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    A Study on Regional Preference Factors of Creative Class: Focusing on the Creative Milieu Characteristics of Yeonnam-dong, Seoul

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    ํ•™์œ„๋…ผ๋ฌธ (๋ฐ•์‚ฌ)-- ์„œ์šธ๋Œ€ํ•™๊ต ๋Œ€ํ•™์› : ์ง€๊ตฌํ™˜๊ฒฝ์‹œ์Šคํ…œ๊ณตํ•™๋ถ€, 2014. 2. ์•ˆ๊ฑดํ˜.์ฐฝ์กฐํ™˜๊ฒฝ์ด๋ž€ ๋ฌผ๋ฆฌ์ ์ธ ํ™˜๊ฒฝ์„ ๋„˜์–ด์„œ ์‚ฌํšŒ์ , ๋ฌธํ™”์ , ์ •์„œ์  ์š”์†Œ๋“ค ๊ฐ„์˜ ๋ณตํ•ฉ์ ์ธ ์ฒด์ œ ์†์—์„œ ๋‚˜ํƒ€๋‚œ๋‹ค. ํŠนํžˆ ์ฐฝ์กฐ์ธ๋ ฅ์ด ์„ ํ˜ธํ•˜๋Š” ์ฐฝ์กฐํ™˜๊ฒฝ์—๋Š” ์–ด๋–ค ํŠน๋ณ„ํ•œ ์š”์ธ๋“ค์ด ์ƒ์กดํ•˜๋ฉฐ ์ด๊ฒƒ์€ ์ฐฝ์กฐ์„ฑ์˜ ์ง€๋ฆฌ์  ์กฐ๊ฑด, ์ฆ‰ ์ฐฝ์กฐ์„ฑ์ด ์ผ์–ด๋‚˜๋Š” ์žฅ์†Œ์™€ ์ •๋ณด๊ฐ€ ๊ตํ™˜๋˜๋Š” ๊ต๋ฅ˜์˜ ์žฅ์ด ์™œ ๊ทธํ† ๋ก ์ค‘์š”ํ•œ๊ฐ€ ํ•˜๋Š” ๋ฌธ์ œ์™€ ์ผ๋งฅ์ƒํ†ตํ•œ๋‹ค. ํŠนํžˆ ์—ญ์‚ฌ์ ์œผ๋กœ ์ฐฝ์กฐ์ธ๋ ฅ์ด ๋ฐ€์ง‘ํ–ˆ๋˜ ์ง€์—ญ์€ ์ผ์ •ํ•œ ์‹œ๊ธฐ๋‚˜ ์œ ์‚ฌํ•œ ์กฐ๊ฑด์—์„œ ๋”์šฑ ์ง‘์ค‘์ ์œผ๋กœ ๋‚˜ํƒ€๋‚จ์„ ์•Œ ์ˆ˜ ์žˆ๋‹ค. ์ด๋ ‡๊ฒŒ ํŠน์ •ํ•œ ์‹œ๊ธฐ์™€ ์žฅ์†Œ์—์„œ ์ง‘์ค‘์ ์œผ๋กœ ๋‚˜ํƒ€๋‚˜๋Š” ์ง€์—ญ์˜ ์ฐฝ์กฐ์„ฑ์€ ์ฐฝ์กฐ์ธ๋ ฅ, ์ฐฝ์กฐ์  ๊ฒฐ๊ณผ๋ฌผ, ์ฐฝ์กฐ์  ํ”„๋กœ์„ธ์Šค๊ฐ€ ์œ ๊ธฐ์ ์œผ๋กœ ์—ฐ๊ฒฐ๋œ ํ™˜๊ฒฝ์„ ๊ธฐ๋ฐ˜์œผ๋กœ ํ•˜๋ฉฐ ์ด๋Ÿฌํ•œ ์žฅ์†Œ์˜ ํŠน์„ฑ์„ ์ฐฝ์กฐํ™˜๊ฒฝ์ด๋ผ๊ณ  ์นญํ•  ์ˆ˜ ์žˆ๋‹ค. ๋ณธ ์—ฐ๊ตฌ๋Š” ์–ด๋–ค ํŠน์ •ํ•œ ์ง€์—ญ์— ์ฐฝ์กฐ์ธ๋ ฅ์ด ๋ฐ€์ง‘๋˜๋Š” ํ˜„์ƒ์„ ๋ณด๋ฉด์„œ ์ฐฝ์กฐ์ธ๋ ฅ๊ณผ ์ฐฝ์กฐํ™˜๊ฒฝ์˜ ์ƒํ˜ธ๊ด€๊ณ„์™€ ์ฐฝ์กฐ์ธ๋ ฅ์ด ์„ ํ˜ธํ•˜๋Š” ์ง€์—ญ์š”์ธ์€ ๋ฌด์—‡์ธ์ง€ ๋„์ถœํ•˜๊ณ ์ž ํ•˜์˜€๋‹ค. ๋˜ํ•œ ์ฐฝ์กฐ์ธ๋ ฅ์˜ ์ง€์—ญ ์„ ํ˜ธ์š”์ธ์— ์˜ํ•ด ์ฐฝ์กฐํ™˜๊ฒฝ์˜ ํŠน์„ฑ์„ ์‚ดํŽด๋ณด๊ณ , ํ•œ ์ง€์—ญ ๋‚ด์—์„œ๋„ ์ฐฝ์กฐ์ธ๋ ฅ์˜ ์„ธ๋ถ„ํ™” ๋œ ํŠน์„ฑ์— ๋”ฐ๋ผ ์ฐฝ์กฐํ™˜๊ฒฝ ๊ตฌ์„ฑ์š”์ธ ๊ฐ„์˜ ์ƒ๊ด€๊ด€๊ณ„๋ฅผ ๋ฐํžˆ๋Š” ๊ฒƒ์„ ๋ณธ ์—ฐ๊ตฌ์˜ ๋ชฉ์ ์œผ๋กœ ํ•˜์˜€๋‹ค. ํŠนํžˆ ์ฐฝ์กฐํ™˜๊ฒฝ์˜ ํŠน์„ฑ์— ๊ด€ํ•œ ์‹ค์ฒœ์ ์ธ ์—ฐ๊ตฌ ๊ฒฐ๊ณผ๋ฅผ ๋„์ถœํ•˜๊ธฐ ์œ„ํ•ด ๋ณธ ์—ฐ๊ตฌ๋Š” 2008๋…„ ์ดํ›„ ์ฐฝ์กฐ์ธ๋ ฅ์˜ ์œ ์ž…์ด ์ง€์†์ ์œผ๋กœ ์ง„ํ–‰๋˜๊ณ  ์žˆ๋Š” ์„œ์šธ ์—ฐ๋‚จ๋™์„ ์—ฐ๊ตฌ์˜ ๋Œ€์ƒ์œผ๋กœ ์„ ์ •ํ•˜์˜€๋‹ค. ์—ฐ๊ตฌ์˜ ๊ฒฐ๊ณผ๋ฅผ ํ†ตํ•ด ์—ฐ๋‚จ๋™์ด ๊ณ ์œ ํ•œ ์ฐฝ์กฐํ™˜๊ฒฝ์œผ๋กœ ๋ฐœ์ „ํ•˜๊ณ  ์ง€์†๊ฐ€๋Šฅํ•œ ํ™˜๊ฒฝ์„ ๋งŒ๋“ค๊ธฐ ์œ„ํ•œ ์‹œ์‚ฌ์ ์„ ๋„์ถœํ•˜์˜€๋‹ค. ๋ณธ ์—ฐ๊ตฌ์˜ ๋ฐฉ๋ฒ•๋ก ์€ ์—ฐ๋‚จ๋™์— ๊ฑฐ์ฃผํ•˜๋Š” ์ฐฝ์กฐ์ธ๋ ฅ์„ ๋Œ€์ƒ์œผ๋กœ ์—ฐ๋‚จ๋™์˜ ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ์— ๋Œ€ํ•œ ์‹ฌ์ธต์ธํ„ฐ๋ทฐ๋ฅผ ํ†ตํ•ด ๊ตฌ์„ฑ์š”์†Œ๋ฅผ ๋„์ถœํ•˜์˜€๊ณ  ์ธํ„ฐ๋ทฐ ๋‚ด์šฉ์„ ๋ฐ”ํƒ•์œผ๋กœ ๋‹ค์‹œ ์„ค๋ฌธ์กฐ์‚ฌ๋ฅผ ์‹ค์‹œํ•˜์˜€๋‹ค. ๊ทธ ๊ฒฐ๊ณผ 30๊ฐœ์˜ ๋ณ€์ˆ˜๊ฐ€ ์ด 8๊ฐœ์˜ ์š”์ธ์œผ๋กœ ์ถ”์ถœ๋˜์—ˆ๊ณ  ์ฐฝ์กฐํ™˜๊ฒฝ์„ ๊ตฌ์„ฑํ•˜๋Š” ์ผ๋ฐ˜์ ์ธ 5๊ฐ€์ง€ ์š”์ธ๊ณผ ๋น„๊ตํ•˜์—ฌ ๋ถ„์„ํ•˜์˜€๋‹ค. ๋ณธ ์—ฐ๊ตฌ์—์„œ๋Š” ๊ฐ๊ฐ์˜ ์š”์ธ์„ ๋…์ฐฝ์  ์˜์—ญ, ๊ด€์šฉ์  ์ •์„œ, ์ „ํ†ต๋ฌธํ™”, ๊ณ ์œ ํ•œ ๊ฒฝ๊ด€ํ™˜๊ฒฝ, ๋ฐฉ๋ฌธ๊ฐ ์œ ์ž…, ์ง€์ง€๊ธฐ๋ฐ˜, ๊ฐœ์„ ๋œ ๊ฒฝ๊ด€ํ™˜๊ฒฝ, ํ™๋Œ€๋ฌธํ™” ์š”์ธ์œผ๋กœ ๋ช…๋ช…ํ•˜์˜€๋‹ค. ๊ทธ ์š”์ธ๋“ค์„ ๊ธฐ๋ฐ˜์œผ๋กœ ์ฐฝ์กฐ์ธ๋ ฅ์˜ ์„ธ๋ถ€ ๊ตฐ์ง‘์„ ๊ทธ๋ฃนํ™” ํ•œ ํ›„์— ๊ตฐ์ง‘๋ณ„ ํŠน์„ฑ์˜ ์ง€์—ญ์„ ํ˜ธ ์š”์ธ๊ณผ ๋งŒ์กฑ๋„๋ฅผ ๋น„๊ตํ•˜์˜€๋‹ค. ๋งˆ์ง€๋ง‰์œผ๋กœ ์ผ๋ฐ˜์ ์ธ ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ๊ณผ ์—ฐ๋‚จ๋™ ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ์˜ ์œ ์‚ฌ์ ๊ณผ ์ฐจ์ด์ ์— ๋Œ€ํ•ด ๋น„๊ตํ•˜๋ฉด์„œ ์‹œ์‚ฌ์ ์„ ์‚ดํŽด๋ณด์•˜์œผ๋ฉฐ ์—ฐ๊ตฌ์˜ ๊ฒฐ๊ณผ๋Š” ๋‹ค์Œ๊ณผ ๊ฐ™๋‹ค. ์ฒซ์งธ, ์ผ๋ฐ˜์ ์ธ ์ฐฝ์กฐํ™˜๊ฒฝ์„ ๊ตฌ์„ฑํ•˜๋Š” ์š”์ธ๊ณผ ์—ฐ๋‚จ๋™ ์ฐฝ์กฐํ™˜๊ฒฝ์˜ ๊ตฌ์„ฑ์š”์ธ์— ๋Œ€ํ•œ ๋น„๊ต๋ฅผ ํ†ตํ•ด ์—ฐ๋‚จ๋™๋งŒ์˜ ๋…ํŠนํ•œ ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ์ด ์กด์žฌํ•œ๋‹ค๋Š” ์‚ฌ์‹ค์„ ๋„์ถœํ•˜์˜€๋‹ค. ์ผ๋ฐ˜์ ์ธ ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ ์ค‘์—์„œ ๋…์ฐฝ์  ์˜์—ญ, ๊ด€์šฉ์  ์ •์„œ, ๋„คํŠธ์›Œํฌ ์š”์ธ์€ ์—ฐ๋‚จ๋™์˜ ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ์—์„œ๋„ ๊ฐ•ํ•˜๊ฒŒ ๋‚˜ํƒ€๋‚˜๊ณ  ์žˆ๋‹ค. ๋ฐ˜๋ฉด์— ์—ฐ๋‚จ๋™๋งŒ์ด ์ง€๋‹ˆ๋Š” ๊ณ ์œ ํ•œ ํŠน์„ฑ์€ ์ผ๋ฐ˜์ ์œผ๋กœ ๋ฌธํ™”ํ™˜๊ฒฝ ์š”์ธ์— ์†ํ•˜๋Š” ์ „ํ†ต์  ๋ฌธํ™”, ๊ณ ์œ ํ•œ ๊ฒฝ๊ด€ํ™˜๊ฒฝ, ๊ฐœ์„ ๋œ ๊ฒฝ๊ด€ํ™˜๊ฒฝ ์š”์ธ์ด๋ผ๊ณ  ๋ณผ ์ˆ˜ ์žˆ๋‹ค. ๋‘˜์งธ, ์—ฐ๋‚จ๋™์˜ ์ฐฝ์กฐํ™˜๊ฒฝ์„ ๊ตฌ์„ฑํ•˜๋Š” ๊ฐ ์š”์ธ๋“ค ๊ฐ„์— ํŽธ์ฐจ๊ฐ€ ์กด์žฌํ•œ๋‹ค๋Š” ์‚ฌ์‹ค์„ ๋„์ถœํ•˜์˜€๋‹ค. ์ฆ‰, ์—ฐ๋‚จ๋™ ์ฐฝ์กฐํ™˜๊ฒฝ์˜ ํŠน์„ฑ์€ ๊ฐ•ํ•œ ํŠน์„ฑ์„ ๋ณด์ด๋Š” ์š”์ธ๊ณผ ์•ฝํ•œ ํŠน์„ฑ์„ ๋ณด์ด๋Š” ์š”์ธ์ด ์žˆ๋‹ค. ์ผ๋ฐ˜์ ์ธ ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ์š”์ธ์—์„œ ๋…์ฐฝ์  ์˜์—ญ๊ณผ ๋„คํŠธ์›Œํฌ ๋ถ€๋ถ„์€ ์—ฐ๋‚จ๋™ ์ฐฝ์กฐํ™˜๊ฒฝ์˜ ์ค‘์‹ฌ ํŠน์„ฑ์ธ ๋…์ฐฝ์  ์˜์—ญ ์š”์ธ์œผ๋กœ ํ•ฉ์ณ์ ธ์„œ ๊ฐ€์žฅ ๊ฐ•ํ•œ ํ•ต์‹ฌ์ ์ธ ์„ ํ˜ธ์š”์ธ์œผ๋กœ ์ž‘์šฉํ•œ๋‹ค. ์ฆ‰ ๋ชจ๋“  ๊ตฐ์ง‘์—์„œ ๋…์ฐฝ์  ์˜์—ญ ์š”์ธ์„ ๊ฐ€์žฅ ์„ ํ˜ธํ•˜๋Š” ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ์œผ๋กœ ๊ผฝ๊ณ  ์žˆ๋‹ค. ๋‹ค์Œ์œผ๋กœ ๋†’์€ ์‹ ๋ขฐ๋„๋ฅผ ๋ณด์ด๋Š” ์š”์ธ์€ ๊ด€์šฉ์  ์ •์„œ์š”์ธ์ด๋‹ค. ์—ฐ๋‚จ๋™์—์„œ ๊ฐ€์žฅ ๋‚ฎ์€ ์‹ ๋ขฐ๋„๋ฅผ ๋ณด์ด๋ฉฐ ์œ ์˜๋ฏธํ•œ ์˜ํ–ฅ์ด ์—†๋Š” ์š”์ธ์€ ์‹œ์žฅ๊ธฐ๋Šฅ์„ ๋‹ด๊ณ  ์žˆ๋Š” ์ง€์ง€๊ธฐ๋ฐ˜ ์š”์ธ์ด๋‹ค. ์…‹์งธ, ์ฐฝ์กฐํ™˜๊ฒฝ์„ ๊ตฌ์„ฑํ•˜๋Š” ์„ธ๋ถ€์ ์ธ ์š”์†Œ๋“ค ๊ฐ„์— ์ฐฝ์กฐ์ธ๋ ฅ์˜ ์„ ํ˜ธ๋„์™€ ํŽธ์ฐจ๊ฐ€ ์กด์žฌํ•œ๋‹ค๋Š” ์‚ฌ์‹ค์ด๋‹ค. ์—ฐ๋‚จ๋™ ์ฐฝ์กฐํ™˜๊ฒฝ์˜ 30๊ฐœ ์š”์†Œ๋ฅผ ์„ ํ˜ธ๋„๋ฅผ ๊ธฐ์ค€์œผ๋กœ ์š”์ธ๋ถ„์„์„ ์‹ค์‹œํ•œ ๊ฒฐ๊ณผ ์„ธ๋ถ€ ์š”์†Œ๋ฅผ ์ด 4๊ฐœ์˜ ๊ทธ๋ฃน์œผ๋กœ ๊ตฌ๋ถ„ํ•  ์ˆ˜ ์žˆ๋‹ค. ์ด ์ค‘์—์„œ ์„ ํ˜ธ๋„๊ฐ€ ๋†’๊ณ  ํŽธ์ฐจ๊ฐ€ ๋‚ฎ์€ ๊ทธ๋ฃน์ด ๊ฐ–๋Š” ์š”์†Œ๋Š” ๋Œ€๋ถ€๋ถ„์˜ ์—ฐ๋‚จ๋™ ์ฐฝ์กฐ์ธ๋ ฅ๋“ค์ด ๊ณตํ†ต์ ์œผ๋กœ ์„ ํ˜ธํ•˜๊ณ  ์žˆ๋Š” ์š”์†Œ๋“ค๋กœ์จ ์—ฐ๋‚จ๋™ ์ฐฝ์กฐํ™˜๊ฒฝ์˜ ์ค‘์‹ฌ ํŠน์„ฑ์ด๋ผ ํ•ด์„ํ•  ์ˆ˜ ์žˆ๋‹ค. ๋ฐ˜๋ฉด์— ์„ ํ˜ธ๋„๋„ ๋‚ฎ๊ณ  ํŽธ์ฐจ๋„ ๋‚ฎ์€ ๊ทธ๋ฃน์€ ์„ค๋ฌธ ์‘๋‹ต์ž๋“ค์ด ๋Œ€์ฒด์ ์œผ๋กœ ๋ถ€์ •์ ์œผ๋กœ ์ƒ๊ฐํ•˜๊ณ  ์žˆ๋Š” ์š”์†Œ๋กœ์จ ํ™๋Œ€ ๋ฌธํ™”์˜ ์˜ํ–ฅ๊ถŒ ๋‚ด ์œ„์น˜๋ฅผ ๋“ค ์ˆ˜ ์žˆ๋‹ค. ์ด๋Š” ๋Œ€๋ถ€๋ถ„์˜ ์—ฐ๋‚จ๋™ ์ฐฝ์กฐ์ธ๋ ฅ๋“ค์ด ์—ฐ๋‚จ๋™์„ ํ™๋Œ€ ๋ฌธํ™”์˜ ์—ฐ์žฅ์„ ์ƒ์œผ๋กœ ์ดํ•ดํ•˜๊ณ  ์žˆ๊ธฐ ๋ณด๋‹ค๋Š” ์ƒˆ๋กœ์šด ๋ฌธํ™”๋กœ ์ธ์‹ํ•˜๊ณ  ์žˆ์Œ์„ ๋ณด์—ฌ์ค€๋‹ค. ๋„ท์งธ, ์—ฐ๋‚จ๋™์— ์ž…์ง€ํ•œ ์ฐฝ์กฐ์ธ๋ ฅ์€ ํฌ๊ฒŒ ์„ธ ๊ตฐ์ง‘์œผ๋กœ ๊ตฌ๋ถ„๋˜๋ฉฐ ๊ฐ ๊ตฐ์ง‘๋ณ„๋กœ ์ƒ์ดํ•œ ํŠน์„ฑ์„ ์ง€๋‹ˆ๊ณ  ์žˆ๋‹ค. ๊ฒฝ์šฐ, ๋ฌธํ™”์˜ˆ์ˆ ์ฐฝ์ž‘๊ณผ ๊ธฐํš์„ ์ฃผ๋กœ ํ•˜๋Š” ๊ทธ๋ฃน์œผ๋กœ ์—ฐ๋‚จ๋™์˜ ์ฐฝ์กฐ์ ์ธ ๋ถ„์œ„๊ธฐ์™€ ์ฃผ๊ฑฐ ํ™˜๊ฒฝ ๊ฐœ์„ ์„ ์„ ํ˜ธํ•˜๋ฉฐ ํ™๋Œ€์—์„œ ์ฃผ๋กœ ํ™œ๋™ํ•˜๋Š” ๊ฒƒ์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ๋‹ค. ์˜ ๊ฒฝ์šฐ, ์นดํŽ˜ ๋ฐ ์Œ์‹์ ์„ ์ฃผ๋กœ ์šด์˜ํ•˜๊ณ  ์žˆ์œผ๋ฉฐ, ์—ฐ๋‚จ๋™์˜ ์ „ํ†ต์ ์ธ ๋ฌธํ™”, ์ƒˆ๋กœ์šด ๋ฐฉ๋ฌธ๊ฐ๋“ค์˜ ์ฆ๊ฐ€, ์ฃผ๊ฑฐ ํ™˜๊ฒฝ ๊ฐœ์„ ์„ ์„ ํ˜ธํ•˜๋Š” ๊ทธ๋ฃน์ด๋‹ค. ๋งˆ์ง€๋ง‰์œผ๋กœ ์€ ์—ฐ๋‚จ๋™์— ๋Œ€ํ•œ ๋งŒ์กฑ๋„๊ฐ€ ๊ฐ€์žฅ ๋†’์€ ๊ทธ๋ฃน์œผ๋กœ ์ฃผ๋กœ ํ™๋Œ€์—์„œ ์ด์ฃผํ•ด์™”์ง€๋งŒ, ํ˜„์žฌ๋Š” ์—ฐ๋‚จ๋™์—์„œ ๊ณต์žฅ ๋“ฑ์˜ ๊ฐœ์ธ ์ž‘์—…์„ ์ฃผ๋กœ ํ•˜๋ฉฐ ์—ฐ๋‚จ๋™์˜ ์ฐฝ์กฐ์ธ๋ ฅ๋“ค๊ณผ ๊ต๋ฅ˜ํ•˜๋Š” ๊ฒƒ์„ ์ฆ๊ธฐ๋Š” ๊ทธ๋ฃน์ธ ๊ฒƒ์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ๋‹ค. ๋งˆ์ง€๋ง‰์œผ๋กœ ์—ฐ๋‚จ๋™์— ๋Œ€ํ•œ ๋งŒ์กฑ๋„์— ์˜ํ–ฅ์„ ๋ฏธ์น˜๋Š” ์š”์ธ์„ ๊ตฐ์ง‘๋ณ„๋กœ ํŒŒ์•…ํ•˜๊ธฐ ์œ„ํ•ด ํšŒ๊ท€๋ถ„์„์„ ์‹ค์‹œํ•˜์˜€๋‹ค. ์ „์ฒด ์„ค๋ฌธ ๋Œ€์ƒ์˜ ์‘๋‹ต์„ ๊ธฐ์ค€์œผ๋กœ ํšŒ๊ท€๋ถ„์„์„ ์‹ค์‹œํ•œ ๊ฒฐ๊ณผ, ๋…์ฐฝ์  ์˜์—ญ, ๊ด€์šฉ์  ์ •์„œ, ์ „ํ†ต๋ฌธํ™”, ๊ณ ์œ ํ•œ ๊ฒฝ๊ด€ํ™˜๊ฒฝ ์š”์ธ์ด ์—ฐ๋‚จ๋™์— ๋Œ€ํ•œ ๋งŒ์กฑ๋„์— ๊ธ์ •์ ์ธ ์˜ํ–ฅ์„ ๋ผ์น˜๋Š” ๊ฒƒ์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ๋‹ค. ๋ฐฉ๋ฌธ๊ฐ ์œ ์ž…๊ณผ ๊ฐœ์„ ๋œ ๊ฒฝ๊ด€ํ™˜๊ฒฝ ์š”์ธ์˜ ๊ฒฝ์šฐ ์œ ์˜๋ฏธํ•œ ๊ด€๊ณ„๊ฐ€ ์—†๋Š” ๊ฒƒ์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ๋Š”๋ฐ ์ด๋Š” ํ•ด๋‹น ์š”์ธ๋“ค์— ๋Œ€ํ•œ ์ „๋ฐ˜์ ์ธ ์„ ํ˜ธ๋„๊ฐ€ ๋‚ฎ๊ณ  ์ด ๋‘ ์š”์ธ์ด ์ฐฝ์กฐ์ง€์—ญ์˜ ํ•ต์‹ฌ์ ์ธ ํŠน์„ฑ์ด๋ผ๊ธฐ๋ณด๋‹ค๋Š” ๋ถ€์ˆ˜์ ์ธ ํŠน์ง•์ด๊ธฐ ๋•Œ๋ฌธ์ธ ๊ฒƒ์œผ๋กœ ํ•ด์„๋œ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๊ฐ ๊ตฐ์ง‘๋ณ„๋กœ ํšŒ๊ท€๋ถ„์„์„ ์‹ค์‹œํ•œ ๊ฒฐ๊ณผ, ์ „์ฒด ์„ค๋ฌธ ๋Œ€์ƒ์˜ ์‘๋‹ต์„ ๊ธฐ์ค€์œผ๋กœ ํ•œ ๋ถ„์„ ๊ฒฐ๊ณผ์™€ ํฐ ์ฐจ์ด๋ฅผ ๋ณด์˜€๋‹ค. ์šฐ์„  ์ธ ๋ฌธํ™”์˜ˆ์ˆ  ๊ด€๋ จ ์ฐฝ์กฐ์ธ๋ ฅ๋“ค์˜ ๊ฒฝ์šฐ, ํ•ต์‹ฌ์ ์ธ ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ๊ณผ ์ฐฝ์กฐ์ ์ธ ๋ถ„์œ„๊ธฐ์— ํฐ ์˜ํ–ฅ์„ ๋ฐ›๋Š” ๋ฐ˜๋ฉด, ๋‹ค๋ฅธ ๋ถ€์ˆ˜์ ์ธ ์š”์ธ๋“ค์—๋Š” ํฌ๊ฒŒ ์ขŒ์šฐ๋˜์ง€ ์•Š๋Š” ๊ฒƒ์„ ๋ณด์—ฌ์ค€๋‹ค. ๋ฐ˜๋ฉด์— ์˜ ๊ฒฝ์šฐ์—๋Š” ๋…์ฐฝ์  ์˜์—ญ, ๊ด€์šฉ์  ์ •์„œ, ๊ณ ์œ ํ•œ ๊ฒฝ๊ด€ํ™˜๊ฒฝ, ๋ฐฉ๋ฌธ๊ฐ ์œ ์ž…์ด ์—ฐ๋‚จ๋™์— ๋Œ€ํ•œ ๋งŒ์กฑ๋„์— ์˜ํ–ฅ์„ ์ฃผ๋Š” ๊ฒƒ์œผ๋กœ ํŒ๋ช…๋˜์—ˆ๋‹ค. ํŠนํžˆ ๋ฐฉ๋ฌธ๊ฐ ์œ ์ž…์š”์ธ์˜ ๊ฒฝ์šฐ ์นดํŽ˜ ๋ฐ ์Œ์‹์ ์„ ์šด์˜ํ•˜๋Š” ์ฐฝ์กฐ์ธ๋ ฅ์ด ์ฃผ๋ฅ˜๋ฅผ ์ด๋ฃจ๋Š” ํŠน์„ฑ์ด ๋ฐ˜์˜๋œ ๊ฒฐ๊ณผ๋ผ ํ•  ์ˆ˜ ์žˆ๋‹ค. ์ด๋Ÿฌํ•œ ์—ฐ๊ตฌ ๊ฒฐ๊ณผ๋ฅผ ๊ธฐ๋ฐ˜์œผ๋กœ ๋‹ค์Œ๊ณผ ๊ฐ™์€ ์‹œ์‚ฌ์ ์„ ๋„์ถœํ•˜์˜€๋‹ค. ์ฒซ์งธ, ์ฐฝ์กฐ์ธ๋ ฅ ์ง‘์ ์ง€์—ญ์€ ์ฐฝ์กฐ์ ์ธ ํ™˜๊ฒฝ์„ ํ˜•์„ฑํ•ด ๋‚ด๊ณ  ๊ถ๊ทน์ ์œผ๋กœ ์ฐฝ์กฐํ™˜๊ฒฝ์œผ๋กœ ๋ฐœ์ „ํ•˜๊ฒŒ ๋œ๋‹ค. ์ดˆ๊ธฐ์—๋Š” ์ž์—ฐ๋ฐœ์ƒ์ ์œผ๋กœ ์ƒ์„ฑ๋˜์ง€๋งŒ ์ฐฝ์กฐํ™˜๊ฒฝ์˜ ํŠน์„ฑ์ด ์ง€์—ญ์— ์ •์ฐฉํ•˜๊ธฐ ์œ„ํ•ด์„œ๋Š” ์ž์ƒ๋ ฅ์„ ๊ฐ–์ถ˜ ์„ฑ์žฅ์˜ ๋‹จ๊ณ„๋ฅผ ๊ฑฐ์ณ์•ผ ํ•œ๋‹ค. ํŠนํžˆ ๋ฌธํ™”์ ์ธ ์ฐฝ์กฐ์„ฑ๊ณผ ์ƒ์‚ฐ์„ฑ์„ ๊ฐ–์ถ”์ง€ ๋ชปํ•œ ์ฑ„ ์†Œ๋น„ ๊ณต๊ฐ„๊ณผ ์ž๋ณธ์˜ ์œ ์ž…์€ ์ด๋‚ด ๊ธ‰์†ํ•œ ์ƒ์—…ํ™”๋กœ ์ด์–ด์ ธ ์ง€์—ญ์˜ ์ฐฝ์กฐ์„ฑ๊ณผ ์‹คํ—˜์„ฑ์€ ์‚ฌ๋ผ์ง„๋‹ค. ์ž์ƒ์ ์ธ ๋ฌธํ™”์ƒํƒœ๊ณ„๋ฅผ ์ง€์—ญ์— ๋ฟŒ๋ฆฌ๋‚ด๋ฆฌ๊ณ  ์„ฑ์žฅ์˜ ๋‹จ๊ณ„๋ฅผ ์ง€๋‚˜ ์ง€์—ญ์„ ์„ฑ์ˆ™์‹œํ‚ค๊ธฐ ์œ„ํ•ด์„œ๋Š” ์ฐฝ์กฐ์ธ๋ ฅ์ด ์„ ํ˜ธํ•˜๋Š” ํ™˜๊ฒฝ๊ณผ ์ฐฝ์˜์„ฑ์„ ๋ฐœํ˜„์‹œํ‚ค๊ธฐ ์œ„ํ•œ ํ™˜๊ฒฝ์„ ๋งŒ๋“ค์–ด ๋‚ด๋Š” ๊ฒƒ์ด ์ค‘์š”ํ•˜๋‹ค. ๋‘˜์งธ, ์—ฐ๋‚จ๋™์˜ ์ฐฝ์กฐ์ธ๋ ฅ์˜ ์œ ์ž…์€ ํ™๋Œ€ ์•ž ๋ฌธํ™”์˜ ์ง€๋ฆฌ์  ์ด์ „๊ณผ ์ง„ํ™”๋กœ๋ถ€ํ„ฐ ๋น„๋กฏ๋˜์—ˆ์ง€๋งŒ ๊ถ๊ทน์ ์œผ๋กœ๋Š” ์—ฐ๋‚จ๋™๋งŒ์˜ ๊ณ ์œ ํ•œ ์ฐฝ์กฐํ™˜๊ฒฝ์„ ํ˜•์„ฑํ•˜๊ณ  ๋ฐœ์ „ํ•ด์•ผ ํ•  ๊ฒƒ์ด๋‹ค. ๋”ฐ๋ผ์„œ ์—ฐ๋‚จ๋™์— ์œ ์ž…๋œ ์ฐฝ์กฐ์ธ๋ ฅ์ด ์„ ํ˜ธํ•˜๋Š” ํ™˜๊ฒฝ์š”์ธ์„ ์ผ๋ฐ˜์ ์ธ ์š”์ธ์œผ๋กœ ์„ค๋ช…ํ•˜๊ธฐ์—๋Š” ํ•œ๊ณ„๊ฐ€ ์žˆ์œผ๋ฉฐ ์ฐฝ์กฐ์ธ๋ ฅ ๋‚ด์—์„œ๋„ ์„ ํ˜ธ์š”์ธ์ด ๋‹ค๋ฅผ ์ˆ˜ ์žˆ๋‹ค. ๋”ฐ๋ผ์„œ ํ•œ ๊ณณ์˜ ์ฐฝ์กฐ์ง€์—ญ์„ ์ดํ•ดํ•˜๊ธฐ ์œ„ํ•ด์„œ๋Š” ๋‹ค๊ฐ์ ์ด๊ณ  ๋ณตํ•ฉ์ ์ธ ์ ‘๊ทผ ๋ฐฉ์‹์ด ํ•„์š”ํ•˜๋‹ค. ์ฐฝ์กฐํ™˜๊ฒฝ์˜ ์กฐ์„ฑ์€ ๋‹ค์–‘ํ•œ ์š”์ธ ๊ฐ„ ์ƒํ˜ธ์ž‘์šฉ์˜ ๊ฒฐ๊ณผ๋กœ ๋‚˜ํƒ€๋‚˜๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ์…‹์งธ, ๋‹ค์–‘ํ•œ ์ฐฝ์กฐ์ธ๋ ฅ ๊ทธ๋ฃน ๊ฐ„์˜ ํŠน์„ฑ ์ฐจ์ด์™€ ๊ด€๊ณ„์— ๋Œ€ํ•œ ์ดํ•ด๊ฐ€ ํ•„์š”ํ•˜๋‹ค. ๋ณธ ์—ฐ๊ตฌ์˜ ๊ฒฐ๊ณผ๋ฅผ ํ†ตํ•ด ๋“œ๋Ÿฌ๋‚ฌ๋“ฏ์ด ์—ฐ๋‚จ๋™์—๋Š” ์„ธ ๊ตฐ์ง‘์˜ ์ฐฝ์กฐ์ธ๋ ฅ์ด ์กด์žฌํ•˜๋ฉฐ ์ด๋“ค์ด ์—ฐ๋‚จ๋™์— ๊ฑฐ์ฃผํ•˜๋Š” ์ด์œ ์™€ ์—ฐ๋‚จ๋™์— ๋งค๋ ฅ์„ ๋Š๋ผ๋Š” ์š”์†Œ์—๋Š” ํฐ ์ฐจ์ด๊ฐ€ ์กด์žฌํ•œ๋‹ค. ๋” ๋‚˜์•„๊ฐ€ ๊ฐ ๊ทธ๋ฃน ๊ฐ„์—์„œ๋Š” ์ƒ์ถฉํ•˜๋Š” ๊ฐ€์น˜๋ฅผ ์ถ”๊ตฌํ•˜๋Š” ๊ฒฝ์šฐ๋„ ์žˆ์Œ์„ ํ™•์ธํ•  ์ˆ˜ ์žˆ๋‹ค. ๋”ฐ๋ผ์„œ ํ•œ ๊ณณ์˜ ์ฐฝ์กฐ์ง€์—ญ์ด ์ง€์†์ ์œผ๋กœ ์„ฑ์žฅํ•˜๊ณ  ํ™•์žฅํ•ด ๋‚˜๊ฐ€๊ธฐ ์œ„ํ•ด์„œ๋Š” ๊ฐ ๊ทธ๋ฃน์ด ์ƒํ˜ธ๋ณด์™„์ ์ธ ๊ด€๊ณ„๋กœ ์„ฑ์žฅํ•˜๊ณ  ๋” ์ฐฝ์กฐ์ ์ธ ๊ฒฐ๊ณผ๋ฌผ์„ ๋‚ด๋†“์„ ์ˆ˜ ์žˆ๋„๋ก ์ œ๋„์ /์ •์ฑ…์  ์ง€์›์ด ํ•„์š”ํ•˜๋‹ค.A creative milieu appears in a complex system of social, cultural and emotional elements beyond the physical environment. In particular, there are certain factors in a creative milieu preferred by creative class, which has something in common with the importance of geographical factors of creativity - the importance of a place where creativity arises and information is exchanged. Historically, the areas where creative class is highly concentrated were found to be closely related to certain periods or under conditions. A high concentration of creativity that emerges in certain periods and places is based on the environment where creative