• The Journal of Asian Finance, Economics and Business
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• 제7권9호
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• pp.747-753
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• 2020

This study aims to interpret the meaning of a successful entrepreneur from the perspective of women entrepreneurs in Malang, Indonesia. This research offers a phenomenological approach using purposive sampling. Data was collected by in-depth interviews using structured questionnaire with registered women entrepreneurs in Malang obtained from MSMEs (micro small and medium-sized enterprises) entrepreneurs. The 'continually developing' is one of the meanings of a successful entrepreneur. This study also found that success is when what women do can be useful to others. Besides, the meaning of success has two criteria, i.e., when they can meet their needs (individual satisfaction) and social performance as a goal to be achieved by entrepreneurs. The motivation of women entrepreneurs to establish their venture was not only financial returns, but also personal satisfaction, which was also the indicator of entrepreneurial success for women. This study has several limitations. First, our sample size is too small and consists of entrepreneurs that have an average age above 40 years. Hopefully, further research will be able to generalize our findings to a broader sample in various industries outside the city of Malang. As our research shows, the criteria and meaning of success may be different for a larger sample of entrepreneurs.

• 한국실내디자인학회논문집
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• 제24권6호
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• pp.87-95
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• 2015

Aldo Van Eyck and Herman Hertzberger explained 'In-between space' as an intermediate space between opposite elements such as whole and parts, inside and outside, open and close, central and decentral. From this idea, the meaning of 'in-between space' has developed and applied to works of Bernard Tschumi and Sou Fujimoto. In this study, the meaning of 'in-between space' was compared and analyzed based on two architects' works to reveal the design approach in terms of 'in-between space' Final Wooden House, N House, and Serpentine Gallery Pavilion among Sou Fujimoto's work were selected and Le Fresnoy, Lerner Student Center, and Acropolis Museum among Bernard Tschumi's work were selected to analyze. To understand their design approach, their works were compared and analyzed in architectural attitude, tools, construction style and the approach, concept, theme, relation, direction of in-between space. As a result, Sou Fujimoto uses 'in-between space' as a nebulous approach as intermediate space between opposite elements. For Bernard Tschumi, 'in-between space' is also an intermediate space to emphasize and make a tension between opposite elements. It is a method of solving the contradiction condition between old city environment and new architecture.

• 건축역사연구
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• 제14권3호
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• pp.53-76
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• 2005

Through a field study of the folk houses, 'Closed ㄱㄴ Type' in Goyang-si, Gyonggj-do, focused on the dweller's life by the method of ethnographic interview, observation, and physical survey. L and opposite L type of inner and outer buildings form a closed inner court, and innermost backyard for woman is enclosed by fence. Form and space of the house contains dweller's traditional life. Outer space of a front gate becomes semiprivate space, for thrashing and piling up harvest and raising vegetables and pigs. Confucius principle does not fully dominate dweller's life of ancestral rite at Daecheong floor, and separation of man's and woman's quarter. Superstitious worship activities took place for lord of site and house. In everyday life, Anbang, inner main room, is assigned for parent's quarter instead of woman's quarter, and Geornbang, next room, was for son's family. Anbang has symbolic meaning for a place of deathbed. House contains agricultural activities, crop harvesting, thrashing, putting into storage, hulling rice, and keeping grain near kitchen. At present, rooms are needed more; sheds are made into rooms, rooms are enlarged toward outside, half outside space like Daechong floor becomes interior space by sash screen. And modern facilities of kitchen and bathroom are equipped for convenience. At the end, meaning and generative principle of those forms are discovered.

• 비교문화연구
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• 제26권
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• pp.405-444
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• 2012

This paper is based on the view that film should be conceived as a form of cultural practice whose meaning is always in the process of being produced within diverse socio-cultural contexts and aims to examine the ways in which the meaning of Korean film is (re)mediated or received in diverse cultural contexts outside the country. In this paper, we employ two theoretical grounds. Firstly, it positions itself in line with the audience studies within the field of cultural studies where the audience is conceived as active agents who produce the meaning of a popular culture text. The recruitment of the theoretical propositions from the audience studies enables recognition of the significance of the reception in film practice which recently seems to be oriented on production and distribution. Secondly, we conceive transnationality of film as that which is being produced in the process of transaction between the film and the audience, that is to say, transnationality is a form of discourse that emerges upon cultural interaction. The empirical work involves examination of a set of reviews of four films--Chihwaseon, Oldboy, Thirt, Poety--that have been published in daily newspapers and some popular film magazines in the U. S., the U. K. and France. Through the analysis of the film reviews, we identify four interpretive schemes or rather discourses recruited via which the Korean films are approached and understood: auteurism, formalism, universal themes, emotional response. We propose that these four kinds of discourse provide a common ground for the audience from different cultural backgrounds to understand Korean film. Furthermore, we also suggest that transnationality of Korean cinema needs to be reconsidered in terms of the reception as the audience from different socio-cultural backgrounds should be understood as active agents who are capable of engaging in Korean cultural texts such as film in their own way producing various meanings and these are also constituent of the meaning of the cultural texts.

