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전범수 한국방송공사 2004 방송 문화 연구 Vol.16 No.1
With the rapid progress of economic globalization and developments in information technologies, increased research attention has been devoted to geographical diversification through the international alliances facilitating global expansion. Little attention has been centered on how media companies expand worldwide, or how they construct the spatial network that is geographically dispersed through FDI (Foreign Direct Investment). In reality, most media companies tend to be partnering with competitors in cross-border expansion, rather than using risky FDI. This paper describes the global strategy of Korean broadcasting firms in terms of spatial distribution of foreign direct investment. It concludes that geographic diversification of media firms is necessary to gain competitive advantages in the global media industry. Next, international strategic alliance or joint venture between media firms are preferred to expand businesses. The research also showed that the type of the media contents differentiates the direction of global strategies. In other words, the business types in which a firm participates are major motives for expanding globally. Next, given that the spatial distribution of foreign direct investment tended to be regionally grouped in the entertainment industry, it is needed to expand regionally and it should be based on cultural similarities among countries. Cultural effects on the media industry could be related to the geographical diversification strategy in the broadcasting industry.
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전범수,장현욱,석준호,김정수 대한이비인후과학회 부산,울산,경남 지부회 2011 임상이비인후과 Vol.22 No.2
We report a case of 49-years-old man who had hamartomas originated from right Eustachian tube and left torus tubarius. He had intermittent hearing impairment, ear fullness, and non-pulsating tinnitus on right ear for about ten years. The mass was removed partially by endoscopic surgery and confirmed as a chondromesenchymal hamartoma. We discuss the characteristics and the pathological features of this disease.
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한국, 일본 및 대만 대학생들의 해외 드라마 소비 특성
전범수 청운대학교 방송예술연구소 2010 미디어와 공연예술연구 Vol.5 No.3
본 연구는 한국 일본 및 대만 , 대학생들을 대상으로 미국, 일본, 한국, 대만, 중국 등 4개국 드라마 시청정도 및 각국별 드라마 속성에 대한 평가 결과를 살펴본 것이다. 본 논문의 주요 연구 결과는 다음과 같다. 첫째, 한국을 포함해 일본, 대만 응답자들은 일차적으로 자국의 드라마를 시청하는 정도가 높게 나타났다. 특히 한국 및 일본 응답자들은 다른 국적의 드라마에 비해 자국 드라마 시청 정도가 매우 높게 나타난 반면 대만 응답자들은 자국 드라마와 함께 일본 드라마 시청 정도가 높은 편으로 나타났다. 둘째, 한국, 일본 및 대만 대학생들의 각국별 드라마 시청정도 결정 요인을 드라마 속성별 평가를 기준으로 살펴본 결과 이들 3개국 응답자들이 4개국 드라마를 평가하는 기준은 재미라는 요인을 중심으로 대체로 유사하게 나타났다. 셋째, 한국 응답자들은 미국이나 일본 드라마에 대해 친근감을 갖고 있을 때 해당 드라마 시청 정도가 증가하는 것으로 나타난 반면 일본 응답자들이 한국 드라마에 대해 친근감을 갖게 될 때에는 반대로 한국 드라마 시청 정도가 감소하는 것으로 나타났다. 넷째, 자국 내 장르별 방송 프로그램 선호도는 미국이나 일본 프로그램에 대해서는 영향을 끼치지 못한 반면 한국이나 대만 드라마 시청 정도에는 부분적으로 영향을 끼치는 것으로 나타났다. This study explores determinants of viewing behavior in watching foreign drama programs among three countries including Korea, Japan and Taiwan. The significant results are as follows: firstly, most of respondents tended to like to watch their drama programs rather than foreign drama. Secondly, a significant determinant factor for watching foreign drama programs was enjoyment. Thirdly, for Korean respondents, cultural closeness was an important factor for explaining foreign drama viewing. Finally, genre preference was partly related to explain Korean and Taiwan drama viewing behaviors.
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Public Identity, Paratext, and the Aesthetics of Intransparency: Charlotte Smith’s Beachy Head
전범수 한국영어영문학회 2012 영어 영문학 Vol.58 No.6
For Romantic women writers the paratext itself is essentially a masculine literary space affiliated with established writing practices; however,this paper suggests that Charlotte Turner Smith’s mode of discourse in her use of notes and their relation to the text proper are never fixed in her contemplative blank-verse long poem, Beachy Head (1807). Even though the display of learning in the paratext partly supports the woman writer’s claim to authority, this paper argues that Smith’s endnotes also indicate her way of challenging the double bind for women writers, summoning masculine authority on the margins of her book while simultaneously interrogating essentialist thinking and instructions about one’s identity in a culture and on the printed page. The poem shows how the fringes of the book can be effectively transformed from a masculine site of authority to an increasingly feminized site of interchange as Smith writes with an awareness of patriarchal, imperial abuses of power in that area of the book. There is a persistent transgression of cultural/textual boundaries occurring in Beachy Head, which explores the very scene and languages of imperial encounter. Accordingly, if Wordsworth’s theory of composition suggests a subjective and abstract poetic experience—an experience without mediation—in which its medium’s purpose seems to be to disappear from the reader’s consciousness, an examination of the alternative discourse of self-exposure in Smith’s poem reveals the essentially fluid nature of media-consciousness in the Romantic era, which remains little acknowledged in received accounts of Romantic literary culture.
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