• Korean Journal of Legislative Studies
• /
• v.24 no.2
• /
• pp.67-99
• /
• 2018

This study analyzes the revision bills of the National Assembly Law in the 19th National Assembly in which the National Assembly Advancement Act was enacted, with the question "who are involved in the revision of the procedural rules, and what motivates them?" The cosponsor network analysis focusing on primary sponsors of the revision bills shows that the network was constructed by party affiliations. A small number of members with high degree centrality attempted to cooperate with each other at the cosponsoring stage, but the legislation did not pass through the related committee. In addition, this study tests the four competitive hypotheses (the committee hypothesis, the distributive politics hypothesis, the ideological distance hypothesis, and the partisan affiliation hypothesis) about the motivation to propose amendments by using the regression models which include newly measured variables. Only the committee hypothesis and the partisan affiliation hypothesis are empirically supported. This implies that partisan consideration is still significant in amending the National Assembly Law even after the National Assembly Advancement Act, and thus party leaders' willingness to seek bipartisan compromises is at the heart of problem-solving.

• Journal of the Korean Society of Earth Science Education
• /
• v.14 no.2
• /
• pp.95-111
• /
• 2021

This study introduces the new role of science museums. The practitioners from seven domestic science museums and four overseas ones participated in this study and responded the questionnaires. I identified what kind of science culture programs there are, if those programs were successful or not, and if unsuccessful, what kind of improvements can be made to be successful. The participating practitioners in science museums also developed an ideal and realistic community cooperation-based science culture programs and I explored the role of a new science museum for this purpose. In the case of current science culture programs, the most successful or not was the participation of visitors according to public relations, and the importance of public relations were mentioned as improvements. For a successful community cooperation-based science and culture program, active promotion, pre-operation team, dedicated personnel, open mind, and same purpose of other institutions, the will of both institutions, and economic support sponsors are important variables. In the case of the domestic science museums, the actual development and operation of the program showed that a successful community based program must have cooperation with other institutions in the same region, win-win connections, the dedicated human resources, and that each science museum's strengths were maximized. The science culture programs in the 21st century will enhance the innovative role of science museums making the use of local human and physical infrastructure, reflecting the needs of citizens, taking the initiative in the community, fostering cooperation-based professional human resources, and communicating smoothly with the government or local governments.

• Korean Association of Arts Management
• /
• no.56
• /
• pp.89-117
• /
• 2020

In order to secure sustainable financial resources and to attract more key supporters, today's art museums are trying to further develop individual sponsorship. The purpose of this study is to explore the direction of membership programs by considering membership as the first step for the development of individual supporters for art museums. Although it is not easy to generate substantial profits within a short period through membership, art museums can secure supporters who empathize with and participate in their mission and activities by developing individual supporters through membership. The new trends of support, which has emerged as a stream of "new philanthropy" since the 1990s, indicate that the needs and motivations of individual supporters are changing. This has great implications for the direction of the development and operation of membership programs at art museums. This study investigated the role, method, and direction of the development of individual supporters through membership by conducting a theoretical review and a case study on the membership programs and individual sponsors of art museums. In addition, the study analyzed the cases of the Cleveland Museum of Art, the Art Institute of Chicago, and the Museum of Modern Art in the United States, which have continuously attempted new approaches and improved membership programs based on a long history of membership operation and individual support, by centering on the new attributes of philanthropy, including participation and involvement, accountability, and transparency. Based on the results, implications and suggestions for Korean art museums were derived. Amid the lack of art museums' membership programs and academic research, this study has significance in exploring the direction and prerequisites for membership for the development of individual supporters.

