Who Are Domestic Travel Agency Users and Who Buys Full Package Trips? A Study of Korean Outbound Travelers

안영주,이슬기,Yoon-Young AHN 한국유통과학회 2019 The Journal of Asian Finance, Economics and Busine Vol.6 No.4

The purpose of this study is to identify differences based on demographic characteristics and travel-related characteristics: first, whether travelers used a domestic travel agency and second whether travelers purchased a full-package travel program. A sample selection probit model was used to provide simultaneous evaluation of the different characteristics of outbound travelers. The present study investigates how tourists make decisions based on two travel-pattern choices. It then goes on to explore the characteristics of outbound travelers from South Korea. The data is drawn from a nationwide survey in South Korea, and a total of 859 surveys were used for analysis. Due to the interdependent nature of the choices, a sample selection probit model was used to estimate outbound tourists’ use of domestic travel agency and purchase of full travel package. Significant determinants of domestic travel agency use are identified as age, gender, marital status, party size, children, length of travel, and travel distance, while those of full travel package purchase are age, marital status, and travel purpose. Estimated results provide manifestations of differing travel needs of outbound travelers. the results of this study demonstrate differences between travel-agency users and full-package travel-program consumers and provide determinants that affect the purchase of full-package travel.

An Overview of Aging Theories in Leisure

안영주 ( Young Joo Ahn ) 한국이벤트컨벤션학회 2015 이벤트 컨벤션 연구 Vol.11 No.2

There are a growing number of studies exploring the role of aging theories over the life-span developmental processes. The purpose of this study is to address an overview of aging theories in the context of leisure. Four aging theories have been frequently applied to explain the patterns of leisure involvement and successful aging among older adults. Four theories are the disengagement theory, the activity theory, the continuity theory. and the selection, optimization, and compensation (SOC). The application of aging theories has provided better planning of leisure facilities and has encouraged the use of leisure facilities. Aging studies in leisure have attempted to explain the patterns of older adult behaviors in leisure settings. Moreover, research that applied for aging theories provides insightful implications for delivering leisure programs to older adults. However, there is still lack of theories and lack of aging research in leisure settings. It means that researchers in the aging and leisure field may have potentials unlimited on research topics.

빅 데이터의 효용성 검토와 향후 발전 가능성에 대한 재고

안영주(Ahn, Young Joo),김승인(Kim, Seung In) 한국디지털디자인협의회 2014 (사)한국디지털디자인협의회 conference Vol.2014 No.5

Although there is a lot of debate about how to use big data, it is generally acknowledged that big data is the most valuable area in the aspect of effectiveness and potential development. Especially, with new innovative ways of solution for an administrative matter or environment matter as well as new business values, the world is actively trying to use big data in the public sector. However, most recent movements for applying big data are concentrated in the development of technology or business models in the private sector. This paper is a study about the efficiency of big data and an examination on the future development of big data in the public sector named ‘open data’.

오송화장품·뷰티 세계산업박람회 방문객 동기와 시장세분화 연구

안영주(Ahn, Young-Joo),신창열(Shin, Chang-Yuel),송학준(Song, Hak-Jun),이충기(Lee, Choong-Ki) 한국관광레저학회 2013 관광레저연구 Vol.25 No.8