• 토지주택연구
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• 제13권4호
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• pp.91-103
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• 2022

주거는 현실세계에서 중요한 의미를 가진다. 그에 비해 메타버스의 주거는 다양한 메타버스 서비스 플랫폼들에서 만들어지고 있으나 아직까지 다른 건축 유형들에 비해 관심이 부족하다. 본 연구는 주거의 의미, 유형과 특성에 기초하여 현실세계의 주거 모델을 바탕으로 메타버스 주거의 개념을 확립하고 발전 방향을 모색하고자 한다. 이를 위해 선행연구 조사, 기존 주거 모델 분석, 메타버스 주거 사례 연구 및 설문조사를 실시하였다. 또한 분석된 내용을 토대로 물리적, 사회적, 개인적 모델을 포함하는 메타버스 주거 모델을 제시하였고, 물리적 모델의 공간 꾸미기 및 피난처 특징과 개인적 모델의 자기표현 특징을 메타버스 주거를 가장 잘 나타낼 수 있는 특징으로 파악하였다. 본 연구의 결과가 향후 메타버스 가상세계 연구 및 서비스 플랫폼 개발에 도움이 될 수 있을 것이라 기대한다.

• 동양고전연구
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• 제35호
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• pp.101-133
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• 2009

청초(淸初)의 시인(詩人), 시론가(詩論家)로서 청(淸) 사대(四大) 시학(詩學) 중 하나인 신운설(神韻說)의 창도자(唱導者)로 알려진 왕사정(王士禎)은 50년 넘게 청초(淸初) 시단(詩壇)의 영수(領袖)로 활약한 인물이다. 그는 통시적(統時的)으로는 종영(鍾嶸)의 "시품(詩品)", 엄우(嚴羽)의 "시화(詩話)", 서정경(徐禎卿) 의 "담예록(談藝錄)" 등 위진(魏晉)부터 명(明)에 이르는 주요 시학(詩學)들의 성과를 통합하고 공시적(共時的)으로는 청원(淸遠)/호건(豪健), 종당(宗唐)/종송(宗宋), 완약(婉約)/호방(豪放), 북송사(北宋詞)/남송사(南宋詞)와 같은 당대(當代) 문단(文壇)의 쟁점들을 통합함으로써 자신의 통합적 시학(詩學)을 완성하였다. 이 과정에서 그의 변함없는 목표는 역시 특정한 가치에 함몰되지 않고 절대적이며 객관적인 기준 위에서 문학 본연의 가치를 구현하는 것이었다. 그 기준과 가치의 제공은 역시 신운설(神韻說)이 그 원천이 되었고 구체적으로는 '불저일자(不著一字), 진득풍류(盡得風流)', 미외지미(味外之味), 흥회(興會), 자연(自然), 아정(雅正) 등이 각각 역할을 담당했다. 또한 그의 신운설(神韻說)은 몇 가지 시품(詩品)만을 편파적으로 추켜세우는 대신, 각 시품(詩品)이 적절하고 완벽한 경지에 이르면 보편적으로 얻는 본연(本然)의 정신적 특성으로 '신운(神韻)'을 귀결지음으로써 객관적, 보편적 차원에서 그 통합성을 강화하였다. 아울러 신운설(神韻說)은 그의 시론(詩論)과 사론(詞論)을 통합하는 작용도 했다. 왕사정(王士禎)이 미학 이론으로서의 신운설(神韻說)을 성립, 발전시키는 과정에서 그의 시론(詩論)과 사론(詞論)이 상호독립적으로 윤곽을 갖추는 동시에 상호영향을 주고받았으며, 나아가 거꾸로 양자(兩者)가 신운설(神韻說)을 심화시킨 것이다. 이상과 같이 성립된 왕사정(王士禎)의 통합적 시학(詩學)은 시(詩)와 사(詞)에 대한 실제 비평에서도 특정 작가나 조대(朝代), 유파(流派)에 대한 편견에 빠지지 않고 각각의 장점을 보고 취사선택하는 객관적 감식안을 발휘하였다. 이로써 왕사정(王士禎)의 통합적 시학(詩學)은 거의 반 세기 동안 청초(淸初) 문단(文壇)을 주도하고 청(淸) 사대시학(四大詩學)의 선성(先聲)이 될 수 있었다.

