디자인보호법상 유사판단의 일본에서의 이원론적 해석론에 관한 고찰

정태호 연세법학회(구 연세법학연구회) 2022 연세법학 Vol.40 No.-

The legal principle of determining similarity in Korean courts applies dualism. This accepts the theory of dualistic interpretation of determining similarity of designs in Japan, and the relevant legal principles are applied by distinguishing between the stage of establishing rights and the stage of exercising rights in determining similarity of designs including publicly known part. Accordingly, despite using the same term for “similarity” of designs, the Korean courts show legal principles that make the specific application methods and interpretation of the relevant legal principles seem different every time the relevant regulations are applied. Therefore, it is necessary to examine the theory of dualistic interpretation of determining similarity of designs in Japan, which influenced the dualism of determining similarity of designs in Korean courts. And it is time to review the application of this dualism in Korea by analyzing in detail the history of determining similarity of designs in Japan and the recently used interpretation theory. In Japan, since Article 24 (2) of the Design Act was introduced in 2006, the Intellectual Property High Court has ruled a unified legal principle on methods of determining similarity of designs, which is similar to the legal principle of the Patent Court of Korea. Namely, rather than applying complex theory of dualistic interpretation, it shows a simplified appearance of determining similarity based on the principal part(dominant characteristics) of the designs by comparing the commonalities and differences of the designs’ sense of beauty. In addition, considering the interpretation theory in Japan on consideration of a publicly known design in determining similarity of designs, it is necessary to be cautious about determining similarity on the premise that the publicly known part of the registered design is unconditionally excluded when grasping the principal part of the design. In conclusion, this paper studies critically on problems of dualism of determining similarity under the Design Protection Act in the Supreme Court’s decision by comparing the theory of dualistic interpretation in Japan, and proposes solutions concretely on those problems. 우리나라 법원에서의 유사판단의 법리는 이원론을 적용하고 있다. 이것은 일본에서의 의장의 유사판단에 관한 이원론적 해석론을 받아들인 것이며, 공지부분을 포함한 디자인의 유사판단에서 권리화 단계와 권리행사 단계를 구별하여 관련 법리를 적용하고 있다. 이에 따라 우리나라 법원에서는 디자인의 ‘유사’에 대하여 동일한 용어를 사용하고 있음에도 불구하고 실제 관련 규정을 적용할 때마다 구체적인 적용태양과 관련 법리에 대한 해석이 다른 것처럼 보이게 하는 판단법리를 설시하고 있다. 그러므로 우리나라 법원의 유사판단에 관한 이원론에 영향을 미친 일본에서의 의장의 유사판단에 관한 이원론적 해석론을 살펴볼 필요가 있게 되었다. 그리고 일본에서의 의장의 유사판단에 관한 연혁 및 최근에 통용되는 해석론에 대하여 구체적으로 분석함으로써 우리나라에서의 이러한 이원론의 적용에 대한 재검토를 할 때가 되었다. 일본에서는 2006년에 의장법 제24조 제2항이 도입된 이래로 지적재산고등재판소에서 유사판단방법에 관한 통일적인 판단법리를 판시하고 있는데, 우리나라의 특허법원 판결의 판단법리와 비슷한 법리를 판시하고 있다. 즉, 복잡한 이원론적 해석론의 적용보다는 의장의 미감의 공통점과 차이점을 비교형량하여 의장의 요부(지배적 특징)를 기준으로 유사판단을 하는 단순화된 모습을 보여주고 있다. 그리고 의장의 유사판단에서의 공지의장의 참작에 대한 일본에서의 해석론을 고려하여, 의장의 요부의 파악을 할 때에 등록의장의 공지부분을 무조건 제외시키는 것을 전제로 판단하는 것에 대해서도 신중을 기할 필요가 있을 것이다. 결국 이 논문에서는 현재 우리나라 대법원 판례에서의 디자인보호법상 유사판단의 이원론에 관한 문제점들을 일본에서의 이원론적 해석론과 비교하여 비판적으로 고찰하면서 이에 대한 해결방안을 구체적으로 제안하고 있다.

