Strategy of High Tech Firms During Recession and Growth Periods

Jin-Han, Kim(김진한) 영남대학교 산경연구소 2010 영상저널 Vol.3 No.1

본 논문은 성장기와 불경기에 첨단기업의 전략을 비첨단기업과 대비하여 비교 분석했다. 그 결과는 첨단기업은 성장기와 불경기에 비첨단기업보다 R&D를 더 많이 투자했으며, 첨단기업은 불경기에는 비첨단기업보다 규모를 줄이는 대신 성장기에는 더 많이 규모를 확장시켰다. 또한 첨단기업은 성장기보다 불경기에 R&D투자를 더 많이 했으며, 규모는 불경기에는 줄이고 성장기에는 확장시켰다. 또한 첨단기업은 불경기 때 보다 성장기에 더욱 비용 절감 전략을 택했다. 이러한 결과는 첨단기업의 전략수립에 정보를 제공한다. This paper examines comparative strategy and profitability of high-and low tech firms during the recession and the growth period. The results indicate that high tech firms are likely to invest more in R&D during the recession and the growth period than low tech firms in those periods. The size of high tech firms during the recession tends to be less than low tech firms, while during the growth period it is likely to be bigger than low tech firms. High tech firms during the recession are likely to expend more on R&D than the growth period. Meanwhile, firm size of high tech firms during a recession is smaller than that of those firms in the growth period. Also, high tech firms during the growth period are apt to have lower manufacturing costs than during a recession period. The results provide valuable information for strategy formulation of high-and low tech firms during these two periods.

Strategy of High Tech Firms During Recession and Growth Periods

Jin-Han, Kim(김진한) 영남대학교 산경연구소 2010 영상저널 Vol.2 No.2

본 논문은 성장기와 쇠퇴기에 첨단기업의 전략을 비첨단기업과 대비하여 비교 분석했다. 그 결과는 첨단기업은 성장기와 쇠퇴기에 비첨단기업보다 R&D를 더 많이 투자했으며, 첨단기업은 쇠퇴기에는 비첨단기업보다 기업규모를 줄이는 대신 성장기에는 더 많이 기업 규모를 확장시켰다. 또한 첨단기업은 성장기보다 쇠퇴기에 R&D투자를 더 많이 했으며, 기업규모는 쇠퇴기에는 줄이고 성장기에는 확장시켰다. 또한 첨단기업은 쇠퇴기 때 보다 성장기에 더욱 비용절감 전략을 택했다. 이러한 결과는 첨단기업의 전략수립에 정보를 제공한다. Using a sample of 136 fims, this paper explores comparative strategy of high-and low tech firms during the recession and the growth period. The results indicate that high tech firms are likely to invest more in R&D during the recession and the growth period than low tech firms in those periods. The size of high tech firms during the recession tends to be less than low tech firm, while during the growth period it is likely to be bigger than low tech firms. High tech firms during the recession are likely to expend more on R&D than the growth period. Meanwhile, firm size of high tech firms during a recession is smaller than that of those firms in the growth period. Also, high tech firms during the growth period are apt to have lower manufacturing costs than during a recession period. The results provide valuable information for strategy formulation of high-and low tech firms during these two periods.

고도성장기의 반근대적 상상력- 이시무레 미치코(石牟礼道子)의 고해정토(苦海淨土)를 중심으로 -

오미정 한국일어일문학회 2019 日語日文學硏究 Vol.109 No.-

In this article, I analyzed the anti-modern imagination in the literature of the 1960's during the period of high-growth., centering on the Kukaijodo by Ishimure Michiko(1927-2018). The First, I made it clear that Her's literature represented the minorities of local, lower-class people and women during the period of high-growth. The Second, I analyzed the denial and resistance of Ishimure Michiko to the nation, the capital and the local community. The Third, I analyzed the characteristics of the "resentment" expressed by Ishimure Michiko as a form of resistance. It denied marginal-centric hierarchical order and expressed minority words that could not be spoken in their own language. In addition, I have analyzed that these expressions lead to the sharing and solidarity of other marginal minorities, Native Americans and Women, and these expressions have become an imagination against modern barbarism. In conclusion, Ishimure Michiko understood the "high-growth period" as the end of modern times. It can be said that she sought the "truth" of today from pollution and pursued ethics and imagination beyond the present. .

