• International Journal of Contents
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• 제17권2호
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• pp.1-8
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• 2021

Online streaming wars are intensifying. Netflix is known as the market leader in the streaming business. However, since 2019, Netflix has been losing subscribers in the United States and is at a turning point where it needs to reassess its current position in the market. While Netflix is losing dominance, rivals Amazon Prime and Hulu continue to gain market shares. Studies from Deloitte and PricewaterhouseCoopers indicated a new shift in the streaming landscape caused by the abundance of streaming options and rising subscription costs. Recent surveys showed that consumers are excited about new streaming services, such as Disney +. Nearly two-thirds of consumers intend to terminate or downgrade one or more of their current subscriptions to make room for a new service. Moreover, it seems that consumers want ad-supported options. In Deloitte's latest Digital Media Trends survey, 65% responded that they would watch ads to eliminate or reduce subscription costs. Seventy percent of Hulu's subscribers choose its lower-priced ad-supported plan. NBC recently launched its own streaming service, Peacock, with a free ad-supported option. This opposes Netflix's brand identity of "no ads" and premium differentiation. With increasing pressure from competition and the growing risk of subscriber loss, Netflix needs to diversify its price plans. The company could try implementing the lower-priced mobile-only plan they are currently testing or plan to test in other regions. Netflix should also consider features or benefits for loyal subscribers to maintain a stronger consumer base.

• 무역상무연구
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• 제34권
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• pp.77-108
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• 2007

The traditional name given to the insurance of third party liabilities and certain contractual liabilities which arise in connection with the operation of ships is protection and indemnity(P & I) insurance. P & I insurance is very different from traditional hull and machinery insurance in that shipowners' hull and machinery insurance is designed primarily to protect the assured against losses to his vessel, whereas P & I insurance seeks to indemnify an shipowner in respect of the discharge of legal liabilities he has incurred in operating his own vessels. This study is to examine the background of establishment of British P & I clubs md, therefore, the identity of P & I insurance. The present British P & I clubs are the remote descendants of the many small and local hull mutual insurance clubs that were formed by British shipowners in the end of 18th century. At that time, British shipowners were dissatified with the state of marine insurance market and, therefore, established clubs together in mutual hull insurance clubs. After the removal of the company monopoly in 1824, greater competition had a good effect on the rates, terms of cover and service offered by the commercial marine insurance market and by Lloyd's underwriters, and the hull clubs became less necessary and went into decline. The burden of British shipowners on liabilities to third parties was steadily increased after the middle of the 19th century, but the amount insured under hull policy was limited in the insured value of the ship. Eventually, the first protection club, that is, the Shipowners' Mutual Protection Society was formed in 1855. It was designed to like past mutual hull clubs, but to cover liabilities for loss of life and personal injury and also the collision risks excluded from the current marine policies, particularly the excess above the limits in hull policies. In 1870, the risks of liability for loss of or damage to cargo carried on board the insured ship was first awarded by the British shipowners. After 1874, many protection clubs formed indemnity club to cover the risk of liability for loss or damage to cargo. As mentioned above, British P & I clubs have been steadily changed according to the response of shipowners under the rapidly changing law of British shipowners' liability, and so on in the future.

• 기독교교육논총
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• 제63권
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• pp.121-150
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• 2020

