전북 남원지역 육계에서 살모넬라증에 대한 역학적 조사

정영미 ( Young Mee Jung ),김기주 ( Ki Joo Kim ),엄성심 ( Sung Shim Eum ),이지영 ( Ji Young Lee ),노영선 ( Young Sun Rho ),서석열 ( Surk Yul Seo ),박정배 ( Jong Bae Park ),이희문 ( Hee Moon Lee ),정동석 ( Dong Suk Joung ) 한국가축위생학회 2004 韓國家畜衛生學會誌 Vol.27 No.1

This survey was performed to investigate avian salmonellosis from broiler farms in Namwon area for 4 years. The whole samples from farms were 541 and chicken samples were 294. Out of 294, 83 cases were identified with avian salmonellosis for 4 years by various serological and biochemical tests. There was no outbreak of pullorum disease, but fowl typhoid occurred in 36 farms. The outbreak of avian salmonellosis occurred continuously regardless of seasons throughout the year. Avian salmonellosis mostly happened within 10 days of age which were 52 cases(63%). The selection of susceptible antibiotics has changed from Quinoline group in 2000 to amoxacillin+clavulanic acid(AmC).

항공서비스전공 대학생의 교수지지가 교육성과와 진로준비행동에 미치는 영향

정영미(Jung, Young Mee) 한국서비스경영학회 2018 한국서비스경영학회 학술대회 Vol.2018 No.7

미국 뮤지컬 저작권 사례 연구 -무대연출관련 사건을 중심으로-

정영미 ( Young Mee Jung ) 한국공연문화학회(구 한국고전희곡학회) 2011 공연문화연구 Vol.0 No.23

본 논문은 공연예술의 저작권을 이해하는 하나의 도구로써 공연예술의 산업화를 우리보다 먼저 경험한 미국의 뮤지컬 시장에서의 사례 및 논의를 살펴본다. 특별히 무대연출 저작권에 관련한 사건을 모아서 뮤지컬 <가장 행복한 녀석>, <사랑! 용기! 연민!>, <탬 린>, <유린타운> 사례를 소개하였다. 아직까지 미국에서 무대연출의 저작권을 인정하고 있다고 말할 만 한 단계는 아니지만 공연예술의 무대연출에 관한 저작권 논의들이 계속 있어왔다. 무대연출의 저작권보호 요건에 관해서 무대연출이 과연 저작권보호 받을 수 있는 대상에 해당하는가, 창작성이 인정될 수 있는가, 매체에 고정요건을 충족시킬 수 있는가에 관하여 논의되었다. 그리고 무대연출의 저작자는 누가되는가 하는 문제에 있어서는 업무상저작물로 보게 될 경우, 공동저작물로 보게 될 경우로 나눠서 살펴보았다. 또한 미국에서 무대연출의 저작권관련 계약이 실제로 어떻게 이뤄지고 있는지, 계약의 범위 밖에 있는 무대연출의 저작권침해에 대한 주장은 어떻게 할 수 있는지 소개하였다. 이 논문은 궁극적으로 공연예술의 저작권에 대한 이해를 목적으로 하며, 국내 상황에 맞는 공연계약 문화 수립 및 건전한 공연창작 환경을 조성하는데 일조하고자 한다. Under copyright law, the writer` work is clearly protected, and any later producer who wishes to mount a copyrighted play or musical must obtain a license from the author, which may involve sharing royalties from the subsequent production with the author. Generally, directors do not explicitly enjoy similar legal protection for their creative input into a finished production. This Article explores the unsettled issue of copyright protection for stage direction in America. Firstly, it presents a few lawsuits on behalf of stage direction issues. It examines whether stage directions are possible for copyright protection through some pieces of articles. It looks at the contract form made by SSDC which is national labor union representing stage directors and choreographers. After all, I insist we acknowledge the copyright law and the value of copyright protection for stage directors` creative input into a performing arts production. We should devise the contract forms for stage directors which are to be applicable for each situations of productions.