고도성장기 부산의 제조업 기업과 경제

장지용 ( Jang Ji-yong ) 부산광역시사편찬위원회 2023 항도부산 Vol.45 No.-

This study aims to analyze Busan's high-growth period, especially focusing on the the manufacturing industry of early 1960s in the Busan region. First, I would like to analyze which sectors led to high growth in Busan, and what these sectors had in common. In particular, while analyzing the causes of rapid growth in terms of corporate response, the reason for the failure of rapid growth to continue is not external factors, but rather internal problems of Busan and corporate problems. The analysis is an analysis of the early 1960s using the Busan Sense of Commerce data and an analysis of the 1965-1980s using a shift-share analysis As a result of the analysis, the Busan manufacturing industry in the 1960s had the agility to actively respond to the economic situation and had active activities such as developing overseas markets and transforming industries. It was a preemptive and proactive response, taking some risks. In addition, the golden division between large companies and SMEs, the formation of industrial links within the region, and the improvement of external growth and distribution were important factors that brought about the growth of the manufacturing industry in Busan. However, the factors of its growth were no longer maintained or developed since the late 1960s. Rational choice based on comparative static analysis prevented from preparing for the future, and the establishment of economies of scale and integrated production system undermined the strengths and cooperation system possessed by SMEs, and acted as a factor that worsened distribution. The high degree of foreign dependence made to focus on increasing exports rather than upgrading the internal management structure, and unable to present new prospects.

전후 담론에 나타난 ‘고도성장’의 표상 - 가토 노리히로의 「아메리카의 그늘」을 중심으로 -

오미정 일본어문학회 2019 일본어문학 Vol.84 No.-

本論文は批評家の加藤典洋が展開した戦後談論で、戦後日本をどのように認識しているかを考察した。彼の批評「アメリカの影-高度成長下の日 本」は、1980年代バブル経済の好況期という日本の政治的、国際的環境の中で登場した。江藤淳の批評に対する分析から、加藤が自分自身の批評を始めると点で興味深い。 加藤の戦後ナショナル・アイデンティティーの新しい構築に向けた視線は、1960年代以降日本の「高度成長期」をどう認識するかから出発する。加藤は、日本社会が高度成長を通じて経済的自立を成し遂げたにもかかわらず、依然として政治的には米国の影響下にあると認識している。この認識は江藤の戦後観と非常に似ているが、同一ではない。両方とも、日本の新しいナショナル・アイデンティティーを再構築しようとする欲望が批評の原動力であること、西欧体験を通じて西欧を相対化している点、戦後日本と「米国」という他者を不可分の関係として設定する点では同じである。しかしながら、加藤の場合は、日米関係に「アジア」という、もう一つの軸を設定し、日米一辺倒の関係に亀裂をもたらすという点で異なるといえる。にも関わらず、一国ナショナリズムに収斂する点で限界も明らかで、1980年代の新しいナショナル・アイデンティティーの構築の様相を加藤の批評から読み取ることができる。 This article analyzed how Japan was recognized and rebuilt in the 1980s discourse by Norihiro Kato, who appeared 40 years after World War II. Kato Norihiro’s literary criticism, The Shadow of America: Japan under High Growth(1985) was published in the 1980s, the economic boom. Interestingly, Kato begins his own criticism from Jun Eto (1932-1997) of his analysis of high-growth period literature. This article analyzed Kato’s discourse on criticism of Eto and considered his perception of postwar Japan. Kato’s view on building a new national identity after the war began with the recognition of Japan’s high-growth period since the 1960s. He recognizes that despite the fact that the Japanese society has achieved economic independence through high growth, he is still politically influenced by the United States. This perception is very similar to Eto’s postwar view, but not the same. Both are identical in terms of the desire to build a new national identity in postwar Japan and this is the driving force of criticism, the relativization of Western Europe through Western experiences, and the relationship between Japan and the United States after World War II. However, in the case of Kato, it can be said that Japan- U.S. relations are different in that it creates a split between Japan and the United States by setting up another axis called “Asia.” In this respect, it may be said that Kato’s criticism is how the new national identity was built in the 1980s.

