온라인 패션쇼핑몰의 성공적 창업에 대한 탐색적 사례연구: 소호쇼핑몰의 기업가적 과정을 중심으로

손미영,Son, Mi Young 한국감성과학회 2022 감성과학 Vol.25 No.3

This study targets four Soho fashion shopping malls that are operating successfully in the online fashion market. This study analyzed the entrepreneurship process by dividing it into three stages. The results of the case study are as follows. In the case of Company S, the founder, who had little work experience, started an e-commerce business with a sense of fashion and entrepreneurship. It is a contemporary, casual brand with competitive prices, design power, and diverse product assortment, and the business performance was achieved through data management and analysis and the diversification of distribution channels. In the case of Company B, the founder, who had little work experience, started a manufacturing and e-commerce business by leveraging their SNS network capabilities and entrepreneurial spirit. It is a contemporary fashion brand with product competitiveness of specific items and start-up characteristics, and performance was achieved through the establishment of brand identity and market expansion. Third, Company M and Company C are examples of Soho fashion shopping malls where the founders with more extensive work experience at the time of founding their respective start-ups focused on brand recognition as their core competitiveness. In the case of Company M, the apparel brand was launched with a wealth of experience and design spirit. It is a fashion designer brand that stands out for its sensibility, and the owner has achieved performance through various entrepreneurial activities that broaden the corporate horizon. Company C is a manufacturing and e-commerce brand that was started with design capabilities and an entrepreneurial spirit. It is a luxury fashion brand that focuses on emotional expression, and the outcomes, such as brand recognition and sales, were achieved through active customer management. The results of this study can be used as basic data in education for and research of Soho shopping malls and the prospective founders.

영상매체에 나타난 이육사 표상 연구 -드라마 <절정>(2011)을 중심으로

손미영,Son, Mi-young 국제문화기술진흥원 2020 The Journal of the Convergence on Culture Technolo Vol.6 No.4

본 연구는 드라마 <절정>(2011)을 통해서 드라마에서 시 텍스트가 삽입되는 방식과 시인의 표상화 방식을 검토한다. 이 드라마는 시인이자 독립 운동가였던 이육사를 중심인물로 내세우고, 그의 생애를 따라가는 서사 구조를 택하고 있다. 드라마는 시인의 생에서 가장 극적인 순간에 그의 시를 환상적인 이미지와 함께 삽입함으로써 드라마의 서정성과 영상미를 극대화한다. 시와 함께 제시되는 이미지는 이육사의 치열한 고난을 극대화하는 한편으로, 시를 이 고난의 결정체로 그려낸다. 이로써 드라마 <절정>은 이육사의 시를 활용함으로써 중심인물 이육사의 내면세계를 영상으로 형상화한다. 이육사의 시를 이미지와 함께 활용하여 시의 아름다움과 곧은 정신세계를 지닌 시인의 표상화를 동시에 꾀하는 것이다. 이는 시인이자 독립 운동가였던 이육사를 행동하는 지식인으로서 균형감 있게 그려낸 결과이다. 드라마 <절정>은 영상을 통하여 시와 시인의 표상화를 진정성 있게 수행한 주요한 텍스트이다. This study examines the way poetry text is inserted in dramas and the way poets represent themselves through the drama "The climax" (2011). The drama features Lee Yuk-sa, a poet and independence activist, as a central figure and chooses a narrative structure that follows his life. The drama maximizes the lyricity and visual beauty of the drama by inserting his poems with fantastic images at the most dramatic moments of the poet's life. The image presented with the poem maximizes Lee Yuk-sa's intense hardship, while portraying the poem as a crystal of this hardship. Thus, the drama "The climax" uses Lee Yuk-sa's poetry to visualize the inner world of the central character Lee Yuk-sa. Lee Yuk-sa's poems are used in conjunction with his image to simultaneously represent the beauty of poetry and the upright spirit of the poet. This is the result of a balanced portrayal of Yi Yuk-sa, a poet and independence activist, as an intellectual who acts. The drama "The climax" is the main text that sincerely performed the representations of poems and poets through video.

