• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.644-652
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• 2019

This study recognizes the problem of terminology surrounding the concept of transmedia and attempts to arrange and examine the concept by applying the syntagmes theory of linguistics. In transmedia, the prefix 'trans' means transversal, transformation, and transcendence. This versatility of the word transmedia itself provides a starting point for recognizing the concept of transmedia as an incomplete syntagmes with the verbal paradigm of transversal, transformation and transcendence. Depending on who is the subject of media content, such as media companies, creators, and users, syntagmes of transmedia is linked to terms such as transmedia franchise, transmedia storytelling, and prosumer. The purposes of the three subjects in the discourse of transmedia are different, using IP, expanding the story world, and enjoying the work. However, the common desires of 'repeat', 'extension', 'secure' and 'connection' are found in the purpose of three subjects. If terms like transmedia franchise, transmedia storytelling, and prosumer are 'parols' of the transmedia concept, then repetition, extension, securing and linking are the 'langues' of the transmedia concept.

• 한국벤처창업학회:학술대회논문집
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• 2017.04a
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• pp.23-23
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• 2017

본 연구에서는 지역사회의 생활문화공동체 만들기 사업의 한 사례로 경상남도 화동군 화개면 대성리 의신마을의 노인주민들을 중심으로 이루어지는 문화유산 개발과 자발적(생산적) 문화주체발굴 및 양성을 하고자 한 사례연구이다. 2017년부터 2019년의 3년차 사업으로 지역의 마을회(영농회, 부녀회, 청년회, 노인회)와 체험시설 관리운영, 체험행사 관리, 가공시설장 활용, 체험 프로그램 기획/운영, 마을기반조성사업 및 관광체험을 주요활동으로 하는 영농조합법인의 유기적 협력을 통하여 주변의 특산물, 자연환경, 산업환경 및 지리산을 중심으로 구성된 지역역사 문화환경이 연계되어 진행되는 생활문화공동체 만들기 사업이다. 특히 농악/낙차 동아리, 사진동아리, 그림동아리, 압화동와리와 같은 동아리 활동을 통하여 산골의 지역적인 약점을 보완할 수 있으며, 문화예술을 향유하려는 시대적인 욕구를 충족할 수 있는 실질적인 문화예술프로그램을 통한 공동체 발전을 지속하고자 함이 취지이다. 지역 노인들을 대상으로 노인들의 감성지능의 변화에 의한 지역공동체의식과 6차산업 기업가 정신 및 노인들의 사회참여에 대한 인식을 알아보고자 한다.

• Korean Journal of Social Welfare
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• v.62 no.1
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• pp.291-316
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• 2010

This study aimed to look for the possibility of dissolving social exclusion about the social vulnerable classes through the culture welfare programs. For this purpose, we analyzed interview records focused on the culture welfare practitioners applying the Modified Grounded Theory Approach worked out by Kinosita. The results showed that the culture welfare programs functionated of dissolving social exclusion about the social weaks by enhancing latent faculties and the sense of self-respect of them through providing various opportunities of culture fruition. It was appeared that the culture welfare programs promoted creative competence and the sense of self-respect, and strengthened the sense of solidarity of the participants by using the approaching strategies of offering various opportunities of creational experience, atypical operating programs centered on the process, establishing of the participants' subjecthood, and communal activities. That is, it was proved that actually the social weaks experienced the change of life with feeling emotional satisfaction, promoting family and human relationship, establishing positive identity, empowerment, participating communal activities, and so on, through the culture welfare programs. From these results we can know that if we provide the programs mixing the culture welfare programs with social welfare services which traditionally reinforced social exclusion about the social vulnerable classes by stigma, the social exclusion about them can be dissolved.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.36-48
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• 2015

This study aims to contemplated the enjoying culture of Gyeonghwasejok's garden in late Joseon dynasty. It was track down the behavior from cultural perspective by using recorded in literature. The results were as follows. First, Gyeonghwasejok was the main principal of the garden at Hanyang in Joseon Dynasty. There are established residence in the downtown and make a garden. Garden organizer recognized to fine conditions of residences even crowded downtown. As a result people tried to include habitation and garden culture for preserve their cultural benefit. Secondly, Seongsisanrim culture has appeared of common in site selection of garden for occupies the scenic beauty. Garden was surrounded by scenic beauty. Garden organizer was formed archival culture for owning the beautiful landscape through creation of guguk(九曲), designation of space and lettering on rocks. Thirdly, Formation of the collection culture was placed of various ornaments inside garden. A behaviour of landscape view and ornaments appreciation led to the archival culture such as Won-rim-gi(園林記) and essay(小品文). Moreover, hold a friendship meeting for sharing garden culture. Fourthly, Attention of flowering plants was extended to development of gardening hobby such as fashion of pot-planting, planted to exotic tree. It was know that the plants are recognized as favorite elements by target of appreciation according to introduction of plants inside garden. In addition, facility of horticulture and kitchen garden were placed inside garden. Fifth, Influx of chinese garden culture influenced construction of garden space in late Joseon dynasty. Garden organizer recognizes garden as a ideal space by garden aesthetics that Hojungcheonji(壺中天地). And the imitation of Chinese garden culture such as collecting of Chinese's ornaments has become a high-level culture.

