• 사회복지연구
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• 제48권1호
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• pp.91-111
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• 2017

이 연구에서 19세기말-20세기 초 영국의 토인비 홀과 미국의 헐 하우스 두 인보관의 사상과 활동을 소환하는 목적은 첫째, 당시 사회복지실천이 점진적으로 형태를 갖추게 된 계기와 당초의 뜻을 찾아보는 것이다. 둘째, 개인화의 문제와 대안의 공동체 만들기가 공존하는 이 시기에 당시 '사회적 일'로 시작된 맥락과 영국과 미국의 특징적인 활동을 통해 사회복지실천의 현재 의미와 정체성에 유용한 함의를 얻고자 하였다. 이 연구는 기존 문헌들을 활용하여 서사를 고찰하되 인보관이라는 장소가 복지공간으로 구성된 당시 시대정신과 활동, 지도력을 목적과 위치, 전문성과 교육, 사회행동 차원으로 분석하며 오늘의 의미를 살리고자 하였다. 유용한 분석 결과는 첫째, 자선조직협회와 인보관은 상반되기 보다는 빈곤에의 대응책으로 '제안-실행-비판-대안의 제안-사회복지실천의 대두'가 진행된 일련의 과정 속에서 볼 필요가 있다. 둘째, 인보관은 빈곤문제를 중심으로 계층, 젠더, 개인적인 것과 사회적인 것, 민간과 공공의 개입 등 여러 현상을 담은 담지자로서 복지공간을 구성하였다. 셋째, 두 인보관은 상이점도 있지만 둘 다 공공의 선과 안녕을 목적으로 하여 사회적인 일, 즉 사회복지실천을 구체화시켰다. 끝으로, 인보관의 복지공간으로서의 의의와 사회복지실천을 위한 함의를 논의하였다.

• 가족자원경영과 정책
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• 제27권4호
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• pp.49-62
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• 2023

본 연구는 여성의 경력단절예방 및 경제활동촉진을 위한 조직문화를 조성하고자 전남지역의 중소기업에 종사하는 남녀근로자 대상의 직장문화개선 교육 콘텐츠를 개발하고자 하였다. 콘텐츠의 현장활용성, 교안내용의 타당성 및 일관성을 확보하기 위해 실무담당자 및 전문가의 자문회의를 통해 전남지역의 특성을 고려하여 콘텐츠 설계의 방향 및 핵심 내용 구성을 구체화하였다. 교육 콘텐츠는 성인지적 일·생활균형 조직문화의 이해, 성인지적 일·생활균형의 효과, 성인지적 일·생활균형을 위한 실천의 3개 대영역으로 구분하였다. 콘텐츠의 방향은 전직원이 기본적으로 개인, 가족, 기업, 사회의 관점에서 일·생활균형의 의미와 조직문화 개선의 취지를 이해하는 것이다. 전남지역 기업의 일·생활균형의 현황을 제시하면서 직장문화개선과 직접 연관된 일과 생활영역의 세부항목에 대한 이해를 돕고자 하였다. 또한, 일·생활균형의 선순환적 효과와 실천적인 측면에서 각자의 일·생활균형에 대한 권리 이상으로 책임이 함께 이루어져야 함을 강조하였다. 특히 개인적으로 직장뿐 아니라 가정 및 여가생활에서 성평등한 일·생활균형의 개선방안을 모색하고 실천할 수 있도록 지지하고자 하였다. 나아가 다양성을 포괄하는 성인지적 관점에서 여성, 남성, 미(비)혼, 기혼, 청년, 노년, 장애인 등을 대상으로 한 제도 및 프로그램을 사례로 설명하고 조직문화 개선을 위해 우리가 모두 적극적으로 참여해야 함을 강조하였다. 본 연구에서 개발한 성인지적 일·생활균형 교육 프로그램이 여성의 경력단절예방 및 경제활동촉진에 견인차 역할을 할 것으로 기대한다. 이와 더불어 여성새로일하기센터는 기업의 자발적 참여동기를 높이고 일·생활균형 교육 강사의 전문성을 강화하는 방안을 강구해야 할 것이다.

