This study explores elementary school students’ perceptions of English pop songs in regular English classes at a Korean elementary school. Seven 6th graders participated in the study and they were divided into three groups based on their English proficiency level. Data were collected from their interviews, written logs, and group discussions for a qualitative analysis. The results indicate that low level learners associate pop songs with the auditory factor only, while intermediate and high level learners associate the songs with both auditory and visual factors. It is also found that each individual learner exhibits his or her own music preference in selecting pop songs for learning. In addition, the socialization effect, which evokes the sense of unity, is found among the English learners who attended the pop song lessons. Finally, the study presents the results that learning pop songs contributes to self-directed learning of English. Pedagogical implications on using pop songs for a teaching material are discussed.

The purpose of this study was to analyze the meaning of soul fashion in American pop culture. This study was conducted using a literature research method based on the prior theses, journals and relevant books. Soul as a concept, originated in African-American communities and evolved from the ideology of Black Power, which prompted Black Nationalism. Soul fashion, which took on two styles in African American culture began to embody black resistance and community pride in the late 20th century. One of these, hip-hop style represented the message of resistance and a sense of beauty outside the mainstream. The other, African–inspired fashion, which utilized a look inspired by African tradition, rejected white supremacy by expressing a proud dignity. As a result, the meaning of “soul” in soul fashion represented by American pop culture resulted in contrasting appearance due to different elements. First, one of its meanings is ironic and sarcastic, and it expressed historical trauma, cultural stereotypes, self-hatred, and self-degradation and, the self-mutilation of African-American by cynically distorting their silhouettes and, using modified materials and patterns, fantastic colors, and extraordinary accessories. Second, the other meanings is the pride and dignity of Black Power, which visualized the concentration of ideas implied by the tradition of African-American, through soul fashion by using fierce traditional of African costumes, unique patterns and accessories.

A new type of women started to appear in Germany during 1920-1930s and unlike his previous work, Klee began to create works, which related to this new type of modern woman. This paper is a study of Klee’s image of New women in the 1920-1930s, and reflects on Klee’s professional achievements and his perception of these times, based on their social background, which was reflected on the shapes of the ‘New women’ that he portrayed. The labor power shortage that resulted in the aftermath of the First World War provided women with employment opportunities and they were therefore able to actively contribute to the economy. Klee recognized the fact that the female gender role that had been limited to being a wife and mother at home, changed drastically as women participated more in politics and social activities. This was illustrated by the diverse images and activities of contemporary women in the performing arts, and portrayed in magazines, newspapers, and film. The liberation of bodies was expressed through dance or gymnastics and the social atmosphere of the time promoted the performances of modern female dancers. Consequently, there was a significant increase in the number of new women who enjoyed dancing and this led to the production of a large number of dance studios and professional dancers. Klee’s images of dancing women shown in his works at the beginning of the 1920s were formed using mysterious and erotic shapes and vibrant lines. However, towards the end of the decade, expressionistic and dark black lines were more prevalent in his dance related works. Clearly repeating straight lines and curves produced geometric and pictorial structures, which expressed perfectly the dynamic motions of dancing women. The 1920s in particular can be said to have been an innovative period of expressionistic dances, and dancers expressed the inner world of human emotions through free movements. The leaping dancers produced by Klee could also be connected to the gymnastics performed at the Bauhaus. At that time, gymnastics was seen as a link between pop culture and the practice of high class art. Overwhelmingly, many participants in gymnastics were women who embraced pop culture and saw themselves as being popular modern women. During the late 1920s, Klee focused on jumping and shifting shapes while concentrating on the creation of geometric abstraction, which meant that the geometrically simplified shapes lost their concreteness and comprised of crosses of planes. Therefore, the gymnastic rhythms that appeared in Klee’s works emphasized movements based on the geometric body shapes, which were connected to an observance of the participants in physical activities.

