• 한국산업정보학회논문지
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• 제27권2호
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• pp.83-100
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• 2022

마케팅분야에서는 제품 상징주의를 지닌 쾌락적 소비에 관한 주제와 관련된 개념적 연구는 상징적 소비주의와 쾌락적 경험연구에 공헌하였다. 예상치 못한 소득이나 일시적 이득에 대한 기대를 소비자가 어떻게 다루는가를 연구하는 것은 그들이 경험을 즐기는데 무엇이 영향을 미치는 가를 이해하는데 도움을 줄 것이다. 이 논문은 쾌락적 소비와 실용적 소비의 상반관계를 논의한다. 일시소득이 발생한 상황에서 언제 왜 소비자들이 쾌락적 혹은 실용적 제품을 선택하는 가를 알아보는 것이 목적이다. 우리는 5개의 가설을 제시하고 일련의 실험을 통해 복권금액이 증가할 때 응답자들은 실용제품보다 쾌락제품을 선호하고, 취득확률은 두 제품간 차이가 없고, 선호순위도 차별화되지 않았다. 일시소득이 증가할 때 두 제품간의 선호그래프는 반대로 나타났다. 할인율이 변할 때 소비자의 선호순서는 변활 것으로 예상된다. 응답자들은 쾌락제품을 가장 선호하고, 실용제품, 할인 현금 순으로 선택하였다. 따라서 소비자의 쾌락주의와 쾌락적 경험에 대한 환상을 자극하는 것은 효과적인 마케팅 전략과 전술이 될 것이다.

• 한국인터넷방송통신학회논문지
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• 제23권4호
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• pp.17-22
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• 2023

본 연구는 본 연구는 대중적으로 인기 있는 캐릭터 웹드라마의 장르를 분석하여 언어 모델 GPT를 통한 스토리 추천 개발을 연구하였다. 연구 결과, 웹드라마에서도 반복되는 비슷한 클리셰가 존재함을 확인했다. 본 연구에서는 공통된 이야기 구조(클리셰)를 분석하여 숙련되지 않은 영상 제작자도 손쉽게 캐릭터 웹드라마를 제작할 수 있도록 대표적인 이야기 구조를 정형화하여 제시하였다. 분석을 위해 10대에게 가장 인기있는 장르인 학원 로맨스 장르 웹드라마의 클리셰를 기승전결에 따라 목록화하였다. 또한 본 연구는 분석하여 목록화한 클리셰를 지피티에게 학습시켜 사용자를 위한 스토리 추천 매커니즘을 연구하였다. 본 연구를 통해 웹콘텐츠의 데이터베이스 소비론의 입장에서 다양한 데이터베이스의 수용을 통해 대중의 인기뿐 아니라 다양한 콘텐츠의 제작에 박차를 가할 것으로 기대된다.

• 감성과학
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• 제25권4호
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• pp.21-32
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• 2022

최근 주목받고 있는 미니멀리즘은 더 적은 소유에 대해 심사숙고하는 삶의 방식이다. 그러나 지금까지 미니멀리즘의 이득에 대해 학문적으로 검증한 연구가 거의 수행되지 않았다. 본 연구에서는 미니멀리즘에서 소유를 줄이는 방식이 사회적 가치 및 주관적 행복감과 어떤 관계에 있는지를 분석하려 한다. 연구 1에서는 참가자들에게 비대칭 도형 사진을 제시하고, 버리기 또는 추가의 방식으로 안정감있는 대칭구조로 변환하는 과제를 수행하도록 하였다. 그 결과 버리기의 방식을 많이 사용한 참가자일수록 주관적 행복감이 더 높게 나타났다. 또한 주관적 행복감이 높을수록 내면적 가치추구경향이 더 높게 나타났다. 연구 2에서는 소비지향 또는 미니멀리즘과 연관된 자극을 제시한 후, 물질주의 추구경향, 주관적 행복감 및 사회적 봉사활동의 참여의향을 측정하였다. 그 결과 미니멀리즘이 유도된 조건에서 소비지향의 조건보다 물질주의 추구경향이 더 낮게 나타났다. 또한 버리기의 방식을 자주 사용할수록 주관적 행복감 및 사회적 활동의 참여의향이 더 높게 나타났다. 이 결과는 적게 소유하는 미니멀리즘이 사회적 삶과 행복감을 변화시키는 대안적 삶의 방식이 될 수 있음을 시사한다. 논의에서는 연구의 한계 및 후속연구의 방향을 다루었다.

