We conducted a local survey targeting 300 Filipino consumers and analyzed them through multi-regression to help with the sales strategy of Korean agricultural products in the Philippine market. First, the Korean Wave image and K-food image were statistically significantly related to the intention to purchase Korean agricultural products. A significant positive (+) effect was found, and when Korean Wave stars were used as variables, the intention to purchase Korean agricultural products was strengthened. Therefore, the results of this study are believed to provide practical implications.

본 논문은 한국 드라마 <태양의 후예>를 분석하여 홍보가 한 나라 의 소프트 파워 전략에 어떻게 작용하는지, 그리고 문화와 이데올로기 의 전파가 전 세계 매체 환경에서 어떻게 전파되는지를 탐구하였다. 우 선 국가 주도의 소프트 파워를 홍보에 접목한 이론적인 틀을 제시하였 다. 그리고 한국 영화와 드라마의 홍보 역사를 정리하였다. 이어서 <태양의 후예>는 소프트 파워가 갖춰진 한류 드라마이자 홍보 드라마 임을 논의하였다. 끝으로 소프트 파워, 홍보, 한류 대중문화 사이의 관 계, 국가가 대중문화의 생산과 보급에 어떻게 참여하는지, 그리고 이 과정에서 소프트 파워가 어떻게 적용되는지를 제시하였다.

한국과 일본은 역사, 정치, 외교적 측면에 더해 경제적으로도 갈등이 심화되고 있다. 이러한 상황임에도 불구하고 한국에서는 일본인이 멤버 로 속해 있는 케이팝 아이돌 그룹들이 큰 인기를 끌고 있고, 일본에서는 한국 드라마와 케이팝이 다시 유행하고 있다. 이는 한일 정부 간의 관계 는 악화되어도 민간 차원에서의 교류는 지속되고 있다는 것을 의미한다. 그것이 바로 한류를 통한 교류이다. 2004년에 일본에서는 한국 드라마 겨울연가가 크게 흥행하며 한류붐이 일어났다. 이를 통해 한국에 대한 일본인들의 인식 개선에도 많은 영향을 미쳤다. 그렇다면 겨울연가의 흥 행으로 인해 시작된 일본내의 한류붐은 한국과 일본 간에 어떠한 문화적 상호작용을 촉진시켰고, 또 그것이 어떻게 일본의 젊은 세대를 중심으로 일어난 현재의 케이팝 열풍으로 이어졌는지에 대해 자세히 알아볼 필요 가 있다. 뿐만 아니라 한류를 통해 양국 간에는 어떠한 문화적 특징이 생겼는지에 대한 연구도 필요하다고 본다. 그리고 이러한 연구 과제를 수행하기 위해 본 연구에서는 문화간 커뮤니케이션의 측면에서 접근하고 있다. 따라서 본 연구는 다음과 같이 전개된다. 우선 문화간 커뮤니케이션 이론에 대한 고찰과 연구방법을 제시한다. 그 다음에 겨울연가로 시작된 일본의 초기 한류붐을 재조명한 후, 현재 일본의 케이팝 열풍에 대해 연구한다. 그리고 일련의 연구 과정을 통해 알 수 있었던 한일 양국 의 문화적 특징에 대해 비교 분석한다.

This study separated different factors into the Korean Wave and Korean health food according to the interest in Korean culture among the Chinese living in China. We then conducted a two-step cluster analysis with gender, marriage status, academic background, interest in Korean culture, command of the Korean language and the status of having visited Korea as variables. The subjects were split into a Korean wave-preferring group, highly interested in Korean food as health food group and a low interested group according to clusters, and we then investigated for preference differences for 20 Korean food dishes. Between these two groups the statistics indicated a significant influence with a level p<0.001 for Bulgogi, Bibimbap, Kimchi, Galbi-tang, Galbi-gui, Chicken, Samgyepsal, Doenjang-Jjgae, Dak-galbi, Japchae and Gimbap p<0.01 for Samgye-tang and p<0.05 for Naengmyeon, Kimchi-Jjigae, Dak-galbi, Seolleongtang, Haemul-tang, Hanjeongsik and Tteok-bokki. Jeon and Juk did not show any statistically significant difference. Chinese consumers preferred Korean food for Samgyeopsal, Bulgogi and chicken and less preferred gruel, Hanjeongsik and Kimchi-Jjigae. The highly interested in Korean culture group preferred Samgyeopal, Bulgogi and Chicken, and less preferred Juk, Jeon and Hanjeonsik in that order. This study offers information on the Chinese’s preference for different Korean food to any food service enterprises that manage Korean restaurants in China or that sell Korean cuisine and also basic data for differentiated marketing to those entering the Chinese market.

