°£Æí°áÁ¦, ½Å¿ëÄ«µå û±¸ÇÒÀÎ
ÀÎÅÍÆÄÅ© ·Ôµ¥Ä«µå 5% (12,110¿ø)
(ÃÖ´ëÇÒÀÎ 10¸¸¿ø / Àü¿ù½ÇÀû 40¸¸¿ø)
ºÏÇǴϾð ·Ôµ¥Ä«µå 30% (8,920¿ø)
(ÃÖ´ëÇÒÀÎ 3¸¸¿ø / 3¸¸¿ø ÀÌ»ó °áÁ¦)
NH¼îÇÎ&ÀÎÅÍÆÄÅ©Ä«µå 20% (10,200¿ø)
(ÃÖ´ëÇÒÀÎ 4¸¸¿ø / 2¸¸¿ø ÀÌ»ó °áÁ¦)
Close

Made to Stick : Why Some Ideas Survive and Others Die

¼Òµæ°øÁ¦

2013³â 9¿ù 9ÀÏ ÀÌÈÄ ´©Àû¼öÄ¡ÀÔ´Ï´Ù.

ÆǸÅÁö¼ö 169
?
ÆǸÅÁö¼ö¶õ?
»çÀÌÆ®ÀÇ ÆǸŷ®¿¡ ±â¹ÝÇÏ¿© ÆǸŷ® ÃßÀ̸¦ ¹Ý¿µÇÑ ÀÎÅÍÆÄÅ© µµ¼­¿¡¼­ÀÇ µ¶¸³ÀûÀÎ ÆǸŠÁö¼öÀÔ´Ï´Ù. ÇöÀç °¡Àå Àß Æȸ®´Â »óÇ°¿¡ °¡ÁßÄ¡¸¦ µÎ¾ú±â ¶§¹®¿¡ ½ÇÁ¦ ´©Àû ÆǸŷ®°ú´Â ´Ù¼Ò Â÷ÀÌ°¡ ÀÖÀ» ¼ö ÀÖ½À´Ï´Ù. ÆǸŷ® ¿Ü¿¡µµ ´Ù¾çÇÑ °¡ÁßÄ¡·Î ±¸¼ºµÇ¾î ÃÖ±ÙÀÇ À̽´µµ¼­ È®Àνà À¯¿ëÇÒ ¼ö ÀÖ½À´Ï´Ù. ÇØ´ç Áö¼ö´Â ¸ÅÀÏ °»½ÅµË´Ï´Ù.
Close
°øÀ¯Çϱâ
Á¤°¡

16,800¿ø

  • 12,740¿ø (24%ÇÒÀÎ)

    390P (3%Àû¸³)

ÇÒÀÎÇýÅÃ
Àû¸³ÇýÅÃ
  • S-Point Àû¸³Àº ¸¶ÀÌÆäÀÌÁö¿¡¼­ Á÷Á¢ ±¸¸ÅÈ®Á¤ÇϽŠ°æ¿ì¸¸ Àû¸³ µË´Ï´Ù.
Ãß°¡ÇýÅÃ
¹è¼ÛÁ¤º¸
  • 4/19(±Ý) À̳» ¹ß¼Û ¿¹Á¤  (¼­¿ï½Ã °­³²±¸ »ï¼º·Î 512)
  • ¹è¼Ûºñ : 2,500¿ø
ÁÖ¹®¼ö·®
°¨¼Ò Áõ°¡
  • À̺¥Æ®/±âȹÀü

  • ¿¬°üµµ¼­

  • »óÇ°±Ç

AD

ÃâÆÇ»ç ¼­Æò

¡°Made to Stick summons plenty of brain science, social history, and behavioral psychology to explain what makes an idea winning and memorable¡ªand the Heaths do the telling with beautiful clarity.¡±¡ªThe Christian Science Monitor

¡°Utterly compelling.¡±¡ªLos Angeles Times

¡°Surprising and provocative.¡±¡ªThe New York Sun

¡°Savvy.¡±¡ªPeople

¡°Fun to read and solidly researched.¡±¡ªPublishers Weekly (starred review)

º»¹®Áß¿¡¼­

I I N T R O D U C T I O N

WHAT STICKS?

