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Classification of Product Knowledge : A Conceptual Discussion
Yoon, Sung-Wook,Lisa L. Scribner 東亞大學校 經營大學 2004 經營硏究 Vol.- No.17
Subjective product knowledge is now a new construct, but in fact has been defined and measured in a plethora of ways. Existing subjective knowledge measures range from a single item (Peracchio and Tybout 1996) to multi-item scales (Flynn and Goldsmith 1999). Regardless of whether the instruments use single or multiple indicators, they simply measure consumers' overall subjective knowledge and treat the construct as unidimensional. As previously discussed, consumer product knowledge is a multidimensional construct (Alba and Hutchinson 1987; Biswas and Sherrell 1993). This multidimensionality should not be confined to measuring objective knowledge. In other words, it equally applies to subjective knowledge. Throughout this paper it was pointed out discrepancies in findings (e.g., relationship between knowledge and search) that are mainly due to the dearth of valid, multidimensional instruments. Unfortunately, such a scale does not exist. Therefore, future research should develop a scale that captures multidimensional aspects of consumer knowledge. Theory-driven, multidimensional subjective knowledge scales should prove useful to marketing practitioners as well. An essential in consumer-oriented markets is understanding the consumer. Part of understanding consumers is understanding how much they know. For instance, a marketer of a new, highly technological product can administer a multidimensional subjective project knowledge scale to learn about the perceived knowledge distribution of his target market. If it is discovered that the target market is largely comprised of novices, the marketer may want to educate the potential consumers in terms of the terminology associated with the product, the product's attributes, the purchasing procedures, and the different uses for the product. Promotional campaigns can be orientated accordingly. If educating the consumer is not of concern, then the marketer may want to place more emphasis on peripheral cues in advertising. A marketer may find him/herself in the situation where most of the target market for his/her product is high on the knowledge continuum. This marketer, for example, will experience more liberties in terms of terminology of message arguments.
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「街外街傳」과 「황무지」에 나타난 이상과 엘리엇의 제휴
심상욱(Shim Sang-wook) 韓國批評文學會 2011 批評文學 Vol.- No.39
이 논문은 이상 작품의 서구문학사조와의 관계에 초점을 맞춰 이상이 1936년에 발표한 「街外街傳」(가외가전)을 T. S. 엘리엇(T. S. Eliot)의 「황무지」(The Waste Land)와 비교하여 그 의미를 살펴보았다. 한국이 일본의 식민지로 있을 때 서구에서는 제임스 조이스가 ?율리시즈?를 창작하여 T.S. 엘리엇이 조이스의 작품이 신화기법으로 창작되었음을 밝혀 내 모더니즘의 중심과제로 등장해 있었다. 이러한 서구문학은 일본을 경유하여 유학파인 김기림, 정지용 등이 한국에 들여와 이상과 같은 한국 문인들에게 자극을 주었다. 엘리엇의 ‘신화기법’은 현대적인 것과 고대적인 것을 작품 속에 공존시킴으로서 흩어진 사건을 통합하는 방법이었지만, 이상은 한국의 신화와 동양사상에 대한 그의 지속적인 관심을 표현해 냈다. 이상은 식민지 치하에서 살지 않으면 안 되는 상황에서 편안한 대륙으로 암시된 고대 중국을 회상하면서 식민지 치하의 답답한 상황을 벗어나고자 하며, “손자(係子)도 탑재한 객차가 방을 피하나보다.”로 표현하여 중국을 원망하면서 한국의 삼족오 신화가 일본의 신화에 편입된 것을 일깨워 한국의 고유의 전통의식을 자극하고 있다. 엘리엇이 「황무지」에서 신화기법으로 현대문명의 위기를 그려낸 것처럼 이상은 「가외가전」에서 사라진 한국의 신화와 동양사상을 은유적으로 사용하여 한국의 식민지 상황을 그려냈다. 한국의 모더니즘을 주도했던 김기림이 이상을 한국의 ‘최후의 모더니스트’라고 지칭한 바와 같이 그의 ?가외가전?은 식민지 통치가 극에 달하고 있을 때 ‘서울의 모습’을 공개적으로는 말할 수 없어 ‘거리 밖의 이야기’로 그려낸 ‘폭로’적인 작품임을 알 수 있다. This paper is to examine an affiliation of Yi Sang and T. S. Eliot in Gawoigajeon(?街外街傳?) and The Waste Land written by them. For a Korean modernist Yi Sang, during the colonial period, potentially thought that the Korean myth had disappeared from Korean history into a Japanese myth caused by Japan’s colonial policy. He knew T. S. Eliot’s mythic narrative through Guinhoi and other sources. He became the last member of Guinhoi(九人會) and acted in various roles late in life. Through Guinhoi, he came to know a large amount of Western literary thoughts from abroad and created a variety of works, especially according to T. S. Eliot's mythic narrative explaining writing techniques of Joyce’s Ulysses. As Kim, Ki-rim called Yi Sang “Jupiter,” Kim, Yun-sik asked for researchers “Why did Kim, Ki-rim call him “Jupiter”? This question is very important to know Yi Sang, since both Kim, Ki-rim and Yi sang were Korean modernists in the1930s. I think it that both writers created their poems by Eliot’s mythic narrative technique. However, after Yi Sang’s death Kim Ki-rim called him Jupiter, the gratest god of the Greek-Roman myths. As we think of Yi Sang, we must consider Kim, Ki-rim’s The Weather Chart(氣象圖) written in 1935 with Yi Sang’s Gawoigajeon in 1936. ThoughKim was a pioneer for importing Western modernism in Korean Literature, Yi Sang was a representative practice writer written Gawoigajeon depicted the urbanSeoul by the Joycean mythic narrative in the colonial period.
