• 한국작물학회지
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• 제38권3호
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• pp.264-274
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• 1993

본 연구는 화청벼와 IR24의 돌연변이 계통인 분상질 및 심백 변이체의 작물학적 및 이화학적특성과 제병 및 알콜발효특성을 조사하여 그 가공적 이용성을 검토하고 분상질배유 유전자의 유전분리와 표지인자들과의 연관 관계를 밝히고자 수행하였으며 그 결과는 다음과 같다. 1. 돌연변이체의 종실은 원품종에 비해 작았으며, 천입중과 1$\ell$중도 전반적으로 가벼운 것으로 나타났다. 2. 변이체들의 출수기는 원품종과 같았으며, 정조수량은 원품종에 비해 낮았다. 3. 분상질 배유의 전분립은 느슨한 결정구조를 갖고 있었고, 전분립의 크기는 원품종과 변이체들간에 동일경향이 아니었으며, 원품종에 비해 변이체들은 밀도와 경도가 낮았다. 4. 변이체들의 아밀로스 함량은 16.9～28.5%로 변이복이 크게 나타났다. 현미의 조단백 함량에서 화청벼의 분상질변이체들은 원품종과 같았으나 IR24의 심백변이체인 47106은 원품종(8.30%)에 비해 11.32%로 높게 나타났다. 5. Gel consistency는 원품종들이 soft의 특성을 보였으나 분질 및 심백의 변이체에서는 모도 medium의 특성을 보였고, 백미의 알칼리 붕괴도는 원품종에 비해 분수질 변이체들에서 높게 나타났다. 6. Amylogram에 의한 호화개시 온도는 IR24의 분상질변이체(47160)를 제외하고 모도 원품종과 비슷하였으나, 최고점도와 최저점도 및 굳음성은 원품종 화청벼와 IR24에 비해 변이체에서 월등히 낮게 나타났다. 7. Instron으로 측정된 증편의 경도와 gumminess로 볼 때 화청벼 분상질 및 심백변이체로 조제된 증편은 다소 부드러운 특성을 나타냈으나, IR24의 경우는 일정 경향이 없었다. 분상질미와 심백미의 증편부피는 원품종에 비해 대체로 크게 나타났다. 8. 알콜발효 과정 중 당도 저하는 변이체들 특히 분상질에서 빨리 일어났고, 발효 10일 후의 알콜생성량도 원품종에 비해 변이체들에서 높게 나타나서 분상질미는 양조용으로서의 이용성이 크게 기대되었다. 9. 화청벼와 IR24에서 유래한 분상질 배유유전자들의 대립성 검정결과 서로 다른 3개의 유전자좌를 탐색하였으며, 그 유전자들을 각각 flo-a, flo-b, flo-c로 표시하였다. 10. flo-a 유전자는 IV번 연관군의 lg(liguleless ; 무엽설) 유전자와 5.76$\pm$1.72%(상반)로 연관되어 있었다.

• 대한지구과학교육학회지
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• 제16권2호
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• pp.302-318
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• 2023

