이 연구는 카메라의 시선, 즉 시점에 관한 정의와 분석을 통해 다르덴 형제의 작품 <로제타>와 <자전거를 탄 소년>에서 나타나는 객관적인 시 점 샷을 다룬다. 카메라의 시점 샷은 주관적인 시점과 객관적인 시점으 로 구분 지을 수 있다. 주관적인 시점은 관객에게 공감을 불러일으켜 이 야기의 집중도를 높인다. 반면에 객관적인 시점은 관객이 등장인물을 관 망하게 하여 관객의 편안한 시청을 유도할 수 있지만, 극 중 인물에 대 한 감정이입을 끌어내지 못하는 한계가 있다. 그래서 일반적인 극영화가 주관적인 시점 샷을 적극적으로 활용하는 것에 비해 객관적인 시점 샷의 사용 빈도는 상대적으로 낮다. 하지만 다르덴 형제의 극영화에서는 객관 적인 시점 샷을 중심으로 화면이 구성된다. 이런 배경을 토대로 연구를 진행한 결과 연구의 중심에 있는 영화 <로제타>와 <자전거를 탄 소년> 에서 역시 이 다큐멘터리 기법과 객관적인 시점 샷으로 구성된 연출을 확인할 수 있었다. 그리고 다르덴 형제가 구성한 객관적인 시점 샷은 사 회적 약자, 소외된 계층에 있는 사람들의 현실을 전달하고자 하는 그들 의 의도를 반영하는 데 효율적인 샷이란 사실 역시 확인하게 되었다. 또 한, 다르덴 형제는 객관적인 시점 샷을 통해 관객을 관찰자로 만들어 영 화에서 일어나는 상황을 관망하게 만들고, 그로 인해 극 중 인물의 가혹 한 현실을 관객들에게 전달하고자 한 것이라는 사실 역시 파악되었다.

This study aims to reveal the multilayered nature of the formal aspects of communal house architecture in North Korea. It is said that Kim Jong Il, who emerged as a successor after the mid-1970s, brought about a change in the architecture, leading the construction of a sculptural communal house on Gwangbok Street in 1989, and wrote The art of architecture (1992), which theorized architecture as an object of art. Therefore, it is widely perceived that the communal house was transformed from a simple form of living function to an artistic architecture with the rise of Kim Jong Il. This study, however, argues that this change was the result of an internal evolution in North Korean architecture, rather than a simple change in the position of an individual in power. It seeks to move away from the dichotomy that divides the communal house into two periods: the "Kim Il-sung period," in which the communal house was laid out in a simple form to provide mass supply and a socialist lifestyle, and the "Kim Jong-il period," in which the communal house took on an artistic form, such as the Gwangbok Street communal house, in the early years of reconstruction. In the 1950s and 1960s, before Kim Jong-il's arrival, the communal house form was not simply a flat arrangement, but a three-dimensional and sculptural consideration of the effect on the cityscape.

이 논문은 김춘수가 이상에 대한 비평에서 ‘이상은 왜 키르케고르의 길을 가지 않았는가?’를 물은 데 착안하여, 시인으로서의 존재론적 지향점이 김춘수는 초월성을 향해 갔으며, 이상은 내재성을 향해 갔다는 전제 아래에 논증되었다. 초월성을 지향한다는 것은 차안으로부터 피안의 신, 존재, 진리, 선을 추구한다는 것이며, 내재성을 지향하는 것은 자연으로부터 유래한 인간의 본성과 생명력을 신뢰하며 자기의식의 체험을 긍정하는 것이다. 김춘수는 초월성의 관점을 키르케고르의 신학에서 취한 바, 이 논문 또한 그의 사상을 원용하여 논증해 나아갔다. 이상 문학의 절망, 불안, 권태 등은 키르케고르의 1단계 심미적 실존에 머문다. 이상은 키르케고르적인 신학적 세계관과 아가페적 사랑을 추구하지는 않았지만, 천재로서 절망과 불안을 감내하며 내면의 자유를 추구하여 예술의 새로운 영역을 개척하는 데 기여하였다. 결론적으로, 키르케고르의 신학적 길을 간 것은 오히려 릴케의 영향을 받은 김춘수였다. 한국현대시사에서 모더니즘의 두 거장 이상과 김춘수는 ‘내재성’의 사상과 ‘초월성’ 사상의 두 축을 담지하여 한국의 정신사를 풍요롭게 하였다.