영상매체에 나타난 김수영 이미지 연구 -드라마 <명동백작>(2004)을 중심으로

손미영,Son, Mi-young 국제문화기술진흥원 2022 The Journal of the Convergence on Culture Technolo Vol.8 No.6

This study examines the strategy of delivering the drama's poet Kim Soo-young and his literary works to the public through the drama <The Count of Myeong-dong> (2004). This drama shows Kim's inner self and his literary view by inserting poems into scenes where the poet suffers internal conflict, while presenting relatively less well-known poems to broaden the public's understanding of poetry. In addition, the drama maintains viewers' interest by properly placing elements of conflict, and effectively shows how the conflict affected his life and the world of time. Therefore, the drama <The Count of Myeong-dong> is a meaningful text that embodies a poet named Kim Soo-young in three dimensions along with the historical transformation and social problems of the time and the literary chapter of the time through the video.

기후변화에 대한 소비자의 인식과 복식행동 연구

손미영,Son, Mi Young 한국패션비즈니스학회 2017 패션 비즈니스 Vol.21 No.4

The purpose of this study was to analyze the impact of climate change cognition on clothing behavior of fashion consumers to understand the impact of climate change on the fashion system. An online survey was conducted of 385 people in their 20s-50s working in the fashion industry as well as general consumers. Data collected from surveys were analyzed by factor analysis and t-test. Results are as follow: First, climate change cognition consists of four sub-dimensions, which are 'knowledge of climate change' and 'recognition of climate change in Korea'. Second, clothing behavior related with climate change consists of six sub-dimensions, which are 'environmentally-friendly fashion purchases', 'new clothes-wearing style affected by climate change', 'ethical fashion consumption', 'pursuit of functional fashion', 'pursuit of seasonless fashion', and 'clothes-wearing in response to climate change.' Last, the group with higher cognition of climate change than the group with lesser cognition had significantly higher degree of trying new styles created because of climate change, making ethical fashion purchases, pursuing functional fashion, and wearing clothes in response to climate change.

공간적 변화에 따른 시 의식의 변모 양상 연구 - 김수영, 박용래의 '눈'을 중심으로 -

손미영(Son Mi-yeong) 우리문학회 2005 우리文學硏究 Vol.0 No.18

To one who defines his destiny as a poet, the meaning for his existence inevitably lands on a poetic consciousness. This consciousness is a sign of aspiration to survive and at the same time, has a meaning as a result of his life. Time and space can not be separated from each other to a human being. Suppose literature is a part of a life, time and space has a significant meaning. since literary experience is based on them.<br/> Though time and space reveals a different feature in our experience, they need mutual premise. In this respect, this paper especially inquiries into the changing aspects in the poetic consciousness of two contemporary poets, Kim soo-young who showed the will to overcome his reality and Park yong-rae who walked toward traditional lyricism. Through their 'SNOW imagery', in that it shows an aspect of poetic consciousness as the spirit of the times, I chose「SNOW」as the subject of analysis.<br/> First, to Kim soo-yeong, 'SNOW', to put it concretely, 'SNOW imagery' presents a conflict between him and the world, and he shows his will to spread the self into the world, or reality. Consequently, it leads to increasing conflicts among spaces rather than among times. It reveals the internal and external conflicts between SPUTUM and 'SNOW'. And then it turns into the conflicts between upper and lower parts. That is to say, between the space where SNOW stays and the land where reality continues. In his last work, through 'EUNG-A'(a korean onomatope of a crying baby), 'SNOW' is laid upon 'SPECULATION'. In other words, at a middle point, all the conflicts are gone and he shows his true character as a poet to be associated in reality. It is very regrettable that his later poems such as 'The discovery of rhythm' or 'The discovery of love' suddenly discontinued but it goes without saying that he had a great effect on a Korean poetry later.<br/> While Park young-rae shows his emotion and feeling through antagonistic structure and repetition structure. He expressed the conflict between the self and the world through the conflict of time and space or alien land and hometown. These conflicting relationship brings about repetitions of loneliness and nostalgia. His "SNOW IMAGERY" draws a dramatic change in antagonistic structure of time and space and it means he came to be conscious of space perception from time perception that brings about the change of existence. Space perception is circulating and circulation is to recollect the past in view of time and to seek after the lost paradise(native land, rural life).<br/> Space does not be limited to a place where we live. We live not in 'NOW' but in 'HERE'. Accordingly, space perception has a great impact on formation of consciousness. And by looking at space perception, we can find out an individual consciousness. Especially, we can figure out poetic consciousness through poets' space perception. Due to the lack of my ability and limited text, I treated only two poets in this paper with a restricted view.<br/> I look forward to a more complete study later.