탈식민주의 관점에서 본 버내큘러의 문화적 위상

안영주(Ahn, Young Joo) 한국디자인문화학회 2016 한국디자인문화학회지 Vol.22 No.4

본 논문은 버내큘러에 대한 역사적 인식을 비판적으로 살펴보고, 그러한 비판을 통해 버내큘러의 새로운 위상을 고찰하고자 한 연구이다. 그동안 버내큘러는 모던 문화의 프레임 안에서 전통과 현대, 제도와 일상, 중심과 주변이라는 대립구조로 분리되었으며, 그 안에서 지엽적이고 저급한 것으로 사유되어 왔다. 그러나 버내큘러는 포스트모던 문화가 등장함에 따라 디자인의 새로운 대안으로 귀환하였으며, 나아가 ‘지역 문화’의 부상과 함께 글로컬리즘의 중요한 요소로 주목받고 있다. 하지만 이러한 상황이 버내큘러의 위상이 승격되었음을 의미하는 것은 아니다. 오히려 그것은 ‘문화적 다양성’이라는 상대주의적 전략을 구축하면서 차이를 속박하고 제거하기 위한 장치로 기능할 수 있다. 이러한 관점에서 연구자는 탈식민주의 담론을 이론적 배경으로 살펴보았다. 특히 호미 바바의 ‘문화적 차이’ 개념을 포스트 모던 문화의 키워드인 ‘다양성’이라는 프레임과 비교하여 고찰함으로써 버내큘러의 새로운 위상을 설정해 보고자 하였다. ‘문화적 다양성’이란 용어는 다양한 문화를 반영한다는 매우 이상적인 이데올로기를 담고 있지만, 그것은 지배 문화가 허용하는 그리드 내에서만 가능한 일이며, 반면, ‘문화적 차이’는 문화적 이해와 판단의 과정에서 하나로 통합될 수 없는 의미와 가치들을 충돌시킴으로써, 동일시의 전략을 재설정하게 만든다. 또한 연구자는 이러한 논의를 끌어내기 위해 20세기 포스트모던 시대의 버내큘러에 대한 관점을 로버트 벤추리(Robert Venturi)나 할 포스터(Hal Foster) 등의 건축 이론과 디자인 저술가 엘렌 럽튼(Ellen Lupton)의 관점을 배경으로 하여 전개하였다. 연구자는 이러한 과정을 통해 버내큘러가 기존의 관점으로부터 벗어나 현재 우리의 삶속에서 재고되어야 함을 논하고자 하였다. 우리가 버내큘러를 동시대 삶 속에 내재한 ‘문화적 차이’로 인식할 수 있다면, 버내큘러는 지배문화를 공고히 하는 다양한 전략 중 하나가 아니라, ‘새로운 틈’을 창출해 내는 것으로 재분할 될 수 있으며, 그러한 과정을 통해 버내큘러는 권력의 공간이나 관계를 비판적으로 사유할 수 있는 인식의 틀로 작용할 수 있을 것이다. This study would critically examine historical recognition on vernacular and discuss a new phase of vernacular based on those concerns. Vernacular has been regarded as the marginal and the lowbrow that could not obtain universality in the confrontational structures between tradition and modernity, between the center and the periphery, and between system and everyday life along with the birth of modern culture. However, vernacular returned to new elements of design along with the appearance of postmodernism, and furthermore, in the geography of glocalism, attention is paid to that, along with the rise of ‘local culture.’ Yet, this phenomenon does not mean the changed phase of vernacular. It may rather function as a device to restrict and limit the difference, constructing a relativist frame of ‘cultural diversity’. For this discussion, I applied post-colonial theory as a theoretical background. Especially, Homi K. Bhabha’s concept of ‘cultural difference’ was discussed in comparison with the frame ‘diversity,’ a keyword of post-modern culture, to set up a new phase of the vernacular. The term, ‘cultural diversity’ contains an ideal ideology that reflects numerous cultures, but it is possible only in the grid that mainstream society or governance culture allows. On the other hand, the ‘cultural difference’ makes the strategy of identification reset by making meanings and values collide, which cannot be combined into one, in the process of cultural understanding and judgment. In addition, the discussion of the vernacular in the post-modern era was conducted through architectural theorists like Robert Venturi or Hal Foster etc. and studies by design writer Ellen Lupton from a critical position. Through this process, this study would discuss that the vernacular should be reconsidered in our present life escaping from the existing viewpoint. We can recognize the vernacular as a ‘cultural difference’ inherent in contemporary life, it will be subdivided into something that creates a ‘new gap’ not one of various strategies that solidify the dominant culture, and through such a process, vernacular may act as a cognitive framework by which we can critically think the space or relation of power.

