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디지털 플랫폼노동 실태와 특징Ⅱ - 웹기반, 지역기반 규모와 실태 -
김종진,신우진,김영욱 한국노동사회연구소 2021 한국노동사회연구소 이슈페이퍼 Vol.2021 No.5
○ 첫째, 국내 플랫폼노동자 규모는 약 7.6%(179만명, 고용노동부; 장지연, 2020)였고, 같은 시기 서울지역은 약 9.3%(46만 1천명, 김종진 외, 2020)였음. 지역기반 오프라인 플랫폼노동은 배달(전국 67.8%, 서울 48.8%)이 많지만, 서울은 전문서비스(21.7%) 비율이 전국(11.8%)에 비해 2배 이상 많은 상황임. 플랫폼노동자의 주업(전국 19.4시간, 서울 19.3시간)과 부업(전국 10.3시간, 서울 10.1시간)간 9시간 남짓 격차가 있고, 플랫폼노동자의 월 평균 소득(145.9만원, 서울 145.3만원) 또한 주업과 부업의 차이가 컸음. ○ 둘째, 설문조사 결과 서울지역 플랫폼노동자의 평균 연령은 43.9세였고, 남성(61.5%)이 여성(38.5%)보다 다소 많았음. 3분의 2는 기혼(64.8%)이었고, 69.6%는 맞벌이였음. 플랫폼노동에서도 성별 직무분리 현상과 37%의 임금격차가 확인됨. 평균 업계 경력은 53.8개월이었고, 플랫폼 이용 개수는 평균 1.6개였음. 현재 일을 선택한 기준은 ‘시간유연성’(28.2%)과 ‘일을 구하기 쉬워서’(23.8%)가 다수였음. 부업 비율은 14%였고, 이유는 ‘소득 보충’(50%)과 ‘불규칙한 소득’(29.2%)이었음. 향후 본인의 일자리 이직 의향은 18.2%로 매우 낮았음. ○ 셋째, 서울지역 플랫폼노동자의 월 평균 소득(보수)은 266만원(온라인 250만원, 오프라인 268만원)이었음. 주된 플랫폼노동 소득(223만원), 기타 플랫폼 소득(188만원), 타 직업 소득(24만원)으로 확인되며, 플랫폼노동과정에서 지출 비용은 총 32만 3천원이었음. 건당 수수료율은 평균 15.2%(건당 액수 1천 5백원)였고, 에이전시(중개업체)를 통해 일을 하는 비율은 27.8%였으며, 플랫폼 수수료 비율은 17%(평균 7천 7백원)로 확인됨. ○ 넷째, 플랫폼노동자의 ‘약관 및 계약’ 미체결 비율은 21.6% 정도였고, 업무 평가(고객리뷰)는 절반(50.1%) 가량 존재했고, 45.5%는 불이익 조항이 있었음. 부당대우 경험은 Δ작업 내용의 부당한 변경 20.1%, Δ부당한 지속적인 작업 요구 17.7%, Δ계약 조항 이외 작업 요구 16.7%, Δ보수 지급 지연 14.7% 순이었으나, 35.8%는 자체 분쟁조정중재 절차가 없었음. ○ 다섯째, 제도개선 의견은 △불공정·부당 거래 문제시 분쟁조정 및 법률지원 시스템(74.8점), △약관 및 표준계약서 등의 가이드라인과 법률 마련(74.7점), △경력인정 시스템 마련(79점), △4대 사회보험 등 사회보험지원(74.7점), △근로기준법상 근로자 인정(74점), △세무 및 상담 관련 지원(72.7점) 등의 순이었음.
스티븐 홀의 스트레토 주택에 나타난 건축과 음악 경험 사이의 이질적 특성 및 유추적 상보 관계
김종진 한국문화공간건축학회 2018 한국문화공간건축학회논문집 Vol.- No.61
Stretto house was designed by Steven Holl from 1989 and built in the site located in Dallas, Texas in 1992. The house is one of the most famous examples showing a relationship between architecture and music. Firstly, inspired by the existing pond separated by four dams, Holl selected ‘Music for String Instruments, Percussion and Celesta’ composed by Bela Bartok in 1936 as design basis. He was so interested in a relationship between architecture and music that he himself made a course called ‘Architectonics of Music’. Precedent researches on Stretto House mostly focused on the connection between the architectural form of the house and the formal structure of ‘Music for String Instruments, Percussion and Celesta’. They are all relevant, but there is very strong ‘analogical’ relationship. Main focus of this study is to reveal unique phenomenological experiences of the house by analyzing different characteristics of architectural and musical experiences. Depart from the viewpoint of formal analogy, this study aims that there is much deeper dimension of spatial experience in which multiple layers of visual-perception, imagination, cognition and inference are inter-connected. After studying four relational elements between Stretto house and ‘Music for String Instruments, Percussion and Celesta’, as a conclusion, it is found that Stretto house has indigenous quality and meaning that are able to deepen and widen existential experience.
김종진 한국중국현대문학학회 2006 中國現代文學 Vol.0 No.39
Masen(馬森) summarizes the history of Chinese modern theater as “Two Waves from the West”. The first wave that he speaks was the acceptance of modern realism play in the May-Fourth period, and the second was acceptance of modernism and postmodernism play in the 1980s. It looks very remarkable that Henrik Ibsen is related both waves, so the purpose of this paper is to explain the reason why he has become the most disputed point at every turning point of Chinese modern theatrical history. In the May-Fourth period, Ibsen was accepted not only as a spirit of modern literature but also as a model of the realism spoken play(話劇). Since this acceptance, for about 60 years, Chinese modern theater could not overcome the Ibsen paradigm. In 1980s, the dictatorial political powers had been disappeared both in China and Taiwan, Chinese modern theater was regarded as a backward again, like in the May-Fourth period the Chinese traditional theater was found behind. In contrast to the intellectuals in the May-Fourth period who accepted Ibsen to catch up the Western European realism play, the intellectuals of 1980's wanted to catch up the post modernism theater by denying and overcoming Ibsen. As a result, the main stream of the Chinese modern theater in 1980s was a kind of anti-realism, and it was regarded as a nationalization of spoken play(話劇民族化) by those who had made the theatrical stream so. Even if many Chinese theater historians say this nationalization is very similar to the Chinese traditional theater, it does not look like a pure artistic phenomenon, but looks like a conservative nationalism movement.