디자인의 유사 판단 기준과 관련한 제 학설의 고찰

안원모 홍익대학교 법학연구소 2023 홍익법학 Vol.24 No.4

디자인 유사 판단 기준과 관련하여 거론되고 있는 창작설, 혼동설, 미감설은 모두 그 단독으로는 주관적 성향이 강하게 드러나는 견해들이다. 이러한 제 학설들은 그 각자로는 매우 주관적인 성향이 강하지만, 이러한 여러 견해들의 장점을 찾아내어 이들을 결합함으로써 매우 분석적이고 객관적인 기준을 설정하는 것이 가능해진다. 본문에서 언급한 인상설은 창작설과 혼동설을 결합한 수정 혼동설에 다시 미감설을 결합한 것으로, 여기에 주의환기설의 입장까지 고려한 것이므로 여러 기준들의 장점을 종합한 견해이다. 인상설에 의하면, 먼저 수정 혼동설의 입장에서, 공지디자인과의 관계를 고려한 새로운 창작 부분 및 수요자의 주의를 강하게 끄는 시각적 부분을 디자인의 요부로 파악하게 된다. 디자인의 유사 판단은 먼저 이러한 요부 중심의 관찰을 통하여 심미감 또는 인상이 공통되는지 여부를 판단하는 절차가 선행되어야 한다. 디자인 유사 여부 판단의 최종 단계는 이러한 종합적인 조형체를 전체적으로 관찰할 때의 미감 또는 인상의 동일성 여부를 판단하는 작업이다. 이 단계에서는 여러 다양한 요소들의 상호작용의 결과가 어떠한지가 고려되어야 하고, 특히 두 디자인 사이의 차이점이 전체적인 미감 또는 인상에 어떠한 영향을 주는지 여부가 고려되어야 한다. 나아가 유사 판단의 최종 기준으로서 미감이라는 용어보다는 인상이라는 용어가 더 적합한 용어이다. 유사 판단의 인적 기준을 소비자로 볼 경우, 그러한 소비자에게 미감의 동일성 여부를 판단하도록 하는 것보다, 인상의 동일성 여부를 판단하도록 하는 것이 훨씬 현실성이 있다. 그리하여 유사 판단의 최종 기준으로서 인상의 동일성 여부를 판단하는 소위 인상설이 가장 합리적인 기준이다. The creation theory, confusion theory, and aesthetic sense theory that are discussed in relation to the decision of design similarity are all very subjective opinions on their own. All of these theories are very subjective on their own, but by combining the best aspects of these various theories, it becomes possible to create a very analytical and objective standard. The impression theory mentioned in the text is a theory that combines the excellent aspects of various theories by combining the modified confusion theory, which combines the creation theory and the confusion theory, with the aesthetic theory. According to the impression theory, reflecting the modified confusion theory, the new creative part and the visual part that strongly attracts the attention of consumers are confirmed as the main features of the design. In order to determine the similarity of designs, a procedure to determine whether the aesthetics or impressions are common must be preceded by comparing the main features. In order to determine the similarity of designs, a procedure to determine whether the aesthetics or impressions are common must be preceded by comparing the main features of the two designs. The final step in determining whether or not designs are similar is to determine whether the aesthetics or impressions are identical when observing the totality of various elements. In this final step, the results of the interaction of the various elements must be considered, and in particular whether the differences between the two designs will have a substantial impact on the overall aesthetic or impression between the designs. Regarding terminology, the term 'impression' is more appropriate than the term 'aesthetics' as the final criterion for determining design similarity. When the decision of similarity is made by an ordinary consumer, it is closer to reality to judge whether the impression is the same than to judge whether the aesthetic sense is the same. Therefore, as the final criterion for determining design similarity, the impression theory based on the identity of the impression given to an ordinary observer is the most reasonable theory.