이 연구 목적은 시스템 사고가 요구되는 계절별 별자리 학습에서 SBF 질문을 제시한 경우, 초등학생의 개념성취 수준과 시선이동에 미치는 영향을 분석하는 것이다. 본 연구에서는 SBF 질문의 효과를 알아보기 위해 연구집단과 비교집단으로 나누고 질문 유형을 달리한 과학 텍스트를 제시하여 초등학교 6학년 학습자의 개념성취 수준 및 시선이동 차이를 분석하였다. 개념성취 수준을 분석하기 위해 집단 내·집단 간 사전·사후 검사를 실시하였으며, 시선이동 차이를 분석하기 위해 Eye-tracker를 활용하여 학습자의 시선을 추적하였다. 연구 참여자는 연구 참여 동의서를 통해 자발적으로 연구 참여 의사를 밝힌 초등학교 6학년 학생 36명이다(연구집단 18명, 비교집단 18명). 본 연구를 위해 연구 참여자는 2015 개정 교육과정에서 제시한 계절별 별자리와 관련된 학습 내용 전까지만 학습한 상태로 연구에 참여하였다. 자료 분석은 개발한 개념 검사지의 사전·사후 검사 결과와 계절별 별자리와 관련된 과학 텍스트를 학습할 때의 시선이동 자료를 정량적으로 분석하였다. 연구 결과 첫째, 계절별 별자리 학습에서 SBF 질문은 유효한 학습 전략이었다. 학습자에게 구조(Structure)-작용(Behavior)-기능(Function)과 관련된 질문을 순차적이고 구체적으로 제시하였을 때, 일반적인 질문보다 더 높은 학습효과를 나타내었다. 즉 SBF 질문은 집단 간 사전·사후 개념 검사에서 통계적으로 유의한 차이(p<0.05)를 보였으며, 집단 내 사전·사후 개념 검사에서 통계적으로 유의한 차이(p<0.001)를 보였다. 둘째, SBF 질문은 선개념이 높지 않은 학습자에게 개념성취에 도움이 되는 영역을 학습하도록 유도하여 학습자의 학습에 긍정적인 영향을 주었다. 즉, 우주기반 관점의 시각 자료와 함께 SBF 질문을 제시하였을 때, 교과서의 일반적인 질문을 제시한 경우보다 학습자의 총 시선고정 수에서 유의미한 차이(p<0.01)를 보임을 시선이동 분석 결과를 토대로 확인하였으며, SBF 질문으로 학습한 학습자의 개념성취 수준이 향상됨을 정량적으로 확인하였다. 이는 SBF 질문이 시각 자료가 함께 제시된 과학 텍스트 학습 과정에서 능동적인 학습을 촉진한다는 실증적인 증거이다. 반면, 과학적 선개념을 많이 가지고 있는 학습자에게는 SBF 질문의 효과보다 학습자 자신이 가지고 있는 선개념이 견고한 핵으로 작용하여 탐구의 효과가 크지 않았다. 본 연구는 계절별 별자리 학습 과정에서 SBF 질문의 효과를 사전·사후 검사와 시선이동 분석을 통해 정량적인 자료로 제공한다는 점에서 기존 계절별 별자리 학습 연구와 차별성이 있으며, 초등학생의 계절별 별자리 학습과 관련된 지도방안에 도움을 줄 수 있다.

• Asia Marketing Journal
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• 제15권1호
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• pp.1-22
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• 2013

This case focuses on Shanghai Tang, the first truly Chinese luxury brand that appeals to both Westerners and, more recently, to Chinese consumers worldwide. A visionary and wealthy businessman Sir David Tang created this company from scratch in 1994 in Hong Kong. Its story, spanned over almost two decades, has been fascinating. It went from what best a Chinese brand could be in the eyes of Westerners who love the Chinese culture, to a nearly-bankrupted company in 1998, before being acquired by Richemont, the second largest luxury group in the world. Since then, its turnaround has been spectacular with a growing appeal among Chinese luxury consumers who represent the core segment of the luxury industry today. The main objective of this case study is to formally examine how Shanghai Tang overcame its downfall and re-emerged as one the very few well- known Chinese luxury brands. More specifically, this case highlights the ways with which Shanghai Tang made a transitional change from a brand for Westerners who love the Chinese culture, to a brand for both, Westerners who love the Chinese culture and Chinese who love luxury. A close examination reveals that Shanghai Tang has followed the brand identity concept that consists of two major components: functional and emotional. The functional component for developing a luxury brand concerns all product characteristics that will make a product 'luxurious' in the eyes of the consumer, such as premium quality of cachemire from Mongolia, Chinese silk, lacquer, finest leather, porcelain, and jade in the case of Shanghai Tang. The emotional component consists of non-functional symbolic meanings of a brand. The symbolic meaning marks the major difference between a premium and a luxury brand. In the case of Shanghai Tang, its symbolic meaning refers to the Chinese culture and the brand aims to represent the best of Chinese traditions and establish itself as "the ambassador of modern Chinese style". It touches the Chinese heritage and emotions. Shanghai Tang has reinvented the modern Chinese chic by drawing back to the stylish decadence of Shanghai in the 1930s, which was then called the "Paris of the East", and this is where the brand finds inspiration to create its own myth. Once the functional and emotional components assured, Shanghai Tang has gone through a four-stage development to become the first global Chinese luxury brand: introduction, deepening, expansion, and revitalization. Introduction: David Tang discovered a market gap and had a vision to launch the first Chinese luxury brand to the world. The key success drivers for the introduction and management of a Chinese luxury brand are a solid brand identity and, above all, a creative mind, an inspired person. This was David Tang then, and this is now Raphael Le Masne de Chermont, the current Executive Chairman. Shanghai Tang combines Chinese and Western elements, which it finds to be the most sustainable platform for drawing consumers. Deepening: A major objective of the next phase is to become recognized as a luxury brand and a fashion or design authority. For this purpose, Shanghai Tang has cooperated with other well-regarded luxury and lifestyle brands such as Puma and Swarovski. It also expanded its product lines from high-end custom-made garments to music CDs and restaurant. Expansion: After the opening of his first store in Hong Kong in 1994, David Tang went on to open his second store in New York City three years later. However this New York retail operation was a financial disaster. Barely nineteen months after the opening, the store was shut down and quietly relocated to a cheaper location of Madison Avenue. Despite this failure, Shanghai Tang products found numerous followers especially among Western tourists and became "souvenir-like" must-haves. However, despite its strong brand DNA, the brand did not generate enough repeated sales and over the years the company cumulated heavy debts and became unprofitable. Revitalizing: After its purchase by Richemont in 1998, Le Masne de Chermont was appointed to lead the company, reposition the brand and undertake some major strategic changes such as revising the "Shanghai Tang" designs to appeal not only to Westerners but also to Chinese consumers, and to open new stores around the world. Since then, Shanghai Tang has become synonymous to a modern Chinese luxury lifestyle brand.

