본 논문은 현대 국제 에너지 정치의 주요 이슈인 미-러 에너지 전쟁과 러시아-우크라이나사태가 유럽연합의 에너지 안보와 정책에 미친 영향을 분석하는 것을 목적으로 한다. 먼저, 미국과 러시아 간 에너지 패권을 둘 러싼 전략적 대립의 기원과 전개 과정을 탐구하며 글로벌 에너지 시장과 지정학적 균형에 미친 영향을 평가한다. 또 러시아-우크라이나 전쟁이 유럽연합의 에너지 시장과 정책에 끼친 파장을 분석하여 에너지 공급의 불안정성, 가격 변동성, 그리고 정치적-경제적 연쇄 반응을 포괄적으로 다루고자 한다. 이에 따라 유럽의 에너지 위기가 유럽연합의 에너지 안 보 및 정책 결정에 어떠한 변화를 가져왔는지를 조명하겠다. 이어서, 유 럽연합 회원국인 독일과 폴란드가 직면한 에너지 위기에 대응하기 위해 취한 다양한 에너지 정책을 살펴본다. 이를 통해 에너지 위기를 타파하 기 위한 유럽연합 국가들의 다변화 전략이 유럽의 에너지 안보와 정치적 통합에 어떤 장기적 영향을 미칠 수 있는지에 대한 종합적 평가 및 전망 을 제시하고자 한다.

생태위기에 대한 논의는 기독교 내의 다양한 진영 내에서 활발하게 이루어져 왔는데, 최근 로잔운동 내에서 더욱 적극적인 운동 형태로 표출되고 있다. 특히 케이프타운 대회는 창조세계를 돌보는 일이 복음의 문제임을 분명히 하였으며 생태문제에 온 교회가 적극적으로 대처할 것을 요청하였다. 그리고 2012년 자마이카에서 열린 “창조세계 돌보기와 복음에 대한 로잔국제협의회” (“The Lausanne Global Consultation on Creation Care and the Gospel”)는 “자마이카 행동요청”(“Jamaica Call to Action”)이라는 문서에서 생태위기를 우리 세대 내에 해결하고자 하는 구체적인 실천전략을 제시하였다. 로잔 창조세계 돌보기 네트워크(The Lasanne Creation Care Network, LCCN)은 세계복음주의연맹(World Evangelical Alliance, WEA)과 협력하여 ‘창조세계 돌보기와 복음’운동을 확산시키고자 노력하고 있다. 대륙별로 개최되는 국제모임들과 이 운동 내에서 제시되는 다양한 실천 사례들은 생태위기를 우리 세대 내에서 극복하고자 하는 운동이 전세계 교회들과 단체들 그리고 여러 나라들과 지역사회들로 전파, 확산되고 있음을 잘 보여준다.

In this paper, we review the influence of crisis response strategies in social media on attitude recovery in relation to customer brand commitment. We extend the situational crisis communication theory and the social-mediated crisis communication model to include the role of audience characteristics (i.e., customer brand commitment). The effects of crisis response strategies (i.e., defensive, accommodative) and electronic word of mouth antecedents are discussed because source factors, message factors, and audience factors lead to attitude recovery. We also introduce a framework of the impacts of brand crisis response strategies on customer attitude recovery after exposure to negative word of mouth and response strategies in social media.

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the ‘crisis of painting’ is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting but also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.