The core idea of the critical regionalism could be summarized as a self-conscious synthesis between universal civilization and world culture. After World War Ⅱ, it has been applied to architecture for overcoming the problem of Industrial Capitalism and uniformity of 20th century Modern Architecture. Naturally, religious architecture cannot also be an exception in this cultural trend, thus we can also apply the critical regionalism to the Korean Catholic Church Architecture with the basic premise that the Traditional Western and Modern Style Church Architecture should be regarded as universal civilization, and the Traditional Korean Architecture and endemicity as one of world culture. In the context, this article attempts to analyze the regionality of Korean Modern Catholic Church Architecture constructed between the 19th century and 1980's, and how it has been differently transformed with the view of the critical regionalism. Its analysis will be carried out within three types; transformation of the Traditional Korean Architecture and the influence of Japanese Modern Architecture, representation of the Traditional Korean Architecture, and abstraction of the Traditional Korean Architecture with each advantages and disadvantages.

In this research, the changes of spaces on Namsan-Park and of the meaning of the park from the late 1900s through the early 1908s are analyzed, and the results are provided as follows. To begin with, inserting a concept of park to Namsan provided people with limitation in understanding definition of park, which indicated finite and constrained space, so that it distracted people from using spaces on Namsan. At that time, since the park was considered as one of key factors to establish Modern city, it was distinguished to the urban structure which had existed. After then, Joseon shrine, settled in Hanyang-Park, absorbed in functions of the park, so that the term of Hanyang-Park meant an area around the shrine or a boundary of the space. In addition, the particularity of Joseon shrine sometimes discouraged people from using the park spaces as well as spaces on the shrine, which led to decline the publicity of the park. However, Joseon shrine was correlated and planned with infrastructures of the city, Kyeongsung, not only physically but also visually in that Joseon shrine played role in one of components in Kyeongsung performed as an entertaining city such as a theme park. Lastly, Seoul is no longer subordinated and dependent city but has dramatically changed as a prominent city after regaining of independence in 1945. This indicates that the entertaining function of the old city was dismantled or reduced or transferred to public spaces, especially Namsan-Park. Consequently Namsan-Park has diverse and complex characteristics like traits of Kyeongsung, playing a pivotal role in providing cultural spaces, and its spatial organization is divided and planned based on various facilities and buildings on the park. This organization has a negative effect on the city and the park by decreasing in connectivity between them.

In the history of visual art the images were often combined with linguistic text, as it is exemplified by the early egyptian mural, medieval religious painting with biblical quotation and the cubist paintings in 20st century. In those works the image and text cooperated complementarily with each other, pursuing the representation of the real. But in the second half of 20st century the poststructuralists proclaimed that the real doesn't exist at all and it is no more than the construction pursued by the signs such as language and image. Facing the crisis of representation the role of image and text in the visual art should have been changed. One of the leading video artist Gary Hill explored in his single channel video works in 1980's the working mechanism of image and text and their interaction, treating them as open signifier, which can be related numerous changeable new meanings. He also concentrates his inquiries on the role and meaning of language within our culture and other human context and destructed the existing mechanism of representation, which based on the solid relationship between signifier and signified. So, in <Why Do Things Get in a Muddle> he questions paradox of the logic, which served to produce the meaning of the world. In <Incidence of Catastrophe> he showed that all the metaphysical basement of our experience are not in itself real but they are just constructed through the semiotic process of image and words. These aspects of his arts are in some degree influenced by intellectual disposition of conceptual art in 1970's years, which revolved around the language instead of images. But his works explored not only the language but also the images as sign. Therefore his approach differ from the conceptual art, which eliminated the retinal aspects from their work. His works also set themselves apart from the ideology critical provocative work in 1980's, which targeted specific political and social issues. As he himself reaffirmed, his work focused on semiotic process and revealed unreliability of the working mechanism of logic, on which all the value system in our world based. In this sense his work in 1980's could be called meta-semiotic work.

