hypothesis
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hypothesis [2022/03/29 10:06] – [예] hkimscil | hypothesis [2023/09/07 10:28] (current) – [예] hkimscil | ||
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====== 가설 (hypotheses) ====== | ====== 가설 (hypotheses) ====== | ||
- | 연구문제와는 약간 다르지만 비슷한 성격을 갖는 것으로 가설이 (hypothesis) 있다. 연구문제는 두 개념 간의 관계에 대한 질문으로 만들어지지만, | + | [[:research question|연구문제와는]] 약간 다르지만 비슷한 성격을 갖는 것으로 가설이 (hypothesis) 있다. 연구문제는 두 개념 간의 관계에 대한 질문으로 만들어지지만, |
이론은 (theory) 어떤 현상에 대한 일반화된 설명이다. 단순한 예로 | 이론은 (theory) 어떤 현상에 대한 일반화된 설명이다. 단순한 예로 | ||
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만약에 아인슈타인의 이론을 믿는다면 중성자가 우라늄의 농축액과 만나면 거대한 폭발력을 보일 것이라는 가설을 세울 수가 있다. 어떤 경우에는 폭발이 일어났고 어떤 경우에 일어나지 않았다면 폭발을 유발하는 일종의 매개체적인 요소가 그 폭발을 도화할 것이라는 가설을 또 만들어 볼 수 있다 ((이를 critical mass라고 함이 밝혀졌다)). | 만약에 아인슈타인의 이론을 믿는다면 중성자가 우라늄의 농축액과 만나면 거대한 폭발력을 보일 것이라는 가설을 세울 수가 있다. 어떤 경우에는 폭발이 일어났고 어떤 경우에 일어나지 않았다면 폭발을 유발하는 일종의 매개체적인 요소가 그 폭발을 도화할 것이라는 가설을 또 만들어 볼 수 있다 ((이를 critical mass라고 함이 밝혀졌다)). | ||
- | 이렇게 가설은, 주위의 정황에 대한 이해와 (이론) 논리적인 사고를 (논리) 통하여 판단을 내리는 작업을 의미한다. 이런 의미에서 가설은 종종 " | + | 이렇게 가설은, 주위의 정황에 대한 이해와 (이론) 논리적인 사고를 (논리) 통하여 판단을 내리는 작업을 의미한다. 이런 의미에서 가설은 종종 "**educated** 혹은 |
이를 삼단논법과 같은 형식적인 면을 부각하여 표현하자면 (즉, if ~ then의 형식을 이용하여 설명하자면) 아래와 같다. | 이를 삼단논법과 같은 형식적인 면을 부각하여 표현하자면 (즉, if ~ then의 형식을 이용하여 설명하자면) 아래와 같다. | ||
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<WRAP col half> | <WRAP col half> | ||
{{: | {{: | ||
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- | Hypothesis 1: Controlling for past career success, writers represented by core agencies have substantially better prospects for employment and higher earnㅑngs than do writers represented by noncore agencies. | ||
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* PROJECT-BASED CAREERS AND SUBCONTRACTED PRODUCTION IN THE ENTERTAINMENT INDUSTRY | * PROJECT-BASED CAREERS AND SUBCONTRACTED PRODUCTION IN THE ENTERTAINMENT INDUSTRY | ||
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* HYPOTHESES | * HYPOTHESES | ||
* Our first hypothesis regards the consequence for writers' | * Our first hypothesis regards the consequence for writers' | ||
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* __Hypothesis 1__: Controlling for past career success, writers represented by core agencies have substantially better pros- pects for employment and higher earn- ings than do writers represented by noncore agencies. | * __Hypothesis 1__: Controlling for past career success, writers represented by core agencies have substantially better pros- pects for employment and higher earn- ings than do writers represented by noncore agencies. | ||
* If core agencies have the power to pack- age their clients in new projects regardless of a client' | * If core agencies have the power to pack- age their clients in new projects regardless of a client' | ||
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* __Hypothesis 2__: The effect of prior career suc- cess on employment and earnings will be smaller for writers with core agency representation than for writers who lack such representation. | * __Hypothesis 2__: The effect of prior career suc- cess on employment and earnings will be smaller for writers with core agency representation than for writers who lack such representation. | ||
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* Finally, the labor market inequalities in the film and television industries generated by differences in types of agency representation may not be neutral with respect to gender, race, and age. Previous research shows that the vast majority of writing for television and feature film is done by white males and that women writers earn significantly less than men throughout their careers (D. Bielby and W. Bielby 1996; W. Bielby and D. Bielby 1992, 1993). Moreover, the expansion of packaging practices by elite agencies coin- cides with a period in which the earnings of writers in their forties and fifties eroded rela- tive to their younger counterparts (D. Bielby and W. Bielby 1993). If women writers, mi- nority writers, and older writers are less likely than young white males to have core agency representation (or any representation at all), then the packaging practices of talent agen- cies may contribute substantially to creating and sustaining stratification by gender, race, and age in the entertainment industry. Ac- cordingly, our models test a third hypothesis: | * Finally, the labor market inequalities in the film and television industries generated by differences in types of agency representation may not be neutral with respect to gender, race, and age. Previous research shows that the vast majority of writing for television and feature film is done by white males and that women writers earn significantly less than men throughout their careers (D. Bielby and W. Bielby 1996; W. Bielby and D. Bielby 1992, 1993). Moreover, the expansion of packaging practices by elite agencies coin- cides with a period in which the earnings of writers in their forties and fifties eroded rela- tive to their younger counterparts (D. Bielby and W. Bielby 1993). If women writers, mi- nority writers, and older writers are less likely than young white males to have core agency representation (or any representation at all), then the packaging practices of talent agen- cies may contribute substantially to creating and sustaining stratification by gender, race, and age in the entertainment industry. Ac- cordingly, our models test a third hypothesis: | ||
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* __Hypothesis 3__: Type of agency representation (none, core, and noncore) mediates dif- ferences by gender, minority status, and age in employment and earnings. | * __Hypothesis 3__: Type of agency representation (none, core, and noncore) mediates dif- ferences by gender, minority status, and age in employment and earnings. | ||
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* DATA, MEASURES, AND MODELS | * DATA, MEASURES, AND MODELS | ||
* FINDINGS | * FINDINGS |
hypothesis.txt · Last modified: 2023/09/07 10:28 by hkimscil