A friend of a friend of ours is a frequent business traveler. Let¡¯s call him Dave. Dave was recently in Atlantic City for an important meeting with clients. Afterward, he had some time to kill before his flight, so he went to a local bar for a drink.
He¡¯d just finished one drink when an attractive woman approached and asked if she could buy him another. He was surprised but flattered. Sure, he said. The woman walked to the bar and brought back two more drinks¡ªone for her and one for him. He thanked her and took a sip. And that was the last thing he remembered.
Rather, that was the last thing he remembered until he woke up, disoriented, lying in a hotel bathtub, his body submerged in ice.
He looked around frantically, trying to figure out where he was and how he got there. Then he spotted the note: don¡¯t move. call 911.
A cell phone rested on a small table beside the bathtub. He picked it up and called 911, his fingers numb and clumsy from the ice. The operator seemed oddly familiar with his situation. She said, ¡°Sir, I want you to reach behind you, slowly and carefully. Is there a tube protruding from your lower back?¡±
Anxious, he felt around behind him. Sure enough, there was a tube.
The operator said, ¡°Sir, don¡¯t panic, but one of your kidneys has been harvested. There¡¯s a ring of organ thieves operating in this city, and they got to you. Paramedics are on their way. Don¡¯t move until they arrive.¡±

You¡¯ve just read one of the most successful urban legends of the past fifteen years. The first clue is the classic urban-legend opening: ¡°A friend of a friend . . .¡± Have you ever noticed that our friends¡¯ friends have much more interesting lives than our friends themselves?
You¡¯ve probably heard the Kidney Heist tale before. There are hundreds of versions in circulation, and all of them share a core of three elements: (1) the drugged drink, (2) the ice-filled bathtub, and (3) the kidney-theft punch line. One version features a married man who receives the drugged drink from a prostitute he has invited to his room in Las Vegas. It¡¯s a morality play with kidneys.
Imagine that you closed the book right now, took an hourlong break, then called a friend and told the story, without rereading it. Chances are you could tell it almost perfectly. You might forget that the traveler was in Atlantic City for ¡°an important meeting with clients¡±¡ªwho cares about that? But you¡¯d remember all the important stuff.
The Kidney Heist is a story that sticks. We understand it, we remember it, and we can retell it later. And if we believe it¡¯ s true, it might change our behavior permanently¡ªat least in terms of accepting drinks from attractive strangers.
Contrast the Kidney Heist story with this passage, drawn from a paper distributed by a nonprofit organization. ¡°Comprehensive community building naturally lends itself to a return-on-investment rationale that can be modeled, drawing on existing practice,¡± it begins, going on to argue that ¡°[a] factor constraining the flow of resources to CCIs is that funders must often resort to targeting or categorical requirements in grant making to ensure accountability.¡±
Imagine that you closed the book right now and took an hourlong break. In fact, don¡¯t even take a break; just call up a friend and retell that passage without rereading it. Good luck.
Is this a fair comparison¡ªan urban legend to a cherry-picked bad passage? Of course not. But here¡¯s where things get interesting: Think of our two examples as two poles on a spectrum of memorability. Which sounds closer to the communications you encounter at work? If you¡¯re like most people, your workplace gravitates toward the nonprofit pole as though it were the North Star.
Maybe this is perfectly natural; some ideas are inherently interesting and some are inherently uninteresting. A gang of organ thieves¡ªinherently interesting! Nonprofit financial strategy¡ªinherently uninteresting! It¡¯s the nature versus nurture debate applied to ideas: Are ideas born interesting or made interesting?
Well, this is a nurture book.
So how do we nurture our ideas so they¡¯ll succeed in the world? Many of us struggle with how to communicate ideas effectively, how to get our ideas to make a difference. A biology teacher spends an hour explaining mitosis, and a week later only three kids remember what it is. A manager makes a speech unveiling a new strategy as the staffers nod their heads enthusiastically, and the next day the frontline employees are observed cheerfully implementing the old one.
Good ideas often have a hard time succeeding in the world. Yet the ridiculous Kidney Heist tale keeps circulating, with no resources whatsoever to support it.
Why? Is it simply because hijacked kidneys sell better than other topics? Or is it possible to make a true, worthwhile idea circulate as effectively as this false idea?