글로벌 시대 동북아시아에서는 19세기 촉발된 영토분쟁(territorial dispute)의 미해결로 정치적 및 외교적으로 분쟁이 끊이지 않고 있다. 대 다수 영토분쟁에 대한 연구는 역사적 맥락과 정치경제적, 국제법적 해결방안 을 중심으로 연구되었다. 하지만 이런 연구는 영토분쟁의 근원적인 차원에서 영토분쟁을 이해하고 해결하는데 한계가 있다. 이런 측면에서 미해결 영토분 쟁에 대한 힘의 논리에 근거한 정치군사적 대결 분석도 중요하겠지만 정 치문학적 관점을 중심으로 분석해보는 것은 영토문제를 둘러싼 갈등의 원인을 이해하고 집단적 심리를 이해하는 측면에서 도움이 될 것이다. 특히 일본의 강제병합에 의한 주권상실과 분단을 경험하고, 오늘날까지 한일관계 정상화에 걸림돌이 되고 있는 독도를 둘러싼 영토문제와 역사 문제에 대해 내재된 한국인의 집단적 심리와 갈등을 분석하기 위해서 당 대의 문화와 언어가 반영되어 있는 근현대사를 다룬 문학작품을 고찰하 였다. 한반도와 만주지역을 중심으로 식민주의와 영토팽창과 분단으로 인해 이념·경제·문화·민족주의적 대립이 반복되면서 교차된 가해와 피해 의 기억은 분쟁이 지속되는 주요 요인이 되기 때문이다.

본 연구의 목적은 의미 있는 대상의 선호도 판단에 영향을 미치는 것으로 알려진 원리인 내적 편향 원리와 규범적 관점 간의 상호작용 양상을 연구하는 데에 있다. 개별 개체의 친숙도가 규범적 관점에 영향을 미친다는 점 또한 고려 하여 친숙도 수준에 따른 두 선호도 원리의 작용 양상을 검증하고자 하였다. 이를 위하여 이중 대안 선택 과제를 활용한 행동 반응 실험을 진행하였으며, 친숙도 수준(높음/낮음)에 따라 각 8개의 단일 개체를 실험 재료로 하여 내 적 편향 원리 준수 여부와 규범적 관점 준수 여부를 조작하였다. 실험 결과, 내적 편향 원리를 준수한 상태에서 개체 가 제시된 경우가 내적 편향 원리가 위배된 상태로 개체가 제시된 경우보다 더 선호되었다. 선호 판단에 걸리는 반응 시간 또한 더 짧은 것으로 나타났다. 그러나 규범적 관점 준수 여부는 선택 빈도 및 반응 시간에 영향을 미치지 않는 것으로 나타났다. 더불어, 개체의 친숙도는 선호도 판단과 관련된 의사 결정에 간섭 요인으로 작용하는 것으로 나타났다. 이와 같은 결과는 개체 선호도 원리 중 내적 편향의 강도가 규범적 관점에 비해 더 우세하며, 단일 개체가 제시될 때 그에 대한 선호 판단에 있어서 그 개체가 가진 속성보다 시각적 문맥과의 상호작용이 중요하게 작용한다 는 것을 시사한다.