1950년대 여성시의 모색과 문학적 전략 -김남조와 홍윤숙의 시를 중심으로-

손미영 ( Son Mi-yeong ) 한민족어문학회 2017 韓民族語文學 Vol.0 No.77

본고는 김남조와 홍윤숙의 초기 시를 비교 검토한다. 전후 한국의 중요한 여성시인으로 손꼽히는 김남조와 홍윤숙은 1950년대에서 1960년대에 발표한 초기의 시편들에서 전쟁의 상흔을 극복할 방법을 모색한다. 한국전쟁기부터 창작 활동을 시작한 김남조는 첫 시집 『목숨』에서 엄혹한 전쟁기의 현실을 드러낸다. 김남조는 삶을 갈구하는 격정적인 어조의 시편들을 발표하는 한편으로, 한 걸음 더 나아가 죽음과 영원, 그리고 존재에 대한 사유를 시작한다. 특히 전후에 발표된 시들에서 김남조는 여성 화자의 목소리를 통해 사랑의 대상과의 합일을 추구함으로써, 전쟁 이후 파괴된 `인간성`의 회복을 시도한다. 이러한 그의 작업은 분절된 세계에서 시인의 역할이란 무엇인가를 고뇌한 결과이자, 특히 여성적 언어를 통해 모든 존재를 감싸 안고 치유하는, 이른바 여성형의 완성태가 되고자 하는 시도이기도 하다. 김남조가 여성적인 어조를 통해 인간 사이의 화합을 이루려는 데에 비하여, 홍윤숙은 도리어 정제되고 지성적인 단어들을 주로 사용한다. 특히 홍윤숙의 초기 시편들에는 수목적 이미지와 불의 이미지가 병존한다. 타오르는 불의 이미지는 무성한 생명력과 연결되며 시 속의 화자는 살아있음의 희열을 경험하는 것이다. 하지만 불의 이미지가 활용된 시편들은 이후 창작된 시에서는 점차 그 수가 줄어들고, 대신 수목의 이미지가 주로 등장한다. 이는 내면에 존재한 생명력과 존재의 본질을 드러내기 위해서는 발산하는 불의 이미지보다는 내적인 생동력과 영원성의 이미지를 지닌 나무의 이미지가 유효한 까닭이다. 그러므로 홍윤숙은 내면의 강인한 생명력을 표현하고, 이에서 인간의 의지와 존재의미를 드러내기 위해 수목의 이미지와 함께 정제된 어조를 활용하였던 것이다. 전쟁을 체험한 두 시인의 시가 같은 방향을 향해 나아가면서도 그 언어적 특성에 차이를 보이는 것은 당대의 현실에 대한 회복 가능성을 서로 다른 방법과 언어로 모색한 까닭일 것이다. 현실의 근원적 문제를 해소하기 위하여 인간 내부의 문제를 밝히는 것이 우선이라 판단한 이들에게 내면세계의 탐색은 정신적·지성적 탐색 방법이었다. 즉 이들에게 `시를 쓰는 일`은 민족이나 국가의 차원을 벗어나 인간이 스스로 초래한 비극을 해소하고 인간 본연의 모습을 회복하는 일과 맞닿아 있었던 것이다. 그리고 이 과정에서 이른바 반대항에 있는 것으로 여겨져 온 `여성적` 어조와 `지성적` 어조라는 서로 다른 언어가 전략적으로 선택되었다. 이러한 측면에서 1950년대 여성 시인들의 시는 새로 조명될 필요가 있다. This paper examines the early poems of Kim Nam Jo and Hong Yun Suk, who are considered important female poets of postwar Korea who sought to overcome the scars of war in the early poems of the 1950s and 1960s. Kim Nam Jo began her creative activities during the Korean War, revealing the harsh realities of the war period in her first poems. She began to explain death, eternity, and existence by going one step further while discussing of life craving for life. In particular, in her poems published in the postwar period, Kim Nam Jo pursued the possibility of recovery through the communication of real existence by pursuing unity with love objects through the voices of female speakers. This work resulted from agonizing about the role of the poet in the segmented world and attempted to become a so-called gendered form that embraced all beings, especially through feminine language. In contrast to Kim Nam Jo`s attempts to achieve harmony among human beings through feminine tones, Hong Yun Suk mainly uses refined and intelligent words. Especially in her early poems, there is a coexistence of the image of the purposive purpose and the image of fire; the image of a blazing fire is linked to the vitality of life, and the narrators in the early poems experience the joy of being alive. However, Hong Yun Suk gradually used the image of fire less often in her later poetry and primarily used the image of the tree instead because trees, with their image of inner vital force and eternity, are more effective than radiating fire for revealing the essence of existence and vitality existing inside. Therefore, Hong Yun Suk expressed the inner strength of vitality and used the refined tone together with the image of the tree to reveal the human will and meaning of existence. The poetry of these two poets who experienced the war proceeded in the same direction, so the differences in their linguistic characteristics could be because of the different methods and language they used to recover the realities of the present. For those who believe it is best to reveal human beings` inner problems in order to solve the fundamental problems of reality, the search of the inner world was mental and intellectual. In other words, for these women, poetry was related to the nature of human beings, which resolved human tragedies beyond the nation or state levels. In this process, the women strategically chose different languages, the “female” tone and the “intellectual” tone, which were considered to be in so-called opposition. In this respect, the poetry of female poets of the 1950s needs to be re-illuminated.

