• 한국사회복지학
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• 제59권3호
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• pp.253-280
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• 2007

이 연구의 분석결과 "건강가정 진영"의 가족담론은 사적 도덕률의 중시, 탈제도화에 대한 거부감, 가족문제를 개인적, 도덕적 문제로 바라봄, 가족을 통제하고 관리하는 존재로서의 국가 배치 등이었고, "비판 진영"의 가족담론은 정상가족으로서의 건강가정, 사회적, 구조적 문제로서의 가족문제, 가족을 지원하는 보조적 위치로서 국가를 바라보고 있었다. 가족정책 담론은 "건강가정 진영"은 "사회적(인과적) 효용"이라는 정당화의 논리, 국가주의적 사고와의 결합, 가족가치를 회복하기 위한 수단으로서의 가족정책, 이분화된 가족정책을 견지했고, "비판진영"은 간주관적 합의로서의 정당화 논리, 양성평등의 도구이자 복지국가 확장의 지룃점으로서의 가족정책, 이분화된 아젠다에 대한 비판으로 가족정책 담론을 끌고 나갔다. "건강가정" 담론은 시간의 흐름에 따라 구성되어갔고 그 과정에서 국가주의와 신자유주의라는 체계담론과 접합되었다.

• 한국언론정보학보
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• 제77권
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• pp.164-199
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• 2016

본고의 연구 목적은 일본산 가라오케가 부산에 유입된 사회경제적 배경을 검토하고, 1980년대 부산 지역을 중심으로 번졌던 가라오케 문화가 1990년대 노래방 문화의 태동과 어떠한 관련성을 가지는지를 기술의 사회적 구성주의론이라는 시각에서 해명하는 데 있다. 연구결과, 1980년대 가라오케의 부산 유입에 있어서 가장 중요한 사회경제적 배경에는 1970년대 동아시아 기생관광산업의 구조 변동 속에서 정부의 관광객 유치 정책에 의해 부산을 방문하는 일본인 관광객이 늘어났다는 요인이 자리를 잡고 있지만, 1982년 정부의 국제여행 알선업체의 등록제 전환과 그에 따른 여행업체와 가라오케 업소 간의 사업적 제휴, 가라오케 업소 간의 일본인 관광객 유치 경쟁 또한 부산 지역 가라오케의 증가를 가져온 요인이었음이 밝혀졌다. 한편, 1980년대 부산의 노래방 문화 형성이 가라오케 문화와 맺는 관련성을 매체사적인 시각에서 살펴본 결과, 초창기 직접적으로 노래방기계를 접했던 부산 지역의 사람들은 노래방의 '새로움'을 주로 전자오락기와의 비교를 통해 인지했었던 데 반해, 가라오케와 노래방을 비슷한 것으로 잘못 인식해 노래방을 '왜색 문화'라고 비판했던 언론은 비록 부정적 방식이긴 하더라도 노래방의 사회적 인지 확대에 매우 큰 역할을 담당했음이 밝혀졌고, 그런 점에서 1980년대 부산의 가라오케 문화는 노래방의 사회적 인지 획득 과정에 연관되어 있음이 드러났다.

• 복식
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• 제29권
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• pp.143-158
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• 1996