Research on the birth (起源) and names (語源) of foods such as kimchi is important to understand traditional food culture. kimchi, an ‘add flavored, fermented, pickled, vegetable food’ was initially prepared with the simple purpose of increasing storage capabilities, but later, through a complex process of change, morphological diversification occurred. In addition to the basic name of ‘kimchi’, each variety has its unique name and history. This study was conducted through qualitative research using various research methods, such as oral records and interviews, as well as investigation of data from literature, including ancient literature, modern cookbooks, newspapers, magazines, papers, and videos. The study sought to investigate the context and the meaning of the name Chonggak kimchi. In addition, it is a compilation of how the name spread through the ages and evolved to its current name. The name Chonggak kimchi did not exist during the Joseon Dynasty and Japanese occupation and first appeared in the records in the late 1950s. Nevertheless, the original name of ‘Altarimu kimchi’ evolved and finally became a part of the standard Korean language (標準語) in 1988. In the process of the name spreading and becoming popular, the movie “Chonggak kimchi (1964),” starring Shin, S.I., and Eom, A.R. played a significant role. It was also confirmed that this was a meaningful and valuable case of contentization of traditional food culture, regardless of the intention behind the same.

“‘착한 여자’라는 이름의 억압, ‘나쁜 여자’라는 이름의 해방”이라는 구호 아래서, 현대 페미니스트들은 용감하게 자신들이 나쁜 여자라 불리기를 주저하지 않았다. 이들의 이와 같은 노력으로 나쁜 여자의 의미는 이전의 전통적인 의미를 벗어나 남성 지배적인 사회에서 여성의 권리와 지위를 찾기 위해 투쟁하는 여성이라는 긍정적인 의미를 지니게 되었다. 이런 경향은 성서에 등장하는 여성 연구를 포함하여 인문학에서 나쁜 여자라 평가받았던 여성들에 대한 재평가가 이루어졌다. 본 논문은 「요한복음」 4장 1절에서 42절 사이에 등장하는 사마리아 여자와 초서의 『캔터베리 이야기』에 등장하는 바스의 여장부를 나쁜 여자를 재평가하려는 현대 페미니스트적 시각으로 분석해보고자 한다. 두 여자는 모두 다섯 번 결혼한 여성으로 기독교가 지배하는 남성 중심 시대상으로 볼 때는 분 명히 나쁜 여자였다. 하지만 현대 페미니스트적 시각으로 볼 때 이들은 도리어 여성이라는 자신의 한계를 극복하고 당당하게 자신이 생각하고 배웠던 바를 이야기하고 투쟁했던 여성들로 재조명된다.

This study analyzed 『Bukgwol Dohyeong (Drawing Plans for the Northern Section of Gyeongbokgung Palac e)』, which is an important source material for the restoration of the palace, by applying Paltaekron, the geomantic principle of bearings, in order to clarify the building layout principle of Gyeongbokgung Palace. Gyeongbokgung Palace shows the typical geographical conditions that meet the principle of Baesan Imsu (mountain in the back and water in the front) which takes Baegaksan Mountain as the main mountain and the overall layout of the buildings that meet the principle of ‘Jeonchak Hugwan (narrow in the front and broad toward inside)’ by using the natural topography that meets the principle of ‘Jeonjeo Hugo (low in the front and higher toward back).’ It is estimated that this layout and arrangement must have been led by geomantic principle of bearings. The analysis of the building layout plan of Gyeongbokgung Palace in the late Joseon Dynasty Period suggests the application of two methods: one is to divide central area from Gwanghwamun Gate to Geoncheongung Hall into eight layers and the other is to apply the bearings of the Eight Trigrams based on the building that becomes the center. As a result, the gate, main hall, and kitchen of all major buildings where the royal family lived are located in the auspicious bearings according to the geomantic principle of bearings while the spaces where people other than the royal family such as those who served the royal family and the officials operated in the palace or the hall that enshrines the ancestors such as Taewonjeong Hall are located in the ominous bearings. Therefore, the buildings of Gyeongbokgung Palace are arranged based on the geomantic principle of bearings.

