KJC Korea
Journal Central

In this paper, the male-to-female ratio and characteristics of female characters appearing in dice board games and postage stamps in both Korea and Japan were examined from the perspective of gender. First, the ratio of men and women in backgammon, which is a great historical figure in Korea, is 13.5:1, and the ratio of men and women in postage stamps is 5.5:1, which means that there are relatively fewer women than men. There were many virtuous women or anti-Japanese patriotic martyrs from a Confucian perspective. On the other hand, the ratio of men and women in Japanese backgammon is 8:1, and the ratio of men and women in postage stamps is 2.4:1, and similarly, there are fewer women.　As for the female characters, there were many poets of waka (和歌) or female writers. It can be seen that the ratio of female figures in Japan is about twice as high as that in Korea, and this is related to the gender ratio gap (8:1 in Korea, and 4:1 in Japan) confirmed in keywords, such as filial piety, and classic databases in both Korea and Japan.　In particular, the 9:1 male-to-female ratio in the Japanese culture postage stamp series is interesting, as it symbolizes gender inequality in modern Japanese politics.

Prior to modern times, China maintained a feudal state relationship with Korea. This Korea-China relationship originated from the Chinese worldview. After the Opium War, China became the subject of invasion by the imperialist powers. In this way, it has been reduced to colonies and anti-colonies by the force of imperialist powers, and China and Korea share similar modern and contemporary experiences of the anti-Japanese movement. In the process, the two countries have a similar sense of solidarity. This sense of solidarity is summoned as a figure in literary works. After the defeat of the Japanese colonial rule, China experienced a war of ideology called the Korean War. In this war, China dispatched troops to North Korea in the name of international solidarity of the socialist country. However, in the 21st century, the history of division of the Korean Peninsula is being erased in the memory of "Anti-U.S & support North Korea." to the Korean War. This elimination is evident in the movie "Main Melody Films" based on “Anti-U.S & support North Korea”. This can be attributed to the deterioration of the U.S.-China relations and the international status of G2 that China had in the 21st century. In this paper, we attempt to learn about the perspective of Chinese literature, such as novels and movies since modern times, summoning Korea's anti-Japanese movement and division history.

Among the Korean grammar items, there are many items that are similar in meaning or usage in form, meaning, and pragmatic use. Items with similar forms may be used in a confused manner, and if there is a slight difference in meaning, foreign learners who do not have any intuition in Korean will experience difficulties. In this paper, among the grammar items presented in various ways among the six Korean language textbooks published and widely used by Korea’s representative university-affiliated Korean language educational institutions, those that could be included in similar grammar items were extracted and the list was presented at a glance. It was summarized and arranged so that the items that appeared in more textbooks could be compared and listed. In addition, the problems that appeared in the presentation method of similar grammar were critically considered and a desirable presentation method was proposed.

Looking back at Okinawa around 1970, there were people who actively considered Fanon's ‘Theory of Violence’as a new creativity or possibility. Arakawa Akira along with Kawamitsu Shunichi, Okamoto Keitoku, and others were the ones who pursued the Okinawan idea by insisting on the ideological independence of the region rejecting violence in the name of ‘state’; recognition of the obvious fact that a new solidarity of peace can be created only when the present is destroyed, Their reasoning shows the present state of Okinawa well as they resisted the center called ‘nation’ and sometimes willingly embraced it and created their own ideology. From this, if you look at the 1990s, you meet Medoruma Shun, who seems to have inherited their ideas. Although he is not from the war generation, he grew up listening to the sound of live ammunition just like a war, and he understands the current situation in Okinawa as the ongoing war and occupation of violence. Above all, he does not go towards the direction of ‘eliminating’ ‘violence’, which can be the fundamental problem of the modern people-state. In this study, we envisioned the non-national, anti-state ideology and independence of Okinawa, discussed the nation and the emperor system from the perspective of Okinawa, widely observed the thoughts of Arakawa and others who criticized the inside of Okinawa from the point of view of the people of Okinawa, an influential writer representing Okinawa, and looked into Medoruma's actions in detail with his work, who is taking the lead in blocking the base constructiona is a practical activist and recorder before being a writer, and is evaluated as a sender. Their reasons will provide valid arguments for seeking practical alternatives to intellectual networks for the establishment of an East Asian peace community and deriving policy alternatives.