본 연구는 베트남 소비자들이 인식하는 한류브랜드 지역성이 국가 친밀감에 미치는 영향과 국가 친밀감이 한국 기업, 한국 제품에 대한 태도와 구매의도에 어떤 영향을 미치는지 살펴보고자 하였다. 특히 본 연구는 기존 선행 연구들을 바탕으로 한류의 관점에서 베트남 소비자가 인식하는 브랜드 지역성을 살펴보고자 하였다. 최근 한국기 업들은 한국대중문화를 중심으로 전 세계적으로 높은 인기를 얻고 있는 한류현상을 활용하여 한국 제품과 브랜드를 개발함으로서 한류브랜드를 구축하고 있다. 이에 한류지수가 높게 평가된 베트남 현지 소비자를 대상으로 한류를 잘 반영하고 있는 한국 화장품을 대표적인 한류브랜드로 선정하여 조사하였다. 가설검증을 위해 인터넷, 모바일 URL을 통한 응답 방법을 사용하여 베트남 현지 소비자 총 212명의 자료를 수집하였다. 실증분석 결과, 한 류브랜드 지역성은 국가 친밀감에 정(+)의 영향을 미치는 것으로 나타났다. 또한 베트남 소비자들이 한국에 대해 긍정적 감정인 친밀감이 형성되면 한국 기업과 제품에 대한 태도에 정(+)의 영향을 미치는 것으로 밝혀졌다. 이러한 소비자태도는 구매의도에 긍정적인 영향을 미치는 것으로 나타났다.

Studies with various approaches are required for the globalization of Korean Food. The objectives of this study were i) how the preferences of foreign students residing in Korea on K-Wave, K-Drama, K-Pop and K-Friend affect their preference, satisfaction level and repurchase intention on Korean food, and ii) which of the factors have the strongest effects on their preference, satisfaction level and repurchase intention on Korean food. The results showed that the higher K-Wave, K-Drama, K-Pop and K-Friend preferences, the stronger effect on the preference, satisfaction level and repurchase intention on Korean food (p=0.0001). Among the factors for Korean food preference, the most critical one was K-Wave preference (p=0.0001), followed by K-Drama preference (p=0.0500). For the satisfaction level of Korean food, the most important factor among the four was K-Wave preference (p=0.0496), followed by K-Drama preference (p=0.0500). For the repurchase intention on Korean food, the most significant factor was the preference for K-Friend (p=0.0004), followed by K-Drama (p=0.0016) and K-Wave (p=0.0030). Based on these results, more efforts to invigorate the preferences for K-Wave and K-Drama, as well as various attempts to improve the preference for K-Friend are required for the globalization of Korean Food.

한류를 바라보는 두 개의 시선이 있다. 한국 문화산업의 성공신화로서 한류와 중국 문화안 보의 대상으로서 한류이다. 그리고 우리가 외면해 왔던 사실, 이 두 개의 시선은 반비례 관계 의 함수이다. 2016년 한국 내 사드배치 결정으로 촉발된 중국정부의 비공식적인 한류 규제정책 ‘한한령(限韓令)’은 1990년대 후반부터 중국정부의 한류에 대한 일관된 인식을 압축적으로 보여준다. 우리 문화산업의 성공신화인 한류는 중국 문화안보의 대상이었다. 중국의 문화안보 에는 타국 문화산업에 대한 ‘방어’와 중국문화산업의 대외적 ‘확산’이라는 두 측면이 있다. 이를 통해 한류는 중국정부에 의해 서구문화 확산에 대한 방어기제로 수용되었으며, 중국문화 산업의 대외적 확산을 위한 가이드 역할까지만 허용된 것이었다. 이처럼 우리 문화산업 성공 신화에 적혀 있지 않은 중국 문화안보의 시선을 전제하여야만, 단순 소비자에서 자본의 투자 자로, 그리고 통제자로서 한한령을 발동한 중국을 이해할 수 있다. 그리고 이것이 바로 한류의 지속성장을 위한 탐색의 첫걸음이다.