• Journal of Distribution Science
• /
• v.9 no.4
• /
• pp.51-61
• /
• 2011

The concept of Corporate Social Responsibility (CSR) was first introduced sixty years ago in the academic field. However, the phrase CSR was not explicitly stated before the 1990s in Korean business and academic researches. Recently CSR is more considered a corporate strategy than a philanthropic donation. CSR comprises contributions to local communities as well as using environmentally beneficial and humane practices. Sponsoring is one available marketing tactic used in order to communicate with the market. This study of sponsorship has concentrated on developing brand asset by accessing potential values of sporting events or star-players. However, sponsorship includes providing funds or goods to non-profit institutions as well as sports or entertainment organizations. Accordingly corporate community-specific sponsorship is defined as firms offering to provide money, goods and/or services to individuals and/or institutions within a particular community, thus establishing an interdependent relationship between the partners aspiring to gain social and economic assets. National sponsorship is typically targeted toward commonly recognized individuals and/or organizations with the intent to maximize exposure of a sponsor's brand, and is known to positively affect brand equity(community-specific sponsorship is committed to a limited local area) that a firm could benefit from by gaining a specific asset. POSCO sponsors the Jukdo Market, locate dinthe city of Pohang, tohelp revive their traditional market. Inreturn, the Jukdo Market merchant suni on display sflags with the POSCO embleminfrontof stores with in the market intending to make shopper sand merchant saware of POSCO's sponsorship. POSCO has succeeded in acquiring public support from the citizens of Pohang. However, the economic effects resulting from the cooperative relationship between POSCO and the Jukdo Market have yet to be measured by any empirical research. The purpose of this study is to assess the economic effects created by the community-specific sponsorship from the groups of merchants and shoppers, measuring its influence on the corporate image and subsequent brand loyalty, as parts of brand equity. The result of the study shows that the community-specific sponsorship of POSCO of the Jukdo Market had different influences on its corporate image and the brand loyalty of shoppers and merchants. First, the merchant group who was more frequently exposed to POSCO's flag recognized the sponsorship of POSCO more than the shopper group, and, therefore, had a better image of the company. Second, the recognition of POSCO's sponsorship had a positive influence on its corporate image, and that positive corporate image had a positive effect on brand loyalty development. However, the recognition of the sponsorship did not have a direct influence on brand loyalty. The friendly corporate image developed by the recognition of the sponsorship consequently could have had an effect on brand loyalty. Therefore, companies should not relinquish investments to corporate image development if they require more brand loyalty. Third, the influence of corporate image on brand loyalty shows stronger results in the shopper group rather than in the merchant group. Psycho-graphic factors of shoppers and merchants might give rise to the difference between the two groups.

• THE INTERNATIONAL COMMERCE & LAW REVIEW
• /
• v.31
• /
• pp.27-56
• /
• 2006

Today's financial institutions usually take environmental issues seriously into consideration as they could not evade lender liability in an increasing number of cases. On the international scene, a brand-new concept of the "Equator Principles" in the New Millenium has driven more and more international banks to adopt these Principles in project financing. Sustainable development has been a key word in understanding new trends of the governments, financial institutions, corporations and civic groups in the 21st century. The Equator Principles are a set of voluntary environmental and social guidelines for sustainable finance. These Principles commit bank officers to avoid financial support to projects that fail to meet these guidelines. The Principles were conceived in 2002 on an initiative of the International Finance Corporation(IFC), and launched in June 2003. Since then, dozens of major banks, accounting for up to 80 percent of project loan market, have adopted the Principles. Accordingly, the Principles have become the de facto standard for all banks and investors on how to deal with potential social and environmental issues of projects to be financed. Compliance with the Equator Principles facilitates for endorsing banks to participate in the syndicated loan and help them to manage the risks associated with large-scale projects. The Equator Principles call for financial institutions to provide loans to projects under the following circumstances: - The risk of the project is categorized in accordance with internal guidelines based upon the environmental and social screening criteria of the IFC. - For Category A and B projects, borrowers or sponsors are required to conduct a Social and Environmental Assessment, the preparation of which must meet certain requirements and satisfactorily address key social and environmental issues. - The Social and Environmental Assessment report should address baseline social and environmental conditions, requirements under host country laws and regulations, sustainable development, and, as appropriate, IFC's Environmental, Health and Safety Guidelines, etc. - Based on the Social and Environmental Assessment, Equator banks then make agreements with borrowers on how they mitigate, monitor and manage the risks through a Social and Environmental Management System. Compliance with the plan is included in the covenant clause of loan agreements. If the borrower doesn't comply with the agreed terms, the bank will take corrective actions. The Equator Principles are not a mere declaration of cautious banks but a full commitment of lenders. A violation of the Principles in the process of project financing, which led to an unexpected damage to the affected community, would not give rise to any specific legal remedies other than ordinary lawsuits. So it is more effective for banks to ensure consistent implementation of the Principles and to have them take responsible measures to solve social and environmental issues. Public interests have recently mounted up with respect to environmental issues on the occasion of the Supreme Court's decision (2006Du330) on the fiercely debated reclamation project at Saemangeum. The majority Justices said that the expected environmental damages like probable pollution of water and soil were not believed so serious and that the Administration should continue to implement the project seeking ways to make it more environment friendly. In this case, though the Category A Saemangeum Project was carried out by a government agency, the Supreme Court behaved itself as a signal giver to approve or stop the environment-related project like an Equator bank in project financing. At present, there is no Equator bank in Korea in contrast to three big banks in Japan. Also Korean contractors, which are aggressively bidding for Category A-type projects in South East Asia and Mideast, might find themselves in a disadvantageous position because they are generally ignorant of the environmental assessment associated with project financing. In this regard, Korean banks and overseas project contractors should care for the revised Equator Principles and the latest developments in project financing more seriously. It's because its scope has expanded to the capital cost of US$10 million or more across all industry sectors regardless of developing countries or not. It should be noted that, for a Korean bank, being an Equator bank is more or less burdensome in a short-term period, but it must be conducive to minimizing risks and building up good reputation in the long run.

