In recent years, the spread of social media and other digital tools and its massive acceptance have revolutionized marketing practices such as advertising and promotion (Hanna, Rohn and Crittenden, 2011) by changing the approach of communication between consumers and brands (Henkkig-Thurau et al. 2004) and the sources of information about products, services or brands for consumers (Kozinets, 1999). On the one hand, these changes have provided consumers of the additional power to influence other buyers by sharing ideas and experiences about products, services or brands (Ioanăs & Stoica 2014). On the other hand social media websites allow business to engage and interact with users by increasing sense of intimacy with consumers and building strong relationships with potential customers (Mersey et al. 2010). Therefore, the incomparable efficiency of social media has induced industry leaders to participate in Facebook, Twitter, Instagram and others, with the aim to succeed in online environments (Kaplan and Haenlein 2010). Furthermore, brands are motivated to develop social network campaigns for gathering consumers’ personal information useful to targeting or personalising future marketing strategies (Noort, Anthenius and Verlegh, 2014). This situation have brought many authors, especially interested in luxury industry, to investigate on social media as a new way for luxury firms to communicate with consumers and influence their purchases. One of the main objectives for literature was to understand if luxury products, related to prestige, uniqueness and exclusivity values, could be express using channels accessible to everyone, such as social media. Indeed, in this era of the “democratization of luxury” (Atwal and Williams 2009), luxury brands are dealing with the challenge of using mass marketing tools and at the same time emphasizing the exclusivity dimension of their products (Okonkwo 2010). So as Hennigs states: “As the virtual environment is a place where images, videos and opinions circulate regardless of brand ownership, is it possible to keep a sense of exclusivity around a luxury brand?” (Hennigs, Wiedmann and Klarmann 2012 p. 30). In Italy, the digital population keep growing and the time spent in front of digital devices is increasing; people is becoming more familiar with e-commerce and as a consequence the communication of firms is more transparent (The Boston Consulting Group 2011). In this perspective, this paper aims to analyse the impact of social media marketing on brand equity and consumer behaviour within the Italian luxury economy. Our research has tried to understand this phenomenon from two perspectives; on the one hand, authors have observed digital marketing strategies of some luxury firms, emphasizing the way these brands use social network to promote their products, their special events or their stories. On the other hand, researchers have studied consumers’ approaches to social networks through a survey (Chisnall 1993) delivered to a sample of Italian respondents. The goal of the research is to show how social media have been used by five luxury brands and how they can influence luxury brand equity, by affecting Italian consumer behaviour. With this objective, the authors have analysed the composition of the sample that is active on social networks in order to gather useful demographic information about users. Moreover, this research has been important to discover the most popular platforms for Italian users and the response of some of the major international luxury brands in terms of contents shared on specific social networks. In addition, the survey has represented a great opportunity to understand the influence of social network on consumer behaviour, seeking to measure cognitive, affective and conative responses (Laroche and Mourali 005).

With a staggering 35% of the total French population using Facebook representing 23.4 Million users (1), of which 72% using on their mobile phones or tablets (2), and with at least half of them daily (3), it is no brainer to understand the increasingly important role of social media in the daily life of French consumers. It is foreseeable that French consumers are influenced by, and can influence other consumers, on their fashion purchase decisions. Using published sources of information; this paper aims to highlight the four main trends of social media that have an impact on fashion marketing in France. The first trend is about instant messaging from consumers to consumers. It is how consumers frequently and easily talk one to another about brands, products, opinions, likes and dislikes, etc. hence influencing any potential purchase decision of self or others. The second trend is about interactions between consumers and brands via social media such as Facebook or Twitter. Brands can communicate directly to consumers and consumers directly to brands, hence it is very time efficient for brands to know what consumers think, like or dislike about their products or marketing communications. For consumers, it is also satisfying to be able to voice one’s opinion and may contribute to the future success, or failure, of new products. The third trend is about brands collaborating with online communities to co-create new products. In this instant, brands will let online consumers express their desires, for example through mood boards, and then create a few samples of new products based on those desires. Online consumers can then vote for their preferred ones that will later be produced and sold online to the consumers. Such example can be found from a partnership between “La Boutonniere” website (which collects information from online communities) and “Anne Studio” (a woman fashion brand) (4). This technique can ensure a higher successful rate of new product launches. The fourth trend is about disguised advertising campaigns on social media platforms such as Instagram, Twitter or YouTube. These platforms are offering to conceive and design online marketing communication campaigns for brands that fit with their target consumers’ environments on those same platforms. The aim is to communicate to the right audience without being intrusive and to blend in. These campaigns often mention the words “sponsored by…” to reveal their sources. In summary, these four social media trends illustrate the increasing important of social media in brand communications and brand building, not only from brand-to-consumer-to-brand, but also from consumer-to-consumer-to-consumer.

