After the Japanese Invasion of Korea in 1592, correspondents of Chosun called on Japan twelve times, as a mission, from 1607 to 1811. The suite of Chosun Communication Facilities (correspondents) was composed of nearly 500 people including a senior envoy, a junior envoy, other envoyes, and cooks. After preparing traveling expenses, Sifts, foods, medicinal stuffs, and ginseng, they shipped people and freight in three passenger ships and three freighters. They departed from Pusan for Edo(Tokyo). There were 28 stop-overs on their way to Edo and the banquet was given for them at every stop. The arrangements of the table for each banquet were made up of 753 Seon(tables), 3Jeup(soups) and 15Che(dishes). 753Seon(tables) is Ganban(the table for decoration) and a substantial food reception was composed of 3Jeup(soups) and 15Che(dishes). 753Seon(tables) was called Dadopoong(the food of refreshment) style and this was the standard arrangement of the banquet table in Japan. It was comprised of 3Jeup(soups) and 15Che(dishes). On their way from Edo to Thusima Island, food was afforded to correspondents for later preparation and dining. The banquet that the master of Thusima Island gave was composed of the first and second style banquets. The first one was Chusun style and the second one was Japanese style.

Welcome reception for chinese envoy had been very important affairs for Chosun Dynasty. The procedure for the reception was described in Youngjeob Dogam. The events of each visit of Chinese envoy were also recorded in Youngjeob Dogam Euigwae. Among them, only the records of the year of 1609, 1610, 1626, 1634, 1637, 1643 are existing.

The Wanpaoshan Incident that took place in 1931 and the tragic Anti-Chinese Riots that ensued in Korea had great repercussions in the three countries of East Asia. Writers in Korea, China and Japan fictionalized these events concurrently or a few years after the incident. In the other of publication, the novelette Manpozan (October 1931) by Ito Einesuke, a Japanese writer, the novel Wanpaoshan (March 1933) by Li Huiying of China, the novelette “Farmer” (July 1939) by Yi T’ae-Chun of Korea, novella Rice Plant (1941) by An Su-Kil of Korea and the novel Reclamation (1943) by Chang Hyŏk-Chu of Korea were major examples. This article, using four novels – Ito Einosuke’s Manpozan, Li Huiying’s Wanpaoshan, Yi T’ae-Chun’s “Farmer”, and An Su-Kil’s Rice Plant – as main texts, analyzed the ways in which writers from Korea, Japan and China fictionalized the Wanpaoshan Incident. The four novels dealing with the Wanpaoshan Incident were all written from different perspectives and thus the emphases were different as well. The writers responded differently, and we will show how the writer’s national identity, ideology, and the existence of experience and its depth were articulated in the fictionalization process of a literary work.

본 논문은 바그너(Richard Wagner, 1813-1883)를 둘러싼 논쟁 중에서 최근까지 가장 첨 예한 대립을 거듭하고 있는 주제 중 하나인 바그너의 사상과 음악이 독일의 제3제국과에 직 접적인 영향을 끼쳤는지에 대한 논쟁을 다루었다. 현행 학계에서 이 논쟁은 비판과 옹호의 상호 극단적인 대립을 보이고 개별사항에서 이견이 노출되면서 평행선을 달리고 있는 데, 본 논문은 이 대표적인 주장들의 배경과 근거를 비판적으로 검증․논의하면서, 히틀러의 바그 너 숭배, 히틀러의 반유대성, 히틀러와 바그너 일가의 관계, 그리고 바그너의 서거 이후 히틀 러의 제3제국에 이르는 일련의 과정에서 이른바 “바그네리안(Wagnerian)” 내지는 “바이로이 티안(Bayreutian)”이 어떻게 바그너의 (반유대적 내용과 연관된) 사상과 작품을 의미화했으 며, 확산시켰으며, 수용했는지에 대한 의문을 추적하였다.

1930년대에 접어들어 일본기독교계엔 바르트에 대한 열풍에 가까운 관 심으로 다수의 바르트 신학 관련 번역서들이 출판되었다. 그와 비교할 때, 한국의 기독교 출판계는 선교사들의 통제 하에 기초적인 단계의 신학 및 신앙서적들의 번역소개에만 머물고 있었다. 따라서 일본에 비해 당시의 최 근 신학 동향을 파악하기 위한 중요 신학 서적들의 번역 소개는 충실히 이 루어지지 못했다. 한국교회에 본격적으로 칼 바르트에 대한 사상이 소개되는 것은 1930년대 초반부터이며, 주로 신문과 잡지에 바르트 신학의 기초 적 내용들이 소개되고 있다. 해방 전후 한국교회에서 활동한 대부분의 신 학자들은 ‘바르티안’(Barthian)들이었으며, 대부분 1930-40년대에 유학한 일본의 여러 신학교 출신들이었다. 해방 직후 신진 학자들의 칼 바르트 대 표 저작의 번역출판 시도가 있었지만, 6.25전쟁의 발발로 지체되었고, 이후 1950년대까지는 바르트 등의 최근 신학 저술들이 번역 소개되어도 대부분 이미 출판된 일본어 번역서를 모본으로 삼아 한글 번역을 시도한 결과였 다. 그러나 1960년 전후부터는 일본어 번역문의 피동적 수용 자세를 탈피 하기 위해 독일어 원문과 영문 텍스트를 직접 한글로 옮기는 등의 주체적 수용 노력을 보인다. 비록 일제강점기의 한국교회와 기독교 출판은 일본의 신학계와 기독교 출판계의 성과들에 의존할 수밖에 없었지만, 해방 이후부터는 구미의 신학을 직접 배우고 익혀, 한국인의 정신사와 종교문화에 걸 맞는 번역과 연구 성과들을 출판물로 산출하기 시작했다.