예술과 경영이 만날 때 예술경영이라는 효과를 탄생시킨다. 한국의 다양한 예술 분야 가운데서 K-pop은 한류의 바람을 전 세계에 불러 일으켰고, 그 가운데서도 방탄소년단(이하 BTS)의 아이돌 그룹은 한국 K-pop 역사에 새로운 기록을 세웠다. 이것은 한류 콘텐츠의 대단한 성공 사례를 보여준 것이다. 따라서 본고는 BTS를 중심으로 한 성공사례를 연구한 것이다. BTS의 북미와 유럽 투어에서 전체 79만석이 공연 전에 일찌감치 매진되었고, 음반 발매나 유튜브 조회 수도 음반 발표 24시간 내에 세계에서 가장 많은 판매와 조회수를 기록하고 있다. 이러한 열기는 동남아시아에서도 계속 이어지고 있고, 향후 이들의 전망도 밝아 세계적인 인기는 당분간 밝아 보인다. 이처럼 단 기간에 세계적인 기업으로 성장한 BTS의 성공 비결은 무엇인가? 이 점에 대해 BTS의 성공 배경에 대한 경영적 ‘기술’ 혹은 전략이 무엇인지를 다각적으로 분석해 보았다. 우선 국내외 언론들과 전문가들의 반응을 분석해 보았고, BTS 멤버와 이 그룹을 이끌고 있는 방시혁 기획사 대표의 리더십을 분석해 보았다. 국내외 언론과 전문가들의 공통된 반응을 분석해 보면, 다음과 같은 몇 가지 성공 사례의 이유를 알 수 있게 된다. 첫째, BTS의 팬덤인 ‘아미’의 활약이다. 둘째, ‘아미’를 열광하게 한 BTS의 실력과 성실함이다. 셋째, BTS의 솔직한 개방성이다. 넷째, 솔직한 개방성을 통해 팬들과의 소통을 가능하게 했다는 것이다. 다섯째, 유튜브와 SNS의 적극적인 활용이다. 여섯째, BTS는 노래 속에 Hip-Hop이나 EDM, Rock, Pop 등 다양한 장르를 하나의 노래로 융합했다. 일곱째, Love Yourself 라는 노래를 통해서 동시대의 고민 속에 있는 청소년들에게 희망의 메시지를 담았다. 이 모든 것 가운데 무엇보다 BTS의 음악성이 가장 중요한 성공 원인이 되었으며, 동시에 이들의 개별적인 가치를 발굴하여 7인의 그룹으로 탄생시킨 방시혁 대표의 안목과 지도력이 중요한 역할을 감당하고 있다는 것이다. 특히 방시혁은 멤버들에게 자율성과 책임성을 동시에 부여해 주고 있다. 이로써 BTS는 K-pop의 미래를 이끌어 가고 있고, 외국인들이 한국어 가사를 외우면서 한글과 한국문화를 익혀가는 한류역할의 견인차 역할을 하고 있다. 예술적 가치가 경영 전략과 만나면서 BTS는 예술경영의 대표적인 성공 사례가 되고 있다.

본 연구는 외국인 소비자들을 대상으로 한류콘텐츠 만족도 및 노출도가 한국산 제품 구매의도에 미치는 영향을 자민족중심주의의 조절효과를 중심으로 실증분석하고 있다. 287명의 외국인 소비자들을 대상으로 실증분석을 실시한 결과 첫째, 한류콘텐츠 만족도와 노출도는 모두 한국산 제품의 구매의도를 높이는 것으로 나타났다. 이러한 결과는 한류콘텐츠에 만족하거나 빈번하게 노출되는 외국인 소비자들의 경우 한국산 제품에 대한 긍정적인 원산지 효과로 인해 한국산 제품의 구매의도가 높아질 수 있다는 것을 시사한다. 둘째, 자민족중심주의의 조절효과를 검증한 결과 자민족중심주의는 한류콘텐츠 만족도와 한국산 제품 구매의도 간의 관계뿐만 아니라 한류콘텐츠 노출도와 한국산 제품 구매의도 간의 관계 모두에서 부(-)의 조절효과를 보이는 것으로 나타났다. 자민족중심적 성향을 지닌 소비자들의 경우 자국산 제품을 애용해야 한다는 신념을 가질 수 있다. 즉, 이러한 결과는 한류콘텐츠 만족도 및 노출도가 한국산 제품 구매의도에 긍정적인 영향을 미친다 하더라도 자민족중심주의가 높은 경우, 이들 간의 긍정적인 관계가 약화될 수 있다는 것을 의미한다. 최근 한류가 사회적으로 큰 관심을 받고 있는 가운데외국 소비자의 한국산 제품 구매의도에 있어 한류콘텐츠의 만족도 및 노출도와 자민족중심주의 간 상호작용효과를 규명하였다는 점에서 본 연구는 국제마케팅 분야에 의미 있는 이론적 시사점을 제시할 수 있을 것으로 판단된다. 뿐만 아니라 본 연구의 분석결과는 한류콘텐츠를 활용하여 해외 시장으로의 진출을 고려하는 많은 한국 기업들에게 유용한 실무적 시사점 역시 제시할 수 있을 것으로 기대된다.