Social media has radically altered marketing’s ecology of influence. Moreover, through the rise of visual social media platforms in recent years, marketers are facing new challenges. Adopting an exploratory approach, our study combines interviews and content analysis to explore the managerial perspectives to brand storytelling through visual content site Pinterest and to assess its potential as a strategic marketing communications tool.

New professions, highly specialized in web communication, have therefore emerged lately, such as: blogger, copywriter, social media manager, especially in the fashion industry, where every detail is meaningful and consequently every word inevitably matters. The aim of this paper is to investigate the strategies used by luxury fashion brands on social media to construe their brand identity and build up global awareness. The empirical study presented is based on the analysis of a corpus of posts retrieved from internationally renowned luxury fashion brands’ Facebook fan pages selected according to an official global top list of luxury brands. Social networks are nowadays one of the most efficient tools to make a brand globally successful and luxury fashion brands owe their popularity to them, although at the beginning they were suspicious towards those media of communication (Okonkwo, 2010: 4). This was due to the fact that mass media, by definition, are characterized by features like wide accessibility and volatility that do not match with the peculiar exclusive, unique and timeless nature of luxury goods (Okonkwo, 2010: xviii). The following table (Table 1) compares luxury features with the Internet ones in order to show that they are two opposite worlds that do not share none of their characteristics. The presence of luxury online is then a paradox itself, this is due to the fact that the features attributed to luxury that can be summarized into the word “exclusiveness” do not match with the main characteristics of Internet that is a “mass” medium of communication where the main idea is that one formula fits all. The clear contrast between the features attributed to luxury and Internet is evident in the oppositions reported: for instance we have “niche clientele” versus “mass availability” to emphasize that luxury itself cannot satisfy everyone’s desire if it aims to maintain its status and in any case it is not a short time process (Rambourg, 2014); then “exclusivity” versus “mass accessibility” is to highlight the fact that luxury cannot be accessible to everyone; and the extremely relevant difference between luxury products that must or at least give the idea to be “made-to-measure” versus the “one-formula-fits-all approach” and “mass appeal”, typical of the mass media of communication, that distinguishes the use of Internet, where what you share is designed to be widely accessible from luxury that represents uniqueness and exclusiveness. The study conducted will try to identify if luxury brands have overcome this channel conflict and later investigate their performances on social media particularly focusing on the construction of the content. The analysis of the data will be run by taking into consideration marketing literature review, and the use of theoretical frameworks based on genre analysis, corpus linguistics and discourse analysis. Furthermore the analysis will be done with the support of statistical linguistic softwares Wordsmith and Wmatrix, and it will show how luxury fashion brands shape brand identity online through words. The results will offer an overview on the construction of content particularly used to rely on storytelling, heritage marketing, and “glocalization” strategies. Moreover, interesting insights will draw the attention to the specific strategies used to target different markets (Hollensen, 2007: 220-221) while taking into consideration the cultural differences and at the same time emphasizing the features directly connected to the “Made in” identity of the brand. A further section will focus on the interplay between different semiotic systems employed to construe the brand identity online, and on some examples of strategies specifically designed for emerging markets and created through transmedia communication (Jenkins, 2006). The evidence gathered, which also sheds light on the use of pronouns and verbs to stimulate the users’ engagement in brands’ life and in the production of the content, can provide interesting insights into web communication. Further interdisciplinary researches combining different approaches will develop significant strategies particularly interesting for the training of new professional profiles involved in the design of marketing strategies.