This essay critiques the workings of cultural representation in the 2022 Netflix original Korean drama series Narco-Saints, characterizing the manner in which the locale, culture, and people of Suriname have been depicted as being emblematic of internalized coloniality and its vicious circle of reproduction. Opening up with an exploration of the show's positioning as a true-story-based narrative that amplifies its gesture to a sense of authenticity by way of the spectacular setting and cinematography, I contend, Narco-Saints embodies what I call an aspiration to speculative authenticity, which in turn camouflages the biased nature of its representational politics. Drawing on thinkers and theorists, such as Walter Mignolo, Sigmund Freud, Gayathri Spivak, and Jean Baudrillard, and through close readings of specific scenes from the show and comparisons with other media content, I demonstrate how the series serves as an uncanny double to be repressed in the form of mis- and under-representation, creating a disconcerting dynamic whereby South Korean cultural production comes to perpetrate the very kind of alienation that it has long suffered, in the form of Orientalism and its varied iterations, upon a culture it now deems to be an undesirable other. What renders this mirror dynamic all the more troubling, I suggest, is the absence of authorial intent on the part of directorial and productional agency, which alludes to the fact that the practice of mimetic marginalization with regard to the Global South (and cultural communities that are considered likewise peripheral) had become a deeply ingrained and as such default baseline of perspectivization.

This study set out to examine the symbolic meanings and ambivalent characteristics of a crow in Korea and Mongolia, and thus understand the concepts of the bird among people in these two countries. The crow has a strong image due to its ill omen both in Korea and Mongolia, but it originally held the symbolism of principle and good omen based on the traditional faith of shamanism. In Korea, the concept of a sun bird with three feet held important meanings in the culture. In Mongolia, there was no concept of a sun bird for the crow, but it played its roles as a heavenly god, envoy of a deity, interpreter of a god, incarnation of a deity, and guardian. In Korea, the crow also played similar roles as a heavenly god, envoy of a mountain spirit, grim reaper and protecting being against the backdrop of shamanism. In both these countries, the crow often appears to deliver news or information in tales, which derives from an ancient idea that the crow is fundamentally a divine spiritual envoy. The crow has ambivalent characteristics, preventing disasters as a dark god and also serving as an unlucky ill omen due to its strong power, black image, and crying sound. In many folk beliefs, the crow predicted different things according to the occasions, times, directions, and places of their cries. In Korea, the crow generally represented something ominous. In Mongolia, it represented something neutral or lucky, in addition to something ominous in general. The crow is similar in Korea and Mongolia for its ambivalent characteristics between good omen and ill omen and between good and evil despite some differences, and perceptions of the crow have changed basically based on shamanism.

This study started with the question on whether the context of rapid growth of luxury brands despite the pandemic situation caused by COVID-19, which began in 2020, was due to an expansion in the customer base to the MZ generation, new customers of luxury goods, and a cross-media storytelling strategy that crosses online and offline media. The research aims to examine the application and scalability of a cross-media storytelling strategy in the corporate brand market beyond the cultural industry market by analyzing the fashion show-centric brand communication strategy of Louis Vuitton. As a result of the research, we confirmed that Louis Vuitton's fashion show-centric brand communication strategy extends the brand identity of "travel" to the central worldview of the 2021 fashion show by fully applying the seven fundamental concepts defined by Jenkins (2010). In other words, this study divided the stories of Louis Vuitton's three shows in 2021 into several successive plots, allowing customers to enter the worldview of the brand's "journey," while serving as a starting point and contact for each independent realization. The stories proceed with a storytelling strategy that allows them to share the same worldview while having a structured story. Based on these research results, we propose that it is necessary to apply the transmedia storytelling strategy, which has been used in a limited way in the cultural industry market, to the luxury brand market as well as to the general market of product brands targeting the MZ generation.

Due to the characteristics of forced migration in Latin America over the last 20 years, the size of domestically displaced people expanded and the number of displaced people increased due to the increase in violation based on gender, in addition to the longer period of displacement and existing causes of displacement. Forced displacement spread by focusing on the natives and African descendants in the armed conflict situation of Latin America. Extreme violence towards displaced people occurred as a result of discrimination and inequality based on power that is rooted in patriarchal traditional culture of the Latin American society. Persecution of gender was developed at par with everyday violence that is inherent in society, not in special circumstances like armed conflicts. Regional conflict's special circumstances and vulnerability, and needs have been underestimated in studies on forced displacement in Latin America. Inspired by these points, this study attempts to examine the characteristics of forced migration and gender persecution in Latin America by focusing on cases of regional conflict among people displaced in Columbia where the most domestically displaced people in the world have been kept.