변화하는 세대는 새로운 복음 전달 방법을 요청한다. 이제 복음의 전달을 위해 들려질 뿐 아니라 보여지고 체험되는 통전적 접근이 필요하 다. 기독교박물관은 비기독교인들에게 기독교의 가치와 정신을 보여주 며 즐거움과 감동을 줄 수 있는 선교적 근접 공간으로서 관람객과 상호작용 할 수 있다. 본 논문은 박물관의 여러 가지 기능 중에서 전시를 통한 교육의 목표인 정체성 형성과 그 과정 속에 발생하는 선교의 가능성을 연구하였다. 논문의 전개는 첫째, 박물관의 역사를 통해 그 교육적 기능을 찾고, 박물관의 교육패러다임으로 개인의 경험 이 지식과 의미를 만드는 구성주의를 소개한다. 둘째, 구성주의 박물관 의 기독교 내러티브 전시의 관람객과 교육적 상호작용을 통한 정체성 변화 즉 선교를 모색한다. 셋째로, 기독교박물관의 모든 활동의 중심이 라고 할 수 있는 선교적 그리스도인으로서 학예사(Curator)와 해설사 (Docent)를 소개함으로 기독교박물관이 신앙 정체성 형성과 전승의 교육 공간이며 하나님의 선교의 장으로 기능해야 함을 주장한다.

Introduction In the last years, luxury has experienced a multiplicity of transformations from different perspectives. The opening up of the fast-growing economies to luxury has disrupted its essence and identity by bringing in a stratification of the levels in luxury, an expansion of customers’ segments and a new mode of operationalization for luxury brands: the digitalization of luxury. However, luxury brands identity should still be characterized by their rarity, originality and exclusivity. Luxury capitals and their urban ecosystem represent a significant space where luxury brands had and still have anchored their essence, customer experience and all those values that represent their identity. Luxury industries are threatened by a progressive loss of mystique, market analysts say, as consumers search for something more than aesthetics and shallow status symbols (Boston Consulting Group, 2010). Consequently, luxury brands should rely more consistently on their heritage and history, in order to strengthen their appeal (Atsmon et al, 2012). In-store experience is increasingly important in luxury markets (Atsmon et al, 2012) and the shopping destination plays a key role. In fact, besides being an instrumental occasion for getting the needed products, the shopping experience becomes an end valued for its own sake (Rintamaki et al, 2007, p. 628). As a result of the changing context and new priorities, this research will focus on the case study of one main French luxury brand – Christian Dior – and will explore how the brand has capitalized on the local “brandscape” effect of Paris as a luxury city to reinforce the brand heritage and keep its own identity in “turbulent times”. The results of this study are preliminary ones at this stage but they already provide an overview of how the brand has capitalized on the brandscape orientation. Theoritical Development In order to understand how Christian Dior has capitalized on the local “brandscape” effect of Paris and reinforce its brand heritage, this article will first review the main concepts of brandscape and brand heritage. Brandscape City branding literature has overlooked the role of individual brands that, being somehow associated with the city, contribute to city brand building (Pasquinelli, 2014). In city branding literature, a variety of geographical units may be relevant for brands, especially at a smaller scale: the ‘region of origin’ or the ‘city of origin’ (as in this article) may turn out to be of much greater significance. However, the geographical fragmentation of global value chains caused the breakdown of the ‘origin’ into a set of geographical associations (Insch and McBride, 2004), such as the “Made in”, “Designed in”, “Assembled in” and “Headquartered in” (Papadopoulos, 2011). Consequently, origin will not simply be the geographical context where the product is manufactured. Rather, the brand origin becomes ‘the place, region or country where a brand is perceived to belong’ (Thakor and Kohli, 1996, p. 26). The origin is, thus, a matter of perception and, in addition to the physical or material attachment to the place of production, other spatialities may add value to product brands, such as the ‘usage context’ (Gerr et al, 1999), in relation to specific situations and rituals of consumption. In this perspective, rather than a simple and static place–product identification, there is a need to look at the process of constructing geographical associations, where spatial circuits of value and meaning are activated in the production, circulation, consumption and regulation of product brands (Pike, 2009, 2010, 2011). Consequently, cities may become the host of these spatial circuits and, because of their nature in a globalized economy, they play a distinctive role in the ‘local origination’ of product brands, helping local firms to construct globally competitive