1980-90년대 한국 생활미술운동 연구

안영주(Ahn, Young Joo) 한국디자인문화학회 2015 한국디자인문화학회지 Vol.21 No.4

‘생활미술운동’은 1980-90년대에 한국에서 전개되었던 민중미술운동의 한 흐름으로써 순수 예술이 아닌 공예나 디자인의 영역에서 일어났던 생활화 운동이다. 그러나 생활미술운동은 민중미술운동에 비해 지금까지 우리에게 잘 알려지지 않은 채 간과되었던 분야라할 수 있다. 본 논문은 생활미술운동을 공예와 디자인을 통해 사회의 변화를 이루고자 했던 활동으로 바라보고, 1980-90년대 한국 문화의 맥락 안에서 그 개념과 전개 과정, 특징 등을 살펴봄으로써 한국에서의 사회적 디자인 및 공예 운동의 작은 역사로 소개하려는데 목적이 있다. 따라서 연구의 범위를 1980-90년대라는 시간적 범위와 민중 미술이라는 범주 내에서 발생한 생활미술운동으로 제한하고자 한다. 또한, 생활미술운동에 대한 선행 연구가 미비한 관계로 <미술 세계>와 <미술공예>, <월간 디자인> 등에 소개된 내용을 1차 자료로 검토하고, 일간지에 소개된 생활미술운동에 대한 내용을 조사하였다. 더불어 당시 생활미술 운동에 참여했던 김남수와 디자인 평론가 최범, ‘두렁’의 동인이었던 라원식을 인터뷰하고 녹취록을 정리하여 연구에 반영하였다. 본론에서는 먼저, 생활미술운동의 개념을 살펴보고, 생활미술운동을 세 시기로 구분하여 그 전개과정을 살펴보았다. 첫 번째 시기(1980년대 초·중반)는 민중미술의 전투적이고 선동적 기능을 가진 선전광고물들이 제작되었으며, 이 시기의 작업들은 민중 미술에 등장하는 도상이나 상징들을 그대로 사용한 것들이다. 두번째 시기(1987-1990년대 초)의 생활미술운동은 1987년 이후 정치적 상황이 일단락되고 운동권 중심의 수요가 감소함에 따라 보다 대중적 유통을 모색했던 시기였다. 생활미술운동 작가들은 ‘생활미술열린장터전’ 등을 기획하고 그것을 통해 대중과의 교감은 물론, 공예·디자인 작가들이 설 자리를 마련하였다. 세 번째 시기(1990년대 중반 이후)는 생활미술운동의 쇠퇴기로, 1990년대를 상징하는 ‘신세대’ 문화의 등장은 민중 문화에 대한 관심을 저하시켰으며, 1995년 ‘그림마당 민’의 폐업으로 생활미술운동은 집단적 실천의 장을 잃게 되면서 점차 개별화되는 상황을 맞이하게 된다. 연구 결과 생활미술운동은 서민 대중의 생활 속에서 전통과 민족의 의미를 되찾고 아울러 공예의 위상을 생활 속에서 찾고자 한 움직임이었으며, 전통공예가 붕괴된 이후 현대 공예가 추구해 왔던 일품공예적 경향에 반(反)하여 대중 공예를 지향했던 자생적 운동이라는 점에서 의의를 찾을 수 있었다. 그러나 생활미술운동은 시대의 변화 속에서 실재하는 현재의 경험을 삶의 구조로 해석해내지 못하고 도식적인 전통적 조형언어에 머물러 있었으며 그러한 한계로 인해 쇠퇴의 일로를 걷게 되었다. As one trend of the public art movement developed in the 1980s and 1990s in Korea, ‘Living Arts Movement’ was to practice art in everyday life in areas of craft or design, instead of fine arts. However, it has not been widely known compared to the public art movement. With the Living Arts Movement presented as an activity to achieve social change through craft and design, this article intends to introduce aspects of Korean craft and design by examining its concept, development process, characteristics, etc. Therefore, I would like to limit the scope of research into Living Arts Movement that occurred within the time range of 1980-90"s and Minjung Art categories. In addition, The previous study for Living Arts Movement is incomplete, so I reviewed and researched the contents in <Art World>, <Arts & Crafts>, <Design> to the primary source. And Living Arts Movement featured in newspapers, the contents were examined for the exercise. In addition, I interviewed with Kim, nam-soo involved in the movement at that time and design critic Choe, beom, La, won-sik took part in "Dureong". Then I reflect the record data on the study. I, the researcher, first examine the concept of Living Arts Movement; divide the Living Arts Movement into three periods and then; research into its development process. In the first period (in the early to mid 1980s), promotional and advertising materials were produced which were with combative and incendiary functions of Minjung Art (art reform movement in 1980s by progressive artists) and works in that period were of mere icons or symbols appearing in Minjung Art. In the second period (from 1987 to early 1990s), Living Arts Movement sought more of popular distribution as political situations were settled for the time being after 1987 and activist group-centered demand came to decline. Artists involved in Living Arts Movement planned ‘Open Market Exhibition for Living Arts’ and through that event, they not only communed with the public but also provided a forum where craft and design artists could strength their footing. Living Arts Movement was at an ebb in the third period (after mid 1990s) and with the advent of ‘New Generation’ culture which represented the 1990s, interests in subordinate class-based culture diminished and; due to the closure of <Art Gallery Min> in 1995, Living Arts Movement lost its place for collective practice, which gradually led to individualization. In conclusion, Living Arts Movement was to recover meanings of tradition and people in the general public’s everyday lives and also to seek status of craft in lives and its significance lies in that it was a self-sustaining movement which pursued public craft against the tendency of one-piece craft which was sought by modern craft after the collapse of traditional craft. Living Arts Movement, however, failed to interpret current experiences actually existing in the changes of the time into the structure of life and it simply remained as a schematic, traditional formative language and due to that limitation, it came to go downhill.