• Journal of Navigation and Port Research
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• v.39 no.4
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• pp.329-334
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• 2015

Currently, image of floating architecture has been positively improved based on the normalization of a domestic representative floating building 'Some Sevit'. Features of the floating architecture are as follows: special experience (29.9%)> landmark (27.6%)> enjoyment of marine culture (21.5%)> center for tourism and regional development (16.0%)> eco-friendly space solving global warming (4.8%). Floating building has a distinctive image and at the same time offers a unique spatial experience to the public. Therefore, space design marketing of floating building is a communication process to exchange its spatial identity and image between the local government and the public, the corporation and customers. It is essential for the effective space design marketing that the spatial demands should be reflected into its program such as commercial, cultural and marina facilities. The unification of project leader and operator is also important. The transformed conditions would help the construction market to be active in the future.

• Journal of Korean Classical Literature and Education
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• no.39
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• pp.67-97
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• 2018

The purpose of this paper is to clarify that the difference between past and present response to the same folktales relates to other cultural contexts. This is part of the research to explore the methodology of folktale education for intergenerational communication. This paper compares the reaction on a storytelling site from the past to with current college students' impressions. On the older site, the storyteller and audience sympathized with the characters of . Additionally, they were pleased with the conclusion that the characters would get a new family. However, university students thought that the characters of was incompetent. University students evaluated their success as depending on other people, accidentally obtained. Such a difference was closely related to the culture of the group intervening when understanding the folktale. In the past culture, empathy, interdependence, and unity were considered important values. Meanwhile, the new-generation culture emphasized the individual's free will and rights, diligence, and honesty. As a result, due to differences in cultural context, university students distorted , and communication with past generations was also broken. In this paper, we study the folktale education methodology that helps communication between generations. this paper proposes that It is more suitable to tile the story instead of for university students. That is because resembles the cultural context of university students. At the same time, it has the same problem as .

• KDI Journal of Economic Policy
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• v.17 no.1
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• pp.3-49
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• 1995

한국경제의 선진권진입(先進圈進入)은 국민이 선진국의 생활수준을 향유할 수 있는 국가경쟁우위(國家競爭優位)의 확보를 의미한다. 국가경쟁우위를 확보하기 위해서는 (1)국내기업의 핵심역량(核心力量)이 배양되고 과학기술하부구조(科學技術下部構造)가 확충되는 등 지식집약산업의 중추기능(中樞機能)이 집적되어야 하고, (2)정보공유(情報共有)와 공동학습(共同學習)을 실현하는 혁신주체간의 네트워크도 형성되어야 한다. 세계기업(世界企業)을 지향하는 국내기업들이 90년대에 무형경영자산(無形經營資産)에 대한 장기투자를 확대하기 시작하여, 2000년대에는 핵심역량의 축적이 가속될 것이며, 2010년대에는 한국계 다국적기업 중에서 기업내(企業內) 세계분업(世界分業)을 전개하는 초우량기업(超優良企業)이 나타날 것이다. 2010년대에는 초우량기업을 중심으로 연구개발(硏究開發)네트워크와 생산분업(生産分業)네트워크가 구축되고 과학기술하부구조가 확충되는 등 세계기업이 고부가활동(高附價活動)(상품기획 연구개발 엔지니어링 등)을 배치하는 입지조건(立地條件)이 구비될 것이다. 특히 차세대(次世代) 원천특허기술(源泉特許技術)의 확보를 위한 기초 응용연구의 국내기반도 확충될 것이다. 중소기업분야에서도 지식집약화에 경영자원을 집중적으로 투입하면서 세계시장을 대상으로 입지를 선정하고 네트워크를 활용하는 것이 보편화될 것이다. 중소기업의 조직화(組織化) 공동화(共同化)를 통하여 지식집약화와 세계화에 요구되는 경영자원의 축적이 가속되고 기능적 상호보완으로 혁신활동(革新活動)의 상승효과(相乘效果)를 증폭시키는 네트워크의 형성도 촉진될 것이다. 중견 중소기업의 업종은 특정지역에 군락(群落)을 이루고 기능(機能)의 집적(集積)과 네트워크의 형성을 통하여 지역산업(地域産業)으로서 세계시장에서 경쟁우위를 확보하게 될 것이다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.37-50
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• 2016