청년기의 중요한 발달과업은 만남 및 정체성의 토대 위에서 이루어진다. 이러한 만남 및 정체성의 문제는 사실상 어린 시절 자신을 인정해주는 긍정해주는 1차 양육자의 '얼굴'을 갈망하는 본능과도 연결되어 있다. 제임스 로더는 인간의 "얼굴" 추구 본능은 이후 "형식적 조작기"에 이르러 "영원한 얼굴"이신 하나님을 갈망하는 종교적 사고로 연결됨을 역설한다. 이러한 '얼굴' 및 '영원한 얼굴'의 추구는 의미 있는 만남을 통해 '나는 누구인가?'를 발견하려는 실존적, 존재론적 움직임인 것이다. 종교심리학자 칼 융은 현대 사회가 절대 진리인 것처럼 신봉하는 과학적 사고가 미신적 신앙으로부터 인간을 해방시키는 공헌을 하였지만, 이것이 영혼의 소중한 가치 및 자연과의 일체감을 상실케 하는 역기능도 초래하였음 또한 지적한다. 융은 "상징적 놀이"를 통해 학습자 또는 내담자가 자신의 무의식과 대면할 수 있도록 도와야 함을 강조한다. 이렇게 함으로써 학습자가 무의식의 상처와 왜곡을 극복하고 진정한 자기를 향해 성숙해갈 수 있다는 것이다. 융의 이러한 "무의식 대면"기법을 자신의 교육이론 속에 비판적으로 전유한 학자가 제임스 로더이다. 로더는 융의 무의식과 '상징적 놀이'를 넘어, 인간의 영과 하나님의 영 사이의 대화와 상호작용을 통해 학습자의 내면에 놀라운 변화와 변형이 일어날 수 있도록 돕는 '변형화교육'을 주창한 바 있다. 오늘날 많은 청년들이 자신의 실존적, 존재론적 공허에 빠져 방황하고 있는 상황에서 기능적, 사회화교육만으로는 이들의 문제와 발달론적 위기를 극복할 수 없음이 분명하다. 이러한 발달론적 위기는 "영원한 얼굴"이신 하나님과의 만남 속에서 이루어지는 정체성과 친밀감의 토대를 필요로 한다. 따라서 본 연구는 융의 "무의식 대면"과 로더의 "변형의 논리"를 통합적으로 활용할 때, 청년들의 건강한 자아정체성과 친밀감 형성을 위한 변형화교육이 가능할 수 있음을 제시한다. 본 연구는 이론적 성찰뿐 아니라, 기독교 변형화교육을 실행함으로써 얻어진 청년들의 반응과 실제 피드백을 함께 제시한다. 이를 통해 "청년을 위한 기독교 변형화교육"이 실제적 성과와 열매를 거둘 수 있는 이론임을 입증함으로써 연구를 마무리하였다.

• 영어영문학
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• 제58권2호
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• pp.249-277
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• 2012

Eugene O'Neill's one-act play Before Breakfast (1916) depicts a morning scene of a married couple who live in a slovenly flat at Greenwich Village. There is no apparent dramatic action occurring in the play. Instead, the play is full of Mrs. Rowland's incessant complaints about her husband Alfred's loafing around bars with artists friends, neglecting his role as breadwinner. An irony is that every morning she prepares breakfast for the good-for-nothing husband even in the moment of complaining. It is worth noting that Alfred is an 'unseen character' who is never directly observed by the audience but is only described by her wife. Deprived of all chances to speak and present himself on stage, he is kept in the room throughout the play. In contrast, Mrs. Rowland dominates the stage, monopolizing language and action. The audience has to listen to her, judge from her statements, and take her one-sided complaints. The accused husband, with zero chance of showing up and defending himself, has no choice but to be the sinner as the wife intends. Another irony is that the audience's feeling about the situation is quite different from what is expected. The wife's complaints are regarded to be unfair and groundless in the reason that the situation is monopolized by her. In case of the husband, in contrast, the loss of voice and presence stresses the injustice of his dead-lock situation. In other words, the 'absent' quality of Alfred works to evoke the audience's sympathy for himself and subsequently makes his presence recognized, not visually but emotionally, by the audience throughout the play. Discovered in this paradoxical moment where the spectators understand or 'see' the status of the unseen and the devoiced message is successfully conveyed to the listeners, is the theatricality of absence. Adding to the function as theatrical device, the 'unseen character' Alfred works as a device of self-reflection to mirror the author's own life. Alfred, the alter-ego of O'Neill, effectively exorcises the author's life-long feeling of guilty as the unfaithful husband and father in the unhappy first marriage, successfully evoking the audience's sympathy for himself.