일본 고도성장기, 게이힌임해공업지대의 화력발전소 다중스케일적 관점에서 본 사회-경제적 변화

김은혜 한국공간환경학회 2014 공간과 사회 Vol.24 No.3

This paper is to analyse the Multi-Scale and Socio-Economic Change of thermalpower plant and Keihin Coastal Industrial Belt during Japan’s high growth period(1955~73) in multi-scalar perspective. The demand for power during Japan’s highgrowth period has increased drastically upon the industrialization of heavy chemicalindustry and the transition into mass consumption society. The construction of heavyoil-burning power plants aimed for the high-capacity and efficiency, this processwas combined with the construction on the petrochemical complex (kombinat). Thisspatial accumulation of principle in the nodal system development has brought tothe complete changes in life-world. The growth-oriented state and industry set importanceon the advantage of agglomeration (the expansion of the plant), while reformistlocal governments and civil society brought out the disadvantage of agglomeration(pollution issue). Two spheres have polarized on the cause and problem-solvingprocesses about pollution conflicts. The specific cases were Tokyo Memorandumon pollution control and Yokohama Pollution Control Agreement after mid-1960s,the withdrawal of Chiba’s plant construction in early 1970s. The three cases inKeihin Coastal Industrial Belt (Tokyo-Yokohama-Chiba) helps us to know the aspectsof conflicts caused by power plants of Tokyo Electric Power Company(TEPCO). These plant facilities have intensified the social conflicts, accelerated tomove out the core area in Tokyo. The thermal power plant will be much moreimportant since the nuclear power plants have stopped after Fukushima nucleardisaster. Likewise, the change of energy source in thermal plant is the core link,it has us understand the change of collective consciousness on the power industry. 이 연구는 일본 고도성장기(1955~1973년) 게이힌임해공업지대와 화력발전소를 둘러싼 사회-경제적 변화에 대해서 다중스케일적 관점에서 분석한 논문이다. 이 시기 일본 사회는 중화학공업화와 대중소비사회로 이행되었고, 이에 따른 전력수요의 폭증은 대용량화·고효율화를 위한 화력발전소의 증설로 이어졌다. 특히,태평양공업벨트에는 석유화학콤비나트의 규모도 증대되었으나, 거점개발방식의공간적 집적은 생활세계에 근본적인 변화를 가져왔다. 성장지향적 정부와 산업계가 집적의 이익(발전소 증설)을 중시했던 반면, 지방정부(혁신자치체)-시민사회는집적의 불이익(공해)을 제기했다. 이 대립된 두 영역은 공해문제의 원인과 해결과정을 두고 서로 갈등했다. 도쿄전력의 화력발전소가 입지한 게이힌공업지대 세사례(도쿄-요코하마-지바)는 이러한 갈등 양상들을 잘 보여주는데, 1960년대 중후반 도쿄도의 공해방지 각서와 요코하마 공해방지 협정, 1970년대 초반 지바의 건설백지화가 대표적이다. 이후 ‘사회갈등’을 심화시켰던 전력시설들은 도쿄 도심으로부터 ‘원거리화’도 증가되어갔다. 후쿠시마 원전 사고 이후 원자력발전소의 가동이 중단되면서, 화력발전의 의존도는 더욱 높아지고 있다. 고도성장기 화력발전소에 공급되는 에너지원의 변화는 일본 사회가 가진 전력산업에 대한 집합의식의 변화를 이해하는 ‘핵심고리’인 것이다.

고도성장기 일본국철의 철도투자와 시장경쟁

임채성 한일경상학회 2010 韓日經商論集 Vol.47 No.-

The purpose of this article is to make it clear why JNR lost competitiveness and fell in management crisis during high-growth period, though JNR was in the state of the excess demand in a traffic market. JNR faced occurrence of enormous transport demand the high-growth period. To cope with this situation, two transportation capacity reinforcement five-year plans were executed, but targets of plans couldn't be achieved. JNR tried to make lack of transportation capacity up by maximizing ‘Japanese railroad operation system’. Transportation demand of high economic growth was satisfied by this system until 1950’s. However, this system led to reinforcement of the labor strength and made the resistance of labor union to management rationalization. At last, qualitative decline of transportation service and loss of the market share were inevitable in 1960’s.