• 영어영문학
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• 제57권3호
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• pp.515-527
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• 2011

Miss Pettigrew Lives for a Day, Winifred Watson's novel of 1938, is a fairytale in novel form. Set in London of 1938, the story revolves around a one-day adventure of an ill-starred but truthful governess who is granted a second chance. This light-hearted comedy of manners was turned into a film by director Bharat Nalluri in 2008. An Anglo-American collaboration, co-scripted by Simon Beaufoy and David McGee, the film converts Watson's quaint novel into an edged heritage piece that encapsulates the 1930s, the problematic decade between the two World Wars. The film, while sustaining the narrative core of Watson's Cinderella story, attempts to place it firmly within a wider current of the novel's setting or London in 1938, tapping into the major concerns of the interwar years that engage with characters in one way or another. Stylistically, the film presents Art Deco as a main visual idiom to convey the prevailing mood of nihilism and decadence of the day. The setting here takes on significance in that it offers a telling counterpoint to the giddy superficial world of the novel. The 1930s was a highly charged decade under the threat of fascism and the Great Depression, fraught with economic and socio-political tensions and apprehensions. The film makes an explicit reference to the dismal context which is suppressed in the original text. The thirties is, therefore, portrayed as a decade of contradiction. It features gay buoyant festivity, rampant consumerism, and shifting morals and attitudes towards love, marriage and sexuality. Yet lurking beneath the surface glamour are the symptoms of crises and the deep-seated anxieties on the eve of World War II. In this way, Watson's novel of manners has been recreated into a defining film on the 1930s with its period feel propped by the atmospheric lighting, the exuberant Jazz score, and the splendid Art Deco costume and production design.

• 아태비즈니스연구
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• 제14권4호
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• pp.49-65
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• 2023

Purpose - In the Korean and Chinese social landscape, it is vital to appreciate the significance of the Japanese history problem. The current study investigated whether the perception of the Japanese history problem affects decisions regarding technology adoption in organizations by comparing South Korea and China. Design/methodology/approach - The study involved 305 Korean and 379 Chinese participants who responded to scenarios and surveys regarding the adoption of workplace surveillance cameras supplied by a Japanese company. Findings - Using a moderated mediation model based on protection motivation theory (PMT), we found that past experiences of privacy invasion significantly reduced trust in the adoption of surveillance cameras at work. This relationship was mediated by respondents' perceptions of security vulnerability. The current study, however, did not confirm any significant moderating effect of the Japanese history problem priming on trust in the adoption of workplace surveillance cameras. Research implications - This suggests that the Japanese history problem may have a limited impact on organizational technology adoption decisions, different from the political consumerism behavior driven by public anti-Japanese affectivity. The current study reaffirms the validity and applicability of PMT and provides both theoretical insights and practical recommendations.

• 복식문화연구
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• 제32권3호
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• pp.381-397
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• 2024

This study investigates the negative perceptions (veganphobia) held by consumers toward vegan diets and fashion and aims to foster a genuine acceptance of ethical veganism in consumption. The textual data web-crawled Korean online posts, including news articles, blogs, forums, and tweets, containing keywords such as "contradiction," "dilemma," "conflict," "issues," "vegan food" and "vegan fashion" from 2013 to 2021. Data analysis was conducted through text mining, network analysis, and clustering analysis using Python and NodeXL programs. The analysis revealed distinct negative perceptions regarding vegan food. Key issues included the perception of hypocrisy among vegetarians, associations with specific political leanings, conflicts between environmental and animal rights, and contradictions between views on companion animals and livestock. Regarding the vegan fashion industry, the eco-friendliness of material selection and design processes were seen as the pivotal factors shaping negative attitudes. Furthermore, the study identified a shared negative perception regarding vegan food and vegan fashion. This negativity was characterized by confusion and conflicts between animal and environmental rights, biased perceptions linked to specific political affiliations, perceived self-righteousness among vegetarians, and general discomfort toward them. These factors collectively contributed to a broader negative perception of vegan consumption. In conclusion, this study is significant in understanding the complex perceptions and attitudes that con- sumers hold toward vegan food and fashion. The insights gained from this research can aid in the design of more effective campaign strategies aimed at promoting vegan consumerism, ultimately contributing to a more widespread acceptance of ethical veganism in society.

• 한국가정과교육학회지
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• 제27권4호
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• pp.37-50
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• 2015