brands (Pike, 2011). Brand heritage A brand is often represented by s a set of functional attributes and symbolic values, branding being the process of associating the attributes with the product in order to add value to it (Hakala et al., 2011). According to Kapferer (2004), a brand’s success is based on its saliency, differentiability and intensity, and on the trust attached to the associations. In addition to these, Davis (2000) underlines the role and accumulation of experiences in brand recognition. Brand preference ultimately depends on what the brand means to the customer and on the impact of its emotional effect, in other words on its place in the heart (Ballantyne et al., 2006). Related to the same idea, brand attachment is characterized by a strong linkage or connectedness between the brand and the self (Kleine and Kleine, 1993). In this context, brand heritage is one of the associations that marketers can use to differentiate their brands from those of their competitors, ultimately helping them to create a unique image for the offering (Keller and Lehmann, 2006). For Aaker (1996), heritage is a key component of brand equity and this heritage represents an essential value for the customer and other stakeholders (Keller and Richey, 2006). The main advantages of brand heritage is as a matter of fact to add stability, familiarity, sincerity and differentiation (Merchant and Rose, 2013) in order to bring authenticity (Fionda and Moore, 2009; Kapferer and Bastien, 2008), and to reduce purchasing risk (Steewart-Allen, 2002). In difficult times, consumers become less confident in the future and wish to protect themselves from the hazards of the outside world and as a result it increases the interest in brands with a heritage: skillfully exploited, they can evoke past events (Brown et al., 2003) and reassure the consumer. The word heritage is generally associated with inheritance: something transferred from one generation to the next. As a concept, therefore, it works as a carrier of historical values from the past (Nuryanti, 1996). But the concept of heritage is different from history (Urde et al. 2007) and retro (Wiedmann et al. 2011). Heritage corresponds to different meaning. On the corporate perspective, heritage is defined as “all the traits and aspects of an organization that link its past, present, and future in a meaningful and relevant way” (Burghausen and Balmer 2014b, p. 394). This link between the different time strata, called omni-temporality, is a cornerstone of corporate heritage (Balmer 2011). Finally, Banerjee (2008, p. 314) describes the four pillars of the heritage of a brand as its history, image, expectancy and equity. History represents its rich and eventful past, the image "an after effect of the brand communication and positioning based on the perceived benefits by consumers”. Brand expectancy refers to the physical and emotional benefits that consumers receive from the brand. Finally, equity comprises two subsets: a homogeneous and heterogeneous set of competencies that facilitate progression and give advantages over the competition. With the exception of its history, the elements of the brand's heritage in Banerjee’s description (2008) are difficult to measure. Methodology In order to provide specific responses from the field, the empirical research methodology chosen follows the case analysis method (Yin, 1984). Following Yin (1984) case study approach and guidelines, a unique emblematic and successful case study is proposed to be analyzed in its unicity. Data reported will be authorized when required or based on primary evidence from public sources such as online, offline media, press, and advertisement and communication campaigns. The research data collection process has started with a pilot work in order to be oriented by experts in the field with respect to the coherence of the research covered. A focus group has been created and has provided indications to build a guideline for the empirical data collection. As a result, it has been decided to start the empirical data collection through an analysis of public sources on a 2 years timeframe. The length of the public sources analysis is related to the need to provide a consistent evaluation of the brand positioning heritage. The following empirical data will be concentrated on interviews with Christian Dior brand in a timeline of 2 months in order to have access