1. 우리나라 ODA 중점협력국 중 하나인 가나의 주곡 작물로서 지속적으로 소비가 증가하고 있는 쌀의 가치사슬 단계별 문제점과 해결방안을 조사함. 2. 식량 안보와 영양개선을 위해 농업 현황과 국제 사회의 지원을 조사하고, 이를 통해 우리나라의 중점 지원 전략을 수립하는 것을 목적으로 함. 3. 지속가능발전목표(SDGs)의 두 번째 목표인 식량안보 확보를 위한 가나의 국가 정책에 부합하면서, 동시에 우리나라 농업 기술력의 우수 분야인 농작물 품종 R&D, 기술 교육, 농촌지도 등 ODA를 지원하기 위해서는 농업 관계기관, 연구소, 국제기구, 민간 부문과의 협력이 필요함. 4. FAO, World Bank 등의 국제기구에서 제공하는 문헌 검토 및 농업 통계 데이터를 이용하였으며, 현지의 이해관계자 인터뷰를 통해 정성적 데이터를 수집·분석함.

본 논문은 출처관을 중심으로 <허생전>에 구현된 전통적 가치관의 의미를 검토한 것이다. 동아시아 유가지식인의 핵심적 윤리관인 출처관은 기본적으로는 士階層의 계층적 이익을 바탕으로 출현하 였지만 그 내용의 公共的 성격으로 인해 동아시아 유가지식인의 삶을 결정하는 중요한 판단기준이 되었다. 특히 출처의 의리에 철저하기 위해서는 생활의 유지가 어려울 수도 있었기에, 출처관은 한 편으로 생존과 관련된 실존적 결단의 문제이기도 하였다. <허생전>에 형상화된 허생의 삶은 출처의 의리에 철저한 삶이었다. 허생은 변화한 시대에 걸맞은 실질적인 능력을 갖춘 점에서 높이 평가되지만, 한편으로 현실 개혁에 직접적으로 참여하지 않는다는 점이 한계로 지적되기도 한다. 하지만 허생의 이러한 면모는 전통적 가치관인 출처관에 철저한 면모이다. 그는 출처의 의리에 철저하였기에 개인의 도덕성이 이익 때문에 훼손되지 않을 수 있었고, 개인의 능력이 권력의 도구로 활용되지 않을 수 있었다. 나아가 불의한 현실 세계를 비판할 수 있었다. 이익과 효용이 모든 가치의 기준이 되고 있는 현실에서, 한문과 교육은 무엇보다도 출처의 의리에 철저한 허생의 면모에 주목할 필요가 있다.

Luxury market is changing with new competitors to the market, more modest growth, and new types of customers (Kim and Ko 2012). To stay relevant, luxury houses need to develop experience-based marketing strategies that emphasise interactivity, connectivity and creativity (Atwal and Williams 2009). Subsequently, with the rise of digital marketing of luxury (Okonkwo 2009), consumers have been granted a more active role in the value co-creation of luxury brands. Indeed, adopting more inclusive and consumer-oriented marketing strategies has proven successful to iconic luxury brands such as Burberry (Phan, Thomas & Heine 2011), and Hermes (Robins 2016). Previously, value co-creation has been studied from consumer perspective following resource-based view (Arnould, Price and Malshe 2006) and practice theory (Schau, Muniz, and Arnould 2009). However, in the field of luxury marketing, research on co-creation has been limited to one case study of value co-creation processes (Tynan, McKechnie & Chhuon 2010). In addition, no previous research exists on the role of space and spectacular environment in value co-creation in luxury. This article extends these streams of researchby analysing 42 narratives (Polkinghorne 1995) from consumers that have attended two branded exhibitions of Louis Vuitton: SERIES3 held in London in the fall 2015 and Volez, Voguez, Voyagez in Paris in Spring 2016. In essence, luxury is about seduction; recreating a dream and providing meaningful, personal experiences for its consumers (Kapferer and Bastien 2009). Here, a branded exhibition provides a way to invite consumers to feel, see, and experience the brand in its full splendour. These encounters, in turn, transform the value-creation logic between the brand and the consumer from a one-way affair to a co-creational relation. This article demonstrates how exhibition context allows the consumer to participate in the value co-creation for Louis Vuitton, a prestigious luxury brand. Here, the brand provides a context and props for the consumer’s processes of value co-creation. This, in turn, then results into four types of value; utilitarian, experiential, relational, and symbolic. The contribution of this study is three-fold. First, this study extends the literature on value co-creation (Arnould et al. 2006) by demonstrating the role of space in the process of value co-creation. Second, our results extend previous research on luxury (Tynan et al. 2010) by illustrating the value co-creation from consumer perspective. From managerial perspective, the results show how brand exhibitions may act as platforms for content creation and enable rich self-expression with the brand.