지역의 해안사구를 활용한 환경교육 방안

안영주(Youngju Ahn),김기대(Kee Dae Kim) 한국환경교육학회 2018 環境 敎育 Vol.31 No.4

본 연구는 다대포사구를 예시로 각 지역에 분포하는 해안사구를 활용한 환경교육 방안을 제안하고자 한다. 우리나라는 189개의 사구가 있지만 이 중 17개 사구만이 사구교육으로 이용되고 있으며, 시민들의 관심을 받지 못하고 있는 사구들이 약 150개가 넘는다. 현직 교사들을 대상으로 해안사구교육을 위하여 필요한 교육 자료에 대한 인터뷰결과, ‘해안사구에서 관찰할 수 있는 생물들의 서식 위치와 관찰시기 및 생태적 특징’ 등이 도출되었다. 또한, 이 연구에서는 해안사구 현장조사자료를 교육에 활용될 수 있도록 정리한 틀과 해안사구 교육을 할 때의 내용요소를 제시하였다. 신두리 해안사구 해설교육프로그램의 내용을 통해 해안사구교육에서 학습하게 될 내용요소를 확인하였으며, 이를 생태학의 법칙에 기반한 생태조사학습 각 단계에서 실시할 수 있는 교육활동요소로 정리하였다. 그리고 다대포사구에서 현장조사를 통해 정리한 자료를 토대로 해안사구에서 월별로 진행할 수 있는 교육 주제와 사구지도를 제시하였으며, 해당 월에 볼 수 있는 식생의 특징을 반영하여 교육을 진행할 수 있는 프로그램 예시를 제안하였다. 본 연구를 통해서 우리나라에서 훼손되고 있는 해안 사구의 현황제시와 해안사구 현장조사 결과를 교육자료화하는 틀, 그리고 사구 생태계 보존의 시작을 위하여 학교현장에서 실시할 수 있는 해안사구 교육 프로그램을 제공하였다. The purpose of this study is to propose environmental education programs using the Dadaepo coastal sand dune in order to raise awareness and education for conservation of coastal sand dunes in Korea. We discovered that of the total 189 coastal sand dunes, 17 coastal sand dunes are practically used in sand dune education while about 150 coastal sand dunes have been abandoned carelessly. The results of interviews with in-service teachers at coastal dunes demonstrated that the necessary education materials on sand dunes are the locations of habitats, observation time and ecological characteristics. In this study, we also proposed a framework that can be used for sand dune education from field studies, determined content elements for learning coastal sand dunes, gathered activity elements of educating at each step of ecological survey based on ecological principles and presented monthly activity themes and programs that can be practiced by the field teachers in coastal dune as examples. This study could give some implications of a report on the status of Korean sand dunes and education on them, and suggestions on examples of sand dune educations on local scales.