This study examined the expression characteristics in pop art works of Jean-Charles de Castelbajac. The study here aimed at possibility to find a design development in building up the unique art world of creativity based on popularity, artistry, and originality without confinement to the trend only. For the research method, review of literature and analysis about Castelbajac's works reflecting the pop art feature in the collections from 2000S/S to 2012F/W were performed. The results of research are as follows. The external expression form of Castelbajac's works based on pop art was grouped roughly into use of mass culture image, appropriation of pop art expression technique, and parody of art works. First, his work appeared as application of the mass culture image such as symbolic thing in the modern consumer society, object in an ordinary life, character of well-known animation, national flag and famous star. Second, such appropriated pop art techniques showed as pop color in strong primary color and silk screen, photomontage, collage, assemblage, graffiti, and lettering. Third, a variety of images featured earlier in art works were shown in parody. These works are valuable in that they are expressed aesthetically through regeneration of popular culture's various images in view of fashion, they are described in the non-traditional value with frolic resistance and deviation out of existing fashion norm, and they are given the dynamic creativity integrated with art and fashion.

Various forms of consumer gatherings have been increasingly recognized to collectively organize new marketplaces where consumer value arises from shared experiences of social belonging and togetherness. One such rapidly globalizing retail phenomenon is Restaurant Day, where everyday citizens, in a form of tempered civil disobedience, suspend the rules and regulations of commercial retail to create a one-day restaurant carnival that takes the form of copious pop-up restaurants located throughout city-spaces. An ethnographic exploration of this retail spectacle allows us to reconsider many conventional notions of the retailing discourse and problematize the notion of consumer activism in such contexts.

