• 한국의류산업학회지
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• 제22권6호
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• pp.716-726
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• 2020

This study presents methods and alternative examples for fashion brands to effectively use video-based communication channels to form brand identity that analyzes the definition, status and type of YouTube channel fashion films as well as enables the ability to derive brand identity characteristics. Literature studies focused on Christian Dior's official website and related previous studies. The temporal range of the case studies was from October 7, 2010, the date when the first fashion film was uploaded to current Christian Dior YouTube to July 17, 2020 (the survey date), and there are a total of 550 subjects for quantitative analysis. The succession of the couture spirit means that Christian Dior's craftsmanship was created and passed down by Musée Christian Dior to act as a contemporary key element of brand identity. The iconic expression of femininity is Dior's core design philosophy that began when the woman image of a new era was presented through a new look, and Dior's femininity means a woman that reflects the character of the times as is interpreted as her own personality from the perspective of modernism through the creative directors of future generations. The brand's core identity code 'Miss Dior' expresses the brand's vision and eternity through perfume as well as targets Z generation male consumers through an emotional approach based on forms that used emotional images such as movie-type films.

• 한국콘텐츠학회논문지
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• 제22권7호
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• pp.240-252
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• 2022

가족기업의 승계 개념에 대한 연구가 다방면에서 이루어져 온 반면, 소상공인 가업승계에 대한 논의와 정책적 접근은 거의 이루어진 바 없다. '19년부터 정부차원에서의 소상공인 가업승계 개념에 대한 정책을 수립하여 시행되는 가운데 소상공인 분야에 있어 가업승계에 대한 개념 수립을 위한 연구체계가 필요한 시점으로 볼 수 있다. 따라서 본 연구에서는 가업승계의 기존 논의를 바탕으로 소상공인에 적용하고자 하였으며 결과적으로 소상공인 또한 다른 조직과 마찬가지로 동일한 내적 요인인 기업가 정신과 장인 정신에서 파생되는 요인들이 승계를 지속하는데 중요함을 파악할 수 있었다. 다만, 소규모 조직 특성상 체계화나 조직화 이전의 단계로 인해 발생하는 권한의 모호성과 여러 역할을 수행하는데서 발생하는 역할 모호성이 기존 연구와는 다른 요소임을 밝혀내었다. 본 연구는 소상공인 가업승계에 대한 실증 연구에 앞서 소상공인 가업승계에 대한 정의와 개념화를 사례를 통해 제시함으로서 해당 분야의 연구 필요성에 대한 기초를 제시하고자 하였다.

• 영어영문학
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• 제56권2호
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• pp.219-236
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• 2010

As a poet, a reviewer of books, and an editor of a major literary journal, Marianne Moore participated in aesthetic revolution which invented the American poetry of the twentieth century. Of all the modernists, she was one of the few truly technical originals, and became an endearing mascot of poetry. Innately attentive to detail, Moore wrote a myriad of poems about animal and plant subjects, and set out to develope and secure her own particular paradigm for modernist poetic and the poetry of objective and scientific description. Foregrounding a mind scientifically trained, Moore used her verse to demonstrate a means by which to see the reality beyond the obvious. Ironically enough, however, a central difficulty with understanding Moore's poetry lies with her concern for such scientific or surface description and precision. In order to understand Moore's poetry fully, it is of special necessity to appreciate relativity among the seemingly disparate entities such as science and literature, as Moore herself did. This paper explores the way in which the poetic techniques of Moore substantiate her sense of morality that underlies the creation of her poetry. Rather than merely addressing her artistic genius or craftsmanship as a modernist poet, Moore's methods engage the power of imagination, magic, lifting the human spirit and eschewing anthropocentric perspectives. For Moore, the poet's magic comes by diligence. In so doing, as I would argue here, Moore draws on the nature of language, especially what Bakhtin insisted with his notions of polyphony and carnival. By introducing openness to various perspectives and meanings in her verse, Moore succeeds in maintaining her own sense of creativity while continuing to acknowledge morality. In a similar skein, her use of active verbs in animal poems and the kaleidoscopic descriptions demonstrate how Moore accommodates imagination and reality, and form and content.