By performing a statistical change-point analysis of activities of the tropical cyclones (TCs) that have affected Korea (K-TCs), it was found that there was a significant change between 1983 and 1984. During the period of 1984-2004 (P2), more TCs migrated toward the west, recurved in the southwest, and affected Korea, compared to the period of 1965-1983 (P1). These changes for P2 were related to the southwestward expansion of the subtropical western North Pacific high (SWNPH) and simultaneously elongation of its elliptical shape toward Korea. Because of these changes, the central pressure and lifetime of K-TC during P2 were deeper and longer, respectively, than figures for P1. This stronger K-TC intensity for P2 was related to the more southwestward genesis due to the southwestward expansion of the SWNPH. The weaker vertical wind shear environment during P2 was more favorable for K-TC to maintain a strong intensity in the mid-latitudes of East Asia.

The main purpose of this study was to perform a literature review regarding bibimnaengmyeon (cold buckwheat noodles mixed with sauce)-related recipes. To conduct this research, we analyzed recipe data published in Korea from the 1800's to the 1980's. The research was conducted by content analysis and literature review. The documents used in the research were 30 books (dictionaries and recipe books). A total of 37 bibimnaengmyeon-related recipes were identified. The results of the analysis of documented data published within the last 200 years showed two different types of main ingredients for bibimnaengmyeon-related recipes; noodles based on buckwheat flour, and noodles based on wheat flour. Additionally, the bibimnaengmyeon-related recipes were divided according to the sauce; 1) noodles mixed with red pepper sauce and 2) noodles mixed with soy sauce.

The mainly purpose of this research was to investigate tendency of changes regarding the recipe of Naengmyeon (Korean cold noodles) based on water. In order to conduct of this research, we analyze the recipe data published in Korea from 1800's to 1980's. A method of mainly study was conducted by content analysis and literature review. The documents of recipe used research were 42 literatures (euigwae, recipe book, magazines, and dictionaries). In addition, the recipes of Naengmyeon based on water were total method of 84. The results of an analysis of recipe data published in the last 200 years showed 3 different types of the recipe of Naengmyeon based on water; 1) Naengmyeon based on water of Kimchi juice type 2) Naengmyeon based on water of (meat) broth type 3) Naengmyeon based on water of mixed (Kimchi juice+broth) type.

Since 1970s, Artists have disfigured and destructed human being’sbody. They were trying to display the properties of matter of body itself asa vessel of spirit or soul. In the 1980s, bodily images are main concern formany artist due to spreaded threat of AIDS. This could be the trial toexplore the body’s identity in the process from the individual range tosocial range. At 1990s, Artists who have dealt dismembered bodies,including Robert Gober, Chapman Brothers, Kiki Smith, and DamienHirst, have exhibited fragmented body parts and organs such as blood,skin, and hair, etc. The dismembered body have functioned as the site forthe investigation of our urgent concern for sexual identity, homophobia,and social discrimination as well as disease and death.Modern artists have progressed themes for dismembered body with theirown motif and strategy and expanded the region of art, enlarging andcutting out the parts of body, or showing the inner organs. The range ofthe dismembered body is expanded into the inner parts of body due to thevisibility of surface. The blood is inevitably accompanied from the surfaceof skin by these outcomes. Though the bodily fluids, including the blood,pus and sperm etc., is not lowly, nor abject, the body fluidity had beentreated as excrement. The matters like blood evoke complex feelings offreight, cruelty. death, dirty, and contamination etc. In the 1990s, artists like Kiki smith, and Marc Quinn presented real blood, semen, and milkwith their images.The works of Gober, the Chapmans, Kiki Smith, and Hirst are based onthe resistance against the social contradiction while those of Giacomettiand Bourgeois are originated from their autobiographical experience.Consequently the fragmented bodily images turn out to be dynamiccategories instead of representing the ideal body image. Completeness,perfection, and wholeness, which had been the criteria since ancient Greekart, are not universal value any more.: Dismembered bodily images are theproper means for suggesting pain, violation, and suppression.