In this study, we conducted an empirical analysis using structural equation modeling (SEM) by distributing questionnaires to 208 Chinese tourists who constitute the largest proportion of foreign tourists visiting South Korea. The survey was conducted in a face to face (FTF) manner with the aim to contribute to globalization of Korean cuisine through comprehensive analysis of the effects of preference characteristics of Korean wave dramas on the relationship among images, attitudes, and purchase intentions for Korean cuisine. The main actor characteristics among the preference characteristics of Korean wave dramas had a significant effect on the attitudes and purchase intentions for Korean cuisine. However, the thematic characteristics among the preference characteristics of Korean wave dramas did not have a significant effect on the purchase intentions for Korean cuisine; in addition, the production characteristics did not have a significant effect on the attitudes and purchase intentions for Korean cuisine. The eco-friendly and health images of Korean cuisine had a significant effect on the purchase intentions for Korean cuisine, and the attitudes toward Korean cuisine significantly affected the purchase intentions for Korean cuisine. Based on the results of this study, it is considered necessary to continuously publicize Korean cuisine through Korean wave dramas to build positive attitudes toward Korean cuisine through enhanced images of Korean cuisine.

Using a method suggested by Yanovskaya, we obtained Rayleigh wave group velocities with a resolution of 1.0o ×1.0o in a period range between 10 and 80 s in and around the Korean peninsula. Both regional and distant earthquake data sets were used together in analysis of group velocities. The resolution of the group velocity maps has been remarkably enhanced by the method, especially in the sparse/non-station region in the northern Korean peninsula. Some qualitative geophysical information was inferred from the group velocity maps. In the East Sea, the slow group velocities at periods longer than 40 s suggest the existence of an oceanic lithosphere at depths of 50-70 km, assuming 4 km/s of S wave velocity at a period of 40 s. On the other hand, a thick lithosphere can be inferred in the continental area from the fast group velocities at periods longer than 50 s. For most periods, the group velocities change rapidly over a short distance of about 200 km across the eastern coast of Korean peninsula, which may suggest a rapid change in the thickness of lithosphere in this area.

