• Venture DIGEST
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• s.32
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• pp.10-10
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• 2003

세계화를 찬반 선택의 길보다는 오늘날 인류가 처한 하나의 현상으로 받아들여야하지 않을까. 세계화를 신자유주의 경제 이데올로기로만 받아들이기보다는 네트워크, 정보, 문화, 생태와 환경문제 등에서 폭넓게 진행되고 있는 사회적 현상으로 인식해야 할 필요가 있다

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.180-195
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• 2024

Community beliefs of the coastal villages in Gochang are cultural activities and rituals manifesting the hopes and spiritual worlds of the locals who live off the sea and tidal mud. Along with their societal functions wishing for peace, maritime safety, and good catches, the values of the Jwajeongdam (How god came to be), Yuraedam (History of worshipping), and Yeongheomdam (Stories of miracles), as living heritage need to be reexamined according to the recent Convention for the Safeguarding of the Intangible Cultural Heritage. The community beliefs of the coastal villages in Gochang, where outstanding universal intangible and tangible values coexist, have been perpetually transmitted in interactions with tidal mud and the ecological environments of the sea. They reinforce the "Outstanding Universal Value" UNESCO mentions and sustainability that connects the past, present, and future. Furthermore, a coastal area is endowed with international accessibility over regionality. Hence the community beliefs are charged with eco-cultural values, which its preservation and promotion should also focus on to provide policies and protection activities. In short, the tidal mud and community beliefs of coastal villages in Gochang, which according to the concept of UNESCO's "mixed heritage," meet the values for natural, cultural, and intangible heritage at the same time, and so must be approached not in the scope of points or lines, but also in surfaces when arranging protection initiatives.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.677-684
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• 2022

This study is a basic study to evaluate the ecological environment of Changwon City. The study site was 6 ecotourism districts in Changwon-si, and the ecotourism index was evaluated through direct visits and interviews with the person in charge through preliminary research and various literature data from June to July 2021. There are six ecotourism indicators: climate crisis, air quality improvement, water conservation, natural coexistence, citizen participation, and tourism resource management. When looking at the scores for the six ecotourism areas in Changwon, it received the highest score in the areas of natural coexistence and air quality improvement. However, the ecoregion received the lowest score in the water resource conservation category, indicating that the water resource conservation as a whole was weak. Next, tourism resource management, climate crisis, and citizen participation are at the same level in all regions. As a result of the evaluation through the low-carbon ecotourism index, the Changwon City low-carbon ecotourism certification system should first be operated as a measure to revitalize the ecotourism region. It is necessary to prepare a low-carbon ecotourism level for Changwon City. Second, it is very important to guide and promote ecotourism areas to revitalize ecotourism areas. Lastly, to operate a sustainable eco-environment area, it is necessary to operate using local governance above all else.

• 월간 기계설비
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• s.244
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• pp.45-56
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• 2010

정부가 국정 하반기 정책기조를 대기업 중심에서 중소기업 중심으로 변경하면서 원칙을 강조하는 수준을 넘어 실질적인 상생 규제 정책을 내놓고 있어 주목되고 있다. 정부는 지난 9월 29일 정부와 대 중소기업계가 모인 '대 중소기업 동반성장 전략회의'(제72차 국민경제대책회의)에서 지속가능한 성장동력과 경쟁력을 확보하기 위한 '대 중소기업 동반성장 추진대책'을 수립, 발표했다. 사회 윤리적인 수준을 넘어 각종 규제와 혜택으로써 기업문화의 풍토를 바꾸려는 시도를 하고 있는 것이다. 최근들어 정부는 각종 상생관련 정책을 내놓으면서'상생'이라는 말 대신 '동반성장'이라는 표현을 쓰고 있다. 일방적 시혜 혹은 분배에 초점을 맞춘 것이 아니라 거시적인 의미의 '성장'에 초점을 맞춰 기업 생태계의 변화를 촉구하고 있는 것이다. 즉, 생태계가 커질수록 일부 요소의 투입보다는 각종 요소들이 다양하게 공존함으로써 발생되는 시너지 효과에 미래의 성장동력이 있다고 판단하고 있다. 본지는 정부의 동반성장 정책과 업계의 반응, 설비업계를 대변하여 대한설비건설협회가 건의한 '건설산업 상생을 위한 제도 개선', 그리고 대기업의 동반성장 추진 현황에 대해 알아본다.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.179-180
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• 2016