컨벤션센터의 브랜드 풍문이 컨벤션센터의 명품지수와 컨벤션센터 서비스 품질에 미치는 구조관계에 관한 연구

안영주(Ahn, Young-joo),김인신(Kim, In-sin),현성협(Hyun, Sung-hyup) 한국관광레저학회 2014 관광레저연구 Vol.26 No.5

샤를로트 페리앙의 디자인에 나타난 버내큘러적 디자인 연구

안영주(Youngjoo Ahn) 현대미술사학회 2013 현대미술사연구 Vol.0 No.33

Charlotte Perriand (1903-1999) was a furniture designer and interior architect who participated in the avant-garde design movement with Le Corbusier. As a female designer, Perriand had collaborated with Le Corbusier for about 10 years since 1927 and was relatively unnoticed in his shadow. This paper critically examines the way in which her design work was a practice to return the design that was located in a transcendental space by the formal logic of modernism to overall dimensions of life. It also explores the point that the vernacular design as ‘margin’ interacts with the modern design as ‘center’ through her philosophy such as L’art d’habiter and L’art de vivre. The term, ‘vernacular’ is derived from the Latin word, vernaculus that means ‘house, native, and indigenous’. The concept of ‘vernacular’ was used negatively in modern design. However, it is understood that the concept was “appropriated from the past” or “appropriated from the contemporary sub-culture”, “with the obvious intention of designer” as an alternative language nowadays. My paper explains the oeuvre of Perriand as the ‘vernacular-like’ design that has the features of vernacular. In particular, Perriand’s works from 1940 to 1941 in Japan enables us to discuss her works in the category of the vernacular style design. Perriand, employing the rhetoric of vernacularlike design, mediated the very dichotomy of regionalism and internationalism on one hand, and handicraft/folk art and industrial production/elite design on the other. In her works, Perriand diverted Japanese vernacular objects made of the materials such as straw, rush, bamboo, and mountain creeper. As Perriand mentioned, the biggest factors that affected her work were the encounter with Le Corbusier and the experience in Japan. The controversial texts of Le Corbusier such as Vers une architecture (1923) and L’Art decoratif d’aujourd’hui (1926) enabled Perriand who worked as an Art Deco designer after graduation from the Ecole de L’union centrale des arts decoratifs in 1925 to create her work Bar sous le Toit. They showed clearly that furniture and interior design are not ‘decorating’ but ‘equipping’ through the model of the modern apartment made of glass and steel-tube in Equipement d’Habitation in 1929. In particular, kitchen was designed as an efficient space for the New Woman, and house became a ‘machine for living in’. The kitchen and bathroom in the architecture of Le Corbusier are the gendered spaces that the experience of Perriand is significantly reflected. This case allows us to partly figure out his intention to hire a woman for the field of architecture that had been recognized as the domain of man. Perriand, however, became interested in humans as organic individuals and was to design a space for creation and organization of the daily life of human as she inclined to Marxism in the beginning of the 1930s. She paid attention to the vernacular furniture and artisanal production type as well as the organic and incidental objects such as French farmhouse, wood, straw, etc. In 1940, Perriand was invited by the Japanese Trade Ministry as the advisor on industrial design and studied Japanese folk art articles with Yanagi Muneyosi, a Japanese folk art activist and his son, Sori Yanagi, etc. Especially, her experience in ‘Ssecho’ where she visited with Yanagi was realized in the exhibition in 1941 with the themes of selection, tradition, and creation as well as by Chaise Longue made of straw-mat cover, bamboo, and wood. These works are the result of realizing modernist’s rhetoric into unique life-version. The design of Perriand was presented as a ‘solution-type’ rather than a ‘prescription’ to impose a Europe-oriented perspective, and most of her newly proposed designs were the examples of mediating approach. Perriand tried to introduce the vernacular design that assumes locality and relativity to the design of modernized life. In this way, Perriand’s works break up the boundar

