여성인적자원개발과 여성고용창출에 관한 연구

전의천(Jun Eui-Cheon),임태성(Lim Tae-Seong) 조선대학교 지식경영연구원 2005 지역개발연구 Vol.10 No.1

Recently, woman's participation in the economic activities has steadily increased with the rapid progress of the tendency of high education. Accordingly, the supply of Woman resources is expected to be increased by virtue of highly educated woman experts. Under this circumstance, an effective use of woman resources is very important. So this article aims at studying the present employment structure of woman resources and presenting the practical policies for the espansion of woman employment. The contents are as follows : First, development and optimization of woman resources. Second, improvement of the use of woman resources. Third, systemization of connection and cooperation among government authorities relating to the exploitation of woman resources. Fourth, training of the high technical woman power in various fields of industry. Fifth, formation of business policy for the favorable treatment of the high level woman experts. Sixth, vitalization of new industrial and educational cooperation and setting up the industry-related education.

남성잡지광고 안의 여성과 남성 vs. 여성잡지광고 안의 남성과 여성: 1960년대에서 2000년대까지

박종민,김의기,최수진,유성훈 한국방송광고공사 2008 광고연구 Vol.0 No.79

This study researched the portrayal of women and men in two Korean magazines(Sindonga and Jubusaengwhal) ads during 50 years from 1960 to 2006 to know the diverse roles portrayed by woman and man. The total 682 ads samples were used for the purpose of this study. The results of this study revealed that the man’s basic portrayals are middle-aged, professional, and married man or male children and woman’s portrayals are unmarried young woman or housewife. Regarding the portrayal of man and woman in woman and man’s magazine advertising, while man’s portrayals in woman magazine ads are family-minded professionals, spokesperson for products, or sexual- appealed persons, woman’s portrayals in woman magazine ads are just product users or models for ornamental purpose. In additions, woman’s portrayals in man magazine ads are socially active, business oriented, and treated equally with man. The results of historical analysis from 1950’s to 2000’s showed that while traditional, and family relationship oriented portrayals of man and woman have been decreased, portrayals treated equally with man and woman and for just decoration have been increased. The various results are discussed by comparing the previous research results related to this study.

