This study examines long work hours and work-life balance in relation to wage level, workaholism, and consumerism in both Korea and Japan. Findings of this study can be summarized as follows. First, the hypothesis tha...This study examines long work hours and work-life balance in relation to wage level, workaholism, and consumerism in both Korea and Japan. Findings of this study can be summarized as follows. First, the hypothesis that the wages and working hours have positive but differential effects depending on wage level categories are supported. Second, effects of cultural factors, such as workaholism and consumerism, on long work hours, however, are not significant in both countries. Third, for Korean manual workers, the probability of working long hours is high, but the level of time scarcity is low; but the effect of union membership on long work hours is not significant in both Korea and Japan. Fourth, the hypothesis that negative effects of long work hours and time scarcity on satisfaction with work-life balance are supported. These findings suggest that an increase in wage for non-regular workers and a minimum wage are required to reduce working hours. In addition, they also suggest that reducing working hours, overtime work in particular, and wage gap are crucial to raising the level of satisfaction with work-life balance in both Korea and Japan.展开更多
In contrast with the large number of theatrical performances and filmic versions for television, both British and American, based on the play The Importance of Being Earnest （1975） by Oscar Wilde, there have only be...In contrast with the large number of theatrical performances and filmic versions for television, both British and American, based on the play The Importance of Being Earnest （1975） by Oscar Wilde, there have only been, so far, three films made for the cinema. Although one of them was made in the United States by the American director Kurt Baker in 1992, this paper will address only the two English versions, chronologically separated by a 50-year time span. It will focus on the cinematic adaptations made by English directors Anthony Asquith and Oliver Parker, the former in 1952 and the latter in 2002. Based on the same play, this comparative approach may throw some light on the evolution of cinematographic conditions and techniques as well as relate them to the expectations of audiences in the mid 20th century and at the beginning of the 21st century.展开更多
文摘This study examines long work hours and work-life balance in relation to wage level, workaholism, and consumerism in both Korea and Japan. Findings of this study can be summarized as follows. First, the hypothesis that the wages and working hours have positive but differential effects depending on wage level categories are supported. Second, effects of cultural factors, such as workaholism and consumerism, on long work hours, however, are not significant in both countries. Third, for Korean manual workers, the probability of working long hours is high, but the level of time scarcity is low; but the effect of union membership on long work hours is not significant in both Korea and Japan. Fourth, the hypothesis that negative effects of long work hours and time scarcity on satisfaction with work-life balance are supported. These findings suggest that an increase in wage for non-regular workers and a minimum wage are required to reduce working hours. In addition, they also suggest that reducing working hours, overtime work in particular, and wage gap are crucial to raising the level of satisfaction with work-life balance in both Korea and Japan.
文摘In contrast with the large number of theatrical performances and filmic versions for television, both British and American, based on the play The Importance of Being Earnest （1975） by Oscar Wilde, there have only been, so far, three films made for the cinema. Although one of them was made in the United States by the American director Kurt Baker in 1992, this paper will address only the two English versions, chronologically separated by a 50-year time span. It will focus on the cinematic adaptations made by English directors Anthony Asquith and Oliver Parker, the former in 1952 and the latter in 2002. Based on the same play, this comparative approach may throw some light on the evolution of cinematographic conditions and techniques as well as relate them to the expectations of audiences in the mid 20th century and at the beginning of the 21st century.