All aspects of individual consumer as well as situational affecting on decisions are influenced by the social and cultural structure in which the consumer is embedded. Recently, there has been a growing worldwide phenomenon whereby tourists visit an attraction or destination as a result of that place being portrayed or represented in the popular cultural forms of the media that are not directly related with tourism promotion or marketing. A number of studies have suggested that such portrayals and features of mass media can act as powerful forces that stimulate tourism demand (Beeton, 2001). Representations and images of tourist destinations constructed by popular cultural forms of media such as films, television and literature play a significant role in influencing people’s holiday decision-making process (Iwashita, 2006). Where trade in images, expectations, dreams, and fantasies are made in tourism (Selwyn, 1996), those media representations and images of tourist destinations play a significant role in influencing people’s decision-making process. The tourism industry also is increasing appliance of images that are drawn from popular culture associated with places to promote tourist destinations and to distinguish themselves from each other. While these researches contribute to the understanding of the influence of pop culture on tourism phenomena, only few studies have investigated on the actual linkage between the pop culture and tourism perceptions/behaviors. The reason why pop culture involvement can be related to the actual intention to visit is due to the fandom created relating to the pop culture. The notion of fandom has been put forward in order to understand the link in between the pop culture and the mass audience in diverse realms (Couldry, 2007). Fandom in recent years have been understood to dismiss the negative view of pathological and the stem for alienating qualities of modern society, and accepted as a phenomena widely spread in post-industrial societies (Jenson, 1992). It is then when transitional moment takes place, in the head and heart of the fan or tourist, that the fascination begins which provides the motivation to visit the locations (Reijnders, 2011). With such cultural industries in modern society constantly produce countless contents that can be utilized as objects of fandom, resulting in actual visit to a place associated with a specific destination serving as an effective strategy for building popular cultural capital in modern society. It was therefore decided to investigate this phenomenon in more depth through empirical research to investigate how and to what extent popular cultural forms of the media (those not directly associated with tourism and destination marketing) have an effect on international tourism, and future, to identify what roles they play in influencing tourists from emerging market in terms of their travel destination image and their perception about places to visit within the chosen destination. The phenomenon in this study focuses on the Korean wave, so called Hallyu, as it is one of the pop culture phenomenon that has gained much recognition across not only within Asian countries but also recently in Western countries via pop songs, soap operas, movies, and other forms of mass media entertainment. In this study, diffusion model suggested by Rogers (1995) was used. The diffusion of Rogers’s innovation framework is proving flexible enough to conceptualize many kinds of social change, including change through processes of public dialogue and civic participation, change within organizations, as well as change through public agenda setting and media effects. Many studies have incorporated diffusion theory to explain such cultural phenomenon to gain more enrich result, however, no other studies have looked into the degree of diffusion stage in a macro level according to the regions. However, to obtain the overall view of the diffusion of such pop culture, it is needed to see the diffusion process proceeding globally as even the same fandom may differ in characteristics based on not only the diffusion stage but also its distinctive characteristics of social system. As a result, according to the diffusion stage of Hallyu, it is expected to differ in formation and perception on destination image. Previous studies identify destination image into cognition and affect which are two conceptually different, yet highly correlated components (Lee, 2008). The cognitive component leading to some internally accepted attributes, a more or less derived from factual information. On the other hand, the affective component relates to a diffusive feeling, which can become important when a decision to travel is actually considered (Russel, 1980). Such image constructed by tourists contains an individual or group perception of a particular place (Fakeye and Crompton 1991). It is expected that the image construction will vary according to the stage of the diffusion. This study incorporates diffusion theory to develop a better understanding of the diffusion process and the current situation of the Korean Wave globally to see whether such diffusion process varies according to region. Then, the effect of such difference in diffusion stages on the intention to visit the destination country was investigated. Thus, preliminary research was conducted first to see the Korean Wave phenomenon globally. In order to analyze the diffusion stage thoroughly, three regions of Asia, America, and Europe were selected. According to the diffusion degree of the Korean wave, seven representative countries were elected regarded to the regions. Along with literatures, in-depth interviews were conducted. The semi-structured form with an interview guide method was presented with reflexive interviewing techniques in order to ensure comprehensiveness (Athos & Gabarro, 1978). Then, a survey was conducted to examine the effect of pop culture involvement on formation and perception of destination image in China and Russia. Choice of countries is not only resulting from recognition as the potential future powerhouse in industry, but because it is the two countries take place as one of the highest increase in the number of tourists visiting Korea recently (KCTI, 2013). In addition, most importantly, China represents to be in the highest stage of diffusion of Korean pop culture, and Russia as one of the lowest. Additionally, the moderating effect of travel intention and travel behavior was preceded. From this, it aims to provide deeper understanding implications for targeting tourists. The hypotheses were tested with a data set developed from field survey using only online survey. Of the 265 samples collected, 8 were returned incomplete. An additional 18 samples were deleted for further analysis, as the answers were unusable. In total 239 samples – 120 and 119 samples from China and Russia respectively – were subjected for final analysis. The result in Study 1 revealed some commonalities and differences among regions. Overall, uniqueness was what made people first be interested. It was mostly pursued by young women yet those who are sometimes extremist. Thus, being open-minded to other cultures was found to be important when accepting other cultures. Moreover, it revealed that it impacts on national image to be more positive as it replaces the negative image related to war and North Korea. However, despite some commonalities, distinctive differences were disclosed among regions, especially between Asian countries and Western countries. In terms of Asia, it was found that cultural similarities have influenced the early acceptance of Korean pop culture. It has been spread since 1997, through television mostly with sensuous contents that were unique in other countries. The contents were mostly appealing to women as the characters shown in soap opera were different to others. This is very different to Europe of America where the diffusion starting in the mid 2000 through the Internet. Uniqueness captured consumers, yet in a different way from Asian countries. The easy going and entertaining aspect was the appealing factor, with word of mouth and human power was what influenced in introduction of Korean pop culture. In addition, those who were into Japanese culture were easily approached to Korean pop culture. The diffusion stage was considered to be less than 10%, with very young women interested with comparison with Asia where it was about 70%. Moreover, it was found that Asian consumers are interested in Korean brand products, such as cosmetics and clothing, and Western consumers are more interested in culture and food. Then, on the survey proceeded where China and Russia was chosen based on the preliminary qualitative research as a two different stage of diffusion according regions/countries, t-test provided evidence to support the claim that depending the diffusion stage of pop culture, the effect on formation and perception of destination image differs. A significant differences were obtained in pop culture involvement, destination image (cognitive and affective), and on visit intention. Based on the t-test statistics for Korean pop culture involvement (t = 8.491, p < .000), the cognitive image (t = -3.341, p < .001), the affective image (t = 2.050, p < .05), and visit intention (t = 2.072, p < .05) were significant. Thus, when highly involved in Korean pop culture, rather than cognitive image, consumers are more likely to be involved with affective image which relates to the actual visit intention. The results corroborated several hypothesized relationships, popular culture involvement in accordance to nation affect the destination image and perception. When more highly involved, more positively it relates to affective image and the visitation intention. The findings reported in this study have managerial implications. One is that as the relation differs according to the diffusion stage, spreading pop culture may not yield visible output instantly, yet as it relates to the actual visitation intention, international pop culture activities should be supported. Second, as shown from the diffusion process globally, distinctive characteristics of each culture should be considered more when spreading such sub-culture. Lastly, therefore, it can be suggested, that according to the countries, different approach should be made in order to induce tourist from other countries. However, this study focuses more on the macro level of the phenomenon. Therefore, future research is needed to provide more evidence on the micro level and more in-depth research. In addition, this study precedes empirical study only in China and Russia. Therefore, more diverse countries should be explored and compared.