• 벤처창업연구
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• 제19권2호
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• pp.109-124
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• 2024

본 연구는 플랫폼 비즈니스 기반의 스타트업에 대한 투자자의 투자결정요인을 분석하여 투자를 준비하는 플랫폼 스타트업에게 투자자의 관점을 이해하고 사업을 검토하는 데 참고할 수 있는 시사점을 제시하여 플랫폼 스타트업의 투자유치 성공률을 제고 및 플랫폼 생태계 활성화를 목적으로 한다. 투자자의 투자결정요인과 플랫폼 가치평가에 관한 선행연구를 바탕으로 플랫폼 스타트업에 적합한 투자결정요인을 도출한 뒤 AHP 분석기법을 활용하여 각 요인의 중요도를 비교한 결과 가장 높은 중요도를 나타내는 주요 요인은 플랫폼 특성으로 확인되었다. 이는 본 연구에서 선정한 플랫폼 특성인 플랫폼 규모, 핵심 참여집단 확보 여부, 가치 고착 용이성, 확보한 데이터 가치가 플랫폼 스타트업에 대한 투자결정요인으로 적절하다는 것을 시사한다. 플랫폼 스타트업에 대한 투자경험 유무로 투자자 그룹을 나누어 비교한 결과 가장 큰 중요도 차이를 보인 요인은 확보한 데이터 가치였다. 이는 데이터의 가치에 대한 이해도가 투자의사 결정에 있어 주요한 영향을 주고 있음을 시사하며 플랫폼 스타트업은 확보한 데이터의 가치를 증대시킬 수 있는 방안을 마련하고 데이터를 활용하여 자사의 비즈니스에 새로운 가치를 부여할 수 있는지 검토해 보아야 할 필요성이 있다. 기존의 선행연구와 본 연구의 결과를 비교해보면 대부분의 선행연구에서 가장 중요하다고 응답하던 창업자 특성의 중요도가 하위권으로 내려갔으며 플랫폼 스타트업에 적합한 특성들이 높은 중요도를 보였는데 이러한 차이가 나타난 이유는 전체 스타트업에 대한 투자결정요인의 중요도를 분석하던 기존의 선행연구와 달리 본 연구에서는 플랫폼 스타트업이라는 특정한 분야에 투자할 경우로 보다 세분화된 질문을 던졌기 때문이다. 덕분에 기존의 연구와 다른 투자자들의 응답을 이끌어낼 수 있었다. 이처럼 기존 선행연구와의 비교를 통해 플랫폼 스타트업에 대한 투자결정요인은 비플랫폼과는 분명한 차이가 있음을 알 수 있었으며 이는 현재 사용되고 있는 투자결정요인이나 가치평가에 관한 기준이 플랫폼 스타트업을 평가하는데 적합하지 않다는 것을 의미한다. 플랫폼이 비즈니스 생태계에 큰 변화를 일으키며 빠르게 성장하고 있는 가운데 좋은 플랫폼 스타트업을 발견하여 육성하는 것은 국가경쟁력 강화에 있어 반드시 필요한 과업이 될 것이다. 따라서 플랫폼 스타트업에 적합한 투자결정요인을 바탕으로 올바른 가치평가를 실시하여 옥석을 가려내는 것이 중요할 것이다.

