기억과 향수는 시적 서사의 묘사에서 강력한 요소이며, 숨겨진 감정과 내면의 혼란을 불러일으킨다. 이 연구는 유명한 시인 아그하 샤히드 알리와 노벨상 수상자 루이스 글뤽의 작품들을 탐구하는데, 이들은 각각의 시집인 『우체국 없는 나라』와『아라라트』에서 개인적 상실, 죽음, 문화적 변위, 그리고 기억과 향수의 심오한 영향을 탐구한다. 이 논문은 이들의 시적 천재성을 분석하고 비교함으로써 이 두 명의 뛰어난 시인이 고국의 상실, 죽음과 억압된 욕망의 트라우마를 다루는 독특한 방식을 밝히고자 한다. 이 연구는 알리와 글뤽가 어떻게 향수를 통해 충격적인 경험과 싸우기 위해 그들이 소중히 여겼던 기억들의 거시적 세계를 창조해내는지를 보다 심층적으로 분석한다. 그러나 이 탐구를 통해 우리는 인간의 경험과 시의 예술을 형성하는 데 있어 이들 주제의 지속적인 힘을 더 깊이 이해한다.

형식은 텍스트와 컨텍스트 사이의 상호작용으로 발생하여, 이중 어느 하나로도 귀결되지 않는 동시에 이들 사이를 조정한다. 형식은 단순히 텍스트의 부산물이 아니고 비가의 예에서처럼 사회적 관습에 종속된다. 동시에 형식은 컨텍스트와 별개로 독립적인 형식의 패턴을 유지한다. 알리와 멀둔에 관한 이 비교연구는 형식이 가진 이러한 역동성을 전제로 진행된다. 두 시인은 역사적 구체성과 구조적 자율성에 기반한 전통적인 시 형식이 가진 역동성을 사용하여 고국이 식민주의 이후 극심한 분쟁을 겪을 때 노스탤지아적 세계관을 구축한다. 두 시인은 스스로를 망명자로 인식하며 가잘, 소네트, 세스티나, 빌라넬과 같은 시 형식을 통해 노스탤지아적 갈망을 표현한다.

사람들에게 가장 일상적인 시각 대상이었던 대지와 하늘, 바닷가와 강가의 산과 모래밭, 그리고 숲속의 오솔길, 그 길가에 여기저기 서 있는 크고 작은 나무들, 개울에 흐르는 잔잔한 물소리, 가끔은 크고 작은 자갈에 부딪히는 소리들은 우리에게 맑은 숨을 쉬게 하고 작은 힘을 솟게 해주었다. 겨울 산과 여름 산의 정서가 다름은 우리가 자주 느끼는 일이다. 바다에 있는 산은 작게 보이고 강가에 있는 산은 크게 보인다. 사람이 서서 볼 수 있는 거리 때문이겠지만 우리에게 주는 정서 역시 제각기 다르 다. 특히 여름철 해질 무렵 연한 보랏빛 석양에서부터 검 짙은 갈색으로 변할 때까지 지켜본다는 것도 자연의 일부분을 충분히 경험하는 방법이라고 생각했다. 그러나 지금은 아파트로 둘러 싸여 있어 그런 기억들이 2차원의 공간에서만 볼 수 있는 먼 추억이 되어버렸다. 2차원 공간? 우리는 3차원에서 생활하고 있기 때문에 2차원 공간이 생소하다. 그러나 실제로 우리는 생활 속에서 2차원 공간을 많이 사용하고 있다. 책, 사진, 문서, 벽면 등등. 그러나 지금 내가 하고 싶은 말은 그런 것도 중요하지만 3차원의 세계에서 살고 있는 우리가 생홣 밖의 일도 저지를 수 있다는 것이다. 상상, 공상, 환상, 망상, 그리고 창의적 발상의 요람이 될 수 있다는 것이다. 그것을 표현하는 방법은 각자 다를 수 있다. 이를테면 글자로 쓰는 것, 선으로 그리는 것, 색으로 칠하는 것 등등. 최초의 원시인도 기계문명시대에 사는 현대인도 하기 힘든, ‘인류의 유산’으로 남겨놓은 것들을 우리는 알고 있고 볼 수도 있다. 암각화, 벽화, 골각화 등등. 캄캄한 동굴 안에, 거대한 암석에 그러한 그림들을 그린 이유가 무엇이었을까, 무슨 도구를 사용했으며 누구를 향한 절규였을까. 필경 목숨을 걸고 그런 일을 했다면, 생각할수록 더 궁금해지지 않을 수 없다. 그런데 필자가 이런 이야기를 하는 것을 나이가 많아서 할 일이 없기 때문이라고 생각해도 괜찮다. 왜냐 하면 우리나라 사람 대부분은 이러한 역사적이거나 철학적인 얘기를 꺼내면 밥 맛 없는 소리 한다고 치부 하는 경우가 많기 때문이다. 자기 자신을 잘 모르고, 우리 역사를 잘 모르고, 인류의 역사를 잘 몰라도 우리는 잘 먹고 잘 살고 있기 때문인 것 같다. 철학에 물리적 실체가 있다면 아마 예술이라는 걸로 표현될 것이다. 어떤 모습, 무슨 색깔, 무슨 구상이 든 그것을 표현하는 것은 오롯이 작가 자신일 것이다. 관람객이 작품을 그저 쓱 쳐다본다면 그 작품은 같은 위치와 같은 장면만 보여준다. 관람객의 사회적 위치나 시선과는 상관없이 민 낮의 정서로 그 사람 과 마주친다. 그러면 관람객은 그림 속의 사심을 자기의 마음으로 하나씩 벗겨낸 다음 맨 마지막으로 보 통 이렇게 이야기 한다. “이게 뭐야? 나도 할 수 있겠다!” 그러고는 종종걸음으로 작품 앞을 떠난다. 동일한 시간에 올실 안의 풍경과 문 밖 강가의 풍경이 다를지라도 생명의 리듬은 같다는 것을 우리는 알고 있다. 물풀에 잠시 앉아 있는 까만 잠자리나 빨간 고추잠자리가 하는 일은 같을지도 모른다. 그래서 지구상에 모든 생명은 ‘질서’라는 카테고리 안에서 잘 살고 있는지도 모른다.