미국 뮤지컬 산업 연구

정영미(Young-Mee Jung) 한국콘텐츠학회 2015 한국콘텐츠학회논문지 Vol.15 No.6

최근 예술가의 노동자로서의 지위 보장과 근로환경개선, 복지제도 마련에 관한 논의가 우리 사회에 일고 있다. 이 연구는 미국뮤지컬산업에서 중요한 역할을 하고 있는 다양한 예술가조합의 성립과 변천과정의 핵심적인 내용을 검토함으로써 예술가들 간의 이해관계를 조율해 온 내용을 살펴본다. 미국 공연예술분야는 오래 전부터 배우조합, 제작자조합, 극작가조합, 무대기술인조합, 연출자·안무가조합 등의 활동이 활발하여 회원을 모아 결집하여 파업을 하거나 소송을 제기하면서까지 예술가들의 처우개선과 창작에 대한 보호를 확장시켜왔다. 이들 예술가 조합의 형성과정과 그 속에 나타난 예술가들의 권익신장에 관한 여러 쟁점들은 우리나라 뮤지컬산업에서의 개별 공연계약에 많은 참고가 될 것이다. In recent days, the issues regarding the artists status as labor and improvements of laboring circumstances, creating the well-fare system for artists are raised in our society. This paper searches for the process of various artists unions which are performing the important roles in the musical theatre industry in the U.S.A. The artists unions have developed the bargaining contracts and strengthened the protection of their original works. The discussions among many unions provide useful information to the independent artists when they make contracts in our Korean musical theatre market.

미국 뮤지컬 저작권 사례 연구 -창작대본의 공동저작물 성립과 관련한 국내 공연계약 적용안을 중심으로-

정영미 ( Young Mee Jung ) 한국연극학회 2011 한국연극학 Vol.1 No.43

This article addresses joint works of authorship of original works which are produced by collaborative creation in the musical theatre productions. There are three legal cases related to joint works for musical theatres in America. American courts had denied the claims of ``joint authorship`` caused by actors, producers, and dramaturg because there were no evidences about the mutual intents for creating joint works and the contribution claimed by participants except playwrights were not copyrightable. Our courts and copyright law have similar view of points like the American courts. In my thoughts, the interests of collaborative creators should be guaranteed. I want to suggest the method for compensating their contributions. At first, playwrights could transfer the copyright to the producer, and then the producer can divide the interests with others according to their respective amounts of creative contributors. I want to encourage artists to make contracts in performing arts fields and to realize that the fair contributions should be compensated. This paper says the value of collaborative creation and the achievement of commercial success for musical theatres. Also, it emphasizes the importance of contracts and the knowledge of copyright law.

연극저작물의 개념과 용어에 관한 연구: 미국과 우리나라의 경우를 중심으로

정영미(Jung Young Mee) 한국예술경영학회 2010 예술경영연구 Vol.17 No.-

이 논문은 연극저작물의 저작권법적 개념에 관하여 미국과 우리나라의 경우를 중심으로 고찰하였다. 뮤지컬을 중심으로 공연예술시장이 커져감에 따라 연극저작물의 저작권법적 개념을 원론적으로 고찰함으로써 그 명확한 저작자 및 소유관계를 규명하는데 기초적 이론을 제공하고자 한다. 특별히 법원에서 연극저작물은 결합저작물이라는 일관된 입장을 보이고 있는데, 이에 따라 법상 저작자가 아닌 연출자의 창작을 소외시켜버리게 되는, 현행 ‘결합저작물’이라는 개념이 갖고 있는 불충분함을 지적하고자 한다. 또한 연극저작물의 실체와 그에 합당한 용어의 정립에 있어서 영어표기와 더불어 통일된 기준을 마련하여 그 지칭하는 대상을 명확히 하고자 한다. 결국 논문에서 강조하고 싶은 것은 법원에서 결합저작물이라는 고정된 시각을 버리고 유동적으로 경우마다 고찰해주었으면 하는 바람이다. This study researches copyright statutory definitions of dramatic works of both America and this country. In the case of America, the terminology ‘dramatico-musical composition’ was made in 1909, and has changed into ‘dramatic works’ in 1976. It includes any accompanying music. Pantomimes and choreographic works have become independent subject matter since 1976. In America, the two essential elements for a dramatic composition are ① The substantial portion of the story should be provided by action of real actors. (Dialogue is not important elements.) ② There should be a story(a thread of consecutively related events). Also, the statutory class of dramatic works overlaps four other statutory classes of works. In this country, dramatic(theatrical) works include pantomimes and choreographic works, and mean the works made of choreograph or actionㆍmovements. There is a essential point that the authors of dramatic works are performers. Furthermore, this courts has a consistent view about dramatic works which are combined works(결합저작물). This point has a few problems. In comparison between America and this country, we don’t devide dramatic works and choreographic works. While we regard musical theatre as combined works, They regard musical theatre as collective works in America. However, musical melody and scripts are copyright protected respectively in both countries. The expression of action is essential when we make the definition of dramatic works. They set forth conditions for copyrightable material that must be fixed in a tangible form in America. In our case, dramatic works need to record in a tangible media so that we could strengthen copyright protection for dramatic works. In conclusion, terminology of dramatic works has confusion and dissatisfaction recently, I want to propose redefinition and re-meaning of translation for dramatic works.