class, creative outcomes, and creative processes are organically connected, and the characteristics of such places make up a creative milieu. The study, looking at high population densities of creative class in certain places, aimed to identify the correlation between creative class and a creative milieu, and regional preference factors of creative class. In addition, the study is to examine the characteristics of a creative milieu based on the regional preference factors of creative class, and to reveal the correlation among the constituents of a creative milieu according to the characteristics of creative class in a place. In particular, for practical study on the characteristics of a creative milieu, Yeonnam-dong, Seoul, was selected as a research subject, which has continuously attracted creative class since 2008. From the results of the study, the implications were suggested for developing Yeonnam-dong as a unique, creative milieu and sustainable environment. As for the methodology, the study found the constituents through in-depth interviews about the characteristics of a creative milieu of Yeonnam-dong on the creative class living in the area and conducted another survey based on the interviews. As a result, 30 variables were drawn and categorized into 8 factors, and compared for analysis with 5 general factors comprising a creative milieu. The study named factors originality, emotional tolerance, traditional culture, distinctive landscape, visitor influx, supporting base, improved landscape, and the Hongdae area culture, respectively. Based on the factors, creative class was divided into some groups to compare regional preference factors and satisfaction for each group. Finally, the implications were drawn by comparing the similarities and differences in the characteristics of general creative milieu and Yeonnam-dong, and the results are as follows. First, Yeonnam-dong was found to have the unique creative milieu characteristics through the comparison of the factors of a general creative milieu with those of Yeonnam-dong. Among the factors of a general creative milieu, originality, emotional tolerance, and network showed a strong presence in the creative milieu characteristics of Yeonnam-dong. On the other hand, distinctive characteristics found in the area are the factors such as traditional culture, distinctive landscape, and improved landscape, all of which, in general, belong to the cultural environment factor. Second, deviation was found among respective factors that constitute the creative milieu of Yeonnam-dong. That is, the creative