This study attempted to investigate how satellite fans’ nostalgia influences their attitude toward the European Professional Football Leagues (EPFL) sponsors and purchase intention toward EFL sponsors’ products. Based on the sample drawn from EPFL fans in Singapore, a conceptual model was developed. This study found that satellite fans’ nostalgia significantly affected attitude toward EPFL sponsors, which positively influenced their intention to purchase EPFL sponsors’ products. The findings of this study emphasize the critical role of sport nostalgia in affecting attitude and purchase intention and offer practical implications for marketers.

This research aims to examine the different types of consumers' dispositions towards nostalgic advertising. Furthermore, it is proposed that brand heritage moderates the relationship between nostalgia intensity towards the ad and purchase intention.

Nostalgia refers to the sentimental longing for the valued past (Sedikides, Wildschut, & Baden, 2004). It is considered a bittersweet emotion, involving both wistful joy and sadness (Sedikides et al., 2004). Nostalgia is also a social emotion. Nostalgic memories typically center on social activities involving the self and close others (Wildschut et al., 2010). Prior research has mainly focused on the social and emotional nature of nostalgic narratives, and researchers have only recently started to investigate the motivations triggered by the process of recalling nostalgic narratives. For example, recalling a nostalgic event can heighten people’s motivation to savor such an experience and prolong it (Huang, Huang, & Wyer, 2016). In the current research, we posit that thinking about nostalgic events can trigger another motivation, namely, a desire to revive the past. Whenever people experience nostalgic feelings, they are likely to perceive differences between the present and their memorable past and desire to go back in time (Hepper et al., 2012; Sedikides et al., 2004). This motivation, once activated, can lead people to take actions to change their current state in the hope of reviving the past (Koole & Jostmann, 2004; Kuhl, 1985). This tendency of taking actions to make changes may generalize to subsequent unrelated situations (Kruglanski et al., 2002), and consequently increase consumer switching behavior (Jiang, Zhan, & Rucker, 2014). These predictions were tested across five studies in various consumption contexts. Our findings contribute to consumer research in two important ways, (a) by demonstrating a novel motivational impact of nostalgia on consumer behavior, and (b) by delineating a systematic influence of an unexplored but pervasive emotional factor— nostalgia—on consumer switching behavior. This research also offers practical implications. Conventional wisdom suggests that nostalgia can make consumers prefer products reminiscent of the “old days”. Our findings show that nostalgia can have broader implications for consumer choices and marketers may use it to manage consumer switching behavior.