이 연구는 설화에 내포된 금기 화소의 의미를 신학적 관점에서 재해석하고자 하는 연구다. 연구자는 설화의 금기 화소에 대하여, 인간은 신에게 어떤 존재인가. 신은 인간에게 어떤 존재이며, 신은 왜 인간에게 하필 금기를 부여하는가. 또 그렇게 부여된 금기의 의미나 목적을 인간은 어떻게 이해하고 수용하여야하는가 등의 의문을 갖게 되었다. 금기 화소의 의미에 관하여는 지금까지 적잖은 연구가 있었다. 그러나 대부분의 선행연구는 “인간은 결코 신이 될 수 없는 존재”이며, 금기는 그런 인간이 침범해서는 안 될 신적 영역의 “경계선”이나 “고갯마루”로 규정하고, 이를 경계로 신과 인간을 대치시키는 부정적 견해로만 규정하였다. 연구자는 설화가 원시종교와 함께 발화된 점에 주목하여 기존의 연구에 신학적 시각의 접근을 모색하였다. 그 결과 ‘금기는 인간이 그것을 깨뜨림으로써 신이 원하는 방향으로 이끌어가는 방법적 메시지’라는 융의 주장을 수용하고, 금기의 파기로 원형성을 상실한 인간이 금기에 투사하여 통과 의례를 치름으로써, 신적 지위를 회복할 수 있는 근본적 행위 문제로써, 이는 인간의 구원을 위한 신의 계획된 목적이라는 결론을 얻었다.

