• Science of Emotion and Sensibility
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• v.26 no.3
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• pp.53-68
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• 2023

Materialism can be triggered by various social events. Based on theories on functions of materialistic goal pursuit, this study investigates how social exclusion evokes desires related to one's identity, resulting in an increase in materialism. Specifically, we predicted that social exclusion would increase the desire for control and belonging, thus leading to higher levels of materialism. Moreover, based on the theory of the approach tendency of power, we further predicted that individuals with a higher sense of power would experience greater desires for belonging and control when faced with social exclusion. To examine the hypotheses, we conducted an experiment using 202 Korean women. The results indicated that social exclusion resulted in an increase in the desire for control, thus increasing materialism. This relationship is stronger for individuals with a high sense of power, and the path from social exclusion to materialism based on the need for control is significant for those with a high sense of power. Although social exclusion increases the need to belonging, the relationship between the need to belonging and materialism is not significant, and its mediating effect was not supported in this study. Based on these findings, we discussed implications and directions for future research.

• Cross-Cultural Studies
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• v.40
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• pp.111-131
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• 2015

An unusual success engendering loyalty among cult fans in the United States, Mamoru Oshii's 1995 cyberpunk anime, Ghost in the Shell (GITS) revolves around a female cyborg assassin named Motoko Kusanagi, a.k.a. "the Major." When the news came out last year that Scarlett Johansson was offered 10 million dollars for the role of the Major in the live action remake of GITS, the frustrated fans accused DreamWorks of "whitewashing" the classic Japanimation and turning it into a PG-13 film. While it would be premature to judge a film yet to be released, it appears timely to revisit the core achievement of Oshii's film untranslatable into the Hollywood formula. That is, unlike ultimately heteronormative and humanist sci-fi films produced in Hollywood, such as the Matrix trilogy or Cloud Atlas, GITS defies a Hollywoodization by evoking much bafflement in relation to its queer, posthuman characters and settings. This essay homes in on Major Kusanagi's body in order to update prior criticism from the perspectives of posthumanism and queer theory. If the Major's voluptuous cyborg body has been read as a liberating or as a commodified feminine body, latest critical work of posthumanism and queer theory causes us to move beyond the moralistic binaries of human/non-human and male/female. This deconstruction of binaries leads to a radical rethinking of "reality" and "identity" in an image-saturated, hypermediated age. Viewed from this perspective, Major Kusanagi's body can be better understood less as a reflection of "real" women than as an embodiment of our anxieties on the loss of self and interiority in the SNS-dominated society. As is warned by many posthumanist and queer critics, queer and posthuman components are too often used to reinforce the human. I argue that the Major's hybrid body is neither a mere amalgam of human and machine nor a superficial postmodern blurring of boundaries. Rather, the compelling combination of individuality, animality, and technology embodied in the Major redefines the human as always, already posthuman. This ethical act of revision-its shifting focus from oppressive humanism to a queer coexistence-evinces the lasting power of GITS.

• (The)Study of the Eastern Classic
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• no.73
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• pp.385-414
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• 2018

In this article, the women as the subject of the family management in the 19th century cataclysm, In particular, I tried to reconstruct the specific life course of a woman who has a status as a jongbu(종부) in the Korean language through the Hangul letter. The Haenam Yoon's the 8th jongbu(종부) Gwangju Lee attempted to find her own unique identity, not the male-centered social order she had learned. Because she had to live a life outside the traditional environment of traditional society because her husband died at the beginning of her marriage. She perceived herself as an independent subject that she had to find and maintain. When Gwangju Lee married and came to the family of Haenam Yun, the economic power of jong-ga(종가) was much inclined. This economic difficulty was caused by the conflict with the slaves and the decrease of tallage(地代) to the change of the slavery system which was the social flow at that time. And uncles of her husband's intervention made the economic situation of the family more difficult. She established her position as a jongbu(종부) and used the right of Adoption option(입후권) of the jongbu(종부) to establish the impoverished family. She chose adoption from distant relatives who were not children of her husband's uncles. Therefore, I was free from her husband uncle's interests. She also believed that it was most important to take control of the economic interests of her family in order to secure her authority as a jongbu(종부). She believed that she had to exercise her economic rights in order to bring slave labor, which is the most important means of sustaining the domestic economy at the time, In the absence of her husband, she established her family in the social upheaval of the nineteenth century, and took her place as a master of a family, not just a family name.

• The Korean Journal of Franchise Management
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• v.5 no.1
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• pp.27-47
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• 2014

This research was conducted on the purpose of seeking the measures of how to cope with the changing industry of Topokki franchises. Despite of the fact the number of Kukdae Topokki's stores is quite smaller than that of its competitors, such as Jaws Topokki and Addal Topokki, Kukdae Topokki is recognized as one of the front-runners in the industry. But the competition in the topokki industry has become fiercer, as the market became saturated. To find a desirable solutions, this study analyzes past-to-current status of the Topokki industry by dividing it into 4 stages and provides few strategies that Kukdae Topokki can apply to the 4th stage where 'brand awareness' is very important. To this end, few drawbacks of Kukdae Topokki are proposed as the following. First, the brand image that Kukdae Topokki pursue does not correspondent with the image in consumer's mind. Second, Kukdae Topokki has selected the wrong targeting group. It aims for the image of 'retro' to target people in their 30-40s. However, most of the consumers are people in their 20-30s. Third, the taste of Kukdae Topokki is not uniform among franchises. Fourth, the awareness and accessability are low. To provide a proactive actions for the next stages, several solutions are proposed as following. First, By managing consistent Kukdae Topokki's Brand Touch point, consumers may have a strong image on the brand by communicating with consumers consistently at all touch points. Second, instead of the existing guide from the head office(franchiser), a standardized criteria for the usage of materials and periodical education for franchisee are needed. Third, to raise the awareness of Kukdae Topokki, open many branches in the area where the main consumers(20-30s women) are mostly spread out.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.4
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• pp.83-99
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• 2008