The Truth About Movie Popcorn

Art Silverman stared at a bag of movie popcorn. It looked out of place sitting on his desk. His office had long since filled up with fake-butter fumes. Silverman knew, because of his organization¡¯ s research, that the popcorn on his desk was unhealthy. Shockingly unhealthy, in fact. His job was to figure out a way to communicate this message to the unsuspecting moviegoers of America.
Silverman worked for the Center for Science in the Public Interest (CSPI), a nonprofit group that educates the public about nutrition. The CSPI sent bags of movie popcorn from a dozen theaters in three major cities to a lab for nutritional analysis. The results surprised everyone.
The United States Department of Agriculture (USDA) recommends that a normal diet contain no more than 20 grams of saturated fat each day. According to the lab results, the typical bag of popcorn had 37 grams.
The culprit was coconut oil, which theaters used to pop their popcorn. Coconut oil had some big advantages over other oils. It gave the popcorn a nice, silky texture, and released a more pleasant and natural aroma than the alternative oils. Unfortunately, as the lab results showed, coconut oil was also brimming with saturated fat.
The single serving of popcorn on Silverman¡¯s desk¡ªa snack someone might scarf down between meals¡ªhad nearly two days¡¯ worth of saturated fat. And those 37 grams of saturated fat were packed into a medium-sized serving of popcorn. No doubt a decentsized bucket could have cleared triple digits.
The challenge, Silverman realized, was that few people know what ¡°37 grams of saturated fat¡± means. Most of us don¡¯t memorize the USDA¡¯s daily nutrition recommendations. Is 37 grams good or bad? And even if we have an intuition that it¡¯s bad, we¡¯d wonder if it was ¡°bad bad¡± (like cigarettes) or ¡°normal bad¡± (like a cookie or a milk shake).
Even the phrase ¡°37 grams of saturated fat¡± by itself was enough to cause most people¡¯s eyes to glaze over. ¡°Saturated fat has zero appeal,¡± Silverman says. ¡°It¡¯s dry, it¡¯s academic, who cares?¡±
Silverman could have created some kind of visual comparison¡ª perhaps an advertisement comparing the amount of saturated fat in the popcorn with the USDA¡¯ s recommended daily allowance. Think of a bar graph, with one of the bars stretching twice as high as the other.
But that was too scientific somehow. Too rational. The amount of fat in this popcorn was, in some sense, not rational. It was ludicrous. The CSPI needed a way to shape the message in a way that fully communicated this ludicrousness.
Silverman came up with a solution.

CSPI called a press conference on September 27, 1992. Here¡¯s the message it presented: ¡°A medium-sized ¡®butter¡¯ popcorn at a typical neighborhood movie theater contains more artery-clogging fat than a bacon-and-eggs breakfast, a Big Mac and fries for lunch, and a steak dinner with all the trimmings¡ªcombined!¡±
The folks at CSPI didn¡¯t neglect the visuals¡ªthey laid out the full buffet of greasy food for the television cameras. An entire day¡¯ s worth of unhealthy eating, displ

Ã¥¼Ò°³

¹Ì±¹ÀÇ À¯¸íÇÑ ¼Ò¼³°¡ ¸¶Æ® Æ®¿þÀÎÀÌ ¸»Çϱ⸦ 'Áø½ÇÀÌ ½Ãµ¿À» °É±âµµ Àü¿¡, °ÅÁþÀº Áö±¸¸¦ ¹Ý ¹ÙÄû µ¹ ¼ö ÀÖÀ» °ÍÀÌ´Ù.'¶ó°í Çß½À´Ï´Ù.

