• 한국콘텐츠학회논문지
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• 제18권4호
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• pp.38-47
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• 2018

새로운 콘텐츠를 기획하는 방법에 대한 논의가 활발해지는 가운데, 여전히 새로운 콘텐츠를 기획하는 구체적인 방법론에 대한 미디어 학계의 논의는 활발하지 않다. 본 연구에서는 새로운 콘텐츠를 기획하는 방법으로서 강제연결법과 의미론의 유용성을 자기문화기술지 방식을 통해 검토하며, 인문학이 콘텐츠 생산 현장과 어떻게 접합되는 지 검토해보았다. 연구자가 2007년 방송사 재직 당시 기획했던 시사 인터뷰 프로그램인 <단박인터뷰> 기획 과정을 자기 문화기술지 방식으로 기술하고, 그 경험을 사회문화적 의미와 연결시키고자 했다. 시사 프로그램 제작 경험이 없었던 연구자는 강제연결법을 사용하여 낯선 단어의 의미를 결합하여 '단박인터뷰'를 기획했고, '곧바로', '지체 없이', '현장에서', '솔직하게'를 뜻하는 '단박'이라는 의미를 충실하게 나열함으로써 제작방식과 출연자를 결정하게 되었다. 연구자의 이와 같은 기획방법은 단어의 의미를 기술한 뒤 의미에 맞게 제작 메커니즘을 모색한, 이른 바 의미론에 의한 콘텐츠 기획방식이라 할 수 있다. 의미론에 의한 기획은 단기간에 적은 인원으로 새로운 프로그램을 기획해야 하는 한계상황이 만들어낸 기획 법으로, 콘텐츠 기획에서 인문학적 접근이 유효하다는 것을 보여주는 증거라 하겠다.

• 방송공학회논문지
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• 제12권5호
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• pp.480-490
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• 2007

정치, 경제적인 환경의 변화는 새로운 문화 개념과 문화 정책의 패러다임 변화를 동시에 요구하고 있다. 특히 디지털 기술의 진보에 따른 디지털 다채널의 환경에서, 문화산업으로서의 방송은 그 내용 뿐 아니라 그것이 창조되고 생산되는 기반의 조성이 무엇보다도 중요하다고 하겠다. 특히 최근의 한미 FTA 협정 체결에 따른 방송시장 개방은 우리나라 방송영상산업에 있어서 외국자본의 유입에 대한 평가와 함께 문화적 다원성과 문화 정체성 유지에 대한 고민을 동시에 던져주고 있다. 이러한 측면에서 본 연구는 글로벌 미디어 환경이라고 하는 새로운 매체 환경에 직면해, 프로그램의 내용에서 문화적 다양성을 확보할 수 있는 대안을 살펴보고자 한다. 세부적인 연구 내용은 문화의 혼종화를 이루어내고 있는 방송 프로그램의 국제공동제작 실태 점검과 지역적 대안 제시, 그리고 최근에 활기를 띄고 있는 프로그램 포맷 산업의 현황 파악과 가능성을 진단하는 것으로 구성되어 있다. 글로벌 다채널 환경의 도래와 더불어 세계적으로 프로그램 거래가 활성화되고 있는 현 시점에서 문화 정체성과 보편성을 함께 고려할 수 있는 국제공동제작과 포맷 산업은 각국의 문화적 장벽을 극복하고, 콘텐츠의 다원적 이용과 이윤의 다각화를 실현할 수 있는 대안으로 고려되어야 할 것이다.