Thanks to both developments in various media such as the internet and TV and China's economic growth, the fashion market in China has gain a lot of attention by global businesses as a newly-raised spending market. Fashion companies in Korea have entered into the china since the late 1990s. For them to get competitive edges, they have to differentiate their brand by creating new design based on the culture becoming mega-trend in fashion market. So in this research, I try to create fashion designs based on Hallyu Stars' fashion styles and images, who come on as a new culture code in China and other Asian. For this, I conducted theological consideration on what the Hallyu is, and looked into fashion styles in soft dramas which 5 Hallyu Stars started in and street fashion in Shanghai in China. Based on the outcomes of analysis, I figured out those star's fashion style and created products targeting young generation born after 1980s in China. The conclusion of this study is as follows. Firstly, the very definition of Hallyu which can be described as a phenomenon in which Korean movies, soap operas, and pop music have become immensely popular throughout Asia—has been expanding to signify the proliferation of Korean culture as a whole. Secondly, having selected the 5 female stars representing Hallyu, we were able to analyze and categorize their fashion styles on the basis of their music videos, movies, and soap-operas. Thirdly, In order to explore the level of influence of Hallyu fashion industry, we studied the street fashion of Shanghai The result was that we could observe both the slim and feminine cool casual style and the cute and affectionate pretty casual style simultaneously.

20년간(1980-1999) 동해의 해구(위경도 30'×30')별 오징어(Todarodes pacificus) 총 어획량과 단위노력당 어획량(catch/gear/day, CPUE)을 분석하여, 특정 해역에서 오징어 어획량이 높은 원인을 물리(수온), 생물학적 환경 인자(동물플랑크톤 생체량)를 이용하여 분석하였다. 해구별 총 어획량과 CPUE는 1980년대보다 1990년대에 증가하였다. 20년간 평균어획량이 높았던 해구는 동해 남부 5개 해구(No. 87, 76, 82, 83, 88)이었고, CPUE가 높았던 해구는 울릉도와 울진 부근의 해구(No. 65, 71, 72, 78)로 나타났다. 동해 전체 해구에서 이들 특정 해구의 총 어획량과 CPUE가 차지하는 비율은 각각 35.1%와 62.1%였다. 총 어획량과 CPUE가 높은 해역은 쓰시마 난류의 북방한계 지표수온인 10℃의 등온선의 상부 수층에 위치하였으며, 10℃ 등온선의 분포 위치에 따라 해구별 총 어획량과 CPUE가 다르게 나타났다. 해구별 동물플랑크톤의 생체량 분포와 오징어 어획량 간에는 높은 상관성이 나타나지 않은 반면, 전체 해구의 동물플랑크톤의 연간 총 생체량과 오징어 총 어획량의 시계열 변화 경향은 유사하게 나타났다.

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of ‘resistance paintings(against dictatorship)’, ‘proletarian painting’, ‘realism painting’. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when ‘ National Arts Association’ started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; ‘Reality and Speak’(R&S), ‘KwangJu Art Association’, ‘Durung’, ‘Dang(Land)’, and ‘Local Youth Students Association’. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as ‘ONE’ combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's ｢Hyunsil Dong In the first declaration｣ and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in ‘generation theory’, ‘organization theory’, and ‘popularization theory’ by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed ‘Dismentlement of Capitalism’ and ‘Public revolution’. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

This paper intends to examine the significance of the “Minjoong Misool(People's art)” of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of “Critical Realists” by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of “Reality and Utterance” and “Im- sul-nyun” exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

We have focused on the building appearance according to the change of conservation policy and urban fabric in Bukchon, Seoul. The Urban Hanok, urban traditional housing type, had been evolved in modern contort from 1920's to 1960's, that is to say, many buildings(Urban Hanok) in Bukchon area has built up with a lot and road at the same time. But the change of conservation policy has an effect on the urban fabric and building(wooden structure, RC and brick building). Thus many types of building in Bukchon has undergone a various change. The purpose of this paper is to define a change factor of Bukchon buildings. Thus we need to pay attention to policy and urban fabric. We reached the result as follows. First, the change of architecture regulations according to the several policies(an aesthetic area, an altitude area for sky line restriction and so on) brought into building deformation and eventually the historic scenery of Bukchon has been spoiled. Second, the change of policy had an effect on the change of roads and lots. Buildings on a widen road and a united lot was built newly. But new buildings built up with a concrete or brick structure was not in harmony with the historic scenery of Bukchon area. Third, a development method of a large lot with lack prudence(disregarded a scale and size of lot) did damage to Urban hanok and urban fabric. With the understanding on the relationship of buildings, a urban fabric and a policy in Bukchon, we can define the identity and correspond with the urgent request for a the conservation of historic urban scenery In addition we can suggest the policy and the design guidelines for the reservation and rehabilitation for Bukchon, Seoul.