이 연구는 싸이의 강남스타일이 한국과는 문화적 차이가 큰 미국에서 어떻게 문 화적 차이를 극복하고 수용될 수 있었는지 강남스타일의 수용과 유통을 통해 향후 K-POP의 발전가능성을 진단해 보는데 그 목적이 있다. 이를 위해 미국에 거주 하는 18세 이상 성인 중 강남스타일 뮤직비디오를 한번이라도 시청한 사람들은 대상 으로 온라인 설문조사를 실시하였다 . 분석결과 몇 가지 흥미 있는 결과가 나왔는데 , 우선 강남스타일과 같은 K-pop의 수용은 미주지역에 거주하는 백인보다는 유색인종 이 주도적인 것으로 나타났다 . 그러나 K-pop을 시청한 이후 이를 확산시키기 위한 행 동에서는 백인이 더 적극적인 것으로 나타났다 . 또 강남스타일은 노래와 춤, 가수가 한데 어우러진 잘 만들어진 뮤직 비디오 때문에 성공할 수 있었지만 , 이외에 강남스타 일의 확산에는 매스미디어와 소셜미디어가 상당히 영향을 미친 것으로 나타났다 .

This study examines the work of Ed Ruscha (1937-present) and his relationship with the Ferus Gallery that vigorously promoted pop art in the western parts of the US throughout the 1960s and 1970s. Ruscha is a conceptual artist and recognized as an iconic figure in the history of LA pop art. His earlier works formed an organic relationship with the southern Californian area. He chose objects from the elements of pop culture, and worked on a wide array of media including painting, photography, artist books and film. By the 1960s, Ruscha has acquired a status as a significant, influential figure as a pop artist, photographer and conceptual artist. In the 1970s, he exhibited his works at the Leo Castelli Gallery in New York, expanding his influence to the east coast. But it was not until 2004 that his retrospective was held at the New York Whitney Museum. Before that, he was mostly known as an artist based in LA both geographically and in terms of his work. Indeed his better known work was created in LA, especially in the early days. Raised in Oklahoma, Ruscha moved to LA in 1956 to attend an art college at age 19. Seven years later, he had his first solo exhibition at the Ferus Gallery. Familiar with pop art elements of Hollywood, beach scenes, palm trees, film and automobiles, artists from LA established their own identity and art world, set apart from east coast-based artists. In particular, artists that worked with the Ferus Gallery were often associated with masculine images, and they adopted this as their persona. The group of them came to be called the Studs. Meanwhile, Ruscha took a slightly different approach. While blending in with other members of the Studs, he expanded or even overcome the macho image through humor and irony. Alexandra Schwartz did extensive in-depth research on Ed Ruscha, and noted that Ruscha could be understood as a mediating figure of the Ferus Gallery, as he was accepted in both the west and the east coast. Schwartz argued that although Ruscha widely used images of the west, he could take a more neutral perspective than other LA-based artists at the time. To him, LA was home and workplace, but Ruscha refused to play along with the cliché of the macho images. As a representative artist of the Ferus Gallery, Ruscha twisted the meaning of the Ferus Studs, intentionally and strategically, and expressed them in his work. With Jerry McMillan, Ruscha actively engaged in opinion-exchanges and image-creating. He augmented the significance of the Studs, which evolved to be a part of various public images that Ruscha experimented with. Ruscha added a new facet of artistic persona to the Studs. The masculine and aggressive images of the Studs members were reproduced in many photos. While connecting to them for solidarity, Ruscha humorously twisted the images, and moved away from the stereotype. Ruscha was a leading artist for the gallery, and widely experimented with the images of the Studs in his work.