모던디자인의 젠더 관념과 페미니스트 디자인사 기록으로서의 전시

안영주 ( Ahn Young-joo ) 대한전시디자인학회 2019 전시디자인연구 Vol.16 No.2

본 논문은 모던디자인의 산실이라 할 수 있는 바우하우스 미학에 나타난 젠더 관념을 살펴보고 모던디자인이 지향했던 기능주의가 디자인 담론과 실천에 있어 성적 편향성에 근거한 질서를 만들어냈다는 점을 비판적으로 고찰하였다. 모던디자인은 수공예, 장식, 형태, 표면 등의 가치를 기계 생산, 기하학, 기능, 구조 등에 대립되는 타도의 대상으로 보았다. 과거 수공예와 장식은 여성에게 부과된 것이었으며, 기계적이고 기능적인 형태는 남성적 특성이 부과된 영역이었다. 따라서 그 특성상 모던디자인은 남성적 가치를 중시하며 그 외의 가치들을 억압하였다. 그러나 스튜어트 유웬은 역설적이게도 모던 디자인의 수학적 엄격성은 대량생산 기계에 의해 쉽게 제조될 수 있는 것이 아니었으며, 오히려 그것을 효과적으로 집행하기 위해서는 수공업자들의 기술이 필요했다고 지적한다. 하지만 모던 디자인의 주류 역사 어디에도 이러한 사실은 기록되어 있지 않다. 이러한 구조를 변화시키기 위해 디자인사가인 셰릴 버클리는 디자인사 서술에 있어서 페미니즘적 접근을 제안하는데, 먼저, ‘여성스러운’, ‘섬세한’, 그리고 ‘장식적인’과 같은 용어들의 이데올로기적인 본질과 함의를 재고해야 하며, 두 번째, 생물학적 특성에 근거한 노동의 성적 분업이 가부장적 편향임을 인식해야 하고, 세 번째, 디자인사가들이 디자인의 역사에서 여성과 남성의 구조적 역할을 깨달아야 한다는 것, 마지막으로, 역사가들은 사용가치보다 우월한 것으로서 교환가치에 특권을 주는 가치 체계를 주목해야 한다는 점을 주장하였다. 이러한 논의를 바탕으로 연구자는 페미니스트 디자인사 서술의 실천적 사례로《W쇼-그래픽 디자이너 리스트》전을 제시하였는데, 이 전시는 지금까지 잘 알려지지 않았던 한국의 여성그래픽 디자이너들을 조사하고 발굴함으로써 페미니스트 디자인사의 한 장을 구성했다는 점에서 의미를 갖는다고 하겠다. 이는 향후 다양한 여성디자인 관련 전시의 기획과 행사들로 확대될 것이라 기대되며, 이러한 시도를 통해 우리는 디자인과 여성의 관계에 대한 편향된 이해와 역사를 넘어서 새로운 의미와 역사를 구축할 수 있을 것이다. This study critically examines the gender ideology of the Bauhaus aesthetics that gave birth to modern design and the functionalism that modern design aimed to create an order based on sexual bias in design discourse and practice. Modern design rejected the value of handicraft, decoration, form and surface as opposed to machine production, geometry, function and structure. In the past, handicrafts and decorations were imposed on women, while mechanical and functional forms were imposed on masculine traits. Therefore, modern design valued male value and suppressed other values due to its characteristics. But Stuart Euwen, paradoxically, points out that the mathematical rigor of modern design was not something that could be easily manufactured by mass-produced machines, but rather that the skills of craftsmen were needed to execute it effectively. But this is not recorded in the mainstream history of modern design. This hybrid process has been concealed. To change this structure, sheryl buckley, a design historian, proposed a feminist approach to the narrative of design history, first to reconsider the ideological nature and implications of terms such as ‘feminine’, ‘detailed’ and ‘decorative’. Second, it should be recognized that sexual division of labor based on biological characteristics is patriarchal bias, and third, that design historians should realize the structural role of women and men in the history of design, and finally, historians should note the value system that privileges exchange value as superior to value in use. Based on this discussion, I presented ‘The W Show: A List of Graphic Designers’ as a practical example of feminist design history, which is meaningful in that it formed a chapter in feminist design history by investigating and discovering Korean female graphic designers, who have not been well known so far. It is expected to expand into various exhibitions and events related to women's design in the future, and through these attempts, we will be able to build a new meaning and history beyond our biased understanding of design and women's relationships.