Fresh attention is being paid to lifestyle brands offering differentiated contents and value such that the 21st century is now being called the age of global lifestyle. Recently national income has been increasing and a broad lifestyle culture has been established. Thus, brands with Scandinavian (Sweden, Denmark, or Norway), culture sensitivity, and design have deeply permeated the domestic market which has led to a domestic consumers' lifestyle trend (Chung& Park, 2004; Kwon, 2013; Magnus & Chrystin, 2003). In particular, such global lifestyle brands as Marimekko (Finland), CathKidston (UK), and Muji (Japan) have secured competitiveness in the global market as textile products which reflect its country's cultural identity (Lee& Park, 2014). Meanwhile, a new word, Hanban (韓版)which refers to Korean brands or products that were created from the Korean wave (韓流), which refers to Korean dramas or songs. Korean culture has been commercialized and grafted into various industries. In particular, a strong wind of Hanban in fashion cultural products not only has spread the Korean lifestyle to the world, but has enhanced its influence on related industries as well as fashion. Although certain major Korean companies launched lifestyle brands such as Jaju, Modern House, Butter, and Pum to help realize a Korean lifestyle brand business, most products sold in Korean lifestyle brands focus on overseas imported goods,so it is difficult to find Korean images on these products(Bang, 2004; Lee & Chung, 2013). The size of the lifestyle market is growing as a high value-added industry that can lead consumers' lifestyle trends, and there is a growing interest for Korean fashion cultural products. Therefore, the purpose of this study is to attempt to develop textile designs for Korean-made high value-added products with the improvement of Korean brand values. For study methodology, the status of lifestyle brands at home and abroad was examined and textile designs were developed for lifestyle brand B. For the development of the textile designs, demand required by brand B was researched and a textile design concept was established based on fashion and interior decoration trends. Then, a textile was designed using a motive that can effectively represent the identity of brand B and the Korean image. Adobe Photoshop 6.0 and Adobe Illustrator CC programs were used for the standardized textile design motif, pattern development, and colorway. The results were as follows. First, global lifestyle brands such as Marimekko, CathKidston, and Muji sell differentiated lifestyle products from other brands by applying motifs and colors which symbolize their country's and city's cultural image on textile products and displaying their own identity and peculiarity. On the other hand, Korean lifestyle brands such as Casamia, Hanssem, Kosney, and Art Box do not plan or produce their own design, but will import and sell foreign textile fabric or textile products with high recognition, or copy imported fabric. Thus, their textile design is unsatisfactory to express their own identity and satisfy consumers' needs. Second, as to the development direction required by brand B, a Korean lifestyle brand, the focus was to first, 'design American and European products using colors and techniques which reflect Korean image trends', Second, to create a 'design with Scandinavia's peculiar simplified line and sensitive color', and finally, to make a 'flower pattern design with good sustainable market feasibility'. Based on the direction and 2015 S/S color and textile trends, three concepts were established: Global Tribe, Bunny in the Wonderland, and Beyond Nature. Global Tribe is a folk paintin g(Minhwa) representing the Korean image well, and was reinterpreted in a modern sense. Bunny in the Wonderland is a modern Scandinavian style design using a rabbit, a symbol of brand B, as the main motif. Beyond Nature used a flower motif in various expression techniques and images. A textile design was developed by extracting from a folk painting, a rabbit, and a flower motif and standardizing a motif in watercolor, pen, and graphic techniques. It was digitalized by a scanner and a pattern was made via the steps of color adjustment and repetition. Three kinds of textile designs were developed according to three concepts and four kinds of colorways were made for each design. This study attempted to develop a textile design as Korean-made high value-added textile products. It is meaningful to suggest textile design with Korean cultural images and brand identity. Further study will focus on the development of fashion cultural products and DIY products to commercialize developed textile design.

본고는 한류 드라마를 중국 시청자들에게 호응을 이끌어냈던 제1기, 패턴의 반복과 민족주의적인 요소로 인한 反한류가 형성이 되었던 제2기, 《별에서 온 그대》를 통한 ‘新韓流’가 일기 시작한 제3기 과정에 요인을 분석하였다. 중국 내 새로운 소재와 스타일로 한류를 형성했지만, 한류는 자기 복제와 민족주의적 성향의 표면화로 인해 중국 시청자들에게 비판의 대상으로 떠올랐다. 한류는 하나의 문화 현상이며, 한국은 지금껏 누려보지 못한 문화콘텐츠 대국으로서의 권력을 유지시킬 방법에 대한 성찰이 부족했다고 할 수 있다. 한류에 대한 자만심과 문화 패권주의적인 성향은 중국내에서 강한 반발에 부딪치게 되었으며, 이러한 반발에 대한 대처 역시 미진하였다고 할 수 있다. 한류드라마가 일부 매니아 층을 중심으로 한 문화 콘텐츠화로 고착될 무렵에 장르 파과적인《별에서 온 그대》는 중국내 총 16억 뷰라는 기록을 세우며 새로운 한류의 시기를 맞이하게 되었다. 이러한 새로운 중흥기를 맞이한 한류가 향후 취해야할 태도와 방향성은 단순한 문화콘텐츠의 수출이라는 측면을 넘어서 한중 양국 간의 민간외교의 첨병이 라는 측면에서 함께 고민해야할 문제라고 사료된다.