¿ì¸® ÀÏ»óÀÇ °¢Á¾ À̾߱âµé, µµ½Ã ±«´ã, À½¸ðÀÌ·Ð, È®ÀεÇÁö ¾ÊÀº °Ç°­ °ü·Ã °øÆ÷ µîÀÌ »ç¶÷µé »çÀÌ¿¡¼­ ½±»ç¸® ÆÛÁ® ³ª°¡´Â °ÍÀ» º¸¸é ¸¶Å© Æ®¿þÀÎÀÇ ±×·¯ÇÑ °üÂûÀº Àϸ®°¡ ÀÖ´Ù°í ÇÒ ¼ö ÀÖ½À´Ï´Ù. ¹Ý¸é¿¡ Áß¿äÇÑ '»ý°¢, ÀÇ°ß'À» °¡Áö°í »ç¶÷µé¿¡°Ô ÀüÇÏ°íÀÚ ÇÏ´Â »ç¾÷°¡, ±³»ç, Á¤Ä¡ÀÎ, Àú³Î¸®½ºÆ® µîÀÇ ³ë·ÂÀº ¸î ¹è·Î ¾î·Æ´Ù°í ÇÕ´Ï´Ù.
±×·¸´Ù¸é ¿Ö »ç¶÷µéÀº ¾î¶² ÀÇ°ß¿¡ ¿­±¤ÇÏ°í ¾î¶² °Í¿¡´Â °ü½ÉÀÌ ¾ø´Â °ÍÀϱî? ¾î¶»°Ô ÇÏ¸é °¡Ä¡ ÀÖ´Â ÀÇ°ßµéÀÌ »ç¶÷µé¿¡°Ô º¸´Ù ³Î¸® ÀüÆĵǵµ·Ï ÇÒ ¼ö ÀÖÀ»±î?

º» Ã¥À» ÅëÇØ µÎ ÀúÀÚ´Â ÀÌ·¯ÇÑ Áú¹®¿¡ Âø¾ÈÇÏ¿© »ç¶÷µéÀÇ ±â¾ï¿¡ º§Å©·Î (Àϸí: ÂïÂïÀÌ)ó·³ ´Þ¶ó ºÙ¾î ±â¾ïÇϵµ·Ï ¸¸µå´Â '»ý°¢, ÀÇ°ß'À» ÇغÎÇÕ´Ï´Ù.

'Made to Stick'Àº ¿©·¯ºÐÀÌ »ý°¢À̳ª ÀÇ°ßÀ» ±³È¯ÇÏ´Â ¹æ¹ýÀ» ¹Ù²Ü °ÍÀÔ´Ï´Ù.

Mark Twain once observed, ¡°A lie can get halfway around the world before the truth can even get its boots on.¡± His observation rings true: Urban legends, conspiracy theories, and bogus public-health scares circulate effortlessly. Meanwhile, people with important ideas?business people, teachers, politicians, journalists, and others - struggle to make their ideas ¡°stick.¡±

Why do some ideas thrive while others die? And how do we improve the chances of worthy ideas? In Made to Stick, accomplished educators and idea collectors Chip and Dan Heath tackle head-on these vexing questions. Inside, the brothers Heath reveal the anatomy of ideas that stick and explain ways to make ideas stickier, such as applying the ¡°human scale principle,¡± using the ¡°Velcro Theory of Memory,¡± and creating ¡°curiosity gaps.¡±

In this indispensable guide, we discover that sticky messages of all kinds?from the infamous ¡°kidney theft ring¡± hoax to a coach¡¯s lessons on sportsmanship to a vision for a new product at Sony - draw their power from the same six traits.

Made to Stick is a book that will transform the way you communicate ideas. It¡¯s a fast-paced tour of success stories (and failures) - the Nobel Prize-winning scientist who drank a glass of bacteria to prove a point about stomach ulcers; the charities who make use of ¡°the Mother Teresa Effect¡±; the elementary-school teacher whose simulation actually prevented racial prejudice. Provocative, eye-opening, and often surprisingly funny, Made to Stick shows us the vital principles of winning ideas - and tells us how we can apply these rules to making our own messages stick.

NEW YORK TIMES BESTSELLER * The instant classic about why some ideas thrive, why others die, and how to improve your idea¡¯s chances-essential reading in the ¡°fake news¡± era.

Mark Twain once observed, ¡°A lie can get halfway around the world before the truth can even get its boots on.¡± His observation rings true: Urban legends, conspiracy theories, and bogus news stories circulate effortlessly. Meanwhile, people with important ideas-entrepreneurs, teachers, politicians, and journalists-struggle to make them ¡°stick.¡±

In Made to Stick, Chip and Dan Heath reveal the anatomy of ideas that stick and explain ways to make ideas stickier, such as applying the human scale principle, using the Velcro Theory of Memory, and creating curiosity gaps. Along the way, we discover that sticky messages of all kinds-from the infamous ¡°kidney theft ring¡± hoax to a coach¡¯s lessons on sportsmanship to a vision for a new product at Sony-draw their power from the same six traits.