• 중소기업연구
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• 제33권4호
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• pp.77-93
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• 2011

본 연구는 최근 사회경제적 이슈가 되고 있는 동반성장의 개념과 실천 방향에 대해 논의하고자 한다. 이를 위해 동반성장의 정책적 개념을 살펴보고 유사한 개념인 상생협력과 공생발전과도 비교 분석하고자 한다. 또한 동반성장을 통해 글로벌 경쟁력을 만들어 낸 선진국 사례들로부터 교훈을 찾아내고 우리의 사회 문화적 특성에 맞는 한국형 모델을 제안하고자 한다. 한국형 동반성장 모델은 미국의 시장중심형, 일본의 문화기반형, 유럽의 정책주도형 등의 장점을 융합할 필요가 있다. 이를 위해 한국형 모델은 공동체적 에너지를 창출해내는 한국인의 잠재력 활용, 통제와 자율의 융합형 제도 개선, 미래지향적 협력관계를 위한 기업들의 행동변화 등 세 가지 요인을 핵심으로 할 필요가 있다. 한국형 모델의 실현을 위해 필요한 정부의 역할과 과제, 그리고 동반성장위원회의 역할에 대해서도 논의하고자 한다.

• 한국환경보건학회지
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• 제17권2호
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• pp.54-66
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• 1991