• 한국의류산업학회지
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• 제18권1호
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• pp.103-112
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• 2016

This research was designed to figure out the perception and attitude of university students toward urban outdoor wear and to provide the guidelines for product quality improvement using Kano model. A total of 270 responses were analyzed by SPSS 20.0 through frequency and factor analysis. Respondents' levels for outdoor activity & outdoor products possession being still low, steady growth in urban outdoor wear market is expected. A total of eight quality factors were identified through factor analysis; suitability, production quality, functionality, ease of care, fabric performance, portability, fashionability, and symbolism. Based on Kano model, quality factors of urban outdoor wear were categorized into three groups: one-dimensional; indifferent; and must-be quality factor. It was found that consumers were satisfied with urban outdoor wear only when it meets the needs for suitability for body types and ease of care, meaning that manufactures should be cautious not to lose these features. Being must-be quality factor, production quality(form stability, quality of subsidiary materials), and fabric performance such as colorfastness should be basically satisfied. The relative importance of each quality feature on satisfaction/dissatisfaction was investigated using CSC(customer satisfaction coefficient). Based on the CSC, every item was classified again. Attractive quality features with large CSC were shown in suitability factor. Must-be quality features with small CSC were mainly shown in functionality and fabric performance factors. These findings imply that manufactures of urban outdoor wear should not only maintain the production quality but also focus on suitability features to differentiate their product with previous products.

• 패션비즈니스
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• 제5권4호
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• pp.14-26
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• 2001

A lot of designers are adopting a mixed imitation as techniques of cretion because cultural boundary and structure of meaning in the era of post-modernism are collapsed and dissolved. I raise up a question mark to how can genuine and creative designers can be identified at this epoch when we are today familiar with the trend of informationalization, opening and globalization. Characterisitics of multi-culturalism and compromising blending are meshed with appearance of a theory of disorganization and consumer-driven economic activity of multi-national enterprises in the age of post capitalism. Accordingly it can be said that designers are leaning upon public and consumeroriented pattern rather than pursuing a creative cultural production. With mass media in rapid advancement and public culture in father dissemination, mass production and mass re-production became a natural cultural phenomenon strengthen ing its root. Creative designers somewhat slow and limitative in pace of adaption to rapid changing society amid such social backgrounds and flooded information are coming to dead-end of wall. A mixed imitation as techniques of creation is a result of borrowing, duplicating or re-combining of existing things because the mixed imitation is equivalent to borrowing, copying, compilation and recombination of well-known artworks, motive, diverse people's cultural features, image, techniques and the likes. It is too delicate thing for one to definitely distinguish such cultural phenomenon from either one as creative work or a plagiarized work. Looking into the facts as they are, we should recognize the designers limitation in their creative works by means of the mixed imitation. thus we can have a view upon them from a criticizing standpoint against the designers creation and imitation. On the other hand, when we look at things how the mixed imitation appears in the fashion as a piece of culture, we can understand something of the contemporary designers. I try to find a significance in seeking out a method of approaching to creative fashion designers direction in future times.

• 정보관리학회지
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• 제21권4호
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• pp.265-279
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• 2004

본 연구는 정보의 유비쿼터스적 해석을 통해 도서관 정보서비스의 본질을 찾고자 하였다. 이러한 본질을 통해 도서관이 가져야할 정체성을 확립해 보고자 하였다. 연구방법으로는 정보의 유비쿼터스적 해석을 통해 정보문화사를 통한 도서관적인 행위와 도서관 정보서비스에 대한 해석을 시도하였다. 유비쿼터스라함은 인간이 모든 것을 주변에 두고자 하는 욕구 상태를 현실에서 실체화하는 행위를 의미한다. 정보는 유비쿼터스 상태로 존재하며, 도서관은 유비쿼터스 상태의 확장을 통해 진화되고 있다는 것을 확인하였다. 정보행위는 인류의 역사에서 계속 되어지고 있으며, 도서관 관념은 도서관적 행위 즉 생산, 축적, 가공, 배포에 의해 형성되었다. 도서관의 최종적인 목적은 이용자에 대한 정보서비스라는 점이 재인식 되었고, 정보시스템과 네트워크는 응용과 내재에 중점을 두어야 한다. 도서관은 유비쿼터스 상태의 확장을 통해 개별화된 이용자 중심의 서비스로 전환할 수 있는 모형 연구가 활발히 진행되어야 한다.