Introduction This paper investigates the implementation possibilities of the Industry 4.0 systems within the production of fashion luxury goods by collecting the opinion of the managers and the perception of the potential customers. The results indicate that technologies 4.0 can be implemented within luxury fashion production without affecting the quality of the finished product. However customers are negatively prevented against them. Therefore, giving the present situation of the fashion industry, now more demanding than ever, it would be appropriate to implement such systems without disclosing it to customers. Theoretical development With this research we aim to demonstrate that in the world of luxury fashion production there is room, if not the need, to implement the technologies of the Industry 4.0 without affecting the quality of the final product. We believe it is crucial that the luxury environment starts to seriously consider the Industry 4.0 as the former, in recent years, has become ever more challenging. Since luxury has become more accessible to masses, customers are no longer content just by getting the product, they often want it before the general public has it or fully customized to distinguish themselves. This implies a reduction of production times together with multiple rearrangements of the entire production process. Which is why we need to start thinking about Luxury and Industry 4.0. The concept of Industry 4.0 started developing with the exponential involvement of technological means during production processes of any kind. The term describes the model of the “smart” factory of the future where computer-driven systems “monitor physical processes, create a virtual copy of the physical world and make decentralized decisions” based on self-organization mechanisms (Smith, 2016). The goal of the industry 4.0 is to reach a deeper interconnection and cooperation between the available resources and the final customer; it’s a multiple layer engagement composed by complex machines, people, products, information within the production sight and all along the value chain (Tolio, 2016). The implementation of such systems allows achieving better levels of efficiency and contributes to increase the competitive advantage; it is a revolution that involves a company at all levels from the production centers to human resources. Although luxury fashion is a quite peculiar industry, all its processes are still very much cyclical and could benefit from the help of such implementations. The main technologies that are often quoted as being at the core of the Industry 4.0 are IoT (Internet of Things), big data, additive manufacturing, 3D printing, augmented reality and new generation robots. All this may seem too futuristic for an industry such as luxury that has always been associated with craftsmanship. When defining luxury in fact, one of the qualities attributed to this kind of products is the “strong connection with the past proven by the tradition handed down over time” (Dubois, 2001); a description that can be taken quite literally as the heritage of the brand is built upon the traditions passed on by the different artisans who crafted the product. But if we fraction the production process and analyze it in depth, we will see that it is cyclical, and that some of its parts may benefit from such technologies that would make it leaner without affecting the quality of the end product. An example of this can be seen in the laser cutting machines for leather. A robot can cut the elements required to compose a bag in a few minutes, while it would take up to half an hour to do it by hand. Even if mechanically cut though, the bag will still need to be assembled by a highly skilled artisan to become the exceptional quality product that customers expect to see in stores. Many are afraid that technological implementations will lead to the disappearance of the artisanal component failing to understand that the Industry 4.0 is not about complete automation but rather about human-machine interaction. Talking about production we will refer to the process in its integrity, from the sketches to the products in the stores. Research design The research was conducted using semi-structured interviews to questiont professionals who work in different stages of luxury fashion production for different companies. All the interviewees were chosen among the industry biggest players: LVMH, Kering, Richemont, Hermès, Chanel and others. To establish the sample of interviewees we divided the production process into four main phases and then identified at least one professional to question for each one of them. The subdivision we applied was the following: ⦁ Phase 1 - Creation & Design ⦁ Phase 2 - Production & Merchandising ⦁ Phase 3 - Retail & Marketing ⦁ Phase 4 - Supply Chain & Distribution Each interviewee was asked a set of specific questions related to the complexities of their job and the problems encountered while doing it (Appendix 1). Among the sample there were two professionals that did not belong to the production process but that we deemed necessary to involve to have a more complete outcome. One is a Professor of Fashion design at the Politecnico of Milan, the other is a Strategic Planning Analyst who works for Lectra, one of the biggest companies producing technologies for fashion. In order to investigate the perception of the customers we distributed a multiple choice survey to a heterogeneous sample of 200 people. Among the questions asked one was strictly related to the use of technology while the others regarded arguments, related to its utilization, that emerged while interviewing the professionals. Despite not being directly on the use of technology, we deemed the other queries important to evaluate if the problems emerged from the interviews were relevant also from a customer point of view. The questions submitted via survey were the followings: 1) On a scale of 1 to 4, (1= low interest, 4=high interest) how interested are you in luxury goods? 2) How much worth is being able to buy a luxury good before it is on sale in stores? (1= not worth, 4= very worth) 3) Would you think of higher quality a bag completely handcrafted rather than the very same bag produced also by using industrial processes? 4) Would you attribute a higher value to a luxury product conceived to be respectful for the environment? The survey ended up highlighting that customers have a negative bias towards the exploitation of such systems within the production of luxury goods. In fact they attribute a higher value to completely handcrafted products, without considering the possibility that the latters may have more defects. The methodology used was successful in helping us understanding the opinion of the management along with the perceptions of the customers. Moreover, through the interviews we were able to highlight practical daily problems encountered by people directly involved in the production process. Results and conclusion We used the problems that arose as bases to begin thinking what could be concretely implemented, in which phase and with what goal. We started by focusing our attention on five points that currently challenge production and could be exploited as opportunities for the implementation of specific technology. Nevertheless, we also highlighted three main limits that might prevent the application of said technology. The opportunities of implementation were the following: Production times - Representing one of the biggest problems in the industry, we believe that technology could come to the rescue especially in the first two stages of the process. For example, the use of 3D printing to produce some prototypes or certain components that could be useful for reducing time and costs. Another example is Modaris 3D, a new generation software that allows you to digitize the pattern allowing you to see it in 3D. Exploiting this software would allow to predict the potential problems of the prototype before even crafting it and would help save a lot of time and resources. Not to mention that digitized patterns can be archived and easily reused later. Moreover, the exploitation of the new generation robots to pre-cut certain components would once again allow a shorter production time and reduce costs. Couterfeiting - Another implementation opportunity is represented by counterfeiting. Now that online commerce is booming, the fake industry is at its peak and people find it difficult to distinguish between what is real and what is not. IoT technologies could help immensely with this problem. One of the interviewees working in the distribution phase told us that today when the products are shipped, in order to track them down and recognize them from counterfeits, companies install into their pockets RFID chips, small chips similar to those of credit cards. Their limitation though is that they can be traced or recognized only if scanned. The use of IoT technologies on this type of device (for example, providing the same type of support with a GPS) would allow them to be interactive and serve their purpose even better when the products are shipped all over the world. Sustainability - In recent years the problem of sustainability has become increasingly relevant, to the point that some luxury empires have been built on it, as in the case of Stella McCartney. To pay more attention to the environmental cause, fashion houses could start by wasting less resources. One way to do this could be to use software to optimize pattern placements on fabrics or on leather. Human supervision would still be required, as some pieces need to be cut from specific parts of the leather but it would certainly help in making some useful proposals. Internal communication – Internal communication is a problem at all levels of the production process. It can be an issue especially when it comes to communicating the intentions of the design team to the production and controlling the stock level in real time. In the first case, to solve the problem, we could consider the implementation of a software like PLM (Product Life Management). This type of program helps to follow the transformation from sketches to prototypes to products, providing detailed information on everything that is present on the garment, specifying consumption and costs of materials. With regard to the inventory control problem, we could again use the help of the IoT. Inventory control is a problem both in terms of raw materials (for all those houses that produce prototypes internally) and finished products. In the first case a potential solution could be to label the raw materials with magnetic labels that would allow to see immediately when the components leave the stock. In the second case, as previously mentioned, supplying the finished products with IoT chips would help to locate them and know how many are in stock. Demand forecast – Another major help that industry 4.0 could bring to fashion production is the exploitation of big data to forecast the demand. Nowadays in fact, the constant and hardly predictable changes in fashion heavily affect a demand that already has few reference standards. When it comes to forecast, several factors have an impact on it: trends, social medias, consumption habits etc. The most unpredictable of these factors is probably represented by the social media as clients may cause a peek in demand after seeing a celebrity or an influencer wearing a specific product. Giving all this, it's evident how the more variables we are able to consider when doing forecasts, the better the chances of predicting a scenario close to reality and Big Data would allow to do so. As previously mentioned we also highlighted some limits that could prevent implementation: Costs - The more significant limit when talking about this kind of technology is related to costs. It is important to consider both the ones needed to purchase the technology as well as the ones to train the employees in order to make the implementation possible. As we all know technology is extremely expensive, and in a certain way a form of luxury itself, often being just for few. The size of the brand would modulate of course the amount of the investment in it. Client perception & adverse attitude – The survey pointed out that clients are negatively biased towards technology and, if informed that the product has been realized with the help of technological means, may attribute to it a lower value. What it's necessary to keep in mind though, is that, when taking a survey, you are in front of a screen and not in front of the products. I believe in fact that if a "blind" test was conducted presenting two products of which one completely handcrafted and the other realized by artisans who exploited technological means as well, no one would be able to tell the difference. Training of employees - Another big challenge in the implementation of such systems is the training of the employees. Implementing these technologies for some employees may mean learning again how to do their job with the help of a computer. Being an environment where youngsters are outscored due to the lack of experience, this may represent a problem. In conclusion our research proved that there is indeed room to implement the 4.0 systems as the issues emerged can be partially, if not completely, solved by introducing these technologies making the process leaner and more efficient. Nevertheless, giving the fact that customers are negatively biased towards their use, it would be appropriate avoiding to disclose the information with them.

