The purpose of this study is to explore historical and cultural backgrounds of early twentieth century in Paris, France and examine musical characteristics of selected songs of Les Six through analysis. This study investigates songs of Les Six, which possess valuable learning aspects technically and musically and present artistic aesthetics of early twentieth century France, but have not been studied suffciently as an appropriate twentieth century French repertoire for singers, teachers, and music researchers. Les Six was a group of talented and young composers gatering under Erik Satie (1866-1925) and Jean Cocteau (1889-1963) pursuing true French music that was independent from German Romantic and Debussy's impressionism. Also, Les Six has been recognized as representing composers of contemporary French music in the early of twentieth century. The study briefly examine the cultural and historical background of early twentieth century France and the formation and aesthetics of the group of six composers, Georges Auric(1899-1983), Loise Durey(1888-1979), Arthur Honegger(1892-1955), Darius Milhaud(1892-1974), Francis Poulenc(1899-1963) and Germaine Tailleferre(1892-1983). The selected songs of "Les Six" present a unique style such as neo-classical simplicity, embracement of tradition and modern qualities, and integration of characteristics of popular music, refined and controlled expression, and suble relationships between text and music.

본 연구는 현재 유류오염손해보상에 관련한 국제기금 보상체제의 한계점(피해보상한도액, 손해사정기간의 장기간, 영세업자의 증빙자료, 사고초기의 생계문제 등)을 살펴보고 프랑스, 스페인, 한국 등 3개국이 관련 특별법 및 정부정책에 의거 국제기금의 보상한계점을 어떻게 해결하는 지를 비교분석하여 정책적 시사점을 제시하고자 한다. 그동안 대형 유류오염사고에 대한 세계 대부분의 정부조치는 해난사고의 예방, 사고의 수습, 사고의 원인조사, 해양환경복구 등에 치중되었고 피해보상에 관하여는 민사상의 문제로서 직접적으로 관여하지 않았다. 다만 현재 유류오염피해배상 및 보상과 관련된 국제협약인 민사책임협약(CLC)과 국제기금협약(FC)의 제정 및 가입 그리고 관련 국내법의 입법은 정부가 주도하였다. 그러나 프랑스는 1999년 Erika호 사고, 스페인은 2002년 Prestige호 사고, 한국은 2007년 Hebei Spirit호 사고에서 정부의 정책 및 특별법의 제정을 통해 피해보상과정에 적극적으로 관여하고 있다. 이는 각국이 이러한 대형유류오염사고들 이전에 발생한 대형 유류오염사고들(프랑스의 Amoco Cadiz호 사고, 스페인의 Agean Sea호 사고, 한국의 Sea Prince호 사고)에서 피해배상 및 보상이 원활히 이루어지지 않았기 때문이다.

Quand on apprend une languε 하rangère ， il est reconnu que le système de la languε matεmεIIε constitue toujours pour l'apprεnant de langue étrangère un P이ot de repère fondamental. Cela signifie que 10rs de 1’εnsεignement d’une languε étrangère, iI faut tenir compte de cε qui existe déjà chez 1’ appren때t， à savoir la langue matemelle, et y 5Upεrposer une nouvεIIε pratique et connaissances. Aussi, compte tεnu dε l’importance de la langue maκmelle ， cette étudε consiste à proposer l'enseignεmεot de la grammaire française pour des apprenants coréens portant sur la contrastivité métalinguistiquε entre le français εt Iε coréen. Pour ce faire, notrε intérêt est centré sur les tεrmεs grammaticaux qUi ne constituent qu’une partie du rnétalangagε gramrnatical. En particulier, nous prεnons ici pour exernplε le complémζnt d’objet indirect qui est trζs révélateur de cεttε différence ζntre la terrninologiε grammaticale coréenne et cε11ε française. Ce qui va montrer la nécessité de tenir compte des différences métalinguistiques commençant par la terminologie grammaticale pour renouveler les descriptions grammaticales d헤 à existantes.