본 논문은 세계의 국가발전 핵심 키워드인 창조경제의 동력으로서 문화예술경영이 추구해야 할 방향성을 찾는데 목적을 가진다. 이를 위하여 본 연구에서는 첫째로 문화예술경영이 창조경제논리에 부합하는지 알아보기 위해 창조경제의 조건과 문화예술경영의 의미를 비교하여 두 개념이 추구하는 방향의 일치성을 확인하였다. 둘째로 본 연구의 목적인 창조경제 동력으로서 문화예술경영의 방향성을 찾기 위해, 창조경제의 성공적 사례를 담은 문헌 및 연구를 탐색하였다. 이를 바탕으로 문화예술경영의 방향으로 '예술을 수용하는 관객, 소비자, 독자들이 보다 예술과 가까워질 수 있는 다양한 프로그램 마련', '예술가들이 패러다임의 변화를 주도할 수 있는 제도적 장치 개발', '예술가 사이, 예술과 관객 사이 네트워크 형성을 위한 지원', 그리고 '일반인에게도 예술가의 가치 인정' 등을 도출하였다. 이러한 내용을 포괄하며, 마지막으로 예술에 대한 인식의 변화 추구와 다양한 아이디어 공존이 가능한 환경조성을 통해 창조경제의 생태계를 탄력성 있게 만드는 정책이 강구될 필요가 있음을 제안하였다.

• Archives of design research
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• v.16 no.2
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• pp.179-188
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• 2003

We can discover some facts that vernacular design products with a property of volunteer culture coexist with ready-made products as an useful objects in the post-industrial society. Currently, few attempts had been made at studies of the vernacular design objects with understanding cultural context in post-industrial society, it is necessary to illuminate the relationships between the user with a role of design producer and the product viewed in culturally. In chapter 2, by examining documentary, t have been understood the definition, apprehensions, attributes linking creative use's culture with vernacular design culture, and distinctions between vernacular design and main stream design system. In chapter 3, by verifying products of everyday street and construction site, have been investigated the public characters and the differences compared with the past. In chapter 4, as a subtle example, have been analyzed design feathers and cultural characters of the products which children and infants culture generates by reflecting the socio-economic backgrounds and the culture from 60c and 70c to now according to the phases of the times. In conclusion, first, it seems quite probably that all of artificial objects exist a state of ready-made but that is not appropriate to correspond with user's whole behaviors. supplementally, it causes the phenomenon of vernacular design products. Secondly, it is reasonable to suppose that such main-stream design system and vernacular design go forward continually and crossly with coexistent relationships as high culture and sub culture. Third, three concepts: long-life design, ecology design and recycling revealed in vernacular design are useful distinguishing marks for the future design directions, moreover instant-response, fast and flexible process, three distinctions have a possibility of alternative process which can overcome the control-based process such as the systematic approach and the planning MTG in present. Finally, in children and infants culture, vernacular design products have changed the pure style products in the past into the modified techno playing products in the present. These should De a substitute product that supplyes variousness to ready-made design system and a design culture that maintains continually as a independent culture.

• Cartoon and Animation Studies
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• s.44
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• pp.183-209
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• 2016

Hayao Miyazaki's product, , is evaluated that his work until present that product point of view and commercial point of view are highly filled at the same time. Miyazaki's showed new public entertainment possibility in genre that is animation inventing highest-grossing domestic film in Japan's history until it was taken over by another Miyazaki work. Also, it can high evaluate that not that see for interest simply beam about environment and human who writer has to spectator deep self-examination and way of problem pulling comprehension without burden through resected reflex which is not exigent delivery sympathy form. Analyzing his product, , ,, , , , this research allowed purpose to recognize that he present the alternative after arranges intent subject how and institute problem. And do to study whether his though and ideology met with viewpoints of ecologism and environment(environmentalism) in work how. There are his countenance have theme that is certain in Miyazaki director's works. If summarize had handled subject meantime, it is , , , etc. This subjects are that go first at importance order among problems which we face, it is that human desires essentially. If balance of society system that regulate various economical, moral value system and desire to our society is set, our society is that can become little more near in nature mode of life.