to diverse sources of information and to integrate data necessary to build a coherent case study. The interviews are going to be carried in Paris headquarters and in the diverse flagship stores in Paris. Paris as location of data investigation and collection has been decided in relation to its central role in the research questions of the paper and in the historical development of the brand. Christian dior as a successful case of fashion city brandscape and heritage Christian Dior French New Look appeared in 1947 during the first Christian Dior couture fashion show in Paris. At the time, the Paris couture trade was in a precarious state. What it needed was excitement, and Christian Dior delivered it in a collection of luxurious clothes with soft shoulders, waspy waists and full-flowing skirts intended for what he called flower women. ‘It’s quite a revelation, dear Christian Dior’ pronounced Carmel Snow, the editor of US magazine Harper’s Bazaar. ‘Your dresses have such a New Look.’ And here it was: the New Look dresses were born. Dior brand is specifically embedded on the name of the founder, fashion designer of the brand, very inspired by the atmosphere and history of Paris : “ The air of Paris is really the air of couture” (Dior, 2011). The logo itself reminds the founder of the brand. Its simplicity and elegance reinforce the brand identification for consumers; in the logo, it is possible to find the sophistication and elegance representative of the personality of its creator. The company has made efforts to keep the same values promoted by its original founder Christian Dior. Indeed, Dior was primarily a female brand. Dior’s company is also synonymous of dreams. The designer always wanted to reach the excellence in every pieces he created and it’s on the same motto that the company has reached the success known today. Though earlier Dior focused only on women, it diversified into products for men under the brand of Dior Homme, and for children under the brand of Baby Dior as well as other products lines such as parfumes and cosmetics with the same aspect of perfectionism. Preliminary results and conclusion In order to evaluate Christian Dior relationship with the urban environment -Paris-, a first collection of on line data has shown the following. Christian Dior bought his first couture house in Paris in 1946 after working for Robert Pigue and Lucien Lelong. His first house, 30 avenue Montaigne, was the place where the Dior Label would flourish. Considered as one of the greatest couturiers of this century, Christian Dior never ceased to develop his image and fame around the "great Parisian chic", anchored in the mythical and symbolic history of the famous "light city". His latest exhibition at the “Musée des Arts Décoratifs” celebrating the 70th anniversary of Maison Dior, says a lot about this position. The brand strategy has always been in fact, to bring beauty by respecting the tradition and heritage of the company. In this environment, Dior shows the implementation of a very specific brand communication policy. As in the following examples, the ad is always really elegant and sophisticated with quite often the appearance of a famous person being the “muse” of the brand. And the story always takes place in Paris and is illustrated by short anecdotes in the heart of the capital, next to its most famous monuments such as the Eiffel Tower. The logo is also present in a simple way, reflecting the strength of the brand with a clear recognition and association with French luxury and high quality products. If these ways of communicating remain more classical, where the consumer can easily rely on the values of the brand with a “dream” touch, the real power of Dior’s brand is the way it communicates on the brand itself and its history. The continuation of our research will consist in deepening these preliminary results by analyzing supplementary data coming from public sources and interviews led with Dior's brand.

본 연구는 차별이나 동화(동일성)의 강제와 같은 형태의 타자 지배적 폭력을 부정하고, 타자 존중을 지향하는 ‘그리스도인 아이덴티 티’가 어떤 것이야 하는지에 대해 레비나스의 타자윤리학을 참조하면서 예수의 선교활동에서 찾는 것을 그 목적으로 한다. 본고에서는 타자 지배가 가동되는 메커니즘이나 타자 존중을 지향하는 주체에 대해 레비나스 등의 주장을 검토한 후, 선한 사마리아인의 비유를 중심으로 고찰하면서 논의를 전개한다. 본고의 결론은, 그리스도인 아이덴티티의 핵심은 속성(민족/인종, 성차, 종교 등)에 근거하는 아이덴티티와는 다른 ‘이웃 아이덴티티’이며, 그리스도인에게는 타자 지배를 부정하고 타자 존중을 지향하는 아이덴티티가 이러한 이웃 아이덴티티와 그것으로써 더욱 의로운 것으로 계속 변용되어 가는 속성의 아이덴티티라는 이중 구조로 이루어지고 있다는 것이다.