milieu characteristics of Yeonnam-dong had the factors showing strong and weak characteristics. The general creative milieu factors, originality, and network, work as the most essential preference factors combined with originality, the key of the creative milieu characteristics of Yeonnam-dong. In other words, originality has been selected the most preferred creative milieu characteristic in all groups, which is followed by emotional tolerance. The factor that shows the lowest reliability and has no significance in Yeonnam-dong is supporting base with a marketplace function. Third, preferences and deviations of creative class were found among the factors comprising a creative milieu. As a result of the analysis of 30 factors of a creative milieu based on preference, the factors were divided into 4 groups. The sub-divided factors that the group with high preference and low deviation has are those with shared preference of a majority of the creative class of Yeonnam-dong, which can be interpreted as a key characteristic of the creative milieu of the area. On the other hand, the group with low preference and low deviation has a factor of location influenced by the Hondae area culture, which most survey respondents thought negatively of. This shows that a majority of the creative class of Yeonnam-dong perceives the place as a new culture than as an extension of the Hongdae area culture. Fourth, the creative class in Yeonnam-dong is categorized into three groups with different characteristics. The , mainly cultural artists and directors, were found to prefer the creative atmosphere and improved residential environment, and to work in the Hongdae area. Most run a cafe or a restaurant, and prefer traditional culture, increase of new visitors, and improved residential environment of Yeonnam-dong. Finally, the who show the highest satisfaction with the area, have moved from the Hongdae area and worked in personal workplace. They also have enjoyed interactions with the creative class in Yeonnam-dong. Lastly, regression analysis was conducted to identify the factors influencing satisfaction with Yeonnam-dong by each group. The result of the analysis based on the responses of the entire respondents of the survey indicated that the factors, originality, emotional tolerance, traditional culture, and distinctive landscape had positive influence on satisfaction with the area. However, the factors, visitor influx, and improved landscape showed no significance, which might be attributed to the fact that these factors have overall low preference and are the