All aspects of individual consumer as well as situational affecting on decisions are influenced by the social and cultural structure in which the consumer is embedded. Recently, there has been a growing worldwide phenomenon whereby tourists visit an attraction or destination as a result of that place being portrayed or represented in the popular cultural forms of the media that are not directly related with tourism promotion or marketing. A number of studies have suggested that such portrayals and features of mass media can act as powerful forces that stimulate tourism demand (Beeton, 2001). Representations and images of tourist destinations constructed by popular cultural forms of media such as films, television and literature play a significant role in influencing people’s holiday decision-making process (Iwashita, 2006). Where trade in images, expectations, dreams, and fantasies are made in tourism (Selwyn, 1996), those media representations and images of tourist destinations play a significant role in influencing people’s decision-making process. The tourism industry also is increasing appliance of images that are drawn from popular culture associated with places to promote tourist destinations and to distinguish themselves from each other. While these researches contribute to the understanding of the influence of pop culture on tourism phenomena, only few studies have investigated on the actual linkage between the pop culture and tourism perceptions/behaviors. The reason why pop culture involvement can be related to the actual intention to visit is due to the fandom created relating to the pop culture. The notion of fandom has been put forward in order to understand the link in between the pop culture and the mass audience in diverse realms (Couldry, 2007). Fandom in recent years have been understood to dismiss the negative view of pathological and the stem for alienating qualities of modern society, and accepted as a phenomena widely spread in post-industrial societies (Jenson, 1992). It is then when transitional moment takes place, in the head and heart of the fan or tourist, that the fascination begins which provides the motivation to visit the locations (Reijnders, 2011). With such cultural industries in modern society constantly produce countless contents that can be utilized as objects of fandom, resulting in actual visit to a place associated with a specific destination serving as an effective strategy for building popular cultural capital in modern society. It was therefore decided to investigate this phenomenon in more depth through empirical research to investigate how and to what extent popular cultural forms of the media (those not directly associated with tourism and destination marketing) have an effect on international tourism, and future, to identify what roles they play in influencing tourists from emerging market in terms of their travel destination image and their perception about places to visit within the chosen destination. The phenomenon in this study focuses on the Korean wave, so called Hallyu, as it is one of the pop culture phenomenon that has gained much recognition across not only within Asian countries but also recently in Western countries via pop songs, soap operas, movies, and other forms of mass media entertainment. In this study, diffusion model suggested by Rogers (1995) was used. The diffusion of Rogers’s innovation framework is proving flexible enough to conceptualize many kinds of social change, including change through processes of public dialogue and civic participation, change within organizations, as well as change through public agenda setting and media effects. Many studies have incorporated diffusion theory to explain such cultural phenomenon to gain more enrich result, however, no other studies have looked into the degree of diffusion stage in a macro level according to the regions. However, to obtain the overall view of the diffusion of such pop culture, it is needed to see the diffusion process proceeding globally as even the same fandom may differ in characteristics based on not only the diffusion stage but also its distinctive characteristics of social system. As a result, according to the diffusion stage of Hallyu, it is expected to differ in formation and perception on destination image. Previous studies identify destination image into cognition and affect which are two conceptually different, yet highly correlated components (Lee, 2008). The cognitive component leading to some internally accepted attributes, a more or less derived from factual information. On the other hand, the affective component relates to a diffusive feeling, which can become important when a decision to travel is actually considered (Russel, 1980). Such image constructed by tourists contains an individual or group perception of a particular place (Fakeye and Crompton 1991). It is expected that the image construction will vary according to the stage of the diffusion. This study incorporates diffusion theory to develop a better understanding of the diffusion process and the current situation of the Korean Wave globally to see whether such diffusion process varies according to region. Then, the effect of such difference in diffusion stages on the intention to visit the destination country was investigated. Thus, preliminary research was conducted first to see the Korean Wave phenomenon globally. In order to analyze the diffusion stage thoroughly, three regions of Asia, America, and Europe were selected. According to the diffusion degree of the Korean wave, seven representative countries were elected regarded to the regions. Along with literatures, in-depth interviews were conducted. The semi-structured form with an interview guide method was presented with reflexive interviewing techniques in order to ensure comprehensiveness (Athos & Gabarro, 1978). Then, a survey was conducted to examine the effect of pop culture involvement on formation and perception of destination image in China and Russia. Choice of countries is not only resulting from recognition as the potential future powerhouse in industry, but because it is the two countries take place as one of the highest increase in the number of tourists visiting Korea recently (KCTI, 2013). In addition, most importantly, China represents to be in the highest stage of diffusion of Korean pop culture, and Russia as one of the lowest. Additionally, the moderating effect of travel intention and travel behavior was preceded. From this, it aims to provide deeper understanding implications for targeting tourists. The hypotheses were tested with a data set developed from field survey using only online survey. Of the 265 samples collected, 8 were returned incomplete. An additional 18 samples were deleted for further analysis, as the answers were unusable. In total 239 samples – 120 and 119 samples from China and Russia respectively – were subjected for final analysis. The result in Study 1 revealed some commonalities and differences among regions. Overall, uniqueness was what made people first be interested. It was mostly pursued by young women yet those who are sometimes extremist. Thus, being open-minded to other cultures was found to be important when accepting other cultures. Moreover, it revealed that it impacts on national image to be more positive as it replaces the negative image related to war and North Korea. However, despite some commonalities, distinctive differences were disclosed among regions, especially between Asian countries and Western countries. In terms of Asia, it was found that cultural similarities have influenced the early acceptance of Korean pop culture. It has been spread since 1997, through television mostly with sensuous contents that were unique in other countries. The contents were mostly appealing to women as the characters shown in soap opera were different to others. This is very different to Europe of America where the diffusion starting in the mid 2000 through the Internet. Uniqueness captured consumers, yet in a different way from Asian countries. The easy going and entertaining aspect was the appealing factor, with word of mouth and human power was what influenced in introduction of Korean pop culture. In addition, those who were into Japanese culture were easily approached to Korean pop culture. The diffusion stage was considered to be less than 10%, with very young women interested with comparison with Asia where it was about 70%. Moreover, it was found that Asian consumers are interested in Korean brand products, such as cosmetics and clothing, and Western consumers are more interested in culture and food. Then, on the survey proceeded where China and Russia was chosen based on the preliminary qualitative research as a two different stage of diffusion according regions/countries, t-test provided evidence to support the claim that depending the diffusion stage of pop culture, the effect on formation and perception of destination image differs. A significant differences were obtained in pop culture involvement, destination image (cognitive and affective), and on visit intention. Based on the t-test statistics for Korean pop culture involvement (t = 8.491, p < .000), the cognitive image (t = -3.341, p < .001), the affective image (t = 2.050, p < .05), and visit intention (t = 2.072, p < .05) were significant. Thus, when highly involved in Korean pop culture, rather than cognitive image, consumers are more likely to be involved with affective image which relates to the actual visit intention. The results corroborated several hypothesized relationships, popular culture involvement in accordance to nation affect the destination image and perception. When more highly involved, more positively it relates to affective image and the visitation intention. The findings reported in this study have managerial implications. One is that as the relation differs according to the diffusion stage, spreading pop culture may not yield visible output instantly, yet as it relates to the actual visitation intention, international pop culture activities should be supported. Second, as shown from the diffusion process globally, distinctive characteristics of each culture should be considered more when spreading such sub-culture. Lastly, therefore, it can be suggested, that according to the countries, different approach should be made in order to induce tourist from other countries. However, this study focuses more on the macro level of the phenomenon. Therefore, future research is needed to provide more evidence on the micro level and more in-depth research. In addition, this study precedes empirical study only in China and Russia. Therefore, more diverse countries should be explored and compared.