• 아동학회지
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• 제6권1호
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• pp.17-40
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• 1985

This study investigated Korean children's early acquisition of negatives and focused on four research questions: 1) processing of negative variations; 2) the nature of negatives when negatives are completely acquired in Korean (in which meaning and form are matched in one to one mapping); 3) the validity of Bellugi's negative acquisition model in Korean; and 4) the cause of child's erroneous sentence production: limited ability or regularity in children's cognition. The language data of the five subjects (age span; 1.1 - 3.11) were collected by their parents in the natural setting of the home. The results showed that 1) the pivot form, was processed in many ways from a simple to a complicated form, such as <(X+X')+N> <(x+x')+N,Y> <(x+x') N,(y+y')>. It appeared that the children used a simple negative format to reach a one-step advanced negative format. 2) Korean negatives are divided into range of negation in the negative sentence (part or whole), strength of negation (absolute or general), functions of meaning (negation, absences, refusal, prohibition, impossibility). All five children acquired negative sentences in all functions and the complete range after 3 years of age. 3) In spite of the differences in age level, Bellugi's four stage model was in evidence; that is, Korean children's negative acquisition was almost identical with Bellugi's tour stage model in deep structure. 4) Analyses of children's error sentences showed that the sentences with errors were made not because of the children's limitation in cognitive ability but because of the strict application of regularity of rules from the original grammars. Consequently, the children produced negative sentences using two rules: the rule of additive complexity (from simple to complex) and the rule of division (from one to several).

• 복식
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• 제24권
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• pp.157-176
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• 1995

The purpose of this treatise is to study external form and internal meaning of minimal expression fashion which appeared as a major stream in modern fashion trends to understand one aspect of modernism in fashion and also to gain insight into internal value of human beings through fashion. The results can be summarized as follows : Firstly , minimalism is a trend in art attempting to seek essence of the object by presenting simple and disciplined expressions by minimal formative means and minimal production process. Secondly, minimal expression in fashion means seeking simplicity an dpurity by using minimum design elements and minimal productive process. Thirdly, external from of minimal expression fashion can be created through application of following minimal expression techniques. 1. Minimal expression techniques in terms of line mean smooth curve flowing along body contours, straight lines of diagonal lines into desciplined silhouette or rendering internal contour lines. 2. Minimum expression techniques in terms of forms mean forms of smooth curves flowing along boyd or forms with simple geometric forms from qualitative aspects, In terms of volume it means quest for essence of pure body itself by revealing body as it is by minimizing the size of dress or its area and herein is contained using simple geometric pattern or utilizing textiles without any patterns.3. Minimal expression techniques by colors mean simple colors such as primary colors, colors without clear distinctions or natural colors and in terms of quantity it means quest for one color within one item of dress or combination of each items when getting dressed. 4. Minimal expression techniques in terms of fabrics mean fabrics with simple surfaced. In terms of quantity it means quest for essence of tight fitting thin textiles to human body or using transparent materials to human body thus exposing body contours as it is. 5. Minimal expression techniques in terms of productive process mean minimizing process of tailoring , sewing or ornamenting and seeking for simplicity and purity. 6. Minimal expression techniques in terms of manufacturing process mean selection of technique conveying simple image with disciplined simple image. Fourthly, minimal expression fashion with external expression as mentioned in the above lay body-priority style and its internal meaning can be asummed as quest for essence and purity of human body.

• 복식
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• 제61권3호
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• pp.122-138
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• 2011