상표 유사 판단시의 ‘분리관찰’ 개념에 관한 비교법적 고찰

윤권순,윤종민 충북대학교 법학연구소 2019 과학기술과 법 Vol.10 No.2

According to the Korean Supreme Court, ‘Impotent element observation theory’ is a method of judging similarity by comparing the marks based on the element of the mark that has independent ability to identify other products. On the other hand, ‘Separate observation theory’ means that if a part of the mark has a separate name or concept, or can be placed in the trade alone, or can be separately observed, similarity of marks can be judged by comparing the component of mark. The key issue of ‘Important element observation theory’ is whether or not the element is important or not. That of ‘Separable observation theory’ is whether or not there is possibility of separate observation. In these respect, the two theory has independent concepts. However, in order for a component of mark to be separable, the component should be important in respect of having independent ability to identify other products, that is, the two theory are indivisible. Therefore, it is necessary to integrate the two theory into one for the efficiency of law enforcement. The concept of ‘separation observation’ is unnecessary, as distinctiveness rather than separability can be regarded as a key factor of determining similarity. The term and concept of ‘Separate observation theory’ is not found in German, European Union, British and American law. The ‘Separate observation theory’ appears to have resulted from Japan's introduction of Germany's ‘impression theory’ in its own country by the re-organization of the phase in which a component could be subject to comparison. In conclusion, it is desirable to accept the legal principle of the major countries, judging on the basis of ‘overall impression taking into account the major parts of the mark’ for increasing the effectiveness of the trademark similarity related judgment. It is also deemed necessary for the Supreme Court to declare termination of ‘Separate observation theory’.

삼연의 천기 개념 형성 배경과 시적 형상화의 양상

신경훈 배달말학회 2014 배달말 Vol.55 No.-

The purpose of this study is to classify Kim, Chang-Heup’s theory of Cheongi into Zhuangzi’s theory of Cheongi and the neo-confucianistic theory of Cheongi, and to examine the aspect of his understanding about Cheongi in his poems. In Kim, Chang-Heup’s poems, the concept of Zhuangzi’s Cheongi expresses freedom from Shiyu(嗜慾: preferences and desires) based on the restriction of sensory organs and the subjective knowledge as ‘Wangqi(忘機: forgetting the secular world).’ The concept of Cheongi colligating with Qiwulun(齊物論: discourse on seeing all things as equal) is expressed as the enjoyment to find out the movement of Cheongi vibrant with life of small things and live a satisfactory life. The neo-confucianistic theory of Cheongi in Kim Chang-Heup’s poems is cognitively established on Zhou Dunyi’s Tai Chi Theory. He considered that the creation and change of being are derived from Tai Chi, understood the essence of the world as the theory of Ti Yong(體用: Substance-Function), and captured the movement of Cheongi in the private and social life of human beings. Cheongi is will to live(活意) from physically and mentally healthy body(形氣), and is heavenly principles are analyzed with their own Nyaya; the life of Cheongi, emerged as the physically and mentally healthy body in the real world, is positively approved as the mechanism to develop heavenly principles. This concept of Cheongi is colligated with the debate over the similarity or differences between the morality of humans and animals; in Kim, Chang-Heup’s poems, the world was a satisfactory place to accept the true nature of people over their social positions, to appreciate the worth of materials and people, and to enjoy own life based on the own existence principle. There are similarities between Zhuangzi’s theory of Cheongi and the neo-confucianistic theory of Cheongi. The concept of Cheongi analyzed with Tai Chi theory and the debate over the similarity or difference between morality of humans and animals shares things in common with Zhuangzi’s Qiwulun. Zhou Dunyi accepted the opinion quoting “其嗜欲深者,其天機淺(More preferences and desires one has, further the one grows away from heavenly principles)” by Zhuangzi; as a result, there are similarities in the view of self-cultivation. 이 글은 삼연 김창흡의 천기 개념을 장자적 천기론과 성리학적 천기론으로 대별하여 그의 천기에 대한 인식이 시 작품에 표현된 양상을 살펴보는 데 목적이 있다. 삼연의 시에서 장자적 천기 개념은 감관의 속박과 기욕에서 벗어난 자유를 ‘망기(忘機)’로 표현하였고, 제물론적 사유와 결부된 천기 개념은 작은 사물의 발랄한 생명성에서 약동하는 천기의 움직임을 발견하고 즐거운 삶을 누리는 흥으로 표현하였다. 삼연의 시에서 발견되는 성리학적 천기론은 주돈이의 태극론에 인식적 뿌리를 두고 있다. 삼연은 존재의 생성·변화의 근원을 태극에 두고, 세계의 본질을 체용의 원리로 이해하여 물태에서 천기의 움직임을 포착하였다. 천기는 형기의 ‘활의(活意)’이고 천리는 본연의 ‘정리(正理)’로 해석하여, 현실세계에서 형기로 드러나는 천기는 천리를 발현시키는 기제로서 그 생명력을 긍정적으로 인정하였다. 이러한 천기 개념은 인물성 동론에 결부되는데, 삼연의 시에서는 신분귀천을 넘어 사람의 진솔한 성정을 인정하고 물성과 범인의 존재가치를 인정하며 만물이 각자의 존재원리에 따라 생명을 누리는 충만한 세계로 표현되고 있다. 삼연의 장자적 천기론과 성리학적 천기론은 그 인식이 겹치는 부분이 있다. 태극론과 인물성 동론의 관점에서 해석한 천기 개념은 장자의 제물론적 사유와 상통하고, 주자가 장자의 ‘기욕천기론’을 원용한 견해를 수용한 결과 수양론적 관점에서도 유사성이 발견된다.