Made to Stick will transform the way you communicate. It¡¯s a fast-paced tour of success stories (and failures): the Nobel Prize-winning scientist who drank a glass of bacteria to prove a point about stomach ulcers; the charities who make use of the Mother Teresa Effect; the elementary-school teacher whose simulation actually prevented racial prejudice.

Provocative, eye-opening, and often surprisingly funny, Made to Stick shows us the vital principles of winning ideas-and tells us how we can apply these rules to making our own messages stick.

°ü·ÃÀ̹ÌÁö

ÀúÀÚ¼Ò°³

Ĩ È÷½º [Àú] ½ÅÀ۾˸² SMS½Åû
»ý³â¿ùÀÏ -

±Ý¼¼±â ÃÖ°íÀÇ Á¶Á÷Çൿ·Ð Àü¹®°¡. ½ºÅÄÆ÷µå´ë °æ¿µ´ëÇпø Á¶Á÷Çൿ·Ð ±³¼ö. ½ÃÄ«°í´ë °æ¿µ´ëÇпø°ú µàÅ©´ë °æ¿µÇаú ±³¼ö¸¦ ¿ªÀÓÇß´Ù. ¹Ì±¹ ÃÖ°í ¸í¹® Áß ÇϳªÀÎ Åػ罺A&M´ëÇб³¿¡¼­ °æ¿µ°øÇÐÀ» ¹è¿î ÈÄ ½ºÅÄÆ÷µå´ë¿¡¼­ ½É¸®ÇÐÀ¸·Î ¹Ú»çÇÐÀ§¸¦ ¹ÞÀº À̷¿¡¼­ ¾Ë ¼ö ÀÖµíÀÌ, Àΰ£½É¸® ºÐ¼®À» ¹ÙÅÁÀ¸·Î ÇöÀå¿¡¼­ º¸´Ù ³ªÀº ¼±Åðú º¯È­¸¦ À̲ø¾î³»´Â 'Çൿ¼³°è'¶ó´Â »õ·Î¿î ºÐ¾ß¿¡ ÁÖ¸ñÇÏ°í ÀÖ´Ù. ´ëÇп¡¼± ÁÖ·Î Á¶Á÷Çൿ, Çù»ó, Àü·«, »çȸÀû ±â¾÷ µî¿¡ ´ëÇØ °­ÀÇÇϸç, ¸¶ÀÌÅ©·Î¼ÒÇÁÆ®¿Í ³ªÀÌÅ° µî ±Û·Î¹ú ±â¾÷µéÀÇ ÄÁ¼³ÆÃÀ» ¸Ã°í ÀÖ´Ù. 'ÀÎÁö½É¸®ÇÐ', '½É¸®°úÇÐ', 'Á¶

ÆîÃ帱â

ÀúÀÚÀÇ ´Ù¸¥Ã¥

Àüüº¸±â
Heath, Dan [Àú] ½ÅÀ۾˸² SMS½Åû
»ý³â¿ùÀÏ -

ÇØ´çÀÛ°¡¿¡ ´ëÇÑ ¼Ò°³°¡ ¾ø½À´Ï´Ù.

°æÁ¦°æ¿µ/Àι®»çȸ ºÐ¾ß¿¡¼­ ¸¹Àº ȸ¿øÀÌ ±¸¸ÅÇÑ Ã¥

    ¸®ºä

    8.0 (ÃÑ 0°Ç)

    100ÀÚÆò

    ÀÛ¼º½Ã À¯ÀÇ»çÇ×

    ÆòÁ¡
    0/100ÀÚ
    µî·ÏÇϱâ

    100ÀÚÆò

    10.0
    (ÃÑ 0°Ç)

    ÆǸÅÀÚÁ¤º¸

    • ÀÎÅÍÆÄÅ©µµ¼­¿¡ µî·ÏµÈ ¿ÀǸ¶ÄÏ »óÇ°Àº ±× ³»¿ë°ú Ã¥ÀÓÀÌ ¸ðµÎ ÆǸÅÀÚ¿¡°Ô ÀÖÀ¸¸ç, ÀÎÅÍÆÄÅ©µµ¼­´Â ÇØ´ç »óÇ°°ú ³»¿ë¿¡ ´ëÇØ Ã¥ÀÓÁöÁö ¾Ê½À´Ï´Ù.