As a result of measuring illumination and making up a question at home visit directly by investigator who trained over twenty days period from October 4 to 24, 1990, in order to render help which illumination problem against house, society against eyes or framing of health instruction potgram by seizing natural lighting actual conditions of house and actual conditions of wearing spectacles and by investigating interrelationship, I can summarize as follows. 1) In property of investigation subject, woman 66.9%, In an age, the twenties was largest of 27.4%, the forties was 20.2%, the fifties was 18.6%, the thirties was 17.4%. In academic career, those of upper secondary school grauates was largest of 28.6%, those who possess university career was 25.9%, those who middle school career was 20.9%, decoding of Korean alphabet was 2%. 2) By a residence area, a big city was 43.3%, farming and fishing villages were 20.3%, the rest was a small town and the administrative office of town, township. In positon of house, the middle area was 43.6%, resident of suburb area was 38.0%. In form of house, a Korean-style house was 40.8%, a western-style house was 34.8%, an apartment house was 11.0%. In the a standard of living, the middle classes 77.2%, the lower classes were 15.3%. In residential house unit of area, from 21 to 30 unit of area was largest of 31.5%, from 10 to 20 unit of area was 19.9%, from 31 to 40 was 18.7%. 3) The wearing spectacles rate of study user was 44.1%. By the area, those who wearing spectacles was more than a half of 50.8% in the resident of big city area. As passing from the farm area to the city, that is being resident of big city was high wearing spectacles rate. In position of house, as being residence in central street showed high wearing spectacles rate. (central street was 51.5%, the middle area was 44.5% and the suburb area was 40.1%.) It seemed similarity difference a variable by position of house from wearing spectacles in standard of 1%. By form of house, wearing spectacles rate those who resident in apartment house was 49.5%, that rate those who resident in a western-style house was high of 49.0%, that rate those who resident in a Korean-style house was the lowest 39.0%. By social position of resident in room, in students case who study showed very high, as university students were very high of 62.3% idn wearing spectacles rate, middle and high school students 'were 50.0%, members of society were 47.6%, workers 20.3%. It seemed similarity difference from academic career in standard of 1%. By an age, the thirties was high of 54.1% in wearing spectacles rate, the twenties was 43.2%, the teenage was the lowest of 11.8%. 4) In illumination of study, over 200Lux was high of 40.1%. but below 99Lux which inappropriate illumination to see the books was 32.4%. Average by area, below 99Lux was 22.7% and over 400Lux was 50.0% in case of wooden floor. As examine by area, below 99Lux was high of 27.0% a case of wooden floor in the big city area, it was not good in illumination passing from the farm area(15.0%) to the city(19.0%). Average illlumination by area of the main living room below 99Lux was high of 37.5%, less than 200Lux was 58.5% of whole. In general, illumination of the main livingroom was inappropriate. By area, the big city was 32.5% below 99Lux, the middle and small city area were 33.8%, town and township area were 45.0%, farming and fishing area were 42.8%. By area, in the big city, illumination of study was 52.5% over 200Lux and 28.9% below 99Lux. In case of the middle and small city, study user of below 99Lux was 38.8% and over 200Lux was 46.9%. In case of the seat of town township, below 99Lux was 34.1% and over 200Lux was 39.7%. In case of farming and fishing area, illumination of study was 33.4% below 99Lux and 48.4% over 200Lux. It tends to high rate of inappropriate illumination. 5) By position of house, in case of wooden floor, less than 100Lux was 24.5% in central street. It was bad illumination than others position of house. In case of the main livingroom, less than 100Lux was 40.4% in the suburb area. It was bad iliumnation than others position of house. In case of study, less than 100Lux was 35.4% in the middle area, it was worse in illumination. In case of the main living room, is seemed similarity difference in standard of 1%. 6) By form of house, in case of wooden floor, illumination of less than 100Lux was 23.8% in a western-style house, it was bad illumination than others form of house. In case of the main livingroom, illumination of less than 100Lux was 47.4% in a Korean-style house, it was remarkably bad illumination than others form of house. In case of study, a Korean-style house was 38.8%, it was very bad illumination than others form of house. In case of the main livingroom and study, it seemed similatrity difference each as P < 0.01 and P < 0.05 in standard of 1%. 7) The wearing spectacles rate of those who use room of illumination over 400Lux was 40.7%, and that of those who use room of illumination less than 100Lux was 28.1%. It seemed similarity differecce in standard of 1%. 8) In period of wearing spectacles, 21.3% of total investigator-highest-was from before five years, 8.6% was from before three years. Among those who use of illumintion less than 99Lux, 34.0% began to wear spectacles from before two years 31.7% was from before five years, 30.3% was from before four years. It seemed similarity difference from period of wearing spectacles by illumination in standard of 1 %. 9) Among cause which sight grow worse, the first was that it was each 33.2% and 27.4% in response rate because watch TV nearly to wearing spectacles person and non-wearing person. The second was that a lot of seeing books was 25.3% in wearing spectacles person and response rate for dark illumination was 7.4% in nonwearing spectacles person. It seemed similarity difference in standard of 1%. (P < 0.01). 10) In experience which take medicine good for eyes, it was 50.1% in wearing spectacles person and 8.5% in non-wearing spectacles person. It seemed similarity difference in standard of 1%(P < 0.01). As we have seen above, inappropriate illumination can be a cause of wearing spectacles. Nevertheless, actually, is realities to indifferent against illumination of house. So it must learn knowledge about health obstacle of illumination through society instruction and school eduction against students as well as general residents. In case that natural lighting is inappropriate structural of house, we must be able to maintain appropriate illumination through artificial illumination. And so eyes which is core of human life have to be protected, related the authorities, related group, and all health medical personnel will organically cooperate with and make efforts.