李鈺에게 있어서 "여성" -여성 소재 글쓰기의 성격에 대하여-

정환국 ( Hwan Kuk Jung ) 한국고전여성문학회 2013 한국고전여성문학연구 Vol.0 No.27

이 논문은 문인 李鈺(1760∼1815)의 여성을 소재로 한 글쓰기의 성격을 밝힌 것이다. 이옥의 여성 소재 글쓰기가 당대 다른 문인들보다 압도적이라는 점은 주지하는 사실이다. 이와 관련하여 그 동안 ‘여성정감’의 차원에서 『俚諺』을 중심으로 연구가 진행되었고, 그 결과 대개 남다른 개성의 발현이자 당대 문단의 새로운 국면으로 이해되어 왔다. 그러나 이옥이 이언 뿐만 아니라 기타 산문 등 다양한 글쓰기 영역에서 여성을 복합적인 대상으로 응시함으로써 착잡한 시선을 투과시킨 점에 대해서는 아직 본격적인 논의가 이루어지지 않았다. 요컨대 그 동안 연구에서는 이옥의 여성을 바라보는 지점이 너무 일률적이었다. 실제로 이옥은 이언 등의 한시는 물론, 『鳳城文餘』따위의 소품 산문, 그리고 傳이나 記文등 그의 글 전 영역에 걸쳐 여성을 前面에 배치하였다. 하지만 여기 등장하는 여성은 하나의 像이 아니다. 풍속과 세태 속에서 人情의 척도로 원용하는가 하면, 眞情의 주체로 추어 올렸다가는 어느새 불손한 대상으로 폄하하기도 한다. 심지어 남성 중심의 불편한 사회에서 여성의 희생을 통해 조화로운 정리를 꾀하려는 불손한 의도마저 드러난다. 하지만 이런 층위만 있는 것은 아니다. 애정 소재 등에서는 여성을 내세워 진정한 만남의 난망함과 불가피한 인간의 운명을 논란한다. <北關妓夜哭論>과 <沈生傳> 등이 특히 그렇다. 이처럼 이옥의 글에서 다루어진 여성은 일률적인 모습이 아니라 복잡하며, 다소 착종되어 나타나기도 한다. 이는 작자 이옥의 인간과 사회를 바라보는 시선과 조응하고 있거니와, 그것이 자아정체성의 착잡한 뭉치로 類比되어 드러난 셈이다. 따라서 이옥에게 여성은 경우에 따라 ‘불손한 타자’이기도 했고, 필요에 따라 자신의 흔들리는 슬픈 자아의 한 모습이기도 했다. This study figured out the character of writing with material of woman among texts by a writer Lee Ok. It is well known that Lee Ok often wrote with material of woman far more than other writers. In this regard, studies until now have been proceeded with centered on a poem 『Yieon(俚諺)』 in the dimension of ‘woman sentiment’. The results mostly were understood as revelation of peculiar personality and a new aspect of contemporary literary circle. But Lee Ok dealt with woman, staring at woman as a complex object with complicated eyes in various writing areas such as 『Yieon(俚諺)』 as well as prose etc. Nonetheless, active discussion about this has not been made. In short, studies until now have a limitation that a point to see woman for Lee Ok was too uniform. Actually, Lee Ok arranged woman in front in writings of all categories such as Chinese poem like 『Yieon(俚諺)』 as well as short prose like Bongseongmunyeo, and Jeon(傳) or Gimun(記文) etc. However, woman appeared here is not one image. Woman shows these images_ a case used as a scale of humanity in the midst of customs and social conditions; a case where woman is highly regarded as a subject of true sentiment; on the contrary, a case where woman is depreciated as an arrogant object; as the extreme case, even arrogant intention to aim at harmonious arrangement through woman`s sacrifice in that society of man oriented is revealed. Furthermore, there is another stratum. The writing dealing with affection shows difficulty of true meeting and unavoidable human destiny through woman. ``Bukgwangiyagokron`` and ``SimsaengJeon`` are especially so. Thus, woman shown on writings of Lee Ok is not uniform but complicated, and appears somewhat mixed without consistency. Such appearance corresponds to eyes with which Lee Ok sees human and society. At the same time, the appearance discloses, being compared to each other as complicated bundle of self-identity. Accordingly, woman to Lee Ok was sometimes ‘arrogant others’, or according to necessity, reflected his own trembling sad self.

Woman’s identity : Imago dei

Kim, Jean Hee Ewha Womans University press 2005 Ewha journal of feminist theology Vol.3 No.-

Woman is deep water, they say. The ocean, the unfathomable abyss, the chaos. Or, woman is, in Paul Tillich's term, in the state of "dreaming innocence" without "ontological quality," whether it can be understood positively or negatively. Woman's identity is quite ambiguous and unsecure. French feminist Luce Irigaray argues that "woman, for her part, remains in unrealized potentiality-unrealized, at least, for/by herself." Thus, "ontological status makes her incomplete and uncompletable," and "she can never achieve the wholeness of her form." Her indication is significant for the discussion of woman's identity in feminist theology because providing the autonomous identity of woman constituted upon subjectivity is essential for feminist theology. The theological discourse based on woman's incomplete identity constrains woman into a crypt and circumscribes her within a fixed place in which woman has been devastated with her obligation. Recognizing the perversion of woman in a theological tradition is the first step in doing feminist theology. The various feminist theories developed during the last thirty years have criticized woman's oppression and inequality sociologically and culturally. These critiques are also effective in feminist theology. Many feminist theologians, especially those of the first generation, have adopted feminist theories and planted them in the theological field. They have criticized the secondary status of woman and even the demonization of woman in a theological tradition and Christian environment. Their endeavor has usually focused on socio-cultural criticism, as the feminist theories have been. The close-knit relationship between a society and theology, or religions, is not only the matter of feminist theology but of theology in general. However, as theology cannot be discussed only with sociological factors, feminist theology needs to expand its contents beyond sociological elements since its ground has already fertilized with socio-cultural criticism. It is necessary for feminist theology to consider inclusion of contemporary soil, which generates diverse issues with postmodernism and interdisciplinary communication, in its construction. The sprout of feminist theology requires to be grown further while embracing diversity, complexity, fluidity, and hybridity of the comtemporary thinking stream. In this context, I suggest three points particularly significant for doing feminist theology in Korea. First, feminist theology needs to create a unique voice reflecting Korean particularity. It means we better use the resources embedded in our own soil such as philosophy, religions, and culture. Second, it should be able to communicate with Western theology as well as with scholarship of other fields. When the first and second points meet together, feminist theology enables to constitute an interdisciplinary, interreligious, and intercultural theology. Third, engraving a subjective identity of woman in feminist theology is of the essence. It is for the construction of woman's subjective identity in theological discourse. Based on these points, I want to discuss woman's imago Dei that embraces the Taoist cosmology, process thought, scientific theories, postmodern feminism, and wisdom tradition. Weaving all these into woman's identity is for the construction of woman's imago Dei, which is dynamic, subjective, open, and enables woman to become an indefinite being beyond the traditional Christian image of woman.