    »óÈ£

    (ÁÖ)±³º¸¹®°í

    ´ëÇ¥ÀÚ¸í

    ¾Èº´Çö

    »ç¾÷ÀÚµî·Ï¹øÈ£

    102-81-11670

    ¿¬¶ôó

    1544-1900

    ÀüÀÚ¿ìÆíÁÖ¼Ò

    callcenter@kyobobook.co.kr

    Åë½ÅÆǸž÷½Å°í¹øÈ£

    01-0653

    ¿µ¾÷¼ÒÀçÁö

    ¼­¿ïƯº°½Ã Á¾·Î±¸ Á¾·Î 1(Á¾·Î1°¡,±³º¸ºôµù)

    ±³È¯/ȯºÒ

    ¹ÝÇ°/±³È¯ ¹æ¹ý

    ¡®¸¶ÀÌÆäÀÌÁö > Ãë¼Ò/¹ÝÇ°/±³È¯/ȯºÒ¡¯ ¿¡¼­ ½Åû ¶Ç´Â 1:1 ¹®ÀÇ °Ô½ÃÆÇ ¹× °í°´¼¾ÅÍ(1577-2555)¿¡¼­ ½Åû °¡´É

    ¹ÝÇ°/±³È¯°¡´É ±â°£

    º¯½É ¹ÝÇ°ÀÇ °æ¿ì Ãâ°í¿Ï·á ÈÄ 6ÀÏ(¿µ¾÷ÀÏ ±âÁØ) À̳»±îÁö¸¸ °¡´É
    ´Ü, »óÇ°ÀÇ °áÇÔ ¹× °è¾à³»¿ë°ú ´Ù¸¦ °æ¿ì ¹®Á¦Á¡ ¹ß°ß ÈÄ 30ÀÏ À̳»

    ¹ÝÇ°/±³È¯ ºñ¿ë

    º¯½É ȤÀº ±¸¸ÅÂø¿À·Î ÀÎÇÑ ¹ÝÇ°/±³È¯Àº ¹Ý¼Û·á °í°´ ºÎ´ã
    »óÇ°À̳ª ¼­ºñ½º ÀÚüÀÇ ÇÏÀÚ·Î ÀÎÇÑ ±³È¯/¹ÝÇ°Àº ¹Ý¼Û·á ÆǸÅÀÚ ºÎ´ã

    ¹ÝÇ°/±³È¯ ºÒ°¡ »çÀ¯

    ·¼ÒºñÀÚÀÇ Ã¥ÀÓ ÀÖ´Â »çÀ¯·Î »óÇ° µîÀÌ ¼Õ½Ç ¶Ç´Â ÈÑ¼ÕµÈ °æ¿ì
    (´ÜÁö È®ÀÎÀ» À§ÇÑ Æ÷Àå ÈѼÕÀº Á¦¿Ü)

    ·¼ÒºñÀÚÀÇ »ç¿ë, Æ÷Àå °³ºÀ¿¡ ÀÇÇØ »óÇ° µîÀÇ °¡Ä¡°¡ ÇöÀúÈ÷ °¨¼ÒÇÑ °æ¿ì
    ¿¹) È­ÀåÇ°, ½ÄÇ°, °¡ÀüÁ¦Ç°(¾Ç¼¼¼­¸® Æ÷ÇÔ) µî

    ·º¹Á¦°¡ °¡´ÉÇÑ »óÇ° µîÀÇ Æ÷ÀåÀ» ÈѼÕÇÑ °æ¿ì
    ¿¹) À½¹Ý/DVD/ºñµð¿À, ¼ÒÇÁÆ®¿þ¾î, ¸¸È­Ã¥, ÀâÁö, ¿µ»ó È­º¸Áý

    ·½Ã°£ÀÇ °æ°ú¿¡ ÀÇÇØ ÀçÆǸŰ¡ °ï¶õÇÑ Á¤µµ·Î °¡Ä¡°¡ ÇöÀúÈ÷ °¨¼ÒÇÑ °æ¿ì

    ·ÀüÀÚ»ó°Å·¡ µî¿¡¼­ÀÇ ¼ÒºñÀÚº¸È£¿¡ °üÇÑ ¹ý·üÀÌ Á¤ÇÏ´Â ¼ÒºñÀÚ Ã»¾àöȸ Á¦ÇÑ ³»¿ë¿¡ ÇØ´çµÇ´Â °æ¿ì