• 디자인학연구
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• 제2권1호
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• pp.63-97
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• 1989

There is nothing more important than the form and function in design, because every design product can be done on the basis of them. Form and Function are already existed before the word of design has been appeared and all the natural and man-made things' basic organization is based on their organic relations. The organic relations is the source of vitality which identifies the subsistance of all the objects and the evolution of living creatures has been changed their appearances by the natural law and order. Design is no exception. Design is a man-made organic thing which is developed its own way according to the purposed aim and given situations. If so, what is the ultimate goal of design. It is without saying that the goal is to make every effort to contribute to the -human beings most desirable life by the designer who is devoting himself to their convenience and well-being. Therefore, the designer can be called the man of rich life practitioner. This word implies a lot of meanings since the essence of design is improving the guality of life by the man-made things which are created by the designer. Also, the things are existed through the relations between form and function, and the things can keep their value when they are answered to the right purpose. In design, thus, it is to be a main concern how to create valuable things and to use them in the right way, and the subject of study is focused on the designer's outlook of value and uk relations between form and function. Christopher Alexander mentioned the importance of form as follows. The ultimate object of design is form. Every design problem begins with an effort to achieve fittness between the form and its context. The form is the solution to the problem: the context defmes the problem. In other words, when we speak of design, the real object of discussion is not form alone, but the ensemble comprising the form and its context. Good fit is a desirable property of this ensemble which relates to some particular division of the ensemble into form and context. Max Bill mainatined how important form is in design. Form represents a self-contained concept, and its embodiment in an object results in that object becoming a work of art. Futhermore, this explains why we use form so freguently in a comparative sense for determining whether one thing is less or more beautiful than another, and why the ideal of absolute beauty is always the standard by which we appraise form, and through form, art itself. Hence form has became synonymous with beauty. On the other hand, Laszlo Moholy-Nagy stated the importance of function as follows. Function means the task an object is designed to fulfill the task instrument is shaping the form. Unfortunately, this principle was not appreciated at the same time but through the endeavors of Frank Lloyd Wright and of the Bauhaus group and its many collegues in Europe, the idea of functionalism became the keynote of the twenites. Functionalism soon became a cheap slogan, however, and its original meaning blurred. It is neccessary to reexamine it in the light of present circumstances. Charles William Eliot expressed his idea on the relations between function and beauty. Beauty often results chiefly from fittness: indeed it is easy to manitain that nothing is fair except what is fit its uses or functions. If the function of the product of a machine be useful and valuable, an the machine be eminently fit for its function, it conspicuously has the beauty of fittness. A locomotive or a steamship has the same sort of beauty, derived from the supreme fittness for its function. As functions vary, so will those beauty..vary. However, it is impossible to study form and function in separate beings. Function can't be existed without form, and without function, form is nothing. In other words, form is a function's container, and function is content in form. It can be said that, therefore, the form and function are indispensable and commensal individuals which have coetemal relations. From the different point of view, sometimes, one is more emphasized than the other, but in this case, the logic is only accepted on the assumption of recognizing the importance of the other's entity. The fact can be proved what Frank Hoyd wright said that form and function are one. In spite of that, the form and function should be considered as independent indivisuals, because they are too important to be treated just as the simple single one. Form and function have flexible properties to the context. In other words, the context plays a role as the barometer to define the form and function, also which implies every meaning of surroun'||'&'||'not;dings. Thus, design is formed under the influence of situations. Situations are dynamic, like the design process itself, in which fixed focus can be cripping. Moreover, situations control over making the good design. Judging from the respect, I defined the good design in my thesis An Analytic Research on Desigh Ethic, "good design is to solve the problem by the most proper way in the situations." Situations are changeable, and so is design. There is no progress without change, but change is not neccessarily progress. It is highly desirable that there changes be beneficial to mankind. Our main problem is to be able to discriminate between that which should be discarded and that which should be kept, built upon, and improved. Form and Function are no exception. The practical function gives birth to the inevitable form and the $$\mu$ti-classified function is delivered to the varieties of form. All of these are depended upon changeable situations. That is precisely the situations of "situation de'||'&'||'not;sign", the concept of moving from the design of things to the design of the circumstances in which things are used. From this point of view, the core of form and function is depended upon how the designer can manage it efficiently in given situations. That is to say that the creativity designer plays an important role to fulfill the purpose. Generally speaking, creativity is the organization of a concept in response to a human need-a solution that is both satisfying and innovative. In order to meet human needs, creative design activities require a special intuitive insight which is set into motion by purposeful imagination. Therefore, creativity is the most essential quality of every designer. In addition, designers share with other creative people a compulsive ingenuity and a passion for imaginative solutions which will meet their criteria for excellence. Ultimately, it is said that the form and function is the matter which belongs to the desire of creative designers who constantly try to bring new thing into being to create new things. In accordance with that the main puppose of this thesis is to catch every meaning of the form and function and to close analyze their relations for the promotion of understanding and devising practical application to gradual progression in design. The thesis is composed of four parts: Introduction, Form, Function and Conclusion. Introduction, the purpose and background of the research are presented. In Chapter I, orgin of form, perception of form, and classification of form are studied. In Chapter II, generation of function, development of function, and diversification of function are considered. Conclusion, some concluding words are mentioned.ioned.