The present research aims to consider the real remains of 2 suits of Kasaya owned by the Hwaeom Temple(華嚴寺) based on research results about Kasaya in the meanwhile. The present research on 2 suits of remains which are Royal gifts given to monk soldiers in case of a national crisis of the Joseon Dynasty has a big meaning in examining characteristics of Kasaya and grasping characteristics and structure of the 17th century's Kasaya of the Joseon Dynasty through dense survey and analysis according to components. If examining characteristics of Kasaya, the Kasaya of the Great Monk Seo San(西山) is composed on the basis of an initial form of Sun and Moon Light Patch's generation and the Kasaya of the Great Monk Byeok Am(碧巖) has a form that is separately attached through production of embroidery patch as a process of being settled down. If examining what surrounds gold thread in the girth and expression of Sumeru and Chaeunmun(彩雲紋), the composition of a form similar to an insignia badge, so because this is a Royal gift, this can be estimated as being analyzed in a Buddhism aspect by devising a design from the insignia badge at the time, with a meaning like an official uniform given to a monk. Although the insignia badge is a square, it seems that the Sun and Moon Light Patch is made as a rectangular form corresponding to the structure of Kasaya. In addition, it is thought that what the Samjoko(三足烏) idea which is a symbol of the Sun based on Buddhism and Taoism is used together with Yijoko(二足烏) even in expression of the Sun and Moon Light Patch in the Joseon Dynasty which was a Confucian country has a relationship with what a bird was expressed in the insignia badge of winged animals.

• 한국의류산업학회지
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• 제10권5호
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• pp.739-747
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• 2008

There have been increasing consumption of luxury fashion and recent marketing researches on luxury syndrome, trading up, etc. in mass fashion today. Historically the consumption of luxury had been concentrated on only upper class in the past. But since 20th century, the mass consumers of modern consumptive society show their interests in luxuries which had been preoccupation of few elite class. Accordingly, it can be thought that the historical review on the changes in the meaning of luxury should be necessary for a better understanding of modern luxury consumption in sociocultural context. The purpose of this study is to grasp the sociocultural meaning of luxury in modern fashion with a holistic viewpoint by examining the changes of luxury consumption in mass fashion. It will be helpful as a conceptual approach of modern luxury consumption. For this, the documentary study has been executed. It focused on since 20th century, which can be the root of mass productive and consumptive society in fashion history. The results are as follows. The luxury in court elite system before 20th century had been concentrated on few elite class exclusively but gradually began to be represented as inferior cheaper version by mass production according to their increasing interests since industrial revolution. The luxuries in elite designer system in the first half of 20th century were represented as illegal design piracy and legal genuine reproduction in spite of problems brought about between originality and copy. The concept of mass as consumer was virtually alienated in both systems. But in fashion system since the second half of 20th century, various types of consumer luxuries has appeared on account of the trading up phenomenon in drastic growth of mass culture.

• 만화애니메이션 연구
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• 통권32호
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• pp.141-158
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• 2013

만화는 말과 그림 그리고 칸의 흐름이 복합적으로 구성되면서 의미를 표출하는 장르이다. 만화를 그린다는 것은 언어와 시각언어의 합성을 통해 그 의미가 수용자 즉, 만화를 읽는 사람에게 어떻게 전달되는가를 의미한다. 즉, 만화를 읽고 만화로 표현하는 행위는 시각적 커뮤니케이션에 대한 이해를 바탕으로 이루어지므로, 기호학을 바탕으로 하는 시각적 커뮤니케이션에 대한 학습은 만화교육에서 매우 중요하다. 본 논문에서는 다양한 분석방법 가운데 특히, 기호학을 바탕으로 하는 연구사례를 중심으로 만화교육을 위한 기호학적 방법론을 검토하였다. 연구사례는 크게 1) 형식에 대한 분석사례, 2) 내용에 대한 분석사례, 3) 형식+내용에 대한 분석사례의 세 가지 영역으로 구분하여, 기호학의 관점에서 실질적으로 이루어진 만화분석 사례를 토대로 만화 교육에의 적용방법과 역할을 제안해 보고자 한다. 기호학의 관점에서 이루어진 분석들은 연구자의 주장을 객관적으로 제시할 수 있다는 공통점을 가지므로, 기호학적 방법론을 응용한 교수학습법 개발과 수업에서의 활용효과 등에 관한 연구가 적극적으로 이루어져, 보다 체계적인 만화교육의 기틀을 위한 또 하나의 방법으로 활용되길 바란다.