T. S. Eliot is regarded as one of the greatest critics in the last century. As a critic he tends to have strict canonical standards. However, his attitude toward Tennyson seems rather favorable. Of Tennysonian canonical traits, Eliot thinks abundance, variety, and competence are the essence of Tennysonian excellence as a poet. He further feels that Tennyson is highly competent to express himself aptly whatever intention it is in his poetry and prose. It is probably because Tennyson is a master technician in poetry: his poetic language and its skills are rich and varied. He has absorbed all poetic skills, use of words, rhymes, rhythms, as in Maud and In Memoriam. Tennyson’s poetic excellence has already proved in Poems by Two Brothers co-authored with his brother, Frederick. In his criticism on Tennyson, Eliot often makes use of “great,” “wondrous,” or “master,” which he rarely uses when he studies other poets. Besides, it is rather interesting that Tennyson and Eliot are rather well compared: both use dramatic monologues while they withhold expression of personal feelings or emotion. As a poet and critic, Eliot is characterized by objective correlative, impersonality, unified sensibility, which almost parallel Tennyson’s. As a later poet, Eliot must have learned from Tennyson, a great technician of the last century.

조지 거쉬인의 《포기와 베스》는 장르를 결정하는 데에 있어서 문제점을 안고 있다. 과 연 《포기와 베스》는 뮤지컬인가, 오페라인가. 이러한 의문은 오래된 것이지만, 그것에 대 한 해답은 명쾌하게 이루어지지 않았다. 또한 많은 음악학자들은 이 문제를 해결하기 위해 음악 그 자체에 대한 분석 중심으로만 연구했다. 이 논문은 장르 그 자체의 개념에 대한 이해 와 함께 《포기와 베스》가 가지고 있는 장르의 이중적인 면을 논의한다. 본 논문에서는 장르에 대한역사적인 관점을 살펴보고, 이를 통해 장르의 영향력을 칼버 그, 슈커, 파브리와 같은 다양한 학자들의 이론을 통해서 알아보려고 한다. 또한 《포기와 베 스》의 수용사 연구는, 이 작품이 오페라 혹은 뮤지컬과 같이 이중적으로 수용될 수밖에 없 었던 상황을 보여준다. 장르가 가지고 있는 역할, 작곡가의 의도와 청중의 인식이 변화되는 과정을 파악하는 것이 이 작품에 대한 이해를 보다 명확하게 해 줄 것이다.

국제해사기구의 선박재활용 국제협약에서 쟁점이 되고 있는 부분을 연구하고, 해양경찰의 현 실태를 분석하여, 선박재활용 분야에서 해양경찰이 새로이 담당하여야할 업무 부분을 중심으로 국내법상 수용방안을 마련하는 것이 필요하다. 해양경찰은 해양환경의 보호와 직접적이면서도 밀접한 기능을 담당하고 있으므로, 해양경찰이 담당할 업무의 법적근거를 마련함으로써, 새로운 업무영역을 확보할 수 있을 뿐만 아니라 해양환경 분야에서도 중요한 역할담당자로서 자리매김 할 수 있을 것이다.

It is well known that Eliot’s The Waste Land resulted from the collaboration between Eliot and Pound; however, what Pound had done in the making of the poem has been unknown until 1968 when the manuscript of the poem was found at the New York Public Library. Valerie published the Facsimile version with the photocopied original typescripts, which has contributed our understading of the collaboration between Eliot and Pound, and Pound’s contribution to the making of this poem. Pound suggested many revisions in the manuscript, but it seems that he refrained from forcing Eliot to accept his suggestions. Eliot must have realized what Pound had suggested would have made his poem more compact and precise in diction and would also refine the meaning of the poem. Though he was ready to incorporate some Pound’s suggestions and emendations, Eliot did not accept all of his suggestions; had he incorporated these rejected suggestions, his motif and diction would have been weakened and rendered unclear and ineffective; Eliot surely knew his own poem better than anyone, including Pound; there must have been things Pound could not fully grasp. The Waste Land is a fruit of a remarkable cooperation between the two great master poets of the last century, Eliot and Pound.

The Present study focuses on the publishing, dissemination, and reception of Beethoven's music during his lifetime and after his death. The common and different aspects among Beethoven, Mozart, and Haydn in these three fields were investigated. Since the active working periods of the three composers were different within the range of 1770-1810's, the practices of publishing and dissemination changed. Since the music market was rapidly growing, the relationship between the composer, publisher, and the public was also changing. As a result, the process of reception of Beethoven's music was quite different from that of the previous time. This paper especially put focus on the early phase(1792-1803) of Beethoven in Vienna. The process of construction as a new master composer in the musical world of Vienna was also discussed. In addition, the role of supporting groups for Beethoven among aristocratic salons was investigated. The changes in musical taste and ideology were also illuminated. Furthermore, the roles of published edition and reviews of music journals such as Allgemeine Musikalische Zeitung, Berliner Allgemeine Musikalische Zeitung, Wiener Allgemeine Musikalische Zeitung, and Caecilia in the reception of Beethoven's music were discussed.

In this paper, the issue of blind detection of Alamouti-type differential space-time (ST) π/2-shifted BPSK modulation in static Rayleigh fading channels is considered. We introduce a novel transformation to the received signal from each receiver antenna such that this binary ST modulation, which has a second-order transmit-diversity, is equivalent to QPSK modulation with second-order receive-diversity. The pre-detection combining of the result of transformation allows us to apply a low complexity detection technique specifically designed for receive-diversity, namely, scalar multiple-symbol differential detection (MSDD). With receiver complexity proportional to the observation window length, our receiver can achieve the performance 1.5dB better than that of conventional differential detection ST and 0.5dB worse than that qf a coherent maximum ratio combining receiver (with differential decoding) approximately.