• 자연과학논문집
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• 제14권1호
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• pp.83-121
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• 2004

본 연구는 영농규모화에 대한 전개과정과 충남지역 쌀 생산기반을 검토하고 쌀 산업의 미래지향적 방향의 한 축을 이어갈 쌀 전업농의 영농규모화를 통한 그 대안을 모색하는데 있다. 이 목적을 완성하기 위해 조사된 내용을 요약하면 다음과 같다. 1. 충남지역이 쌀 생산은 전국에서 가장 높으며 재배면적에서도 제2위를 차지하고 있다. 이는 그만큼 쌀에 대한 국제적 정세변화는 충남의 쌀 생산농가에게 지대한 영향을 미칠 수 있는 개연성을 높여준다. 쌀 생산의 핵심이 되는 전업농가 수는 도내 전체농가의 7.7%를 차지하고 있고, 이들의 평균 경작면적은 2.9ha 이다. 이 면적은 규모화사업을 위해 지원된 자금이 크게 주효한 결과라고 해석된다. 2. 1980년대 후반부터 2002년까지 추진된 충남지역 영농규모화사업은 충남지역에 쌀 전업농가의 경영규모를 19,484ha까지 증가시켰다. 또한 1995년부터 2002년까지 매매사업이 이루어진 농가 수는 6,431농가에 1,6517ha가 매매되었으며, 장기임대차사업은 같은 기간동안 7,059농가에 면적은 6,970ha에 이르렀다. 다만 농지교환분합사업은 210ha에 1,864농가가 참여하였는데 이처럼 농지교환.분합사업이 활발하지 못한 것은 은퇴자들이 영농에 넓은 면적을 요망하지 않아 구태여 규모화사업에 응하지 않더라도 생활에 지장이 없기 때문이다. 또한 교환과 분합작업에 따른 복잡성 등, 일반 사회적 여건도 농지의 교환분합사업에 부정적인 방향으로 작용했던 것으로 추정된다. 3. 영농규모화사업을 촉진하기 위해서 제안된 방안들은 다음과 같다. (1) 재촌탈농자 및 고령 은퇴자를 위한 전직 프로그램 및 사회보장프로그램을 수립하고 농지매매 촉진을 위한 각종 인센티브제를 도입하여야 할 것이다. (2) 효율적인 쌀 생산시스템을 확립하기 위하여 단위면적당 생산량을 증대시키고 생산비를 낮추는 제 방안이 강구되어야 한다. 이를 위해서는 쌀 생산기술과 경영적 능력을 갖춘 생산조직이 육성되어야 하며 시설의 적정배치 및 정보화가 완비되어야 한다. 그리고 영농시스템 구축에 바탕을 둔 지역종합의 다양한 구조개선도 병행하지 않으면 안 될 것이다. (3) 경영규모를 확대, 개선하기 위해서는 개별경영규모를 확대하거나 집단규모를 활용한 방안이 강구될 수 있을 것이다. 이상을 종합하면 충남의 영농규모화사업은 성공적으로 수행되어 왔다고 할 수 있으나, 궁극적으로 이 사업이 소기의 목적을 달성하기 위해서는 부수되는 제반 문제점을 적절히 해결해 가지 않으면 안 된다. 그리고 쌀 전업농에 대한 적절한 지원 및 탈농자 및 은퇴자에 대한 종합대책수립은 충남의 영농규모화사업을 완수하는데 반드시 선결되어야할 사항이다.