고전적 은유론과 해석학적 은유론 비교 고찰

오형엽(Hyung-yup, Oh) 어문연구학회 2008 어문연구 Vol.58 No.-

This writing wishes to investigate classical metaphor theory and hermeneutics metaphor theory to attain footing on which modern literature study and criticism can be progressed more deeply. We need work that fill the gap between two split, that is, 'figures rhetoric' and 'argument rhetoric' since middle of 20th century, and it is necessary to use the view of this 'synthetic rhetoric' in literature study and criticism. This writing puts in order with this critical mind centering of Aristotle's metaphor theory and Paul Ricoeur's hermeneutics metaphor theory. And then this writing searches for potential of rhetorical literature criticism investigating metaphor theories in modern rhetoric. Aristotle defined metaphor in dimension of 'name' or 'word' in Poetics, and regarded that metaphorical meaning of the word is attained though 'similarity' and 'alternation'. He described adequate or inadequate of metaphor, shortage of style in metaphor etc. in Rhetoric, and described essential point to principle of legibility to have in the use regarding the definition in Poetics as self-evident thing. Traditional writing of books since Aristotle reinforced mainly his opinion, and emphasize principle of 'gracefulness' which insist necessary nature and agreement between metaphor factors mainly. Ricoeur divide various access methods about metaphor into rhetoric viewpoint․semantic viewpoint․hermeneutics viewpoint greatly and make clear the path in area of word․meaning of sentence․interpretation of text as place that metaphor happens. In dimension of word. Ricoeur regards that modern semantics that handle metaphor institutes doubt in premises of classical rhetoric, and refers to theories of I.A. Richard․Max Black․Monroe Beardsley․Colin Murray Turbayne․Philip Ellis Wheelwright etc. In dimension of the sentence meaning, Ricoeur regards place of metaphor as not only word and not only sentence, but that is between words and sentences. He lays stress on tension which comes from extension and connotation, literally meaning and changed meaning, reader's expected expression and anther expression refering to Beardsley's 'interaction theory'. In dimension of text interoretation, Ricoeur claims that discovery ability of metaphor has dimension of reference as meaning creation, and that expose actual re-description through metaphor, that is, truth. And he judges that Berggern's 'tension theory' can explain truth concept of metaphor more advisably than these, refering to Wheelwright's 'poetic ontology' and Turbayne's 'conceptional ontology'. If see in view of rhetoric, Ricoeur shows one direction of synthetic rhetoric on the point that sutures and circulates concept and theory that is split through hermeneutic roaming that analyzes and interprets characteristics of several studies, and on the point that achieve re-categorizing work of actuality along with dynamic signifying work by stratigraphy of language that metaphor reveal is extended to stratigraphy of text via sentence in word.