• Korean journal of communication and information
• /
• v.46
• /
• pp.449-484
• /
• 2009

It has been said that Gwangjudream, nevertheless a free press, plays a role as a local press that it should be, in a situation that other local papers do not. This study aims to reveal the forces that influence the article production of Gwangjudream, and to examine the interrelations between them, through using the methods of participant observations and depth interviews. In this course, it is eventually purpose of providing more deep understandings on the present circumstances and problems of the local papers and having a chance to concern the concrete ways to enhance them. This study results in revealing the five forces that primarily influence the article production of Gwangjudream: 1) as a historical force, keeping the spirit of the first publication that look forward to playing a role as a local press that it sound be, 2) as an individual force, the habitus of its members that is critical of mainstream society and culture, 3) as an organizational force, non-hierarchical culture and the independence of the editorial rights, 4) as a habitual force, the deny of beat system, 5) as an economical force, the power of sponsors, financial poorness, and the competition for attracting subscribers. While the historical force and the individual force play a role as fundamental circumstances and the organizational force and the habitual force as practical circumstances for producing articles, they encourage to emerge the characteristics of the articles that are related to citizens' everyday life and reflect locality, and criticize and keep an eye on government and other public offices. However, the economical force provides the circumstances that weaken the characteristics of Gwangjudream. The results of this study question the perspective to overly regard it as coming from their economical weakness that the local newspaper do not play a role as a local press that it should be.

• Journal of Intelligence and Information Systems
• /
• v.26 no.3
• /
• pp.91-108
• /
• 2020

Korea's famous soccer players are steadily performing well in international leagues, which led to higher interests of Korean fans in the international leagues. Reflecting the growing social phenomenon of rising interests on international leagues by Korean fans, the study examined the overall consumer perception in the consumption of uniform by domestic soccer fans and compared the changes in perception following the transfers of the players. Among others, the paper examined the consumer perception and purchase factors of soccer fans shown in social media, focusing on periods before and after the recruitment of Heung-Min Son to English Premier League's Tottenham Football Club. To this end, the EPL uniform is the collection keyword the paper utilized and collected consumer postings from domestic website and social media via Python 3.7, and analyzed them using Ucinet 6, NodeXL 1.0.1, and SPSS 25.0 programs. The results of this study can be summarized as follows. First, the uniform of the club that consistently topped the league, has been gaining attention as a popular uniform, and the players' performance, and the players' position have been identified as key factors in the purchase and search of professional football uniforms. In the case of the club, the actual ranking and whether the league won are shown to be important factors in the purchase and search of professional soccer uniforms. The club's emblem and the sponsor logo that will be attached to the uniform are also factors of interest to consumers. In addition, in the decision making process of purchase of a uniform by professional soccer fan, uniform's form, marking, authenticity, and sponsors are found to be more important than price, design, size, and logo. The official online store has emerged as a major purchasing channel, followed by gifts for friends or requests from acquaintances when someone travels to the United Kingdom. Second, a classification of key control categories through the convergence of iteration correlation analysis and Clauset-Newman-Moore clustering algorithm shows differences in the classification of individual groups, but groups that include the EPL's club and player keywords are identified as the key topics in relation to professional football uniforms. Third, between 2002 and 2006, the central theme for professional football uniforms was World Cup and English Premier League, but from 2012 to 2015, the focus has shifted to more interest of domestic and international players in the English Premier League. The subject has changed to the uniform itself from this time on. In this context, the paper can confirm that the major issues regarding the uniforms of professional soccer players have changed since Ji-Sung Park's transfer to Manchester United, and Sung-Yong Ki, Chung-Yong Lee, and Heung-Min Son's good performances in these leagues. The paper also identified that the uniforms of the clubs to which the players have transferred to are of interest. Fourth, both male and female consumers are showing increasing interest in Son's league, the English Premier League, which Tottenham FC belongs to. In particular, the increasing interest in Son has shown a tendency to increase interest in football uniforms for female consumers. This study presents a variety of researches on sports consumption and has value as a consumer study by identifying unique consumption patterns. It is meaningful in that the accuracy of the interpretation has been enhanced by using a cluster analysis via convergence of iteration correlation analysis and Clauset-Newman-Moore clustering algorithm to identify the main topics. Based on the results of this study, the clubs will be able to maximize its profits and maintain good relationships with fans by identifying key drivers of consumer awareness and purchasing for professional soccer fans and establishing an effective marketing strategy.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.54-88
• /
• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.