This research investigated the relationship among Korean Wave Cultural Contents consumption of Korean food, Korean products, and Learning of the Korean language. The survey targeted non-Koreans who were either interested in or experienced Korean Wave Cultural Contents. Exactly 61.3% of subjects had traveled to Korea. The most common method of experiencing the Korean Wave was via the Internet (57.7%), followed by TV (21.1%) and Mobile (7.7%). The most popular Korean Wave Contents were K-pop (35.2%) and TV Dramas (31.0%). Movies were preferred in the Americas (3.63±0.83) and Asia (3.63±1.09), whereas K-pop was preferred in Asia (3.68±1.12) and games preferred in Europe (2.50±1.56). Regarding Korean food, most participants had tasted Kimchi (81.7%), followed by Bulgogi (74.6%), Bibimbap (66.9%), and Galbi (66.2%). According to the country-by-country survey, in the case of Galbi (p<0.05), Bibimbap (p<0.05), and Bulgogi (p<0.05), Asians had more experiences with Korean food compared to those from other regions. Meanwhile, in the case of satisfaction of Korean food, Bulgogi (4.22±1.05) was ranked highest, whereas Kimchi (3.85±1.15) was ranked lowest. According to the region-by-region survey, those from Oceania and other regions preferred Kimchi (4.25±0.71) and Bulgogi (4.50±4.50) while the Americas preferred Galbi (4.82±0.39) and Bibimbap (4.54±0.81). Bulgogi (2.76±0.06) was highly ranked as a representative Korean Food while Kimchi (2.44±0.71) was ranked the lowest. This research explained that among Korean Wave Cultural Contents, movies and music positively influenced on the ‘Image of Korea’, movies and K-pop effected ‘Purchasing intention of Korean products’, and TV Dramas, movies, and K-pop effected ‘Purchasing intention of Korean Food’.