‘전후 민주주의’에 대한 영화적 서술: 고도성장기 이마무라 쇼헤이 중희극(重喜劇)을 중심으로

하정현(Ha, Jung-hyun),정수완(Jung, Soo Wan) 동국대학교 영상미디어센터 2020 씨네포럼 Vol.0 No.37

이마무라 쇼헤이 영화 전사를 관통하는 주제어는 일본의 ‘전후’이다. 그는 전시기 부터 현대사회로 이어진 전후 일본인의 왜곡된 신념과 비합리성을 기반으로 성립된 전후 일본 민주주의 사회의 폐쇄성을 해부한다. 본고는 특별히 고도성장기에 주목하여 이마무라의 극영화를 살펴본다. 그의 첫 작품은 1958년에 제작되었으며 약 10년 후의 그는 다큐멘터리를 제작했다. 이 시기는 일본의 고도성장기와 일치한다. 일본의 고도성장기는 전후와 냉전이라는 두 축이 응축된 결과물이다. 따라서 고도성장기는 아시아-태평양 전쟁의 여파와 체제로서 냉전의 관계를 말하지 않을 수 없다. 하지만 비약적 경제성장의 외피는 전쟁의 흔적을 지워 선진국 일본으로의 도약만을 표상한다. 이로써 전후 일본 영화에서 과거는 현재의 견고함을 말하기 위한 회상의 한장면으로 그려지거나, 전후 민주주의 안에서 미화되었다. 이러한 가운데 이마무라는 과거를 재고하는 비판적 시선을 말한다. 그는 이를 ‘중희극(重喜劇)’이라 제창했다. 따라서 본고는 고도성장기 이마무라 중희극의 의미와 영화 언어로서 중희극의 시각성을 살핀다. 이마무라 중희극은 경희극의 조어로 웃음의 무게, 무거움을 강조한다. 〈끝없는 욕망〉에서부터 이마무라의 영화에는 미래지향적 욕망을 추구하는 개인이 집대성된다. 그들의 욕망은 이마무라의 카메라에 의해 철저한 타자로 관찰 당한다. 개인의 욕망은 다른 욕망으로 파생하고 연쇄되길 반복한다. 이로써 욕망의 군상은 정밀화되어 공동체의 보편성을 해체한다. 중희극은 이와 같은 보편적이고 관습적인 인지에 비판적 시선을 생성한다. 여기서 중희극의 무게는 이마무라의 영화언어로서 그 시각성에 의해 비판적 시선의 주체를 관객으로 만든다. 이마무라 중희극은 영화의 매체성을 드러내어 전후 민주주의의 실체를 드러낸다. 이 과정에서 관객은 체제의 폐쇄적 구조와 집단 욕망을 정밀히 관찰하여 전후 민주주의에 대한 비판적 시각을 스스로 갖는다. The Japanese postwar as a thesis is common to Shohei Imamura"s all. He dissects Japan"s archaic closed-mindedness in the postwar democracy which has been established with distorted creeds and irrationality from the public. This study discusses Imamura"s fiction films during the high-growth period. In 1958, he made his first works. And after a decade, he plunged into the documentary film. It has been set in the high-growth period. The Japanese high-growth is the output of the postwar and the cold war. Thus, it has to be considered with the aftermath of the Asia-pacific war and the cold war system. But the guise of rapid and glossy progress has been a symbol as a leap of the ranks of the advanced nations by blocking certain memories and a trace about the war. In the Japanese films at this time, the close past of the Asia-pacific war has been represented for adamancy of growth or has been glossed over in order to the guise of postwar democracy. Among this, Imamura attempts to be ‘censorious’ for the reconsideration of the past as an inner part of reality. Imamura called this Jukigeki by himself. Following him, this study presents the implicit meaning of Jukigeki as an intrinsic property and treats the visuality of that as a film language. Imamura"s Jukigeki emphasizes the heaviness and seriousness of comedy as a coined word of light comedy. Since Endless Desire, Imamura"s film is a compilation of individuals who pursue future- oriented desires with the obscurity of the war. The desire is observed in the character of the otherness who is thorough with Imamura"s camera. Individual desires are derived from other desires and repeat in a chain. The group of desires is refined and dismantles the universality of the community. Jukigeki in it creates a critical discernment at such universal and customary cognition. The weight as the seriousness of the Jukigeki here is Imamura"s film language, and the host of the critical discernment is the audience due to its visuality. Jukigeki eliminates the lyricism from the films which tends to perceive postwar democracy as humanism in his period and appears a substance of that with a film"s medialitat. Along with, the audiences, themselves, generate the public sphere"s polyphonic for postwar democracy through a censorious observation about an exclusive structure of system and desire of community precisely.