Application of similarity theory to load capacity of gearboxes

남주석,박영준,김정길,한정우,남용윤,이근호 대한기계학회 2014 JOURNAL OF MECHANICAL SCIENCE AND TECHNOLOGY Vol.28 No.8

This study suggests the theoretical methodology to construct a small-sized similarity model having the same load capacity as a largegearbox. The prototype gearbox was a 2-MW wind turbine gearbox consisting of two planetary gear stages and one parallel shaft gearstage, and the specifications of its 1/4 scale similarity model were determined by applying similarity theory. The constructed similaritymodel was validated by comparing load capacity parameters with those of the prototype gearbox using analysis tool. The validation resultsshowed that the nominal tooth root and contact stresses of the similarity model and prototype gearbox were identical, whereas thetooth root and contact stresses satisfied the similarity condition within 2% difference. Furthermore, most factors that influenced the toothroot and pitting stress limits were identical. Thus, information related to load capacity, one of the major design evaluation criteria forgears, of large-size gearbox can be replicated by its similarity model. Although this is a theoretical methodology and still has many difficultiesto apply to practical situations, these results have opened up the possibility of applying similarity theory to load capacity of gearboxes. Because the load capacity is the primary cause of commercial gearbox failure, this result also shows the possibility of life similarityin the gearbox application, although some further study is needed.

라인업의 제시방법과 필러 유사성에 따른 목격자 진술의 정확성 분석 : 다중 d’ 모형을 중심으로

권혁준 ( HyeokJun Kwon ),서종한 ( Jonghan Sea ) 대한범죄학회 2021 한국범죄학 Vol.15 No.2

본 연구는 범죄 수사에서 활용하는 라인업의 정확성을 분석하기 위해 수행한 연구이다. 본 연구는 기존의 라인업 연구의 쟁점 중 많은 논쟁을 가지고 있는 라인업의 제시방법과 필러 유사성이라는 두 개의 시스템 변인을 대상으로 두 변인의 상호작용에 따른 라인업의 정확성을 분석했다. 기존의 방법론의 한계를 보완하기 위해 필러의 존재를 포함하여 다양한 측면에서 라인업 수행의 정확성을 분석하는 새로운 방법론인 다중 d’ 모형을 활용하여 4가지 종류의 라인업의 수행 정확성을 분석했다. 분석결과 동시제시법의 높은 유사성을 가진 라인업이 가장 높은 수행치를 나타냈다. 이러한 경향성은 전체적으로 유사하게 나타났으나 기억 자신감과 성별에 따라 어느정도의 경향의 차이가 발견됐다. 기억 자신감의 경우 낮은 자신감 수준에서는 높은 유사성의 연속 제시법 라인업이, 높은 자신감 수준에서는 낮은 유사성의 동시제시법 라인업이 가장 좋지 않은 수행을 나타냈다. 성별의 경우 남성은 낮은 유사성의 연속제시법 라인업, 여성은 낮은 유사성의 동시제시법 라인업에서 가장 좋지 않은 수행을 나타냈다. 본 연구의 결과는 기존의 연구방법을 활용한 분석에서도 동일하게 검증됐다. 본 연구에서는 이러한 결과를 활용하여 범죄 수사에서 목격자 라인업의 활용에 대한 제안점과 연구의 시사점, 한계점을 제시했다. Current study is conducted to analyze of lineup accuracy which is used in crime investigation. Current study analyzes two system variables, lineup presentation method and filler similarity, which have disputes in trend of lineup studies. To make up for previous methodology, We apply new model, multi d’ model, that consider various factor of perfomence including filler existence. Using this model, we analysis four types of lineup: low similarity-simultaneous, low similarity-sequential, high similarity-simultaneous, high similarity-sequential. According to analysis, high similarity-simultaneous lineup shows highest performance. This tendancy is appeared similarly, but some differences are found according to confidence and gender. In terms of confidence, low confidence group show lowest performance in high similarity-sequential lineup, and high confidence group show lowest performance in low similarity-sequential lineup. In terms of gender, male group show lowest performance in low similarity-sequential lineup, female group show lowest performance in low similarity-simultaneous lineup. Result of current study is verified analysis with previous methodology-ROC curve. With this results, current study indicate implication of using optimal lineup method in crime investigation.