• 간호행정학회지
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• 제9권1호
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• pp.19-30
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• 2003

Purpose : The concept of organizational socialization has been regarded as an abstract concept of organizational learning process and it has been used as strategy for the organizational goal attainment. New graduated nurses' organizational socialization has been a very important process for learning knowledge, skills and behaviors in hospital setting. This study was to analyze and clarify the meaning of the concept of Organizational Socialization. Method : This study use the process of Walker & Avant's concept analysis. Results : The critical attributes of organizational socialization were identified as : 1) Internalization of Value and belief of organization; 2) Learning of organizational rules and modes of living; 3) Improvement of job performance; 4) Maintenance of supportive relationship; 5) Formation of occupational identity. The antecedents of organizational socialization consist of those facts that 1) negative feeling of role; 2) difficulties of interpersonal relationship; 3) unskilled work performance. And the consequences of organizational socialization consist of those facts that 1) organizational commitment; 2) job satisfaction; 3) intention of leave work setting; 4) improvement of job performance; 5) improvement of decision making; 6) maintenance of supportive relationship. Conclusion : Through this concept analysis, the concept of organizational socialization is defined as internalization of value and belief of organization, learning of organizational rules and modes of living, improvement of job performance, maintenance of supportive relationship and formation of occupational identity.

• 한국의류학회지
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• 제28권5호
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• pp.626-636
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• 2004

The purpose of this study was to show a theoretical system of expressional area, the characteristics and the effects which is applied to fashion illustration by metaphor theory. The theoretical system of expressional area was analyzed by category analysis and 150 fashion illustrations from 1900 to 1999 were analyzed by contents analysis. The results of this study were as follows: Metaphor in fashion illustration was categorized to replacement, parody, heterogeneous combination, surrealism, magnification and reduction of size, optical illusion, juxtaposition and distortion of form. In detail, First, replacement was showed omission of form, non-object color, texture. Second, parody was showed using the part in artistic work, differentiation of original work. Third, heterogeneous combination was showed unreal body combining between animal and plant. Fourth, surrealism was showed creation of object which is impossible to present. Fifth, magnification and reduction of size was showed bizarre magnification of part of body, size of clothing. Sixth, optical illusion was showed ambiguity of object because of creation of new form. Seventh, juxtaposition was showed the parallel of contradicting idea and change of meaning between heterogeneous objects. Eighth, the distortion of form was showed grotesque distortion of part of body and disgusting object.

• 복식
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• 제55권8호
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• pp.112-126
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• 2005

The purpose of this study is to analyze the aesthetic characteristics of 'movement' expression in modern fashion(1910-2004) based on a study of modern fine arts which adopted 'movement' element in their work. In this study the meaning of movement was defined as motion, changing position and transformation. Literature survey through books and research papers and demonstrative study with fashion collection photos were undertaken. The results wert as follows ; 1) Kinetic art, optical an, light kinetic art and technology art such as video and computer art have adopted 'movement' element in their work. 2) The plasticities of 'movement' fine arts were identified as mutual penetration, increase of visibility, use of non-traditional materials and dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of fine art, optimistic attitude on technology, spectator participation and integration of art and life. 3) The 'movement' expression in modern fashion was distinctively found in 1910s-20s(avant-garde fashion), 1960s (kinetic and optical art fashion) and mid 1990s to 2004 (techno-cyber fashion). 4) The plasticities of the 'movement' expression in modern fashion were identified as non-definition, use of non-traditional materials, dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of dress, optimistic attitude on technology, playfulness through participation. In conclusion, the expression of 'movement' in modern fashion has optimistic viewpoint on the development of modern society and is one of the interesting design points which will be pursued in the fellowing years.

• 한국실내디자인학회논문집
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• 제27권2호
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• pp.143-153
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• 2018

The exhibition space is a concept that is used to extract only the function of exhibition in an art museum combined with various cultural facilities. It mediates works, audience, and space. Therefore, it is considered that the exhibition space will not only judge the space by the form of the building, but also the true meaning will appear when the exhibition, the space and the environment coexist. His exhibition space has a story from the outside to the inside and the exhibition. In this study, we try to understand the characteristics of his space by analyzing the way of organizing exhibition and exhibition in his exhibition space. As a result of analyzing the cases suggested on this thesis through this point of view, Ando Tadao represented characteristics of his own exhibition space by harmonizing the demand of each exhibition space with his architecture language. His exhibition space provides the experiential space in the harmony of the nature and artificiality as inpouring the nature into the complex traffic line. And, the exhibition is constituted as a result of fully considering the overall situation of the space environment. He tries uniting the space and art by interpreting the work in the space rather than arranging the works. Consequently, It gives visitors the direct space experience through the intentional traffic line and is becoming an exhibition space that can express the exhibition only in that space as constituting it differently in accordance with the character of work.