여성의 자아발견과 글쓰기 : [서있는 여자]와 [왼손잡이 여자] 비교연구 A Comparative Study on Die Linkshandige Frau and A Standing Woman

한혜선 한국비교문학회 2003 比較文學 Vol.31 No.-

Marianne in Peter Handke's Die Linkshandige Frau and Ha yonji in Park Wan Seo's A Standing Woman are represented as women with a distinctive token different from other women. The mark of the left-handedness is a metaphor of ‘a woman alone’distinguished from ordinary people, and ‘a standing woman' can be interpreted as a woman who stands at the starting point of doing something new, not a woman who live peacefully in a current situation. Peter Handke is considerably controling himself in narrating, and Park Wan Seo is not restricted to express the female behavior and consciousness. Peter Handke doses not reveal the inside of woman but describes the outside to configure the image of the woman. Therefore, Peter Handke intends to mystify the left-handed woman. Park Wan Seo narrates about Ha Yonji without reservation adhering to her, and describes her as a positive and lively woman by outlining vividly the female character's thought. In A Standing Woman, Park Wan Seo deals with women's problems from a woman's perspective. As Peter Handke narrates about Marriane seen through the window, the character is walled within the narrator's gaze. On the other hand, Park Wan Seo reveals Ha Yonji moving free in her own space. Marriane is an object being seen and Ha Yonji is a subject seeing. In Die Linkshandige Frau, Marriane feels humiliated due to the relationship with her husband, and she is self-awakened and wants to be free. In A Standing Woman, Ha Yonji has a firm belief that equal marriage relationship between husband and wife can be made, but at last realizes that the belief was an illusion. Marriane and Ha Yonji have obstacles to get over for the establishment of their identity as women. Marriane is in the pursuit of freedom against the subjugation to man, in spite of the man-oriented narrative structure in which Marriane is not free among the men who pay court to her and which she may choose less authoritative and more romantic lovers rather than her husband. This discourse is derailed from the masculine discourse of the conventional literary texts. Longing for her father's study and dreaming his elegant world, Ha Yonji wants to be like her father. This is an adoration of the male-oriented culture. But after she finds out the falsity of the equality of man and woman that her husband has supported and the superiority consciousness that her father has had, she longs for her own room and her own writing. In the end, Marianne ascertains the freedom, drawing her own body. The drawing of her body is not an entity, but an image of language. The drawing is a writing in a language of silence. Ha Yonji obtains the pure freedom through her owning writing in which a woman can be a subject.