The research examines the role of social media as a part of marketing communications strategy in the fashion industry. The aim is to develop a conceptual framework for marketing communications in the digital age, given the rise in importance of social media and the decline of traditional print media in terms of fashion influence.

This research examined the effect of social media marketing on college students’ behaviors toward cotton clothing. The results showed that social media marketing had a greater impact on college students than conventional marketing or no marketing. Fashion brands should utilize social media to communicate with college students more effectively.

The aim of this paper is to understand which are the most effective social media strategies for gaining customer engagement for fashion companies. The study has been conducted using the empirical research methodology and the information has been collected with the use of an online survey distributed among companies belonging to the fashion industry. 42 questionnaires have been collected and therefore discussed. The analysis led to the definition of a list of strategies used by fashion companies on the adoption of social media tools. Subsequently, activities and the social tools able to improve customer engagement have been analysed. Finally, according to the size of the companies and to their positioning on the market, a descriptive analysis of the results have been carried out, comparing companies with similar characteristics. The research shows that companies of the same segment adopt the same approach to social media as well as a similar set of social media marketing strategies. The findings of this paper confirm the growing interest both from academics and practitioners for Social Media Marketing tools and they will suggest implications to fashion brands to manage their customer engagement and their social media activity.

Anna Dello Russo has worked with H&M, the Sartorialist's Scott Schuman has written his second book and home-grown Susie Bubble has consulted for Gap, Armani and Selfridges to name a few. There is no doubt that these figures are key influencers in the world of fashion and they are turning their efforts and knowledge into fiscal benefits. Fashion blogs have become not only a form of user-generated content, a medium for communicating to the masses without any prior training or knowledge, but have also evolved to become a new marketing communications channel in their own right. Fashion writers are not only dictating content to esteemed fashion titles that were once only contributed to by the fashion journalist elite, but they are engaged as brand consultants with the aim of shaping the future direction of brands in terms of content, style and scope. When did all this power and influence happen and how can we measure it? This is the central question inherent to this study’s focus. The dynamic nature of digital, online and social media activities means that most research is out of date or getting closer to ‘expiry’ even as the ink dries on the page. To exemplify: research dated just three years ago still includes MySpace in a comprehensive list of online networks and social media sites (e.g. Mir and Zaheer, 2012) and ‘second life’ as an innovation [albeit this has been experiencing somewhat of a renaissance within certain consumer sectors in recent times]. This aside, the point is thus: academic scholarship cannot keep up with the rapid rate of digital change in the landscape, but it continues to try, as does this humble study. A volume of research has recently contributed to the understanding of the influence of social media in the fashion sphere, predominately from an electronic word-of-mouth (e-wom) perspective, for example (Bronner and Hoog, 2013; Fang, 2014; Hennig-Thurau, 2004; Kulmala et al., 2013; Liu, 2006; Trusov et al., 2009) engagement with social media (e.g. Campbell et al, 2012; Dhaoui, 2014). This body of literature has supplied a solid foundation for understanding why user-generated content may be shared and under what circumstances and to whom. However, a limitation of these significant contributions are reasons for propensity to influence, that is, once it has been shared, distributed and circulated, how do we measure the impact of this influence? Yes we can use analytics to quickly demonstrate quantitative and numerical impact in terms of followers, traffic, interaction, sales and (not so quickly) the wider reach of blogs on PR for brands, brand-metrics and customer engagement. But what about the wider influential impact of key social media writers and opinion leaders, or those that follow and listen to them: how can we evaluate this impact of influence? How does it work? Why does it work with some over others? We seek to find answers around this notion of social influence and ask: why do people listen to bloggers? Do consumers of this information distinguish between platforms: do they prefer blogs? Twitter? Picture-content through Instagram or Pinterest? Is there a gender difference? Considering also the rise in ‘erasable’ social media in the form of SnapChat, which lasts ten seconds before ‘self destructing’: what impact are these having in terms of influence in particular sectors like fashion, how can brands harness this power and use it to build equity, target new consumers, increase sales and revenue? In other geographical domains, such as China, where social media constraints and censorship are notable, emerging applications like WeChat are increasing in popularity, first with consumers, but retail and fashion brands are also beginning to endorse them to facilitate a meaningful conversation with their customers through these innovations. We also aim to explore the current state of play regarding terminology for social media contributors – are