Supply and demand patterns have dynamically changed in recent years due to the increased global competition. Firms have selected quality and price as competition components and have accomplished corporate innovation in order to achieve competitive advantage. Innovation has been recognized as the way to enhance corporate competitiveness and to continuously grow in churning global competition (Homburg, Schwemmle, & Kuehnl, 2015; Moon, Miller, & Kim, 2013). Although innovation becomes a common means to improve a firm’s performance, it has the limitation of achieving a firm’s strategic goal as a long-term strategy. Thus, firms need to have more fine-grained strategies to survive in dynamically changing business environment, such as design innovation (Moon et al., 2015). For example, Apple has produced its products (e.g., iPhone, iPod and iPad) focusing on innovative product design to influence consumer purchase intention. Design can lead to a distinct competitive advantage (Bolch, 1995). Furthermore, product design can be used by firms to create amd enhance brand recognition, as well as to increase firms’ value (Mozota, 2002). Brand experience positively influences customer satisfaction and brand loyalty (Brakus, Schmitt, & Zarantonello, 2009). Thus, we assume that design experience and product innovation have a positive effect on consumers’ purchase behavior and customer value. However, while the importance of design innovation is recognized, it is not easy to apply the design innovation to marketing due to the lack of relevant research in the field. In fact, relevant research on the influence of innovative new product design and design experience on customer value is scarce. Therefore, the purpose of this study is to investigate how brand experiences and innovative product design affect customer value. Successful innovation is accomplished by identifying customer needs first and developing innovative products to satisfy their needs (Hauser et al., 2006). Design is seen as the core of innovation and the moment when a new object is conceived of, devised, and shaped in a prototype form (Landwehr, Wentzel, & Herrmann, 2013). Verganti (2008) studies the concept of "user-centered design," which describes how companies can use design to improve their relationships with users and develop a better understanding of user needs. In this research, design innovation has three dimensions: aesthetic attributes, feature attributes, and emotional attributes. First, aesthetic attributes focus on the product design itself. The aesthetic appearance of a product has a large bearing on its potential market share (Liu, 2003). Second, feature attributes focus on the product features and functional aspects that are required to satisfy customer needs. Feature attributes enable performance that can give results in the operating process (Crawford & Di Benedetto, 2007). Third, emotional attributes focus on consumers’ feeling when they purchase a new product to satisfy their needs. Emotional attributes are generated by consumers’ experience when they purchase a new product in the store. The more the product design satisfies customer's emotional needs, the more customers’ attention is attracted to the purchase of a product (Mokarian, 2007). A product satisfying the aesthetic, feature, and emotional attributes through design innovation provides a new experience to customers (Desmet & Hekkert, 2007). A consumer’s purchase decision making is affected by both direct and indirect experience of using the product and the function of product (Brakus, Schmitt, & Zarantonello, 2009). Therefore, a designer comes to design the product, taking an interest in the experience that the product gives besides its shape and function. Product experiences occur when a customer interacts with the product ̶ for example, when customers search for, examine, and evaluate products (Hoch, 2002). The product experience can be direct, i.e. when there is physical contact with the product (Hoch & Ha 1986) or indirect, i.e. when a product is presented virtually or in an advertisement (Hoch & Ha 1986; Kempf and Smith 1998). Brand experience can be split into four dimensions (sensory, affective, intellectual, and behavioral), which are differentially evoked by various brands (Brakus, Schmitt, & Zarantonello, 2009). According to previous studies, these four experience dimensions (sensory, affective, intellectual, and behavioral experience dimensions) have an effect on customer satisfaction and customer loyalty. Customer value can be defined as the trade-off between the benefits and sacrifices as a customer purchases a product or service from a supplier (Ulaga & Chacour, 2001). Ulaga and Chacour presented three dimensions of customer value: product-related components, service-related components, and promotion-related components. The researchers argued that customer value could be an important strategic marketing tool to clarify a firm's proposition to customers. Product-related components are intrinsic product characteristics. Product quality is a key factor of relationship value (Ulaga, 2003). Customer value consists of product value and service value. Customer value can be enhanced by quality, diversity, payment, and service quality and decreased by price, convenience, and risk (Jarvenpaa & Todd, 2003). Service-related components include all aspects of service associated with the product. Various service components play an important role in differentiating a supplier's offering (Narus & Anderson, 1996). Promotion-related components include all items used to promote the product to the customer. For all purchasing processes, it is necessary to assess the perceived customer value, such as service quality and promotional quality (Qualls & Rosa, 1995). In the present study, we conducted a research survey with 300 subjects and analyzed the data. In order to test the reliability of questionnaire, Cronbach's alpha was used. In order to test the validity, an exploratory factor analysis was conducted. Measurement was made for 3 variables, i.e. design innovation, design experience, and customer value. Three variables (aesthetical attributes, feature attributes, and emotional attributes) were used for design innovation. Three types of attributes were introduced for a mobile phone design innovation. Four dimensions (sensory, affective, intellectual, behavioral) were measured using a technical design experience and a humanistic design experience. Three variables (product-related customer value, service-related customer value, and promotion-related customer value) were employed for customer value. The results of the analyses demonstrate that design innovation has a positive effect on design experience, while design experience has a positive effect on customer value. Aesthetic attributes of design innovation have a positive effect on technical design experience and humanistic design experience. Feature attributes have a positive effect on the technical design experience and the humanistic design experience. Emotional attributes have an effect on the technical design experience and the humanistic design experience. The technical design experience has a positive effect on product-related customer value, service-related customer value, and promotion-related customer value. The humanistic design experience has a positive effect on product-related customer value, service-related customer value and promotion-related customer value. This study will make it possible to empirically examine how customer's experience in design innovation affects customer value. Our results will provide a theoretical foundation for examining a relationship between variables regarding how design innovation influences customer value through design experience. It is intended to give a direction as to the design innovation of firms by clarifying and presenting antecedent factors having an effect that design innovation produces on customer value. The results of the present study will inspire designers to design in consideration of design experience. Finally, our study will provide marketers with guidelines as to how design experience can influence customer satisfaction and loyalty.