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심상욱(Sang-wook Shim) 한국동서비교문학학회 2014 동서 비교문학저널 Vol.0 No.30
This paper is to examine Yi Sang’s “Kim You Jeong” in terms of Western naturalism, since Yi Sang, as an experimental writer, wrote the graduated album’s memo, ‘exposure’, a theme of naturalism, focused on ‘a discovery rather than an invention’ in 1928. His ‘exposure’, found in Western naturalism, especially American naturalism, is the origin of his works. It is certain that naturalism is a deceptive term, which is not fixed meaning. He wrote the real description using a scientific method which is affinity to science. Western naturalists took a definite concept of man which aimed to express in the writing the scientific thought in literature. Korean scholars in 1930s didn’t drew a sharp line between realism and naturalism like Western scholars, and so, Choi Jai Suh wrote Yi Sang’s works as ‘more deepening and expending than realistic method.’ According to the above, we can say Yi Sang wrote his works with more naturalism than realism.
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심상욱 ( Sang Wook Shim ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2007 世界文學比較硏究 Vol.18 No.-
Lee Sang(1910-1937) practiced paintings, novels, poems and essays, when Korea was a colonial country. Especially he participated Guinhoi(Nine Members Circle) discussing literary topics, which introduced to the Western modernism to Korea. As Bulfinch said that mythology is the handmaid of literature, the traditional myths form the backbone of the world literature. Creating his works I think Lee Sang used Sam Jog O(三足烏), a kind of mythic birds as the messenger living in the sun in the Oriental and Korean myth. It is similar to Phoenix in the Western myth, and when the young Phoenix has grown up and gained sufficient strength, it lifts its nest from the tree which is its own cradle and its parent`s sepulchre and deposits it in the temple of the sun. As Joyce` novels are the immediate example of the reinvestment of mythology in modernistic art at the colonial period of Ireland, through Guinhoi in the colonial period of Korea, Lee Sang interested in Joyce`s mythic narrative and in the process of writing he recognized a Korean traditional myth, Sam Jog O, the crow with three legs living in the sun. This myth was disappeared in the colonial period, however, it is refreshing now. At the colonial period Choi Nam-Sun researched the old Korean myth with Northern Asian and he asserted its importance. Like him Lee Sang also probably knew it. Kim Ki Rim, a Korean modernist, called him "Jupiter" of Greek-Roman myth in a poem of reconsidering Lee Sang. Through the above we know that Lee Sang composed his works by bird images in myths.
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장성욱 동의대학교 인문과학연구소 1999 인간과 문화 연구 Vol.4 No.-
The great buddhist : Sung-Chul in Korea has died 5 years ago. He had translated many buddhists books in Korean. He explained difficult buddhist theory in easy words. He showed us the true way to be a Buddha. He said that the meditation is the best way to be a Buddha. He insisted not to sleep much, not to eat much, not to read books, not to go around, not to talk...... After his death, millions of people began to think about buddhist theory and the words of buddhist priest : Sung-Chul. With his teachings, the new wind is blowing not only in Korean Buddhist temple but also in whole Korea. He is one of the greatest teacher in this world.
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