• 수완나부미
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• 제6권1호
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• pp.27-65
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• 2014

Flourishing in the Central Dry Zone of Burma during a period from the mid-eleventh to the late-thirteenth century A.D., the historical kingdom of Pagan was one of the major Buddhist centers in Southeast Asia. The significance of Pagan as an important pilgrimage site of the region, where numerous relics of the Buddha were enshrined, had been maintained until long after the fall of its civilization. It is evident that the artistic influences of Pagan, particularly in the architectural and decorative domains, had been transmitted to various other Buddhist civilizations in the area. This study provides a detailed analysis on the relationships between the mural tradition of Pagan and those of its neighboring civilizations in Thailand-of the Ayutthayā, Lānnā and Sukhothai schools-dating from after the Pagan Period in the fourteenth century to the sixteenth century. Surprisingly, as the analysis of this study has suggested, such relationships seemed to be trivial, more on a minor stylistic basis than on substantial ideological and iconographic grounds. They suggest that transmission of the complex idea and superb craftsmanship of the mural tradition would not have been maintained adequately at Pagan after its civilization, probably due to the lack of royal patronage. It would have been extremely difficult for foreign pilgrims who visited Pagan after its dynastic period to appreciate the surviving murals of this lost tradition in terms of their complex programs and associated symbolism. Also, there had been a new center of the Sinhalese Buddhism firmly established in the Martaban area of lower Burma since the mid-fourteenth century that outcompeted Pagan in terms of supplying the new Buddhist ideas and tradition. Its fame spread wide and far among the Buddhist communities of Southeast Asia. Later, these Buddhist communities also established direct contact with Sri Lanka. The Sukhothai murals and the Ayutthayā murals in the crypt of Wat Rātchaburana, dating from the fourteenth/fifteenth century, show obvious Sri Lankan influence in terms of artistic style and Buddhist iconography. They could be a product of these new religious movements, truly active in Southeast Asia during that time.

• 한국의상디자인학회지
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• 제19권2호
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• pp.29-37
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• 2017

Due to the pursuit of individuality by modern consumers, the day has come when it is hard for design to be sustained solely by external beauty. Accordingly, products with the psychological value and brand stories are appearing, so that products that reinterpret traditional crafts are now being appreciated for their merits. Handmade goods defined as new luxury goods or products of high-quality craftsmanship are being used to enhance the consumer's individual image, and has created an unprecedented consumer stratum structure. Japan is one of the countries that actively applies traditional crafts to contemporary design and this study aims to investigate cases that are being reinterpreted in modern fashion in the theme of Boro, which is not as well known among Japanese traditional crafts. The purpose of this study is to offer basic data for designers by investigating the cases of the reinterpretation of traditional crafts. In addition, in reinterpreting traditional crafts into other fields, it is regarded as a meaningful way to contribute to a variety of other ideas. As the research method, first, the definition and kind of Boro were investigated utilizing the related literature information about the traditional fabric of Boro, which is the starting point and basis of the research. Second, Japanese aesthetic sense defined in the previous research was classified and the relationship of the anti-decorative aesthetic sense and Boro investigated. Third, after classifying the reinterpretation cases of Boro that have appeared in four major fashion collections and designer brands from 2011 to 2016 by the selected aesthetic sense, its characteristics were investigated. The search for examples of the reinterpretation of Boro uses the results of the keyword search of Boro and Boro Fashion via the internet search engine Google from April 2016 to December 2016. In addition, the search results were selected on the basis of whether the designer specified borrowing from Boro or whether Boro on the collection order was included or not. In addition to introducing an unknown fabric craft, this study also raises the methodological problems of the reinterpretation of traditional crafts. Products containing psychological value are expected to come into the spotlight in the upcoming consumer market. Therefore, as a follow-up study, it is suggested to research examples in which various crafts are being applied as products before one knows, how this creates new originality, and the limitations involved in this.

• 디자인학연구
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• 제19권5호
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• pp.383-394
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• 2006