Images of Seong-Nam appears different according to diverse conditions. This study was intended to analyze the differences of cognition by personal characteristics such as age, gender, location, and period when an individual evaluates an urban image. This research focused on the interpretation of the visualized results from Multidimensional Scaling (MDS) and Individual Difference Scaling (INDSCAL) with two questionnaires. This study can be summarized as follows: 1. Namhan Sansung was ranked as the first symbolic property by citizens in Seong-Nam. Next was Yuldong Park, followed by Bundang Central Park, Seohyun Station including Samsung Plaza, and, finally, Moran Market. This trend also similarly appeared in the selection of preferred places. 2. There were no statistical differences in trends of choice of symbolic landmarks and preferred places according to age, gender, and period; however, there were meaningful differences according to location. 3. The total image of Seong-Nam was positioned to be separated from images of other districts and landmarks on the image spatial plot by MDS; however, images of the old and new district were plotted close to symbolic landmarks where located around each district. 4. INDSCAL illustrated that men weighted the historical meaning while women weighted preference and city size when evaluating an urban image. On the other hand, there was no difference in cognitive trends according to age, location, and period. Until now, an individual difference in the cognition and evaluation of an urban image was a socially accepted notion. However, this study verified the difference according to personal characteristics and developed a practical tool to analyze an individual cognition trend about a city image.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.55-85
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• 2019

In this article, we examine the real meaning behind the stories in which the N-po Generation (Millennial Generation) is depicted, through the observation of entertainment programs, TV series, and movies. This could be an opportunity to investigate the aspects of emotional customs of our era, which have been described by television media as portraying the complex and multifaceted reality in the most mundane and popular manner while influencing the public. Problems with youth unemployment, the polarization of life, and instability are not only global issues but situations that specifically occur in South Korea. It is thus vital to pay attention to the inner side of the N-po Generation who enjoy Sohwakhaeng (small but certain happiness) by eating alone as the placebo effect of this tough reality. This is an agenda that should be viewed as a problem in the fundamental design of South Korean society. The consciousness of the problem shown in the TV series has been drawing attention. The TV series Because depicts a love narrative that concentrates on emotions in a relationship that started between housemates due to poverty and housing problems, leading to marriage. Thus, the TV series persuasively dramatized 'confluent love' in the N-po Generation. In the movie , Miso can be regarded as a symbol that represents the emergence of a new generation of cultural sensitivity. There is a suggestion in the sequence of that identifies the pursuit of taste with the discovery of identity. The TV series is a growth narrative that deals heavily with youth unemployment, temporary workers, fragmented families, and dating violence. The housemates in find emotional stability through interaction with each other, and courageously approach their individual problems. In the process, images of women, who are empathetic towards others and are willing to jointly solve their problems, are calmly depicted to reveal a story of growth revolving around a ground emotional community. The current problem that South Korean society should contemplate is how to be fully human beyond mere survival, and how to further seek the conditions of human existence. In that sense, what we should pursue is a notion of 'publicness', which can put several generations together. Because of the reality that confliction between generations must be triggered, in order to make a passage of sympathizing, mass media's sensitivity training becomes more important. This may be the duty of mass media.

• Sim-seong Yeon-gu
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• v.32 no.1
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• pp.1-16
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• 2017

The purpose of this paper is to illustrate the nature of Objective Psyche based on island related case materials. Theoretical background starts with psychological meaning of islands, a kind affective symbol rather than cognitive image, and creation myths as the story of man's awareness of the world; Chaos as archaic identity (unconscious), islands as emergence of the ego from unconscious. In alchemical symbolism, island related to coagulatio, the operation which turns something into earth, the realm of ego. In addition, related parts of Hindu creation myths, Korean giant woman creator Sulmoonde-halmang, and legends of "Relocation of Island/Mountain" will be presented to integrate with case materials. Case A : Starts with a dream of killing a huge dragon and dead body became an island. The dragon in the water was seen as Spirit of Mercurius, the autonomous spirit, connecting of the ego with the Self. The act of killing related to Primeval being which needs to be killed to be transformed. Myths of Eskimo, The Eagle's Gift, the giant woman creator in Korea, and Marduk, the Babylonian hero will be integrated. Case B : Prior to introduce six island images in sand trays, a dream of a giant serpent (python) wound around her body will be presented to portray her situation. By relating Jung's "The Sermons to the Dead," her effort to make the solid island regarded as an act of bringing order out of original oneness (pleroma). Then stresses the importance to coagulate archetypal image Case C : A vignette of active imagination seminar where island image emerged will be described. Her endeavor of focusing on inner image related to the Hindu Creator, Cherokee creation myth, as well as Sulmoonde-halmang. As a motif of growing island, Samoan creation myth, and Legend of Mountain, Mai were incorporated. Colors in her art work regarded as expression of inner need, and importance of expressing inner feeling images as a mean to coagulate volatile emotional and spiritual content. Case D : A dream and art work of terminally ill woman; embracing the tip of the island with gushing up water will be presented. Her island and replenishing water image regard as "an immortal body," corresponds to the Philosophers' Stone for she accepted her death peacefully after the dream. Also related to "The Mercurial Fountain" in Rosarium Philosophorum, and aqua permanence, an allegory of God.