오즈 야스지로 영화의 편집 미학

문관규(Mun, Gwan Gyu) 한국영화학회 2014 영화연구 Vol.0 No.62

In Ozu Yasujiro"s films, the family is the main point of his film and the life is contained through the marriage event of the family members. Ozu" style is regulated to the fixed screen, Tatami shot and the same directivity, while the part of edit is evaluated unconcern relatively. Ozu"s edit is characterized "how was the landscape shots played the variation between the one cut and the other cut" and "how was the continuity expanded through the graphic similarity". The first trait of Ozu"s edit is the landscape shot. It is the most representative thing for set screen to play a role like a kind of guide when the shot is shifted from outside to inside. Ozu"s landscape shots are classified to a few types. First, it not only presents the residence space of the main character, but plays a role as bridge connecting a scene and the next scene. Second, it represents the theme of the film indirectly. For example, it shows the circulation and the repetition of the nature in <Tokyo Story> and exposes the repeat of the inside and outside of the space intermediated by passageway in <an Autumn Afternoon>. Finally, it plays a role as the set screen representing the identity of a place. It is the conventional landscape shot. Ozu"s landscape shots perform the customary function of the set screen, present the residental environment of the characters and play the role of bridge for making the narrative rhythm. The graphic similarity changes the scenes through the element of mise-an scene, the element of color and moving and the similarity of the behavior and the composition. The example of shift as similarity of color is the scene connected from the red washing to the red lighting in <Good Morning>. Last, the achievement of the edit"s originality and the extension of representation at the Ozu"s edit style is found in the case shifted to montage of attraction with the continuity through the similarity of the things and the people. If the graphic similarity is maintained by the similarity of form like a shape or a composition, the similarity of the things and the people links artistic Simultaneism wiping away the boundary between the things and the people and Manmuljedong of Jangja"s theory. The shoes arranged neatly represented the image of the an old couple in <Tokyo Story> and the jar was identified with sleeping father in <Late Spring>. These are brought to the top of Ozu"s graphic similarity.