잠언 1-9장에 나타난 여인 모티프 연구 : “지혜 여인”과 “음녀”의 문학적/신학적 기능

김성진 ( Kim Sung Jin ) 아세아연합신학대학교 ACTS 신학연구소 2018 ACTS 신학저널 Vol.36 No.-

본 연구는 잠언에 나타나는 여인 모티프가 갖는 문학적/신학적 기능에 대한 분석이다. 이 연구를 통해 우리는 잠언에 나타나는 다양한 여성들의 정체와 역할에 대해 신화적이나 사회문화적 접근으로 이해하려던 시도가 갖는 한계를 극복하고 잠언안에서 여성 모티프가 갖는 문학적/신학적 기능을 살펴봄으로 여성 모티프의 역할을 규명해 보고자 한다. 잠언에서 여인은 잠언의 중심 주제인 “지혜”가 의인화 된 “지혜 여인”과 이 지혜의 상대적 개념인 “어리석음”, “미련함”이 의인화되어 나타나는 “음녀”(“이방 여인”)로 나타난다. 본 연구는 잠언에 나타나는 여성 모티프를 잠언 1-9장의 화자인 아버지와 청자인 아들 사이에 형성된 문학적 배경에서 이해하고자 하였다. 아버지는 삶의 중심 원리인 “지혜”를 아들에게 교육하고자 “실재적 상징”이라는 수사학적 방법을 통해 지혜라는 추상적인 원리를 지혜 여인으로 발전시켰고 지혜 여인과 대조되는 다양한 여인들과의 관계 속에서 아들로 하여금 합당 한 선택을 함으로써 삶의 원리인 지혜를 체득할 수 있도록 교육하고 있다. 이러한 가르침은 합당한 배우자 선택이라는 지혜가 가장 필요한 상황 속에서 아들의 결혼 전, 배우자 선택 상황, 그리고 결혼 관계의 세 단계를 통해 전개 되고 있다. 본 연구를 통해 우리는 잠언에 나타나는 지혜 여인과 음녀의 모티프는 단순히 배우자를 선택하는 문제를 뛰어넘어 삶의 원리인 지혜를 얻는 것과 실재의 삶 속에서 가장 중요한 선택인 배우자 선택의 문제를 동시에 다루고 있음을 알 수 있다. 결국, 잠언에 나타나는 여인 모티프는 잠언 1-9장의 문학적 구조를 형성하며 더 나아가 잠언의 중심 주제인 지혜를 가장 실재적인 방법으로 교육하고자 하는 목적에서 사용된 의인화 기법임을 알 수 있다. This study intends to provide an in-depth analysis of the literary and theological function of woman motif in Proverbs 1-9 with particular attention to the tension between Woman Wisdom and her rival Woman Folly. One of the striking features of the book of Proverbs is the active and decisive roles of woman figures. These features of women are unique in the Old Testament in that women are usually subject to male supremacy. In Proverbs, various female characters such as “wisdom lady”, “woman folly”, “the adulterous woman”, and “the strange woman” appear as active agents having crucial roles in both individual and communal contexts. Even before exploring the roles of these woman figures, we need to recognize the identities of these woman in the book. Woman figures mainly appear in the instructions of the opening nine chapters of the book. In order to identify these women, scholars suggest mythical and socio-cultural approaches. In this understanding, woman characters are regarded as reflections of either goddesses in ancient myths or social minorities, such as foreign women or forbidden community members. However, these approaches show intrinsic limits as they have tried to analyze the woman figures from external perspectives rather from the context of the book of Proverbs. Thus, this study intends to understand the woman motif within the context of Proverbs 1-9, in which a father teaches wisdom to his son. Women figures in Proverbs, indeed, are literary devices which represent the choice made by the young men. For pedagogical purposes, the father utilized “realistic symbolism” by personifying the abstract concept of wisdom and folly as a woman. Both woman wisdom and woman folly gradually reveal their identities and roles following the development of discourses in Proverbs 1-9. By doing this, the tension between woman wisdom and woman folly forms the structure of Proverbs 1-9. The question of identity of woman figures also raises the question of the roles of them in the book of Proverbs. In fact, the distinctions between woman wisdom and her rival woman folly is at the heart of the teaching of wisdom. This two types of woman competitively invite the son into a relationship with them. In this context, the young man, a son in Proverbs 1-9, is called on to make a choice between these two women. The choice between woman wisdom and woman folly plays a pivotal role in forming the literary structure and theology of the book of Proverbs. When Proverbs 1-9 is understood in this way, we can get the roles of woman motif in Proverbs.