characteristics that are secondary rather than primary. However, the result of regression analysis by group showed a large difference compared with the result of the analysis based on the responses of the entire respondents of the survey. The Dynamic Environment Seekers, the creative workers involved in the cultural arts, are heavily influenced by essential characteristics of a creative milieu and creative atmosphere, but not so by other secondary factors. On the other hand, as for the Traditional Culture Seekers, originality, emotional tolerance, distinctive landscape, and visitor influx were proved to influence satisfaction with Yeonnam-dong. In particular, the influence of the visitor influx might be attributed to the fact that the group mainly consists of creative workers who run a cafรฉ or a restaurant. Based on the results of the study, the following implications were suggested: First, a place with a high concentration of creative class creates a creative environment and evolves into a creative milieu eventually. While it appears spontaneously in the initial stage, such a place has to go through a growth stage with self-sustainability to have the characteristics of a creative milieu. The influx of consumption space and capital without cultural creativity and productivity leads to rapid commercialization, resulting in the disappearance of creativity and productivity from the area. To have self-sustainable cultural ecosystem deeply rooted in a place, and mature the place after a growth stage, it is important to create an environment which is preferred by creative class and in which creativity is developed. Second, although the inflow of creative class into Yeonnam-dong originated from geographical relocation and evolution of the culture of the Hongdae area, it would be necessary to create and develop a creative environment specific to Yeonnam-dong. To explain environmental factors preferred by the creative class in Yeonnam-dong based on general factors has limitations, and preference factors can vary within the creative class. Therefore, to understand a creative milieu, a complex, multilateral approach is required, as a creative milieu results from interactions among various factors. Third, it is necessary to understand difference in the characteristics and relations between the creative class groups. As shown in the study results, three groups of creative class reside in Yeonnam-dong and there are huge differences in the reasons why they live in the area and the factors that they find attractive about the area. Furthermore, it was identified that the groups pursue different and mutually conflicting values. Therefore, for continuous growth and expansion of a creative milieu, institutional/political support would be required for the each group to build a complementary relationship with each other and to produce more creative outcomes.