This study aims to find methodical similarities between pop art and Robert Venturi's works. Pop art and Robert Venturi's works gave attention to periodical changes and wanted to communicate with the public. This study approaches a topic from psychological viewpoints, especially visual dissonance. The results are as follows: 1. Manufactured Products ; Commercial Ornaments → Character Changes in Experienced Stimulation 2. Daily Elements ; Traditional Elements(Classic) → Contextual Effect of Canonic Representation In these cases, visual dissonance attracted a lot of public attention, and people would develop new meanings of objet. Pop art and Robert Venturi's works indicated value change in post-industrial society, therefore, this study can help to understand the correlation.

Recently the competition of market is getting more and more severe as the block of economic market has been broken due to the free trade of the world. In the mean time, the companies are experiencing more hardship than before because of the difficulties in employing workers, increases of salray and fixed cost of production and higher demand on the product quality from the consumer. Therefore various ways are needed for the resolutions of the production technology and the marketing. Production information system is one way which can bring a innovative advance of the company. In this study, we will examine the design methodology of the POP system for its efficient implementation as a production information system in the automobile parts manufacturing process. For this, we are to suggest the strategy of system implementation as we examine the process analysis, its redesign and coding for construction and testing and performing for its implementation.

정보검색이나 상품 또는 서비스 구매를 위한 현대인들의 인터넷 이용도가 높아지면서, 인터넷을 이용한 다양한 형태의 광고가 나타나고 있다. 이 중 지금까지 가장 활발하게 이용되는 광고가 바로 팝업광고와 키워드광고이다. 인터넷에 팝업광고와 키워드광고를 게재하고자 하는 광고주들은 자신들의 광고가 자주 노출되기를 바라기 때문에, 타인의 등록상표, 타인의 주지(저명한 상품표지 또는 영업표지를 키워드로 구매하거나 이러한 키워드와 관련된 인터넷 공간을 구매하여 팝업광고와 키워드광고를 하고 있다. 검색엔진은 위와 같은 단어 등을 키워드로 판매함으로써 상당한 매출을 올릴 수 있기 때문에 팝업광고와 키워드광고는 다른 광고시장보다 눈부시게 성장하고 있는 상황이다. 그러나 팝업광고 또는 키워드광고와 관련하여 타인의 등록상표 또는 주지(저명한 상품∙영업표지를 사용하는 것은 해당 상표권자 등과의 관계에서 크고 작은 분쟁을 야기시키고 있어 이러한 행위가 상표법 및‘부정경쟁방지 및 영업비밀보호에 관한 법률’(이하‘부정경쟁방지법’)을 위반하는 것은 아닌지 문제된다. 팝업광고 및 키워드광고의 상표권 침해 여부 혹은 부정경쟁행위 해당 여부에 대하여 가장 활발한 논의가 이루어지고 있는 곳은 미국이다. 그러나 미국의 법원은 팝업광고 및 키워드광고의 위법성에대하여 서로 엇갈린 판결을 내리고 있어 그에 대한 명확한 결론이 내려지지는 않은 상황이다. 연방상표법은 상표권 침해를 인정하기 위하여 크게 (i) 상표적 사용과 (ii) 혼동가능성이라는 두 가지 요건을 요구하고 있는데, 팝업광고 및 키워드광고의 상표권 침해 등과 관련하여 미국의 법원 및 학자들 사이에서 가장 큰 논란이 되고 있는 쟁점은 팝업광고 및 키워드광고가 미국 연방상표법의 규정상 타인의 상표를‘상표적으로 사용’한 것으로 볼 수 있는가하는 점이다. 