지각내에서 지진파의 감쇠기구는 매질 고유의 흡수와 에너지의 산란에 의하여 조정된다. 한반도 남부에서 전체 감쇠로부터 산란과 고유의 에너지 손실량을 분리하여 추정했다. 전체감쇠를 고유 Q와 산란 Q로 분리하기 위하여, 단일 후방산란된 coda Q와 다중산란 이론의 관계로부터 유도되는 공식이 사용되었다. Q는 주파수 대역 1.5-20Hz 범위내에서 고유 Q가 산란 Q보다 훨씬 작은 것으로 나타났다. 이것은 한반도 지각내에서 고유 흡수에 의한 에너지 손실이 산란효과에 의한 손실보다 더욱 크다는 것을 의미한다. 1.5-3Hz범위의 고유 Q를 제외하고는 고유 Q와 산란 Q가 지진학적으로 활동적인 다른 지역에 비하여 큰 것으로 나타났다.

한반도 주변 해역의 5개 지점(덕적도, 칠발도, 거문도, 거제도, 동해 정점)에서 관측된 기상청의 해양 기상 관측 부이 자료를 이용하여 각 해역에서 바람과 파도의 관계를 분석하였다. 전반적으로는 서해 정점에서는 파도가 바람의 영향을 가장 많이 받고 남해 정점에서는 파도가 바람의 영향을 가장 적게 받으며 동해 정점에서는 그 중간이며 각 정점별 특징은 다음과 같다. 칠발도에서는 풍속이 강한 겨울철의 주 풍향인 북서방향으로 바다가 트여있고 얕은 수심에 의한 여울효과로 가장 높은 파고가 발달하며 풍향과 파향이 다른 정점에 비해서 가장 잘 일치한다. 이에 비해 덕적도는 북서방향이 황해도에 의해 막혀 있기 때문에 취송거리가 제한되어 겨울철에 충분히 발달한 파도가 생기지 않는다. 이러한 취송거리의 제한은 남해 정점에서 더 크다. 북풍이 우세한 남해의 두 정점에서는 북쪽의 육지 때문에 파도의 발달이 제한되어 바람이 강해도 파고는 거의 높아지지 않는다. 남해 정점에서는 어느 방향에서 바람이 불든지 모든 파향의 파가 고르게 유입되며 그 중 우세한 파향은 항상 동중국해에서 유입되는 방향이다. 그 방향은 거문도와 거제도에서 각각 남쪽 방향과 남서 방향이며 이 방향으로는 바람이 약할 때도 파도가 유입된다. 동해 정점에서는 수심이 깊어 파도가 크게 발달하지만 풍향과 파향이 일치하지 않는 경우가 많아 파고의 발달이 칠발도에서 보다는 낮다. 이와 같이 풍속과 더불어 풍향이 파랑발달에 중요한 이유는 풍향에 의해 취송거리가 결정되기 때문이다. 덕적도와 칠발도에서 풍향이 변하지 않고 오래 지속되는 경우를 보면 파향이 풍향과 일치하며 파고는 최대풍속 후에 최대파고가 나타나는 반응시간이 길수록 커지는 것을 볼 수 있다. 그러나 풍향과 파향이 일치하지 않는 동해 정점의 경우에서는 풍속이 크고 반응시간이 길어도 파고가 서해 정점에서와 같이 많이 높아지지는 않는다. 이상의 결과는 풍속이 클수록, 취송거리가 길수록, 지속시간이 길수록 파고가 크게 발달하는 일반적인 경향과 더불어 각 정점별로는 육지와 바다의 방향, 해저지형, 주변해역의 규모 등의 환경조건에 의해 바람에 의한 파도의 발달율이 달라지는 것을 보여준다.

The state-of-art third generation wave prediction model WAM was applied to the Korean seas for a winter monsoon period of January 1997. The wind field used in the present study is the global NSCAT-ERS/NCEP blended winds, which was further interpolated using a bi-cubic spline interpolator to fine grid limited area shallow water regime surrounding the Korean seas. To evaluate and investigate the accuracy of WAM, the hindcasted wave heights are compared with observed data from two shallow water buoys off Chil-Bal and Duk-Juk. A detailed study has been carried with the various meteorological parameters in observed buoy data and its inter-dependency on model computed wave fields was also investigated. The RMS error between the observation and model computed wave heights results to 0.489 for Chil-Bal and 0.417 for Duk-Juk. A similar comparison between the observation and interpolated winds off Duk-Juk show RMS error of 2.28 which suggest a good estimate for wave modelling studies.