소자본 온라인 패션쇼핑몰 운영 사례 연구 - 4P mix 중심으로 -

손미영(Mi Young Son) 한국복식학회 2020 服飾 Vol.70 No.2

보문 : 한국 패션기업의 세계시장 진출을 위한 중국시장 활용 전략 연구 : 일반화된 더블다이몬드 모델의 변수를 이용한 한,중 패션산업의 경쟁력 분석을 중심으로

손미영 ( Mi Young Son ),김용주 ( Yong Ju Kim ),지혜경 ( Hye Kyung Ji ) 韓國衣類學會 2007 한국의류학회지 Vol.31 No.4

1인가구의 연령대별 패션 소비실태 연구: 2006~2017년 가계동향조사를 중심으로

손미영 ( Son Mi Young ) 한국방송통신대학교 통합인문학연구소 2020 통합인문학연구 Vol.12 No.1

본 연구에서는 년 년까지 2006 ~2017 1인가구의 연령별 패션소비실태를 파악하기 위해서 국가통계포털(KOSIS)에서 2018년 가계동향조사의 원자료를 추출하여, 1인가구와 전체가구의 연령대별로 패션소비실태를 의류와 신발, 이미용, 장신구로 구분하여 분석하였다. 본 연구의 분석결과를 요약하면 다음과 같다. 첫째, 2007년~2017년 전체가구와 1인가구의 소득, 가계지출, 소비지출의 경우, 전체가구 및 1인가구 모두 평균소득이 2007년부터 증가하다가 2015년을 기점으로 전체가구는 20%, 1인가구는 7% 감소하였다. 둘째, 2006년~2016년 1인가구의 소비지출 추이의 경우, 주생활 및 식생활, 의생활 전반 소비지출이 전 연령대에서 증가하였고, 주생활과 식생활의 지출이 의생활지출보다 더 크게 증가하였다. 셋째, 2007년~2017년 1인가구의 패션지출규모는 의류, 미용, 신발류, 장신구 순이었으나 신발류 지출규모가 2007년부터 2010년까지 반짝 증가함을 볼 수 있으며, 소득과 함께 전체 항목에서 꾸준히 증가하였다. 그러나 소득대비지출(%)를 살펴보면, 신발류를 제외한 나머지 패션제품의 소득대비지출(%)가 2009년에 감소하다가 2015년을 기점으로 증가함을 보였다. 이는 2000년 이후 패션시장에서 운동화를 비롯하여 신발류가 패션 트렌드의 초점이 되면서 급격히 증가하였던 사회적 현상을 반영한 것으로 사료된다. In this study, in order to identify the fashion consumption of single-person households by age from 2006 to 2017, KOSIS extracted raw data from the 2018 Household Trend Survey and the fashion consumption of single-person households and total households by age group were analyzed by categorizing clothing and footwear, beauty and jewelry. The results of this study are summarized as follows. First, in the case of total households and single-person households in 2007-2017, the average household income of all households increased from 2007, but as of 2015, the total households decreased by 20% and single person households decreased by 7%. Second, in 2006-2016, consumption expenditure on clothing, food and shelter of single-person households increased in all age groups, and expenditure of shelter and food increased higher than clothing expenditure Third, the fashion expenditure of single-person households in 2007 ~ 2017 was in order of clothing, beauty, footwear, and jewelry, but the size of expenditure on footwear rapidly increased from 2007 to 2010, and all fashion items increased steadily with the income. However, regarding the expenditure (%) on income, the expenditure (%) on income of fashion products excluding footwear decreased in 2009 and increased from 2015. This seems to reflect the social phenomenon that the spending of sneakers and footwear has rapidly increased since 2000, as sneakers and footwear became the focus of fashion trends in the fashion market.