Recognizing the problem of fallacy in geographical name of Changokbyeong(蒼玉屛), assumption has been made on the location of Changokbyeong through literature research on antique maps, ancient paintings, and old prose, through field survey on rock inscriptions and landscape characteristics, and through interviews with local people. Furthermore, Baegyeonwa, the Cuckoo Hut, and Iyangjung(二養亭), an annex to the cottage, both of which were managed by Saahm Park Soon(思菴 朴淳), the Subject of Jouissance, were studied in depth with emphasis on the spatial structure as well as special features of the area as a garden. The major findings are as follows: Changokbyeong is a spatial threshold that imparts a sense of unity with Okbyeng seowon(玉屛書院) and indeed Changokbyeong is presumed to have been the frontal river terrace of Okbyeng seowon according to the analysis of antique maps and rock inscriptions. This ancient location and the Ogari Stone Wall, the present day Changokbyeong, are only 460m away so that both areas are considered as falling under the influence of Changokbyeong landscape. The expression "Changokbyeong Geupsangeum(蒼玉屛及散襟)" written in an old prose tells us that the high rock wall with Sangeumdae inscribed on the rock might be the rock wall of Changokbyeong. In addition, while not a single rock inscription has been found on the Ogari Stone Wall, 11 rock inscriptions designed and ordered by Saahm Park Soon, the Subject of Jouissance, are found on every corner of the high rock wall standing in front of Okbyeng seowon, 8 of those 11 being place names and recitative poems(known as Jeyeongsi: 題詠詩) in close formation resembling the handwritings in a little notebook. This provides a strong evidence for assuming the location of Changokbyeong to be the frontal river terrace of Okbyeng seowon. The "Songgyun Jeoljo Suwol Jeongshin(松筠節調 水月精神)" rock inscription on Changokbyeong should be considered as the stamping ground and as the symbolic language of Changokbyeong that bears the high character and nobility of the Subject of Jouissance, Saahm Park Soon. The inscription should also be recognized as the handwritings of Wooahm Song Si-Yeol(尤庵 宋時烈) correcting the misconceptions that persisted until today. Meanwhile, the garden remains of Saahm's Changokbyeong are composed of four sites: Sangeumdae-Sugyeongdae-Cheonghakdae-Baekhakdae from the left. At the back of Sangeumdae, there is the original house, the Baegyeonwa(拜鵑窩), and on the fantastically shaped stone wall at the left of Baekhakdae, there is the annex, the Iyangjung, together creating a landscape composition that overlooks the splendor of the Ogari Stone Wall. The Iyangjung is located on the highest spot to the left of the four sites, and it is believed to have been a little outhouse and library for Saahm which remains to the present day as a place where Saahm's character can be felt. The drinking plates[窪樽] made of rock that are affectionately arranged on the broad flat rock in front of Iyangjung is part of the garden remains that reflects the artistic taste of Saahm regarding the drinking culture at the time.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.35-44
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• 2016

This study targets flower-viewing sites appearing in "Kyungdojapji" and talks about the seasonal customs and tourist attractions of the later Chosun; Pilundae, Bukdun, Outside of Dongdaemun, Cheonyunjeong and near Seodaemun etc. Through related poetry, paintings and maps, it looks into what scenic elements each attraction was made of and how the elements were felt by visitors. It sub-divided and analyzed scenic features into objective objects, subjective emotions and experienced behaviors. As a result, representative objective objects were flowers and there were also scenes where people enjoyed poem-writing meetings along with drinking-related physical elements such as liquor, liquor glasses, liquor bottles etc. Through drawing out scenes, where users gave meaning to objective objects, it tried to interpret what space meant to them, through which the meaning of flower-viewing attractions is first and foremost a space to enjoy artistic taste. Each space is used as the center of cultural creation such as literary people gathering, viewing flowers, drinking and having poetry-writing meetings. Second, as shown in scenes viewers depicted in each space, visitors were confirmed to enjoy scenes through multi-sensory appreciation. By this, flower-viewing attractions were confirmed to be not just flower-viewing but also venues of sensory experience. This study, which drew out the scenic features of traditional flower-viewing attractions, is expected to be basic material in tracing the flower-viewing enjoyed by our ancestors as a pastime and its spatial meaning and in planning Korea-unique flower-viewing attractions.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.41-66
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• 2019

This paper looks at the readers and publishing strategies of paperback romance novels in the the 1980s based on the 'high-teen' concept. The purpose of this article is to examine the meaning the 'high-teen' concepts as expressed in the media through the publication of paperback romance series in the 1980s. Among paperback romance series, this paper was based on pirated/licensed version of novels published by Harlequin, a Canadian publisher, and the magazine media's advertising promotional phrases that were published targeting the same readers. Since the 1970s, mass media have referred to teenagers as high-teens and called them important consumers. High-teen was a term referring to teenagers in school uniforms, mostly girls, and in the 1980s, 'high-teen' was also introduced as a new consumer market, and the publishing market put forward a number of publishing strategies to attract them. The paperback romance, including , has identified 'high-teen' readers as late-teen girls, sensitive consumers for best-sellers/million-sellers, readers with a tendency to read stories of love, and readers that favor American and Western culture. Since the 1980s, the market for paperback romance has been in the recession, but readers have kept the romance genre alive by accepting and localizing the Harlequin series. With the rise of a new form of media called the 'Web Novel', interest in the romance genre is increasing, and we hope this study will serve as a starting point for a variety of discussions with (women) readers about romance reading/enjoyment.