전도부인(Bible Woman), 한국 근대소설 속 신여성(New Woman) 이전의 여자들

김예람(Ye-ram Kim) 구보학회 2023 구보학보 Vol.- No.34

본 논문은 개화기 신소설부터 일제 식민지기 근대소설에 이르기까지 신여성(New Woman)에 앞서 기독교를 통해 근대성을 내면화하기 시작한 전도부인(Bible Woman)에 착안하여 전도부인이 구여성과 신여성을 매개하는 과도기적 여성 인물이자, 근대작가들로 하여금 한국 여성과 일상화된 기독교 사이에 존재했던 여성주제들에 대한 탐색을 심화시킨 문학적 제재였음을 밝혔다. 신여성 작가의 소설과 신여성 모델소설이 창작되기 이전 전도부인은 석진형, 김일엽, 전영택의 소설에서 구여성에게 전통적 여성의 삶과 획기적으로 구분되는 새로운 삶의 가능성을 제시하고, 여성계를 대표하는 직업여성으로 부각된다. 나아가 전도부인은 신여성 인물이 정착한 이후에도 여러 장편소설에서 기독교 농촌계몽운동, 기독교적 혼인율, 여성해방과 기독교에 관한 다양한 여성주제를 탐색하도록 만든 유용한 소재였다. 전도부인 최용신(崔容信)을 모델로 한 심훈의 『상록수』는 채영신을 세속화된 전도부인으로 형상화하여 종교적 열정을 농촌계몽운동에 수렴시킨 소설이고, 김말봉의 『밀림』은 전도부인 삽화를 통해 신자 간의 결혼만을 허용하는 기독교적 혼인율에 대한 윤리적 문제를 제기한 작품이며, 채만식의 『인형의 집을 나와서』는 봉건적 부덕을 상징하는 소재로서 전도부인을 설정하여 그와 대립하는 여성해방의 주제를 전달한 소설이다. 전도부인은 근대적 여성 인물의 모색이라는 소설사적 과제에 과도기적 역할을 담당한 문학적 전형이자, 신여성에 편중된 근대적 여성상의 한 측면을 새롭게 드러내는 역사적 존재다. This article focuses on the Bible Woman(傳道婦人), who began to internalize modernity through Christianity before the New Woman(新女性), from the New Novels of the enlightenment period to the modern novels of the Japanese colonial period. Bible Women were transitional female characters that mediated between old women and New Women. By the Bible Women as subject matters, modern writers deepened their literary exploration on feminist themes existed between Korean women and generalized Christianity. Before modern novels by New Women writers and roman à clefs on real New Women, Bible Women presented old women with new life possibilities that were radically different from traditional women's lives as well as stood out as career women representing the women's world in the novels of Jin-hyeong Seok, Il-yeop Kim, Young-taek Jeon. Even after New Woman characters were settled in Korean modern novels, Bible Women, in addition, proved to be useful matters for a number of novels to explore a variety of feminist themes; Christian v narod movement, Christian marriage law, women's liberation. Modeled on Bible Woman Yong-shin Choi(崔容信), Hoon Shim's Evergreen Tree is a novel that concentrates religious fervor on v narod movement by characterizing Young-shin Chae as a secularized Bible Woman. Mal-bong Kim's Jungle raises ethical questions about the Christian marriage law, which only allows marriages between believers by means of the episode of the Bible Woman character. Man-sik Chae's After Leaving A Doll's House is a novel that conveys the theme of women's liberation by characterizing the Bible Woman as a symbol of the virtues of feudal women. To conclude, the Bible Woman is a literary type that played a transitional role in the Korean modern novel's historical task of finding a modern female character, and a historical being that reinforced an aspect of the modern female figure that was biased toward the New Woman.

일제강점기 “신여성” 담론 속에 나타난 여성 주체

한아름 ( Ah Reum Han ) 전북대학교 인문학연구소 2013 건지인문학 Vol.9 No.-

The Meaning of the ‘New Woman’ had not fixed. As time went by, with passionate discourse that meanings had changed. So it is diffi-cult to grasp concepts thoroughly by only one approach. We need to consider the Japanese colonial period that blended colonization with modernization. It is also necessary to see who is the subject in the field of discussion. The discourse of the ‘New Woman’ had been formed in external situations, the meaning of a word was flexible. At first women who took modern education were named ‘New Woman’. Popular culture in the late 1920`s was an exceptionally popular. After 1920`s women who influenced by popular culture and the latest fad were called ‘New Woman’ or ‘Modern girl’ In the late 1930`s, the word ‘New Woman’ turned into ‘Modern Woman’ frequently. In the space of the modernization in colonial period, socio-histor-ical discourse had changed, the symbol of ‘New Woman’ was diverse. Modernized by Japanese colonial rule, colonial space became the con-flicting social structure as development continuing on parallel with oppression. In this field, women could get new educational system and entered the stage in the center of society. Furthermore, women stood out due to the advance of mass media as a main body of spend-ing money. Pressed for following old ideas for women, however, women wav-ered at the public opinion. The hegemony here was exposed, domi-nant surrounding the discourse of the ‘New Woman’ Not only the Japanese colonial period, but also the patriarchal system suppressed women. In this situation, women sometimes had same voice or not. This voice is based on calling women as a modern subject by virtue of engaging in forming the identity of female itself. Under the influ-ence of the agenda-setting conversations of the ‘New Woman’, women could realize the sense of self. Received modern education, women had chance to learn a progressive thought and adopted the products of civilization. Taking this opportunity, women granted a new role in person, forming discussions about ‘New Woman’ and coming on stage as one of the member in society. In conclusion, such social changes are im-portant to find voices about feminist issues with woman`s own. It led to the meaningful creation of the ‘New Woman’ as new members to adapt to the trend of the times.