Recently, as the development of media contents accelerated, auditory-based contents, especially ASMR, has been taking center stage in its field than visual-based contents. They are meaningful in a way that they are alternative contents that suggest a new space and possibility through aural stimulation, getting out from the boundary of excessive visual stimulation of existing media. According to Jang, Park, & Lyou (2016), ASMR is originally the abbreviation of a medical term, ‘Autonomous Sensory Meridian Response’. However in 2010, Jennifer Allen for the first time presented the definition that ‘ASMR is a specific sound that gives pleasure', and recently it is used as a coined word among young people rather than medical terminology (Jang, Park,& Lyou, 2016). Consumers listen to ASMR for stress relief, psychological stabilization, and relaxation through repeated, constant sound triggers (Zhang, 2015). The triggers used in ASMR marketing draw a stronger commitment within the consumers, by accompanying visual stimuli consistent with auditory stimuli (Sim, 2014). As reported by Hong (2017), commitment is a state of sensorial arousal when a person is totally lost in something and among all affective commitment relieves stress and enhances enjoyment; therefore raises quality of life and helps to live a rich life (Hong, 2017). This shows that there is a close relationship between satisfaction and enjoyment about experiences of ASMR content that leads to commitment, and such phenomenon creates a state of immersion that collapses the distinction between consumers’ past, present and future. Throughout the process, consumers meet the chance to recall the familiar sound that they have experienced in the past, and therefore remind of nostalgia on it (Zhang, 2015). Belk (1990), within the view of marketing, referred to the conceptual definition of nostalgia as a kind of longing atmosphere promoted by sensory stimuli such as scene, smell, and music. Zhang (2015) says that one of the important factors that cause nostalgia is sound, and one calls of the past through a specific sound which is an external stimulus – ASMR is included in it. Consumers can acquire prior knowledge of the brand while enjoying ASMR contents, and they can even have indirect experiences without having direct experiences of actually purchasing or wearing products. This helps to inspire the expertise of the product, and also plays a role in shaping positive consumption emotion such as pleasure and sensibility (Yang, 2016). Fashion products, especially, are more sensible than general consumer goods and due to excessive diversity of products, rational and deliberate purchasing rarely happen. Thus, consumers can build positive brand equity through ASMR marketing by learning specialized knowledge about products that could not be obtained from other marketing. In this study, we propose the new compound word ‘ASMR marketing,’ which combines marketing with the definition of ASMR of the coined term. Electronic word of mouth(EWOM) by ASMR marketing is a process in which the consumers communicate about product information and usage in the online community without the intervention of the seller. Through the characteristics of electronic word of mouth and ASMR, it is easy to infiltrate into daily life of the consumers and easily imprint the individuality of the brand to them (Wang, 2015). Although ASMR appears in ads of HeatTech and AIRism of UNIQLO, a fashion brand, ASMR triggers are not used as a background music and narration. In fashion industry, the use of sounds from the production process of fashion products, or the sounds that occur when wearing them, highlights professionalism and stimulates nostalgia by attracting consumers' emotional commitment. In addition, when ASMR marketing is applied to a luxury brand rather than SPA brand, expertise can be emphasized more effectively. ASMR has been spreading like a fashion in recent years, and marketing of ASMR in fashion brands has not yet been researched actively. The purposes of this study are: first, to analyze significant meaning and value of ASMR in auditory sense field in modern days; second, to identify the characteristics of ASMR marketing through emotional commitment and nostalgia; third, to investigate the effect of ASMR marketing on consumers. Although ASMR, therefore, is used only as a mitigation tool in medical field, this study combines media and marketing with ASMR, suggests it as a tool to enhance the profitability and brand equity of fashion brand. This study would help shape the trend of new culture by collaborating ASMR marketing with fashion brand. Furthermore, a cornerstone of related research can be established by presenting a causal relationship that emotional commitment affects nostalgia and brand equity. This study will be able to offer fashion companies diverse ways to establish ASMR marketing strategy.

본 연구는 복고를 주제로 한 드라마인 <응답하라 1988>을 대상으로 주인공들과 동 시대를 경험한 연령층인 40대 시청자들이 드라마 시청을 통해 경험한 노스탤지어 가 드라마 만족과 시즌제 드라마의 후속 시청의도에 미치는 영향을 알아본 것이다. 연구결 과 시청자들의 노스탤지어 인식은 자아존중에 영향을 미치는 것으로 나타났다. 하지만 자 아존중이 후속 개념에 미치는 영향은 발견하지 못하였다. 노스탤지어는 시청자 감성에도 긍정적인 영향을 미치고 있었다. 시청자 감성은 드라마 만족도에 영향을 미치고 있었다. 시 청자 감성은 또한 후속시즌 시청의도에도 긍정적인 영향을 미치는 것을 알 수 있었다. 마지 막으로 드라마 만족도는 후속시즌 시청의도를 높이는 것으로 나타났다. 이러한 결과는 복 고 드라마의 노스탤지어의 효과에 대한 학문적인 시사점을 제공하고 시청자의 드라마 소비 에 있어 감성의 중요성을 보여주고 있다. 본 연구에서 확인한 영향 관계를 통해 노스탤지어 의 역할에 대하여 학문적으로는 물론 드라마 제작에 있어서도 일정 부분 의미를 찾을 수 있 을 것이다.