고도성장기 소설에 나타난 내셔널 아이덴티티의 재구축 - 쇼노 준조(庄野潤三)의 『해질녘 구름(夕べの雲)』을 중심으로 -

오미정 일본어문학회 2018 일본어문학 Vol.80 No.-

This article analyzed the problem of reconstruction of National Identity, which appeared in The Evening Clouds written by Junzo Shono. Junzo Shono expressed the change of Postwar Japan in his novel. The style was a form of “home fiction” that represents the daily lives of middle-class families in the suburbs of Tokyo in 1960’s. He created the new head of a family after the war. Oura built a house, took care of his children, and managed to run a household. It was the process of discovering “Japan’s mind” from its repeated nature, and he realized that the history and tradition handed down from generation to generation. Although Oura undertook the daily life of the American lifestyles, it was an effort to establish a Japanese tradition and identity. The novel also erased memories of defeat, drew the ideal home, and recalled the traditions and cultures of Japan, which led to the paternal blood line. In this regard, it may be said that the novel is a prelude to the closing of the Japanese society in the high-growth period. In conclusion, this article analyzed reconstruction of the new national identity of The Evening Clouds.

무라카미 하루키(村上春樹) 소설의 시대성 : 『바람의 노래를 들어라』를 중심으로

김영옥(Kim, Young-ok) 한국외국어대학교 외국문학연구소 2005 외국문학연구 Vol.- No.20

Murakami Haruki, considered as a "postmodernist" in Japan and abroad, is one of the most well-known and influential Japanese writers. He belongs to a generation born after the defeat in World WarⅡ and experienced the high-speed economic growth of the 1960s and 1970s. His emergence into the literary world created a stir in Japan, and the introduction of his novels in Korea caused a similar response. Murakami’s representative work is Norwegian Wood(1987), which sold four million copies in Japan soon after the publication and generated such terms as "the Murakami phenomenon" and "the Murakami boom." In Korea, Norwegian Wood was translated as Lost Generation and published in 1989 by Munhak Sasangsa. Modern Japanese novels became popular after the introduction of Norwegian Wood, and Korean writers were greatly influenced by Murakami, engendering "Harukiism." In this paper, I attempt to locate the origins of Murakami’s literary world through a close examination of his maiden work, Hear the Wind Sing(1979). Hear the Wind Sing illustrates postmodernism as a practical and effective "master discourse" leading society in a certain direction, and the absence of the "master discourse" on the other. I analyzed these elements through the mechanism of the narrator and the significance of the late 1970s in Japan. Murakami’s insistence in portraying the narrator who is inhibited from expressing himself shows that he knows the 1970s era well. As a result, he is able to share the common frustrations experienced by the readers. Murakami’s popularity and unique characteristics can be attributed to his creating a communication method that alleviates a sense of alienation felt by the powerless and the ordinary people. It is an allegory of the Japanese people who have high levels of education and reasonable wealth, and enjoy consumerism during the period of high-speed economic growth. In this sense, Murakami changed the direction of modern literature by delineating a sense of void and questioning the existence of a generation born after the defeat in World War II and during the economic growth as a backdrop in his work.