2005년, 자신의 디자인 활동 50주년을 자축하며 조르제토 쥬지아로(Giorgetto Giugiaro)는 페라리 GG50을 발표했다. 그는 약관 17세에 디자이너로 입문한 이후, 창조성과 디자인 방법론 그리고 기술의 만남를 세련되게 조화시켜 세계적인 디자인혁신을 이룩한 대가(Master)로 알려져 왔다. BO세기를 대표하는 최고디자이너, 상업적으로 가장 성공한 디자이너 등 그에 대한 업적과 특별한 재능에 대한 명성은 그동안 그가 세계각처에서 수상한 수많은 공로상을 통하여 입증되고 있다. 그러한 이면에는 이탈리아디자인을 독특하게 주도해온 원천인 첨단기술과 최상의 장인의 결합으로 독창적인 아이디어를 가능하게 하였던, 쥬지아로가 설립한 '이탈디자인(Ital design)'의 카로체리아 활동을 통하여 찾아볼 수 있다. 자동차디자인으로 시작된 이탈디자인은 점차 산업디자인 전반에 걸친 영역확대를 통하여 무한한 창의적 아이디어를 발산하며 유럽을 비롯한 전 세계로 그 사업규모를 확대하여 큰 성공을 이루었다. 1999년부터 이탈디자인-쥬지아로 그룹으로 확장한 이래, 전 세계에 12개의 회사를 소유하고 있으며, 운송수단의 완벽한 기술자문을 위해 필요한 모든 서비스를 구매자 중심의 조직체계로 갖추어 왔다. 첫번째 중요 프로젝트였던 1971년의 알파로메오 알파수드(Alfa Romeo Alfasud)로부터 시작하여 지난 35년 동안 국제적인 수준의 중요한 자동차 제작회사들이 생산한 4천만대의 자동차를 위해 100가지가 넘는 디자인을 제작하였다. 그의 업적 중에 많은 부분이 대량생산제품 디자인이 차지하고 있는 바와 같이, 쥬지아로 디자인의 핵심은 합리성을 추구하는 기능적 디자인으로 단지 겉모양의 아름다움의 차원을 넘어선 생산의 한 수단으로의 역할을 실천하였다. "나는 내가 디자인한 상품의 첫 번째 고객이 되기를 원한다." 라고 했듯이 그의 디자인은 작품제작에 있어서 고객이 함께 참여하여 그들의 요구를 달성하기 위한 해결책을 얻어내는 상호보완적인 결과를 추구한다. 그가 디자인하는 작품은 전형적인 이미지를 내포하지 않는다. 즉 그의 작품은 기존의 가치와 이념적인 것은 배제하고, 창의적인 개념을 도출하였다.

• 산업경영시스템학회지
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• 제4권4호
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• pp.43-61
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• 1981

Interest in the Quality of working life is spreading rapidly and the phrase has entered the popular vocabulary. That this should be so is probably due in large measure to changes in the values of society, nowadays accelerated as never before by the concerns and demands of younger people. But however topical the concept has become, there is very little agreement on its definition. Rather, the term appears to have become a kind of depository for a variety of sometimes contradictory meanings attributed to it by different groups. A list of all the elements it if held to cover would include availability and security of employment, adaquate income, safe and pleasant physical working conditions, reasonable hours of work, equitable treatment and democracy in the workplace, the possibility of self-development, control over one's work, a sense of pride in craftsmanship or product, wider career choices, and flexibility in matters such as the time of starting work, the number of working days in the week, Job sharing and so on altogether an array that encompasses a variety of traditional aspirations and many new ones reflecting the entry into the post industrial era. The term "quality of working life" was introduced by professor Louis E. Davis and his colleagues in the late 1960s to call attention to the prevailing and needlessly poor quality of life at the workplace. In their usage it referred to the quality of the relationship between the worker and his working environment as a whole, and was intended to emphasize the human dimension so often forgotten among the technical and economic factors in job design. Treating workers as if they were elements or cogs in the production process is not only an affront to the dignity of human life, but is also a serious underestimation of the human capabilities needed to operate more advanced technologies. When tasks demand high levels of vigilence, technical problem-solving skills, self initiated behavior, and social and communication skills. it is imperative that our concepts of man be of requisite complexity. Our aim is not just to protect the worker's life and health but to give them an informal interest in their job and opportunity to express their views and exercise control over everything that affects their working life. Certainly, so far as his work is concerned, a man must feel better protected but he must also have a greater feeling of freedom and responsibility. Something parallel but wholly different if happening in Europe, industrial democracy. What has happened in Europe has been discrete, fixed, finalized, and legalized. Those developing centuries driving toward industrialization like R.O.K, shall have to bear in mind the human complexity in processing and designing the work and its environment. Increasing attention is needed to the contradiction between autocratic rule at the workplace and democratic rights in society.n society.