• 한국주거학회논문집
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• 제25권6호
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• pp.101-109
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• 2014

It was early in the $20^{th}$ century when the space was begun to say through the mutual circumstances of form and contents. Adrian Forty explained that the characteristics of space can be divided into three steps by the period: a space of enclosure, a space as continuum and a space as an extension of the body. And there is common condition that all three spaces are accompanied by the form. In the new thinking of architectural form in terms of text in modern society, architecture becomes to more complex to understanding. Saying that there is nothing outside text (Il n'y a rien en dehors du text.) in the world, Jacques Derrida insisted the world to be texted and not to be special centrality, where can be existed by difference and delay its meaning. Text is the structural meaning (sign), not a metaphorical one (symbol). Without the symbol, the architecture can be recognized as text with signing to the form. For that, there is a question how can be explained the space in terms of text extracting the meaning and the symbol. Absolutely not intended by Mies van der Rohe, but in his works of houses and pavilion, its characteristics and traces of text can be seen. If it is possible to analyse his works in the textual view, space of Mies will be found in the same direction of text. And it will be an important opportunity to re-evaluate the space of Mies works standing in the heart of Modern Architecture.

• 한국지역지리학회지
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• 제17권5호
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• pp.554-567
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• 2011

창조도시가 도시 발전의 패러다임으로 점차 받아들여지는 가운데, 창조도시를 구성하는 주요 개념들 창조성, 창조계층, 창조산업 등의 의미를 살펴보았다. 창조도시의 개념에 관해서 지역 및 국가 간 다소 다르게 적용되고 있다는 점에서 관점의 차이가 나타난다. 본 연구는 상대적으로 창조도시에 관한 의미가 잘 부각되지 않는 국내의 중소 도시, 경북 북부 지역을 대상으로 그 의미를 파악하고자 하였다. 특히 창조산업의 의미가 지역의 자연, 농 특산품, 문화 역사적 자원의 관광자원화를 바탕으로 점차 문화, 체육 분야로 확대되어 나가고 있음을 확인할 수 있었다. 반면에 창조성의 의미가 그 지역의 자원을 활용하여 지역 활성화를 위한 모색하는 과정에서 어떠한 과정에 의해서 구체적으로 실현되어 가는지의 여부에 대해서는, 지방자치단체의 역할이 지역 내에서 비교적 뚜렷이 차이가 나타나고 있다. 주로 인터뷰에 의해서 파악된 그 역할은 리더의 역할, 지역 내 네트워크 체계, 외부와 네트워크 관계에 그 비중의 차이점을 보인다.

• 복식
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• 제54권2호
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• pp.79-94
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• 2004

The main purpose of this study is to discribe the transfiguration process and the symbols of theatrical costume of Sandai masque(산대놀이) during the Choson Dynasty. Sandai masque as a popular play is a very important form in the history of the Korean theatre. Furthermore in order to analyze the mutual relationship and difference between in the early and later Chosen Dynasty, Narye has is stressed deeply a national amusement event. In the early years of Choson Dynasty, non-official culture such as outside of Seoul and Seoul were subject to the official culture of the Court. In the late years, actors become more and more libral, separating themselves from the systemical restriction. The main reason for this is the growth of capitals in private sectors as well as the growth in demand for entertainment among private citizens. On these backgrounds, the transfiguration process of Sandai masque have changed the treatrical costume. The treatrical costume carries symbolic meaning to the obserber. The value of symbol changes as the time passes, overtime thereby altering its meaning as well. The caracters and plots change inevitably over years but the basic theme remains. The symbols of theatrical costume of Sandai masque are mainly focused on three subjects: first, the entrance of a dragon and tiger originated in the exorcism for good harvest; second, color symbolism expressed in the confrontation between red and black; and third, associate characteristics of dress forms related to regoinal classification of the mask dance.

• 복식
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• 제50권4호
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• pp.5-20
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• 2000

Through his geometric design, the Cyprus born fashion designer Hussein Chalayan raises intriguing questions about the very fact of wearing clothes. By purposefully displacing the function of each part of the clothing, such as neck line, hem line, seam, sleeve, etc., Chalayan transforms the meaning of the body that wears clothes. of the human subject as a sovereign possessor of the clothing and the visibility related to fashion. This transformation is achieved by distorting the spaces of his clothing in an unorthodox way. This thesis argues that the significance of such a practice can not be properly understood without relation to the current debate on deconstructionism under way in humanities. Instead of immediately negating the modern frame of Ideas and practices, deconstructionism asks what the assumptions for the modern regime of truth is. In this process, things that lead human beings to sovereign master of knowledge and truth such as reason, subject, body and vision are questioned. In the same context, Chalayan's design not only forces us to rethink the very function of dividing inside and outside by the clothing but also the meaning of boundary operating in numerous sites of modern life. As the human subject is not something pre-given but constructed according to the cultural representation, to which the clothing belongs, fashion can be evaluated to be an active ingredient of constructing the subject. Therefore, Hussein Chalayan's design is at the cross road between the modern and the postmodern regime of fashion.