이에 대해서 근래 미국에서는 상표권침해 여부를 판단함에 있어 상표권 침해의 결과로서‘수용자의 오인, 혼동가능성’만을 고려하였던 종래의 무분별한 입장을 비판하면서 상표권 침해의 요건으로서‘상표적 사용’이 존재할 것을 먼저 요구하는 한편 그 행위태양을‘상품의 출처를 표시하는 행위’로 엄격히 제한하여 상표권의 부당한 확대를 방지하려는‘상표사용이론’이 대두하였고, 미국에서는 그러한 주장이 다수의 학설과 판례에 의하여 지지를 얻어가고 있는 중이다. 동 이론에 따르면, 상표적 사용에 해당하기 위해서는‘상품 출처 표시’를 목적으로 타인의 상표를 사용하는 것이 전제되어야 하므로, 광고주의 팝업광고나 키워드광고의 내용 자체에 타인의 상표 등이 포함되지 않는 한 팝업광고나 검색엔진과 관련하여 키워드 등이 사용되고 있는 것은‘상품 출처 표시’로서의 사용에 해당하지 아니하여 상표권을 침해한 것으로 볼 수 없다고 한다. 다만, 광고주의 광고 자체에 타인의 상표가 직접적으로 이용되어 광고주의 상품의 출처를 표시하는 방법으로 타인의 상표가 사용되었고 이로 인하여 소비자들에게 혼동가능성을 야기하였다면, 상표권자는 광고주에 대하여 상표권 침해로 인한 책임을 물을 수 있고, 검색엔진 등은 해당 검색엔진의 비즈니스 모델이 상표권 침해를 야기하는 방향으로 개발되었다면 이에 대하여 기여책임을 부담할 수 있다고 한다. 우리나라에서는 아직 팝업광고나 키워드광고의 위법성에 관한 본격적인 논의가 이루어지지 않고 있다. 그러나 최근 서울고등법원은 포털사이트의 키워드광고 검색 결과 최상단에 빈공간(여백)을 적절히 확보하여 새로운 키워드광고를 삽입하거나 기존에 제공되는 광고 내용을 대체하는 등의 프로그램에 대한 가처분이의사건에서, 타인의 영업표지를‘사용’한다고 하기 위해서는 적어도 타인의 영업표지를 행위자 자신의 영업의 출처를 나타내는 방법으로 사용하여야 한다고 설시하였다. 나아가 부정경쟁행위에 대하여 형사처벌이 가능하다는 점에 비추어 볼 때, 사안과 같이 자신의 영업표지와 타인의 영업표지를 함께 나타나게 하는 경우까지 위‘사용’개념을 확장해석 할 수는 없으므로, 문제의 광고방식이 부정경쟁행위에 해당하지 않는다고 판단하였다. 그렇지만 이러한 광고방식은 타인의 저명한 영업표지 등이 가지는 신용에 편승하여 타인의 영업을 방해하는 정도가 상도덕이나 관습에 반하여 공서양속 위반에까지 이를 정도로 불공정하여 위법성이 인정되므로 업무방해로 인한 불법행위책임이 인정된다고 판시하여 자칫 규제의 사각지대에 놓일 수 있는 인터넷 광고 형태를 규제하였는바, 이러한 접근은 팝업광고나 키워드광고의 위법성 판단에 있어서도 참고할 수 있을 것으로 생각된다. 우리나라의 현행 상표법과 부정경쟁방지법상 상표권 침해행위나 부정경쟁행위를 판단함에 있어서는 타인의 등록상표, 타인의 주지∙저명한 상품표지 또는 영업표지를‘사용’할 것이 요구되고, 상표법이나 부정경쟁방지법의 입법목적을 고려할 때 여기서‘사용’이란 특정 상품이나 서비스의 출처를 식별하기 위하여 상표나 표지를 사용하는 것을 의미하는 것으로 해석하여야 한다. 이러한 해석 하에서는 팝업광고나 키워드광고의 내용 자체에 타인의 등록상표 또는 주지∙저명한 표지가 사용되지 않는 한, 즉 타인의 상표나 표지로 이루어진 키워드가 광고주의 팝업광고나 키워드광고를 나타나게 하는 내부적 알고리즘으로만 사용된 것에 불과 하다고 볼 수 있는 한, 해당 팝업광고나 키워드광고가 상표법이나 부정경쟁방지법에 위반된다고 보기는 어렵다고 생각된다. 다만, 팝업광고나 키워드광고 자체에 타인의 등록상표, 타인의 주지∙저명한 상품표지 또는 영업표지를 광고주의 상품이나 서비스의 출처표시로서 인식할 수 있는 부분이 포함되어 있다면 관련 광고주에게는 상표법 또는 부정경쟁행위 위반에 따른 직접책임을, 검색엔진 등에게는 그 관여 정도에 따라 공동불법행위 또는 방조의 책임을 물을 수 있을 것이다. 검색엔진의 이러한 책임과 관련하여서는 인터넷서비스제공자의 책임 및 면책과 관련된 규정을 도입하는 방안도 고려해 볼 수 있을 것이다. 팝업광고나 키워드광고 자체에 타인의 등록상표 등이 해당 광고에 직접 표시되어 혼동가능성을 주는 경우는 별론으로 하고, 현행 상표법 및 부정경쟁방지법상 상표권 침해나 부정경쟁행위 성립을 인정하기 위한‘상표적 사용’또는‘표지적 사용’ 의 해석, 혼동가능성의 판단시점 문제 등을 고려할때, 팝업광고나 키워드광고에 대하여 상표권 침해나 부정경쟁행위 성립을 인정하는 것은 쉽지 않아 보인다. 그러나 팝업광고나 키워드광고에는 분명히 타인이 막대한 비용을 투자하여 쌓아 올린 상표 또는 표지가 가지는 신용(good will)이나 고객흡인력에 무임승차하여 부당하게 이익을 도모한다는 측면이 있으므로, 이를 규제할 필요성이 전혀 없다고 말할 수는 없다. 이와 관련하여서는 민법상의 불법행위책임이나‘정보통신망 이용촉진 및 정보보호 등에 관한 법률’에 의한 규제를 고려해 볼 수 있고, 나아가 입법론적 해결도 생각해 볼 수 있을 것이다. 이러한 과정에서 궁극적으로는 타인의 등록상표나 상품 또는 영업표지를 이용한 다양한 형태의 영업활동을 보장하고 자유경쟁을 통하여 이용자들에게 많은 정보를 제공할 것인지, 아니면 상표나 상품 또는 영업표지의 신용 및 고객흡인력을 쌓기 위하여 많은 노력과 비용을 들인 상표권자 등 권리자의 이익을 우선할 것인지에 대한 이익형량을 통하여 권리자의 이익 보호와 자유경쟁을 통한 소비자의 이익 극대화라는 두 명제 사이에서 적절한 해결점을 찾아야 할 것으로 보인다.