壁畵를 通해서 본 高句麗 女性의 役割과 地位

강영경 고구려발해학회 2004 고구려발해연구 Vol.17 No.-

This study is about the Koguryo woman's role and position which look into the Koguryo mural tomb during 4 and 5 centuries. My explanation about the Koguryo woman's role and position can be summarizied as below. 1. At that time, weaving-woman's role was important not only weaving cloth but also politics, economy, diplomacy, cultual, religion and art. 2. Food-life painting is well, mill, kitchen, meat-storeroom and grain-ware house. These were painted at east wall. Food-life was taking charge of woman. So I knew that the east position was the woman's space at that time. 3. There is many picture which the room was decorated with cloth. This cloth-room was made and dressed by women. The house of a son-in-low was built at the side of bride's house. So, Koguryo woman was central role in dwelling life. 4. The paint of military parade, hunting event, festival event had political meanings. And there were painted with man and wife. Although limitedly this is reflecting the Koguryo woman's political role too. 5. The grain-ware house which is painted at east wall was in managed with woman. 6. Koguryo woman recepted new religion positively. The murals which contents religious meaning are showing that Pyung-yang area was authority atmosphere and Ji-an area was free. 7. Woman's position look into the size of man and wife. And look into the position of right and left. Generally this result show me that Ji-an area was equal. But Pyung-yang area was low than man.

여성화자 구연 설화의 특징

박상란 한국구비문학회 2004 口碑文學硏究 Vol.0 No.19

I studied on the characteristics of the tales that a woman teller narrated orally, centering around the tales that the old woman called a woodpecker narrated orally in this essay. Specially it was examined that how are the tales narrated orally by a woman teller different from the tales narrated orally by a man teller and what is meant by that. First of all the old woman called a woodpecker transforms the type of the tales handed from time past into the tales focused on the concerns, experience of woman. Next she narrates orally the tales hard to narrate by a man teller, representing plainly of the sexuality of woman. But she narrated orally the tales make subject the love and sexuality, of an old widow. This suggested that the sex distinction and the age of a teller influence on the telling of tales. In a word, a woman teller transforms the tales handed from time past into the tales focused a woman and tells the woman's story frequently. This pointed that the woman's story was transmitted separating from the man's story, and the place of telling was divided into according to sex distinction. 본 연구는 딱따구리 할머니의 구연 설화를 중심으로 여성 화자가 구연한 이야기의 특징을 밝혀 본 것이다. 특히, 남성 화자와 비교했을 때 여성 화자가 다르게 혹은, 중점을 두고 구연하는 내용은 무엇이고 그것이 성별적 특성과 어떻게 관련되는지 하는 점을 살펴 본 것이다. 우선 딱따구리 할머니는 전래되는 이야기 유형을 여성의 관심사 및 경험에 맞게 즉, 여성 중심적인 이야기로 바꾼다. 그 과정에서 남성화자와 다툼을 벌이기도 하는데 심한 경우, 그 접점에서 이야기의 주제가 갈리기도 한다. 이는 하나의 현상에 대해 남녀화자가 다르게 의식하고 있음을 시사하는 것이다. 그리고 할머니는 남성 화자 구연 목록에서는 보기 드문, 여성의 성욕을 드러내는 이야기를 구연한다. 여성 화자로서의 성별적 특성이 설화 구연에 작용했다고 할 수 있다. 이렇게 여성 화자가 기존의 이야기를 여성의 이야기로 바꾸거나 여성의 이야기를 즐겨 구연하는 것은 애초에 여성의 이야기와 남성의 이야기가 별도로 있었다는 것, 그 이야기판이 성별적 특성에 따라 구획되어 있음을 의미한다.