• 영어영문학
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• 제54권1호
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• pp.149-167
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• 2008

Korea has persisted in the notion of "ethnic nationalism." That is "one race, one people, one language" as a homogeneous entity. This social ideal of unity prevails, even in overseas Korean communities formed by voluntary and involuntary displacement in the turmoil of modern history: communities made intermittent with the Japanese colonial occupation and with postcolonial encounters with the West. Given that the Korean people suffered from the trauma of deprivation of the language caused by the loss of the nation, nation has been equated with the language. Accordingly, "these bearers of a homeland" are also firm Korean language holders. The linguistic patriotism of unity based on the intertwining of "mother tongue" and "father country" has become prevalent in the collective memory of the people of the Korean diaspora. Korean American literature has grappled with this concept of the national history of Korea and the Korean language. The aesthetics of Korean American literature has been marked by an influx of literary resources of 'Korea' in sensibilities and structure of feelings; Korean myth, folk lore, songs, humor, traditional stories, manners, customs and historic moments. An experimental use of the Korean alphabet, Hangeul, written down as pronounced, provides an ethnic flavor in the midst of the English texts. Despite its national framework of mind, however, Korean American literature as an interstitial art reveals a keen awareness of inbetweenness, and transnational hybrid identities. By exploring the complex interrelationships of cultural and linguistic boundary-crossing practices in Korean American literature, this paper argues that the poetics of the Korean diaspora challenges the closed structure of identity formation, and offers a transnational sphere to deconstruct a rigidly demarcated national ideology of "one race, one people, one language," for the world literary history.

• 대한가정학회지
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• 제40권7호
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• pp.173-192
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• 2002

This study is intended to observe the meaning, aesthetic formative characteristics of the human body which is introduced and applied to the fashion design. The analysis of the modern fashion design describing the human body refers to the extracted fashion design which expresses the human body appearing in domestic & foreign fashion magazines as well as publications associated with it and published since 1990. The analysis of the way of expression, the image and the design elements in these fashion design works, has had to formative characteristics in each of the three parts. The pursuit of formative characteristics through simplifying the expression of the human body, uprising of anatomical expression, and metaphorical expression with the help of personification and objectification can be thought of as characteristics of expressing pattern. And the op-art, optical illusion by virtue of pointillism, the use of non-woven molding, and action painting technique can be described as expression tools to recognize the human body. Images are presented in the characteristics of being grotesque, humorous, erotic, futuristic and mysterious. The characteristics of designs are expressed in creative detail, trimming, pattern and accessory using the form of human body itself as an item of clothing tends to show the unity of human body and clothing. The human body in the modern era reflects the post human image as well as its meaning as a medium and tool. It is also perceived as a specific object to be self-conscious of in this reality with the loss of humanity, alienation and the confusion of identity. The analysis of the image and way of expression of human body in the fashion design, and the meaning of human body will play an important role of identifying tole viewpoint about human body as well as prospecting what the human being will be in the future.

• Journal of Microbiology and Biotechnology
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• 제24권9호
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• pp.1196-1206
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• 2014

A metagenomic fosmid library was constructed using genomic DNA isolated from the gut microflora of Hermetia illucens, a black soldier fly. A cellulase-positive clone, with the CS10 gene, was identified by extensive Congo-red overlay screenings for cellulase activity from the fosmid library of 92,000 clones. The CS10 gene was composed of a 996 bp DNA sequence encoding the mature protein of 331 amino acids. The deduced amino acids of CS10 showed 72% sequence identity with the glycosyl hydrolase family 5 gene of Dysgonomonas mossii, displaying no significant sequence homology to already known cellulases. The purified CS10 protein presented a single band of cellulase activity with a molecular mass of approximately 40 kDa on the SDS-PAGE gel and zymogram. The purified CS10 protein exhibited optimal activity at $50^{\circ}C$ and pH 7.0, and the thermostability and pH stability of CS10 were preserved at the ranges of $20{\sim}50^{\circ}C$ and pH 4.0~10.0. CS10 exhibited little loss of cellulase activity against various chemical reagents such as 10% polar organic solvents, 1% non-ionic detergents, and 0.5 M denaturing agents. Moreover, the substrate specificity and the product patterns by thin-layer chromatography suggested that CS10 is an endo-${\beta}$-1,4-glucanase. From these biochemical properties of CS10, it is expected that the enzyme has the potential for application in industrial processes.