This thesis examines contemporary Chinese painting after the CulturalRevolution(1966~76), focusing upon so-called “Chinese Pop art”, which I termed as“Socialist Pop art”. I considered the art of this period within the broader context of socialchanges especially after the Tienanmen incident of 1989.After the Cultural Revolution during which idolization of Chairman Mao was at itspeak, one of the major changes in communist China was that an anti-Mao wave wasgenerated in almost every social class. For example, novels that revealed the hardshipsduring the Cultural Revolution were published. Posters that openly criticized the Maoismwere also produced and displayed on the walls, and demand for democracy spurredwidespread activist movements among young generations. These broad social changeswere also reflected in art. A variety of art movements were introduced from the West toChina, and after a period of experimentation with the new imported styles, artists began toapply the new artistic idiom to their works in order to visualize their own social andpolitical realities they lived in. It was a shift from earlier Socialist Realism to a newexpression either directly or indirectly, “Socialist Pop”, an amalgam of Socialist Realism andPop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communistgovernment quelled with brutal measures the students, workers, and ordinary people whorose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This timecoincided with the gradual emergence of art using Pop art vocabulary to satirize the socialreality, the Socialist Pop art, along with many other art forms all with avant-garde spirit.One of the most frequent subjects of Chinese Pop art was visual images of ChairmanMao and his Cultural Revolution, and new China that was saturated with capitalism, whichtainted the Chinese way of life with a Western way of consumerism and commercialism.The reason for the popularity of Mao’s image was spurred by the “Mao Craze”in the early1990’s. People suddenly began to fall in a kind of nostalgia for the past, and once again,Mao Zedong was idolized as an entity who can heal the problems of modern China whohad been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is nomore an object of worship of almost religious nature but he has become an iconographysymbolizing the complex nature of present Chinese society. During this process ofdepicting the social reality, Chinese artists are making the authority and sanctity of Maoismineffective. Dealing with this new trend of contemporary Chinese art in view of “Socialist Popart”two manners of re-creating Pop art can be illustrated: one that incorporates thepropaganda posters of the Cultural Revolution; the other borrows from Chinese traditionalpopular imagery or mass media, such as photos taken during Mao era. What is worthmentioning is that these posters and photos of the Cultural Revolution can be identified as‘popular’media, as they were directed to educate the popular mass, thus combination ofthis ingenuous pop media with Western Pop art can be fully justified as a genre unique toChina. Through this genre, we can discover a new chapter of the Chinese contemporarypainting and its society, as their Pop art can be considered as self-portraits true to theirpresent appearances.