It was the year of 1903 when avantgarde artists in Vienna gave a birth to the Wiener Werkstaette under the influence of Aesthetic Movement and Guild of Handicraft from England. This study is on the backgrounds of the birth of the Wiener Werkstaette its artis-tic motto and world-wide echo it provoked. This thesis goes back to the time when the decadent Wiener Secession shaped up refiewing the Reform Movement It also covers characteristics works of major members of the Wiener Werkstaette which were produced on the basis of the concept of Gesmtkunstwerk, The conclusion of this study is that : 1. Without losing its own specifc features various fields of formative arts were combinded together coherently and succeeded to realize the idealistic art that is the com-posite are 2. The Wiener Werkstaette was strongly opposed to the ready-made clothes which be-came popular as the society was Industrialized and commercialized. unlike those ready-to-wear clathes those members of the Wiener Werkstaette preferred to make each clothes with different mateirals and printed their own unique pattern designs. 3.As a results of close relationships between the Wiener Werkstaette and paul poiret 'Stu-dio Martine' was established in paris and new pattern deslhns were introduced by Raoul Dufy. 4. After the break-out of World War One cultural exchanges with other foreign countries were vuirtually cut off and the Wiener Werkstaette was disconnected from the influence of Parisl That was the motive for Wiener Werkstaette to start building up its unique artistic style with peculiar materials techniques and methods of productionl Those brisk and creative activities of the Wiener Werkstaette brought forth "the Golden perlod of 1920s" 5. Its historic design and ornamental pattern were assessed as a prelude to the Post-mod-ernism Since the late 1970s with the redis-covery of the culture of vienna in 1900s. the Art to wear which was created by the 'Wiener Werkstaette' but unfortunately tucked away by the Greate Depression and nationalism has been revaluated and studied. In Korea it was since 1985 when 'the art to wear' began to gain attention widely. It is urged that the theory of the 'Gesamtkunstwerk' should be also ac-cepted and shared earnestly.

• 복식
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• 제60권2호
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• pp.130-143
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• 2010

Hanbok industry is not based on a consumer-oriented market system, which is related to poor competitiveness in various areas, such as product planning, marketing, and flow of raw materials. The purpose of this paper is to design and conduct an empirical study on important aspects of consumers. experiences and perspectives about Hanbok, and thereby aims to provide much-needed guidance about ways to promote the Hanbok market. Out of 1065 questionnaires distributed, a total of 1039 was returned with responses and used for analyses. The respondent sample included consumers of various background characteristics in their residential areas, age, gender, education levels, and income levels. Cronbach's alpha and a factor analysis were employed for the reliability and the construct validation of the survey instrument. One-way ANOVA associated with post-hoc comparison tests was used to investigate differences across different demographic subgroups of consumers. The results show that consumers generally view Hanbok as one of the formal dresses, worn one or two times per year for traditional events or ceremonies. Consumers tend to show negative opinions about the pricing, and the inconvenience in cleaning and wearing Hanbok. However, consumers think very highly of the aesthetic values, the gracious styles, and the iconic identity of nationalism of Hanbok. This study suggests that Hanbok for modern consumers should be considered as clothing for a ritual, rather than clothing to reconstruct to be fitted to modern daily lives. Hanbok should be promoted as part of up-scaled and differentiated traditional cultures, as clothing that represents and enhances the traditional elegance and beauty unique to the Korean people.

• 한국의류산업학회지
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• 제16권5호
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• pp.706-718
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• 2014

Ideology which symbolizes the belief system about the order of human society represents itself in a concrete form through dress which reflects material and conceptual world. In the early 1960s Korea, where a civil revolution and a military coup took place, good examples of dress representing ideology could be found. This study investigates the dress representing ideology of the period, and examines its manifestation and aspect of transition. Literature survey and case study were conducted. The following results were obtained: First, dress representing ideology was symbolically verifying its differences and was changing with the course of time. There were the flow going down from the government, and the flow going up from the movement of the civilian. Through this process, design elements of ideological dress were combined in a dialectic way to form a new representational dress such as Jaegunbok. Second, costly and luxurious clothes meant a tool to rule over people, and the opposition was uniform meaning equality. In 1960 Korea, black waves of school uniforms appeared to lead the social change. A year later, the military government seized power in a 5.16 coup and it enforced uniform upon every people to achieve equal austerity and modernized spirit. Lastly, cotton, which was originated from Gandhi's movement in India, was symbolizing nationalism till the early 1960s in Korea meaning the funding own development with own resources.