they still bloggers even though they create content across-platform? (It would be unusual for example, for a popular and credible blogger to only have a blog and no twitter or Instagram activity). Is the term blogger naturally all-encompassing or is it a misnomer that we need to create new terminology to explain these phenomena? Cullen (2014) the fashion magazine editor of Elle Australia created a blogger award ceremony to honour the contribution of these fashion influencers and comments that: “We picked the ones that we felt have the most traction with our readers. It is very clear we are in a blogger boom right now and everyone wants to jump on the bandwagon and [the nominees] gave fashion this new relevance. They took fashion and democratized it, so rather than have to see what the designer wanted you to see [on the catwalk], they took the runway fashion and put it together in their own ways. They made it wearable, as they mixed it with other labels and all those things that make an outfit work for real life.” This quote serves to illuminate an example of the commercial impact of fashion bloggers in the fashion sector and the relevance that influential opinion leaders believe they can have on their readership. Thus, we seek, through our research, to interrogate existing literature on social media, marketing, consumption and consumer psychological theories in the context of fashion influence with the aim of contributing to understanding in this fast-evolving transformative sector. Social media has been defined as: ‘A group of Internet-based applications that build on the ideological and technological foundations of Web 2.0, and that allow the creation and exchange of User Generated Content. (Kaplan and Haenlein, 2010, .61). Within this context, social media applications exist to facilitate user interaction, and include blogs, content communities, discussion boards and chat rooms, product and/or service review sites, virtual worlds, and social networking sites (Kaplan and Haenlein, 2010; Mangold and Faulds, 2009). In this paper we focus on social networking, which refers to applications, such as Facebook and Twitter, Instagram/Pinterest and more disposable aps like Snapchat. Essentially, we take an all-embracing approach to understanding social media, as this is simply how it is used by consumers, in the virtual landscape (for example, users do not distinguish between platforms, they simply use the most appropriate means to communicate their content at that time). We aim to contribute a perspective that is original by investigating existing literature in two territories: social media influence and Social Impact Theory, which we will use as a theoretical perspective to explore the influence of social media on fashion. A Theoretical Lens: Social Influence Theory (SIT) After dismissing other theoretical frameworks for our study’s focus including: Uses and Gratifications theory; Involvement and Motivation, the choice to focus on Social Impact Theory (SIT) (Latane, 1981) was rationalized by the centrality of influence as a construct, to the characteristics of the theory. SIT (Latane, 1981) maintains, “as the number of people increases the impact on the target individual’s attitude and behavior enhances”. As influence is inherent to our aim, this theory, albeit being created almost two decades before the concept of social media, may have transferable qualities that may aid comprehension of understanding into the complexities associated with understanding the influence of social media in the fashion sector. This seemingly large leap from a traditional application of the theory to the virtual world is made more plausible by at least one previous study, that has started to also recognize the value of this framework for understanding online activity for example, Mir and Zaheer (2012) who use SIT in the contexts of social media and banking. The theory has not however, been used thus far in the realm of fashion and social media, thus, a study of this kind aims to contribute to knowledge in this field. Social impact has been defined by the founding father of the theory as: ‘Any of the great variety of changes in physiological states and subjective feelings, motives and emotions, cognitions and beliefs, values and behavior, that occur in an individual, human, or animal, as a result of the real, implied or imagined presence or actions of other individuals’. (Latané, 1981, p. 343) Latané (1981) created social impact theory to validate his hypothesis about how influence works, which led to the identification of three factors that make up social impact theory: 1) Strength: How important is the influencing group to the target of the influence; 2) Immediacy: How close in proximity and in time is the influencing group to the target of the influence; 3) Number: How many people are in the influencing group. Taking each one of these in turn, the leverage of these variables to a social media context seems obvious. Social media by its very nature encourages a ‘pull’ approach to groups or communities (hence the ‘strength’ variable); the ‘immediacy’ of social media in the sense that messages can be communicated and responded to in real time, have been facilitated by social media capabilities. Finally, the third variable of SIT is ‘number’; in a virtual world, there is a real sense that there is no limit to the amount of people you can communicate with. To exemplify, we refer to Facebook with its 9 Billion plus users as an example of this reach, or Lady GaGa with her 44 Million plus followers on Twitter. This succinct insight into SIT theory provides a short rationale as to its applicability to a social media context, specifically the fashion sector. A more in-depth analysis of its use and application to this study will be developed for the final paper following data collection.

