segment of this study was conducted with literature and case studies; in addition, the UK cartoon magazine "Punch" was selected for the case study. The research findings of the fashion satire expression in cartoon were divided into 2 cases. The first case is that fashion was used as an instrument to satirize socio-cultural phenomena in cartoons. Various fashion elements (hats, dresses, words on T-shirts) were used for satiric expressions and to express periodic images related to politics, economics, society and culture. It communicated factually or criticized noteworthy phenomenon or age changes through the symbolism of fashion. The second case is that fashion itself is the object of satire in a cartoon. It satirically described the blind following and destruction of stereotype as direct objects. Fashion satire appeared in cartoons regardless of a correlation with age. Each cartoon fashion satire had meaning in both humor and criticism for satirizing the age. This study shows that fashion symbolism for satire of the reality has been used as the instrument of expression and simultaneously expressed as the object of the critique as an image and phenomenon that reflects reality. This study has significance in that it examined expressive modes of fashion satire in cartoons that escape from separating fashion from cartoon as a different area.