This essay examines how the figure of Liberty has been refashioned in the streets of post‐apartheid South Africa, addressing three public art works installed in Johannesburg over the past decade: Reshada Crouse’s oil painting Passive Resistance, Marlene Dumas’ tapestry The Benefit of the Doubt and William Kentridge’s and Gerhard Marx’s sculpture Firewalker. Even as these monumental works all reprise Delacroix’s Liberty on the Barricades – an icon of the city street and its revolutionary barricades – so too this trio of Liberties have become mere phantoms of their vaunted archetype. Haunted specters, they quarrel with the mythologized chimera of Liberty, taking issue with the fraught tradition of pinning regime change onto the body of the female nude. Drawing instead on South African histories of women’s resistance, in which female nudity has been repeatedly marshaled as a form of dissent, the Liberties circling Johannesburg hybridize their European template with local traditions of female political opposition to colonial and postcolonial male authority.

Kim, Jun-Geun(Gisan) was a late 19th century Chosen dynasty painter who created numerous genre paintings for West European clients in the newly opened treaty ports of Wonsan, Busan and Inchon. The treaty ports in the late 19th century Chosen represented of the crossroads the economy, values, and the institutions of the West European powers. In particular, the agriculture-based economy, Confucianism, and land-owner noble class started being eroded by a commerce-based economy, the values of Christianity, West European institution, and a new class of people who amassed wealth from commerce. As Kim, Jun-Geun’s paintings were created for sale to West European clients, they exhibit characteristics that are distinct from the traditional genre paintings in terms of presentation style and the selection of the subject matters. The export genre painting originated in the 18th century around Guangdong, China. Broadly, there are two styles of genre paintings: the Guangzhou style and Ningbo style. Kim, Jun- Geun's paintings resemble the Ningbo style. The Ningbo style tends to highlight the main subjects, form an album of small paintings, and provide a simple treatment of the scenes without the background. Kim, Jun-Geun's paintings cover most aspects of life of common people of his time, ranging well beyond the subjects matters of the traditional genre paintings. His subject matters include the scenes of funeral, folk games, Buddhist and ancestor worship, prison and punishment, shaman custom, debauchees, government officials' formal trips, beggars and handicapped, etc. Many of the subjects are the neglected and the oppressed of the society. And he presents in detail the dress and its ornament that the subjects wear, and all the utensils and things around them. Besides, his subjects' faces are generally expressionless, and their postures are stiff; as such, the feeling of liveliness or movement is lacking. It may be the results of Kim, Jun-Geun's taking the other perspective, namely of his West European clients, rather than his own. The adoption of the other perspective may in turn be a product of the Social Darwinism and the new sense of values that accompanied the infusion of Christianity and West European institutions. Kim, Jun-Geun's portrayals of his subjects appear to reflect the attributes with which the West European Orientalists' of the period characterized the people of the Far East, namely, backwardness, barbarity, irrationality, violence, and mysticism.

원주 성남리 성황림(척연기념물 제 93호)에서 보호철책의 설치 이후 노거수의 치수들이 어느 정도 생육하는가에 대한 조사를 통하여 성황림의 생태적 변화를 밝히고자 조사한 결과 다음과 같은 결과를 얻었다. 1989년 보호철책의 설치로 사람들의 출입을 통제한 결과 평지림의 토양강도(토양견밀도)는 도로로 이용되었던 부분을 제외하고는 크게 완화되었다. 피해도 2, 3, 4로 지피식생이 없었던 평지림에서 1,202개체의 치수가 자라고 있어 가장 많았고, 피해도 1인 지역에서 565개체, 피해가 없었던 사면림에서는 403개체가 조사되었다. 수고 2m 이상의 유목단계인 치수들은 피해도 1인 지역에서 48개체로 가장 많았고, 피해도 2, 3, 4인 지역에서는 31개체, 피해가 없었던 사면림에서는 400m2의 면적에 14개체로 조사되었다 교목의 치수들은 피해도 2, 3, 4로 지피식생이 거의 없었던 평지림에서 느릅나무, 복자기가 상대적으로 많았으며, 피해도 1인 평지림에서 귀룽나무, 쪽동백, 피해가 없었던 사면림에서 고로쇠와 당단풍나무가 상대적으로 많았다. 지피식생이 거의 없었던 평지림에서 줄딸기, 복분자딸기, 산딸기, 으름덩굴 등이 먼저 왕성하게 자라고 있으나 교목성 치수들의 생장에 따라 점차 개체수가 줄어들 것으로 기대된다.

한반도 신두리 해안사구를 대상으로 TWINSPAN 분류법과 DECORANA 배열법에 의한 미지형과 식생의 대상구조 및 변화를 예측한 결과는 다음과 같다. 해안사구의 미지형과 식생은 해안선에서 내륙을 향해 뚜렷한 띠모양의 대상구조를 이루었다. 해안선 방향의 사빈은 수송나물의 출현이 많았고 일차사구는 갯그령이 우점하였다. 사구저지는 좀보리사초와 띠가 군락을 이루었으며 사구습지는 산조풀이 넓게 분포하였다. 이차사구는 띠와 갯쇠보리가 주종을 이루는 가운데 순비기나무와 해당화가 분포하는 양상이었고 내륙방향의 배후구릉지는 아까시나무와 곰솔이 우점하였다. 그러나 해안사구는 해안선 방향의 선구종으로 알려진 통보리사초가 후방의 이차사구에서 우점하였고 내륙성의 억새와 귀화식물의 겹달맞이꽃이 해안사구 전체에서 불규칙하게 덮고 있어 미지형의 안정화가 불확실하였다. 특히 억새는 해안사구의 안정화가 진행될수록 유집성이 높은 사구저지, 이차사구, 일차사구의 우점종으로 변화가 예측되었으며 일차사구와 이차사구 사이의 도로와 사구습지의 확대는 식물분포의 대상구조에 영향을 줄 것으로 판단되었다.

Considering on the crisis and dilemma of monumentality in Modern architecture, this study analyse the historic reason of decay and new possibility of monumentality within the context of contemporary socio-cultural context. Historically monumentality has been considered as a main substance of High architecture in the tradition of Western Architecture. Difference between building and architecture mainly lies in monumentality which brings about esthetic quality. Usually architects take it granted that the physical and formal characteristics automatically cause the monumentality. But since the modern period the decline of communicative and representative function of architecture made this belief questionable. As Monumentality itself faced the dilemma with the modernity, ironically architects has to response to the task to handle the increasing social demands of monumental building. This study firstly shows the dilemma of monumentality in depth in case of the holocaust museum. Then we analyse the concept of monumentality itself by means of theoretical view of A Loos and A Riegl We also analyse the change of role which monumental building played in history. Cultural and social change of context, and fundamental change of architecture old way of building a monument impossible. In conclusion this study proposes the new concept and searches new horizon of monumentality with a finding of the otherness of monumentality. Conventional monumental building language has to give way to new approaches. With some examples we already can find a new possibility.