There is relatively little evidence on how social media marketing activities influence brand equity creation and consumers’ behavior towards the brand. We explore these relationships by analyzing pioneering brands in the luxury sector (Burberry, Dior, Gucci, Hermès, and Louis Vuitton). Based on a survey of 845 luxury brand consumers (Chinese, French, Indian and Italian) who follow the five brands studied on social media, we developed a structural equation model that helps to address gaps in prior social media branding literature. Specifically, our study demonstrates the links between social media marketing efforts – measured as a holistic concept incorporating five aspects (entertainment, interaction, trendiness, customization and word of mouth) and their consequences (brand preference, price premium and loyalty).

본고는 작가 박현기에 대한 ‘자생적이며 동양적인 비디오미학을 개척했다’는 그동안의 평가를 재고한다. 그에 대한 비평적 해석에 나타나는 왜곡된 오리엔탈리즘과 배타적이고 이분법적인 인식론에 대해 문제를 제기하고, 그가 ‘탈테크놀로지 미학’을 추구하며 현대미술의 문맥에서 새롭게 요청되었던 예술적 과제들을 탐색하는데 작품의 초점을 맞추고 있었다는 해석적 접근을 시도한다. 그는 1978년 K스튜디오에서 첫 영상작업을 촬영한 이후 미디어의 근원적 특성과 매개논리를 탐색하였다. 1982년까지 수면(水面), 유리, 거울과 같은 자연물과 비인공적 사물을 활용한 영상작업, 비디오영상을 다양한 장소적 맥락에 작품을 설치함으로써 영상의 개입으로 달라진 관람자의 지각방식에 대해 심도 깊게 고찰하였다. 특히 그는 설치, 행위, 영상을 접목하여 형식과 내용면에서 모두 이중적으로 구조화된 작품을 선보였다. 그의 이러한 작품세계는 이질적 대상간의 융합을 추구한 것이라기보다 ‘조화’와 ‘균형’을 바탕으로 서로 다른 세계가 각자 본연의 모습을 지키며 공존할 수 있다는 믿음을 통해 구현된 것이었다.

본 논문의 목적은 영화영상을 전공하고 현재 영상 특성화고에 재직하고 있는 교사들에 의해 시행되고 있는 수행평가에 대해 고찰하는 것이다. 특히 공교육 차원에서 영상 콘텐츠의 실효성 있는 교육을 위해 수행평가의 도입은 필수적이라고 할 수 있다. 수행평가와 유사한 주제의 연구들은 교육과정이나 교육만족도 혹은 시설조건 등에 관한 연구를 중심으로 이루어졌다. 그러나 영상미디어 교육과정 자체에 대한 연구가 부족하여 이를 수행평가를 중심으로 고찰하고자 하였다. 교육에서 평가는 핵심적인 요소이다. 특히 미디어 콘텐츠 교육의 경우처럼 제작과 같은 수행적 의미가 강한 교육에서 더욱 그러하다. 본 연구는 학교 내의 실상과 교사들의 심정을 파악하기 위한 연구방법으로 심층면접을 시도하였다. 연구의 결과로 수행평가의 특성과 활용은 단순하게 파악될 수 없고, 그것은 지역성, 학생들의 학업성취도, 장비의 구비현황이나 특히 교사의 교육관에 따라 다르게 이해되어야 한다는 점을 알 수 있었다. 그리고 이에 따라 다양하고 지속적인 평가가 이루어져야 함을 파악할 수 있었다