• 재무관리연구
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• 제1권1호
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• pp.119-131
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• 1985

Although Korea is short of capital technology, and natural resources, she has achieved an outstanding progress by the export-drive policies by Korean government and the creative endeavor of Korean firms. As a result of that, Korean economy and enterprises are in the same file of newly industrialized countries and Korea is ready for an economic take-off as a developed country. But in the early 1980s, each country strengthens protective trade theory and resources nationalism, and this has a great influence on the field of international trade environment. In spite of that, to continue the same high development as that of the past. Korea must try to secure and find export markets, solve trade barriers, make sure of the long-term security of resources, develop technology, and strengthen economic cooperations. To satisfy these desires by 2000s, we must try to make Korean enterprises have the global competitive power and them grow strongly among world wide firm through capital and technology accumulated during the passed years, and to do so, there must be a foreign production and marketing management, too, this can be achieved only through foreign overseas direct investment. This investment has various forms, to say, verifical integrated, horizontal integrated. conglomerate integrated forms, and the amount of investment in each country from 18 century to today reaches 500 billion dollars. This investment is done by strategic, behavioral economic, and financial motives. So I am going to approach the fields of like these; in spite of the differences among political, economical, caltural, and social systems, and many risk compared with domestic enterprises, why do Korean firms witsh to transfer the productive facilities to overseas countries and run them there? What is the comparative advantage of foreign direct investment compared with domestic investment ?. why is the factor of comparative advantage transferred through foreign direct investment?, what is the motive of foreign overseas direct investment?, and last the ownership-specific factors and the theory of internalization, and the location specific factors were analysed chiefly. But in consideration of the given condition in Korea, Korean overseas direct investment must be propelled rationally on the basis of the above mentioned theory.

• 한국의류학회지
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• 제34권9호
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• pp.1429-1441
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• 2010

This study examines the post-national trends of the $21^{st}$ century fashion that has embraced multiculturalism. This study conducted a literature view to explore the concept of multiculturalism and the background of post-national phenomena appearing in contemporary fashion. In addition, as a case study, the author used local and foreign fashion magazines and collections published between 2000 and 2009, in addition to other related materials available on the Internet. The objective was to analyze photographic materials in which post-national features are reflected. From this study, the post-national trends in $21^{st}$ century fashion that adopted multiculturalism are as follows: The first is that oriental culture is more actively embraced. In the past, the tendency of embracing the oriental culture was mainly developed with a focus on China and Japan, but recently the tendency has spread to Southeast Asian countries and national/ethnic minorities that include Mongolians and Tibetans that is present in more active ways that reflect oriental sentiment and philosophy as well as adopts simple images. Second, $21^{st}$ century fashion based on multiculturalism broadens the interest in the understanding of nations in the regions of Africa, Middle East, and South America and uses regional folk costumes or indigenous characteristics to create new things instead of staying within a fixed paradigm. Third, as horizontal transfer is involved in ways of looking at culture, $21^{st}$ century fashion shows a post-national tendency to use regional cultures and folk costumes of the occidental world that includes North and West Europe in addition to non-mainstream regions (as considered so far). Fourth, dress elements of many heterogeneous national cultures are combined to create multinational images difficult to define in terms of a specific national culture or clothing style.

• 한국의류산업학회지
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• 제12권1호
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• pp.31-37
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• 2010

The purpose of this study is to investigate the causes of clothes phenomenon of the ruling class women on the Heian period of Japan in the aspects of politics, economics, society, culture, and religion. The findings of the study are as follows. The main characteristics of the Heian period of Japan may include a rare sense of internationalism, low sense of nationalism, and frequent cases of political intrigue. However, noble culture, centered on royal court, was flourished and it enabled to develop sophisticated and graceful culture. During the Nara period and the Heian period (from $8^{th}$ to $12^{th}$ century), there were enormous changes in the clothes, starting from the mid $10^{th}$ century. The clothes of the ruling class in the Heian period underwent changes from the imitative clothes-imitating the clothes of the Tang age of China- to Japanesque clothes-adding the aesthetic consciousness of Japanese ruling class people. Particularly, the clothes of the ruling class women became massive, majestic, and decorative. The changed clothes had also features such as layered look, utilizing underwear as outer garments, using a wide variety of colors, and using hard and solid materials to make clothes. It can be concluded that the clothes of the ruling class people in the Heian period were affected by plural factors such as national and international political situation, economics, society, culture, and religion. The clothes were used by ruling class people as means of expressing their noble and sophisticated beauty, which led to produce humanistic beauty. The Heian period can be described as an era of the highest reach of humanity.