본 연구는 내생적 성장모형을 통해 경제성장과 사회적 효용 관점에서 기초연구 예산의 적정 비중 및 그 규모를 다룬다. 이에 본 연구는 지식스톡을 고려한 내생적 성장모형을 구축하고, 이를 토대로 기초연구예산의 적정 여부를 판단하는 하나의 기준을 제시한다. 아울러 정부의 투자 비중과 기초연구 투자 비중 간의 이론적 적정 비율은 정부자본에 대한 산출 탄력성과 지식스톡에 대한 산출 탄력성 간의 비율과 같다는 사실도 도출하였다. 이러한 사실에 기대어 기존 선행연구들의 결과에 따라 필요 파라미터 값들을 특정한 후 적정 규모를 산정하고, 실제 투자 규모와 비교함으로써 유의미한 시사점을 도출해보았다. 이상 본 연구의 결과는 적정 투자 규모 수준에 대한 새로운 기준과 그 규모에 대한 대략적인 수치를 제시하고 있기 때문에, 향후 기초연구정책 수립과 관련하여 합리적인 예산배분⋅조정을 위한 기초 자료로서 크게 기여할 수 있을 것으로 기대된다. 다만, 본 연구에서 제시한 최적의 해는 경제적 관점에서 도출한 것이므로 해석함에 있어 주의할 필요가 있다.