무용저작물의 저작권법상 쟁점과 창작 현장의 관습

정영미(Young-Mee Jung) 한국정보법학회 2014 정보법학 Vol.18 No.1

이 연구는 “샤이보이”안무 저작권 침해사례를 화두로 삼아 무용저작물이 대중화⋅ 상업화 되어가고 있는 현 상황을 진단한다. 무용저작물에 관한 저작권 판례는 거의 없었던 상황에서, 안무가의 저작권을 인정해주는 입장의 이 사건 판결은 향후 무용저 작물의 확대보급⋅유통과 관련해서 중요한 의미를 갖는다. 현재까지 우리나라에서는 판례의 축적이 없었던 만큼 무용저작물에 관한 학문적 논의가 많지 않았으나, 이 연구는 “샤이보이”사건을 계기로 해서, 무용저작물에 관한 해외 주요 판례 및 법적 쟁점고찰을 통해 무용저작물에 관한 여러 쟁점들을 모아본다. 나아가서, 무용창작 현장에서 안무가의 저작권료가 인정되고 있지 않는 경우가 많은 국내 현실을 보고하며, 특히 강조되고 있는 저작인격권에 관한 무용창작계의 관습을 소개하였다. 이 연구는 안무가의 저작권 보호에 관한 인식 확산에 일조하고자 진행되었다. As the media has been developed, the copyright laws has been established and reenacted. The history of copyright laws is the process of enlarging the protectable matters and strengthening the copyright protection. To date, the copyright of choreographic works has been hardly discussed because choreographic works are existed here and now, and not easy to copy such works. However, well trained dancers can imitate the original choreographic work through watching the moving pictures, and they teach it to the public for profits. This paper displays the case of the choreographic work for Korean pop star Secret’s ““Shy Boy”” relevant to illegal procurements. After that, it will discuss the types of copyright infringements regarding choreographic works and analysis the controversial points in each case. Especially, this paper utters the importance of moral rights regarding the customary circumstances of choreographic works. As a concluding remark, future visions and possible disputable matters of the copyright protection for choreographer will be overall-explained.

Versatile Researches at Kangwon Radiation Convergence Research Support Center

Young Mee Jung(정영미) 한국고분자학회 2022 한국고분자학회 학술대회 연구논문 초록집 Vol.47 No.2

저작권법의 시각에서 본 연극연출의 창작성과 법적 지위에 관한 연구

정영미 ( Young Mee Jung ) 한국연극학회 2010 한국연극학 Vol.0 No.40

This thesis purposes to suggest that creative stage directors have copyright ownership and we make them create high-quality of theatre direction. Stage directors are sincere creator of the theatre stage today. We have little judicial precedents about stage directors, no artistic examination related directing. Stage directors are performers who have neighboring rights, there is a problem that they won`t have the exclusive right of making derivative works in this country. Others will make creation (such as cinemas, animations, novels) based on stage expression without permission, because stage directors don`t have exclusive right of making derivative works. Copyright law can`t protect the concept of stage directors and building blocks of them which are drama text, actors and theatre space, because copyright law don`t protect idea according to idea/expression dichotomy. The expression of stage direction is belong to five fundamentals which are composition, picturization, movement, rhythm, pantomimic dramatization that are come from Dean & Carra`s work. Directors` work is to make theatrical works based on literary works. Therefore, theatrical works are derivative works which based on drama texts. Also, theatrical works are able to be joint works. In the case of that stage directors write drama text and create expression on the stage, they have to own authorship of both works. Merger doctrine should not apply theatre directors` works strictly like any other functional works because stage directors usually create noble expression which have been not before. We need shift of the definition of theatrical works which are derivative works or joint works to protect theatre directors` creativity. Hereafter, the special legal section for dramatic(theatrical) works including the flexible legal definition for performing arts should be established, and `contract form` for stage directors should be made. Acting edition(literary works) should be published to grant creative directors compensation. I emphasize to grant ownership of copyright to creative stage directors, to encourage directors` works. Therefore, copyright law will be the support for development of cultural arts institutionally.