퍼블릭액세스 미디어 정책은 시청자들의 방송 접근권을 보장하고 주류방송에서 쉽게 다루지 않는 다양한 공동체와 사회소수자들의 직접적 목소리를 담아내기 위한 취지에서 마련되었다. 이 정책의 대표적인 제도가 시청자 미디어센터이다. 그러나 이 제도는 융합미디어 시대에 기능과 역할이 재검토되어야할 필요가 있다. 본 연구는 융합미디어시대 미디어센터의 역할과 기능은 무엇인지를 찾고자 한다. 이에 본 연구는 지역채널을 소유하고 있고 지역민의 통합적 역할을 하는 지역 MBC 시청자 미디어센터를 중심으로 사업운영의 안정성, 이용의 공평성, 보편적 접근성, 운영의 자율성, 수익의 다원성 측면에서 경영 분석과 SWOT분석하였다. 분석 결과, 예산지원 미비에 따른 안정성이 약화되어 있고, 각 모델별 센터의 특징은 다르지만 이용의 공평성은 양호하며 별도법인인 울산미디어센터를 제외하고 보편적 접근성은 양호하였다. 운영의 자율성 부분에서는 평가하기 힘들 정도로 유명무실했다. 수익다원성부분에서는 미디어 교육과 공모사업 등이 대다수를 이루었다. MBC시청자미디어센터가 융합미디어시대 새로운 정체성을 형성하기 위해서 예산 확보를 통한 운영의 안정성과 자율성을 유지해야할 것이며 퍼블릭액세스 개념의 확장을 통해 융합적 액세스 프로그램을 개발해야할 것이다.

홍콩에서 시행되는 언어교육 정책에 따라 중문과에서는 보통화와 광동어 중 어 떤 언어도 자유롭게 선택하여 교육 언어로 사용할 수 있다. 본문에서는 문헌 연구 를 통해, 보통화만 사용하는 경우, 광동어만 사용하는 경우와 보통화와 광동어를 혼용하는 경우에 따라 15개의 언어교육형식을 설계하였다. 동일 소학교의 5개 소 그룹으로 나누어 각기 다른 언어 학습 교육법을 적용하여 학생들의 한자습득 능 력 발전에 대한 영향 관계를 조사하였다. 본 연구는 여러 개의 안과 다양한 자료를 수집하고, 삼각 논증의 방식으로 상호 비교 검증하였다. 질적 연구 방면으로는 교실 수업 분석과 교사와 학생 면담자료 등 다양한 개별 측정의 방법을 사용하여, 수업 언어가 학생들의 교육에 미치는 영 향을 이해할 수 있도록 하였다. 양적 연구 방법으로는 실험연구와 두 번의 설문조사를 시행하여 수업 언어가 학생들의 한자 능력 발전과 학습 흥미와 동기에 미치 는 영향을 이해하도록 하였다. 한자능력에 대한 시험은학교와 가정, 사회의 세 개의 범주로 나누어, 학생들이 특정한 시험 시간에 사용하는 심리적 어휘를 측정하였다. 이상을 통해 우리는 다 음과 같은 결론을 얻었다. 동일하지 않는 교육 언어 형식은 학생들의 한자습득 능 력의 발전 전체에 모두 직접적 영향을 미치고 있다. 오로지 동일하지 않은 교육 언어를 사용한 반에서도 반별로 학생들의 한자능력의 발전에서도 각기 다른 표현 이 보였다. 방문면담의 결과를 취합하고 새로 적용한 후 시행한 2차 측정에서 이 미 이 결과를 알고 있는 교사는 서로 다른 교육 언어로 한자교육을 진행하면서 교사의 교육 목표, 교육 전략, 교육 시간의 설정과 배분에 영향을 받고 있었고, 학 생들 또한 한자습득 능력의 발전과 어문 교육의 흥미도에 영향을 받아 이전과는 다른 현상을 보여주었다. 요컨대 본 연구를 기초로 삼아 미래 연구의 방향을 제시하는 것 뿐 아니라, 본 연구의 성과가 언어 교육의 정책 결정자와 교사들에게 참고가 되어 향후 중문과 교육의 교육 정책을 결정하는데 도움이 되고자 한다.