• 영어영문학
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• 제56권4호
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• pp.691-717
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• 2010

Chaucer's Troilus and Criseyde is a tale of love framed by an overarching pattern of death, set in the war-torn and doomed Troy, from which the lovers cannot separate their fate. Compared with Boccaccio's poem, the attention paid to death in Chaucer's version underlies his complex treatment of love. Above all, the language of death in Chaucer's poem provides the thread from which the entangled web of love is woven. Death together with desire pervades the language and rhetoric of the poem, prominent not only in the courtly love tropes, but also in the characters' asides and speeches. The prominence of these two concepts, desire and death, seem to be central to the various issues that the poem contains explicitly and implicitly. That is, two concepts are the basis for the breadth and depth of Chaucer's examination of love in light of the social and political realities of late fourteenth century England. The language of death in Chaucer's poem reflects the powerful influence on his imagination. With the devastation wrought by the plague and the changing fortunes of England in the war with France, Chaucer's world was once saturated in death, and one that could amply parallel the turn from prosperity to downfall. In particular, Chaucer's poem is suffused with the language of contagion and death in connection with desire. Troilus's lovesickness mimics the progress of a viral infection. Once breached, his body performs its newly compromised identity through fever, loss of appetite, and physical disintegration. On the other hand, Chaucer depicts Boccaccio's conventional portrait of Criseyde into a elaborate paramour of a pathogen. She is characterized as the contaminant that infects male hero. In addition, Criseyde is cast as sole earthly cure of illness that Troilus suffers from. In spite of Criseyde's role as nurturer and healer, Troilus longs for his own death and feels death clutching his heart. Finally, Troilus's love toward Criseyde is doomed to death.

• 사회복지연구
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• 제42권3호
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• pp.121-155
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• 2011

본 연구는 교도소와 치료감호소에 수감되어 있는 성폭력 가해자의 경험에 대한 연구로서 이론적으로는 성폭력 가해자의 경험의 본질구조를 살펴보고자 했고 실천적으로는 성폭력 가해자들의 재범을 막고 치료적 감호프로그램을 제공하기 위한 사회복지실천 개입의 근거 자료를 구축하고자 했다. 연구는 Van-Manen(1990)의 분석틀을 원용하여 해석학적 현상학적 방법으로 수행했고 연구에는 7명의 성폭력 가해자가 참여했다. 자료는 심층면담으로 수집했으며 해석한 결과는 다음과 같다. 여론의 피해자라는 인식, 카인의 표식, 견본생활(show window)로 인한 성찰기회의 상실, 구별짓기(distinction)를 통한 집단차별화, 허물을 벗고자 하는 형이상학적 존재의 발현, 과학적 관리기술의 역이용, 상상계(the Imaginary)로부터의 미분화(undifferentiation), 도치된 소통으로 나타난 성행위, 통제받음의 반동형성으로서 지배영역을 찾음, 아동의 성마저 상품화하는 자본주의 속성에서 자유로울 수 없음, 성정체성 사회화과정에서의 왜곡, 억눌린 욕망의 화신으로 각인된 부상, 상실된 어머니의 순결성 회복, 산산이 부서진 이름으로서의 가족 등으로 나타났다.

• 한국중재학회지:중재연구
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• 제16권1호
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• pp.277-314
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• 2006

This article aims at analysing the reality of banks' liability resulting from the breach of contract on its part to keep the business secrecy with the supplier in the transferable credit, focusing on a English decision, Jackson v. Royal Bank of Scotland [2005] UKHL 3. In this case, the applicant, 'Econ', had purchased various varieties of pre-packed dog chews in bulk through 'Sam'(lst beneficiary) from 'PPLtd'(2nd beneficiary) in Thailand, using a transferable letter of credit issued by 'RBank'. 'Sam' charged a tremendous amount of mark-up on each transaction and it had not been disclosed to 'Econ', although the identity of 'PPLtd' was revealed to 'Econ' by various documents. However, 'RBank' made an unfortunate error to send an completion statement and other documents including 'PPLtd.'s invoice to 'Econ' instead of to 'Sam'. The effect of the Bank's error was to reveal to 'Econ' the substantial profit that 'Sam' was making on these transactions. CEO of 'Econ' was furious and, as a result, decided to cut 'Sam' out of its importing system and terminated their relationship. 'Sam' sued 'RBank' for damages to recover the loss of profits which could have been possibly made, if the information on the mark-up would not have been exposed to 'Econ'. The House of Lord held that 'RBank' was in breach of its duty of confidence, so 'Sam' was entitled to recover damages on a decreasing scale over 4 years, since there was no specific undertaking from the letter of credit.