• KOMUNHWA
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• no.59
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• pp.112-147
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• 2002

This article is contrived to analyse the present situation and social practices of culture goods in Gyungju, historical city. For this, I collected Materials from agencies and organizations concerning of production, distribution, consumption of culture go

• Asia Marketing Journal
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• v.12 no.4
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• pp.27-54
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• 2011

This research attempted to present the efficiency of culture marketing to the organizations producing culture-art products and to the companies utilizing art and suggest the practical viewpoints to the culture and art policy agencies. The methodology used was to take an in-depth look at the consumer value cognition and benefits of culture-art products in contemporary consumption culture from a social context by conducting a total of 12 Focus Group Interviews, consisting of 58 males and females in their 10s~50s who can represent culture-art product consumers. The culture-art products refer to the artist's spiritual, actual act of creating or to the end products with economic exchange value. They are also sense goods and merit goods that affect the mental state of consumers. By looking at culture-art products as consumer merit goods, this research examined consumer value cognition of culture-art products based on the characteristics culture-art products. As a result, this research determined that consumers view culture-art products largely as 'aesthetic and sensuous merit goods', 'actual and individual merit goods', and 'social public property'. As 'aesthetic and sensuous merit goods', culture-art products are considered as the products of an artist's creative activities; as 'social public property', culture-art products have a public value in terms of ownership; and as 'actual and individual merit goods', culture-art products act on the spirit and reality of a consumer in terms of consumption. As a result of analyzing the benefits of culture-art products based on the above-mentioned consumer value cognition, it was observed that the benefits of culture-art-product consumption are chiefly divided into 'aesthetic character-oriented', 'social relationships-oriented', and 'individual benefits-oriented' depending on how consumers see culture-art products. A 3-conceptional structures model was constructed according to the relationship between consumer value cognition of culture-art products and the benefits. This research revealed that consumers who pursue the aesthetic value or sense of beauty as the central reason experience culture-art products themselves, enjoy intellectual quests, and pursue their satisfaction by expressing affection for and interests in culture-art products. On the other hand, consumers who pursue social value as the central reason as a means of communication by perceiving culture-art products as a public property of society, pursue sympathy with people close to them through the symbolic power of culture-art product consumption or the joy of self-display. Consumers who perceive art products as spiritual and actual merit goods and pursue consumer value as a central reason want to express their own personality, develop themselves, and differentiate themselves or identify themselves with others in the context of social relations for the ultimate goal of living a happy and satisfied life while pursuing to satisfy imminent and actual necessities as emotional stability and rest. The fact that culture-art product benefits could vary according to how a consumer perceives them implies that consumer value cognition of culture-art products and their benefits significant affect consumers' decision in choosing and consuming various culture-art products. It turned out that such benefits from the consumption of culture-art products reflect the complex contemporary consumption culture of rational consumption, symbolic consumption, experiential consumption, and social reflective consumption. This research identified conceptional structures of consumer value cognition on culture-art products and benefits that can be used for studying and understanding culture-art products consumers who pursue a variety of consumption values. They can also be used by private companies in utilizing art, as well as by national agencies in enhancing the population's quality of life. However, since this research could only conceptually grasp consumer perception of culture-art products and reveal the dimension of classification due to its own limitations arising from characteristic investigation, quantitative data on the benefits of culture-art product consumers should be measured in future studies through a quantitative investigation, while using the value cognition of culture-art products and the individual characteristics of consumers as variables based on this research.

• 한국벤처창업학회:학술대회논문집
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• 2019.04a
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• pp.69-74
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• 2019

사회적기업이란 영리기업과 비영리기업의 중간형태로서 사회적기업육성법에서는 취약계층에게 사회서비스 또는 일자리를 제공하여 지역주민의 삶의 질을 높이는 등의 사회적목적을 추구하면서 재화 및 서비스의 생산 혹은 판매 등의 영업활동을 수행하는 기업으로서 고용노동부 장관의 인증을 받은 기업을 말한다. 현재 사회적기업은 2019년 3월말 기준 2,154개의 기업이 활동하고 있다. 사회적기업의 양적증가에 따라서 사회적기업가 리더십과 조직의 존재가치를 설명하는 조직유효성이 중요하다. 조직유효성의 증가하기 위해서, 조직유효성에 미치는 다양한 영향요인들 중에서 어떤 요인이 더 많은 영향을 미치는 가에 대한 연구가 필요한 시점이다. 기존연구는 사회적기업 조직유효성에 대한 조직문화, 리더십 등 조직 관련 개별요인과 조직유효성과의 관계 파악에 한정하고 있으나 본 연구에서는 소셜미션을 추구하는 사회적가치와 지속가능성을 위한 경제적가치를 추구하는 사회적기업의 특성에 따른 역할 스트레스가 조직유효성에 미치는 영향 뿐 아니라 리더십, 의사소통, 조직문화의 개별적 요인 뿐 아니라 통합적인 적용을 하고자 한다.

