• 한국콘텐츠학회논문지
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• 제22권5호
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• pp.223-234
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• 2022

본 연구는 조직내 구성원들의 일에 대한 의미 인식과 이직의도 간의 관계를 실증함과 동시에 일-가정 촉진 노력의 조절효과를 분석하였다. 이를 위해 부산지역의 중소기업 근로자 143명을 대상으로 설문조사를 통해 자료를 확보하였으며 그 결과를 분석에 활용하였다. 연구 결과, 첫째, 조직내 구성원들이 자신의 일에 대한 의미와 가치를 긍정적으로 인식하는 경우 이직의도와는 부(-)의 관계를 확인할 수 있었다. 또한 조직내 일-가정 촉진의 노력이 이 과정에서 조절효과를 보이고 있는 것을 확인하였다. 이러한 결과를 토대로 다음과 같은 시사점을 도출하였다. 첫째, 중소기업의 경우 대기업과 비교하여 다소 미흡한 처우 및 복리후생제도를 운영하게 되므로 조직의 성장 가능성 및 일에 대한 기술적 우위와 의미 등을 더 많이 인식할 수 있게끔 각종 인사제도설계 및 운영에 관심을 두어야 할 것이다. 특히, 급격히 성장하는 중소기업의 경우 일-가정 촉진에 대한 제도적 지원이 미흡할 수 있는데 이를 좀 더 활성화 할 수 있는 제도 도입 및 운영의 중요성을 제시하였다.

• 디지털융복합연구
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• 제16권8호
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• pp.117-128
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• 2018

중국의 급속한 경제 성장은 지속되고 있으나 창의성 측면은 아직 요원하다. 중국 기업의 관리자들은 직원들이 보다 효율적으로 업무를 수행할 수 있도록 장려하는 노하우가 아직 부족하다. 한편 중국 기업에서 일하고 있는 대부분의 직원들은 자신의 업무에 몰입하지 않을 뿐만 아니라 때로는 자신의 업무가 의미가 없다고 생각하는 경우가 많다. 이러한 배경에서 변혁적 리더십은 중국 IT 기업에서 중요한 역할을 할 수 있다. 본 연구의 목적은 중국 심천에 소재한 IT기업에서 근무하는 직원들을 대상으로 업무 및 업무 참여의 의미에 대한 인식을 통해 변혁적 리더십이 직원의 창의력에 미치는 영향을 조사하는 것이다. 이를 위해 사례 IT기업에 근무하는 직원들을 대상으로 광범위한 설문조사를 실시하여 140개의 유효 데이터를 수집하였다. 자료의 통계분석은 SPSS와 AMOS를 이용하였다. 분석결과 일과 노동 참여의 의미를 통한 변혁적 리더십이 직원의 창의력에 유의한 영향을 미치는 것으로 나타났으며 이에 대한 학술적, 실무적 시사점을 제시하였다.

• 한국실내디자인학회논문집
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• 제17권1호
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• pp.84-92
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• 2008

In the Relationship between exhibition space and art work in museum, new paradigm has being presented from 1990' s as a turning point. Even if the formal exhibition space that emphasizes itself as a background has currently being continued, the informal exhibition space is coming to the new art museums, especially after 1990's. This study is to understand how the advent of informal form of space in an exhibition of art museum makes a new paradigm in the relation between the exhibition space and art work in conjunction with public's perception after 1990' s that is identified to the time of Pluralism. To do this, the study raised a question on how the public perceive the relation between space and art work through photographs that contain the information on relation between space and art work. And the questionnaire performed through the curators who are working for art museum, students who studies fine art, students who studies design and public who comes to art museum. After survey through this questionnaire, it is made clear that the informal form of space simply has played a role of background since the beginning of art museum. In other hands, the informal form of space that is mainly presented after 1990' s begins to interrupt the public's perception of art work, changing it's meaning through a spatiality.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2008년도 춘계학술발표대회 논문집
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• pp.74-77
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• 2008

In the relationship between exhibition space and art work in art museum, the Pluralism on the late of the 20th century made the new form of exhibition space to be appeared on the stage. Even if formal exhibition space that emphasized itself as a non-spatial background is currently being continued, the informal form of exhibition space is coming to the new art museums, especially after 1990's. This study is to understand how the advent of new designed the informal form of exhibition space in the Glytothek museum(the formal form of exhibition space) design a new paradigm In the relation between the exhibition space and art work in conjunction with public's perception. To do this, it is made clear that the Glytothek museum(the formal form of exhibition space) simply has played a role of non-spatial background. In other hands, the new designed informal form of exhibition space that is mainly presented after 1990's begins to Interrupt the public's perception of art work, changing it's meaning through a spatiality.

• 디자인학연구
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• 제15권4호
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• pp.169-176
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• 2002

All kinds of artwork, including multimedia and digital image that has been subliminated into an af mediating two numbers 0 and 1 in recent age, are self-sufficient and autonomous in themselves. Nevertheless, each of those artworks can be realized as a real entity only if its appreciator is capable enough to explore some potential meaning out of it through his or her own perceptual work. According to Mikel Dufrenne, an artwork is composed of three existential tiers: "le sensible" or the sensible material; "fe representation" or the subject(le sujet), and "1′expression." Dufrenne contends that our esthetic perception can be realized by way of three steps that are comparable to those three tiers: perception of the presence of the body("le sensible"), contemplative perception by way of imagination("le representation"), and reflective perception ("1′expression") as a result of dialectics of sense and sensibility. This paper argues on the aesthetic perception with regard to digital image expressed by two numbers 0 and 1, putting focus on the epistemological role of sensibility(감) that explores "1′expression" a la Dufrenne.