올리버 골드스미스의 시 “황폐한 마을”에 대한 해석은 주로 시에서 드러난 향수와 저항의 두 이질적인 시어법의 관계를 시의 배경의 국적과 관련지어 진행되어왔다. 본 논문은 시에서 묘사된 오번이라는 마을이 아일랜드인가 영국인가 라는 해석적 논쟁의 중요한 맥락들을 짚어본 후 푸코의 “헤테로토피아” 개념을 차용해 골드스미스 시의 새로운 해석의 가능성을 타진한다.

This study presents the popularization phenomena of casual games in Korean society by analyzing them in terms of 'nostalgia' and 'communication'. Casual games refer games that can be played in steps with least amount of knowledge such as 'Ani-Pang', 'Everyone's Marble' , 'Dragon's Flight' and etc. The games are published through SNS(Social Network Service), and they are also popular to 40 middle-aged class in Korea nowadays. However, these popular games are retro games that utilized original games' elements and characteristics such as 'Bejeweled' and 'Xevious' which was popular in the 80-90s. The reason why common players in 40s play retro games in SNS is to possess happiness formed with nostalgia imagery by public. In addition, the retro games allow people's communication by incorporated into social network as a member through game playing. As a result, popularization of casual games through SNS focused on common players in 40s is related to nostalgia. And the characteristics of nostalgia can be seen not only as a pleasure realization of desire but also as a tendency that shows desire of community recovery and acquisition of identity within the community.

Born in London, Samuel Palmer (1805~1881) was the son of a bookseller. Aprecocious artist, he exhibited his work at the Royal Academy of Arts at the age offourteen, and executed a series of canonical “visionary”paintings before reachingthirty.In 1825, Palmer organized “the Ancients”, as they called themselves, a group ofadmirers of William Blake(1757~1827) that included Edward Calvert(1799~1883)and George Richmond(1809~1896), with whom Palmer painted the Englishcountryside in the Kent village of Shoreham, a small town thirty miles from London.It was during this prolific period in Palmer’s early career that Blake’s bucolicvision, as exemplified in his illustrations for Dr. Robert John Thornton’s Pastoralsof Virgil(1821) and his own Book of Job, deeply affected the young Palmer.Although the Ancients had several predecessors on the Continent, it was the firstartistic community established in nineteenth century England. Palmer’s Shorehamperiod saw his greatest achievements as an artist.Palmer was largely overlooked for forty years after his death, until the 1920s,when the British art world paid new attention to Palmer and the Ancients. Just as theRomantics had turned their attention to Gothic and Medieval art, the Neo-romanticsfound an interest in the Ancients. Blake and Palmer had created an English Arcadiathat inspired the artists of the early twentieth century who sought escape from thedevastation of the Great War.With their communal spirit and revival of medieval art, the Ancients anticipatedthe Pre-Raphaelites of the Victorian era. They deserve a place in British art historyas their influence may be seen in Neo-romanticism and even in contemporary art.

Purpose - Consumers have memories of their past time that they have not experienced. So consumers want to experience the past time and get pleasure through historical contents such as movies or dramas. This is because the re-created the past time sets the identity of the consumers who live today, and in the process, it give consumers emotional comfort. Consumers do not remember and sympathize with all of their historical time. In general, consumers remember the time that their communities are proud of. As s result, historical content is seen as a hero, and through that, consumers can check their identity. Also consumers experience positive emotions such as self-esteem, gratitude and pride through identification with heroes. That is, through historical contents, consumers can identify themselves and replace the current negative emotions with positive ones. Therefore, this study presents narrative identity and historical nostalgia that can affect positive evaluation of historical contents and suggest the factors the can induce such effects. This study was conducted to explain what the consumption effect of historical content is from a marketing perspective and what constitutes a component of historical content as a factor driving this effect. Research design, data, and methodology - This study has developed a questionnaire with 8 Hypotheses. The Films (‘Masquerade(2012)’, ‘Roaring Current(2014)’, ‘Assassination(2015)’, ‘The Age of Shadow(2016)’) and dramas(‘Six Flying Dragon(2015-2016)’, ‘Mr. Sunshine(2018-2019)’) were used as experimental contents. 268 college students participated in this empirical study, and structural equation model was used to verify hypotheses. Results - Frist, narrative identity affects positive evaluation of historical contents. Nostalgia affect positive evaluation of historical contents. and narrative identity affects positive response of historical nostalgia. Second, character act relevance, circumstance similarity, and character attractiveness have positive influence upon response of narrative identity. Lastly, empathy for story and vividness of representation have also positive influence upon response of historical nostalgia. Conclusion - This study contributes to the theoretical and managemental development of historical contents. This study shows that narrative identity and historical nostalgia are important for success of historical contents. In order for historical content to be successful, it must manage elements of character act relevance, circumstance similarity, and character attractiveness, empathy for story and vividness of representation.