• (The)Study of the Eastern Classic
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• no.41
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• pp.275-301
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• 2010

Confucius made endless thoughts on such themes as enlightening for the internal value of human, how to draw out such value and how to make personal relationship in order to overcome the chaotic Chun-qiu age. The spirit of 'Harmony but not Sameness' stated by Confucius passes us the theoretical meaning for making a good relationship with the others, which is realization of Benevolence. The spirit of 'Harmony but not Sameness' pursues moral, public and golden-mean value. This pursuit is made to look for harmonization and coexistence in personal relation, community based relation and, furthermore, relation with the nature, so that a great man is an entirely-good person who has realized the spirit of 'Harmony but not Sameness'. The spirit of 'Harmony but not Sameness' throws to us many issues to think of for the social unity, 'living together', which is the central theme of today. The objects for which the 'living together' shall be embodied are the minor groups of our society and those who are relatively expelled from the power and benefit including multi-culture based families, north Korean refugees and etc. Such open mind for harmonization and coexistence gives us, furthermore, another important issue to think of also in the matter of environment that includes the ecosystem and the entire nature.

• Journal of English Language & Literature
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• v.56 no.2
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• pp.277-299
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• 2010

This study explores Witi Ihimaera's The Whale Rider (1987) from ecological and postcolonial perspectives. Ihimaera is one of the prominent Maori writers who have critically voiced their concerns about the fragmentation of Maori tradition and the alienation of an environmentally friendly culture in New Zealand. Throughout the novel The Whale Rider, with his mythic imagination and cultural sensitivity, Ihimaera raises ecological awareness in terms of environmental justice and promotes critical consciousness regarding sociocultural and histo-political realities of the Maori people as alienated others in their ancestors' land. Revolving around the developmental process of a young Maori girl named after a mythical Maori ancestor Kahutia Te Rangi also known as the Whale Rider to inherit the Maori leadership, the novel describes the historical, cultural, emotional landscape of the Maori community in the white-centered society of New Zealand. In particular, this paper analyzes the leaving and homing process of narrator Rawiri which is deeply embedded in Maori myth and philosophy toward an eco-friendly culture and postcolonial reality. Indeed, Ihimaera skillfully juxtaposes young man Rawiri's experience outside the Maori community and young girl Kahu's life at the Maori home. In the end, while Kahu achieves her destiny in a mythical way to foster a new vision of harmonious co-existence that is rooted in Maori heritage and compatible with Western culture, Rawiri comes to understand the interrelatedness of all existence and embraces both the rational knowledge of scientific empiricism and the traditional knowledge of spiritual experiences. The novel The Whale Rider was also turned into a film by New Zealand's most influential female film director Niki Caro in 2002, and the film Whale Rider received international acclaim.

• Journal of the Korea Convergence Society
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• v.11 no.11
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• pp.135-145
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• 2020

In the era of the fourth industrial revolution, design has developed into a fusion of diversified culture and media. The integration of traditional culture and brand design concepts has become a hot research topic. Chinese Zen thought integrates the thoughts of Laozi and Zhuangzi, and takes" Wu Xiang as the appearance, Wu Nian as the foundation, Wu Zhu as the purpose" as the main purpose to construct a unique Zen thought system that integrates Taoism, Confucian philosophy and aesthetics. From this point of view, the MUJI design that combines Chinese Zen thought and design has attracted much attention. As a traditional culture, how is Chinese Zen Thought reflected in the design of MUJI? Starting from the awareness of this question, this study takes the daily necessities of MUJI as an example to investigate the design features of MUJI that reflect Chinese Zen thought. The conclusion shows that the design features of MUJI with Chinese Zen thoughts are showed in four ways-minimalist style, unitary color, ecological material, and humanized experience.