저농도 합성폐수를 처리하는 membrane bioreactor (MBR) 시스템에서 공기폭기와 PET (polyethertaraphtalate) 입상메디아 혼합사용이 멤브레인 파울링과 처리효율에 미치는 영향을 관찰하였다. 일정한 공기폭기유량과 투과플럭스로 실험한 결과, PET 메디아를 첨가 시 메디아를 첨가하지 않은 경우보다 낮은 파울링 속도가 관찰되었다. MBR 반응기에서 입상 메디아에 의한 파울링 감소효과는 중공사막 모듈에 비해 평막 모듈이 더욱 효과적이었다. 공기폭기와 함께 멤브레인 표면을 따라 움직이는 입상 메디아의 접근성과 접촉성이 중공사막보다 효과적이었던 것으로 사료된다. MBR 적용에 있어 PET 메디아의 적용은 메디아를 적용하지 않았을 때와 비교 시 MBR 처리효율에 큰 영향을 주지 않았다.

Bang, Min-Hee. 2015. “A corpus study of the introduction and use of 싱글맘 (singeulmam) in the South Korean media”. The Sociolinguistic Journal of Korea 23(1). 85~114. This study investigates the introduction and use of a new loanword singeulmam in the South Korean media, using a 40 million word corpus and Wordsmith Tools as the main analysis tool. The study firstly charts the entrance of the word into Korean, which demonstrates the effectiveness of the application of corpus methods for undertaking this type of task. Secondly, the examination of how singeulmam is defined reveals diverse interpretations of what singleulmam is, and negative social perceptions on women and marriage underlining the act of defining singeulmam. It is found that when singeulmom is used self-referentially, it usually refers to divorced women with children, while it tends to mean ‘미혼모(mihonmo: unmarried mother)’ in Korean when used by a third person to refer to someone else. Furthermore, when it is used to mean mihonmo, the collocational and contextual patterns of singeulmam are shown to construe women as a powerless beneficiary, reproducing the stereotypical representation of women labelled traditionally as minhomo.

Benjamin introduced the concept of the “aura”and discussed its absence in film and photography. Benjamin posited that the loss of aura changes artistic values. This brought about a paradigm shift in the entire mode of existence of humanity. After Benjamin, various opinions followed regarding the concept of aura, namely, aura collapse, aura transformation, aura-media, and returned aura. This study discusses the idea of the “aura”in games as a digital medium. From the three characteristics of games,i.e., presence, interactivity, and multi-sensory interface, it is evident that digital aura exists in games in the form of immersion. Analogue aura has lapsed because of technical shortcomings, but digital aura makes perfect simulacra that create a hyper-real world. The qualities of immersion, interactivity, and a multi-sensory interface provide a world of illusion, and provide the visual, auditory, and tactile experience of aura without any space between the user and the object.