    »óÇ° Ç°Àý

    °ø±Þ»ç(ÃâÆÇ»ç) Àç°í »çÁ¤¿¡ ÀÇÇØ Ç°Àý/Áö¿¬µÉ ¼ö ÀÖÀ½

    ¼ÒºñÀÚ ÇÇÇغ¸»ó
    ȯºÒÁö¿¬¿¡ µû¸¥ ¹è»ó

    ·»óÇ°ÀÇ ºÒ·®¿¡ ÀÇÇÑ ±³È¯, A/S, ȯºÒ, Ç°Áúº¸Áõ ¹× ÇÇÇغ¸»ó µî¿¡ °üÇÑ »çÇ×Àº ¼ÒºñÀÚºÐÀïÇØ°á ±âÁØ (°øÁ¤°Å·¡À§¿øȸ °í½Ã)¿¡ ÁØÇÏ¿© 󸮵Ê

    ·´ë±Ý ȯºÒ ¹× ȯºÒÁö¿¬¿¡ µû¸¥ ¹è»ó±Ý Áö±Þ Á¶°Ç, ÀýÂ÷ µîÀº ÀüÀÚ»ó°Å·¡ µî¿¡¼­ÀÇ ¼ÒºñÀÚ º¸È£¿¡ °üÇÑ ¹ý·ü¿¡ µû¶ó ó¸®ÇÔ

    (ÁÖ)KGÀ̴Ͻýº ±¸¸Å¾ÈÀü¼­ºñ½º¼­ºñ½º °¡ÀÔ»ç½Ç È®ÀÎ

    (ÁÖ)ÀÎÅÍÆÄÅ©Ä¿¸Ó½º´Â ȸ¿ø´ÔµéÀÇ ¾ÈÀü°Å·¡¸¦ À§ÇØ ±¸¸Å±Ý¾×, °áÁ¦¼ö´Ü¿¡ »ó°ü¾øÀÌ (ÁÖ)ÀÎÅÍÆÄÅ©Ä¿¸Ó½º¸¦ ÅëÇÑ ¸ðµç °Å·¡¿¡ ´ëÇÏ¿©
    (ÁÖ)KGÀ̴Ͻýº°¡ Á¦°øÇÏ´Â ±¸¸Å¾ÈÀü¼­ºñ½º¸¦ Àû¿ëÇÏ°í ÀÖ½À´Ï´Ù.

    ¹è¼Û¾È³»

    • ±³º¸¹®°í »óÇ°Àº Åùè·Î ¹è¼ÛµÇ¸ç, Ãâ°í¿Ï·á 1~2Àϳ» »óÇ°À» ¹Þ¾Æ º¸½Ç ¼ö ÀÖ½À´Ï´Ù.

    • Ãâ°í°¡´É ½Ã°£ÀÌ ¼­·Î ´Ù¸¥ »óÇ°À» ÇÔ²² ÁÖ¹®ÇÒ °æ¿ì Ãâ°í°¡´É ½Ã°£ÀÌ °¡Àå ±ä »óÇ°À» ±âÁØÀ¸·Î ¹è¼ÛµË´Ï´Ù.

    • ±ººÎ´ë, ±³µµ¼Ò µî ƯÁ¤±â°üÀº ¿ìü±¹ Åù踸 ¹è¼Û°¡´ÉÇÕ´Ï´Ù.

    • ¹è¼Ûºñ´Â ¾÷ü ¹è¼Ûºñ Á¤Ã¥¿¡ µû¸¨´Ï´Ù.

    • - µµ¼­ ±¸¸Å ½Ã 15,000¿ø ÀÌ»ó ¹«·á¹è¼Û, 15,000¿ø ¹Ì¸¸ 2,500¿ø - »óÇ°º° ¹è¼Ûºñ°¡ ÀÖ´Â °æ¿ì, »óÇ°º° ¹è¼Ûºñ Á¤Ã¥ Àû¿ë