항공교육서비스와 학생만족, 교육성과의 영향 관계에서 교육기관 유형의 조절 효과 연구

정영미 ( Young Mee Jung ),홍창식 ( Chang Shik Hong ) 한국항공경영학회 2015 한국항공경영학회지 Vol.13 No.2

본 연구는 항공교육서비스를 시행하고 있는 교육기관의 특성을 고려한 학생만족과 교육성과에 대한 체계적 접근이 필요한 것으로 판단하여 시도하였다. 특히 항공서비스의 중요성에 비하여 상대적으로 연구가 부족했던 항공교육서비스의 질적인 측면에서 효율적 방안을 제시하고자 하였다. 이론연구결과를 통하여 교육기관의 항공교육서비스, 학생만족, 교육성과에 대한 개념을 정립하였으며, 이를 토대로 항공교육서비스는 교수요인, 교육요인, 복지요인, 행정요인으로 구성하였으며, 학생만족은 교육적 요인과 환경적 요인으로 구성하였다. 또한 교육성과는 자아성취 요인과 충성도 요인으로 구성하였다. 본 연구에서는 항공교육서비스가 학생만족에 미치는 영향과 학생만족이 교육성과에 미치는 영향관계를 검증하였고, 이 영향관계에서 교육기관유형(전문대학과 대학교)이 조절효과를 갖는다는 것을 분석하였다. 따라서 항공서비스 교육기관들이 각각의 특성에 부합하는 교육서비스를 제공할 수 있도록 하는 기초자료로 활용될 수 있도록 하였다는 점에서 의의를 갖는다. 또한 항공서비스 전문인력을 양성하기 위해서는 항공사와 항공교육기관이 상호보완적 시스템을 갖추고 교육을 진행하여야 한다는 점도 중요한 시사점을 갖는다고 볼 수 있다. This study attempts to identify the necessity for a systematic approach to Collegian Satisfaction and Education Performance in Educational institutions where the Airline Education Service was conducted. Especially, the Airline Education Service whose studies are relatively insufficient when compared to the importance of Airline Service proposes efficient methods in the aspects of quality. From the results of theoretical study, the concepts of the Airline Education Service, Collegian Satisfaction and Education Performance in Educational institutions are established. Based on the fact, the Airline Education Service are comprised of professor variable, education curriculum variable, welfare system variable and administration variable. Collegian Satisfaction composes educational variable and environmental variable. For the last, It is Self-achievement and college loyalty that form Education Performance. This study verifies the effect of Airline Education Service on Collegian Satisfaction and furthermore proves Collegian Satisfaction in the relation of Education Performance. In this relation, the study recognizes that Educational institutions (colleges and universities) have a Moderating effect. Therefore, the founding has its significance as it can be applicable as a basic data which offers educational services in Educational institutions of Airlines Service. In order to train professional human resources, the airline systems must be complementary to that of Airline Educational institutions when proceeding an education which has major implication. The purpose of this study is to examine the influence protean career attitude on subjective career success with the mediating effect of career commitment. This study tries to investigate structural relationship of among the protean career, career commitment, and subjective career values of flight attendants. The survey data was collected from 210 flight attendants working at airlines in korea, and analyzed statistically by using SPSS 18.0 and AMOS 18.0. The results of this study are as follows. First, protean career attitude had a statically meaningful direct effect on career commitment. Second, Protean career attitude does not appear to have an effect on subjective career success directly. Third, career commitment has a positive effect on subjective career success. It also was proven that the higher career commitment was perceived, the higher career satisfaction and job ability was perceived. Finally, It was indicated that career commitment completely mediated the relationship between protean career and subjective career success. This means that career commitment plays an important role in mediating between protean career attitude and subjective career success. To better perceive the subjective career success of airline fight attendants, it appears that career commitment should be inspired to increase subjective career success. This means that airlines should be used to give continuous attention and support by providing opportunities to develop flight attendant``s careers, so they can continue their career commitment.