본 연구는 중학교 가정과 교과서 중 소비생활 영역의 교육내용 변천 및 내용특성을 분석하고, 시사점을 도출하여 소비생활 영역의 교육과정 편성 및 교육내용 선정을 위한 기초자료를 제공하는데 그 목적이 있다. 본 연구의 분석 대상은 1차 교육과정부터 2009 개정 교육과정의 가정과 교과서 중 소비생활 영역이며, 분석 방법은 내용분석법과 워드 클라우드 기법을 사용하여 각 시기별 소비생활 영역의 교육내용 변천 및 특성을 심층적으로 분석하였다. 본 연구에서 설정한 연구문제는 다음과 같다. 연구문제 1: 교육과정 시기에 따른 가정과 교과서 소비생활 영역의 핵심 교육내용은 무엇인가? 연구문제 2: 교육과정 시기에 따른 가정과 교과서 소비생활 영역의 내용특성은 어떻게 변천하였는가? 분석결과 시기별 소비생활 영역의 교육내용 변천과 특성을 요약하면 다음과 같다. 첫째, 1차시기는 경제생활 중심의 절약과, 2-4차시기는 가사노동 및 자원관리를 교육내용으로 강조하고 있다. 이는 시기적으로 볼 때 우리나라가 1962년 경제개발 5개년 계획을 시작으로 자원관리를 통한 근검절약을 강조하는 시기와 교육내용을 함께하고 있다고 볼 수 있다. 둘째, 4차시기 교과서에 소비생활 단원이 중단원으로 도입되고 5차시기에 소비생활 영역이 독립단원으로 분리되어 강조되었다. 이는 1987년 소비자보호법이 개정되고, 한국소비자보원이 설립되는 등 정부차원에서 소비자보호에 대한 관심이 성숙단계에 이른 시기이다. 이를 바탕으로 6-7차 시기에는 청소년의 소비생활이 강조되었다. 셋째, 2007개정 교육과정 시기는 2007년 소비자보호법이 소비자기본법으로 전환되고, 소비자 주권을 강조하는 등 소비자교육 패러다임이 전환된 시기로 소비자권리와 함께 책무가 강조되고 있다.

• CRM연구
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• 제4권1호
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• pp.1-18
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• 2011

삶의 수준이 높아지면서 명품의 대중화 성향이 강해지고 있다. 이에 따라 보편화된 고객관계를 위한 전략이 수반되어야 한다. 명품브랜드구매는 고객의 상징적 편익 추구와 관련되고 이러한 사회적 욕구에 우리나라 사람들이 보다 민감하게 반응할 수 있다. 이는 우리의 체면중시 문화와도 맞물려있다. 또한 공익과 소비의 관계도 고객들이 브랜드를 지속적으로 구매하고 호의적 이미지를 연상케 하는 중요한 대(對)고객 커뮤니케이션이다. 본 논문은 명품구매와 관련한 상징적 편익추구의 측면에서 공익과 연계하여 가치를 제고할 수 있고 여기에 한국인의 체면의식이 민감한 요인으로 작용할 수 있다고 판단하였다. 이러한 실질적, 심리적 고려를 통해 명품브랜드에 대한 고객과의 지속적 고객 관계를 형성할 수 있다. 본 연구는 한국인의 체면중시문화가 명품태도에 미치는 영향과 공익연계마케팅이 명품태도에 미치는 영향에 대해 실증하기로 한다.

• International Journal of Costume and Fashion
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• 제11권1호
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• pp.63-83
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• 2011

This study aims to prove the changes, development and social background of Korean male cosmetics over the period of 2000-2010. There were total 574 articles written about male make-up and cosmetics in Chosun Daily, Joongang Daily and Donga Daily, which are the top three Korean local daily newspapers in terms of sales revenue for that period. These articles were analyzed together with social background research from various books and daily newspapers. The analysis of articles was divided into different categories; such as foundation cosmetics, color cosmetics, hair, and the social background. It was found that the articles related to foundation cosmetics were written the most, the articles related to male appearance management were second, articles on other items including how to manage the skin being the least. As for the social background of Korean male cosmetics, first of all, a change in social recognition can be pointed out. The traditional understanding of gender roles has changed, men's appearance management has started to be regarded as a competitive talent, and at the same time, the esthetic viewpoint for men also has changed. One example is the newly made popular term, "flower-handsome man", which shows the new trend of favoring males with nice skin. Second, the expansion of mass culture can be pointed out. As consumers can get information and fashion trends easier and faster, the fashion spreads fast, and this has led to the generalization and popularization of the sense of beauty. Third, the development of scientific technology and medical science can be pointed out. Thanks to the progress in those areas. the extension of youthfulness has become possible and the cosmetics industry was also affected greatly, as shown in the market spread of functional products for anti-ageing and wrinkle control as the interest in anti-ageing has grown. There are benefits from the development of scientific technology, but the problem of environmental pollution has appeared due to machinery and industrialization and thus the issue of well-being has been raised. Rising interest in naturalism, pro-environmentalism and organic cosmetics has influenced the cosmetics industry. In addition, the quantity of ultraviolet rays exposed to our skin has increased due to the air pollution caused by the destruction of environment, leading to increased usage of sun block lotion. Lastly, the influence of consumer society and the expansion of consumerism culture can be pointed out. In the modern society, consumption acts not only as the use of products and services but it also has an important role of mediating individuals with others and the society. The market for male cosmetics has been expanding and the number of men putting on make-up has been increasing rapidly. Therefore, this study is meaningful in that the analysis of the mode of change and the social background are an essential process in order to provide a direction for the future market for male cosmetics.

• 미술이론과 현장
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• 제6호
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.