백석시의 유토피아 의식 연구

손미영 ( Mi Yeong Son ) 한민족문화학회 2012 한민족문화연구 Vol.40 No.-

본고는 백석 시의 지향점을 유토피아로 보고, 그 유토피아성을 歡待의 유토피아와 逍遙遊유토피아로 나누어 살펴보았다. 환대의 유토피아는 다시 ``환대와 고향``, ``축제적환대``로 나누어 살펴보았다. ``환대와 고향``에서는 환대가 주로 고향을 중심으로 이루어지고 있는 점을, ``축제적 환대``에서는 백석의 아니마 상실 체험을 중심으로 환대가 배제되거나, 거부된 상황을 노래한 작품들의 특성을 살펴보았다. 환대의 유토피아는 ``메시아적 열림``과 만나는데, 백석의 메시아적 표상을 암시하는 작품이 바로 시「허준(許俊)」이다. 환대체험을 근원적으로 간직하고 그를 자부심으로 삼았던 백석에게 아니마 상실체험을 겪게 했던 란(蘭)이와의 만남과 헤어짐은 환대의 거부, 즉 배제의 체험을 겪게 한다. 백석의 아니마 상실, 즉 거부된 환대로 인한 좌절감은 아니마 회복의 꿈으로 이어진다. 시「나와 나타샤와 흰 당나귀」에서는 방문자가 주인의 자리를 앗아갈 수도 있는 무조건적인 환대의 아포리아가 내재되어 있지만, 나타샤와 화자는 서로 사랑하기 때문에 환대의 축제, 즉 축제적 환대의 장이 펼쳐지게 되는 것이다. ``소요유(逍遙遊)유토피아``는 장자의 逍遙遊의 본질적 특성이 유토피아라는 점에 착안하여 ``유토피아인의 원형``과 ``미완의 소요유(逍遙遊)``로 나누었다. ``유토피아인의 원형``에서는 백석시에 나타난 유토피아적 인물과 그 성격을 허준, 도연명을 통하여 살펴보았다. 백석이 그리던 유토피아의 ``나라``는 「허준」에 드러난 ``맑고 거룩한 눈물의 나라``이며, ``따사하고 살틀한 볕살의 나라``이다. 그 나라에서 ``이 세상에 나들이를 온`` ``허준``이 ``아무것도 모르는 듯이 어드근한 방안에 굴어 게으르는 것을 좋아하는`` 풍속을 좋아하는 ``넋``을 지니고있는 것은 바로 소요유(逍遙遊)유토피아의 한 전형적인 특질인 것이다. ``미완(未完)의 유토피아``에서는 진정한 소요유(逍遙遊)를 실천하지 못한 원인을 「남신의주 유동 박시봉방」을 통하여 살펴보았다. 아내와 집도 없이 남의 집 허름한 방에서 자신을 돌아보는 화자는 심각한 아이덴 티티의 위기를 느낀다. 침탈당한 주권자의 비애는 식민지 시인의 공통된 특성이었다. 백석시도 그 시대적 희생양으로서의 ``미완의 유토피아``에 머물 수밖에 없었던 것이다. In this study I suggest that Baek Suk`s poetry seeks the utopia, which I divide into the utopia of hospitality and that of Soyoyu (enjoyment of excursion). I subdivided the utopia of hospitality into the ``hospitality and home`` and the ``festive hospitality``. In the part of ``hospitality and home`` I point out that hospitality is offered around home; in the part of ``festive hospitality`` The utopia of hospitality meets with ``Messianic openness`` and his Messianic representation is implied in his poem "Huh Jun". In "Me, Natasha, and the White Donkey", though the aporia of unconditional hospitality in which the visitor can take the place of the host is inherently present, the feast of hospitality, that is the festive hospitality. Taking into consideration that the essence of Zhuangzi`s idea of Soyoyu is utopia, I divided ``Soyoyu utopia`` into the ``archetype of utopian`` and the ``incomplete Soyoyu``. In the ``archetype of utopian`` I study Huh Jun and Do Yun-Myung and examine utopian characters and their features found in Baek Suk``s poetry. In the part of ``incomplete utopia`` The narrator who lives in a shabby rented room without a wife and looks back on his life experiences a crisis of identity. Sorrow was the common feelings that the poets, subject to colonial rule and deprived of their sovereignty, shared. Baek Suk was another scapegoat of the Japanese colonialism and for this reason his poetry remains an incomplete utopia.