• 천문학논총
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• 제28권2호
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• pp.25-36
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• 2013

Chumsungdae is an ancient astronomical observatory whose main role was doing 'chunmoon'. It was administrate by a royal advisory agency on state affairs. The observers observed the heaven on the observatory platform, recorded peculiar events, and watched and interpreted the signs displayed in the heaven. Chumsungdae is an stonemasonry which represents almanac principles with its peculiar shapes and the numbers of strata and stones. The numbers were thoroughly invented to match exactly the almanac constants. Chumsungdae is comprised largely of three main parts, namely the square base, the stratified cylindrical body, and the top #-shaped stonework, and the total number of stones is 404. The number of the strata (27) and the height of the cylindrical body (27 尺) stand for the days in a sidereal month (27.3 days), which implies that the motion of the Moon with respect to the stars was given more priority than to the Sun at that time of geocentricism. And the cylindrical body was thoroughly designed to consist of 365 stones, which is of course the number of days in a solar year. In addition, there are 12 strata each under and above the south entrance and this in sum makes the 24 divisions of the year. Also there is 182 stones below the 13th stratum and this represents the number of days in the winter ~ summer solstice period, and the rest 183 stones the vice versa. The #-shaped top stonework was aligned in such a way that one of the diagonals points the direction of sunrise on the winter solstice. The square base also layed with the same manner. The south entrance was built 16 degrees SE, and the upright direction of the right pillar stone coincides with the meridian circle. This was a kind of built-in standard meridian circle facilitating the observations. In a symbolic sense, Chumsungdae was thought as the tunnel reaching the heaven, where the observers wished to be enlightened with the signs and inspirations in need. With the craftsmanship and skill, the builder reinforced the stratified cylindrical body with two sets of #-shaped beam stones, piercing at a right angle at 19th ~ 20th and 25th ~ 26th strata. Likewise, by placing the double #-shaped stonework with 8 beam stones on the platform of the observatory, both the stability of the stonemasonry and a guard rail for the nightly observers were securely provided.

• 자연과학논문집
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• 제12권1호
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• pp.85-101
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• 2002

본 소고는 한국의 시대와 종교에 입각한 경관형성변화를 개관하고 조형방식의 역사적 변천과정을 고찰하면서 신개념의 조경 중심사상 구축을 위한 대안을 모색하였다. 미와 환경에 조화되는 경관조성을 시도하고 이를 통해 한국의 조경을 새로운 시각에서 재조명하였다. 또한 이를 종교적 차원으로 승화시키기 위한 자리메김의 가능성도 검토하였다, 경관이라는 개념을 시대와 장소에 따라 변화되는 의미를 탐색하고 경관을 통해 인간이 감각될 수 있는 상황적 인식을 추정하였다. 본 소고를 통해 한국적 조경의 위치와 이를 근거로 민족의 사상 및 종교와 연관된 새로운 조경문화의 발전방안을 논의하였다.

• 헤리티지:역사와 과학
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• 제44권4호
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• pp.4-17
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• 2011

외고산 옹기마을은 옹기산업사적 의의와 더불어 문화유산으로서의 가치가 공존하고 있는 특징을 보이고 있다. 그러나 마을은 오랜 동안 개발제한구역으로 지정된 탓에 개발에 따른 제약으로 옹기작업 환경이 열악하였다. 2000년대 들어 참살이에 대한 관심고조와 옹기장의 지방문화재 지정 등으로 옹기의 문화적 가치 인식이 높아지는 상황에서 울산광역시와 울주군은 지역 관광자원으로서 외고산 옹기마을을 주목하였다. 먼저, 문화관광자원화사업을 통해 마을의 환경을 개선하였으며, 옹기축제의 적극적 참여를 통해 축제의 외형적 성장을 이루었다. 그리고 마을의 옹기장들을 울산광역시 무형문화재로 지정하였다. 이러한 일련의 활동은 마을의 활성화를 위한 노력이었으나 문화관광자원화사업의 경우 관광자원화에 초점이 맞춰지다보니 옹기장의 작업여건을 충분히 고려하지 못하여 오히려 이전보다 작업여건이 불편해지는 결과를 가져오기도 하였다. 다음으로 옹기축제의 경우는 행사 규모나 방문객 등 외형적 성장을 이뤘으나 축제의 정체성이 다소 약화되고 장인들의 참여가 소극적으로 되는 결과를 가져왔다. 마지막으로 무형문화재 지정은 각 옹기점의 생산규모나 산업화 정도를 무시한 일방적 결정으로 옹기장들은 그들 특유의 경쟁관계와 더불어 무형문화재 유지와 해제라는 갈등관계에 놓이게 되었다. 지방자치단체의 문화행정은 해당 무형유산에 미치는 영향이 크기 때문에 무형유산 커뮤니티로서 지방자치단체의 바람직한 역할과 기능에 대해 모색할 필요가 있다.