Kim, Ye-Sug. 2004. A Study of the Social, Cultural Connotations of French Personal Pronouns. The Sociolinguistic Journal of Korea, 12(2). This study explores the social, cultural connotations of French personal pronouns. The second person pronoun divides into TU and VOUS. In the past, TU was used when the speaker of high standing calls a person of low birth. VOUS was used by the latter calling the former. Between persons of high rank, VOUS was used reciprocally and between persons of lower classes TU was in the reciprocal usage. At the time of the French Revolution, TU was considered as the real pronoun for the citizens whereas VOUS was rejected as flattering, causing inequality. But a few years later, VOUS began to be used again. The change was made by the way that the use of TU presents familiarity between speaker and hearer, and no more equality. So nowadays, the choice of TU/VOUS depends principally on the horizontal relationship, not on the vertical relationship. Other terms of address like 'Monsieur', 'Madame', 'Mademoiselle', the first name and the last name come join TU/VOUS and make the most appropriate mode to call or indicate persons.

예이츠(W. B. Yeats)는 평생 프랑스, 파리를 10여 차례나 방문하여, 길게는 46일간 체류하면서, 많은 문인들과 신비주의자들과 교류하고, 공연을 보고, 작품을 쓰거나 구상하며, 대마초 -당시는 불법이 아니었지만- 를 피우기도 한다. 그러나, 흥미롭게도, 그가 장기간 머물고 있던 때는, 자신의 평생의 연인인 모드 곤이 파리에, 혹은 노르망디에 거주하고 있었다. 물론, 최초로 파리에 머물 때는 메이더스의 집에 머물었고, 그 다음에는 호텔 꼬르네이유라는 문인들이 모이는 곳에서 작품을 쓴다는 목적이었다. 그러나, 모드 곤과의 첫 키스가 있은 직후는, 파리의 그녀의 집에서, 또 마지막 청혼을 할 때는 노르망디의 그녀의 집에서 머문다. 그리고, 예이츠가 조지와 결혼한 후에는 9년간 파리를 방문하지 않는다. 훨씬 후 병이 나자 치료하려 프랑스 남쪽을 찾고, 나중에는 그곳에서 사망하고 묻힌다. 그러나, 모드 곤에 이끌려, 파리를 방문하지만, 예이츠는 이곳에서 많은 것을 얻어간다. 파리에 머물면서 쓴 그의 편지는, 당시의 그의 심경, 상황, 문학관, 예술관, 등등 많은 것을 엿볼 수 있게 해준다. 이 논문은 이미 많이 다루어진 인물 보다는, 덜 다루어진 사람들과의 교류를 보여주는 편지의 소개에 중점을 둔다.

This paper aims to observe Korean learner' s understanding on two French tenses-Imperfect and Composed Past, and to grasp their diffìcultìes on tense comprehensìon applyìng on education of French tenses through the survey. The survey is conducted by three Korean learners to choose French tenses-Imperfect or Composed Past on test. This paper also argues for six principal difficulties of Korean learners whìch also requires attention of most teachers as belows: 1) Vagueness against Prototypic meanings of the two tenses which most learners possess. 2) Simple Schematization of foreground and background. 3) Variety of elements which causes terminating of verb's intervaI. 4) Confusion between Verbal lexical level and Relational level of two verbs connected. 5) Ambiguty of continuance notion. 6) Type of overlap actions 7) Influence of sentence structures which are used in the class.

The Purpose of this Study is to find the Modern Movements which had done important roles on the development of modern church architecture and sacred art in the first half of 20th century. I had investigated the background and process of the movements, and analyzed the buildings which represented the movements. And I compared the architectural fruits of 'Riturgical Movement' and 'L' art Sacré Movement. The results are summarized as follows : First, there are two important movements in Catholic church in the backgrounds of the innovative changes of modern church architecture, Those are 'Riturgical Movement' which pursuits to establish a closer relation between clergy and congregation, and to make the positive participants in the service not mere observers and 'L' art Sacré Movement' which pursuits to accept modern secular art into church. Second, both movements had been developed on the bases of the theological studies with tow monasteries - Benedictine Order and Dominican Order - as leader. And the main concept was a kind of revival movement which recovers the Christian tradition. Third, The two movements began from the different themes and in the different regions. But they exerted influences each other, and achieved successful fruits in the Catholic churches of England and Swiss in 1960'. Fourth, 'Riturigical reformation' and 'Acceptance of modern art' had been officialized and generalized through the second Vatican Council(1962-1965).

The purpose of this paper is to suggest a new direction of teaching French culture in Korean high schools. With this goal, this study investigates teaching French culture through teaching French words. Because vocabulary is often a main obstacle to foreign language learners in their communication, vocabulary teaching is one of excellent tools for teaching and learning foreign cultures. The study also proposes the list of cultural aspects necessary to highschool French learners, which are related to 800 words specified by the 7th French Cumculum.