• Asia pacific journal of information systems
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• 제20권1호
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• pp.141-170
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• 2010

User created content (UCC) is created and shared by common users on line. From the user's perspective, the increase of UCCs has led to an expansion of alternative means of communications, while from the business perspective UCCs have formed an environment in which an abundant amount of new contents can be produced. Despite outward quantitative growth, however, many aspects of UCCs do not meet the expectations of general users in terms of quality, and this can be observed through pirated contents and user-copied contents. The purpose of this research is to investigate effective methods for fostering production of creative user-generated content. This study proposes two core elements, namely, reward and motivation, which are believed to enhance content creativity as well as the mediating factor and users' committement, which will be effective for bridging the increasing motivation and content creativity. Based on this perspective, this research takes an in-depth look at issues related to constructing the dimensions of reward and motivation in UCC services for creative content product, which are identified in three phases. First, three dimensions of rewards have been proposed: task dimension, social dimension, and organizational dimention. The task dimension rewards are related to the inherent characteristics of a task such as writing blog articles and pasting photos. Four concrete ways of providing task-related rewards in UCC environments are suggested in this study, which include skill variety, task significance, task identity, and autonomy. The social dimensioni rewards are related to the connected relationships among users. The organizational dimension consists of monetary payoff and recognition from others. Second, the two types of motivations are suggested to be affected by the diverse rewards schemes: intrinsic motivation and extrinsic motivation. Intrinsic motivation occurs when people create new UCC contents for its' own sake, whereas extrinsic motivation occurs when people create new contents for other purposes such as fame and money. Third, commitments are suggested to work as important mediating variables between motivation and content creativity. We believe commitments are especially important in online environments because they have been found to exert stronger impacts on the Internet users than other relevant factors do. Two types of commitments are suggested in this study: emotional commitment and continuity commitment. Finally, content creativity is proposed as the final dependent variable in this study. We provide a systematic method to measure the creativity of UCC content based on the prior studies in creativity measurement. The method includes expert evaluation of blog pages posted by the Internet users. In order to test the theoretical model of our study, 133 active blog users were recruited to participate in a group discussion as well as a survey. They were asked to fill out a questionnaire on their commitment, motivation and rewards of creating UCC contents. At the same time, their creativity was measured by independent experts using Torrance Tests of Creative Thinking. Finally, two independent users visited the study participants' blog pages and evaluated their content creativity using the Creative Products Semantic Scale. All the data were compiled and analyzed through structural equation modeling. We first conducted a confirmatory factor analysis to validate the measurement model of our research. It was found that measures used in our study satisfied the requirement of reliability, convergent validity as well as discriminant validity. Given the fact that our measurement model is valid and reliable, we proceeded to conduct a structural model analysis. The results indicated that all the variables in our model had higher than necessary explanatory powers in terms of R-square values. The study results identified several important reward shemes. First of all, skill variety, task importance, task identity, and automony were all found to have significant influences on the intrinsic motivation of creating UCC contents. Also, the relationship with other users was found to have strong influences upon both intrinsic and extrinsic motivation. Finally, the opportunity to get recognition for their UCC work was found to have a significant impact on the extrinsic motivation of UCC users. However, different from our expectation, monetary compensation was found not to have a significant impact on the extrinsic motivation. It was also found that commitment was an important mediating factor in UCC environment between motivation and content creativity. A more fully mediating model was found to have the highest explanation power compared to no-mediation or partially mediated models. This paper ends with implications of the study results. First, from the theoretical perspective this study proposes and empirically validates the commitment as an important mediating factor between motivation and content creativity. This result reflects the characteristics of online environment in which the UCC creation activities occur voluntarily. Second, from the practical perspective this study proposes several concrete reward factors that are germane to the UCC environment, and their effectiveness to the content creativity is estimated. In addition to the quantitive results of relative importance of the reward factrs, this study also proposes concrete ways to provide the rewards in the UCC environment based on the FGI data that are collected after our participants finish asnwering survey questions. Finally, from the methodological perspective, this study suggests and implements a way to measure the UCC content creativity independently from the content generators' creativity, which can be used later by future research on UCC creativity. In sum, this study proposes and validates important reward features and their relations to the motivation, commitment, and the content creativity in UCC environment, which is believed to be one of the most important factors for the success of UCC and Web 2.0. As such, this study can provide significant theoretical as well as practical bases for fostering creativity in UCC contents.