์ œ1์žฅ ์„œ ๋ก  11 ์ œ1์ ˆ. ์—ฐ๊ตฌ์˜ ๋ฐฐ๊ฒฝ ๋ฐ ๋ชฉ์  11 1. ์—ฐ๊ตฌ์˜ ๋ฐฐ๊ฒฝ 11 2. ์—ฐ๊ตฌ์˜ ๋ชฉ์  13 ์ œ2์ ˆ. ์—ฐ๊ตฌ์˜ ๋‚ด์šฉ ๋ฐ ๋ฐฉ๋ฒ• 15 1. ์—ฐ๊ตฌ์˜ ๋‚ด์šฉ 15 2. ์—ฐ๊ตฌ์˜ ๋ฐฉ๋ฒ• 17 3. ์—ฐ๊ตฌ์˜ ๋Œ€์ƒ ๋ฐ ๋ฒ”์œ„ 19 ์ œ2์žฅ ์ฐฝ์กฐ์ธ๋ ฅ๊ณผ ์ฐฝ์กฐํ™˜๊ฒฝ ์ด๋ก ์  ๊ณ ์ฐฐ 24 ์ œ1์ ˆ. ์ฐฝ์กฐ์ธ๋ ฅ๊ณผ ์ฐฝ์กฐํ™˜๊ฒฝ ๋“ฑ์žฅ ๋ฐฐ๊ฒฝ 24 ์ œ2์ ˆ ์ฐฝ์กฐ์ธ๋ ฅ ์ด๋ก ์  ๋ฐฐ๊ฒฝ 25 1. ์ฐฝ์˜์„ฑ ๊ฐœ๋… ํ™•๋Œ€ 26 2. ์ธ์ ์ž๋ณธ๊ณผ ์ฐฝ์กฐ์ธ๋ ฅ 29 3. ์ฐฝ์กฐ์ž๋ณธ๊ณผ ์ฐฝ์กฐ๊ณ„์ธต 35 ์ œ3์ ˆ ์ฐฝ์กฐํ™˜๊ฒฝ ์ด๋ก ์  ๋ฐฐ๊ฒฝ 36 1. ์ฐฝ์˜์„ฑ ๋ฐœํ˜„ ํ™˜๊ฒฝ 36 2. ์ฐฝ์กฐํ™˜๊ฒฝ ๊ฐœ๋… ๋ฐ ์œ ํ˜• (๋ฏธ์‹œ์  ๊ด€์ ) 41 3. ์ฐฝ์กฐํ™˜๊ฒฝ ๊ฐœ๋… ๋ฐ ์‹œ๊ฐ (๊ฑฐ์‹œ์  ๊ด€์ ) 46 ์ œ4์ ˆ. ๋ถ„์„์˜ ํ‹€ 55 1. ๊ฐœ๋… ๋ฐ ์šฉ์–ด์˜ ์ •๋ฆฌ 55 2. ์ฐฝ์กฐํ™˜๊ฒฝ ๊ตฌ์„ฑ์š”์ธ 59 ์ œ3์žฅ ์—ฐ๋‚จ๋™ ์ฐฝ์กฐ์ธ๋ ฅ ์œ ์ž…๋ฐฐ๊ฒฝ ๋ฐ ํ˜„ํ™ฉ 68 ์ œ1์ ˆ. ์—ฐ๋‚จ๋™ ์ผ๋ฐ˜ ํ˜„ํ™ฉ 68 1, ์—ฐ๋‚จ๋™ ์—ญ์‚ฌ์  ๋ณ€์ฒœ ๋ฐ ํ† ์ง€์ด์šฉ ๋ณ€ํ™” 68 2. ๊ฑฐ์ฃผ๋ฏผ ํ˜„ํ™ฉ ๋ฐ ํŠน์„ฑ 71 3. ์—ฐ๋‚จ๋™ ๋„์‹œ๊ธฐ๋ฐ˜ ์—ฌ๊ฑด ๋ฐ ๊ฐœ๋ฐœ๊ณ„ํš 75 ์ œ2์ ˆ ์—ฐ๋‚จ๋™ ์ฐฝ์กฐ์ธ๋ ฅ ํ˜„ํ™ฉ ๋ฐ ํŠน์„ฑ 80 1. ์—ฐ๋‚จ๋™ ์ฐฝ์กฐ์ธ๋ ฅ ์œ ์ž… ๋ฐฐ๊ฒฝ 80 2. ์—ฐ๋‚จ๋™ ์ฐฝ์กฐ์ธ๋ ฅ ํ˜„ํ™ฉ ๋ฐ ํŠน์„ฑ 93 ์ œ4์žฅ ์—ฐ๋‚จ๋™ ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ ๋ฐ ์š”์†Œ 108 ์ œ1์ ˆ. ์—ฐ๋‚จ๋™ ์ฐฝ์กฐํ™˜๊ฒฝ ์š”์†Œ ๋„์ถœ 108 1, ์กฐ์‚ฌ๊ฐœ์š” ๋ฐ ๋ฐฉ๋ฒ• 108 2. ์กฐ์‚ฌ๋Œ€์ƒ 108 ์ œ2์ ˆ. ์—ฐ๋‚จ๋™ ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ ์š”์†Œ 110 1. ์—ฐ๋‚จ๋™ ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ์„ ์ด๋ฃจ๋Š” ๊ตฌ์„ฑ์š”์†Œ 110 2. ์†Œ๊ฒฐ 144 ์ œ5์žฅ ์—ฐ๋‚จ๋™ ์ฐฝ์กฐ์ธ๋ ฅ์˜ ์ง€์—ญ ์„ ํ˜ธ์š”์ธ ๋ถ„์„๊ณผ ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ 146 ์ œ1์ ˆ. ์ฐฝ์กฐ์ธ๋ ฅ ์ง€์—ญ ์„ ํ˜ธ์š”์ธ ์กฐ์‚ฌ 146 1. ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ ์กฐ์‚ฌ 146 2. ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ ๋ถ„์„ 149 ์ œ2์ ˆ. ์—ฐ๋‚จ๋™ ์ฐฝ์กฐ์ธ๋ ฅ ์ง€์—ญ ์„ ํ˜ธ์š”์ธ๊ณผ ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ 152 1. ์„ค๋ฌธ ์‘๋‹ต์ž์˜ ์ผ๋ฐ˜ ํŠน์„ฑ 152 2. ์—ฐ๋‚จ๋™ ์ฐฝ์กฐํ™˜๊ฒฝ ์š”์ธ๋ถ„์„ 154 3. ์—ฐ๋‚จ๋™ ์ฐฝ์กฐ์ธ๋ ฅ ๊ตฐ์ง‘๋ถ„์„ 162 ์ œ 3์ ˆ. ์†Œ๊ฒฐ ๋ฐ ์‹œ์‚ฌ์  168 ์ œ6์žฅ ๊ฒฐ ๋ก  170 ์ œ1์ ˆ ์—ฐ๊ตฌ๊ฒฐ๊ณผ ์š”์•ฝ 170 ์ œ2์ ˆ. ์—ฐ๊ตฌ์˜ ํ•จ์˜ ๋ฐ ์‹œ์‚ฌ์  176 [๋ถ€๋ก 1] ์‹ฌ์ธต๋ฉด์ ‘ ์งˆ๋ฌธ์ง€ 186 [๋ถ€๋ก 2] ์—ฐ๋‚จ๋™ ์ฐฝ์กฐํ™˜๊ฒฝ ํŠน์„ฑ์ธ์‹ ์„ค๋ฌธ์ง€ 189 [๋ถ€๋ก 3] ์ธํ„ฐ๋ทฐ ์ข…ํ•ฉ๋ถ„์„ 198 ABSTRACT 212Docto

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