한국 현대음악에 나타난 선율의 윤곽이론적 분석 -윤이상 음악에서 중심음 기법의 선율을 중심으로

정지영 ( Ji Young Jung ) 한국음악학회 2010 한국음악학회논문집 음악연구 Vol.44 No.-

선율적 측면에서 먼저 윤곽이라는 개념을 사용하여 발전되어진 윤곽이론은 1960년대 이후 현대음악이론으로 정립되었다. 윤곽이론은 단순히 음고를 중심으로 분석하는 것 뿐만아니라 다양한 음악적 요소들을 윤곽적 관점에서 분석할 수 있는 이론이라고 할 수 있다. 그러므로 다원적 양상을 가진 많은 한국의 현대 창작 작품들을 분석할 수 있는 역할을 윤곽이론이 할 수 있다고 본다. 본 논문에서는 이러한 윤곽이론의 역사적 발전들에 대해 많은 학자들의 견해와 관점들을 소개하였고 또한 현대적 음악이론으로써 응용적 이론인 모리스의 윤곽축약 알고리듬을 본 논문에서 소개하여 이 알고리듬을 통해 선율의 악구나 다른 음악적 단위별로 구해질 수 있는 윤곽의 기본형(Prime Form)을 작품 분석을 통해 보여 주었다. 이러한 윤곽이론은 특별히 한국 현대 음악 가운데 윤이상의 작품 속에 나타난 선율들을 중심으로 분석 적용되었다. 특히 선율 중에서도 윤이상 음악의 가장 큰 특징 중 하나인 중심음 기법의 선율들을 윤곽이론을 통해 분석하여 작품들에 나타난 선율들의 유사성들을 고찰하였고 또한 이러한 유사성은 윤곽유사성의 측정치(CSIM)의 값을 구함으로써 수치화하였다. 응용적 윤곽이론으로 모리스의 윤곽축약 알고리듬을 소개하였고 이 알고리듬을 윤이상 작품의 선율들에 적용하여 일관성 있는 선적 특징을 작가적 관점이나 혹은 음악적 경향으로 해석하고자 하였다. 이러한 분석을 통해 본 논문에서는 음고 이외에 다른 음악적 요소들에 대한 윤곽이론적 측면의 분석을 제안하면서 한국 현대음악에서 볼 수 있는 다양한 기법과 주법에 대한 정립을 제언하고 있다. In compositional designs, contour theory has been concerned as a structural element by composers. Music theorists also have discussed and established some systems based on contour theory for analysis of contour. Because of the flexibility in contour theory, musical factors such as rhythms, dynamics, melody, etc. could be applied and produced as contour segments. These contours produced by melody, rhythms and dynamics show the fruitfulness of an approach to analysis of contemporary music that considers various musical features. In this paper, contour theory is employed for analysis of melodies in Isang Yun`s music. The melody based on Hauptton has specific and clear contours and reveal the similarity in music structure through the comparison with contour segments. In an attempt to seek the prime form in contour space Morris` Contour Reduction Algorithm examines to the melodies of Yun. The numerical representation by Contour Reduction Algorithm presents the possibility to demonstrate the relations between musical units of more complicate and larger magnitude. The analyses focus on identification of, and relationship among contour class sets should find the way in which some pitch-classes in music structures are articulated as pitches, expressed in register, in time, in intensity and in dynamic etc. to provide a more complete model of musical structure.

가상 인플루언서에 대한 소비자의 유사성 지각이 정서적 유대감을 통해 구매의도에 미치는 영향

이지현,김한구 한국정보시스템학회 2022 情報시스템硏究 Vol.31 No.2

Purpose To verify the factors that encourage consumers’ favorable reaction toward virtual influencer, we proposed consumers’ perception of subjective and objective similarity. The purpose of this study is to comprehensively investigate the impacts of consumers’ perception toward virtual influencer on purchase intention through psychological distance and parasocial relationship. Design/methodology/approach This study was designed to examine the structural relationships among consumers’ perceived external similarity, internal similarity, controllability, animacy toward virtual influencer, psychological distance, parasocial relationship and purchase intention. Findings The results are as follows. First, perceived external similarity, internal similarity, perceived controllability, and animacy had a positive impact on psychological distance. Second, psychological distance had a positive impact on parasocial relationship, whereas it had no significant impact on purchase intention. However, we found that the relation between psychological distance and purchase intention was mediated by parasocial relationship. Lastly, parasocial relationship had a positive impact on purchase intention. Based on these results, this study can propose the way to generate revenue to companies that consider advertising campaign using virtual influencer.