• 한국교육논총
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• 제38권1호
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• pp.1-16
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• 2017

제3차 교육과정은 "국민교육헌장 이념의 구현을 기본 방향"으로 삼아 역사 교과서 서술에 일종의 가이드 라인을 제시하는 형태를 띠었다. 당시에 제시된 역사교육의 목표는 "개인의 발전과 국가의 융성과의 조화"라는 것으로 권위주의 정부가 지향하던 '한국적 민주주의'와 그 궤를 같이 하는 것이었다. 그런데 이러한 역사교육의 성격과 목표는 이후 교육과정에서 제대로 비판을 받아본 적 없이 되풀이 되는 경향을 보였다. 3차 교육과정 이후 역사적 사건에 대해 의미를 부여함에 있어 "국민의 총화"라는 뚜렷한 기준이 등장했고, 이를 기준으로 적극적인 해석이 내려졌다는 것이다. 이처럼 특정한 시각에 따른 사건 해석이 더 중요해졌기 때문에 어떤 부분에 있어서는 학문적 연구성과가 제대로 반영되지 않게 되어 버렸다. 이 경향은 교육 당국이 발표한 '내용 전개의 준거' 혹은 '집필 기준'을 통해 강화되었다. 국가가 제시하는 기준에 역사를 바라보는 시각은 점차 고정되었다. 교육과정이 여러 차례 개정되었음에도 불구하고 이러한 문제점은 좀처럼 없어지지 않았다. 최근 2015 개정 교육과정의 역사과 집필기준은 이러한 문제점에 주목하여 일부 교과서 서술을 개선할 수 있는 방편을 모색하고 있지만, 아직 그 시도가 본격화되었다고 보기는 어렵다.

• 한국언론정보학보
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• 제46권
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• pp.37-74
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• 2009

본 논문은 21세기 가장 두드러진 담론의 하나인 정체성의 문제를 국제적 차원에서 탐구하고 자 한다. 권력에 경도된 글로벌리제이션에 대안으로 지역 공동체에 대한 관심이 높아지고 있는데, 우리가 속한 아시아 지역의 문제를 정체성의 시각으로 접근하고자 한다. 세계 지역 중 공동체적 속성이 가장 약한 고리인 아시아가 밑으로부터의 문화적 공감대를 형성하기 시작한 것은 소위 한류에서 비롯된다. 본 연구는 한류 현상을 경제적 혹은 국가주의적 성과로 평가하는 것은 이에 연루된 국제적 차원의 역사적 사회적 복합적인 권력 관계의 본질에 접근하지 못한다는 문제의식에서 출발한다. 본 연구는 구체적 현실에 접근하기 위해 아시아 수용자 연구를 시도하였다. 아시아 수용자 중 가장 유사성이 높은 동아시아에 한정하여 중국과 일본 수용자에 대한 심층 인터뷰를 실시하였다. 수용자 조사에는 특히 현재 높은 인기를 보이는 역사 드라마를 대상으로 하였으며, 이는 장르와 기술의 진보에도 불구하고 이데올로기적 성격이 가장 두드러진 장르이기 때문이기도 하다. 아시아 수용자들이 한국 역사 드라마의 이데올로기를 구체적인 수용 과정에서 어떻게 해독하는지는 흥미 있는 연구문제가 될 것이다. 본 연구에서는 정체성의 문제에 최고의 성과를 보이는 라깡의 이론을 사용하였다. 특히 집단 정체성의 문제를 보기 위해 정신분석학을 사회적 차원으로 확대한 들뢰즈와 가타리의 이론을 기반으로 연구하였다. 또한 집단 정체성을 역사적으로 구현한 민족주의 논의와 이를 극복하기 위한 초국적 민족주의 이론을 보완적으로 사용하였다.