• 한국콘텐츠학회논문지
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• 제16권7호
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• pp.190-206
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• 2016

이 연구는 생명보험설계사의 직업적 안정과 고성과 및 고소득 창출을 위한 직무경험 의미의 탐색이다. 연구방법은 영업현장에서 활동 중인 생명보험설계사 6명을 연구 참여자로 선정 후 그들의 직무경험 의미 탐색을 위해 내러티브접근 연구방식으로 수행하였다. 연구결과 생명보험설계사의 직무역량 인식수준은 경험의 차이에 따라 달랐다. 경험이 전무 한 후보자 시절에는 생명보험설계사의 직무를 누구나 할 수 있는 일이라고, 입문교육을 마친 신입설계사는 상품지식과 컨설팅능력을 갖춰야 할 수 있는 일로, 그리고 경험이 쌓일수록 고객을 대하는 훌륭한 태도와 꾸준히 일하는 습관이 형성되어야 설계사로서 성공할 수 있다는 그들의 인식을 확인하였다. 또한 생명보험설계사가 느낀 직무경험 의미는 직업의 가치 인식과 사명감으로 봉사하는 일이라고 판단하였고, 그들의 성공적인 직무활동 기대요인은 스스로를 교사, 의사, 천사의 역할 수행 및 개인과 가정의 경제적 안정을 지키는 행복전도사로 인정을 받고, 이를 위한 전문 봉사활동가로 직무역량을 과시하고자 함을 기대하고 있음이 탐색되었다.

• 한국직업건강간호학회지
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• 제30권3호
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• pp.132-143
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• 2021

Purpose: The study aimed to explore experiences of the posttraumatic growth (PTG) in firefighters with repeated exposure to traumatic events. Methods: Participants were 11 firefighters from two fire departments, who had experienced more than one critical trauma events. Data were collected through personal interviews from August to October 2020 and analyzed by Colaizzi's phenomenological methods. Results: The PTG experiences were derived into four categories: 'growth in self-perception', 'rediscovery of the meaning of life', 'deep interpersonal relationships', and 'discovery of the meaning of work'. Conclusion: These findings could be used as basic information for developing PTG program for firefighters such as logo-therapy, semantic therapy, and self-disclosure intervention using expressive writing and speaking.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2001년도 춘계학술발표대회 논문집
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• pp.95-99
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• 2001

This study aims from being meaning of centrality to possibility of space composition in the Contemporary Interior Space os forming of center and way of being. There it is studied analysed architect's work on character of certrality. This study mentiones not as analysis of location and perception aspect on uabanism but as various forming and changing in the contemporary interior space composition. it is definitioned as centrality in architecture space which is base in the course of congiting and organizing and is core space in forming area, It is moaned not as Euclidean plan but as three demeasional vector space in space express architectual space exists except for perception of human and takes center and direction in perculiarly.

• 한국산업보건학회지
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• 제22권4호
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• pp.293-300
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• 2012

Objectives: In chemical hazard communication, information receiver's perception is a important factor, but the study on the perception was few. Therefore, this study evaluated the perception of managers and workers group about chemical hazard communication by chemical hazard communication tools that were being used in fields. Methods: 91 managers and 238 workers were surveyed in two companies where use chemicals. All subjects were asked about the comprehensibility and perception for MSDS and GHS Pictograms being used in their workplaces through face-to-face interviews. Results: Most of the respondents knew MSDS, and more than half of the respondents had used MSDS once or more per year. The level of use to find the information on chemicals with MSDS was higher in the managers in comparison with workers. Also, the managers could understand and find the information on MSDS easier(p < 0.05). In the question asking the meaning of GHS Pictograms, the managers responded more correctly, as well(p < 0.05). 86.8% of the managers and 62.6% of the workers were conscious of the possible health hazards of chemicals that they could be exposed at work. However, among the respondents conscious of the health hazards, only less than 70% were well aware of the contents of the health hazards correctly. Conclusions: In chemical hazard communication, it is very important to evaluate whether information receiver have proper and correct knowledge and perception or not and actions based on the evaluations as well as provide correct information.

• 한국실내디자인학회논문집
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• 제21권5호
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• pp.145-152
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• 2012

Since 1966 when James Turrell completed his studies on Art, he has been working on the consistent theme of Art. For the 46 years of time, site contexts, scales, methods of light have been changed and they made Turrell's unique 'project series'. Each series has different spatial, visual-perceptual forms and characteristics from other series. The differences were caused by the given situations, but also Turrell intentionally pursued it. However, there are essential theme of art that has not changed in most of Turrell's projects. Target of this paper is to study the unchanged theme as well as the differences. The study starts with three questions: first, what is the geometrical space composition?, second, what is the visual-perceptual phenomenon?, third, what is the hidden consistent theme? This research focuses on three case projects: Wedgework, Space Division Constructions, Skyspaces. These project series are in between the early small object-like installations and the late mega-scale outdoor projects. The study found that geometrical space composition has important role to give visual-perceptual dynamism to the viewer. The phenomenological perception is connected to the questions of relationship between human and space, ultimately human and the world. Although the Merleau-Ponty's philosophy has been related to the work of Turrell in various previous studies, Cartesian 3-dimensional geometry has also crucial role to experiment a viewer's perceptual boundaries. Image of infinity is another aspect of three cases, especially Space Division Constructions and Skyspaces. Through these structure, Turrell's work lead to an ultimate question of meaning for human existence in infinite space. It is hoped that this paper is helpful for Architecture and Interior design field in which light and space are essential.