  This paper develops a process monitoring system for real-time process control. The practical case is studied on a small and medium marine equipment company. For business process reengineering of the company, we adopt an approach based on information eng

Recently the construction of the ERP(Enterprise Resource Planning) system becomes accomplished actively from the many enterprises. But the many problems occur in acquisition of production data which is a fundamental data of system. Also to delay the acquisition of the production result is fatal in the efficient business operation. The construction of the POP(Point of Production) system which acquires production data at real time is become accomplished widely, In the POP system it is most important to acquire the production data which is accurate. But the many enterprises drop the competitive power with acquisition of the data which could not be trusted. In this paper, we analyze these causes and present the method which it can improve the reliability of production data. Also we introduce a real application case.

  A POP system, which collects manufacturing data from the shop floors and supply them to higher level systems, should be maintained and upgraded according to the change of production environment such as new product introduction. This situation leads to t

Many technical and nontechnical issues hinder enterprise wide workflow management. The most significant technical issue is the inability to deal with the heterogeneity among users, workflow types, and WFMSs. Not all users demand the same workflow functionality, so user interfaces of different levels of sophistication are required. Because workflow types cannot always be fully predefined, they often need to be adjusted or extended during execution. Unlike relational database management systems, however, each WFMS often has differing workflow metamodels. This leads to incompatibility between WFMSs, making integration into an environment comprising many heterogeneous WFMSs a troublesome and sometimes impossible task. Current Workflow system consists mainly of Database system. It contains some problems like that the integration relationship among system processes cant be expressed properly. This research has been focused on two phases that should be considered in the Workflow system. First of all, the first phase is the analysis phase; one of its role is to figure out independent execution task unit(Workflow component). The second phase is design phase that provides with the framework to execute these task units actively. The Workflow component extraction method in the analysis phase uses a analysis method called C-C Net and, in the design phase, the architecture that makes the these Workflow component executed actively is provided. Through this research, each process is divided into a task unit and more effective Workflow system could be formed by executing these units actively. Current system layer calls task units, on the other hand, the Workflow system this research implemented provides with the architecture that places a layer between them that controls task units actively.