지금까지 멀티미디어 기기들의 대 부분의 콘텐츠 접근성은 사용자 중심으로 특화되어 있지 않고 제작자의 의 도에 집중 하였다. 이런 이유에서 실제 시스템을 사용하면서 생기는 문제점과 이용자의 요구를 분석하기란 쉽지 않다. 물론 일부에서는 사용자 중심에서 UT, UI 연구를 진행 해 오고 있는 상태이다. 또한 일부 많은 혁신을 가 져오지만 아직 기대만큼 많은 효과를 거두지는 못하고 있다. 이유는 개별적인 인간 본연의 욕구와 정서를 해석 하고 적용하기란 쉽지 않을 것으로 생각된다. 본 연구에서는 멀티미디어 환경에서 인간 본연의 심리적인 특성을 분석하고 이해하려고 노력하였으며 스마트 디바이스 의 접근성의 문제점은 단순히 기술, 기능을 향상 시키는 것 이 아니라 인간의 본연의 내면을 얼마만큼 분석 하는지 와 얼마만큼 이해하는지에 따라 사용성에 도움이 될 것 으로 생각한다. 따라서 본 연구는 이러한 사용자가 중심에서 스마트 디바이스를 이용함에 있어서 좀 더 나은 접 근성에 도움 되고자 연구를 진행하였으며 특히 인간의 내면의 감정과 성향에 따라서 어떤 장르의 콘텐츠를 선호 하며 소비하는지를 분석하고 인간과 콘텐츠의 상호작용을 집중적으로 연구 분석하였다. 본 연구 결과로 감정과 콘텐츠 사이의 관계에서 일부 유효한 결과는 기쁜(HAPPY) 감정의 정도에 따라 더욱 더COMEDY 프로그램을 선 호함을 알 수 있었으며 남자가 여자 보다 더 선호도가 높은 것으로 나타났습니다. 슬픈 감정(SAD)일 때는 유효 한 결과 값은 나오지 않았지만 흥겨운 콘텐츠를 미미하게 선호하는 것으로 나타났으며 여자 보다 남자가 좀 더 선호도가 높은 것으로 나타났다. 이러한 원인은 Zilinman의mood based management 이론인 슬픈 감정의 소유자는 그 감정을 감쇠하기 위해서 흥겨운 콘텐츠를 더 선호하며 추가적으로 Oliver 2009따르면 콘텐츠의 쾌락적인 요소 보다는 통찰(insight), 의미(meaningfulness), 이해(understanding)및 반응(reflection)에 모두 충족이 되어야 만족도를 높일 수 있다고 제안한다. 이러한 사용자 감정과 성향에 따른 콘텐츠의 연구는 향후 새로운 스마트 디바이스 콘 텐츠 접근성 측면에서 좀 더 만족도와 방향을 제시 할 수 있을 것이다.

최근 농가에서 모떼기 작업의 용이성 때문에 널리 이용되는 개량상자를 위한 적정 물관리 방법을 본 연구에서 제시하였다. 개량상자 +중량상토 조합으로 마른 못자리와 물 못자리에서 고랑관개와 상면관개를 하여 시험하였는데 그 결과 못자리 종류에 관계없이 상면관개가 안정적인 물관리 방법으로 선정되 었으며 고랑관개는 안정성이 낮아 배제되었다. 선정된 물관리방법이 경량 상토 및 매트상토에서도 유효한지 확인하기 위해 상면관개를 하여 못자리 별로 중량상토, 경량상토, 매트상토에서의 물관리 시험을 시행하였다. 그 결과 상면관개는 동일 못자리내에서 상토 종류에 관개없이 정상적으로 이앙 가능한 수 준의 모를 얻을 수 있었다. 따라서 개량상자를 이용할 경우 못자리 종류와 상토에 관계없이 상면관개를 해야만 하며 모를 안정적으로 얻기 위해서는 물 수위가 낮아지지 않게 주의해야 한다.

The purpose of this study is to monitor the current adverse reactions in administering CT contrast agents at general hospitals and also to suggest the practical guidelines to minimize the risk and to show the successful patient management. At four Dajeon city general hospitals, the contrast agents were administered in 646,828 cases and the overall prevalence of adverse reactions was 4,110 cases from January 2010 to December 2013. However, we excluded the two hospitals’ 3,658 cases because the patients’ data was inadequate. Consequently, the case surveys on the rest of 452 cases have been studied and submitted. After comparing the patients with a control group, we evaluated that the key factors of the adverse reactions were the gender and age difference of the patients, the examination period, the examination method, the quantity and administrating speed of the contrast agents. Even though the four general hospitals have their own management systems on adverse reactions, but their systems were not satisfying. To improve the quality of the management systems and to investigate further cases, some hospital administration procedures on the subject should be systemized and general hospitals should follow the recommended procedures. Moreover, the existing three-year-term evaluation should not only judge the adverse reaction management but also conclude some details on the sub criteria of the evaluation. The details on the sub criteria include the contrast agent characters, the quantity and administrating speed of the drug, the incidents’ occurred time, an anamnesis; a case history, the medical history of the patients and the reaction occurring body parts, and the examination title. The details of the medical examiners are also added to the sub criteria.