본 연구의 목적은 1980년에서 2000년 사이 한국의 노인인구의 지역적 변화 유형을 분석하는데 있다. 특히 본 연구는 지도학적인 측면에서 작성된 choropleth map에 의한 변화와 노인인구의 공간적 특성의 변화를 조사하고자 한다. 연구 자료는 1980년도, 1990년도, 2000년도의 한국 인구 센서스 결과를 이용하였다. 한국의 노인 인구는 유례를 찾아 볼 수 없을 정도로 급속히 증가하고 있다. 노인인구의 문제는 도시보다 농촌이 더욱 심각하다. 농촌의 인구는 감소하고 도시의 인구는 지속적으로 증가하고 있으나, 노인 인구 비율의 증가는 농촌이 도시에 비해 매우 높다. 한국의 노인인구분포는 생애주기의 변화, 정부에 의해 진행되는 도시지역의 발달, 주택 정책 등에 의해 영향을 받고 있다. 한국은 가까운 장래에 보다 더 심각한 새로운 도전을 받게 될 것이다.

최근까지만 해도 나는 Post-Colonial Theory를 W. B. Yeats 연구와 거의 무관하다고 여겨 관심밖에 두었으나, 마음을 바꾸었다. 그리고 같은 맥락에서, Edward Said가 Yeats에 대해 한 말에 관심을 갖게 되었다. 이것은 내가 그의 이론에 전적으로 동감해서가 아니다. 그가 주장하는 바가, 내가 말하고자 하는 것에 보다 더 집중하는 데에 도움이 되기 때문이다. 어떤 작가, 어떤 작품, 어떤 장르, 어떤 시기는, 다른 것들 보다 어떤 이론에 보다 더 쉽게 열려진다. 그러나, 어떻든, 이론은 우리가 지적으로 문학을 생각할 공간을 부여하며, 이 점에 있어서 Jonathan Culler와 동감이다. 이 글에서는, 문화연구는 상당한 진전이 있으며, 영국과 미국의 경향이 다르고, 대표적 학자들의 성향도 다양하여 여기서 깊이 들어 갈 수는 없다. Yeats 연구에 국한해서 문화연구의 범위와 타당성에 대해 논의한다. 여기서는 이론적인 틀을 만들기보다는 Yeats 연구가 이 분야에서 어떻게 진전되어 가나를 보고, 그 방향이 옳은 것인지 본다. 그러면 자연스럽게, 문화연구의 타당성과 범위가 도출된다.

To evaluate seismic performance of existing school buildings, This study performed pushover analysis using Midas/Gen Ver.795. The outcome shows that building have insufficient seismic performance and seismic reinforcement is necessary to have enough seismic performance.

본 연구에서는 1980년대 표준설계도면에 의해서 건설된 국내 학교건물을 대상으로 일본 내진진단 기준, 비선형 정적 및 동적해석을 수행하여 내진안전성을 평가하였다. 내진진단 결과, 구조내진지표(IS)는 0.2~0.4로 평가 되었으며, 이 결과는 150gal정도의 지진 규모에서 중규모 이상의 지진피해를 받을 가능성이 있다고 판단된다. 비선형 정적해석결과, 장변방향은 부재각 R=1/150rad., 단변방향은 1/100rad.에서 각각 항복하였으며, 비선형 동적해석결과, Hachinohe. EW(200gal)입력지진동에서 대상건물 1층 장변방향 19.85cm 및 단변방향 23.3cm의 최대 지진응답변위를 각각 나타내었다. 지진피해도 판정법을 이용하여 1980년대 국내 학교건물의 내진안전성을 최종적으로 평가한 결과에 의하면 150gal이상의 지진에서 중규모 지진피해가 발생할 가능성이 예측되며, 내진보강 등 실제적인 지진대책이 시급하다고 판단된다.