선박의 기계식 환기시스템은 화재발생 시 연기의 생성과 확산 특성에 영향을 미치고, 이는 피난자의 피난경로 상의 가시도를 방해함으로써 피난자의 연기로 인한 피해를 증가시킬 위험성이 크다. 이에 이 연구에서는 선박 거주구역에서 화재발생 시 기계식 급·배기시스템이 연기확산에 미치는 영향과 위험성에 대하여 FDS를 활용하여 평가하고 화재 시 급·배기시스템을 효율적으로 사용할 수 있는 방안을 제안하였다. 연구결과 화재가 발생한 장소에 급·배기시스템이 함께 작동되고 있는 경우에는 현재 권장되고 있는 급·배기시스템을 멈추는 방법보다 작동을 유지하는 것이 효과적이고, 배기시스템만 작동되는 곳에서 화재가 발생한 경우에는 화재가 발생한 구역 이외의 구역에서 급기시스템을 함께 작동시키는 것이 피난시간을 확보하는데 효과적인 것으로 예측되었다. 그러나 화재가 발생한 곳에 급기시스템만 있는 경우에는 급기시스템이 연기확산을 가속시키기 때문에 급기방식을 중단시켜 연기의 확산을 최대한 억제할 필요가 있음을 확인하였다.

소비자 보호의 관점에서 우리나라 상법상 선하증권은 어떤 위치에 있는지 본 논문에서 살펴본다. 상법 규정에 의하면 선하증권은 물권적 효력과 채권적 효력을 가진다. 선하 증권의 물권적 효력은 송하인으로 하여금 운송물의 매도시 운송인에 대한 채권 양도의 요건을 생략하게 한다. 선하증권의 채권적 효력도 선하증권소지인은 선 하증권에 기재된 대로의 효력을 부여받아 손해배상청구에서 유리하다. 이렇게 선하증권은 소비자인 송하인 혹은 수하인을 보호하는 기능을 가진다. 상법의 운송인의 책임경감금지 규정은 운송인으로 하여금 상법의 규정보다 송하인이나 수하인을 불리하게 하지 못하도록 하는 기능을 한다. 그러므로 상 법보다 수하인에게 불리한 약정을 체결하여 선하증권에 기재된 경우 그 약정은 무효가 된다. 운송인특정약관은 정기용선자가 운송인임에도 선박소유자가 운송의 책임을 부담한다는 내용이다. 이는 화주를 보호하는 기능을 하기도 하지만, 법률관계 를 불안정하게 한다. 서렌더 선하증권은 이면약관의 효력의 적용여부가 불안정 하기 때문에 소비자를 보호하지 못하므로 해상화물운송장이 사용되는 것이 더 바람직하다. 공권의 경우 운송인이 선하증권의 소지인에게 손해배상책임을 부 담하는 것은 당연하지만, 채무불이행책임보다 불법행위책임으로 이론 구성을 하는 것이 소지인 보호에 더 낫다.

The combination of sports and the IT industry has reached a variety of fields, especially in the area of broadcasting technology. Due to diverse preference of viewer and the rising number of channels, broadcasting companies provide differentiated contents to reach a dominant position. Therefore, each broadcasting company has their own strategy to produce contents through special technology skills to hold a top position amongst other companies. According to Eric Rothenbuhler's ‘media niche theory’, when there exists numerous media device with identical resources, the competition to survive between the devices become intense and soon draws a line between the superior and inferior devices which results in eliminating the less viewed media devices out of the race. To secure the uniqueness of the media broadcasting market like the ecosystem, the object is to verify the effectiveness of the convergence of sport broadcasting technology skills and IT technology. Therefore, the media devices and the newly developed technology for video production method were the independent variables. Additionally, the dependent variable was the media effect. Concretely, the media device technology variable set as 3DTV, video production method was set as the variable for FreePointView(FPV) and media effect was separated into arousal and presence level. Recent technology is developed three-dimensionally so that the viewers can feel as close to reality as possible and the most current