본 연구는 사회적 약자를 회복하는 기독교사회복지의 정체성에 관하여 규명하였다. 성경에 나타난 복지사상은 하나님의 형상으로 지음 받은 인간은 어느 누구도 억압과 소외를 받지 않아야 한다. 즉 모든 인간은 그 가치에 있어서 평등과 자유, 행복을 추구할 권리가 있음으로 약자나 강자, 가난한 자나 부유한 자 모두가 평등, 대우를 받아야 한다. 그러므로 고난당하는 자와 함께하는 것이 기독교인들의 마땅한 도리이다. 기독교사회복지의 신학적인 봉사의 의미는 예수의 교훈을 따라 가난하며 고난당하는 자들을 위해 봉사하고 섬기는 것을 말한다. 이러한 디아코니아는 오랜 기독교 역사 속에서 복음의 핵심인 구원과 그리스도의 교훈에 따라 선한 구제사업을 하였다. 선교신학적 사회봉사에 관하여 전통적 선교관은 사회봉사를 격하시키며 교회의 본문을 저버리고 전도의 부수적인 결과로 치부해 버리고 있지만, 통전적 선교의 개념으로 재조명하여 보면, 선교는 개인 영혼구원 뿐 아니라 사회봉사적 책임을 다하는 것이 교회의 사명이라고 할 수 있다. 따라서 기독교사회복지 활동에 개선방안에 있어 목회지의 의식수준과 개교회주의 인식전환을 위한 목회자의 올바른 신학적 이해와 개교회주의를 극복해야 할 것이다.

본 논문은 기독교사회복지의 정체성을 찾기 위한 연구이다. 일반사회복지와 기독교사회복지가 그 차이점을 발견하면서 기독교사회복지의 정체성을 확인하였다. 그리고 이에 따라 기독교사회복지가 실천되고 있는지의 여부를 분석하였다. 이러한 시도는 오늘날 기독교가 사회복지활동에 참여를 많이 하고 있는 상황이기 때문이다. 그리고 일반사회복지가 기독교 신앙과 다른 입장에 놓여있는 부분들이 있기 때문이다. 뿐만 아니라 가치 충돌이 기독교사회복지 현장에서 일어날 수 있기 때문이다. 이러한 이유로 기독교사회복지의 정체성을 확보하고자 시도한 것이다. 본 연구는 기독교사회복지가 무엇인지를 밝혀내기 위해서 포커스그룹 인터뷰 연구 방법을 채택하였다. 연구 결과 사상(이념), 가치, 주체, 대상, 동기, 목표, 영역(범위), 방법, 재원 등 9가지 차원에서 다르다는 것이 밝혀졌다. 사상(이념)’ 차원에서는 하나님의 형상인 인간을 소중히 여기는 하나님 중심의 사상인 ‘신본주의’ 입장을 취하고 있고, ‘가치’ 차원에서 ‘진리가 주는 자유’, ‘하나님의 형상으로서의 평등’, 그리고 ‘하나님 나라의 정의’를 그 가치로 여겨 결국 성경이 제시하는 가치를 추구하고 있다고 밝혀졌다. ‘주체’ 차원에서 교회, 기독교기관, 기독교관련단체, 기독교공동체, 그리고 기독교신자개인이 주체가 되었다. ‘동기’ 차원에서 ‘이웃사랑’이 실천의 동기가 되었고, ‘목표’ 차원에서는 ‘하나님의 나라’가 목표가 된다는 것이 그 차이점으로 나타났다. ‘영역(범위)’ 차원에서 영적 차원도 포함시키는 영역을 갖는 것으로 나타났고, ‘방법’ 차원에서 삶을 변화시키는 ‘총체적 회개’가 중요한 방법으로 등장하고, 사회복지학과 인접학문의 이론과 실천 기술에 대한 기독교세계관에 기초한 적용이란 방법을 채택하고 있는 것으로 나타났다. 그리고 ‘재원’ 차원에서는 일반사회복지의 재원 모두와 특별히 교회 지원금 및 성도의 후원금이 추가되는 것으로 나타났다. 마지막으로 기독교사회복지 실천 실태 분석에서는 일반적으로 기독교사회복지의 정체성에 입각하여 실천하고 있는 것으로 드러났다.