• 한국가구학회지
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• 제24권4호
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• pp.416-425
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• 2013

Luis Barragan's Architecture has creative feature that Mexican environment and traditional culture were complete by color. Thus the color of his work makes our emotions rich and colorful. He said "My architecture is autobiographical..." at speech in Pritz price. As we can see in his architectural philosophy that sentimental architecture is important than theorical system, his works are impression of empirical factor with intuition. "Color is a complement to the architecture. It serve to enlarge or reduce a space. It's also useful for adding that touch of magic a place needs", stated Barragan. During his process of shaping space, Barragan drew on color in the same way as an architectural component, according it a spatial funtion and expressive vale. he allied it with light, deeming it a crucial vehical for conveying the emotive attributes a site. The capacity of color to express sensitivity and sensuality within an architecture space is liked to its psycho-physiological qualities. In this kind of view, color featyre in Barragan's work is one of the most important tools to realize sentimental architecture, not only is result of the Mexican regional color. As a result, make focus on analyzing various meaning of the color in Barragan's architecture like poetic and habitable structure.

• 조형예술학연구
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• 제6권
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• pp.267-287
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• 2004

The study of a new expression within Korean ink painting that meets the demands of the times has continued, resulting in various expressions with acrylics, handycoat, objects and installations, crossing over from traditional Korean painting techniques. A 'margin' was both a very important space and esthetical matter that expresses 'Ki', 'Distance', and 'Omission' in traditional sense when addressing Korean ink painting Its expression methods and concepts, however, have changed today. A 'margin' through Montage technique can be a significant example in understanding the expression methods of today's Korean ink painting. This is because the margins in Montage make the meaning of the work various and flourished and deeply construct the surface with a double-layered structure, instead of using a single layer. These 'margins' created by Montage are spaces where different images conflict, divide and continue with each other and where a reconciliation between different spaces is accomplished. Furthermore, they establish more vitality and truthfulness to life through both the images conflict and reconciliation. After the adoption of Post-modernism Art in Korean ink painting, the characteristics of the 'margin' in Montage style by the division of surface are an 'acceptant's participatory imaginative space'; where viewers fill the margins with their imaginations ; an 'abandoned space' ; where unnecessary parts are deleted for more live surface ; and a 'strategic space', where the work enriches the structure and contents of surface by using margins strategically.

• 한국농촌건축학회논문집
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• 제4권1호
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• pp.37-44
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• 2002

There are some studies about user's participation to reflect their desire and value on the planning of house by this time. These were constitution of unit space focused on the apartments, which is mostly theoretical. However, till completion of a construction work, it goes through various processes of some steps such as, buying building site, site planning, architectural planning and construction. In architectural planning process, it takes time for continuous discussion and revision between architects and users. Also changes of plan must of necessity be so because of in or outside conditions. So, right user's participation has its meaning that they take part in each step and portion of process faithfully on whole architectural processes. In this case, tenants of single house were decided and they already buy building site and lay out rules jointly. With this circumstance I've researched a kind of test the reflection on various desires and its acceptance in each steps through completion of a construction work, which is based on their participation.

• 한국실내디자인학회논문집
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• 제14권2호
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• pp.95-103
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• 2005

This study is on the concept of Gunter Behnisch' s 'Situationsarchitektur'. Gunter Behnisch is known as the architect who have produced astonishing variety of different types of buildings since 1950s. His works always reflect his changing major concerns of architecture, which varied through his career such as flexibility and serial production in the 1960s, politics and place in the 1970s and 80s, and ecological issues in 90s and afterward. Behnisch says that the goal of architects' work is not so much the building as the situation to be created, and only such measures should be taken as in fortunate cases strengthen and give meaning to the situation that exists, or in less fortunate ones recreate it. The 'Situationsarchitektur' is realized through emphasizing transparency, humanity, public space, and open detail that could lead to a certain lightness and relaxedness in architecture not as an end in itself, but rather in the result. Architecture should be allowed to arise out of circumstances of use and construction, but form should not be imposed as a preconception. Also architecture should be strongly tied to time, space and local conditions. Behnisch tries to see the fundamentals of his work in such a way that subtlety and diversity develop of their own accord or are preserved as a reflection of a world.