• The Science & Technology
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• v.28 no.2 s.309
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• pp.16-18
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• 1995

우리나라는 오랫동안 인문사회적인 가치가 절대적이고 과학기술적인 가치가 천시되는 문화를 형성하였으므로 비합리적인 전통문화를 개혁하려면 고유문화를 경시하는 것으로 오해를 받곤 하였다. 우리사회의 이런 비합리성과 비능률성을 없애려면 '전국민의 과학화 운동'이 가장 효과적이라고 생각하였다.

• Journal of the Speleological Society of Korea
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• v.33 no.34
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• pp.30-40
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• 1993

온달굴은 천연기염물 제 261 호로 지정받은 문화재동굴로써 석회동굴이다. 원래 문화재에 해당하는 동굴들은 그 동굴이 지니고 있는 학술적, 문화재적인 가치를 분야별로 조사하여 이 동굴의 학술적 기폭을 삼어야 하며 그 가치기준에 의하여 천연기념물과 지방기념물 등등의 등급으로 구분하는 것이다. 물론 문화재에 해당하지 않는 그 밖의 동굴들은 자연동굴이라고 지칭하고 있음은 재언을 요하지 않는다.(중략)

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.497-499
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• 2010

도시의 문화 속성은 도시의 말전수전을 대표할 수 있다.한 도시에 풍부한 창의 및 대표적인 공공 예술과 대중들이 참여하는 상대적으로 광범한 예술의 분위기가 있는지, 그리고 적당한 비율의 예술의 분위기로 가득 찬 문화의 교류 및 심미 및 휴가를 보내고 오락을 즐기는 공공공간이 있는지는 이미 한 도시의 문화품질의 높고 낮음을 측정하는 중요한 지표로 되었다. 이 연구는 사례 연구를 통해서 공공예술품의 예술 특성은 도시 브랜드의 가치를 향상시킬 수 있다고 증명한다.

• Proceedings of the Korea Society of Costume Conference
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• 2003.05a
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• pp.38-38
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• 2003

본 연구는 남성에 대한 인식이 변화하고 외모에 대한 남성들의 관심이 증가되고 있는 사회적 상황에서 사회적 배경에 따라 남성의 메이크업문화가 형성되어온 과정을 고찰하고 사회의 의식, 가치, 이념을 반영하면서 새로운 것을 창조하는 사회 문화적 기능을 수행한다고 할 수 있는 남성화장품 광고를 중심으로 가치관과 사회적 의미의 변화를 고찰, 분석하는데 그 목적이 있다. 남성의 메이크업문화를 분석하기 위해 질적인 연구방법인 문헌고찰을 통해 시대적 배경을 고찰하였으며 화장품광고 텍스트를 분석하는데는 내용분석과 기호학적 분석을 실시함으로써 결과를 객관화 하고자 하였다.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.31-36
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• 2020

Corporate Culture Marketing is a marketing tool that enhances a company's cultural image or conveys its image through culture. Culture Consumer value analysis is important predictive data in identifying the value and pursuit of life in individual consumption behavior, explaining the choice behavior of culture consumers, and serves as the basis for decision making. The research method was linked to the text mining and opinion mining techniques of big data, and extracted positive, negative and neutral words. The analysis targets culture consumers participating in concerts at Hyundai Card's 'Super Concert', which is subject to domestic consumers, and CJ ENM's 'KCON', which is subject to foreign consumers. The culture consumer value elements of corporate culture marketing are the basic conditions, and they were derived as 'Consensus Communication (Expression of Sensibility)', 'Participation Sharing(VIP Belonging)', 'Social Change Issue', 'Differentiating Services', 'Price Discount Benefit' and 'Location Quality'. In the future, we will need to foster 'Culture Technology Marketers' and apply them in areas such as arts management planning, cultural investment, cultural distribution, cultural space, Corporate Culture, CSR and K-pop marketing to enhance corporate interests and brand value and enhance brand value.

• Journal of Science and Technology Studies
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• v.3 no.1 s.5
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• pp.1-17
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• 2003

Though science and technology can understood as a part of cultural system, the relationship of science/technology with culture is often viewed as contradictory or mutually exclusive by many scholars. Therefore, in the first section of the present paper, the nature of science and technology as a cultural form is examined. Here, science is viewed as a form of symbolic culture, while technology is regarded as a form of instrumental culture. In the second section, the contradictory relationship and/or tensions between science-technological system (instrumental culture) and cultural system (symbolic culture) within a society is discussed. In the final section of this paper, 'science culture' is conceptualized as a dynamic social process in which contradictory science sub-cultures of political system(state), economic system(cooperations), civil society (including academic community of scientists and other social organizations and movements), and cultural system are supposed to be coordinated. In conclusion, establishment of 'humanized science culture' and 'democratic science-culture movement' is proposed as an alternative way of resolving contradictory relationship between cultural system and science-technological system in the modern world.

• The Journal of Society for e-Business Studies
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• v.18 no.1
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• pp.147-164
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• 2013

For the continuous information security governance, we have to focus on not just technical aspects like access control and DRM, but informal level management like information security(IS) behavior, culture, and personal value. But there are few informal level studies, while many formal level studies of IS governance or technical means. This study is an empirical test that how IS culture, normal beliefs, personal behavior and value affect employee's deviant behavior. And we define a lack of an awareness of value and importance on IS regulations in organizations as "Information Security Anomie" with the concept of anomie, a viewpoint on social organization.